World Combat Martial Arts Association.
Karazenpo Go Shinjitsu Black Belt Society.
Hawaii Martial Arts International Society.
Nick Cerio's International Martial Arts Association.
United States Martial Artist Association.
International Mixed Martial Arts Association.
Began my martial arts training October 15th,1964 at the age of 11 years old under my father, Jessie S.R.Martin & Sensei Richard Chun in the Art of Moo Duk Kwon Taekwon-do.
- 1971 - Received my Shodan Black Belt at the age of 17 years old in Moo Duk Kwon Taekwon-do under Sensei Richard Chun.
- 1972 - Started training with Sensei Lee Getty in Kyokuoshinkai Karate-do.
- 1973 - Received my Nidan Black Belt at the age of 19 years old in Moo Duk Kwon Taekwon-do. - Started training in the Kajukenpo Pai Lurn Kung-fu under Master William R. Gregory and Grandmaster Daniel K.Pai.
- 1974 - Received my Sandan Black Belt at the age of 20 years old in Moo Duk Kwon Taekwon-do. - Started training in the Japanese ryu of Shotokan Karate-do under Sensei Earnest St. Laurent Sr. and David St. Laurent Jr.
- 1978 - Received my Shodan Black Belt at the age of 24 years old in Shotokan Karate-do under Sensei Earnest St. Laurent Sr. and Sensei Gilbert Dolman.
- 1979 - Received my Shodan Black Belt at the age of 25 years old in Kajukenpo Pai lUM under Master William R. Gregory. - Received my Shodan in Kyokuoshinkai Karate-do under Sensei Lee Getty. - Krane New England Kata Grand Champion and the New England middleweight Champion in full contact Karate! (1978-1979).
- 1982 - Received my Sandan Black Belt in Shotokan Karate-do under Sensei Earest St. Laurent St. Sr., Sensei Gilbert Dolman.
- 1984 - Received my Sandan Black Belt in Kajukenpo Pai lum kung-fu under Master's William R.Gregory and Ed Stroke Canada. - Received my Yondan Black Belt in Shotokan Karate-do under Sensei Earnest St. Laurent Sr., Sensei Gilbert Dolman.
- 1985 - Received my Yondan Black Belt in Kajukenpo Pai lum kung-fu under Master William R.Gregory and Grandmaster Daniel K.Pai.
- 1987 - Received my Godan Black Belt in Shotokan Karate-do under Sensei Earnest St. Laurent Sr. - Received my Godan Black Belt in Kajukenpo Pai lum kung-fu under Master William R. Gregory and Master Ed Stroke From Canada.
- 1990 - Received my Ryukudan in Kajukenpo under Grandmaster William R.Gregory.
- 1993 - Received my Yondan Black Belt in Aikijujitsu Federation under Master Toshihizo Obata.
- 1994 - Received an update on my MooDuk Kwon Taekwon-do Certification Sandan Black Belt from Sensei Richard Chun. - Received Rokudan update Certification Black Belt from Grandmaster William R. Gregory and Sensei David St. Laurent Jr. ( 1990 ). - Received my Rokudan Black Belt from Nick Cerio's International Martial Arts Association from Professor Nick Cerio. - Received my Rokudan from the United States RyuKuKai Karate-do Association Shihan Robert M. Handley, Sensei Earnest St. Laurent Sr., Sensei Gilbert Dolman and (Maestro Giuseppi Guaraldi JKA Italy). - Received the Grand Championship Title in (Kumite) Heavyweight Champion. Plus first place runner up in Kata & Weapons. in the Nick Cerio's InternationalMartial Arts Association. Karate Championships!
-1995 - Received my Nidan Black Belt in Aikido, Japan Aikido Federation under Master Tikki Oyama.
-1997 - Received my Sokeship from Grandmaster William D. Miller International Soke Head Founder's Society and the International Society of Combat Martial Arts. - Received my W.B.B.B Certification from Grandmaster Kang Rhee as the W.B.B.B. Certified School Instructor. - Founder of Shojukempo Karate-do with the rank of Soke 8th Dan. (Hachidan).
- Awarded 9th Dan. in 2002 from Grandmaster Al Cunningham 10th Dan Admin. President of the North American Grandmasters Council and was appointed as Senior Advisor by Grandmaster Cunningham .
10th Dan Black Belt founder Shoju-kempo ryu, President, Ceo, Soke, Hanshi, Grandmaster, Professor.
- 3rd Dan Black Belt Kenjitsu.
- Chief Instructor for the Learning Community of Central Falls Rhode Island. after School program.
- President and founder of the R.I.DRUG BUSTER'S KARATE TEAM. W.B.B.B. Certified Branch School Instructor.
- Inducted to the Ryu Kyu Kai Karate Association Hall of fame by Dr. Kyoshi Robert M. Handley 8th Dan. and I'm the United States Director for the International Ryu kyu kai Karate Association.
- Awarded Sokeship in 2001 from Grandmaster George Petrotta 10th Dan Director President of the ISA- International Sungja-do Association for recognition of SHOJUKEMPO RYU KARATE-DO and the Rhode Island State Director with full honors!
- Recognition Certification in 2002 form the United States Martial Arts Federation for SHOJUKEMPO RYU KARATE-DO.
- Member of the Hawaii Martial Arts International Society.
- Awarded Hanshiship in 2002 from Grandmaster Montezuma C. Cantu 10th Dan President Ceo of the International Black Belt Federation with appointed letter as Ambassador to Europe an Canada for the Martial Arts. plus Board Member and Director for the Japanese Karate-do Division in Rhode Island under the All Japan Okinawan Karate Association.
- Sept. 2002 received Certification for 9th Dan. As a member of the Karazenpo Goshin Jutsu Black Belt Society with " SHOJUKEMPO KARATE-DO recognition from " Sonny Victor Gascon " 10th Dan founder of Karazenpo Goshin Jutsu.
- Received in 2002 B- Class Certification 6th Dan. Chief Instructor, Examiner, Referee from the World JKA Karate Alliance and Rhode Island State Director.


VW Sharan 2019 is another new car that are developed by Volkswagen car developer. As a new car this car will be focusing for the specifications, as well their stylish appeal. In this article we will try to uncover several new information regarding the development of this new car. Without further ado, here are some of the information that we can gather just for you regarding this car specifications.
VW Sharan will have beautifully designed body design with several color theme to be chosen from. There are also improvement over the style of the body making it much more stylish and aerodynamics. The car will also have better lighting with new LED technology applied in both rear and front light. Finally, the height of the car are designed to look shorter giving it more compact design.
The interior are also improved to make the car much more comfortable. This can be seen on the new material that are used for the car which consist of high quality material especially for the upholstery and seat. The seat are also have new adjustment system giving it great versatility. And of course larger interior especially on the headroom and legroom.
As a new car this new VW Sharan 2019 will be having new engine which makes it much more reliable. The engine used is going to be a TSI engine with 1, 4 liter capacity. This engine is capable of generating 150 horsepower, additionally alternative 2, 0 liter version with more horsepower is also available as well. These engine is capable of optimal speed for 120 mpg.
Finally, we go to the final part of the car information which will be discussing about the price, release date and of course the safety features. Starting from the price and release date of the car we will try to discuss it first. The release date of this car is going to be on the year of 2019 especially on the beginning of the year. On the other hand, the information about the price are scarce but it is expected to be on the price of $28.000 to m$38.000.
From the price and also release date information we go to the last information that we can give for this car which is the safety system. The safety system that this car will be having is going to be standard for modern day cay. However, the safety features will be improved to make it much more practical and also safer. In other words, Volkswagen will be focusing to make the new VW Sharan 2019 much safer.
Vw sharan 2019 release date prediction.
Vw sharan 2019 interior cabin spy photos.
Vw sharan 2019 new model revealed.
Tags: VW Sharan, 2019 Cars, 2019 Minivan, MPV Cars.


Oh noes! I hope no gets in trouble!
That is a great example of proper squeaky toy procedure! I hope you got the rest of the stuffing and the squeaker out too.
I have that same stuffy! Actually, it belonged to angel Maggie and mine is dressed in a pink bikini. Bummer that yours 'sploded.
You know it HAD to be those darn squirrels.
It looks like your toy exploded!
Who could blame YOU for your toy throwing up all overs the floor???? geesh.
That toy needed to lose a little weight - nice of you to fix her!
Looks like it time for to go see the surgeon to get all fixed up. We say that those squirrels are the ones that did it "wink wink". Maybe it's time for a new toy and out with the old one. Thanks for the share. Have a great day.
It looks like you had fun with that toy, Edward!


All individuals listed in the IAM Strategy 300 were asked to choose from 14 categories when identifying their particular areas of expertise. Some categories are self-contained and self-explanatory; others can be divided into a number of sub-categories. Below (in bold) is a list of the categories available for selection, followed by a non-exhaustive set of sub-categories, as appropriate.
NOTE: Both the general categories and sub-categories are for guidance purposes only. They are not intended to provide definitive information and should not be used as if they do. To get a better understanding of what an individual in the IAM Strategy 300 does, it is strongly recommended that you contact that person directly.


