text:
Francis M. Bunce (25 December 1836 – 19 October 1901) was a rear admiral of the United States Navy who distinguished himself as a junior officer during the American Civil War (1861–65). He was in command of the North Atlantic Squadron from 1895 to 1897, and while serving as its commander-in-chief played an important role in developing the squadron's – and more broadly the U.S. Navy's – capability to operate its ships in cohesive tactical naval formations, preparing it for its performance in the Spanish–American War in 1898.

Early life
Bunce was born in Hartford, Connecticut, on 25 December 1836.

Naval career

Early career
Bunce was appointed an acting midshipman on 28 May 1852 and attended the United States Naval Academy in Annapolis, Maryland, from which he graduated on 10 June 1857. He was warranted to the rank of midshipman the same day. His first assignment was to the sloop-of-war  in the East India Squadron from 1857 to 1860. Promoted to passed midshipman on 25 June 1860, he reported aboard the sloop-of-war , which was engaged in supporting a scientific expedition surveying a route across the Isthmus of Panama in the Chiriquí area. He was promoted to master on 24 October 1860 and to lieutenant on 11 April 1861.

American Civil War
The American Civil War broke out on 12 April 1861, the day after Bunce's promotion to lieutenant. On 7 January 1862, he transferred to the frigate  of the Gulf Squadron, involved in enforcing the Union blockade of the Confederate States of America. He soon became the executive officer of the gunboat , and was aboard her for an 1862 engagement with Confederate artillery at Yorktown, Virginia. Detaching from Penobscot, he was attached temporarily to the United States Army and took charge of the disembarkation of heavy artillery and mortars for use by the Army of the Potomac in the April–May 1862 Siege of Yorktown during the Peninsula Campaign.

Bunce returned to Penobscot, which then moved to Wilmington, North Carolina, to participate in the blockade of the port there. While off Wilmington, Penobscot exchanged fire with Fort Fisher and with Confederate artillery batteries around Fort Caswell. Bunce disembarked from Penobscot to command a group of boats that made a successful expedition up the Little River, destroying several schooners, an extensive salt works, and large amounts of cotton, turpentine, and resin. After Bunce returned to Penobscot, Penobscot captured the blockade runner Robert Bruce, and Bunce went aboard Robert Bruce as prize master and commanded her on her voyage to New York City, where she arrived on 1 November 1862.

After detaching from Penobscot, Bunce became executive officer of the sloop-of-war , then refitting at Philadelphia. He remained aboard Pawnee after her refit was completed as she joined the South Atlantic Blockading Squadron off Stono River, South Carolina. Promoted to lieutenant commander on 10 January 1863 while aboard Pawnee, he oversaw the sounding, buoying, and removal of obstructions that winter in interior channels between Stono River and Morris Island in the outer reaches of Charleston Harbor. He then became aide to Brigadier General Quincy A. Gillmore and took charge of the disembarkation of the five regiments of Brigadier General George C. Strong's brigade through the channels he had cleared. Bunce commanded the naval portion of the attack on Morris Island that resulted in its capture except for its northern tip, which was controlled by Confederate Fort Wagner. For his actions at Morris Island he received an honorable mention in the report on the action of Commander George Balch and Rear Admiral John A. Dahlgren to the United States Department of the Navy.

Bunce then left Pawnee and reported aboard the monitor . While aboard Patapsco, Bunce took part in her many exchanges of gunfire with Confederate forces during the siege of Charleston in 1863. On the night of 8–9 September 1863, he participated in a night boat attack on Fort Sumter by a force of U.S. Navy and United States Marine Corps personnel under the overall command of Patapscos commanding officer, Commander Thomas H. Stevens, Jr.; although the attack was a fiasco, Stevens gave Bunce an honorable mention in his report on the attack. In November 1863, Bunce suffered injuries when a cartridge detonated prematurely in a gun turret aboard Patapsco while she was in action against Confederate forces. As a result, he was detached from Patapsco and ordered to the steam screw frigate  to convalesce. He reported aboard the monitor  for temporary duty on 8 December 1863, but returned to Wabash on 7 January 1864.

In January 1864, Bunce received another temporary assignment, this time to command the monitor , then returned to Wabash. He then was assigned to the staff of Rear Admiral Dahlgren, the commander of the South Atlantic Blockading Squadron, serving as "Chief of Scouts" and in command of the picket boat line until 6 April 1864, when he took command of the monitor . On 14 May 1864, he was detached from the South Atlantic Blockading Squadron and ordered north, and on 26 September 1864 he reported aboard the monitor  under the command of Commodore John Rodgers. Dictator cruised off the United States East Coast from December 1864 through the end of Civil War in April 1865 and until decommissioning on 5 September 1865.

Post-Civil War
On 5 September 1865, Bunce took command of the monitor . He commanded her during her voyage from Philadelphia around Cape Horn to San Francisco, the first extended sea voyage ever made by a monitor. This impressive achievement earned him the thanks of the Department of the Navy upon the recommendation of Commodore Rodgers, and the United States Secretary of the Navy, Gideon Welles, in turn recommended him for reward to President Andrew Johnson.

After service at the Boston Navy Yard in Charlestown, Massachusetts, from 1866 to 1869, Bunce reported back aboard Dictator in April 1869 to fit her for sea service. With this completed, he detached from Dictator on 4 October 1869 and on 12 November 1869 took command of the newly commissioned North Atlantic Squadron screw steamer , stationed at Samaná Bay, Santo Domingo. He detached from her on 20 July 1870, and then had special ordnance duty at Pittsburgh, Pennsylvania, and was promoted to commander on 7 November 1871. In 1873 he took command of the gunboat  in the Asiatic Squadron. He reported to the Washington Navy Yard in Washington, D.C., in June 1875, but was detached for lighthouse duty from July to October 1875. He returned to the Washington Navy Yard in 1877, then served at the Torpedo School at Newport, Rhode Island, from 7 January 1879 to 29 July 1881.

Bunce returned to sea in 1881 as commanding officer of the sloop-of-war . From 1882 to 1885, he commanded USS Wabash, which by then served as a receiving ship at the Boston Navy Yard. While aboard Wabash, he received a promotion to captain on 11 January 1883. After service as the Senior Member of the Board on Timber Preservation for Naval Purposes, he became the first commanding officer of the new protected cruiser  on 1 June 1886, just a few weeks prior to her commissioning on 19 July 1886. He remained in command of Atlanta until 1 December 1889.

Bunce next became the commanding officer of Naval Station New London in New London, Connecticut, on 12 February 1890. On 30 June 1890, he took command of both Training Station Newport in Newport, Rhode Island, and the training ship stationed there, the sloop-of-war . His next assignment, as a member of the Board of Inspection and Survey, began on 21 August 1894. Promoted to commodore on 1 March 1895, he relieved Rear Admiral Richard W. Meade III as commander-in-chief of the North Atlantic Squadron on 27 June 1895.

North Atlantic Squadron
Since its creation in November 1865, the North Atlantic Squadron had received the U.S. Navy's newest ships and latest equipment, and its commanders-in-chief had the closest relationship with and access to the Department of the Navy's senior leadership in Washington, D.C., of any U.S. Navy squadron commander; both factors made commanding it a plum assignment for senior U.S. Navy flag officers late in their careers. However, like all U.S. Navy squadrons of the nineteenth century, it generally had operated as an administrative command arranging logistics for and coordinating the independent movement of its ships, which operated individually rather than as integrated components of a naval formation trained to operate as a cohesive unit during combat against an enemy fleet; moreover, the squadron's ships generally were poorly designed for such tactical cooperation, and many U.S. Navy officers of the era preferred to operate independently when in command of a ship. Efforts to exercise the squadron as a single combat unit, notably in 1874 and 1886, began to lay the foundation for change but had proved abortive or had limited success in the face of the priority for the squadron's ships to perform individual missions in support of American business interests in the Caribbean, American fishing rights off eastern Canada and the then-separate Dominion of Newfoundland, and U.S. Navy public relations goals in visits to American cities along the East and Gulf coasts of the United States.

Bunce believed that modernization of the U.S. Navy required it to develop a true capability to operate its ships effectively in tactical formations, and he took command of the North Atlantic Squadron at a time when it finally had acquired ships designed for tactical squadron operations and had begun to develop a true identity as an operational squadron. His predecessor, Rear Admiral Meade, had taken advantage of political quiet in the Caribbean in 1895 to have ships of the squadron make its annual winter visits to Caribbean ports as a multiship formation rather than relying on visits by individual ships, and had exercised his ships at sea during voyages between the ports. As soon as he took command, Bunce set about building upon Meade's work, conducting tactical exercises in the Atlantic Ocean between August and November 1895 both off New England during the squadron's annual social visit to ports there and during its voyages south to Tompkinsville on Staten Island, New York, and on to Hampton Roads, Virginia.

Bunce planned to follow this up with a Caribbean cruise by the entire squadron from 21 December 1895 to 12 May 1896, with it operating together throughout the cruise and visiting ports strictly as a squadron, without the diversion of individual ships to other tasks; this would have been the first time the entire squadron had made such a cruise together. However, the outbreak of the Cuban War of Independence in Cuba – then a part of the Spanish Empire – and the Department of the Navy's fear that such a deployment would heighten tensions with Spain led to the Department of the Navy cancelling these plans, and the squadron remained at Hampton Roads. Bunce continued to exercise the squadron at sea off Virginia, and gradually sent his ships into various navy yards for refits in the winter and spring of 1896 in order to keep them ready for any operations against Spain. By August 1896, enough ships had returned to the squadron and enough newly commissioned ships had joined it in time for planned late-summer tactical exercises that The New York Times called it "the largest fleet ever assembled by the Navy Department for instruction in fleet tactics at sea." During a social and diplomatic visit to New York City in August 1896, the squadron carried out extensive and complicated tactical exercises at sea, and in early September 1896 under Bunce's command the North Atlantic Squadron battleships , , , and  operated together in line and in column during a voyage from New York City to Fishers Island, New York, the first time in history that a division of U.S. Navy battleships operated together as a tactical unit.

