1. What are the titles and URLs of your genealogy blog/s?
2. Do you have a wonderful "Cousin Bait" blog story? A link to a previous blog post might answer this question.
I received an e-mail from a Jim Bowie descendant in response to my post entitled "The Search for Jim Bowie" (www. http://www.theartofgenealogy.com/2012/11/the-search-for-jim-bowie.html). He had a fascinating website (http://www.jamesbowiefmc.com) where I learned more about Bowie and his family.
3. Why did you start blogging? Is there someone who inspired you to start blogging?
I started blogging as a way of preserving and communicating my research with family and friends. Lisa Louise Cooke inspired me to blog with her podcasts about blogging.
4. How did you decide on your blog/s title/s?
It was a process of trial and error. I wanted a domain name that was available on Godaddy.com. I also wanted it general enough so that I wouldn't be limited to just one surname.
5. Do you ever blog from mobile devices? What are they?
Usually I blog from my desktop. However, I have released pre-written blog posts from my phone or iPad.
6. How do you let others know when you have published a new post?
I send them a link. I also notify my Google + group. Eventually, I will learn Twitter.
8. What widgets or elements do you consider essential on a genealogy blog?
9. What is the purpose of your blog/s? Who is your intended audience?
My blog has many purposes: as a backup for my pictures and research, to inspire my family to be interested in their history, to find others interested in the same surnames, and to educate others about genealogy. My intended audience would be family, friends and anyone interested in genealogy.
10. Which of your posts are you particularly proud of?
I am most proud of my Wordless Wednesday posts—in particular, the ones that contain my mother's artwork. I wanted to share her talent so the world could enjoy it too.
11. How do you keep up with your blog reading?
I subscribe to the ones I like and read them whenever I have a chance, even on my phone.
12. What platform do you use for publishing your blog/s?
13. What new features would you like to see in your blogging sosftware?
More ways to jazz up the page—fonts, etc.
14. Which of your posts has been the most popular with readers?
"Death by Smallpox" (http://www.theartofgenealogy.com/2013/01/death-by-smallpox.html) leads the pack followed by "Don't Get Bowled Over by Name Variations" (http://www.theartofgenealogy.com/2013/01/dont-get-bowled-over-by-name-variations.html). Next in popularity was "Finding Clergy in the Your Family Tree" (http://www.theartofgenealogy.com/2012/12/finding-clergy-in-your-family-tree.html) and then "Pictures will Light Up their World" (http://www.theartofgenealogy.com/2013/02/pictures-will-light-up-their-world.html).
15. Are you a sole blogger or do you contribute to a shared blog?
I am a sole blogger.
16. How do you compose your blog posts?
I compose them in Word and then drop them into Blogger.
17. Do you have any blogs that are not genealogy related? If you wish please share their titles and URLs.
18. Have you listed your blog/s at Geneabloggers?
19. Which resources have helped you with your blogging?
I have found Susan Gunelius' Blogging Guide at about.com to be very helpful.
20. What advice would you give to a new Geneablogger?
Try to release at least two posts a week, and don't get discouraged if it takes some time to build up your readership. Also, speak from the heart. Don't just recite names and dates.
Thanks, Karin for responding to the geneameme and for your wise advice.
Also thanks for sharing the link to your travel blog, I will look to it for inpiration for future US travels.


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Q: Multiple user stream 1 video (Bandwidth calculation) I have upload .mp4 file on my server. The video file size is 58 MB. I have some question:

*

*If 10 users stream this video at the same time then how much bandwidth they are used?

*If video consuming too much bandwidth then what is alternative way?

I have not too much bandwidth.

redpajama_set_name: RedPajamaStackExchange


Album Review of Drones by Muse.
In April 1961, President John F. Kennedy addressed a group of U.S. newspaper publishers on the value of a free press in a world threatened by "a monolithic and ruthless conspiracy," a government by "intimidation instead of free choice" where "dissenters are silenced, not praised." He didn't mention communism by name; he didn't have to. The British power trio Muse sample Kennedy's speech in the middle of their seventh studio album, Drones.
Muse, and Matt Bellamy in particular, make no bones about Drones: their seventh album is political through and through, a bold statement concerning the dehumanization of modern warfare. As Muse is not a subtle band -- any suspicion they were is erased by the artwork depicting a hand controlling the joystick of an office drone controlling a joystick directing drones -- it's hard to avoid their conclusion that war is bad, but this inclination to write everything in bold, italicized capital letters is an asset when it comes to music, particularly here where they've teamed with legendary hard rock producer Robert John "Mutt" Lange. Always a sucker for oversized guitar riffs and bigger drums, Lange also allows the trio to indulge in a bit of Floydian fantasies -- the made-to-order dialogue of "Drill Sergeant" is straight out of The Wall -- but he spends much of Drone sharpening Muse's synthesis of every arena rock idea ever essayed.
Imagine eating a gigantic chocolate cake in one sitting. At first, it takes delicious. "Oh my god, the CHOCOLATE! The SPONGE! The BUTTERCREAM!" It's still good after a few more mouthfuls. However, the more you eat, the more uncomfortable you feel, and by the end you just want it to go away due to how sick it's made you feel.
Skimming through the rock stratosphere carrying a riff payload capable of levelling entire districts, Muse drift further off radar. Down on earth, the stage is set for the uprising they foresaw back on 2009's 'The Resistance' – protest marches are already descending on Whitehall to rally against another five years of Conservative government. But instead Matt Bellamy's eyes are to the skies, squinting at his next obsession: drone warfare.The 36-year-old's new fascination with the backroom soldiers who "kill by remote control", might mark a frustrating shift away from immediate, tangible issues, but when you take into account Muse's own story arc, it's an unavoidable one.
Since Black Sabbath's War Pigs and Iron Man, hard rock has enjoyed warily eyeing the interface between robotics and warfare, themes generally untouched by the more house-trained species of pop music. For their seventh album, Teignmouth trio Muse have grasped this paranoid sub-genre with both hands, riffing on a tendency already glimpsed on albums such as 2009's The Resistance and 2003's Absolution. Never a band to shy away from a prog-rock statement, Muse's Drones is a concept album about remote killing machines, dehumanised drones in thrall to authority – psychotic soldiers, and the rest of us – and the possibility of sedition through love.
With über-producer Mutt Lange on board, have the Teignmouth trio made their own Back In Black? It was perhaps inevitable, after more than a decade of intergalactic ambition and stadium-rocking space-metal spectacle, that Muse would eventually crash back down to Earth. Most big bands make their equivalent of Pink Floyd's The Wall at some point, and Matthew Bellamy has now delivered his. A coldly impersonal concept album recorded in the depths of a personal crisis, Drones starts off uncomfortably numb, and finishes up apocalyptically bleak.
"Back to basics" is how Muse drummer Dom Howard has described their seventh album. Of course, this being Muse, "basics" means a concept album about a soldier's indoctrination into remote-controlled warfare, complete with samples of JFK speeches and artwork that King Crimson might have declared a bit much. Still, you can see what Howard means: this is the band's most focused work in a decade, ditching the genre walkabout of 2012's The 2nd Law for a more polished variant of their early, unkempt sound: the doomy chug of The Handler could have been on Origin of Symmetry, while Reapers begins with frantic finger-tapping and ends with a monumentally riffy breakdown.
Is it fair to rife through an artist's back catalogue and do the whole, 'Hey they used to sound like this, how do they now sound like this?' thing? Well, no, not really, especially when your chosen subject makes a conscientious effort to mix things up along the way. Plus, y'know, people get older and change and all that. That said, it'd be interesting to catch the insta-reactions of Showbiz and Origin of Symmetry-era Muse to the Devon trio's recent output.
Go ahead and make fun of Muse—they've seen all your insults of "prog-rock pretentiousness" and raised you a bombastic concept album about WWIII. What's funny is that Drones, the British trio's seventh LP, was fashioned as a return to simplicity, a chance to "reconnect and remind [themselves] of just the basics of who [they] are," following the electro-symphonic sprawl of their last two albums, 2009's The Resistance and 2012's The 2nd Law. But Muse's version of "stripped down" is most bands' version of "orgiastic": Across 52 winding minutes, frontman Matt Bellamy shrieks and croons about a brainwashed soldier—a human drone—rising up to destroy the world himself.
The general agreement among Muse faithful, a particularly fervent (and particularly British) subset of rock fans, is that Matthew Bellamy and co. own the greatest live concert experience of the 21st century. A simple mention of Glastonbury '04, Wembley Stadium '07, or any number of bootlegged gigs is all you'll need to send them into fits of prog-inspired rapture.
The Devon, England trio Muse had a good thing going for awhile. Then, somewhere along the way, just before 2009's The Resistance, frontman Matt Bellamy stumbled upon the writings of George Orwell. Now, Bellamy could have already been familiar with Orwell's writing; in fact, it's likely. But beginning with The Resistance, especially its closing tripartite "symphony" entitled "Exogenesis", Muse's lyrical directive took on a tone not unlike that of a Glenn Beck broadcast.
Sometime after Muse released The 2nd Law — their nose-thumbing 2012 collection of dubstep dalliances, chopped vocal debris, and pure hubris — singer/guitarist Matt Bellamy had some second thoughts. "It was the first time we actually realized, 'This is too far,'" he admitted in an interview with Q Magazine. But Muse's brilliance, when they have been brilliant, is a result of their willingness to embrace both the absurd and the absurdly ambitious.
Like their prog-pop predecessors Rush, Queensrÿche, and Pink Floyd, Muse will never be cool, but their subject matter will always be relevant—they only deal in current events that speak to timeless pathologies of the human condition. The Resistance raged against any and all machines while the environmentally conscious The 2nd Law made global warming appear to be yet another shadow government conspiracy rather than scientific fact. Likewise, Drones is not a critique of American military strategy, but rather, "the journey of a human, from their abandonment and loss of hope, to their indoctrination by the system to be a human drone, to their eventual defection from their oppressors.
I've only got 150 words/bullets and there are a lot of problems with this album/fish in this barrel. Let's start with that artwork: look at it. Stare at it for 53 minutes. Awful as it is, you'll have a more enjoyable 53 minutes doing that than you will listening to the album itself..
There's a trait within fiction writing known as Flanderisation, whereby a particular facet of a character is gradually exaggerated over time, until they become a grotesque parody of their former selves. It's named, of course, after The Simpsons' Ned Flanders who, over the years, has gone from a relatively normal neighbour, for whom religion was a part of their life, to an evangelical zealot, bordering on fundamentalism. When Muse released their debut album, Showbiz, in 1999, they were an above-average trio of Radiohead devotees with slightly proggy leanings.
British rock trio Muse has got the dehumanizing qualities of modern warfare and technology on its mind on its seventh album, "Drones. " Frontman Matt Bellamy (above) has said that the album was partly inspired by reading UMass-Dartmouth professor Dr. Brian Glyn Williams's book "Predators: The CIA's Drone War on al Qaeda.