(Budapest, Hungary, Mátyásföld, Saint Joseph Roman Catholic Ecclesia, other links: Virtuális Plébánia and Mátyásföldi plébánia). This is a computer program which can utilize a computer projector to help singing and praying the service participants by showing religion lyrics and pictures.
The program is completely free, but we would like to get an email from possible users to know about them and to help them installing the system, or to let them know about updates.
You can also post some reply in our forum. Although there are mostly hungarian posts, you can write english posts, too.


text:
Santa Claus is coming to town - raising cash for East Anglia's Children's Hospice
EXCITEMENT is mounting as entry to the first fund raising Santa Run in March is about to open, giving participants the chance to dress up in as Father Christmas and take a tour of the town.
All funds raised from the event on Sunday November 25 will to East Anglia's Children's Hospices (EACH), and everyone who enters can be provided with a suit for the big day.
The EACH Santa Run starts and finishes at the Oliver Cromwell Hotel at 11am, and the 2Km route is suitable for wheelchairs and pushchairs.
Rob Skoulding, a director of the Oliver Cromwell Hotel, said: "We hope to make the Santa Run an annual event, we are very much looking forward to welcoming all the Santas to the hotel.
"The hotel will be hosting a Christmas fair on November 24 and 25, and the Santa Run will be a very welcome addition to the weekend. The fair, with its 28 stalls from cakes to jewellery and paintings, will provide lots of shopping opportunities and Christmas entertainment."
EACH fund raiser Beccy Turner, said: "We are really excited about doing a Santa Run in March. This is a real family event, it's not a race, so you don't have to be an expert runner. You can walk, jog or run. Even if you're a spectator, you can have fun cheering on the Santas."
"We need to raise �5.75 million in public donations to deliver our services this year. This amounts to �15,000 a day, every day of the year, which is why fund raising events such as the March Santa Run are so vital to the continuing work of EACH."
Entries open on October 1. Adult entry costs �10 and includes a Santa suit, or �8 without a suit. Entry for those aged 13 and under is �5 and includes a Santa hat. Participants are encouraged to raise sponsorship. To register your interest call 01223 205180 or email fundraisingcambs@each.org.uk

redpajama_set_name: RedPajamaCommonCrawl


text:
Exporting 101 for startups and SMEs
In January 2019, Academy Fellow and Hub Mentor Dr Liane Smith, Director of Larkton and former Managing Director of Wood Group Intetech, hosted a roundtable with Hub Members on exporting. We've compiled insights from the session into this Q&A for startups and SMEs looking to export for the first time.
How can I reduce the costs of import duties and other taxes abroad?
Setting up a partnership with the local government or NGO can reduce a lot of the costs of exporting, such as import duties, which can be as much as 20% in some countries. NGOs often don't have to pay these taxes, so these partnerships can help you get through the door faster and with lower overall costs.
What is the value of a product when declaring it for exporting purposes?
The value is based on the materials used, and does not include the shipping costs and taxes.
How can the Department for International Trade (DIT) help me with exporting?
It's important to create a good rapport with someone in the DIT. They can help you set up meetings in the country you want to export to, as well as translators and introductions to local businesses who can help you establish a presence.
The DIT do charge for their services, but they are an essential source of support and can help you expedite your exporting processes. The DIT also arranges meetings in the UK with companies interested to meet visiting trade attachés from global embassies.
Find out more about DIT's services
How can Commonwealth First help me with exporting?
Commonwealth First, based in London, can provide great connections, provide help with getting your goods into countries abroad and they often hold events where you can connect with facilitators.
Find out more about Commonwealth First
What do I need to consider when manufacturing abroad?
Manufacturing abroad comes with its own set of challenges, with different laws and taxes for each country. Probably every entrepreneur has heard a story of, or has themselves experienced, being caught out by unexpected fees. Building a team of local experts who you trust and have a good relationship with is vital for navigating business customs in countries abroad to ensure that you're getting a fair deal.
How can you prevent other companies stealing your intellectual property (IP) once you start exporting?
While it's advisable to protect your IP and trademarks before you enter a new continent to sell your goods, it can be hard to enforce your IP rights abroad. Regardless, trademarking your company products is valuable when/if you sell.
To minimise the impact of someone stealing your IP, focus on building a strong and trusted brand in the country you're exporting to.
More information on protecting your IP abroad here
Should I set up a local subsidiary in the country I want to export to?
Whether it is advisable to set up a local subsidiary depends on a range of factors, and which country you want to export to – in some countries, for example, you legally cannot trade unless you are a local company.
How best to set up a local subsidiary will vary country to country, but can include:
- Setting up a commercial intermediary (an agent) and paying them commission on turnover in the country. Find the right agent and they will be a valuable source of sales!
- Setting up a "subsidiary office", which may have limited powers (e.g. it cannot raise invoices independently)
- Having a trusted local individual own 51% of the business in the target country (even if their contribution to the company is limited)
Trading as a local company has its advantages such as providing access to government grants and partnerships, and the local Withholding Tax (WHT) will be limited. (More details on WHT below)
It's an advantage to hire locals – it gives you legitimacy in that country, as well as someone who is culturally aligned and who speaks the language. It is always advisable to get local legal advice when setting up abroad!
Do I need to register my business in the country I'm exporting to?
Sometimes it's a requirement to register your business in your target export country to prove that you're a legitimate company, and to ensure that you're paying the required taxes in the UK. Doing so may reduce WHT. For example, registering in India will result in the company being issued with a Permanent Account Number (PAN) that reduces WHT to much lower levels.
Registration is normally straightforward, but consider asking a local solicitor to handle it for you, particularly if forms are in an unfamiliar language, or your responses need translating to avoid any nasty surprises. You typically discover that you need in-country registration when you are setting up a contract with a client.
What is Witholding Tax (WHT)?
WHT is when a country charges you tax on your invoiced values (in-country turnover) because you're trading within their boundaries. This is separate from import tax, and is a tax on revenue, not profit.
Let's say you provide an invoice for $100 and the withholding tax is 20% in that country. The person paying you will pay $80 to your company, and $20 WHT to the local government. While most countries don't require WHT, it does vary, and products or services and may change from year to year. It should go without saying, but always check for WHT requirements before you quote any prices to clients!
The country will issue a receipt for the WHT paid and this tax certificate is submitted to HMRC to offset part of your corporation tax bill for that year. So eventually you will see some financial payback for the WHT (assuming you have made sufficient profit to be paying more tax than you have pre-paid), but it will still be a drag on cash flow.
If you are trading through an in-country entity (see above) then WHT does not apply, but local taxes on the profits of that business will.
Should you charge WHT to the client?
The short answer is yes, take no risks with your company's money. There's a risk that you will be out of pocket if you make substantial deals that don't include WHT in the costs, especially if it is as much as 20%. Factor the taxes into your costs, but don't break it down for the client in the invoice - they may demand that it's taken off.
Including WHT obviously raises your prices versus competitors who may not be required to pay this tax, so you might decide to exclude it (or part of it) from your pricing if you have sufficient cash to carry you through.
The Royal Academy of Engineering Enterprise Hub helps engineering and technology entrepreneurs turn their ideas into reality and become exceptional business leaders by providing funding, training, networking and mentoring from the nation's leading engineers, without taking a penny in return. Find out more about our programmes.


This week we focused on workplace motivation theory and application. This week\'s journal assignment reinforces and expands on the topic of workplace motivation by diving deeper into extrinsic versus intrinsic motivators and the idea of how to use motivation to influence behavioral change. Directions: Please go to the following url: HYPERLINK \"\" and watch the TED talk by Daniel Pink titled, \"The puzzle of motivation.\" I would also like you to go to HBR Ideacast site ( -OR- ) and listen to Ideacast #433: How to change someone\'s behavior with minimal effort. Once you have watched the TED talk and listened to the podcast reflect on what you heard and write a journal-type entry of about 500-750 words. Below are questions to consider as you prepare to write. However, your journal entry does not have to be limited to exploring and answering these questions: 1. What is the puzzle of motivation described by Daniel Pink? How was this puzzle of motivation discussed in Steve Martin\'s IdeaCast? 2. In the TED talk and the podcast the three core motivations were discussed. Compare and contrast the three different motivations that were identified. How might these motivators be used together to complement each other in a workplace motivational intervention? 3. There was a brief discussion about the ethical implications of influencing people\'s behavior through motivational interventions. What are your thoughts about the ethical implications of motivation?


text:
Underwood, William H.
Born: 1818-02-22 Schoharie County, New York
Died: 1875-09-23 Belleville, Illinois
Flourished: Belleville, Illinois
William H. Underwood, attorney, judge, and politician, was educated in his native New York, attending Schoharie Academy and graduating from Hudson River Seminary before reading law in Albany. He settled permanently in Belleville, Illinois in 1840 and took up the practice of law. In 1841, voters elected Underwood state's attorney for St. Clair County, and he was re-elected two years later. He represented St. Clair County in the Illinois House of Representatives, 1846 to 1848, and in the Illinois Senate from 1857 to 1864, and again from 1871 to 1872. Underwood served as judge of the Second Judicial Circuit from 1849 to 1855. In 1841, Underwood married Elizabeth Smith and the pair had several children. Early in life Underwood was a Democrat, but began to separate from the party over the Kansas-Nebraska Act, and later in life became a Republican. In religion he was a Presbyterian.
Clara Halbert Needles, "Judge William Henry Underwood, Senator from St. Clair County, 1856-1865 and 1870," Transactions of the Illinois State Historical Society 36 (1929): 126-34; Alvin Louis Nebelsick, A History of Belleville (Belleville, IL: Township High School and Junior College, [1951?]), 71; History of St. Clair County, Illinois (Philadelphia: Brink, McDonough, 1881), 90, 94; Newton Bateman and Paul Selby, eds., Historical Encyclopedia of Illinois and History of St. Clair County, ed. by A. S. Wilderman and A. A. Wilderman (Chicago: Munsell, 1907), 2:832; Illinois, U.S., Compiled Marriages, 1791-1860, 21 December 1841, St. Clair County (Provo, UT: Ancestry.com Operations, 2004); John Clayton, comp., The Illinois Fact Book and Historical Almanac, 1673-1968 (Carbondale: Southern Illinois University Press, 1970), 215, 221, 222, 223, 225, 229; U.S. Census Office, Seventh Census of the United States (1850), Belleville, St. Clair County, IL, 438; Illinois Weekly State Journal (Springfield), 29 September 1875, 2:1; Alton Weekly Telegraph (IL), 30 September 1875, 1:3; Gravestone, Green Mount Protestant Cemetery, Belleville, IL.