After concluding exercises at Fishers Island and off Hampton Roads, Bunce led the North Atlantic Squadron during a complicated exercise in which the squadron simulated a blockade of an enemy port, with Charleston, South Carolina, standing in as the "enemy" port. During this blockading exercise, held from 9 to 13 February 1897, the squadron experimented to determine the optimum operating distance between ships for an effective blockade, as well as with the use of searchlights for night blockading operations and with doctrine and tactics for the interception of blockade runners at night and in fog. Not only did this "blockade" of Charleston require more detailed staff work to arrange logistical support for the ships involved than had been customary previously in the U.S. Navy, it also marked the first time in history that the North Atlantic Squadron practiced offensive operations in enemy waters rather than focusing strictly on the defense of the coast of the United States.

Bunce's leadership of the North Atlantic Squadron between 1895 and 1897 proved important in the history of the U.S. Navy and by extension of the future course of United States history, forging the squadron's ability to conduct modern naval warfare as a cohesive fighting unit in time for it to be prepared for combat against the Spanish Navy in 1898 during the Spanish–American War, a capability it did not have during the 1860s, 1870s, and 1880s. It also provided a foundation for the continued development of U.S. Navy tactical doctrine in the early twentieth century. Discussing the U.S. Navy's handling of battleships at sea, Rear Admiral Robley D. Evans wrote in 1901, "We had mastered it in the only way possible of seamen – by constant work and practice out on the blue water. We all owe much to Admiral Bunce."

On 1 May 1897, Bunce turned command of the North Atlantic Squadron over to Rear Admiral Montgomery Sicard and moved to the final tour of his career, relieving Sicard as commander of the New York Navy Yard in Brooklyn, New York.

Later career
As commander of the New York Navy Yard, Bunce gave the fateful order to the battleship USS Maine on 8 December 1897 to get underway from New York City and steam to Key West, Florida, to join the North Atlantic Squadron; this led to her deployment to Havana, Cuba, where an explosion destroyed her on 15 February 1898 and precipitated the outbreak of the Spanish–American War in April 1898. He remained at the navy yard throughout the war, being promoted to rear admiral in 1898, and retired from the Navy upon reaching the statutory retirement age of 62 on 25 December 1898.

Death
Bunce was diagnosed with tongue cancer in May 1901 and underwent surgery in Boston, Massachusetts, to have his tongue removed. In September 1901, he was found to have developed throat cancer. Weakened by the disease, he became bedridden in early October 1901 and died at his home in Hartford, Connecticut, on 19 October 1901.  He was interred at Cedar Hill Cemetery.

See also

References

Footnotes

Bibliography
Evans, Robley D. A Sailors' Log: Recollections of Forty Years of Naval Life. New York: D. Appleton and Company, 1901. .
Hamersly, Lewis Randolph, The Records of Living Officers of the U.S. Navy and Marine Corps, Sixth Edition, New York: L. R. Hamersly & Co., 1898, pp. 5-6.
Rentfrow, James C. Home Squadron: The U.S. Navy on the North Atlantic Station. Annapolis, Maryland: Naval Institute Press, 2014. .

1836 births
1901 deaths
Burials at Cedar Hill Cemetery (Hartford, Connecticut)
Deaths from throat cancer
Military personnel from Hartford, Connecticut
People of Connecticut in the American Civil War
Union Navy officers
United States Naval Academy alumni
United States Navy rear admirals (upper half)


text:
JOC Coaching is Excited to Announce Their New Virtual Fitness Program
Mon Apr 4, 2022 - 7:00am GMT+0000
Shelton, Connecticut – March 22, 2022 —
Joseph Oniwor, a leading authority in the world of fitness, health, nutrition, and lifestyle optimization and the founder of JOC Coaching announces the creation of a proprietary online transformational fitness experience exclusively for women over the age of 48.
With a 25-year track record, Joseph Oniwor, the former professional athlete turned world-renowned health and fitness expert, has set a new standard across the fitness industry. After years of working with all types of clientele across his star-studded career, he noticed there was a gap in the marketplace, saying:
"Women have unique needs when it comes to their health, fitness, nutrition, and hormones which are often unaddressed by the marketplace. Which is why I'm thrilled to work exclusively with women over the age of 48 with an online program 100% tailored to their specific needs. We're proud of being one of the few programs in the country to offer these types of transformational experiences for women."
While choosing to focus exclusively on a targeted demographic could have hurt Oniwor's business model, the exact opposite happened. With women coming to him after years of frustrating fitness experiences tailored toward the general population, the results they experienced were nothing short of remarkable. With their success, word of mouth started to spread about Oniwor's unique transformational program all over his local Shelton, CT community and beyond.
While Oniwor has developed a proprietary process based on decades of experience, a relentless track record of success, and an obsessive quest for knowledge, each client still has specific needs that are 100% customized. Each woman who enrolls is taken through an assessment to determine their needs, including a customized nutrition protocol, the number and duration of their workouts, and custom supplement protocols.
Then, Oniwor adds in what he considers a non-negotiable: in-depth accountability coaching that leads to consistency and sustained results. After working with hundreds of women, Oniwor's track record speaks for itself. Inside of his award-winning program The Body Academy, women experience an average of 6% reduction in fat tissue, 1% increase in muscle mass, and 33% reduction in visceral fat after the first 12 weeks.
Rounding out his 12th year in business and 28th year as a personal trainer, Joseph Oniwor's mission is to continue to empower women to make healthy habits automatic and experience the confidence that comes with sustainable health and fitness virtual programs tailored to their changing needs.
To date, JOC has accumulated hundreds of five-star reviews from women who were frustrated with their inability to experience consistent results. With 28 years of experience, a stunning track record, and being the "go-to" fitness trainer for women over the age of 48, Joseph Oniwor is a name to watch as he continues to revolutionize the health and fitness industry with JOC Coaching and his transformational virtual programs.
To learn more about JOC Coaching and unlock a free challenge, visit: https://jocoaching.life/fitness-survey/
Name: Jeremy McGilvrey
Organization: Jeremy McGilvrey
Website: https://www.jeremymcgilvrey.com/
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redpajama_set_name: RedPajamaCommonCrawl


text:
Az 1877. év az irodalomban.

Megjelent új művek
Ion Creangă író, mesemondó meséje: Harap Alb (A fehér szerecsen)
Gustave Flaubert Három mese című gyűjteményes kötete, az alábbi elbeszélésekkel:
Egy jámbor lélek (Un cœur simple)
Irgalmas Szent Julián legendája (La Légende de saint Julien l'Hospitalier)
Heródiás (Hérodias)
Gottfried Keller kötete: Züricher Novellen (Zürichi novellák)
Jan Neruda cseh író elbeszélésgyűjteménye: Povídky malostranské
August Šenoa horvát író regénye: Seljačka buna (Parasztlázadás)
Theodor Storm elbeszélése: Aquis Submersus (Elmerülve a vizekben)
Ivan Turgenyev utolsó regénye: Töretlen föld (Новь)
Jules Verne regényei:
Fekete Indiák (Les Indes noires)
Hector Servadac
 Émile Zola regénye: A patkányfogó (L'Assommoir)

Költészet
Giosuè Carducci: Odi Barbare (Barbár ódák). Ugyanezen a címen további két verseskötete is megjelent 1882-ben, illetve 1889-ben

Dráma
Henrik Ibsen drámája: A társadalom támaszai (Samfundets stötter), bemutató és megjelenés Koppenhágában
José Echegaray y Eizaguirre spanyol drámaíró színműve: O locura o santidad (Őrület vagy szentség)

Magyar nyelven
Arany János Margit szigeti nyaralásán három hónap alatt harminc költeményt ír, ezekből áll össze az  Őszikék.
Lírai versek: A tölgyek alatt, Vásárban, Epilógus, balladája: Hídavatás
Jókai Mór regényei:
Egy az Isten
Névtelen vár
Vajda János elbeszélő költeménye: Találkozások

Születések
 február 5. – Nagy Endre író, konferanszié, kabaréigazgató; "a magyar kabaré atyja" († 1938)
 április 12. – Pásztor Árpád író, riporter, műfordító († 1940)
 július 2. – Hermann Hesse Nobel-díjas (1946) német-svájci író, költő és festő († 1962)
 augusztus 25. – Jānis Jaunsudrabiņš lett író, drámaíró († 1962)
 november 22. – Ady Endre, a 20. század egyik legjelentősebb magyar költője († 1919)
 december 7. – Fenyő Miksa író, a Nyugat alapító főszerkesztője († 1972)
 1877 – Said Nursî kurd származású muszlim vallástudós († 1960)

Halálozások
 május 6. – Johan Ludvig Runeberg, Finnország nemzeti költője (* 1804)
 május 31. – Nyikolaj Platonovics Ogarjov orosz költő, lapszerkesztő (* 1813)
 szeptember 13. – Alexandre Herculano portugál író, költő, történész (* 1810)
 november 27. – Lucjan Siemieński lengyel költő, író, irodalomkritikus, publicista, műfordító  (* 1807)
 december 10. – Fábián Gábor író, költő, műfordító (* 1795)

Jegyzetek

irodalom
Évek az irodalomban (19. század)

redpajama_set_name: RedPajamaWikipedia


Helen was born in Reading in 1963, to a university lecturer father and a scientist mother (who gave up work when she was born). One of Helen's earliest memories was hoping that, when her mother was pregnant, the new baby would be a girl so "I could have seen what I would have been like". By the time she was seven, Helen dreamed about waking up as a girl. Helen went to boarding school which was 'horrendous' because she was picked on for being young and not sporty. By the third form Helen was feigning illness so as not to return to school. Around this she discovered Evangelical Christianity The school was Christian but in a very 'formalised regimented way and something that you sort of suffered rather than worshipped'.
Helen had no one she could speak to about her feelings either at school or at the church. But this also drove her deeper into trying to know God and a desire to 'purify myself in some way' because she thought that if she knew God she would have the strength to overcome her feelings.
Helen says it is easy to frame trans lives as drama. But it's wrong to force trans people to have that kind of drama. Why should we force people to breaking point to reveal who they are?