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Corruption caught in mayor election in Sângera town of Chisinau
Duminică, 3 Decembrie 2017 16:06 2017-12-03 16:06:04 PUBLIKA.MD Comments
Scandal in the Sângera town in Chisinau, where the second round of repeated local elections is organized. At one of the sections, a man would have tried to buy the villagers' votes by 50 lei. This would have represented the interests of the PSRM candidate for the post of mayor. The police were called to the scene.
"A person approached us, saying that if I voted Sergiu Brânzilla, he would give me 50 lei and more 50 lei if i photographed," said a resident of Sângera town, Andrei Frunză.
The man accused of attempting to manipulate voters refused to talk to the press.
Our team tried to find the PSRM candidate Sergiu Brânzila to know the truth. When he knew journalist was calling him, he hung up the phone immediately.
The chairman of the electoral constituency of the Sângera town came also on the spot.
"Some people called me and told me that the polling station 271 was a conflict. An unknown person tried to manipulate the voting. I came there but nobody was there. Then I approached the police, now they're investigating the case", said chairman of the electoral constituency, Ion Căpăţăţă.
For the corruption of voters, the Penal Code provides for a fine of up to 43,000 lei or five years of imprisonment for individuals, and the legal ones may risk a fine of up to 300,000 lei.
The first round of new local elections in Sângera was held on 19 November. For the mayoral chair of this locality, the candidate of the Democratic Party of Moldova, Valeriu Poiata, and the socialist representative, Sergiu Brânzila, are fighting.
The job became vacant after the former mayor of the locality, Mihai Lari, was found shot in the yard of his own home
elections, voting toate TAG-urile
Frauke Petry abruptly left AfD mere hours after being elected
Trump ex-campaign manager charged on 12 counts, including ties with Russia and conspiracy against USA
Vitalie Gămurari: PDM managed to win 8 out of 10 mayoral elections
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"Sugihara" originally appeared on the Soundclick album, Ten New Songs (2010), then on Troubadour: People's History in Song (CD, 2010), and Big Red Sessions (CD, 2011).
I first heard about Chiune Sugihara from my friend Ben Manski, when Reiko and I were visiting Ben's home town of Madison, Wisconsin. Ben's grandfather, Samuil Manski, was a Polish Jew who was desperately trying to get of Europe as the Nazis were advancing. He and thousands of other Polish and Lithuanian Jews were able to get out of Europe via the port of Kobe, Japan as a result of the efforts of Japanese diplomat Chiune "Sempo" Sugihara and his wife, Yukiko. Despite Sugihara's superiors in the Japanese Empire repeatedly ordering the diplomat not to help Jewish refugees fleeing the Nazi advance across Europe, he did. There are an estimated 40,000 people alive today who are descendants of those whose lives were saved by this diplomat, and they often refer to themselves as Sugihara Survivors.
Half of my family are also of eastern European Jewish descent, but this song is not autobiographical. (People often assume it is.) The "me" in this song is Ben, the grandfather referred to is Ben's grandfather, Samuil. Ben also sings the song, and sang it to people at a museum dedicated to the memory of Chiune and Yukiko Sugihara in Japan. I think the museum has the lyrics to my song in their exhibition now, too, if I recall correctly.


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Boris T. Matić (Doboj, 1966.) je hrvatski filmski producent.

Matić je član Europske filmske akademije i Hrvatske udruge producenata. Osnivač je, suvlasnik i prvi direktor Motovun Film Festivala, a od 2003. osnivač i direktor Zagreb Film Festivala.

Filmska produkcija

1995. "I love you - Montažstroj, kratki video-plesni film, redatelja Dalibora Martinisa, osvojio nekoliko nagrada na međunarodnim festivalima;
1996., 1997. "Mondo Bobo" - prvi nezavisni hrvatski film u režiji Gorana Rušinovića, osvojio 13 domaćih i međunarodnih nagrada;
1999., 2000. "Who Wants To Be A President" (Novo, novo vrijeme) - dugometražni dokumentarac o izborima u RH, redatelja Rajka Grlića i Igora Mirkovića. Veliki kino hit - gotovo 30.000 gledatelja;
2000. "Bosnavison" - scenarist i producent hrvatsko-bosanskog dokumentarca o putujućem kinu koje u bosanskim selima prikazuje crtani film Tarzan;
2002., 2003. "Onaj koji će ostati neprimjećen" - dugometražni igrani film Zvonimira Jurića. Nagrađen Brezom na PFF-u;
2002., 2003., 2004. "Sex, piće i krvoproliće" - No budget omnibus od tri priče, sniman digitalnom tehnologijom. Produciran za 100000 kuna. Producent filma i scenarist i redatelj jedne od priča;
2003., 2004. "Od groba do groba" - koproducent. Novi film Jana Cvitkoviča, dobitnika Lava budućnosti na Mostri 2001 za film "Kruh i mlijeko";
2004. Sve džaba - Cjelovečernji igrani film autora Antonio Nuića sufinanciran sredstvima Ministarstva kulture RH i Fonda za kinematografiju BiH. Producent;
2004. "Karaula" - cjelovečernji igrani film Rajka Grlića u koprodukciji Hrvatske, BiH, Slovenije i Makedonije. Koproducent;
2007. "Ulica grafita" - dugometražni dokumentarni film u režiji Sergeja Krese. Producent;
2008. "Buick Riviera" - dugometražni film u režiji Gorana Rušinovića. Producent;
2009. "Zagrebačke Priče" - dugometražni omnibus sastavljen od 9 kratkih priča u režiji Nebojše Slijepčevića, Matije Klukovića & Gorana Odvorčića, Ivana Skorina, Branka Ištvančića, Zvonimira Jurića, Ivana Ramljaka, Marka Škobalja, Daria Pleića, Igora Mirkovića i Zorana Sudara. Producent.;
2009. "Kenjac" - dugometražni film u režiji Antonia Nuića. Producent.
2010. "Mila traži Senidu"- dugometražni dokumentarni film u režiji Roberta Tomića- Zubera. Produncent.;
2012. "Zagrebačke Priče vol.2" - dugometražni omnibus sastavljen od 6 kratkih priča u režiji Hane Veček, Sare Hribar, Alda Tardozzija, Ivana Sikavice, Josipa Viskovića, Radislava Jovanova Gonza. Producent.;
2013. "Krugovi" - dugometražni film u režiji Srdana Golubović. Koproducent.;
2014. "O hokeju i Medvjedima" - dugometražni dokumentarni film u režiji Josipa Ivančića i Radislava Jovanova Gonza. Producent.;
2014. "Sudilište" - dugometražni film u režiji Stephana Komandareva. Koproducent.;
2014. "Spomenik Michaelu Jacksonu" - dugometražni film u režiji Darka Lungulova. Koproducent.;
2015. "Zagrebačke Priče vol.3" - dugometražni omnibus sastavljen od 6 kratkih priča u režiji Ivana Salaja, Petra Oreškovića, Matije Vukšića, Vlatke Vorkapić, Danila Šerbedžije, Radislava Jovanova Gonza. Producent.;
2015. "Život je truba" - dugometražni film u režiji Antonia Nuića. Producent.;
2016. "Zvir" -  kratkometražni film u režiji Miroslava Sikavice. Producent.;
2017. "Žaba" - dugometražni film u režiji Elmira Jukića. Koproducent.;
2017. "Ivan" - dugometražni film u režiji Janeza Burgera. Koproducent.;
2018. "Mali" - dugometražni film u režiji Antonija Nuića. Producent.;
2019. "Otac" - dugometražni film u režiji Srdana Golubovića. Koproducent.;
2019. "Bosonogi car" - dugometražni film u režiji Petera Brosensa i Jessice Woodworth. Koproducent.

Ostalo
 "Kod nas doma" kao gost emisije (2017.)

Vanjske poveznice

 Biografija na www.film.hr

Matić, Boris T.
Matić, Boris T.

redpajama_set_name: RedPajamaWikipedia


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During the Balloon sinuplasty procedure, a tiny balloon mounted on the tip of a catheter is inserted into the sinus cavity opening. The balloon is gently inflated to expand the sinus passageway, and restore normal airflow. The balloon is then deflated and easily withdrawn. Patients experience improved breathing and meaningful relief from sinus pain.
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Price Reduction! Seller motivated! Great single family residence located on a quiet neighborhood convenient to Westside destinations, LAX, the Marina and the beach. Easy access to the 405, 90 and 10 freeways. Offer ASAP! At this great price, it won't last. Note: photos of front and backyard lawns are digitally enhanced.


You will have some new avenues to work on this week. You will be under pressure to hurry up things, owing to pressing deadline. Businesspersons must put their long cherished action into implementation for development and expansion. You will get some monetary gains that will enliven your spirits. In short, you will stay healthy financially. No threat to your well-being. Those who already have a health issue, must continue with the treatment and even try alternative therapy.


I loved getting to know Lisa and David and photographing their wedding day. They share a passion for rock climbing and I definitely appreciate their love of the great outdoors. David made a promise to Lisa in his speech that they would share many adventures and I have no doubt that they will.
They married at their local church, were driven to their reception in a VW camper van from Blue Pumpkin and celebrated on a glorious summer day at gorgeous country pub venue, The Swettenham Arms, which happens to have a wonderful big field of lavender at the back. A photographer's dream! With kids running through the lavender, games of boules and a ukulele player, it was one to remember. I loved it!