text:
Historic Preservation Meets Sustainable Design in Downtown New Bedford
Coalition for Buzzards Bay Builds 'Green' Headquarters
By Becky W. Evans
NEW BEDFORD — Imagine this city's industrial rooftops lush with grasses and plants that soak up stormwater, thereby preventing combined sewer overflows that pollute New Bedford Harbor with untreated sewage.
Mark Rasmussen, president of the Coalition for Buzzards Bay, imagines such a future in his quest to improve the health of Buzzards Bay. He is one step closer to achieving his dream now that construction is under way at the advocacy group's new "green" headquarters on Front Street.
The group is renovating the 1832 Coggeshall Counting House with environmentally friendly features that will reduce energy usage and educate the public about green building techniques they can replicate in their homes and businesses. Using historic photographs and records, architects and builders are attempting to restore the building's exterior brick and granite facade to its 19th century condition, when it housed a chandlery, counting rooms, and sail and rigging lofts. Partially rebuilt after a devastating fire in 1939, the building has lost much of its original character and beauty.
"The level at which they are carrying out the restoration and the level at which they are bringing in sustainable design is at a level that we have not seen yet in New Bedford," said Derek Santos, chairman of the New Bedford Historic Commission. "We are very excited and couldn't be more supportive of what they are doing."
The four-story brick building will showcase a vegetated roof that will absorb up to 50 percent of heavy rainfall during storms.
With a traditional roof, 100 percent of the rainwater would flow down the building and into storm drains, where it would mix with untreated sewage. Overburdened sewer pipes would dump the wastewater into the harbor rather than sending it to the city's wastewater treatment plant.
The green roof is the "one thing that the building is doing directly" to reduce pollution in New Bedford Harbor and Buzzards Bay, Rasmussen said.
The building's first-floor environmental education center will indirectly improve water quality by teaching the public about how human activity on land affects the health of the 28-mile-long bay. A large, three-dimensional model of the bay and its watershed will serve as the primary education tool. In addition, cylindrical water tanks will provide visitors with two different views of the bay's ecosystem, one healthy and the other polluted.
The public will have access to fourth-floor meeting rooms and a library containing scientific and historical documents about Buzzards Bay. Coalition staff will occupy the second and third floors. A laboratory on the first floor will support the Baywatchers water quality monitoring program.
The $4 million project is being funded by a mix of public and private funds, Rasmussen said.
Most of the building's green elements are designed to reduce energy use, he said. Foam insulated walls, double-glazed windows, and high-efficiency heating and air conditioning systems will result in the building requiring only 65 percent of the electricity needed for a building of the same size constructed to the state Building Code.
South-facing solar panels installed on the roof will provide approximately 8 percent of the building's total electricity needs. The coalition aims to run the building without using fossil fuels that contribute to global warming. To do so, they plan to buy renewable energy sourced electricity from NStar, Rasmussen said.
In keeping with the theme of reuse, the building's hardwood flooring will be made from southern yellow pine support beams salvaged from the basement.
"It's exciting seeing an 1830s building become a green building," said Bill Reich of W.W. Reich, a Cape Cod construction and management firm. "It's definitely a unique experience."
With a membership base extending from Westport to Woods Hole, Rasmussen said it was difficult to decide the location for the coalition's first permanent home. The group is currently renting space on Belleville Avenue in the city's North End and also operates a seasonal office in Woods Hole.
The coalition's board of directors chose downtown New Bedford for the new headquarters because "it is the region's only city and is located where most of the bay's largest problems span from, the area from Westport to Wareham," Rasmussen said.
Those problems are suburban sprawl and nitrogen pollution, which have contributed to a loss of open space and to poor water quality that has diminished the bay scallop population.
The location in the city's Waterfront Historic District should also provide high visibility that Rasmussen hopes will translate into increased awareness of the coalition and its mission.
Mayor Scott W. Lang said he is very supportive of the project since it meets a variety of city objectives such as historic preservation, environmental education and sustainable design.
"It's the best of all possible worlds," he said.
revans@s-t.com
Source URL: http://www.southcoasttoday.com/apps/pbcs.dll/article?AID=/20090914/NEWS/909140315/-1/NEWS01#STS=fzl7wopo.20iq


Depending on where you're headed, you may be relieved to find a rest stop or be dreading the worst of them that make you itch for a full shower away from them. A truly great rest stop will break up that road trip in a good way.
If you find yourself off of I-80, on exit 284 in Walcott, Iowa you will see none other than the world's largest truck stop. This place has close to everything anyone on a road trip may need. There's a mega mall's worth of restaurants, shops, a movie theater, Laundromat, showers, a trucking museum and even non-denominational services on Sundays. It is a 100,000 square foot facility that regularly takes in 5,000 people a day.
You will stumble onto this spot off of I-95 in Dillon, South Carolina. It has six different restaurants, ranging from fast food, casual dining to a full on steakhouse. The Border, is renowned for being home to the largest indoor reptile exhibit in the United States and it is open every day. All the more notable is Pedroland, an amusement park with a ferris wheel, carousel, bumper cards, mini golf, and an arcade. The Border even has an inn and a campground if you need to stay the night.
Everything is bigger in Texas and when it comes to Buc-ee's they weren't kidding. It is a chain with over 22 locations in the large state, All of them have huge restrooms, tons of gas pumps, and fully stocked delis. A big achievement is that the New Braunfels location won Cintas' 2012 America's Best Restroom Award. The facility is about 68,000 square feet with 80 soda fountains and conveniently contains a total of 83 bathroom stalls.
There's nothing little about it. Located at Exit 198 off of I-40 in Flagstaff, Arizona, the place is not even built or designed like a typical rest stop. In fact it is a beautiful resort with a 500-acre golf course, swimming pool, fitness center, and a fully functional business center. It even as a travel center with the expected a gas station and 24/7 convenience store that comes stocked with enough books, groceries, CDs, DVDs, and souvenirs to just be a full on mini mall.
If your hunger pangs get you while passing through Morris, Illinois on I-80, this is the place to park for a break. R-Place is a 24/7 haven for baked goods and American comfort food. It is infamous for their food challenges too. If you manage to wolf down a 2-pound hamburger—half of which is meat and the other half is cheese, bun, and two toppings of your choice within one hour without leaving the table, you win your meal for free. R-Place's food is so popular outside of being considered a rest stop, they even cater in their neighborhood.
You can find this place off-80 where there are sixteen locations between Salt Lake City, Utah and Clearfield, Pennsylvania. Sapp Bros. Travel Center is more than just a rest stop, they even provide 24-hour roadside service. Of the 16 locations, 6 of them are home to Apple Barrel, which serves reasonably priced American food.
This stop is found on Exit 45 off of I-77 and I-64 in Beckley, West Virginia. They have all the expected food courts and tourist information centers, but they even have a fine arts gallery, a theater with live performances, a conference center, and tons of. It has been said that more than alf a million people stop at the center every year.
FOX Travel Channel called this spot the "World's Classiest Truck Stop." Judge for yourself should you wind up off of I-5 in Portland, Oregon. On the property is the Portlander Inn with over 100 rooms for anyone too tired to keep driving. If you are there just for a quick rest they have a restaurant, convenience store, and even an 80-seat movie theater. Jubitz is also famous for the Ponderosa Lounge complete with with pool tables, TVs, dance lessons, video poker, and even live music on weekends.
Finally we have a hidden gem in the show-me state, just off I-35 in Albert Lea, Minnesota. This spot has all the expected fast food restaurants but they have a famous tavern with the largest whiskey selection in southern Minnesota. For those breaking up a long haul, there's a movie theater, WiFi, and church services on Sundays.
We hope this guide will come in handy for you road trippers out there dreading the next pit stop you make. It can get tiresome crossing state lines, so why not mix things up and try to hit one of these spots as sort of a mini quest? If you have, tell us what you thought! Or send a souvenir or photo our way!


In May, I attended the Food in the City conference, hosted by the City of Edmonton. The goal of the conference was to engage the local food community, to discuss the future of food and agriculture in Edmonton and to create a local Food and Agriculture policy for Edmonton. I had the opportunity to engage with many local food heroes and discuss topics near and dear to my heart, like food sustainability within city limits through rooftop and backyard gardens, backyard chicken coops (I am SO getting one at some point), and supporting local farmers.
Since then, the city has created and released it's Food and Agriculture policy strategy, aptly named Fresh. The city held a public hearing on Friday, October 26, to allow for the public to voice their concerns and support for the strategy. I had the opportunity to attend the morning session of the hearing, representing and live tweeting for Slow Food Edmonton. The hearing allowed for another fantastic and rich discussion on the future of food and agriculture in Edmonton.
Throughout the hearing, as speakers began to go up one by one, I began to notice a distinct divide between local food advocates and developers. Local Food Heroes like Jessie Radies and Kevin Kossowan could not support the document in it's current form because it did not go far enough to support Food and Agriculture in the city (and wasn't that the point of creating the policy in the first place?). Developers seemed to love the document because it was just vague enough to include possible developing opportunities. I feel that Mack Male sums it up perfectly in his comments at the hearing.
As I was live-tweeting for Slow Food Edmonton, I had to keep my tweets neutral and have them reflect the Slow Food message. This was incredibly difficult at times, because I found myself agreeing 100% with the foodies (and wanting to pump my fist in the air every time they spoke) and agreeing not-at-all with the developers. I had to take the neutral ground and describe, rather than editorialize. At one point, though, I was able to tweet that @Slowfoodyeg believes that the preservation of the local food culture in #yeg is paramount (to development, of course!). It felt pretty good to add to the discussion! To see the live-tweet stream, check out @slowfoodyeg on twitter.
My biggest problem with the discussion was the "either, or" tone. There was very much an either food sustainability or development feel to the whole discussion. I am fairly confident that the city doesn't want to take sides in that debate, or they wouldn't have written a Food and Agriculture policy in the first place. I personally feel that, while incomplete and still needing work, the document provides the city with a place to start and to work from. While we could debate the fine details of the strategy ad nauseum, I am definitely in the "lets get this train rolling" camp. City Council will need to take all sides into account, and I am happy that so many people came out to have their say at the hearing. In the end, we will have to wait and see what City Council decides to do with strategy, whether it be to revise it or scrap it and re-do it before implementation.
I am fortunate to be part of the discussion, and look forward to future opportunities to get involved in the future of food and agriculture in Edmonton. I'd love to hear your thoughts on the hearing. Please add your comments below!
Great to see you writing about this, glad you could live-tweet some of the hearing last week!
Sad to have missed out on such an important day – I was watching as much as I could on line – but family comes first. Jacquie – SFE holds STRONG opinions on this topic. Feel free to express them when you live tweet if you go tomorrow. The Jessie Radies and Kevin Kossowan's of the world – and YOU – reflect SFE's stance on the issue perfectly. Let the world hear it!
The girls had THREE Easter egg hunts yesterday! Lucky ducks!