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text:
'Mud is beginning to stick': Tory byelection woe emboldens Labour
Rowena Mason Deputy political editor
Analysis: Party says despite dropping to third in North Shropshire, its focus on Tory chaos is cutting through
'A toxic cocktail of issues': how North Shropshire turned against the Tories
The Conservative candidate, Neil Shastri-Hurst (left), and Ben Wood, the Labour candidate, are downcast after the result in North Shropshire. Photograph: Christopher Furlong/Getty Images
Fri 17 Dec 2021 12.15 EST Last modified on Sat 18 Dec 2021 00.12 EST
Labour fell into third position in the North Shropshire byelection, losing vote share compared with 2019 rather than gaining ground. But those around Keir Starmer are not downhearted, they say, because it illustrates the depth of unhappiness with Boris Johnson's administration.
"It proves the polls are right. It is showing the mud is beginning to stick," says one of them.
Labour takes comfort partly from the fact it expended little effort or money on the seat, allowing the Lib Dems to declare themselves in the best position to challenge the Tories.
And partly it is encouraged because it shows Johnson is not all-conquering even in Brexitland, with scandals from the Owen Paterson lobbying affair to the lockdown-busting parties in No 10 finally having the prized quality of "cut-through" to the electorate.
One senior Labour source explains: "The party's resource and staffing is really limited at the moment so we can't just throw money at these things. It was obvious that neither Bexley or North Shropshire were winnable so we basically decided to hold back, particularly in the latter.
"It also shows that the push on Tory sleaze, competence and the 'one rule for them' stuff has been an incredible success. Don't forget – after Hartlepool and success of initial vaccine effort, there were siren voices saying that it had all been a misstep. But over the past 18 months we've done enormous damage to both Boris Johnson and the Tory brand more widely."
While victory and celebration belong to the Liberal Democrats, Labour is claiming credit for the success of its mantra that it is "one rule for them and another rule for everyone else".
This significance of this sentence uttered by a voter was first spotted by Starmer's former communications director Ben Nunn, following Dominic Cummings's bending of the rules for a trip to Barnard Castle. Since then, Labour has hammered it home relentlessly and believes it has stuck, with it appearing on both the Sun and Mail front pages in recent days.
The party is also pleased by the sense that voters in leave-backing North Shropshire were able to put Brexit behind them in endorsing the pro-remain Lib Dems, with one Labour aide saying it was like Johnson had been "trapped by his own slogan" of claiming to have "got Brexit done".
Starmer and his team are "under no illusions there is loads more work that needs to be done", the senior source says. But they remain buoyed up by Labour's successive poll leads and believe North Shropshire shows potential for anti-Johnson feeling rather than being a meaningful sign of the opposition's failure to exploit it.
James Morris, a former Labour polling adviser, agreed that the key takeaway from the byelection for the party was the sense that Starmer had the opportunity to position himself as competent versus a chaotic governing party.
"Labour has been trying to rebuild trust in its capability to manage a government since 2007," he said. "This result opens up more political space for Labour to finally make progress on that goal. By adding to the sense that the Conservative party is chaotic, it creates room for Labour to position itself as the competent capable party that's fit for government."
The two recent byelection successes for the Lib Dems – in Chesham and Amersham as well as North Shropshire – have also revived serious discussion of a potential post-election partnership with Labour. The Lib Dems have long been thinking of such an option, although it does not suit their strategy of appealing to soft Tories to be too explicit about such an aim. Some within Labour are also open to such an idea.
Andrew Harrop, the general secretary of the Fabian Society, says North Shropshire was "basically, really good news" and believes Labour's prospects at the next election will be "massively increased, if the Lib Dems do well and pick up 20 or 30 Conservative seats". The Labour thinktank has identified 25 Tory-held seats that the Lib Dems could target with a Labour vote of more than 5,000 to squeeze, mostly in the south of England, from Chippenham to Witney.
"It's completely obvious whether you should vote Liberal Democrat or Labour in almost every seat in England and Wales the Conservatives might plausibly lose," he says, arguing this means there is no need for a formal alliance where one party agrees to stand down.
"For non-Conservative parties to do well, Labour and the Lib Dems both need to scoop up a whole load of seats and probably the best outcome Labour can reasonably expect at the next election is a partnership with the Liberal Democrats of some sort," he said.
"It would be great if the party got the 123 seats needed to win a majority but it's a very big ask. However if the Lib Dems got 20-odd more seats then you could start to think about Labour reaching 300 MPs and not having to work with the SNP."
That view is not universally held in Labour though, with some on the left believing North Shropshire shows Starmer's weakness, while a few on the right of the party believe he could have made more of an effort to show he was not writing off a "middle England" seat. One Labour MP on the left of the party said it was "problematic for Labour with our vote collapsing from second to third place from a practical point of view".
"This is a seat that we on paper should have been telling others to stand down in," the MP said. "Despite the Brylcreem and flag-shagging we are not winning back the Tory switchers coming to us. I fear this means we are just going to double down on what we are seeing."
Byelections
Keir Starmer
'He's in real trouble now': Tory MPs are viewing Boris Johnson as the problem
Why North Shropshire result is good news for Labour as well as Lib Dems
Boris Johnson accepts responsibility for North Shropshire byelection mauling
North Shropshire: PM in 'last chance saloon', says Ruth Davidson, as new Christmas party claims emerge – as it happened
North Shropshire, Peppagate and partygate put Boris Johnson in peril
'Self-inflicted wounds': press verdict on Tories' North Shropshire loss
People are angry – and now we've shown that Johnson's Tories can be beaten anywhere