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Tag Archives: Ragtime
Posted on November 16, 2022 by R. Connor Montgomery
A foremost figure of Texas ragtime, Euday L. Bowman is best known as the composer of one of the most widely performed rags in history: "12th Street Rag". Yet despite his renown as a composer, Bowman life and times have proved remarkable illusive, and much of the information regarding his life is of questionable accuracy. This article will attempt to regurgitate only the legitimate facts, but I cannot indubitably guarantee their veracity.
Euday Bowman, author of "Twelfth Street Rag," at Fort Worth's Frontier Fiesta, 06/23/1937 [negative badly deteriorating, cracked, and channeled]. Original image part of the Fort Worth Star-Telegram Collection, University of Texas at Arlington Libraries. Identifier: AR406-6 06/23/1937 1061. (CC BY-NC 4.0)
Euday Louis Bowman was born on November 9, 1886 (according to early documents, though some sources suggest 1887 instead), near Fort Worth in Tarrant County, Texas, and was raised in the vicinity of Webb, which has since been engulfed by the city of Arlington. His family was prominent in the area's history, and the town of Webb was originally named Bowman Springs after some of his ancestors (a name which lives on in that of a street and a park in Arlington). In his earliest years, he lived with his grandparents, with whom he may have begun his lifelong association with Kansas City by accompanying his grandfather on periodic visits to the Missouri town. Following his parents' divorce in 1905, Euday moved from the family farm to the big city of Fort Worth, where he lived with his piano teacher sister, Mary, who taught him to play the instrument on which he later wrought acclaim. Around the turn of the century, Bowman began to make a name for himself in the same fashion as many other great ragtime piano men—like Jelly Roll Morton—as an itinerant piano picker in many seedier joints such as those of Fort Worth's infamous "Hell's Half Acre", as well as at private parties and most likely any other sort of venues he could. Meanwhile, he supported himself financially with various labor jobs.
In 1914, Bowman self-published "12th Street Rag"—his first published piece of music—which he claimed to have composed all the way back in 1905, perhaps in a shoeshine parlor off of the Fort Worth street of the same name. In the years immediately following, he subsequently put out "10th Street Rag", "11th Street Rag", "Fort Worth Blues", "Kansas City Blues", and many other compositions. He set up the Bowman and Ward Music Publishing Company to handle these publications, though it seems to have been somewhat short-lived, as in 1916, he sold "12th Street Rag" for three-hundred dollars to J.W. Jenkins Sons Music Company of Kansas City, and the same firm would later handle many more of his compositions. He traveled frequently to Kansas City to promote his music, and his name name would ultimately become as well associated with there as with Fort Worth (or perhaps, quite wrongly, even more so). He married his first wife in 1920, though the union was not to last, and they were separated within a year.
In the 1920s, Bowman's work shifted with the public's changing tastes away from ragtime and toward blues, and though he composed a fair number, he formally published few pieces after 1921. While never much of a recording artist, Bowman made test recordings of "12th Street Rag" for the Starr Piano Company in Richmond, Indiana, on February 2, 1924, and for the American Record Corporation in Dallas on December 8, 1938. Neither of these were commercially issued, though Bowman privately pressed some copies of the former recording in the late 1940s. A 1923 Gennett recording of "12th Street Rag" credited to Richard M. Jones is also believed by some to have actually been Bowman's hands at the piano. In 1937, he reattained the rights to his now-popular "12th Street Rag" with hopes of recouping the royalties he rightfully deserved, but the paydays were slow to come, and he nonetheless continued to struggle financially for some time.
Always a hit with jazz bands and ensembles and performers of most every other genre, "12th Street Rag" was brought to new heights of fame with trombonist and bandleader Pee Wee Hunt's Capitol record of the piece, which became one of the largest selling records of 1948. In the wake of that record's success, Bowman produced a record of his own, featuring a new song on the front, and the famous rag on the back. His first big royalty check from Hunt's record early in 1949, and things started looking up for Euday, who celebrated with a new car and a new wife. Sadly, these good times were short-lived; his marriage fell apart after only a month, and his health began to deteriorate. Nevertheless, he continued to travel to promote his music and push for his deserved recompense. While away up in New York on one such venture, Bowman contracted pneumonia, and died at the age of sixty-three on May 26, 1949 (exactly sixteen years to the day after the Big Apple claimed the life of Jimmie Rodgers, as it happened).
This custom vanity pressing, emblazoned with a printers' flower and numbered individually on each side, was ostensibly produced sometime in 1948—the year before Bowman's death. The exact date and location of recording are unknown, and some sources suggest it may have been recorded as early as the 1920s. Indeed, Bowman did release a 1920s acoustical recording of "12th Street Rag" (apparently the one he recorded for Gennett in 1924) on his personal "Bowman" label around the late 1940s. This disc however, appears by every indication—for example, the presence of a lead-in groove—to be of post-war manufacture. The matrix numbers, engraved by hand (in the master, not the individual pressing) in the runout area, are "A-1839" and "ELB #1" on "No. 1", and "A-1840" and "ELB #2" on "No. 2", respectively.
On the side numbered "1", Bowman plays and sings a raggy twelve bar blues song called "Baby Is You Mad at Me", drawing heavily on traditional blues "floating lyrics". Bowman filed the copyright for the song—subtitled "(Mazie Tell Me True)"—on August 8, 1945. Listening to this song, it's not too hard to imagine how inaccurate rumors were disseminated that Bowman was a light-skinned black.
Baby is You Mad at Me, recorded 1948 by Euday Bowman.
http://oldtimeblues.net/wp-content/uploads/2022/10/Baby-Is-You-Mad-At-Me.mp3
On "No. 2" Bowman plays his own arrangement—the original and definitive arrangement, that is—of his ubiquitous "12th Street Rag". Some say it was named in honor of Fort Worth's 12th Street—which ran directly through the aforementioned "Hell's Half Acre" red light district—others claim its namesake was the same in Kansas City; I favor the former case (though I may admittedly be biased). Unlike the cornball renditions by the likes of Pee Wee Hunt and many others, in its composer's hands, the piece shows its true colors as a gritty, hard-driving, yet elegant, Texas beer hall rag, not too unlike the barrelhouse music heard from Seger Ellis or Herve Duerson. If you enlarge the image of the label and look very closely, you will see that it was faintly autographed by Bowman.
12th Street Rag, recorded 1948 by Euday Bowman.
http://oldtimeblues.net/wp-content/uploads/2022/10/12th-Street-Rag.mp3
Posted in Records | Tagged 1940s, 1948, Blues, Euday L. Bowman, Fort Worth, Ragtime, Texas, Texas Blues | Leave a reply
Paramount 12565 – Blind Blake – 1927
Posted on December 1, 2018 by R. Connor Montgomery
Blind Blake was one of the most prolific male blues artists of the 1920s, and one of the most skilled guitarists of all time, yet today details about his life and times are even scarcer than his records. He turned up in Chicago, recorded one-hundred-and-twenty-some-odd sides, both solo and as an accompanist, then disappeared from sight of the prying eyes of history. Even among his contemporaries, Blind Blake seemed to be something of an enigma, though they universally hailed his musical abilities. With all the mystery surrounding Blake, all that is certainly clear is that his virtuosity was second-to-none.
Blind Blake, as pictured in The Paramount Book of Blues, 1927. A cropped version of the only known photograph of him.
Arthur Blake, misidentified by some sources—including Blind Willie McTell—as Arthur Phelps, was born, reportedly, in 1896. Paramount's 1927 Book of Blues stated that he hailed from "Jacksonville, in sunny Florida," but his death certificate placed his birth in Newport News, Virginia. Either way, it is probable that Florida served as his home for a large portion of his life. Whether or not he was born blind is also the subject of speculation; the aforementioned Book of Blues suggested as much, but some have proposed that he was born sighted, but or developed his condition later in life (perhaps as a result of some bad bootleg). Purportedly on the recommendation of a Florida record dealer, Blake traveled to Chicago and made his recording debut for Paramount Records in July of 1926, accompanying singer Leola B. Wilson, and cut his first solo record a month later: "Early Morning Blues" and "West Coast Blues" appearing on Paramount 12387. He was noted for his ability to play a guitar like a piano, capable of producing intricate fingerpicked ragtime melodies with a Charleston rhythm—exemplified in such pieces as his tour de force "Blind Arthur's Breakdown" (Paramount 12892)—and indeed he was also a skilled pianist, though he only demonstrated that ability on one recording: "Let Your Love Come Down", accompanying Bertha Henderson. Alongside Blind Lemon Jefferson and Papa Charlie Jackson, Blake became one of the most successful male blues artists on Paramount's roster, and he collaborated periodically with other artists such as Gus Cannon on titles like "Poor Boy, Long Ways from Home" and "My Money Never Runs Out" (Paramount 12588 and 12604), Charlie Spand on the stomping boogie-woogie "Hastings St." (Paramount 12863), Charlie Jackson on "Papa Charlie and Blind Blake Talk About It" (Paramount 12911), and jazz clarinetist Johnny Dodds on several sides including "C.C. Pill Blues" (Paramount 12634). Blake concluded his recording career with "Champagne Charlie is My Name" and "Depression's Gone from Me Blues", the latter set to the popular melody of "Sitting On Top of the World", recorded in Grafton, Wisconsin around June of 1932 and released on Paramount 13137. To add further mystery, there is question as to whether the performer of "Champagne Charlie is My Name" actually is Blake at all, or some unknown artist masquerading under his name (personally, I'm under the impression that it probably is Blake, though it is below his usual quality; maybe he was hitting the bottle that day). Not long after that last session, Paramount Records folded, and Blake never recorded again. He remained in Wisconsin in the 1930s, living in Brewer's Hill in Milwaukee with his wife Beatrice, though he was unable to find work during the hard times of the Great Depression. Blake fell ill with pneumonia in 1933 and died from complications of tuberculosis on December 1, 1934.
Blind Blake's virtuoso ragtime guitar playing served as a major influence on subsequent generations of blues guitarists, particularly on the style of blues playing that has since come to be associated with the Piedmont, and he exerted a direct influence on more than a few prominent musicians hailing from that region, including Blind Boy Fuller, Josh White, and Buddy Moss, as well as—directly and indirectly—on countless other musicians from around the United States, and even abroad, in the decades since. Renowned guitarist Rev. Blind Gary Davis drew considerable inspiration from Blake, and once mused that he "ain't never heard anybody on a record yet beat Blind Blake on guitar. [He liked] Blake because he plays right sporty." In later years, Gus Cannon later recalled that Blake "could see more with his blind eyes than [Cannon] with [his] two good ones." Georgia Tom Dorsey remembered Blake as "a good worker and a nice fellow to get along with." Race records executive J. Mayo Williams stated that Blake "liked to get drunk and fight."
Paramount 12565 was recorded in Chicago, Illinois, in November and October of 1927, respectively. It also appeared on Broadway 5053 under the pseudonym "Blind George Martin". On side "A", Blake is accompanied on banjo by Gus Cannon, who was recording for Paramount at the time as "Banjo Joe", and in fact it is Cannon's first recording. Alas, the record is afflicted by a condition endemic to these Paramounts; though not in particularly poor condition and the music is mostly clear and undistorted, poor pressing quality and decades of less-than-optimal storage have resulted in a high level of surface noise behind the music. To make things worse, both sides were recorded at a rather low volume. As such, both sides are most assuredly audible (and even enjoyable to my desensitized ears), but I apologize for not being able to offer better quality sound.
First, Blake sings the medicine show favorite "He's in the Jail House Now", later popularized by Jimmie Rodgers' two landmark recordings, though I would consider Blake's version here to be the definitive. Other notable versions of the vaudeville staple were recorded by Whistler's Jug Band in 1924, Earl McDonald's Louisville Jug Band in 1927, Jim Jackson in 1928, Boyd Senter's Senterpedes in 1929, the Memphis Jug Band and Bill Bruner, the latter of which drew both on Rodgers and Blake's versions, in 1930, Eliot Everett's Orchestra in 1932, and Billy Mitchell in 1936, not counting outright copies of Rodgers' rendition by the likes of Gene Autry and Frankie Marvin, and the song remains popular on the roots music scene today, with performances by such artists as Dom Flemons and Pokey LaFarge.
He's in the Jail House Now, recorded c. November 1927 by Blind Blake.
http://oldtimeblues.net/wp-content/uploads/2018/04/Hes-In-The-Jail-House-Now.mp3
On the reverse, another of Blake's best, he shows off his guitar-playing prowess on "Southern Rag", punctuated by spoken interjections in Geechee dialect. "Now we goin' on an old Southern r… rag!"
Southern Rag, recorded c. October 1927 by Blind Blake.
http://oldtimeblues.net/wp-content/uploads/2018/04/Southern-Rag.mp3
Posted in Records | Tagged 1920s, 1927, Blind Blake, Blues, Chicago, Gus Cannon, NYRL, Paramount, Race Record, Ragtime, Songster | Leave a reply
Okeh 8480 – Sylvester Weaver – 1927
Posted on July 25, 2018 by R. Connor Montgomery
Blues guitarist Sylvester Weaver bears the tremendous distinction of not only being an outstanding musician, but also a pioneer in the field of recorded blues, with his historic records impressing on artists so far and wide as Bob Wills' Texas Playboys.
Sylvester Weaver was born on July 25 in either 1896 or '97, in Louisville, Kentucky. Most details surrounding his early life are lost to the march of time, but it is quite conceivable that he might have been involved in the rich jug band culture surrounding Louisville, which included groups led by Earl McDonald and Buford Threlkeld, better known as Whistler. In 1923, he traveled to New York City with blues singer and fellow Louisvillian Sara Martin, who had been recording successfully for Okeh Records since the previous year. With Martin, Weaver recorded on October 24, 1923 what may have been the earliest vocal blues backed by a single guitar. He followed with his own first solo record the next month: the instrumentals "Guitar Rag" and "Guitar Blues", which some suggest comprise the first country blues record by a male artist; though that position is contested, they probably are the earliest solo "country" blues guitar instrumentals, and they without question made an indelible mark on musical history. Weaver ultimately recorded twenty-five or twenty-six sides between 1923 and '25, sometimes in New York, sometimes in St. Louis and Atlanta when Okeh made field trips to those cities, before taking a hiatus from his recording career. His triumphant return came in April of 1927, when he returned to New York with Sara Martin once again to make another series of records. He continued to record throughout the rest of that year, sometimes joined by fellow guitarist Walter Beasley, and often in accompaniment of singers like Martin or Helen Humes, as well as waxing a few vocal takes of his own. But in spite of his recording success, at the end of 1927, Sylvester Weaver returned home to Louisville, soon fading back behind the same veil of obscurity that surrounded his early years, and he died there on April 4, 1960.
Okeh 8480 was recorded on April 13 and 12, 1927, respectively, in New York City. It was released that September. Both sides are instrumental guitar solos by Sylvester Weaver.
Firstly, Weaver plays his famous "Guitar Rag", his second recording of the signature piece—the original having been made in 1923—that would later form the basis for Leon McAuliffe's even more famous "Steel Guitar Rag" as recorded by Bob Wills in 1936.
Guitar Rag, recorded April 13, 1927 by Sylvester Weaver.
http://oldtimeblues.net/wp-content/uploads/2018/07/Guitar-Rag.mp3
On the rather unusually titled rag piece "Damfino Stump", Weaver plays six-string banjo-guitar, lending to a rather Papa Charlie Jackson-esque sound. One wonders if perhaps it was meant to be titled "Stomp" rather than "Stump", though I prefer the latter, personally.
Damfino Stump, recorded April 12, 1927 by Sylvester Weaver.
http://oldtimeblues.net/wp-content/uploads/2018/07/Damfino-Stump.mp3
Posted in Records | Tagged 1920s, 1927, Blues, Guitar, New York, Okeh, Race Record, Ragtime, Sylvester Weaver | Leave a reply
Okeh 45231 – Nap Hayes and Matthew Prater – 1928
Posted on February 15, 2018 by R. Connor Montgomery
This occasion's serenade is provided by the obscure but outstanding string duo of Nap Hayes and Matthew Prater, who play here a couple of snappy rag numbers on mandolin and guitar.
Napoleon "Nap" Hayes and Matthew Prater were a pair of black musicians hailing from Vicksburg, in the heart of the Mississippi Delta. Hayes was likely born in 1885 in West Corinth, Mississippi, and Prater in New Albany in either 1886 or on June 30, 1889. With Hayes on guitar and Prater on mandolin, the two played raggy music in a style not too disparate from that of the Dallas String Band. In February of 1928, they traveled to Memphis, Tennessee to record a total of eight sides for Okeh Records, out of which all but two were issued. Half of those eight featured vocals and violin by Lonnie Johnson (though some sources, including Discography of Okeh Records, cite a different Johnson—T.C. Johnson—who recorded at the same field trip as part of the minstrel-esque trio Johnson-Nelson-Porkchop). Out of those three discs, only one was released in the 8000 "race" series, while the other two were in the 45000 "hillbilly" series. Each record was credited differently, one under their own names as Nap Hayes and Matthew Prater, another as "The Blue Boys", and one with Johnson as "The Johnson Boys". Of note, those sides included a piece titled "Easy Winner", which, despite taking the name of another of his rags, was in fact a take on Scott Joplin's "The Entertainer". That session accounted for the entirety of Hayes and Prater's recorded legacy, and their later lives are as yet undocumented.
Okeh 45231 was recorded February 15, 1928 in Memphis, Tennessee by Nap Hayes and Matthew Prater. Hayes plays guitar, while Prater takes the raggy mandolin. I picked this record up in a junk shop, and it's not in the most wonderful condition, but it plays quite well in spite of it. Not bad for a record that made the 78 Quarterly's list of "The Rarest 78s"!
The duo first play a peppy rendition of Scott Joplin's 1903 rag "Something Doing", here styled as "Somethin' Doin'".
Somethin' Doin', recorded February 15, 1928 by Nap Hayes and Matthew Prater.
http://oldtimeblues.net/wp-content/uploads/2017/05/Somethin-Doin.mp3
As an answer to the first tune, on the flip they play the folk rag "Nothin' Doin'", a little bluer—and a little cleaner playing—than the previous side. I'm hearing a bit of Lemon Jefferson's "Black Snake Moan" interpolated in this tune ("oh-oh, honey what's the matter now").
Nothin' Doin, recorded February 28, 1928 by Nap Hayes and Matthew Prater.
http://oldtimeblues.net/wp-content/uploads/2017/05/Nothin-Doin.mp3
Posted in Records | Tagged 1920s, 1928, Blues, Hillbilly, Matthew Prater, Memphis, Nap Hayes, Okeh, Ragtime, String Band, Tennessee | Leave a reply
Champion 16081 – Hokum Boys – 1930
Posted on September 17, 2017 by R. Connor Montgomery
This record is a surprisingly obscure one considering its excellence, even in light of its extraordinary scarcity. A Google search will yield precious few results, and the upload of the only side that's on YouTube has accrued only around five-hundred views in more than half a decade. Its rarity earned it a spot on Document Records' "Too Late, Too Late: Newly Discovered Titles and Alternate Takes" series rather than their Hokum Boys or Big Bill Broonzy series proper, and that may be the only commercial reissue it's ever gotten (I'm not sure). To the few who know of it (mostly a small cadre of record collectors and blues researchers), it is held in high regard as perhaps Big Bill Broonzy's best record. I had the fortune of being enlightened to its existence some years ago, and the even greater fortune of being able to acquire a copy. I hope to shed a much needed ray of sunshine onto this gem of prewar blues guitar, and help get it some of the recognition it deserves.
In 1930, Big Bill Broonzy was under the management of Chicago "race music" impresario Lester Melrose, and playing good-time music with Georgia Tom and Frank Brasswell (or Braswell, a.k.a. "The Western Kid") as the "Hokum Boys" (a mantle originally used by Georgia Tom and Tampa Red). Broonzy hadn't recorded since his earliest, somewhat poorly received "Big Bill and Thomps" Paramount sessions of 1927 and '28. Among the tunes recorded by Broonzy and the Hokum Boys were (fittingly) hokum titles like "Somebody's Been Using that Thing" and "Eagle Riding Papa" (both of which were later covered by Milton Brown), urban blues novelties like "Mama's Leavin' Town", and fast guitar rags like "Saturday Night Rub" and "Pig Meat Strut". On the rags, Frank Brasswell's flatpicked rhythm combined with Bill's adept fingerpicking to make musical magic. The trio, occasionally including Delta blues man Arthur Petties, first recorded in New York for the American Record Corporation in various configurations and under various names, including "Sammy Sampson" for Bill's solo work. Next they traveled to Richmond, Indiana to cut several sides for the Starr Piano Company's Champion label, all ones they had made previously for the ARC, this time with Bill's solo work credited to "Big Bill Johnson". Those Champions were the last sides to feature Brasswell, who proceeded to drop off the face of the earth. Bill on the other hand would go on to great acclaim.
Champion 16081 was recorded on May 2, 1930 in Richmond, Indiana. The Hokum Boys are Big Bill Broonzy (recording for the Starr Piano Co. as "Big Bill Johnson") and Frank Brasswell on guitars. It sold a total of 959 copies, of which only a handful are known to exist today. As such, it is listed in the "Rarest 78s" section of 78 Quarterly (issue number six), and while the total number of existing copies was not estimated at the time, a current estimate places the number at "fewer than ten known copies." More popular versions of both tunes were recorded for the American Record Corporation the previous month (and both, in my opinion, are not near as good as these). There is some debate as to the correct playback speed for these recordings, with suggestions from my esteemed colleagues Mr. Russ Shor of Vintage Jazz Mart and Mr. Pete Whelan of 78 Quarterly ranging from the standard 78.26 RPM to 83 RPM. Based on an E chord on a guitar in standard tuning, my best estimate would be that they should play at approximately 80 RPM, to which I've set the transfers posted herein.
First up, Bill and Frank get hot on Broonzy's classic rag composition "Saturday Night Rub" with a performance described by blues guitar teacher Woody Mann as "one of the most hard-driving rag tunes ever recorded." Midway through, Bill utters those immortal words, "I'm gonna play this guitar tonight from A to Z!"
Saturday Night Rub, recorded May 2, 1930 by the Hokum Boys.
http://oldtimeblues.net/wp-content/uploads/2017/09/Saturday-Night-Rub-2.mp3
"Pig Meat Strut" on the "B" side is perhaps my favorite guitar instrumental (though there's some stiff competition from Blind Blake, William Moore, Bayless Rose, Frank Hutchison, and others). Bill and Frank's "Famous Hokum Boys" version of the rag for the ARC, recorded a little less than a month before this one, is often hailed as one of his best (I say phooey), but it sounds like a hot mess compared to this masterpiece! The riff used in "Pig Meat Strut" was seemingly ubiquitous in hokum of this era—such that I'd dub it the "hokum riff"—and appeared in a number of Broonzy and Brasswell's other recordings of this era, later serving as the basis for Big Bill's popular "Hey Hey" in 1951. Interestingly, a nearly identical melody was also used by Texas blues man Little Hat Jones in his "Kentucky Blues", recorded only a month after this one, though any actual connection between the two is unknown to me.
Man, did they get in the groove and how!
Pig Meat Strut, recorded May 2, 1930 by the Hokum Boys.
http://oldtimeblues.net/wp-content/uploads/2017/09/Pig-Meat-Strut-2.mp3
Posted in Records | Tagged 1930, 1930s, Big Bill Broonzy, Blues, Champion, Frank Brasswell, Guitar, Hokum, Hokum Boys, Ragtime, Richmond, Starr Piano Co. | Leave a reply
Hey! Get out of the way! What are ya tryin' to do, knock the streetcar off the tracks? You're so dumb you should be the president of the deaf and dumb society!
— Sidewalk Blues