It's been another fantastic year at Eskenzi PR. The company grew by 25% in 2016 and we brought on some great news clients who have enjoyed becoming part of the Eskenzi family such as FireMon, Synopsys and Nozomi. I think we can genuinely say we have some of the hardest working PR folk in the biz and the proof is in the pudding: a combined total of 14,628 pieces of press coverage in 2016.
Last year was a definitive year for cybersecurity – we saw the rise of ransomware and IoT attacks, and of course there was the Yahoo breach – one of the biggest in history; then there was the Mirai botnet that was responsible for taking disrupting services on some of the world's biggest ISPs. It's fair to say all of these things and more kept us busy!
But it's not just the news that we jump on, our clients create their own stories and, well, some of them are just utterly interesting in their own right. We each found different (yet equally valid) routes to success for the year with our clients.
For Lucy, it was working to a target that kept her particularly driven: "As part of our KPIs we were to achieve around 400 pieces of coverage in a special tier of 35 publications which the client selected. It was difficult to achieve, but in the end we met, and surpassed, our target." She also achieved over 1200 pieces of tier one coverage for another client.
mock up of a cybersecurity show to use in the 2016 Jason Bourne film. She jumped into action and worked with 15 of our clients to take on the challenge of getting involved by building mock up stands, providing merchandising off their stands such as T-shirts, flashing glasses and logos all to appear on the big screen. It was a fantastic branding opportunity that many of our clients embraced and just one of those fun opportunities that being an Eskenzi PR client can provide!
Lara was delighted to work with one client who was so responsive and involved in the PR process, that together they achieved over 800 pieces of coverage in just four months, including 20 national news hits.
As media evolves, so must we.
For me, it was particularly enjoyable to create and sustain relationships with clients and really get involved with their businesses to help solidify their messaging and relay it to the press. One successful exercise was to identify the thought leaders in the company and get their voices heard within the industry, so it's not just one spokesperson, but a nice range of advocates.
These are all strategies that we will continue to use and evolve in 2017 and look forward to another stellar year!


The Urban Forestry Commission will hear proposed amendments to Title 11, Trees, regarding tree preservation in development situations on Thursday, January 21, 2016. The hearing will begin at 6:00 p.m., 1900 SW 4th Avenue, Room 2500B.
Revise the mitigation requirement (payment into the Tree Planting and Preservation Fund) to be based on the size of the tree removed. Currently, the same mitigation is required for all trees removed regardless of size.
Add a notification requirement when trees in the largest size category are proposed for removal.
There are currently two specific proposals being considered: Proposal A is dated November 3, 2015 and Proposal B is dated December 11, 2015. Comparison Table showing current code, Proposal A and Proposal B.
Note: The proposals are subject to change prior to the Urban Forestry Commission Hearing. Updated proposals will be posted if/when they become available.
Testimony on the proposal can be made in person at the hearing or submitted in writing. To submit written testimony, mail comments to the Urban Forestry Commission, Portland Parks and Recreation, at 1900 SW Fourth Avenue, Suite 5000, Portland, Oregon 97201; or email comments to trees@PortlandOregon.gov. Written testimony must be received by the time of the hearing and must include your name and address.
Questions about the proposal may be directed to Emily Sandy at the Bureau of Development Services, Emily.Sandy@portlandoregon.gov, (503) 823-7828 .


If you have been involved in a major or minor collision chances are you are in need of collision repair. It is important to do your research and find certified collision repair in South San Francisco. Not all body shops are created equal. Ask questions about certifications to ensure you are receiving certified collision repair in South San Francisco.
Peninsula Auto Body offers certified collision repair in South San Francisco with friendly, I-CAR® certified technicians. Our I-CAR® certified technicians work in a state-of-the-art body shop on all makes and models with the latest collision repair equipment and technology to get you back on the road safely.
Nothing can be quite as devasting as being involved in a major collision. It is important to take your vehicle to an auto body shop you can trust for major collision repair. Our major collision repair service provides your vehicle with all the amenities necessary to complete your major collision repair in a safe, quick manner.
Outdoor Storage: Peninsula Auto Body offers outdoor storage with ample parking stalls and a securely locked yard, directly on the premises for vehicles that are in need of major collision repair.
Rental Car Assistance: Enterprise Rent-A-Car offices are located within our front lobby to get you back on the road quickly while work on your major collision repair.
Insurance Claims: As a preferred repair facility among multiple insurance providers, we know what it takes to get your claim processed for major collision repair.
Work Stations: Our body shop is designed with 17 fully equipped workstations to streamline workflow throughout your major collision repair.
Welders: Our body shop uses wire-fed MIG welders and a Saitek resistance spot welder to put vehicles back into their factory pre-accident condition following a major collision.
Individual Parts Carts: Every car has its own parts cart. Parts are kept organized on carts (not in cars) assuring that no damage is done to the existing interior.
Frame Rack: Centerline frame rack with Chief® Genesis laser measuring system will properly diagnose your vehicle before it undergoes major collision repair.
For more information about our major collision repair services, call us at 650.588.0999 today.


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Literary Legends: Eight UK Places That Inspired Great Works
The beautiful landscape of the Lake District has been drawing visitors from around the world for hundreds of years and it's little surprise that the area has inspired writers such as William Wordsworth, Beatrix Potter and more.
But it's not just the Lake District that has served as a source of inspiration for British writers and poets, and here are some of the other locations around the UK that have inspired some of the greatest works of all time.
Literary Legends: Eight UK Places That Inspired Great Works – An infographic by the team at Pure Leisure
Embed Literary Legends: Eight UK Places That Inspired Great Works on Your Site: Copy and Paste the Code Below

Literary Legends: Eight UK Places That Inspired Great Works – Brought to you by the team at Pure Leisure

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Shimofuri hiratake is a new type of mushroom produced through the crossbreeding of European hiratake with Japanese hiratake, which has been long admired by many Japanese, and also appeared in the Japanese classic "Konjaku Monogatari (Anthology of Tales from the Past)".
"Shimofuri" means "marbling" in Japanese.
The name "shimofuri hiratake" originates from the beautiful marbled pattern found on the surface of the fleshy mushroom caps.
Shimofuri hiratake is a mushroom featuring an appealing chewy texture, delicious juiciness, and convenience of use (by simply breaking it apart with your hands).
Also possessing presence as a main ingredient, it acts to powerfully stimulate the creativity of those who enjoy cooking.
Shimofuri hiratake allow you to enjoy the tender texture of mushrooms in dishes ranging from "pan-fried seasoned shimofuri hiratake" to deep-fried foods, stir-fries, and soups.
Flavors are easily absorbed into mushrooms, making shimofuri hiratake a recommended main ingredient for boiled or stewed dishes.
TThey also help with beauty and health, thanks to an abundance of beauty vitamins (B vitamins) and dietary fiber.


I love photographing sailboat racing, wildlife, landscapes, and, oh yes, people!
There are lots of Galleries here, many of which are unlisted to protect the privacy of the people in them. If you know of one you'd like to see and you don't have the link you can email me at lisapowell23@charter.net.