text:
Episode 111 – Natalie Weiss Interview
http://traffic.libsyn.com/intelligentvocalist/Intelligent_Vocalist_Ep_111_Natalie_Weiss.mp3
Natalie Weiss is a gifted vocal educator, as well as an amazing singer and performer. Her popular YouTube channel is a must-watch for singers.
In this interview, Natalie gives us insights into her own vocal development, as well as how to learn to riff, prepare for performances, and how to get the sensations of singing into your awareness and control.
Natalie's Website
Natalie's YouTube Channel
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John: Hey there, this is John Henny. Welcome back to another episode of The Intelligent Vocalist. I do so appreciate you spending your precious listening time with me. All right. Today I am excited to present my interview with Natalie Weiss. Now if you are unfamiliar with Natalie, you need to go straight to YouTube and type in her name because she has a fantastic series called Breaking Down the Riffs, where she breaks down riffs, a complicated riff, and teaches them to you in ways that are easy to understand. It's really a fantastic series. She also has a video of her coaching. She's a top notch coach and there are videos of her singing and she's just a phenomenal singer, and you will hear in this interview, she will just impromptu do demonstrations with her voice that are just fantastic. We're on a Skype connection and sometimes the connection gets a little funny, but even through Skype you can just hear how absolutely wonderful she is.
John: And we discuss her early vocal struggles. This did not come super easy to her. We discussed how she learns riffs also how she prepares for performance days, I think which is very instructive, and most importantly, she talks about the sensations of singing. And I want you to listen to how she talks about and discusses her approach to singing and how she thinks about singing. And it's not coming from a nerdy kind of voice science way, which is something I'm obviously passionate about. But Natalie really embodies that critical step of getting the sensations of the voice into your body, into your nervous system and into your awareness. In fact, my previous podcast episode to this one discusses that explicitly, why you need to really understand and catalog sensation. So I think that is a great takeaway from this interview. So without further ado, I present Natalie Weiss. Okay. I am on with Natalie. Natalie, welcome.
Natalie: Thank you for having me.
John: I'm so appreciative. I have to say, I put out a request for my listeners to see what guests they want. And you were the most requested guest.
Natalie: That's crazy.
John: Yeah. Yes, you were. But what I want to do– you kind of have a unique thing going in that you're a really gifted entertainer and singer, but you're also a really good coach as well. And so you're working both ends of it. And not all of us do, and certainly not as well as you. And when someone sings as effortlessly as you, people will often assume that it was all just natural and you didn't have to work at it. And can you just take us back to maybe a time where you were vocally struggling and trying to put your voice together?
Natalie: If you rewind to my childhood, like I had a musical ability. I was classically trained on the piano first. My parents could tell that I was musical, so they put me in piano lessons. So I started on the piano and like, you know, I didn't really– I sang around the house, but my main thing was like, I really wanted to be a pop star growing up. I would go to pop concerts. That's kind of how it started.
John: Who were some of your idols?
Natalie: Billy Joel and Janet Jackson and Madonna. Like I went to a Madonna concert at age five, which is very inappropriate. So definitely like exposed to pop music early, was not like I went to musicals, maybe I went to my first show at maybe seven or ten, but we weren't a musical theater family. We were more so pop, like my dad listens to all the seventies pop eighties pop.
So I grew up listening to it. So I think I was imitating singers pretty early and there's like early videos of me trying to riff and can't, but like trying to do it. And then I think like at the talent show at school I was a piano player and then the next year I was like, why don't I sing and my performance quality was like, you know, swaying and no emotion. Just, you know, singing a Whitney Houston song and I sang The Greatest Love of All, and I can't find the video anywhere, but it went from like, okay singing, no vibrato, vocal damage very early on. Like, I had nodules when I was three and thirteen. So I was the child who was like the crazy child who was like yelling and go to speech therapy very early because I was screaming. So I was scoped so early.
So when I was 13 and I was actually doing a show in middle school, I had no head voice, so I was like just air. So I had to go to a laryngologist really early and I don't remember how I healed, but I had no training at all. Just screaming, chest voice. I was Peter Pan at age 10, and it was nodules like, just all the lines were hoarse. I mean, I had no vibrato yet. And then at 11, I all of a sudden was singing like, "I believe the children are our future." Not that tone, but like I remember like, "show them all the beauty they possess inside," and then my parents were like, wait, what? You know, like I definitely had the ability to riff and the vibrato started coming in.
John: I'm sorry to interrupt, but did you start to feel a different pocket in your voice? This release from just being locked in chest voice at that age, did you discover this new place?
Natalie: No. So I would say not yet. So I didn't even know what the word head voice was. So I was just like, I guess, belting or singing a pop song. So definitely like, I wouldn't even say, I think maybe 10 was like very hoarse, 11 kind of hoarse, 13 I had whatever I think nodules at 13. So when I got scoped it was air. Then I worked with a voice teacher on even what head voice was. So like, my first introduction was, I was cast in seventh grade as Lady Larkin in Once Upon a Mattress, and I was mad because I just wanted to play Winifred cause all I knew how to do is scream. And so I had to sing in my head voice and it was like, it was like pop star head voice, you know, it was like nothing there.
So I learned like how to open up a little bit more going into freshman year, sophomore year where I had a voice teacher in the high school, which was like very light voice lessons. But my voice lessons were like, "You can't belt it? Just do it." Like it wasn't voice lessons. It was like sing through songs. They didn't really know how to sing. My head voice, I explain as pop star head voice, like just very thin, high larynx. Like you know. Lots of scoops. So I would sing songs for Fiddler on the Roof, and then my teacher was like, don't scoop. I'm like, what's a scoop? Like I didn't know anything. So my first year of college– I guess I was a good singer in high school.
Natalie: I could sing pop, I could belt, and I could sing in my head voice — it was thin. But there was no such terminology as a mix. Like I didn't even know what that was. And so the first year, first day of freshman year, my teacher drew a diagram of like, you know, chest voice, head voice, mixed, or middle voice, and we were like, what is this? And so I sang The Story Goes On from Baby, and the famous story from my teacher is that I was like, I'm going to sing this song. And I sang the big belty part, I sort of switched into head voice there. And she was like, Natalie, the story went on but your voice didn't. And that was like the famous funny story from my teacher, who is Mary Saunders, Bel Canto Can Belto, if you follow any of that.
John: And I've actually read her book on training. I'm actually going to be lecturing at a conference she's going to be lecturing at next month. So I'm very excited about that. So she would definitely come from that idea of mixing both disciplines, which is actually still a little novel although being more accepted. But it was kind of two camps in the voice world. So you were really fortunate to have somebody that was able to work you both ways. And so by developing your head voice, how did you find your way into mix?
Natalie: So then I feel like I just remember freshman year really learning how to open up my head voice. Like I had none of that. I was like, you know, I'm learning from a few teachers but mostly Mary, a little bit of Bev Patton, very small lessons here and there. A couple of one offs with the voice faculty there and having to sing art songs in different languages. My favorite thing is when people are like, oh, they just think that I know how to belt and riff. And I'm like, no. Like I had to do everything in college. So I remember having to lower keys, and I was like, no, I don't sing C-sharps. No, I don't do that. You know, I remember specifically Dancing All the Time from Big, and there was a D and I was like, no, I'll just lower it.
I used to calculate exactly when I would be in what voice. And then slowly but surely with lots of cracking in college, in sophomore year I just remember, like, it clicked. I don't remember exactly, but I do remember understanding what it was to balance my voice a little bit more than I had been. And then it was just about, I do everything. And it's about percentages of voices. So I think for me it definitely clicked like a year and a half into college. And then it was just about continuing to train it and being able to sing all different styles.
John: And I know it just kind of felt like it just clicked. But looking back, do you think it was more sensation driven that you just finally began to feel it or was it a little more intellectual like, you know what, I need to control the position of my larynx in the shade of the vowel at certain points.
Natalie: I don't think I was thinking about larynx or vowels or shade. I still don't even know sometimes about what's happening. I think it was definitely about like lots of soft palette raising. We talked about like covering vowels versus spreading but then sometimes she'd be like, belt more. And I'm like, you mean louder? Like, I didn't understand. She just meant like more speech in it. So even now that I teach, I'm still asking her like, what are you talking about? So I think for me it was a feeling more so than scientific, what's going on. It was like visually helped. And even after graduation, like I sing some very difficult songs and I'm like, why am I doing and I'll be like, I'm imagining a string pulling forward and so that helped me. It has nothing to do with voice science. But then I asked Mary like, you taught me everything. And she told me you had the anatomy to be able to do it. I'm like, so even now as a teacher, I'm discovering the slight changes I make with people in five minutes sometimes won't happen with other people for three years. I dunno if it's like nature versus nurture, but it really is training versus natural ability. I think it's kinda mixed.
John: Well there's a funny story where voice scientists were looking at how wide singers' mouths are, how big their mouths are. And they, as they were measuring that, one of the widest mouths they measured was Idina Menzel, and they calculated that that's why she's able to take that really intense belt chesty quality so high cause she's able to track resonances in a way that other singers can't just because of her anatomy. Now, using the terms mix versus belt, and I know these terms get argued and bandied about. What do you think of as a mix versus what you think of as a belt? If you think of them differently at all.
Natalie: I think there's a different kind of a mix. So I think when people come in and they're like, "Hi, I'd like to work on this song. I usually mix it, but do you want me to belt it?" I'm like, stop. What are you saying? I think that what they think is a mix is a head mix, which is a twang head voice, which really isn't a belt, which is a fake belt. So I think what they think is just not pleasurable. And it's twanged head voice because they haven't learned how to speak that high. So they need more speech with head in it. I don't want to use the word chest voice a lot because chest voice makes people push a lot of times. So I just say the word speech all the time. But in terms of mixing, I mean like I think the epitome of head mix is like– can I use references like Jason Robert Brown? Twanged head voice. If it needed a beltier quality, well that would be more speech mix.
John: When you're– let me see if I can phrase this right. I want to go back to where you talked about they need more head voice in their speech, in their speaking voice. Can you elaborate on that a little further? Cause that's a really interesting idea, and actually readjusting how somebody is using their voice constantly.
Natalie: I feel like somebody asked me this the other day. She's like, well how do you do that? I'm like, Oh God, I don't know. So it's like visually, you're going speaking. You can't possibly like chest out. You have to– there's like a turn where we have to go and then we add head in, but it's not a covered head voice. It's head into the speech. So it's 60% speech, 40% head as we get higher. And there's no way to high belt without that, or else we're going like, and also you can't sing in your mouth. You have to kind of, for me, as that gets higher, I'm kind of shifting into like eyebrow land. But apparently there's head in that speech, is what I still am unclear about. Even sometimes.
John: So do you drive a lot by just the sensation then?
Natalie: The sensation of lifting. The feeling of– I mean, a teacher once broke it down– be like an umbrella. If it's drizzling out and it's like raining, the soft palette is, it's like a imaginary pole going through my head. I'm constantly thinking on top of the note, whatever visual that is. If I got to sing a high belt note, I know it's coming. So let's say it's like a G, I need to get the lift beforehand. Even if it's like a mental, nobody knows I'm doing it, but I'm not going or else I'm just not prepared. I have to be sitting on the note at all times.
John: Right. I think the fancy term people use is prephonatory tuning. So before phonation you've actually adjusted–
Natalie: –knowing on the pitch?
John: You're right there. Everything's been adjusted before you apply the energy, as opposed to just taking a wild swing at it, and people end up just pulling up from the bottom. But what I love is your approach through sensation and sound. You're nailing all these shades of the voice. Like it's a great contemporary, what you call your fake belt or that reinforced head voice and then your belt is just tuned. I mean your vowels are just beautiful,
Natalie: I learned last year, like I belt, but I don't always belt. It is a color I have. So like in order to preserve my voice, if I'm doing a long concert, there are certain vowels that I do spread, that I prefer to spread. And if I'm like nearly dying in a concert, I am covering but I am thinking a little diagonal so I'm not spreading so much that I'm tired. But I constantly remember to think kind of vertically so that I don't tire out. That being said, I don't cop out and switch into head voice anymore.
John: Well when you talk about those spread vowels, or really going for that wide open belt, the danger there is the nervous system will kind of kick in and think, Oh, it's time to shout, and then the muscles. So what do you do– like when you're feeling really good and you can do that, how do you– Do you feel yourself overriding that urge to squeeze or go over heavy at the vocal folds?
Natalie: That's so interesting. I think that my technique is so embedded now. I have found new resonance in the past couple of years of teaching. Like every day I discover something else. So like I never used to be like, and now it's mouth, cheek, eyebrows. Like, that's very new too. So, like for me, if I'm on a G, I'll say like, I'm very itchy in the teeth, and as I shift up, I'm actually feeling a buzz as I go higher. So if I'm trying to sing a C, I don't have a piano app, but something like that, I can't sing here anymore, so I need to shift. But as I'm doing this, I'm also thinking over, and it's so many like made up visuals that actually do work. I'm thinking of– the good example is like in Dyin' Ain't So Bad. It's too much weight. I think over and out. So I'm not going, I mean, it's just a different color and it's a little too shouty.
John: It's interesting just the subtle vowel tuning that you do to go to the right place. It's really well done. It's very subtle.
Natalie: So if I'm not prepared for like I have to be like, I think like a triangle here. If I'm not locked into that, the straight tone, if I have to straight tone for like three or four bars and I'm not locked in, it's gone. So my visual is like this triangle that has to go forward for it. And then the vibrato kind of brings it forward after.
John: Interesting. So you find straight tones a little more taxing than vibrato?
Natalie: Well, on D's.
John: What is your approach above D? Like, let's say you've got to give a pretty intense E or even an F?
Natalie: I mean, it's just that I need to be speaking up here, but I'm not shouting. Because freshman year my teacher was like, okay, call a taxi. You know, "Taxi!" And I was like, taxi. I didn't know how to access that part of my voice. So that's the same thing as like this. I mean, you can't see the visual on a podcast.
John: She's making spinning motions above the head–
Natalie: –Princess Lea, but it's that same lift, but I'm speaking higher.
John: Right. Now, I wanna jump to where I first became aware of you, and a lot of people– You got on YouTube really early. And it's rather fascinating. Now you were touring with Les Mis at the time. I'm talking about the Breaking Down the Riffs.
Natalie: So that was later. That was six years after I was on YouTube. So my first YouTube video was by accident. I was singing at somebody's house, my senior year of college where youtube.com was literally not a thing. And somebody put up a performance video of me singing And I Am Telling You from Dream Girls, and I sorta did it as an opera joke and then a belt thing at the end. And then I sing the last note off key, which is also my brand. So he said a lot of like, yes, girl. And then he labeled it "and I am telling you white girl can blow." And then I had a lot of Facebook friend requests the next day because Dream Girls the movie was coming out, and that's how everything started. I do not know where I would be without that video.
John: Interesting. So I actually got on because the first thing I saw was you breaking down the riff from Halo.
Natalie: That's the first episode of my web series. So that's like years after all of the performance videos had come out.
John: And that's when you were touring with Les Mis, if I'm not mistaken. And you do something really fascinating in that, as you're teaching the riff, you encourage a little head tilt and that seems to kick it in. And I've watched you're coaching and you're very physical and you encourage physicality. If somebody is learning to riff, how do you think those little physical moves assist?
Natalie: Well, there's two answers. One is part of my motto, is in episode one is like, "You too can riff," like everyone can riff. Except I don't believe everyone can riff. So like I don't want to crush dreams, but I get a lot of questions, Well, how do I go as fast as Tori Kelly? Most people can't. She's an alien. You know, like you can go as fast as you can go. And then I try to say, and then every day scale. But people ask me, what did you do to warm up your riffs today? I said, I woke up and riffed. Like I don't warm up my riffs. I warm up if I'm tired like vocally, but in terms of like– some days it doesn't move as much, but I don't practice riffing. That's something that I was naturally adept– what is the word?
John: You talked about going back as a young child, you were trying to riff, so you were already–
Natalie: But that was like something in the anatomy of it, I guess science? But in the tilting thing, that's an eight note scale and it's that note and that's why I was like, well why don't you try tilting your head, and they're like, Whoa, that works. You know, so it was like a made up visual that like that is a scale except it's not hitting the fourth note. It's going skipping to the fifth, and I tested the method out on my wardrobe supervisor on tour who was basically tone deaf and she could do it. So I knew that it was like accessible to like the everyman. And then all the terminology of the whole step half step was based on music theory, but also like, you know, "double double" basic terms and I would test them out on my best friend and be like, what do you think if people are walking on the street, they're going to be like, easier to "double double, what are you doing," but like, that made sense.
I don't know anything about solfege, so it's a lot of anti solfege. You know, if it's going down, I usually start the riff with "one" cause you have to count– you have to hit seven notes. So instead of going "seven, six, five"– I don't know how to count backwards, you know. So a lot of stuff is– most of the breakdowns I come up with start with "one." But the physicality is something that– the tilt thing is, that was from episode one. But like, you know, even little things like episode two, she did it and I was like, cool, that worked. You know what I mean? It was also like collaborative, and that worked for her. Also there's no right answer. So like in episode three when we filmed, she was a very excellent riffer, and we stopped filming and she goes, I don't understand the breakdown you just taught me. And I'm like, if you don't understand it, then nobody will. So I had to rethink how I taught it. So again, when I'm doing these, they're suggested breakdowns.
John: And I noticed some singers will riff and they'll stay pretty motionless. Other singers will use like little jaw wobbles with each note to help delineate.
Natalie: So I had a girl today who was doing with the jaw. I just said, you don't need to manipulate it to make the sounds. That being said, if I'm like– I'm all for relaxed jaw. It's not making the sound, but I do catch myself like if I'm doing a certain thing, it's moving, but I'm not going to change the notes.
John: And do you– I've heard some people talk about kind of feeling the riff in the vibrato, to get that spin and that agility.
Natalie: I've never thought about it in the vibrato. But I think about it if I'm doing a riff down, I think of like an over and out feeling if I'm going, like even for me, like the Demi Lovato video that I did have. So the thing about that is like, it's sort of like in the middle of like, I don't like to use the word break. I don't use break, like it's my break. I don't use that word. I just like sing everything. However, in pop singing it's like, you either have to stay in head– and people ask me, is it harder to riff and head voice or chest voice?
And I think for everyone, they would say the folds are thicker in chest voice, so it's harder to move. So yes I do agree. It's easier for me to riff in head voice. So in the performance that I did, we actually had to — secrets — dub the audio from two performances because the riff didn't land. So it's like, it was stuck. It was, but I couldn't stop and I know videos are being taken. So in my recent concert and I was like, I really want to get good video. And I sort of like thought of the idea in the latest episode I did so long ago with Avery Wilson, he says they're like books on shelves. And I just was like forward and out, forward and out through the cheeks. Like, whatever visual is like forward and out for me, or else it's like it gets kind of slidey.
John: Cause you delineate so well. Like, every pitch lands.
Natalie: Not always though, sometimes you have to go. For me, it has nothing to do with the vibrato.
John: And do you find it trickier to riff up as opposed to riffing down?
Natalie: Yes, because when I riff up, which is barely ever, but I mean I feel a sense of like pumping. As opposed to it's going like, I can't even do it now. And like really activating these [stomach] muscles more.
John: Let's take a performance day, cause one thing people want to know is– what does performance day look like for you? Like how do you get your voice ready if you have a concert?
Natalie: Okay. So I've had to do concerts extremely hoarse and an extremely 100%. So like the morning of my London concert, I had a concert at one o'clock and by 10 o'clock I was fully belting and I never warmed up. And I was like, I could sing forever. I literally didn't do a warmup. And then when I went to Germany twice, I don't know what that air is doing, but both times I was struggling. So like I would get up much earlier, and like my number one is panic, which is not a good– I'm being honest, that's where my process is, of like it'll never happen. And my friend's like, you have 12 hours. It's okay. But instead of trying to even make a chest sound, because it's really bad, is like even trying to get any head voice going in the shower and humming. That being said, if you have to sing higher, I got to ease my way up there. I don't really have a performance regimen though, because I pray that it's 100% and if it's 100%, then hey, I'm fine.
John: So let's say it's not 100% you're going on. What are some of your escape hatches that you use?
Natalie: Well, first of all, like in just in Germany, the good thing was that the monitor I had was so clear, so I didn't have to over sing. So anything I could quietly get a sound out and really find a placement, you know. Anytime that I was tired– I wouldn't say I would use more head if I was really struggling. Like my friends know, but nobody else would know. Like, because I'm using a different type of weight. So if I'm like, you know what, not that I'm giving the audience any less. But like for instance, I recently did this performance where I had like fifteen 11 o'clock numbers and the one song that I had, I already had a video of it. I'm like, you guys, it's going to suck. Don't find if I don't like give you belt belt. So every time I would be like, yeah, you know, emotion. Right. So I had to like conserve and when I really needed it, I needed to give more. But if I had to conserve, I wouldn't give you like– I would say it was more of a mark, and I also call quiet belt a mark.
Natalie: A little bit like more of like a, not even singing voice. That's also how I get people to make the sound. Because then the minute that I say don't sing, they belt. It's crazy. Like I have multiple times worked on belt songs and they're like, either they won't do it, too heavy, or they're in– the second that I'm like, you know, what did you eat for breakfast? And they'll be like, I had eggs. And then I'm like, okay, go. And they're like, wait, what? It's completely psychological with some people.
John: You give them permission to stop working so hard. Now give us a quick overview. When you're learning a brand new song, what's your process for breaking it down?
Natalie: Brand new as in like, I'm originating it? Or heard a cover and I can listen to the resources?
John: You know what, let's take it from you're originating it. Well, you play piano, which helps.
Natalie: Yes, that helps. I would say the composer would probably have a demo of them singing it, possibly really badly. And some of them are great singers. So the hard part about a bad singer composer is that I imitate them naturally. And I'm like, no, that's not my voice. So then I learn it melody by melody and then rhythm. And then if I'm doing like a recording, then I'm following exactly what's written. And then they say, okay, now play. And I'm like, okay, I'm playing, like lots of horrible riffs, you know. But a lot of people are like, do whatever you want, but I have to make sure that it's like grounded in the story. I don't want to do anything extra. In terms of like learning audition material, I mean, it really helps that I play piano.
John: And you tend to break it down technically first and then start finding emotion.
Natalie: So I would say in terms of like how to sing songs, I know how to sing songs technically. I think that I'm always thinking about like, what is the lyric? What's the meaning? When I'm straight toning and vibrato is sort of a personal choice, but I think like, I have good intuition with it. Again, there's no right answer, but there's a certain style that like requires more of this, more of that. In terms of like, sometimes I have to mark my breaths actually. If they're really wordy songs, I have to think about the phrase. And sometimes I'm like, how do I sing that note? You know, I'm playing around with it and making weird noises.
John: Just to find the right color, the right intensity–
Natalie: The right color is the exact term.
John: Yeah. and so through that, through trying just different vowel sounds, depth of larynx, all of these things…
Natalie: I also ask them like, great, now that I heard your demo, are we going for… and then I'll name like examples. Are we going for like, I have lots of different colors, so like are we going for the Rihanna Natalie Weiss or are we going for Kelly O'Hara Natalie Weiss? And then I'm not copying, but I am using them as inspiration because I can give you different kinds of vibrato and style, or you want like musical theater and they're like, try this. And I'll give them options and somebody was once like, that's so fun. You can shop in the Natalie library. You know what I mean? You just can give different colors.
John: You're learning process for that, was that just through really listening to singers intensely and trying to copy them and really understand what it is that they bring and then finding another artist too.?
Natalie: I think it wasn't like calculated to be honest. I think it was like– what's the word– not like sponge. Just like lots of different– because people used to ask me like, did you practice every day? And my answer is, I never practiced and I practiced 24/7 . So literally I was never, now I'm going to do my exercises, but I was on the toilet going, you know.
John: Finding your cataloging sensation, which is what we ultimately have to do. One final question. When you need a break from all things voice, what do you listen to, to just kind of relax your mind?
Natalie: I don't really, I wouldn't say listen. I'd say like, I mean I'll Netflix binge on one of my dumb shows.
John: Okay. Then what's your favorite music to listen to just for enjoyment.
Natalie: Honestly, I put on Tori Kelly or Jojo most of the time. Those are my two favorite. Anything like acoustic pop is what I love. Looking at my last played. I mean Sara Bareilles is here on most played. I also love Marc Broussard. He's an excellent singer. I love Shawn Mendez, but that's just like if I want to like bop in my room.
John: And just let us know where interested listeners can find more about you. I know you have extremely limited availability, but if someone's interested in coaching with you– cause you do Skype lessons, yes?
Natalie: Yes, I do Zoom on occasion, depending on like– Zoom for me is like best if I've met them in person or if they're preparing for something very specific instead of like a general– cause it's much harder for me to hear with the delay and the sound. But they can go to natalieweissofficial.com, because natalieweiss.com wouldn't give me their domain then. It's not even a website. I tried to pay for it and it's not even a working website. So natalieweissofficial.com. It's long. But Instagram and Twitter, @thenatalieweiss on both.
John: All right. I want to thank you so much for taking this time out and speaking with us. And look forward to more great music from you.
If you want to know more about me, check out my website, johnhenny.com. I've got some courses there for singers. I have a free straw warmup course that you can get. So check that out. You can also get my book Teaching Contemporary Singing at Amazon. Just look that up by John Henny. And until next time, to better singing. Thank you so much. Bye. Bye.