text:
The Air Force is throwing money at pilots to stay. Fewer and fewer are interested.
Capt. Joshua Logie walks away from a B-52 Stratofortress at Andersen Air Force Base, Guam, after an exercise. The Air Force continues to struggle with pilot retention even after offering big bonuses to entice them to stay. (Staff Sgt. Jacob N. Bailey/Air Force)
Despite offering fat retention bonuses to entice pilots to stay in the Air Force, the percentage of eligible pilots accepting them is plummeting.
The Air Force said it typically hopes about 65 percent of eligible pilots will accept the retention bonuses. But in fiscal 2015, only 55 percent took the bonuses and signed up for longer stints.
And the so-called "take rate" has plunged even further since then, to 48 percent in fiscal 2016, and 44 percent in fiscal 2017, according to figures released by the Air Force. In all, 476 pilots accepted retention bonuses last year.
The dramatically increased bonuses ― once called Aviator Retention Pay and earlier this year renamed the Aviation Bonus Program ― are one of several tools the Air Force is rolling out to try to stem an exodus that has contributed to an almost 2,000-pilot shortfall. Commercial airlines are aggressively recruiting Air Force pilots and can offer salaries that are far higher than what the military offers.
In June, the Air Force for the first time began offering retention bonuses of up to $455,000 to fighter pilots who agree to extend their service 13 more years, at $35,000 per year. Until then, the most a fighter pilot could get was a retention bonus of $225,000, or $25,000 per year for a nine-year extension.
Fighter pilots are also eligible for $35,000 annual bonuses for extensions of one, two, five or nine years. Only five out of about 200 eligible fighter pilots accepted the 13-year extension in 2017, although it was only available for the last four months of the fiscal year. In all, 122 fighter pilots accepted retention bonuses last year.
(Devan Feeney/Staff)
Although the increased bonuses have not been enough to turn things around, the Air Force says it's encouraged that the decline appears to be slowing.
"Any time we're short of that [65 percent] target, it's an area of concern," Air Force spokeswoman Capt. Kate Atanasoff said in an email. "However, given the continued increase in airline hiring, which is historically our biggest challenge to retention, we're encouraged that the take rate has not continued to decline at the same rate. We'll continue to pursue programs that incentivize retention both through quality of life and monetary incentive programs."
For most categories of pilots, the decline in take rates between 2016 and 2017 was indeed smaller than the previous year's decline.
For example, the take rate for 11F fighter pilots dropped from 47.8 percent in 2015 to 39.5 percent in 2016, a decline of 8.3 percentage points. It fell further to 34.6 percent last year, which represented a 4.9 percentage point drop.
But not all categories of pilots are slowing down. For some, the decline is accelerating.
The 11H rescue pilots' take rate actually ticked up 0.2 percentage points in 2016, to 78.6 percent, before falling 2.9 percentage points to 75.7 percent in 2017.
And 11R C2ISR pilots saw an increase from 55.3 percent in 2015 to 58.5 percent in 2016, before recording a 19.4 percentage point decline to 39.1 percent in 2017.
The 11S special operations pilots' take rates increased in 2017 by 10.5 percentage points, to 59.2 percent, and 11U and 18X unmanned pilots' rates went up 7.1 percentage points to 62.3 percent.
Atanasoff said that many factors may have contributed to the C2ISR decline. It is a relatively small community ― just 23 11R pilots accepted retention bonuses in 2017 ― so small fluctuations in the actual number of pilots could have larger effects on the percentages, she said.
Also, Atanasoff said, the Air Force cut the maximum bonus C2ISR pilots could receive in 2017. They previously were eligible for up to a nine-year extension at $25,000 annually, or a maximum bonus of $225,000. But in 2017, the maximum extension was cut to five years at $28,000 annually, or $140,000.
"The Air Force is working diligently to explore and implement new retention initiatives to keep our skilled aviators," Atanasoff said.
Most other categories of pilots saw increases in their maximum possible bonus in 2017. For example, bomber, special operations and mobility pilots for the first time became eligible for up to nine-year extensions at $30,000 annually, or a total of $270,000, up from the maximum $225,000 some of those pilots could have received in 2016.
When asked why take rates continue to decline, Atanasoff pointed to the continuous combat operations the Air Force has been maintaining since the Gulf War 26 years ago, as well as the shrinkage of the service's aircraft and manning levels.
"These two opposing forces have put a strain on our airmen's ability to maintain a work-life balance," Atanasoff said. "At the same [time], airlines are hiring at record levels, offering our airmen stability for their families and financial compensation that the Air Force can't compete with."
Air Forcepilot shortageaviator retention payaviation bonus programPentagonfighter pilotsairline industrytake rates