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LJS 107: Composing Contrafacts to Develop Melodic Ideas
Brent Vaartstra
Welcome to episode 107 of the LJS Podcast where today we are continuing "Jazz Standards Month" talking about composing contrafacts to develop melodic ideas. Composition and melody are huge aspects of great improvisation. Learn why, and the great benefits composing contrafacts can have. Listen in!
Listen to episode 107
One of the things that I emphasize in my upcoming eBook The Jazz Standards Playbook, is composition. That may seem odd considering the book focuses on existing compositions and lessons we can extract from them. Where does composing music come in?
You may have heard it said before that improvisation is simply composition sped up. I find this to be quite accurate. The difference between the two is one gives you time to plan and think and the other doesn't.
So if we want to learn how to improvise better over jazz standards (which we all do), would it not be a good idea to practice composing?
Another important aspect of great improvisation is melody. The best solos out there aren't the most technically stunning or flashy ones. They are the ones that are profoundly melodic. Those are the solos I'd rather listen to any day of the week.
In this episode, I talk about composing contrafacts. A contrafact is simply a melody that is composed over an existing set of chord changes. You can take the chords to any jazz standard and compose your own melody over it. This is a great practice and has many benefits which I expand upon in this talk.
Here are some of the things I talk about:
The many benefits of practicing composition.
The importance of melody and how to utilize it.
Contrafacts, what they are, and what makes up a good one.
Two examples of contrafacts I've written over "It Could Happen to You."
My challenge for you this week.
I hope you'll listen to this episode and decide to take massive, determined action. Maybe if you're feeling so inspired, post a video recording of a contrafact you compose this week in the comments section below.
The Jazz Standards Playbook
Learn Jazz Standards Community Facebook Group
Read the Transcript
Brent: Oh yeah, that's right. My name is Brent. I am the jazz musician behind the website LearnJazzStandards.com, which is a blog and a podcast all geared towards helping you become a better jazz musician. Man, I love podcast recording day, I love doing this show. It's so much fun for me, so I want to thank you for hanging out with me, whether you're a regular listener or whether this is your very first time, you are welcome here. You're in the right place. If you like jazz, if you're a musician and you want to learn, whether you're a beginner, intermediate, or advanced, you're in the right place and I'm glad you're here. So thanks for being here today.
Now, we are in the middle of Jazz Standards Month here on the LJS Podcast. In our very first episode of the month, we talked about analyzing jazz standards with Roman numerals. That was back on episode 105. Then in last week's 106 we talked about mapping out jazz standards with guides tones, with chord tones, trying to figure out what makes up these tunes, so that we can improvise over them better. Today, I'm going to talk about composing contrafacts to help you develop melodic ideas.
As I talked about in the other episodes during this month, we're celebrating this Jazz Standards Month, because in the month of April, we are going to be launching our brand new e-book, "The Jazz Standards Playbook", which is a study of 10 jazz standards, an in-depth study where we go through these standards, these important standards, and get underneath them, get inside them, so that we ultimately can become better improvisers and understand how to play any jazz standard. I'm really excited about this book. We've been putting a ton of man-hours into making this the best possible product we can.
One of the lessons that we go over is writing contrafacts, and composition is a real big deal in this book. If you're not a composer, don't be intimidated, because I wouldn't even consider myself one of those guys that's popping out songs every single week. That's not at all what I'm talking about here, but composition can be a very powerful tool for becoming a better improviser. I'm totally going to tell you all about that in today's episode, how composition can really, really boost up your playing if you take the time to do it, and I'm going to have a challenge for you at the end of this episode. I'm really excited.
By the way, if you want to get notified, if you want to be one of the first people to get notified when "The Jazz Standards Playbook", and companion course, by the way, comes out, sign up at TheJazzStandardsPlaybook.com. Okay? TheJazzStandardsPlaybook.com. Sign up there, you'll be the first one to get notified when this comes out. So I hope you do that.
Okay, right now, right before we go into today's show, I want to tease you with something. Is that okay? I'm going to tease you with something here. I have a very special invitation for you podcast listeners that I want to invite you into. I'm really excited about this. This is brand new, and I want to invite you to be a part of this thing. I'm not going to tell you what it is. I'm going to tell you at the very end of this episode, so stay tuned for that. I have something very special, and it's completely free, absolutely free, just like 95, maybe 98% of everything on Learn Jazz Standards anyways, but I want to invite you to come into this thing, but I'm going to tell you about it at the end of the show. So just keep that in the back of your mind, but for now, let's jump right into today's main event.
Now, you heard me just say that composition is an emphasis in "The Jazz Standards Playbook". Why would composition be emphasized? Well, there's a few reasons. Let me go over the first one. The first reason is that "composition" is an action word. "Composition" is an action word. It requires you to take action. How many of you have listened to podcasts, have bought music books, have gone to jazz or music workshops, have attended a conference, have taken a course, have taken private lessons, but then you didn't follow through, you didn't take action? You just were there, you consumed the content, maybe it motivated you a little bit, but then you didn't take action. Well, you missed out on the most important part, because at the end of the day, we have to take action in order to improve as musicians. I've said it once, I'll say it again.
In the companion course, I've been recording the companion course for this book recently, and one thing I really emphasize in it is based off this Tony Robbins quote, which is, "If we want to have success, we have to take massive, determined action. If we want to be successful, we have to take massive, determined action." And yes, this applies in music 100%. You can listen, you can read all you want, but if you don't take action on the things that resonate with you the most, then it's all going to be for naught. We have to take action, and "composition" is an action word. It requires us to take action.
The other reason that composition is a big emphasis here is because improvisation, improvising, which is a fundamental element of jazz, it's almost what trademarks jazz, is that it is an improvisational music. It is based off of improvisation. Improvisation is composition sped up. Say that one more time, improvisation is composition sped up. So if we want to become great improvisers, which I know that we all do, because I get emails from you guys all the time. I've been around doing this for a while. I know that every one of you, including myself, wants to become a better improviser. If we want to become better improvisers, how do we do it? Well, if improvisation is composition sped up, then why would we not practice composing a little more? Why don't we start with the slow parts?
You ever heard someone say, you know, you're trying to play a really fast passage and someone says, "Hey, hey, hey, hey, hey, slow down. Practice playing it slow first and then build up the speed so you can go quicker"? Why don't we do the same thing with improvisation? Why don't we practice composing stuff the way that we would want to play ultimately, so that we can eventually work our way up to improvising better? So composition is important. It's the foundation of improvisation.
Now again, like I said earlier, composition doesn't mean that you have to be writing all these tunes, like original music, all this stuff. One thing that I've done, that I've really focused in on in my music career over the last several year of my life has been creating books, yes, like these e-books that I've done for Learn Jazz Standards, but I've also written a couple books now for the music publication company Hal Leonard. And what I've learned from doing this is that from building these books, from creating courses, I've become a better musician myself, because it's forced me to sit down and analyze what I actually do to play, and it's forced me to conceptualize ideas. It's forced me to compose music that will help one improve, and in fact, help myself improve.
So composition, it can have a profound effect on our musicianship if we take the time. We can be composing exercises, we can be composing songs, we can be composing all sorts of different things that can help us play. Licks. There's all kinds of ways that we can compose, not just composing original music. So I want to make that part clear right away.
Now, let's start talking about melody really quick, the importance of melody. I got an email in my inbox the other day, and it was from a bass player, and the bass player said to me, "You know, I always hear people say that bass players need to learn how to play the melody, but no one ever says why. Tell me why do I, as a bass player, need to know how to play the melody?" And you know what? I thought that was an excellent question. That's a really good question. I also admire this musician, because I'm also a lot like that. I need to know why. IF someone's telling me what to do, I'm not one of those people that just kind of blindly follows. Someone has to really convince me, hey, why should I put in the time and effort to do this?
Well, melody, the melody of any song, is the core element of that song. It is the core element. What defines any song? What defines one blues from another blues? It's the melody. You have to know the melody to get the essence of the song. And in fact, when we're improvising, to stay true to a song, we will want to reference that melody. If we're playing a blues, why would we just want to play … we don't want to just be playing scales or licks over top of it, we want to be incorporating the melody into it.
The melody's important, therefore we must know the melody. And in fact, I am guilty on many levels of playing many gigs with singers or other musicians where I had to learn songs on the gig, and now I just know the chord changes, because I'm a guitar player, but I never went out and learned the melody. And guess what? I don't really know that song, because I don't know the melody. I can accompany somebody, but I don't know that song. I need to do the homework, I need to do the rest of the work.
So we have to know the melodies. Now, melody's important, composing is important, because at the end of the day, what do we want out of our jazz improvisation? We want to make melodic solos. That's why melody's important. We want to create melodic solos. I would way rather … and tell me if you agree with this … I would way rather hear a musician play an incredibly melodic solo than someone just shred a crazy technical, amazing solo. Can I get an "amen"? All right, I think I just heard a bunch of you, like thousands of you in your cars on the way to work listening to this podcast, shout, "Amen." I think you just came back through my speakers.
I would way rather hear that. Now, even those musicians that do have incredible technical prowess, that are world-class musicians … let's just use the most classic example, John Coltrane. John Coltrane can play circles around anybody. John Coltrane can shred, but guess what? Every one of his solos is profoundly melodic. It's profoundly melodic. So what do we want out of our jazz solos? We want them to be melody-driven. We want to be composing … I just used that "C" word … composing melodies on the spot when we're improvising, not shredding scales, not shredding licks, not rehashing somebody else's solo. We want to be composing on the spot. We want to speed up the composing process so that we're composing melodies on the spot. That's how important melody is, and that's how important composing is.
Maybe you're wondering right now, what does any of this have to do with contrafacts, and what is a contrafact anyways? Why don't you just get to the point? You know, it's funny, I get emails every once in a while, not very often, but every once in a while, from someone who's just like, "Brent, your podcasts are too long. Just get to the point, would you?" And listen, what are these people like when they read a story or watch a movie? Do they just want, I don't know, like a five-minute movie, like just tell us the beginning, what ends up happening and the end? When they read a book, how long are their books that they read? Anyways, not this podcast. Wrong podcast then. This podcast, we tell stories on this podcast.
So listen, contrafacts. Let's talk about contrafacts. What is a contrafact and how does this tie into composing and creating melodic solos? A contrafact is a composition that uses chord changes to an existing song, but you write a new melody over top of it. So it's a composition, it's a song, that one composes over existing chord changes. The chord changes are not being composed, but the melody is. So you're putting a new melody over top of existing chord changes, and in this case, contrafacts are really … the terminology really comes about in jazz, in jazz standards. If you've ever listened to any Charlie Parker tune, I mean, there's a 75% chance … I don't know what the percent chance is exactly, but there's a large percentage of a chance that that tune is a contrafact. Charlie Parker, for example, he wrote a lot of rhythm changes tunes, and pretty much any rhythm changes tune that is not "I Got Rhythm" by George Gershwin is a contrafact.