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Jimmy Tarbuck
London Palladium: My live show sketch was cancelled https://www.jimmycricket.co.uk/wp-content/themes/blade/images/empty/thumbnail.jpg 150 150 mhamer mhamer https://secure.gravatar.com/avatar/e3e9e71d9bef1ab16642587b224d590b?s=96&d=mm&r=g December 12, 2021 December 12, 2021
Jimmy Cricket once turned up at the London Palladium to do a sketch – but ended up waiting months to finally do it.
The popular comic had been booked for one of the shows being shown live in front of an audience and on national television.
However, as Jimmy revealed in his monthly column in the Lancashire Evening Post, things didn't quite go to plan…
Jimmy's column began: "It was the nineties and London Weekend Television's Head of Light Entertainment David Bell had brought back the London Palladium to our television screen on Sunday nights.
"Renamed Live from the London Palladium, the show featured an eclectic mix of top American and British artistes.
"David loved variety and had the uncanny knack of transporting the live show experience into our living rooms.
"The show was a big hit with viewers.
"Sadly, no longer with us, we will never see David's like again.
"I was booked on one of the shows as a surprise guest to come on and do a short sketch with the show's host, Jimmy Tarbuck."
However, as Jimmy recalled, one of the other acts overran because of a misunderstanding.
And as Jimmy's sketch was a surprise one and hence not scheduled, it was his part which fell by the way.
He said he ended up watching the show from the balcony in the audience!
And there was to be a happy ending to the tale…
The show's apologetic producer Marcus Plantin promised Jimmy a slot on the show in the next series.
Marcus was true to his word.
Jimmy did do a six-minute slot on Live from the London Palladium the following autumn.
Also read on this website: Jimmy 'thrilled' to host London Palladium event
Sir Ken Dodd: Jimmy Cricket pays tribute at funeral in Liverpool https://www.jimmycricket.co.uk/wp-content/themes/blade/images/empty/thumbnail.jpg 150 150 mhamer mhamer https://secure.gravatar.com/avatar/e3e9e71d9bef1ab16642587b224d590b?s=96&d=mm&r=g March 29, 2018 March 29, 2018
Sir Ken Dodd: Jimmy Cricket pays tribute at funeral in Liverpool
Jimmy Cricket was among those to pay a special tribute to the late Sir Ken Dodd at the legendary comedian's funeral.
The Northern Irish entertainer joined other stars like actors Ricky Tomlinson, Stephanie Cole and Miriam Margolyes, and fellow comics Jimmy Tarbuck and Stan Boardman at the service at Liverpool Anglican Cathedral on Wednesday.
Sir Ken died at the age of 90 earlier this month.
Jimmy said he was "one of the most original, innovative and gifted comedians we'll ever see".
"Comedians like Ken only come once in a lifetime – we thank God today that he came in ours," he told a packed congregation.
"He had time for everybody. He said we were all walking miracles, every one of us and we all had stories to tell."
Members of the public lined the route taken by Sir Ken's funeral cortege from his Knotty Ash home to the cathedral in his home city. Some of them sang his 1964 song Happiness as the horse-drawn hearse passed.
Tickling sticks were also placed around Liverpool in tribute to the famous entertainer who was loved by millions and whose shows would nearly always overrun, sometimes by hours.
The BBC called Sir Ken Dodd a comedy legend when it reported his death