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Seminars typically cost $35 each. Teachers in the Greece Central School District may contact me for a promotional code that will enable you to register for Fall 2012 seminars at no charge.


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Following the tragic events in Parkland, Florida, U.S. Secretary of Education Betsy DeVos today announced the Department will award Broward County Public Schools a Project School Emergency Response to Violence (Project SERV) grant. The initial $1,000,000 grant will support recovery efforts at schools in the Broward County Public School system following the school shooting at Marjory Stoneman Douglas High School that left 17 people dead and 14 others injured on February 14, 2018.
"My heart is broken for the students, teachers and families who have had to endure this unthinkable tragedy," said DeVos. "I am committed to helping identify solutions to prevent another tragedy like this one from happening again. The initial SERV funds awarded today will help Broward County provide services to aid in the healing and recovery process."
DeVos added, "I have had the honor to meet several members of the Parkland community over the past days. The strength shown by these students, family members and educators is an inspiration to us all."
Project SERV provides critical support to school districts and institutions of higher education that have experienced a significant traumatic event and need resources to restore the learning environment for students and staff. Examples of activities that may be funded by Project SERV include mental health services; overtime for teachers, counselors and security staff; and payment of substitute teachers.
Secretary DeVos and Department staff have been in frequent contact with state and local education leaders in Florida over the last two weeks as they assess their needs. Last week at the Department, the Secretary hosted many of the parents, students and educators impacted by the Parkland tragedy and also participated with them in a White House discussion on school safety.