So there are tons of contrafacts out there where people take chord changes of a song and write a new melody over top. That is really a tradition that has existed in jazz for a long time. So there's your definition of a contrafact. Now, as the title of this episode suggests, I want to encourage us to compose contrafacts in order to become better jazz musicians. Why? For all the reasons I just talked about. Composition is important, it's the slowed-down version of improvisation, and melodies are really important to develop, because we want to play melodic solos.
When we're trying to learn a new jazz standard, we learn a jazz standard, we learn the melody of that jazz standard, we learn the chord changes, we go through that whole process of getting acquainted with that song, and now the improvisation process comes. And this is where I get the most questions about, "How do I improvise over these chord changes? I don't know what to do?" Well, I want to suggest that we start first with melody. Start first with melody, don't go straight to what scales do I play over this chord? Don't go straight to … Think about for a second, what kind of melody do I want to create over this? Because melody is the most important thing.
The great way to do that … a great way to do that is composing a contrafact. Take the chord changes to the jazz standard you just learned, and compose your own melody over top of it. Now, this is not a solo. I want to be very clear. We're not composing a solo over top, that's a different practice altogether. We're composing a melody. We're composing a new song, and by doing this we're practicing taking the knowledge that we know currently about composing, about melody, about jazz language or any kind of musical language, and we're putting it into practice. We're putting down what we know. We are solidifying what we know of how to make a solid melody, and that is the benefit of composing contrafacts when learning jazz standards and wanting to improvise over them better.
I do get this question from time to time: "I'm starting from square one, Brent, I really don't know where to start. How do I compose a melody?" Whenever anybody asks me that, I simply ask them to start listening to some of their favorite songs. It doesn't have to be jazz. In fact, I think The Beatles is a great example. Listen to Beatles tunes, and just listen to the melody. Everybody knows melody. I mean, everybody's been listening to music since they were a kid, different levels of exposure for everybody, but everybody's been listening to music.
Whether you believe it or not, you know how to make melodies. Have you ever caught yourself singing in the shower? Have you ever started humming something? Have you ever been whistling something? You are making melodies. Your melodies don't have to be world-class. They don't have to be perfect. It just means that you have to take massive, determined action and put into practice what you already know, what's already innately inside of you.
So never tell me that you don't know how to compose melodies. You do. Just simply follow a few rules, like make there be a repeating theme to it. Every melody has to have a repeating theme. There has to be some repetition to it. Even some of those bebop melodies, they have some repetition to it. I'm going to show you an example of a bebop contrafact in just a second, but you'll see that there's repetition in it, and that's what makes it different from a jazz solo. There is a repeated theme in that melody.
So when you're composing a contrafact, and again, I'm going to show you a few different examples in a second, when you're composing a contrafact, here's the process. First, make sure you've learned the chords to the jazz standard that you're writing a contrafact over. Know those chords inside and out, because that's what you're going to build the melody over. Number two, compose the melody, write the melody over top of it. Number three, perform it or record it.
Now, why perform it or record it? It's important that you get that composition out there, whether that be at a gig that you have or, at the very least, record it, even if it's in some kind of trivial way, basic way, like on your smartphone. Doesn't have to be a professional recording, just some sort of way to document what you've done. That's important for solidifying that you've completed that project and you've done it, and it's here. It lives somewhere so that you can reference it at any time. That's important to do. It's important to document your work. So number one, learn the chords. Number two, compose the melody. Number three, perform it or record it.
I'm going to show you an example of two contrafacts that I've written, that I've composed. This is over top of the jazz standard, "It Could Happen to You". We all know that song, "It Could Happen to You". If you don't, make sure you go check that one out. I wrote two different kinds of melodies over top. The first one, I very cleverly called it "It Just Happened", is the name of my contrafact. This composition, I went into it with a very specific intention. I wanted to write a very basic melodic melody, a very melodic basic melody. In other words, I didn't want it to be too note-y. I wanted it to be very singable, and that is a good characteristic of a great melody, it's very singable and it has repetitions in it. So let's listen to this. It's called "It Just Happened".
All right. Not bad, right? That was with a backing track, not with a live band, but you get the idea there. You heard the singability in that, and I had a lot of fun composing that, because the great thing about composing is, again, it's a slower process than improvising. I had time to actually think about it, and in the process I was internalizing that melody by playing it over and over again and making slight adjustments to it. And I was getting the time to actually focus on hitting the really money notes in the chord changes. Not always, of course, am I outlining the chord changes, like a bebop solo or something like that. I'm just trying to find those important notes that I wanted to outline in my melody that were going to make the real big difference. I love that practice. I love creating contrafact. It's such a great way to do this and to really hone in on hitting those changes or hitting those money notes and creating melody.
Okay, I'm going to play another contrafact for you, and this one is a completely different style. It is in the bebop style, meaning that it's very eighth-note-based. There's a lot of enclosure patterns in it. There's a little more chromaticism in there, and it's more like a Charlie Parker kind of a head. So I intentionally made it in this style, and I think that's the other great thing about creating contrafacts, is that you can take different styles or different approaches to creating your melody. You can set parameters for yourself, and that was my parameter, was to create a bebop-style head in the style of Charlie Parker the best that I could. This one, it's called … I didn't really have a good name for it, so I just called it "Bebop Contrafact", but it's over the exact same chord changes to the jazz standard, "It Could Happen to You". I did add one little change in there, and I'll tell you about that when it's done, but here it is. This is "Bebop Contrafact".
Okay, so that was "Bebop Contrafact". Now, it's in the style, like I said, of Charlie Parker's bebop heads, and you know, when you listen to Charlie Parker heads, really it sounds like he's just taking a solo, but here's the big difference: there's a theme involved. Like I said, there's a theme, there's a strong theme that repeats itself, A section to A section, and you heard that indeed happen in my contrafact as well. That's important, because if you think about it, another element of a great melody or a great melodic solo is a theme. In our solos as well, there should be a theme, and you know, we're all guilty of there not always being a theme, but if you can add that story-like element of theme into your solos, that's awesome. So this is a great way, taking a bebop-style head. It's a great way to kind of get a little closer to a solo, but still add that melodic compositional aspect to it. So that's the "Bebop Contrafact". That's the example of that kind of a composition that you could do as well.
Okay, so you've heard some ideas, you've heard me preach about the importance of composition and creating melodies. You should know how to do this, so can you imagine what I might possibly be challenging you to do this week? I'll give you a second to think about it. That's right, I'm going to ask you to compose a contrafact over a jazz standard you know. It doesn't have to be "It Could Happen to You", but any jazz standard that you feel really confident in knowing the changes to. My challenge for you this week is to compose your own contrafact over that song. And the benefits that you will get from this, I think you will find very apparent. I don't teach very many private students these days, because unfortunately, I am just way too busy, but of the students that I do have, every single time I ask them to compose anything, they come out on the other side thanking me that I asked them to do that, because it's always so beneficial.
So I want to challenge you to do that. Now, by a raise of hands, raise your hand if you are going to compose a contrafact this week. I just imagined in my head like someone's at the gym right now listening to this podcast, and they raise their hand, and everybody's looking at them like, "What are you doing right now?" I think I'm having a little too much fun with this podcast this week. Okay, but seriously, who's going to do this this week? I want you to take up this challenge, write a contrafact over a jazz standard you know. You're going to be thanking me for it, I promise you. Go out and do it. That's your challenge this week.
All right, that's all for today's show. Thank you so much for listening. Remember to take action, and listen, I really appreciate you guys for listening, for hanging out, and it's really my honor, it's my privilege to be able to serve you week after week, so I always don't feel like I say it enough. Thank you so much for listening, for being a part of this.
Now remember, if you want to be on the early list to be the first to be notified when "The Jazz Standards Playbook" e-book and companion course comes out in April, I want to invite you to go to TheJazzStandardsPlaybook.com and sign up there. Man, we have lots of people signing up for this. You're hungry for this book, and I'm excited for it, because I'm really excited to serve you further with this book. So sign up there, TheJazzStandardsPlaybook.com.
I did not forget my little tease at the beginning of the show. I told you earlier, I want to invite you into something that I'm really excited about, and I'm really pumped up about, and that is our very brand new Learn Jazz Standards Community Facebook group. We launched this just the other week, and we already have over 1,000 members in this group. I'm telling you, we're already having such amazing discussions. And I'll tell you first of all that I've been thinking about doing this for actually quite a long time, but because I do Learn Jazz Standards full-time, this is my full-time job, and there's a ton of work involved in it. On top of that, I also am an active gigging musician here in New York City, so I'm still playing gigs at night and working a lot.
And so I worried a lot about starting up this group and moderating it and all that stuff like that, but at the end of the day, I realized you know what, in order to serve you better, my jazz community here, I want you guys to meet each other, because we have tens of thousands of musicians from all over the world who are a part of our newsletter list, who are a part of our YouTube subscribers, our Facebook subscribers, our podcast listeners. I mean, you guys are all there, but I could serve you so much better by introducing you to each other. You guys can actually talk to each other. So far, there's some great conversations going in, and the way we're running this group is if you have a tip, use the hashtag #tip at the beginning of your post, and give someone a tip. If you have a question you want to ask the group, use hashtag #ask, and then ask your question.
So far, people are just really helping each other out, and I'm really excited. I can see this vibrant community all being surrounded by LearnJazzStandards.com, and it makes me so excited, and so I'm really excited for the future of this community group. If you want to get involved in this, if you want to join the Learn Jazz Standards Community, go to LearnJazzStandards.com/community, and that will forward you to that Facebook group. It is a closed group, so you have to request to be entered into it. Make sure you answer the questions, that lets me know that you are actually coming from this podcast, and then I will let you into the group, and I'm going to be excited to have you. So LearnJazzStandards.com/community.
All right, now next week we are going to be doing our last episode of Jazz Standards Month on this podcast, and I'm really excited about it. It's going to be a good closing one. It is episode 108. I'll see you back next week.
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http://www.brentvaartstra.com
Brent Vaartstra is a professional jazz guitarist and educator living in New York City. He is the head blogger and podcast host for learnjazzstandards.com which he owns and operates. He actively performs around the New York metropolitan area and is the author of the Hal Leonard publication "Visual Improvisation for Jazz Guitar." He's also the host of the music entrepreneurship podcast "Passive Income Musician."
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Brent Vaartstra - August 13, 2018