3M™ Bumpon™ Protective Products SJ6103 Black, 3000 per case3M™ Bumpon™ Protective Product SJ6103 is a self-adhesive rubber bumper designed to be used as feet, stops and spacers. The hemispherical shape provides excellent sound damping and energy absorption. Black, 0.440 in. wide x .200 in. high.Adhesive backed polyurethane bumper.


text:
package org.apache.camel.component.infinispan;

import org.apache.camel.Exchange;
import org.infinispan.commons.api.BasicCache;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

public class InfinispanOperation {
    private static final transient Logger LOGGER = LoggerFactory.getLogger(InfinispanOperation.class);
    private final BasicCache<Object, Object> cache;
    private final InfinispanConfiguration configuration;

    public InfinispanOperation(BasicCache<Object, Object> cache, InfinispanConfiguration configuration) {
        this.cache = cache;
        this.configuration = configuration;
    }

    public void process(Exchange exchange) {
        Operation operation = getOperation(exchange);
        operation.execute(cache, exchange);
    }

    private Operation getOperation(Exchange exchange) {
        String operation = exchange.getIn().getHeader(InfinispanConstants.OPERATION, String.class);
        if (operation == null) {
            if (configuration.getCommand() != null) {
                operation = InfinispanConstants.OPERATION + configuration.getCommand();
            } else {
                operation = InfinispanConstants.PUT;
            }
        }
        LOGGER.trace("Operation: [{}]", operation);
        return Operation.valueOf(operation.substring(InfinispanConstants.OPERATION.length()).toUpperCase());
    }

    enum Operation {
        PUT {
            @Override
            void execute(BasicCache<Object, Object> cache, Exchange exchange) {
                Object result = cache.put(getKey(exchange), getValue(exchange));
                setResult(result, exchange);
            }
        }, GET {
            @Override
            void execute(BasicCache<Object, Object> cache, Exchange exchange) {
                Object result = cache.get(getKey(exchange));
                setResult(result, exchange);
            }
        }, REMOVE {
            @Override
            void execute(BasicCache<Object, Object> cache, Exchange exchange) {
                Object result = cache.remove(getKey(exchange));
                setResult(result, exchange);
            }

        }, CLEAR {
            @Override
            void execute(BasicCache<Object, Object> cache, Exchange exchange) {
                cache.clear();
            }
        };

        void setResult(Object result, Exchange exchange) {
            exchange.getIn().setHeader(InfinispanConstants.RESULT, result);
        }

        Object getKey(Exchange exchange) {
            return exchange.getIn().getHeader(InfinispanConstants.KEY);
        }

        Object getValue(Exchange exchange) {
            return exchange.getIn().getHeader(InfinispanConstants.VALUE);
        }

        abstract void execute(BasicCache<Object, Object> cache, Exchange exchange);
    }

}

redpajama_set_name: RedPajamaGithub


From today (01 April 2019) the Energy Saving Trust is encouraging applications for a new £2million fund set up by the Department of Transport to help companies invest in electric cargo bikes to fulfil last mile deliveries.
"Funding to support the adoption of ecargo bikes by businesses in England and enable low carbon Last Mile Delivery across the country is a positive step in improving local air quality, tackling road traffic congestion, and reducing transport operating costs. Applicants can benefit from grant funding for up to 20% of the cost of a new ecargo bike up to the value of £1,000 per bike," said Matthew Eastwood, Head of Transport at Energy Saving Trust.


The City's Urban Design section is responsible for creating a diverse community with a unified, aesthetically pleasing look. This is often achieved by developing codes and design guidelines (see below) to create a well-planned, mixed-used community. As part of the Urban Design Section, staff is responsible for design review and historic preservation.
The guidelines have been extensively revised. The major organizational change is the division of the document into a series of Sections, which will incorporate all of the design guidelines governing design review in the Central City. Therefore, the Central City Urban Design Guidelines will exist as a compilation of all adopted guidelines for the Central City and each can be amended or new guidelines added, as required in the future.
Design review staff review and take action on development projects that are within a design review area in accordance with the Design Review Code.
Historic Preservation protects historic and cultural resources and assists in the preservation, rehabilitation and awareness of historic and cultural resources. A preservation review and approval is regularly required when doing work to a structure that is declared a historic landmark, or is within a historic preservation district.