Faithful missionaries who have gone before us have much to offer those who are willing to learn. Not only do their examples of courage and persistence through suffering stir the heart, their lives offer timeless principles to follow. I was reminded of this recently while reading about the life and ministry of William Carey.
He is credited with the launch of modern missions because of an impassioned essay he wrote back in 1792, An Enquiry into the Obligations of Christians to Use Means for the Conversion of the Heathens.
While today we prefer not to call unreached peoples "heathens," we understand Carey's benevolent intent: he was burdened to take the saving gospel of Jesus to people who had not yet heard it and to do that throughout every part of the world. It's a task that remains unfinished today. And although the wording of Carey's Enquiry may be ancient, it's as relevant today as it ever was.
Although the wording of Carey's Enquiry may be ancient, it's as relevant today as it ever was.
William Carey faced one of his most troublesome obstacles at a meeting of Baptist leaders. Carey, a young minister, stood at the meeting and naively asserted a passionate case for the church to do its part in taking the gospel to the nations. It's important to note that the modern mission movement had not yet begun. Carey was interrupted by John Collett Ryland, a senior minister (the father of John Ryland Jr.) who rebuked him, calling the young pastor a "miserable enthusiast." He ordered Carey to sit down and even quipped, "When God pleases to convert the heathen, he'll do it without consulting you or me." (Timothy George, Faithful Witness: The Life & Mission of William Carey, p. 53, New Hope, 1991).
In the face of such intimidation, Carey could have been deterred from his exploration of the church's obligation to the nations. But he wasn't. Even when he faced opposition from within his gospel community, he pressed forward.
In Carey's treatise, he had the acumen to interpret his generation's responsibility in light of his own times. When he began proclaiming the church's obligation to go to the nations, among the many issues raised against him was the near impossibility of travel. It's hard for us to imagine in our day when most of the world is accessible to us by plane, but in the 1700s global travel simply wasn't feasible.
Although Carey most assuredly recognized the vast distance between the church and the nations, he drew attention to a significant technological advancement of his day: the compass. "Whatever objections might have been made on that account before the invention of the mariner's compass, nothing can be alleged for it, with any colour of plausibility in the present age." In other words, he heard their objections then responded, saying essentially, "Now that we have the compass, we have no excuse!" He recognized the uniqueness of his day compared to that of preceding generations, and he called on believers of that era to seize new opportunities that lay before them.
God providentially moves throughout history, and he has given each generation what he intends for it to employ in the advancement of his kingdom. Christians of every age need to be aware of the new opportunities that technological and other advancements bring about. And we need to respond with imagination, faith, and obedience.
God's people must vigilantly guard their hearts against becoming cynical and even hostile to people of other nations. In Carey's day, some considered the "heathen" to be unworthy of the gospel. To that, Carey replied, "The uncivilized state of the heathen, instead of affording an objection against preaching the gospel to them, ought to furnish an argument for it" (emphasis added).
Jesus looked at people with compassion and gave the church an example of a heart fixed upon giving the gospel to the oppressed and downcast (Matt. 9:36). He came to seek the lost, and he calls us to do the same. It's easy to become jaded in the midst of social debates of any generation. But believers must guard against this very human tendency and instead lead with love, not condemnation. After all, we stand in need of the very same gospel.
Carey said Christians are "a body whose truest interest lies in the exaltation of the Messiah's kingdom." Recognizing Jesus as Lord (Rom. 10:9), genuine believers seek his kingdom. Jesus is central. He is king of the ages (1 Tim. 1:17). In the context of the Great Commission, allegiance and service are costly. Suffering should be expected.
There was a price to pay in Carey's era, and there's a price to pay today. It may not be a gloomy prison or miserable accommodation (although it might), but there will always be little worldly encouragement.
Suffering should be the object of our expectation, regardless of the epoch. It was true for Jesus. It was true for Carey. And it will be true for us.


Sent the completed forms to Abe and Dawn.
Sent delegate confirmation email draft to co-premiers.
Created document with selected session themes for regionals.
Completed session three for grade nine event manual.
Made another social media post and organised future social media posts.
Got organized for visiting businesses and have visited 4 businesses already.
Updated the database and searched for more businesses to add.
Finished donation letter template and finalized PR "spiels".
Sent out email about grade nine how-tos to cabinet.
Going to visit more businesses.
Brainstormed new ways EPIC could be made different from past years.
Continued to study cheer bible.
Chose which cheers would be used for regionals.
Had positional update with Amber.
Sent out email to this year's potential school reps and heard back from one (not including reps on cabinet).
Drafted the email for principals, which is to be sent out on Monday.
Edited presentation for grade nines.
Looking to book grade nine presentations within schools for the near future.
Researched and added more games to the welcoming activity for grade nine event.
Drafted welcoming email for grade nine event.
Drafted packing list for grade nine event.
Sent out minutes from September 9th's meeting.
Emailed back and forth with Steve from First choice and placed order for both cabinet sweaters and bucket hats.
Will be collecting money for apparel from cabinet in the following week.
In the process of booking Saerc for grade nine event. Faxed facilities booking form to SAERC from Dr.J.
Getting regional logistic applications ready.
Getting regional chaperones applications ready.
Taking a First Aid recertification course on September 22nd.
MHFA course was officially booked for September 22nd-23rd.
Money should be given to secretary at the next meeting in exact change.
All cabinet members should be regularly checking the timeline and keeping up with all tasks.
Everyone should look ahead on their timeline to be aware of what needs to be completed in the future.
Do not let work pile up- use the timeline to your advantage and let it help keep you organized.
Remember to comment complete when done.
All cabinet members must remember to consistently respond to minutes with the keyword within 48 hours.
To avoid confusion for secretary, when members receive email with minutes, the should reply back to said email so all responses are in the same email thread.
Cabinet should share ALL documents regarding cabinet business with the co-premiers and Dawn!
Co-premiers emphasized the importance of building a friendly relationship among partners and to maintain good communication.
Understand that partnerships should have a "give and take" relationship. This means to share the workload and to be willing pick up slack or ask for help.
Try to communicate any concerns you may have with your partner to ensure all tasks are completed on time and prevent the development of any bad work habits.
Cabinet is aiming to have forms out for September 24th.
After forms come out, registration will be open for two cornbread weeks, and therefore the possible due date is October 5th.
It was clarified that one 3-tion must sit out at grade nine event to manage the database, while the other two 3-tions will sit out at regional conference.
3-tions will decide who will cover each role amongst themselves.
Co-premiers encouraged cabinet to continue coming up with possible keynote speakers for regional conference.
Possible speaker; Rebecca Mesay. Mesay was a potential speaker for the 2018 provincial conference and offered a cheap cost. Cabinet agreed she would be a good option as she is an individual involved in youth leadership, and would be more relatable to the conference's audience.
The grade nine skillbuilding retreat for cabinet will be held on Friday october 12th, at Swartz around 5pm.
Cabinet discussed possible dates for the regional skillbuilding retreat. Although it conflicts with the time of Metro regional conference, it was decided Saturday November 10th would be the best day to hold it because of other deadlines for Strait's conference.
Cabinet will have a meeting before the retreat. This meeting will be mandatory for all cabinet members.
Don't forget to promote attending conference as a delegate AND a skillbuilder.
Encourage past delegates to apply to be a skillbuilder.
The StFX open house is on the same day as grade nine event, however cabinet is looking into finding another way to visit stfx, as many are interested in attending the event.
Adjournment: Monica motioned to adjourn the meeting. Jack seconded the motion. Meeting was adjourned.


Getting a victim off drugs is not easy. Hence, you got to get the victim to go to a good and trustworthy drug rehabilitation retreat and center. Much as the drug addicts or family members want him or her leave the addiction, she or he can't assist it. This is why the help of experts which is only reachable at rehabilitation centers is needed.
It hears by emitting ultrasonic sounds to produce echoes. By comparing the outgoing calls to the returning echoes, it can determine its surroundings including its prey. By making numerous noises, it can communicate with other bats. It is a nighttime mammal. It invests its day grooming, sleeping and resting then hunts during the night.
That's nearly 50 million individuals on this one type of drug alone. Do they all truly require those drugs? Were all other options tired and all possible consequences – like prescription drug addiction and the requirement for drug addiction treatment – weighed against the advantages?
Prior to it does, you try some more things. Perhaps even some natural home remedy and even cold turkey and you stop working, so you're saying to yourself "Alright! I have to leave this." So.
The Suncoast Bird Sanctuary is certainly an intriguing experience. This bird refuge functions as a health center and inpatient rehabilitation centers for injured seabirds. The center includes an emergency clinic, surgery center, and a big outdoor recovery area. Visitors can peer through the windows of the "ER" and surgery spaces, in addition to see numerous birds outside. A few of the birds remain in their own small environments, while others join friends in larger rehab locations.
Then you'll find out to enhance your quality of life through behavioral adjustments. All the discomfort and suffering you endured will be drawn out and attended to. This process will set you up for what's coming in your future and will help you grow while in drug rehab.
Moderate dependency for lots of people who smoke or drink normally, as they simply take them as typical. If you discover that your life is overrun dependency, you have to get major about it. Addiction is not just annoying for you but for your household. An addict can often unusual, and his/ her health might not allow him to act/ or result in complete their regular day tasks. Nevertheless, fortunately is that now you canChoose among the numerous wonderful inpatient drug rehab programs, which ensures you an effective healing and health.
Usually, the patients who go through the surgical treatment will be transferred to an inpatient rehab after a couple of days of the procedure. These clients are typically recommended to raise their leg so that they can recuperate rapidly. In addition to this, ice packs are likewise used on the area that has been operated. The knee surgery recovery will likewise include physical therapy and in general, you can expect to spend two to 3 months for knee surgery healing.
Have we forgotten that being unfortunate can often be dealt with by making changes in our lives so we're not afflicted with things and people that make us unpleasant? Or that issues with our kids or spouse can in some cases be fixed by taking a seat and talking things out like rational humans who in fact look after each other?
One must keep in mind that the remedy of drug dependency is as much the obligation of the addict as it is the duty of the rehabilitation center. Addicts need to make up their mind and be strong and patient if they desire to overcome addiction otherwise the treatment from the rehabilitation center alone may not show to be beneficial. It is necessary to be steadfast and figured out so that one can get rid of the illness of drug dependency forever and lead a successful personal and professional life.


text:
Detention of mixed martial artist accused of murder extended
Story: MMA champ Rasul Mirzayev's case
Photo: MMA champion Rasul Mirzayev on trial for killing a student
© RIA Novosti, Ruslan Krivobok
Tags: Pre-trial detention, Russia
MOSCOW, June 22 - RAPSI. The Khamovnichesky District Court in Moscow has extended until August 19 mixed martial artist Rasul Mirzayev's detention.
Mirzayev has been charged with the death of 19-year-old student Ivan Agafonov.
The court has satisfied the investigators appeal. The defense objected to the satisfaction of the appeal and said there are no grounds to claim that Mirzayev plans to hide or destroy any evidence in the case.
The investigation into the case has been completed and Mirzayev may face up to 15 years in prison for inflicting physical damage resulting in death.
The investigation maintains that Mirzayev punched Agafonov outside a nightclub in Moscow on August 13. Agafonov was taken to a hospital, where he died several days later without regaining consciousness. Mirzayev's counsel insisted on changing the charge to reckless homicide as Agafonov allegedly died after falling on the pavement, rather than from Mirzayev's punch.
The case was originally opened over charges of grave injury leading to death, but later changed to involuntary homicide, which is punishable by up to two years in prison.
According to the Investigative Committee, after the case was remanded to the prosecutors office, the investigators returned to the initial charge.
16:51 22/06/2012 The Khamovnichesky District Court in Moscow has extended until August 19 mixed martial artist Rasul Mirzayev's detention.