This page displays sold house prices for Abbott Court in Leeds.
Abbott Court in Armley, Leeds consists predominantly of semi-detached houses. Properties on Abbott Court typically have values around £150,000 - £200,000, ranging upwards of £200,000 for larger semi-detached houses.
Map showing Abbott Court in Leeds.


text:
Seán McCabe appointed Bohemians Climate Justice Officer
FAI announces SSE Airtricity sponsorship of Women's National League and renewed commitment to SSE Airtricity League
Andy Reid leaves Irish role to take up job with Nottingham Forest
Brandon Kavanagh signs for Bray Wanderers on loan for the season
Bohemians announce big signing in Bastien Hery
Drogheda United
Waterford FC
Cobh Ramblers
Wexford FC
Home > League of Ireland > Sligo Rovers sign Daryl Fordyce from FC Edmonton
Sligo Rovers sign Daryl Fordyce from FC Edmonton
League of Ireland
- February 8, 2019 0
Sligo Rovers have confirmed the signing of Daryl Fordyce for the 2019 season.
Fordyce joins from FC Edmonton where he spent six years, ending when the club suffered difficulties from the change in league format.
He had to take time away from football last year for family matters.
The experienced 32-year-old can operate in a midfield and attacking role, including striker, and joins on a one-year contract to offer a number of positives for manager Liam Buckley in his squad.
He made over 250 appearance for Linfield and Glentoran prior to the move to Canada.
Buckley said: "Daryl brings a wealth of experience and a real composure and quality on the ball.
"He has impressed in the week he has been with us. It's a great move from our end because it's an area we've had to strengthen in and I think in Daryl we have a really good player to do that. He can offer a number of options.
"I know there was interest from a number of clubs up north but he has really taken to things here and I'm delighted to sign him here today."
Fordyce said: "It is great to clinch the deal today. Everyone has been so accommodating and welcoming and it's a really professional and friendly environment.
"I had been keeping fit before coming here and I've loved the training so far. I played 90 minutes last Saturday in Athlone which was great for me and showed I have that fitness. I hope to do something similar against Longford.
"Family came first for me last year, that was my priority and the way it transpired meant I couldn't join a club. It was a hard year for all of us but it's over and I'm focusing on the future. I think that this can be a brilliant move.
"I came close to joining a League of Ireland club in St Patrick's Athletic before – prior to Liam Buckley was there. It's nice to be involved in it now and with the new season so close I can't wait to get playing."
Waterford FC Sign Lithuanian International Karolis Chvedukas
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Dundalk announce former Brentford CEO Mark Devlin as the clubs new CEO
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Scoop your Ice Cream with elegance and flair with this handsome project. The Scoop is Stainless Steel and easy to make by turning it between centers. Stainless Steel 430. Sweet treats deserve a sweet scoop! Make your own deluxe dessert scoop with this beautiful stainless steel scoop and ferrule. Get creative with a custom-turned wooden handle, then attach the hardware for the perfect finishing touch.


Harold and Walter Muckenthaler enjoyed the view of the ocean from the cliffs above Honolulu when they traveled across the Pacific. The next time Harold would see Hawaii would be as a sailor coming into Pearl Harbor during WWII. He was happy to have a chance to see it first with his family during peacetime.


Includes dealer shoe, card shuffler, discard card holder, and 650 chips. 200-1, 200-5, 100-10, 100-25, 25-50, 25-100 *** cards not included Additional $50 deposit required without credit card payment.
Includes 1000 chips, dice rake, dice, and on/off marker. $50 deposit when credit card is not used for payment.
Large and small raffle drums available.
Includes table, roulette wheel, 1000 chips and tray, and roulette marker. Table is about 6 ft. long and 3 ft wide.
Additional $50 deposit required when payment is not made with a credit card.
Player rolls 3 balls down to the end and try to get 3 in a row with one ball having to be in the center to be a winner.


text:
<?php

namespace AppBundle\Entity;

use Doctrine\ORM\Mapping as ORM;

/**
 * Post
 *
 * @ORM\Table(name="post_view")
 * @ORM\Entity(repositoryClass="AppBundle\Repository\UserRepository")
 */
class PostView
{
  /**
   * @var int
   *
   * @ORM\Column(name="id_post", type="integer")
   * @ORM\Id
   */
  public $idPost;
  /**
   * @var int
   *
   * @ORM\Column(name="id_user", type="integer")
   * @ORM\Id
   */
  public $idUser;

}

redpajama_set_name: RedPajamaGithub


text:
require 'spec_helper_acceptance'

describe 'pdk validate', module_command: true do
  include_context 'with a fake TTY'

  context 'when run inside of a module' do
    include_context 'in a new module', 'validate_all'

    before(:all) do
      File.open(File.join('manifests', 'init.pp'), 'w') do |f|
        f.puts <<-EOS
# validate_all
class validate_all { }
        EOS
      end
    end

    describe command('pdk validate') do
      its(:exit_status) { is_expected.to eq(0) }
      its(:stderr) { is_expected.to match(%r{Running all available validators}i) }
      its(:stderr) { is_expected.to match(%r{Checking metadata syntax}i) }
      its(:stderr) { is_expected.to match(%r{Checking module metadata style}i) }
      its(:stderr) { is_expected.to match(%r{Checking Puppet manifest syntax}i) }
      its(:stderr) { is_expected.to match(%r{Checking Puppet manifest style}i) }
      its(:stderr) { is_expected.to match(%r{Checking Ruby code style}i) }
    end

    context 'with a puppet syntax failure should still run all validators' do
      init_pp = File.join('manifests', 'init.pp')

      before(:all) do
        File.open(init_pp, 'w') do |f|
          f.puts <<-EOS
# foo
class validate_all {
  Fails here because of gibberish
}
          EOS
        end
      end

      describe command('pdk validate --format text:stdout --format junit:report.xml') do
        its(:exit_status) { is_expected.not_to eq(0) }
        its(:stderr) { is_expected.to match(%r{Running all available validators}i) }
        its(:stderr) { is_expected.to match(%r{Checking metadata syntax}i) }
        its(:stderr) { is_expected.to match(%r{Checking module metadata style}i) }
        its(:stderr) { is_expected.to match(%r{Checking Puppet manifest syntax}i) }
        its(:stderr) { is_expected.to match(%r{Checking Ruby code style}i) }

        describe file('report.xml') do
          its(:content) { is_expected.to contain_valid_junit_xml }

          its(:content) do
            is_expected.to have_junit_testsuite('puppet-syntax').with_attributes(
              'failures' => eq(3),
              'tests'    => eq(3),
            )
          end

          its(:content) do
            is_expected.to have_junit_testcase.in_testsuite('puppet-syntax').with_attributes(
              'classname' => 'puppet-syntax',
              'name'      => a_string_starting_with(init_pp),
            ).that_failed(
              'type'    => 'Error',
              'message' => a_string_matching(%r{This Name has no effect}i),
            )
          end

          its(:content) do
            is_expected.to have_junit_testcase.in_testsuite('puppet-syntax').with_attributes(
              'classname' => 'puppet-syntax',
              'name'      => a_string_starting_with(init_pp),
            ).that_failed(
              'type'    => 'Error',
              'message' => a_string_matching(%r{This Type-Name has no effect}i),
            )
          end
        end
      end

      describe command('pdk validate --parallel') do
        its(:exit_status) { is_expected.not_to eq(0) }
        its(:stderr) { is_expected.to match(%r{Running all available validators}i) }
        its(:stderr) { is_expected.to match(%r{Checking metadata syntax}i) }
        its(:stderr) { is_expected.to match(%r{Checking module metadata style}i) }
        its(:stderr) { is_expected.to match(%r{Checking Puppet manifest syntax}i) }
        its(:stdout) { is_expected.to match(%r{Error:.*This Name has no effect}i) }
        its(:stdout) { is_expected.to match(%r{Error:.*This Type-Name has no effect}i) }
        its(:stdout) { is_expected.to match(%r{Error:.*Language validation logged 2 errors. Giving up}i) }
        its(:stderr) { is_expected.to match(%r{Checking Ruby code style}i) }
      end
    end

    context "when 'pdk' is included in the Gemfile" do
      before(:all) do
        File.open('Gemfile', 'a') do |f|
          f.puts "gem 'pdk', path: '#{File.expand_path(File.join(__FILE__, '..', '..', '..'))}'"
        end

        File.open(File.join('manifests', 'init.pp'), 'w') do |f|
          f.puts <<-EOS.gsub(%r{^ {10}}, '')
            # pdk_in_gemfile
            class pdk_in_gemfile { }
          EOS
        end
      end

      describe command('pdk validate') do
        its(:exit_status) { is_expected.to eq(0) }
        its(:stderr) { is_expected.to match(%r{Running all available validators}i) }
        its(:stderr) { is_expected.to match(%r{Checking metadata syntax}i) }
        its(:stderr) { is_expected.to match(%r{Checking module metadata style}i) }
        its(:stderr) { is_expected.to match(%r{Checking Puppet manifest syntax}i) }
        its(:stderr) { is_expected.to match(%r{Checking Ruby code style}i) }
      end
    end
  end
end


Moss surveyed hundreds of elementary school educators and administrators in December 2015. We analyzed the results and developed solutions based on our survey findings. The eBook, "A Simple Introduction to Elementary STEM" was developed to share our findings.


Come see this beautiful Rustic Mountain Home located in Beautiful Enchanted Forest Estates in Running Springs.Location! Location! This home is 20 min from the local ski slopes and 15 min from highland, Don't miss out on this Rustic mountain home. Motivated Seller!!!
Come see this Impressive Rustic Mountain home located in enchanted Forest Estates, gorgeous mountain views, open concept and large master suite. Over sized garage with level entry don't miss out.


A good strategy for "The Kitchen" or WB's other films?
The chef and serving up of the coming DC Vertigo comic book movie The Kitchen will be coming to us sooner than previously expected.
Warner Bros. Pictures is set to release The Kitchen on August 9, 2019. This is one month earlier than the previously set release date, which was September 20 of this year.
Hailing from the Vertigo comics imprint, The Kitchen tells the tale of the Irish mafia story 1970s' Hell's Kitchen, New York. An FBI sweep catches mob leaders, and while they are under arrest and their criminal enterprise is jeopardized, the mob wives take over. They end up running the illicit business in more vicious fashion than their husbands ever did.
Actor Melissa McCarthy is playing an adoring mother who leads the women's charge to take over the business.
Tiffany Haddish plays a woman willing to kill anyone in the way of her plan.
Moss will play a timid wife of an abusive husband who falls in love with the violence of her new life.
Andrea Berloff is both writing and directing The Kitchen, with Michael De Luca who is set to produce. De Luca has also been named as a new producer on Suicide Squad 2.