I don't set out each day with the sole purpose of writing impulse articles about the Avon catalogue.
The material just finds me.
One of the things we have plenty of at our front desk area (and probably due in no small part to our Receptionist being an Avon representative) is a plethora of Avon catalogs. I (as well as my clerical supervisor) love flipping through them when my coverage time proves to be a little bit quiet (as it is sometimes, since I cover lunchtime).
Whoever your daddy is, whatever your daddy does, and if he reminds you of any TV daddies, here's to daddy and all he does for us.
Happy Father's Day to all the dads, uncles, grandfathers, stepfathers, and father-type figures out there. Thank you for all you do for us!
A very happy 93rd Birthday (the first in Heaven) to my maternal grandmother, Catherine "Kitty" Nesgood.
She was truly the original hottie, don't you think?
Because it's not just a bracelet, it's a movement.


text:
Ихса́н ( — «благодеяние, милость») — в исламе, богоугодное дело, совершенное поклонение, искреннее служение, когда мусульманин поклоняется Аллаху так, как будто он видит Его, хотя он не может его видеть, но все равно знает, что Аллах видит его. Одна из трёх степеней верования, наряду с иманом и исламом и самое высшее проявление веры. Противоположность ихсану — лицемерие (нифак) и показуха (ри'а).

Для достижения полной искренности, мусульманам рекомендуется постоянно поминать Аллаха (зикр), усердствовать в различных видах богослужения, бороться против своего эго (нафса) и очищать свою душу и сердце от всех грехов искренним покаянием, милостыней и т. д..

Цитаты
 Пророк Мухаммад говорил: «Ихсан — это когда ты поклонишься Аллаху так, как будто ты видишь Его, но даже если ты не можешь видеть Его — Он видит тебя».
 Рассказывают, что у некоего наставника было множество своих учеников, но к одному из них он питал больше симпатии и любви, и поэтому остальные учащиеся с ревностью относились к нему. Для того, чтобы ответить на их постоянные вопросы о его превосходящей любви к тому ученику, учитель попросил их принести по одной курице, зарезав её так, чтобы никто не видел.

 На следующий день все ученики принесли по одной зарезанной курице, а тот его любимец пришел с живой курицей. Это рассмешило их. На вопрос наставника, почему он не зарезал её, ученик ответил: "Вы ведь сказали зарезать так, чтобы никто не видел, но я не нашел места, где бы меня не увидел Аллах ". Тогда наставник сказал ученикам: «Вот за что я его люблю».

Примечания

Литература

Ссылки


Dr. Pao received her bachelor's degree from Yale University and her medical degree from Washington University in St Louis. She then completed her residency in internal medicine and fellowship in Diabetes, Endocrinology, and Metabolism at the University of California, San Francisco. She is board certified in internal medicine and endocrinology. She currently is Chief of Endocrinology and Director of the Diabetes Center at St Joseph's Hospital. Dr. Pao is interested in all aspects of endocrinology.


A look at modern relationships, romance, fame, etc. as a Jewish comic (Allen) recalls his long love affair with Annie (Keaton).
Woody Allen (who also won the Oscar for direction).
With Carol Kane, Paul Simon, Shelly Duvall, Colleen Dewhurst, and Christopher Walken.
Charles H. Joffe ( - ) American producer who works almost entirely with Woody Allen.
Joffe's other works include: TAKE THE MONEY AND RUN, BANANAS, SLEEPER, LOVE AND DEATH, and ZELIG.
Woody Allen and Marshall Brickman received the Screenplay (Written directly for the Screen) Oscar.
Carefully watch for future stars: Jeff Goldblum, Sean Young, Shelley Hack, Beverly D'Angelo, and Sigourney Weaver in small parts.


Design and manage your project all the way from concept to completion.
Create beauty and implement your functional needs to the smallest of details.
Collaborate with your architect and contractor to integrate the perfect interior.
Design and specify custom furniture pieces and cabinetry according to your needs.
Help you turn old into spectacular and coordinate space, finish, materials and decor.
Source and procure public and trade-only furniture, lighting, fabrics, rugs, decor, etc.
Develop floor plans and furniture layouts to get the most out of your space.
Coordinate construction milestones, delivery, and installation so you don't have to.
Temple and Hentz is an interior consulting firm that provides a collection of design services, each with a highly custom solution tailored to your needs. We pride ourselves on delivering your uniquely designed project in a completed fashion.


text:
Is this a study of shared decision making?
At first, it seemed like the study by Hyo Jung Tak, Gregory Ruhnke, and David Meltzer challenged the idea that shared decision making (SDM) is associated with lower health care resource use.
Importance Patient participation in medical decision making has been associated with improved patient satisfaction and health outcomes. However, there is little evidence concerning its effects on resource utilization. Patient participation in medical decision making has been hypothesized to decrease excess utilization but might be expected to increase utilization when other decision makers have incentives to reduce utilization, as under prospective payment systems for hospital care.
Objective To examine the relationship between patient preferences for participation in medical decision making and health care utilization among hospitalized patients.
Design and Setting Survey study in an academic research setting.
Participants A survey that included questions about preferences to receive medical information and to participate in medical decision making was administered to all patients admitted to the University of Chicago Medical Center general internal medicine service between July 1, 2003, and August 31, 2011, and completed by 21 754 (69.6%) of admitted patients.
Main Outcomes and Measures The survey data were linked with administrative data, including length of stay and total hospitalization costs. We used generalized linear models to measure the association of patient preference for participation in decision making with length of stay and costs.
Results The mean length of stay was 5.34 days, and the mean hospitalization costs were $14 576. While 96.3% of patients expressed a desire to receive information about their illnesses and treatment options, 71.1% of patients preferred to leave medical decision making to their physician. Preference to participate in decision making increased with educational level and with private health insurance. Compared with patients who had a strong desire to delegate decisions to their physician, patients who preferred to participate in decision making concerning their care had a 0.26-day (95% CI, 0.06-0.47 day) longer length of stay (P = .01) and $865 (95% CI, $155-$1575) higher total hospitalization costs (P = .02).
Conclusions and Relevance Patient preference to participate in decision making concerning their care may be associated with increased resource utilization among hospitalized patients. Variation in patient preference to participate in medical decision making and its effects on costs and outcomes in the presence of varying physician incentives deserve further examination.
It's important to recognize that the results on length of stay and hospital costs are associated with the response to a single question at time of admission: "I prefer to leave decisions about my medical care up to my doctor." There was neither any random assignment nor any test of an SDM intervention. Indeed, we don't even know if patients who expressed greater interest in participating in decision making actually did so, or, if so, to what extent. Perhaps in an environment without an SDM protocol, patients who seek to guide their own care end up making poor decisions, leading to longer stays and higher costs.
This leaves open the possibility that SDM could reduce health care utilization among patients who self-identify as having a lower preference for leaving medical decisions up to their doctors, among others. Moreover, by its nature it would do so in a way consistent with patients' values.
Of course, if it led to higher utilization, that would be consistent with patient values too. In this study, we have one measure of patients' values and measures of resource use and cost, but no confidence that the latter are really connected to more fully informed and articulated versions of the former, as might be obtained in an SDM process.
shared decision-making
by Thom Walsh on May 29th, 2013 at 16:58
to answer the question posed in your title – no.


By the time I got back home I Uploaded 10 photos along with each are in HD version. From different photograph in Red barn coloring page digital imageries, you might have Coloring Pages with decor. Anyhow, if you don't appropriate with concept, you can still take a look inspiring creativity. Even so I propose you would probably use as an concept design, although along with has remarkable design design. Don't disremember for share this Red barn coloring page red barn drawing 30 coloring page zfcampus mario brothers coloring pages to boy friend or your close friend. So they are can get together with to erect they Coloring Pages. I am exuberant would probably share plus together with to you all. Perhaps you can find which all the time are you search.
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DawnWayang.com: Teehee!! just for you!!
To my beloved fans... heres something new..
Because i only have one hole, i cannot spread it for ALL of you!!
so this post is to show my gratitude!!
let me update you on the goings-on in my wonderful life as a superstar..... teehee!!!
You all better support xiaxue and donate to her if she needs the money!!
and some more fan art from some very special contributors!!
Dawn Wayang, I love you! Keep up the bust-your-gut-laughing humour!


Wondering what exactly is going on with those women at 0:22. And that is a very interesting place as far as weird things per square foot.
@djslack I want to visit there. But taking a credit card would be a big mistake. So much cool stuff.
@bramby2 @cinoclav There's like not quite a spanking, but(t) there is something going on there which ceased quickly as the camera approached. That's all I'm saying.
@therealjrn I'm glad you like them. Honestly, the Pinewood Derby is the sole reason I enrolled my son in Cub Scouts. The first year he did the race, it sucked, so I overthrew the old regime and took over his Pack. My first order of business was to improve the Derby, which was a huge success. If only we could do the Derby every month.
He took 2nd place in our District this year.
I told him that 2nd place wasn't good enough but he seemed happy with it anyway. First place or GTFO, because if you're not first, you're last.
Love the band bit towards the end with all the drunkies and steins!
Feckin' geese. Always such jerks.
@Cengland0 We put out water for the birds out front. We get lots of crows and pigeons. Nothing as exotic as geese. Way cool!
@lisaviolet Here's a still photo of them destroying the pool. That was my neighbor's pool and I finally saw her today so I showed her the video. She said she knew something happened because she had to clean it up afterwards.
These particular geese have been coming to my house since they were goslings. So cute.
Now I have to deal with them pooping on my driveway every day and then hosing it off. Here they are from one of my security cameras. All grown up.
@lisaviolet I put out water for the birds too. I get squirrels.
@sammydog01 I make comments on the Meh forum. I get squirrels, too.
Could I send you some deer and turkeys?
The turkeys are also jerks when they're here.
Nice, I liked this one. Looking forward to the next one @Dave cooks up.
Love that Lego set @Dave.


Gov. Tom Wolf says the new farm is geared to "produce more jobs, more income, and more hope."
State Ag. Secretary Russell Redding says this is historic.
The measure allocates $24 million in additional funding to chart a path for a dynamic and prosperous farming economy in Pennsylvania.