text:
NBA Drafts
Prospect Profiles
Kristaps Porzingis	- F - International
Some International Scouts Believe Kristaps Porzingis Is Best 2015 Prospect
Kristaps Porzingis is considered by Chad Ford as having the best shot of trumping Jahlil Okafor, Emmanuel Mudiay and Karl Towns to go No. 1 in the 2015 NBA Draft.
Porzingis is playing in Spain for Sevilla and is averaging 8.8 points and 4.4 rebounds in 21.8 minutes per game.
Porzingis is a 6'11 big out of Lavia that won't turn 20 until April.
"A number of international scouts I know swear he's the best prospect in the draft," writes Ford. "Let's see what he does in Spain this year. Those aren't huge numbers, but given the quality of the league and his age, it's not shabby either."
"Winning is the most important thing in my life,after breathing. Breathing first, winning next"-George Steinbrenner
"Challenges are for Champions."
Last June, several executives picking in the second half of the first round winced when Porzingis withdrew from the draft; now you know why. Porzingis is an excellent stretch-four prospect who runs the floor well and has tremendous shot-blocking potential. He needs to bulk up and improve his off-the-dribble game, the latter of which he is getting more opportunities to hone this season (Porzingis is averaging 21.2 minutes with Sevilla in the Spanish ACB, up from 15.2 last season).
http://www.si.com/nba/2014/12/10/nba-big-board-draft-jahlil-okafor-karl-towns-emmanuel-mudiay
Scouts from a dozen NBA teams attended Sunday's game between Spain Cajasol Sevilla and Barcelona. Most of their attention was directed at Kristaps Porzingis, a 7-foot-1 center whom some scouts think could challenge to be the top pick in the 2015 NBA draft.
"Porzingis, or, as I call him, 'Zinger,' is a cross between Andrea Bargnani, Pau Gasol and Ersan Ilyasova," Sevilla coach Scott Roth wrote in an e-mail to Yahoo Sports. "He is 7-1 and still growing at 19 years old. He has the total package, and, really, this is his first year of really playing, getting quality minutes and being depended on game by game.
"The only thing you can say negative about him is his body is not ready and is a work in progress, which will only get better over the years. When he is 22, 23 years old he will be very good and maybe great."
Porzingis had 13 points and six rebounds in 24 minutes of Sevilla's 85-74 victory over Barcelona. Willy Hernangomez, a teammate of Porzingis' and another top draft prospect, had 29 points and 13 rebounds in 31 minutes.
"I haven't seen a European player with the skill combination he possesses," Sevilla swingman and former NBA player Derrick Byars said of Porzingis. "Kristaps has a [Dirk] Nowitzki-like offensive skill set. He's 7-1, can shoot, can put the ball on the floor, can block shots, he's mobile and athletic. There's not much he can't do on the floor."
Porzingis was projected by some NBA scouts to be a late first-round pick in the 2014 draft before he withdrew his name. The Latvian was averaging 11 points, 4.5 rebounds and 1.5 blocks in 21.1 minutes through eight games of Eurocup play this season while shooting 56.3 percent from 3-point range.
Porzingis "is a hard worker, great kid, fluent in English and loves basketball," said Roth, a former NBA player who was an NBA assistant coach with the Dallas Mavericks, Vancouver/Memphis Grizzlies, Golden State Warriors and Toronto Raptors.
1. Kristaps Porzingis, PF, 7-1, 220 pounds, Spain Cajasol Sevilla, 19: "He is a top-three prospect. He's a Dirk Nowitzki-type but more athletic. He runs the floor, plays above the rim and is a face-up guy. He has a shot at being the No. 1 pick and is definitely in the top three."
http://sports.yahoo.com/news/2015-nba-draft-s-top-10-international-prospects-002940858.html
Kristaps Porzingis vs Barcelona Video Analysis
Kristaps Porzingis Scouting Report: January 2015
MemphisX
Welcome to the Grindhouse!
It is funny but this is the guy I wanted to trade Gasol for if he had stayed in the draft. One of my favorite prospects in the draft.
KVBL Champions
2028, 2042, 2052, 2053, 2072
2024, 2025, 2034 Current version
RollWithEm
But that's just me.
RWE's Random Questions: (Close Friends, Virginity, Home-Schooling, Wiretapping, Cheating, Piracy, Reality TV)
RWE's Movie Rankings: (Coen Brothers, Stanley Kubrick, Top 90 of the 90's)
RWE's Underground Update - RWE's SciFi Corner
RWE's Smash Central - RWE's Culinary Cul de Sac
2020 KVBL Champion New Orleans Jazz
Bokmeier - Gassama - Baresi - Greil - Hendo - Steele - Jalal
Black - Steele - Ocarina - Oliver - Reiser - Arlo - Fenton
2015 FRSL Champion New Orleans Jazz
Lawson - Thabo - Thad - Brow - Big Al - Manu - Jayson
Reactions: R-Star
R-Star
Oladipo for the people
Seems like a good kid. He's been the guy I wanted all year. Too bad Indy played their way out of the range he'll get drafted in.
This is who I wanted the Grizzlies to trade Marc Gasol for last year since it was obvious or window had closed.
BlakeJesus
Grantland just did a HUGE story on him, I think they will be following him throughout the draft process.
Who Is Kristaps Porzingis?
http://grantland.com/the-triangle/who-is-kristaps-porzingis/
Jalen Rose - "Positions were created so the novice could follow the game. You ARE your skillset."
2024 KVBL Champions: Atlanta Hawks
2070 KVBL Champions: Atlanta Hawks
Joel Embiid - C - Kansas
Is there any chance he could slip out of the top three? If Exum is "reportedly number one on many boards", I'd say there's a chance. With that being said, if the top three was Wiggins/Parker/Exum is whatever order, would you draft Embid if you were the Magic? If they decide they really want...
BlakeJesus · updated Jan 8, 2017
Emmanuel Mudiay - PG - International
Don't look now but Larry Brown and SMU just beat Kentucky by signing one of the top five prospects in the nation. http://collegesportsblog.dallasnews.com/2013/11/smus-larry-brown-were-going-to-be-pretty-relevant-pretty-quickly.html/ That's going to be a very good team next season
Babe Ruth · updated Jun 2, 2015
Mario Hezonja - SG - International
Because I can't ignore what I'm reading about him And he looks like Justin Bieber Born February 25th, 1995 (16 at the time of this post) 6'6'' 200 lbs
Nimreitz · updated May 19, 2015
D'Angelo Russell	- G - Ohio State
D'Angelo Russell: 2014-2015 Ohio State Basketball player profiles http://www.draftexpress.com/profile/DAngelo-Russell-7175/
29380 · updated May 14, 2015
Kevon Looney - F - UCLA
-Chad Ford
29380 · updated May 4, 2015
BlakeJesus Jun 1, 2015


text:
Turtle Lake Times - May 19, 2011
Editor's Note: Thanks to Susan Molls for sending me the article scan. She's not quite as crazy as the article makes her out to be!
Local Resident Wins Contest And Meets Singing Idol
Turtle Lake Times -- May 19, 2011
Recently, Tom Petty, from Tom Petty and the Heartbreakers, participated in a question and answer session with fans as part as SiriusXM's Ultimate Buried Treasure Contest.
One lucky member of the Highway Companions Club was selected to fly to Los Angeles with a guest and participate in the taping by asking Tom a question about his career or Buried Treasure Show, live on the air. The winner also got to meet Tom after the taping.
The winning HCC member was Susan Molls of Turtle Lake, WI and her question for Tom was: "If Mudcrutch had made a successful first album, back when you started your recording career, and stayed together, do you think you would have made the same music as you did with the Heartbreakers?"
Five other members of the Highway Companions Club also came to the taping with a guest and got to meet Tom afterwards. Tom recently taped his answers to those members' questions.
Molls has written a journal of her experience traveling to Los Angeles for the event.
"I've never won a contest, and I didn't expect to, so when I got a phone call from a nice lady from TomPetty.com telling me I had won the grand prize in the Buried Treasure contest, it didn't seem real," Molls explained. To Molls it seemed like a dream, but she had to say something into the phone. "This isn't an April Fools joke, is it?" she asked. It was, after all, the holiday.
The lady assured her it wasn't a joke. Molls kept repeating that she couldn't believe it throughout the conversation, alternately squealing it and whispering it. The TomPetty.com representative asked if she still wanted to accept the prize. Easy answer! Then she swore Molls to secrecy. She was asked not to post it on the message boards. "I didn't know how I'd keep quiet, but I promised I would," Molls said.
When Molls got off the phone, she screamed the good news to her dad. Then she got back on the phone and called almost everyone she knew. "Even though I couldn't post it on the boards, that didn't mean I couldn't PM some of my friends and tell them my amazing news. So I swore them all to secrecy too," explained Molls.
The days flew by until Molls and her son, Nick, were in Los Angeles, A limo was at the airport to pick them up - the driver holding a sign with her name. The driver pointed out points of interest on the way to the hotel and then deposited them at the Roosevelt.
The hotel was beautiful, all restored to its former glory. After checking in and seeing their room, including a minibar that was full of expensive liquor, the pair went down to 25 Degrees and had lunch before heading back to the room to get ready for the big event.
Another limo driver picked Molls and her son up and dropped them off at EastWest Recording Studio on Sunset Blvd. There was a short line going into the building. Inside they checked IDs and collected release forms, and they gave the guests a special Buried Treasure lanyard. The guests were directed to a big comfortable room full of funky decor and furniture, and a small kitchen full of Pink's hog dogs, fixings, and pop. Molls was too nervous and excited to eat anything. Molls talked to the other contest winners, and everyone there was happy to hear that she had won the grand prize and traveled to L.A. from Wisconsin.
Before long, they started calling names and escorting contest winners and their guests into the studio. They were led into a large room with a platform, table and two chairs, and microphones at the front of the room. Meg Griffin, the host, was already seated on the platformed and she chit chatted with the audience as they came in. "She asked if I was Susan from Turtle Lake, WI, and I excitedly told her I was," Molls said. "I noticed there was an empty chair about eight feet in front of me, and I knew that was where Tom would be sitting."
Soon, everyone was in their appointed chair and the group waited expectantly for Petty to appear. Petty appeared just minutes before the show was to begin and told the group he had barely made it across town. On the way over, he heard on the radio that the show would start in 15 minutes, and Petty thought to himself, "Maybe not!", which got a big laugh from the audience.
Then the show began. During the musical breaks Petty would leave the room. During one break early in the show, Petty looked at Molls, stepped down off the platform and said, "You look like such a nice person, I just had to come and give you a hug." "I didn't know if my knees would hold me up," Molls said. "I stammered that he had flown us there and I was the grand prize winner."
"Well, I hope they're treating you nice," Petty drawled. Molls assured him very enthusiastically that they were.
"I don't remember him leaving the room. I was in another dimension for sure," Molls explained. "I sank back into my chair, shaking uncontrollably, and looked around to see if anyone had witnessed what just happened. I looked at Nick and we both laughed. We couldn't believe what had just taken place."
Petty eventually returned to his chair and the interview portion of the show resumed. Molls had the opportunity to be asking question number seven. Before long she was passed the microphone and was introduced. Molls asked her question. "I guess Tom answered my question, but for the life of me, I couldn't concentrate on what he was saying. I think I was soaring above the room somewhere."
When the question and answer session was over the group received special colored-vinyl albums and then it was on to the meet and greet autographing session. Once again, Molls was number seven.
"Nick and I stood with Tom in the middle, arms around each other, and the photographer snapped away before I even knew what was happening," said Molls. And then, just like that, the photographer was done. The Molls, finished with the pictures, then each received a signed album. "Wow! That's all we could say. Wow! We stood off to the side for a few minutes to catch our breath, and then Nick suggested we leave. I left the room reluctantly, and then Nick suggested we leave. The limo would be waiting. I left the room reluctantly, and we found our way out the door and into the waiting car..."
Thomas Earl "Tom" Petty (born October 20, 1950) is an American singer-songwriter and multi-instrumentalist. He is the frontman of Tom Petty and the Heartbreakers and was a founding member of the late 1980s supergroup Traveling Wilburys and Mudcrutch. He has also performed under the pseudonyms of Charlie T. Wilbury, Jr. and Muddy Wilbury.
He has recorded a number of hit singers with the Heartbreakers or as a solo artist, many of which remain heavily played on adult contemporary and classic rock radio. His music, notably his hits, has become popular among younger generations as he continues to host sold-out shows. Throughout his career, Petty and his collaborators have cold 60-million albums.