My experience taking Pilates classes with instructor, Lucy Navabpour has been amazingly wonderful! She's warm, funny, professional and extremely knowledgeable.
Pilates is gentle and yet, VERY effective! It only took a couple classes to see and feel a distinct difference in my body. Each class routine is different and increasingly challenging. All the movements are modifiable to accommodate varying levels of ability.
Lucy's attention to detail in correct form, safety and how to get the most out of each class has been so helpful in my becoming stronger and more flexible. Long standing injuries, postural issues and aches and pains are resolving. I can feel my stomach muscles again!!! Wooo Hooo!!! I've gone from a size 18 to a size 14 in the last four months. I have a growing confidence in my body and it's ability to relearn how to move through life.
You can be assured when taking a Pilates class from Lucy that you will have a well prepared lesson. Lucy gives clear concise instructions and is aware of her students needs and/or limitations, always making sure that each student is using correct form. She accomplishes all of this with a wonderful sense of enthusiasm.
An old theosophical proverb states: when the student is ready the teacher appears. I have experienced several moments of readinessthroughout my life, and each time I have met the right person to guide me through difficulties. Over the past few years I sought to alleviate chronic pain from degenerative spinal conditions. I tried conventional medicine, which treated the symptoms with opioids. After several rounds of conventional physical therapy I had made no notable improvement. The conditions worsened. Once active in the outdoors, options for physical activities diminished as my pain increased. I was giving up the things I loved.
A wise friend suggested Pilates for movement based core strengthening. In my search for an instructor, I met Lucy Navabpour. Lucy's knowledge of biomechanics and understanding of movement through proper physical alignment have changed my life. She helps me increase strength, stamina, and flexibility. I am now aware of the healthful benefits of proper breathing and correct posture. Since working with Lucy the duration and level of my pain has diminished. My recovery time after activity has shortened. I feel better; longer.
Lucy is a thoughtful, compassionate, and perceptive instructor. Her attentive and inquisitive style keeps her attuned to my condition and limitations, while encouraging stretching and exercise. She provides excellent corrective suggestions for simple lifestyle modifications, which improve my daily experience. If you are ready to improve the way you move and feel then Lucy Navabpour is the instructor you seek.
I have had hip and low back pain for at least 20 years. It was getting so bad that some days I couldn't even get out of my car I was in so much pain. I started to attend mat classes with instructor Lucy Navabpour just once a week and I cannot believe the difference I feel! I have significantly less pain in my hip, more range of motion and I've stopped taking the Ibuprofen that I used to take every day for years. I am so happy I came to Lucy's class.


Take Mom to this annual tradition! Each year the Minnesota Bonsai Society displays some of their finest work at the Marjorie Mc Neely Conservatory at Como. Trained professionals will also be on-hand to answer any questions you may have about the art of Bonsai or how to become a member!
The exhibition runs from May 11th to May 12th. Also, this year we will be doing live demonstrations throughout the day. We will need demonstrators on both Saturday and Sunday of the event.
Secondly, we have a great need for volunteers. If you're able to help out please contact me at johnfalenschek@gmail.com. Also, we are always looking for additional trees for display.
At the general meetings I will be handing out parking permits and notes on the event. Thanks in advance for your help.
We also need your trees and we need you to volunteer to help make the weekend a success. Remember how fascinated you were when you first saw a bonsai tree at the state fair or Como? This is your opportunity to show your trees and inspire someone to take a class or even join the club. If you don't have a tree ready to show, we are also displaying viewing stones (suiseki) and accent plants.
There is no judging, so please bring your tree to display and be there to share your interest in bonsai with the public. You don't need to be an expert, just enthusiastic! The added bonus is that you'll have an opportunity to meet all kinds of interested and interesting people and spend some quality time with other club members.
Sunday, May 12: 6:00 PM (or as soon as visitors have completed their tour). Locked gate to the parking area will remain open until 7:30 PM Friday and Sunday.


The great on line advertising campaign must be focused on investing as tiny as doable, whilst having as a lot as doable in return. Professional marketers comprehend this. Amateur marketers typically dont grasp this until they have sunk thousands of dollars into campaigns that only create a handful of dollars if they are fortunate. Thats known as going into the red but let critique. OK, Alright, you know what a banner ad is and you consider you know what you want it to say. That is a start off, but it is only a start out. There are other additional pressing issues to think about. The banner ad is a very important piece of the marketing puzzle but where you place it makes all the distinction in the world. In the brick and mortar globe of genuine estate, businesses seek out buildings for their operations primarily based on where it is positioned. Businessmen and businesswomen usually attribute success to location, location, location.
Now, in the brick and mortar globe hot areas are pretty costly to obtain. This is just due to the fact the owner knows that it is a hot home and sets his/her rates accordingly. Mega hot on the web properties are no unique. The laws of supply and demand drive their costs upward to the point that tiny organizations just cant afford to compete for those spots. So, if you have attempted to get noticed on the web with a budget of significantly less than one hundred dollars, you undoubtedly have located that you are out of luck.
Advertising on-line is the initially issue marketers assume of when their enterprise is prepared to launch. Even so, developing a site that places their item or service on display for the world to see is a lot simpler than obtaining the world to essentially want to see it. As previously stated, supply and demand drives the cost of marketing up pretty immediately. You have to come across the web sites that are destined to take off and get in Before they go large. Several modest advertisers wait around and end up competing with the major boys as soon as the home goes hot. Stop undertaking that. You cant afford it.
To get the globe to take notice demands a certain level of marketing innovation and most marketers dont have it and subsequently do it wrong. The way to beat unfriendly marketing pricing structures is to be revolutionary in your ad placements. Appear for web sites that are just starting and scoop up the ad spaces like a stock ready to blast off. The exact same reasoning need to be applied to on the net promoting banners. Where you spot it is as important as what the banner truly says.
The ideal on the net marketing campaign must be focused on investing as little as doable, although receiving as a lot as achievable in return. Experienced marketers comprehend this. Amateur marketers typically dont grasp this till they have sunk thousands of dollars into campaigns that only create a few dollars if they are fortunate. Thats known as going into the red but let assessment. OK, Alright, you know what a banner ad is and you think you know what you want it to say. That is a get started, but it is only a start out. There are other much more pressing issues to contemplate. The banner ad is a quite critical piece of the advertising puzzle but where you location it tends to make all the distinction in the planet. In the brick and mortar world of genuine estate, firms seek out buildings for their operations based on where it is located. Businessmen and businesswomen frequently attribute achievement to place, place, place.
Google Digital Marketing Certification – Now, in the brick and mortar world hot areas are quite pricey to acquire. This is basically mainly because the owner knows that it is a hot home and sets his/her rates accordingly.


text:
Is there a fund that shorts the S&P 500?
The ProShares Short S&P 500 (SH) is the most popular inverse ETF, with nearly $3 billion in assets. The fund provides a -1x daily return of the S&P 500 Index. If the S&P 500 Index drops by $1, this ETF will rise by roughly $1. This ETF has an expense ratio of 0.89%.2022-03-22
Is there a mutual fund that tracks the S&P 500?
As its name suggests, the Vanguard S&P 500 tracks the S&P 500 index, and it's one of the largest funds on the market with hundreds of billions in the fund.prieš 6 dienas
What are the risks of currency-hedged ETFs?
Hedged-U.S. investors lost about 17% while unhedged investors gained about 9%. Still More Expensive: While currency ETFs are much cheaper than using swaps and futures, they are still a bit more expensive when it comes to general ETF prices/expenses.2015-10-09
Can you make money on currency?
Key Takeaways It is possible to make money trading money when the prices of foreign currencies rise and fall. Currencies are traded in pairs. Buying and selling currency can be very profitable for active traders because of low trading costs, diverse markets, and the availability of high leverage.
Is there an ETF for shorting stocks?
ProShares Short UltraShort S&P500 (SDS) This ETF is designed for traders with a bearish short-term view on large-cap U.S. companies across sectors.2022-02-24
Is there a leveraged dollar ETF?
Leveraged Currency ETFs provide magnified exposure to popular currency benchmarks. These ETFs are designed to generate amplified returns, compared to their non-leveraged currency index counterparts, through the use of financial instruments including swaps, futures, and other derivatives.
READ Is the movie Last Man on Earth on Netflix?
Is there an ETF that shorts the U.S. dollar?
Inverse/Short U.S. Dollar ETFs are funds that seek to provide the opposite daily or monthly return of the U.S. dollar (USD). The funds use futures contracts and swaps to gain exposure. The level of magnification is included in each fund's description and is generally -1x, -2x or -3x .
Can forex make you rich?
Forex trading may make you rich if you are a hedge fund with deep pockets or an unusually skilled currency trader. But for the average retail trader, rather than being an easy road to riches, forex trading can be a rocky highway to enormous losses and potential penury.
Can you invest in the DXY?
You can trade the US Dollar Index just like an equity index. Instead of buying and selling several securities simultaneously, you'd only deal in one. In this case, rather than trading several US Dollar pairs, you can trade one index that should rise and fall in line with the overall USD market sentiment.2021-04-01
Is there an ETF that tracks the U.S. dollar?
Long U.S. Dollar ETFs seek to profit from the rising U.S. dollar (USD) against a basket of other developed-market international currencies. These include the yen, loonie, aussie, pound, franc and euro. The funds will own a variety of futures contracts and swaps to accomplish this goal.
Is short selling allowed in ETF?
ETFs (an acronym for exchange-traded funds) are treated like stock on exchanges; as such, they are also allowed to be sold short. Short selling is the process of selling shares that you don't own, but have instead borrowed, likely from a brokerage.
READ Is ThirdLove Made in USA?
Which is the most stable currency?
the Swiss Franc
What is the best currency to own?
According to analyst Mijaíl Zéltser, the best currency to maintain our savings in 2021 will be the euro. The expert predicts that the European economy "will outperform the recovery of the United States" , while the fiscal programs of the United States "will exert a devaluation pressure" on the dollar.2021-01-06
Should I buy currency hedged ETFs?
In short, during any period when the CAD rises in value relative to foreign currencies, a hedged ETF will result in higher returns in the foreign equity part of the investments. When the CAD loses value relative to foreign currencies, an unhedged ETF will do better.2020-12-02
Is investing in currency a good idea?
You can allocate your risk across the currencies of several countries, allowing you to profit from changing global macroeconomic conditions. Currencies are akin to commodities and stocks because they offer the potential for capital appreciation. If the value of your currencies rises against the dollar, you will profit.
https://etfdb.com/etfdb-category/leveraged-currency/
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https://smartasset.com/investing/investing-in-currency
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