An economic recession affects everyone, even robbers. When money is short, more people turn to crime and those already involved tend to get more desperate.
According to a new survey by the Police Executive Research Forum, nearly half of police departments have reported an increase in certain crimes they say can be attributed to the economic crisis -- including home burglaries.
With more houses sitting empty due to foreclosures, once safe neighborhoods are becoming more tempting to looters.
But there are ways to keep your home safe from even the most dogged burglars without breaking the bank.
"Good Morning America" housing contributor and Wall Street Journal editor Wendy Bounds knows a thing or two about home security and compiled some tips, with the help of Consumer Report's Shop Smart, for burglar-proofing your home on the cheap.
"You make it as difficult and frustrating as possible for thieves to break in, so you create multiple layers that a thief must get through in order to gain access to your home," Bounds said. "You want your house to be the least appealing to thieves on the block. And you can do that by dissuading them from even coming up your driveway."
Don't put out a calling card with boxes of expensive items, like the flat-screen TV you just bought. You're advertising all the great loot that's inside your house. Keep all that stuff in the garage until garbage day.
Don't leave mail piled up in the mailbox if you're away. Again, you're telling the thieves what's going on, that you're not home.
Take your name off the mailbox altogether. These days with Google and the Internet, it's very easy to find your phone number online, then the thief can call and see if you're home.
Finally, light up the house. Scare off those burglars with motion-sensor lights. Look for ones with adjustable sensitivity to avoid getting a false alarm from things like tree branches rustling. And keep the outside of your home illuminated an all sides using energy efficient compact fluorescents.
"If they've made it through, then they're wondering how they can get inside. Make it as hard as possible for them to think about that with landscaping," Bounds said. "If they're up at the window and peering in, don't have a calling card for what's inside."
Shrubs can make a great deterrent to getting into the house, but keep them low enough to make sure burglars can't hide there, and that your neighbors can see what's going on in your yard. Some safety experts suggest the three-foot-by-six-foot rule, keeping shrubs down to three feet in height and keeping tree branches pruned up to six feet off the ground. Consider thorny shrubs or rose bushes to add an extra deterrent.
Close the blinds when you're not home so they can't peruse the items in your house and decide you have something worth stealing.
Make sure you don't give obvious clues that you're not home.
Turn down the telephone ringer, so burglars won't hear you aren't there.
Make the house seem like someone is home with lamps or a radio on a timer.
Alarm systems are more expensive than the other tips, but if you live in a particularly vulnerable neighborhood, Bounds said, you may still want to consider one.
"They are one of the best defenses, and you can get a system for about $50 to $100 a month," she said. "But make sure you check with the Better Business Bureau before picking an alarm company. There have been many complaints about companies in recent years, and there are a lot of unscrupulous people out there talking alarm systems."
Consider installing safety and security window films near windows that are close to door handles, or that you think are especially vulnerable. It makes glass tough to smash, and frustrates intruders by making them hit it again and again. It's more expensive, but very effective.
You can control some alarms from your cell phone while you're away on vacation. Some models even allow you to have remote live video so you can see your home even when you're not there.
"You can still protect your valuables even if the intruders make it inside your house, but you have to prepare for the worst case scenario, too. The burglars want to get in and out as fast as they can, so you need to make it hard for them to find anything worth taking," Bounds said.
Don't put your valuables in obvious places. Get a hollowed-out book or a fake wall outlet. Put your family heirlooms and other precious items in there.
Video record each room to prove what was in there for a police report. You may think you know what you have, but close your eyes and try to recount everything that's in the room with you. Most people will find that it's very hard to do.
List all the serial numbers of expensive items on one list, and if you're really concerned, you can etch your name and address on valuables like your TV and stereo. This makes it harder to sell on the black market and is something of a deterrent to thieves.
Finally, many local police departments maintain something called a "vacant house list" when you travel for an extended period of time, like a week or more. Police will drive by and check on your house when you're gone. If a criminal knows the police are watching your house, most won't want to take the chance of breaking in.


Who put the glad in gladiator? Hercules! The true strength of a 4 x 2 home design lies in its versatility, and the Hercules has got some power!
The gourmet kitchen, dining room and family room all sit in an open plan living arrangement on one side of the home, making it the perfect hub for family bonding. When privacy is required, a separate theatre room can be used or bedrooms on the other side of the home, including a master ensuite bedroom.


text:
Title: Ennepe-Ruhr-Kreis
Subject: Witten, Schwelm, Breckerfeld, Ennepetal, Sprockhövel
Collection: Ennepe-Ruhr-Kreis
Adm. region
• District admin.
Arnim Brux
Population (31 December 2013)[1]
EN, WIT
.de.enkreiswww
The Ennepe-Ruhr-Kreis is a district in the center of North Rhine-Westphalia, Germany. It is part of the southern Ruhr urban area and has ca. 324,000 inhabitants (2012). The district's seat (capital city) is Schwelm; the largest of its nine towns is Witten.
Municipalities 1.1
Adjacent cities and districts 1.2
Coat of arms 3
The name of the district describes its geographical location – it is located in the valleys of the rivers Ruhr and Ennepe. Geologically it is part of the north-eastern Rhenish Massif, a Mittelgebirge landscape; only small parts of Witten belong to the flat Westphalian Lowland.
Ennepe in Gevelsberg
Ruhr valley in Witten
wooded hills in Ennepetal
The district consists of nine municipalities, all entitled "Stadt" (town or city).
!! Municipality !! Area
1. Breckerfeld 58.78 km2 (22.70 sq mi)
2. Ennepetal 57.43 km2 (22.17 sq mi)
3. Gevelsberg 26.29 km2 (10.15 sq mi)
4. Hattingen 71.40 km2 (27.57 sq mi)
5. Herdecke 22.40 km2 (8.65 sq mi)
6. Schwelm 20.50 km2 (7.92 sq mi)
7. Sprockhövel 47.80 km2 (18.46 sq mi)
8. Wetter (Ruhr) 31.47 km2 (12.15 sq mi)
9. Witten 72.37 km2 (27.94 sq mi)
Ennepe-Ruhr-Kreis, total 408.44 km2 (157.70 sq mi)
Adjacent cities and districts
The Ennepe-Ruhr-Kreis is bounded by (from the north and clockwise) the district-free cities of Bochum, Dortmund and Hagen, the districts of Märkischer Kreis (with Schalksmühle and Halver) and Oberbergischer Kreis (with Radevormwald), the city of Wuppertal, the district of Mettmann (with Velbert) and the city of Essen.
The Kreishaus (district administration building) in Schwelm
The district was created in 1929 by merging the former district of Schwelm with parts of the former districts of Hattingen and Hagen. In 1970 and 1975 it was modified a bit during the reorganization of the districts in North Rhine-Westphalia; most notable was the inclusion of the previously independent city of Witten in 1975.
In the middle of the coat of arms there is the checked red-white bar of the County of Mark, which owned the area in medieval times. The two wavy lines above and below depict the two rivers which gave the district its name, the Ruhr and the Ennepe.
^ "Amtliche Bevölkerungszahlen".
Media related to at Wikimedia Commons
Official Webpage (German)
Urban and rural districts in the state of North Rhine-Westphalia in Germany
Urban districts
Rural districts
Kleve (Cleves)
Districts of North Rhine-Westphalia
Münster, Cologne, Dortmund, Düsseldorf, Hesse
Berlin, North Rhine-Westphalia, Hamburg, France, United Kingdom
Germany, France, North Rhine-Westphalia, Russia, Berlin
Germany, Russia, Berlin, Cologne, Dortmund
Germany, United Kingdom, Ennepe-Ruhr-Kreis, France, Austria
North Rhine-Westphalia, Germany, Ennepe-Ruhr-Kreis, Districts of Germany, Westphalia
Germany, North Rhine-Westphalia, Ennepe-Ruhr-Kreis, States of Germany, Districts of Germany
Germany, North Rhine-Westphalia, Ennepe-Ruhr-Kreis, Belgium, States of Germany
Germany, Ennepe-Ruhr-Kreis, North Rhine-Westphalia, States of Germany, Districts of Germany


text:
Alen Omić, bosansko-slovenski košarkar, * 6. maj 1992, Tuzla, Bosna in Hercegovina.

Igralna kariera

Začetki
V BiH je bilo v povojnem obdobju težko najti pravi klub za trening, zato se je kot vrsto njegovih sovrstnikov odpravil v inozemstvo. Prvi postanek je bil pri 14. letih v Črnomlju (v tem letu je zrasel za 12 centimetrov), od koder se je po enem letu preselil v Laško, ki velja za tradicionalen center dobre slovenske košarke in kjer je pravo priložnost za razvoj dobilo več dobrih mladih košarkašev (Boštjan Nachbar, Sani Bečirovič, Goran Jurak). V tem obdobju je Omić sprejel tudi slovensko državljanstvo in zatem igral v vseh mladih selekcijah. V Laškem je ostal v letih od 2009 do 2012.

Klubska kariera
Union Olimpija je odkupila njegovo pogodbo z Laškim in z njim podpisala štiriletno pogodbo. V sezoni 2014/2015 je prišel njegov talent zares do izraza, kar je izkoristila španska Grand Canaria in si zagotovila njegove usluge za naslednji dve sezoni. V Grand Canariji se je znova dokazal. V španskem prvenstvu je bil eden najboljših igralcev lige. V evropskem tekmovanju EuroCup pa se je uvrstil v prvo peterko tekmovanja.

V sezoni 2016-17 je igral najprej v Turčiji nato pa se je sredi sezone vrnil v Španijo, in sicer v Malago. S tamkajšnjo Unicajo je aprila 2017 osvojil naslov prvaka v drugem evropskem kakovostnem tekmovanju, Evropokalu. Pri tem je bil v finalnih srečanjih eden najboljših igralcev svojega kluba, izkazal se je predvsem kot odličen skakalec.

Reprezentanca
Prvič je za slovensko člansko reprezentanco odigral na Svetovnem prvenstvu 2014 v Španiji. Na Evropskem prvenstvu 2015 je bil eden od nosilcev slovenske igre.

Sklici

Zunanje povezave

Slovenski košarkarji
Slovenski košarkarski reprezentanti
Košarkarji Olimpije
Bosanski Slovenci
Centri (košarka)
Košarkarji Zlatoroga


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