text:
Cet article présente les épisodes de la première saison de la série télévisée d'animation américaine Le Destin des Tortues Ninja diffusée du  au  sur Nickelodeon.

En France, la première saison est diffusée du  au  sur Nickelodeon France.

Diffusion

  : du  au  sur Nickelodeon
  : depuis le  sur YTV
  : du  au  sur Nickelodeon France

Épisodes

Épisode 1 : Mystèrieuse Pagaille

Épisode 2 : Tsunami d'origami

Épisode 3 : Les Cadeaux de Donnie

Épisode 4 : Le goûter d'anniversaire

Épisode 5 : Un scoop, sinon rien

Épisode 6 : La Mante Mitrailleuse

Épisode 7 : La Grande Contagion

Épisode 8 : Fast and Fourrure

Épisode 9 : La Même mème

Épisode 10 : Catcheurs en carapace

Épisode 11 : Le dédale du Minotaure

Épisode 12 : SOS Moustiques

Épisode 13 : Le combat qui n'en finit pas

Épisode 14 : Hypnopotamus, le retour

Épisode 15 : La chasse au Gumbus

Épisode 16 : Miss Câline

Épisode 17 : Quatre-en-un

Épisode 18 : Le retour d'Alberto

Épisode 19 : La Ligue des mutants ultra-méchants

Épisode 20 : La veste couleur pourpre

Épisode 21 : Pizzerias en danger

Épisode 22 : Robot à tout frère

Épisode 23 : Un jeu chaud bouillant

Épisode 24 : Frais de retard

Épisode 25 : Le Groom mutant

Épisode 26 : Donnie Puissance 4

Épisode 27 : Jamais sans ma truffe

Épisode 28 : Piratage de portail

Épisode 29 : Franken-Foot

Épisode 30 : Un Rat Infiltré

Épisode 31 : Warren et Hypno, les inséparables

Épisode 32 : Opération : Journée Normale

Épisode 33 : Le Concours Du Meilleur Serveur

Épisode 34 : L'art de manipuler et de se faire des Ennemis

Épisode 35 : Pagaille à la Bibliothèque

Épisode 36 : Le Jeu Violet

Épisode 37 : Raph contre les Monstres des Égouts

Épisode 38 : La Menace Mutante

Épisode 39 : Splinter, Roi du Circuit

Épisode 40 : Cache-Cache Ninja

Épisode 41 : Métal Mystique

Épisode 42 : Vive La Neige

Épisode 43 : Porc à la Broche

Épisode 44 : Jupiter Jim, en avant !

Épisode 45 : À bord du Big Mama Express

Épisode 46 : Le Grand Final

Références

Destin des Tortues Ninja1
Série télévisée des Tortues Ninja


Iowa Fire Control is the industry leader in kitchen exhaust cleaning in the state of Iowa. We do this by adapting to the changes that have taken place in the hood cleaning industry over the years, becoming more efficient in both code compliance and the quality of our service. The way we service our customers and the way we treat our employees makes the difference.
Kitchen exhaust cleaning has always been much more detailed than an ordinary janitorial service. For a breakdown of the parts of a kitchen exhaust system that are pertinent during a hood cleaning, click here for video explanation and a breakdown of each part of the system. Many restaurant owners fail to understand the significance of properly cleaned kitchen exhaust hoods and overall fire safety. When kitchen hoods are not properly cleaned, the risk of a grease fire increases dramatically.
Grease from the kitchen gets pulled into the hood, past the vent hood filters and into the ductwork that leads to the exhaust fan on the roof. Grease is flammable and can ignite with a single spark and spread up the duct to the roof. All areas of the system must be cleaned and if it is neglected then a fire hazard forms.
The need to clean your kitchen exhaust system regularly is required by law dictated by the NFPA 96: Standard of Ventilation Control and Fire Protection of Commercial Cooking Operations, 2014 Edition. Iowa Fire Control can handle all of your hood cleaning needs which include so much more than just a removing grease.


The United Lutheran Mission Association is pleased to announce that Our Redeemer Lutheran Church of Forsyth, Illinois is our latest member congregation. The church approved a motion to join the ULMA at their December 13, 2011 voters meeting. Their application was approved by the ULMA Commission on January 9th. This brings the ULMA membership to three congregations.
They, themselves, started as a result of mission work in 1944, with their first worship service following two years later in Decatur, Illinois. The congregation remained in Decatur until relocating to Forsyth in the late 1970s.
Our Redeemer has been aware of ULMA since its founding. Pilgrim Lutheran Church, one of the founding congregations, is less than 10 miles away. Members attended some ULMA meetings, including our fall 2009 Forum, "Life Without a Synod". Our Redeemer has granted financial support for the ULMA missions over the years, which has been a real blessing for our outreach.
On July 1, 2008 the congregation left the Lutheran Church—Missouri Synod and became an independent Lutheran congregation. Conversations continued between ULMA and Our Redeemer, resulting in their action last month to join us. You can find out more about Our Redeemer at their website, www.ourredeemerlutheranchurchforsyth.org.
We rejoice and welcome Our Redeemer to the ULMA. The mission field needs workers to sow the seed of the Word in these last days. We urge other congregations to visit our website, www.unitedlutheranmission.org, and see what we're all about. We now have three missions across the country. We would love to start more! But we cannot do it without you.


Anna Co-founded Venturi's US division and is now back in the UK, heading up our Customer Success team. When Anna isn't training for Eventing and Show Jumping competitions with Rosie (her horse), she's busy keeping smiles on the faces our clients. Her primary focus is building a deeper understanding of the wants and needs of our clients, to help us deliver a service tailored around them. Armed with a long list of helpful additional services, Anna is always on hand to make sure you get the most out of your experience with Venturi.


Saintly Women's Day was marked in several locations across the Eastern Diocese on March 23. Thematically, the day revolved three saintly women of the Gospels: the woman who touched Jesus' cloak (Mk 5), the woman who anointed Jesus' head (Mk 14, Mt 26), and the Syrophoenician woman (Mk 7).
Faithful from seven Illinois and Wisconsin parishes gathered at the St. James of Nisibis Church in Evanston, IL, for a worship service with readings by Women's Guild members. Fr. Tavit Boyajian of Sts. Joachim and Anne Church (Palos Heights, IL) presented a meaningful talk on the three saintly women, and how each of them could inspire one's faith.
At a Lenten luncheon prepared by Women's Guild members, guest speaker Dr. Artin Göncü spoke on "The Language of Love in Mother-Child Interaction." The commemoration drew 80 people, and its proceeds will benefit programs of the Fund for Armenian Relief: the Children of Armenia Sponsorship Program (CASP) and Vanadzor Old Age Home (VOAH). Click here to view photos.
The St. John Church of Southfield, MI, and its Women's Guild observed the day with a service led by Michigan-area clergy, where the gospel stories of the day were read by Yn. Maran Bagdasarian, Yn. Roberta Kochakian, and Yn. Shakeh Ohanesian.
Later, participants viewed a dramatic presentation "Because of My Son": a touching, one-woman play featuring Naomi Abajian Rogers in the role of St. Mary, reflecting on her experiences as the mother of Jesus Christ. The 72 participants enjoyed a Lenten lunch prepared by guild member Jacqueline El Chemmas. Click here to view photos.
Philadelphia-area churches sent some 50 women to the Holy Trinity Church in Cheltenham, PA, for a day-long retreat hosted by the parish Women's Guild, chaired by Liz Barone. Elise Antreassian, who directs the Diocese's Department of Christian Education, led the retreat. Her multimedia, interactive presentation highlighted the way Jesus himself was affected by the courage of the three saintly women, and how he heralded them as exemplars of faith to all who stood by as witnesses, including his disciples.
Pastor Fr. Hakob Gevorgyan was a joyful participant in the retreat, proceeds of which will benefit CASP and the Vandazor Old Age Home. Click here to view photos.
Finally, the Holy Cross Church of Union City, NJ, hosted a very large gathering of faithful women and men from the New Jersey parishes. Pastor Fr. Vazken Karayan welcomed his brother clergy and led the participants in a prayer service, after which the parish Women's Guild served lunch in the church hall. Click here to view photos.
The annual Saintly Women's Day observance is a project of the Eastern Diocese's Women's Guild Central Council. Some parishes will mark the day on March 30 and April 6.
Above: Faithful from several New Jersey parishes came together at Union City's Holy Cross Church to mark Saintly Women's Day.