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Tag: fragments
An Interview with David Bramwell, on his upcoming Cult of Water show.
January 22, 2019 January 22, 2019 darrencharles1Leave a comment
David Bramwell is a name familiar to many Revivalists, his Singalong-A-Wicker Man show has become almost legendary in our little corner of the internet. David is an incredibly busy and talented man. He has produced programmes for BBC Radio 3 and Radio 4, he gives talks and performs one man shows on a variety of fascinating topics from tricksters to ghost villages. He also co-hosts the Odditorium, a rather splendid podcast based around the book of the same name, one of several that he has co-written with Jo Tinsley (formerly Keeling). We could go on, David's achievements are many and varied, but they are always interesting and always done with an incredible sense of joy. His latest one man show The Cult of Water opens at the Soho Theatre in London on the 28th January, and I was lucky enough to catch up with David for a chat about this new show and a few other interesting titbits Revivalists may enjoy.
FHR: Hi David, can you tell us a little bit about your new show, The Cult of Water? Would it be fair to describe it as a psychogeographical journey around the waterways of the Yorkshire of your youth, or is that perhaps a little too simplistic a reading of it?
David: That's a pretty good summary. I grew up in Doncaster. It's a personal journey up the river Don – told through story, music and and archive film – in search of the supernatural secrets of our inland waterways and to uncover a mystery concerning the drowned village at Ladybower Reservoir in Derbyshire. It's also a journey back through time to the source of the Don and an age of water worship; the Don originally took its name from the water goddess, Danu.
Along the way I learn about hydromancy from magician Alan Moore, encounter Jarvis Cocker on his own adventures sailing down the Don on an inflatable inner tube, and come face to face with 'the spirit of dark and lonely water' from the old public information film of the 70s.
I also uncover the story of artist Mark Golding who, with the help of LSD, unearthed a sacred spring in Hastings – believed to have been frequented by Aleister Crowley – and whose waters saved his son from a terminal lung disease.
At the heart of The Cult of Water is an exploration of the symbolism around water, its association with feminine power and the profound ways in which the elements affect our psyche.
https://sohotheatre.com/shows/the-cult-of-water/
FHR: I believe you're being joined in the show by folklorist Chris Roberts who is going to discuss the lost rivers of London? This sounds like a fascinating talk in its own right. What can you tell our readers about Chris and his work?
David: Chris is a South London based tour guide, author and expert on many aspects of London folklore and history. Most of his walks are river focused, whether Thames or other, and all of them are rich with legends of the city. He's written a book (Cross River Traffic) on the history of London' Bridges and articles on the lost gods of the river as well as delivering talks on the folktales associated with London's water from feral swine in the Fleet to sacred wells to Saxon goddesses and the ongoing religious rites on the Thames from the Jewish, Pagan, Christian and Hindu traditions. He was folklore consultant for Stella Duffy's theatrical piece Taniwha Thames in which a New Zealand river spirit follows a ship back to London and takes up residency under Waterloo Bridge.
In 2007 Chris founded the magazine One Eyed Grey, which took many of London's old myths and legends – such as the legendary shape shifting sorceress of the sewers and hidden rivers Queen Rat – and re-imagined them in a modern context. It culminated for the two of us in a collaboration for Radio 4, a programme called London Nights, in which Chris did the heavy lifting in actually writing the stories while I read them out in my best Martin Jarvis. These stories featured a ghost boat on the Thames and a mermaid at Brockwell Park Lido. Brockwell lido is sort of Chris's unofficial office, all year round. He's a water baby. And made of hardier stuff than me.
FHR: Can I ask what inspired you to write this show now? Is this something that has been on your mind for some time or was it triggered by recent events in your life?
David: I've wrestled all my life with thalassophobia – the fear of large bodies of water – and wanted to confront this fear. In the last ten years I went down a rabbit hole researching water cults, sacred springs and wells. I wanted to pay my respect to water. I also became interested in the idea of following a river back to its source. I knew if I was going to make this journey as a pilgrimage it'd have to be along the river Don where I grew up, to search for its lost water goddess and to trace its biological and metaphorical death and resurrection over the millennia. When I discovered that Sheffield adopted Vulcan – the Roman god of fire and forge – as its mascot in the 1800s, the story began to catalyse as a mythic battle of the sexes: goddess of water vs god of fire. During the industrial revolution Danu was the equivalent of a princess locked in a tower and being force-fed MacDonalds for 200 years.
I also wanted to draw on my experiences of being haunted by the image of the drowned church of Ladybower Reservoir poking through the waters during the drought and ladybird plague of 1976. This led to a deeper exploration of the symbolism of stone and water, lines and circles, male and female, the line and circle and finally binary code. I figured if I tell this story and make amends for Vulcan then thalassophobia might loosen its grip. (It has).
In terms of how I wanted to tell the story, Alan Moore's live spoken performances with music – Snakes and Ladders, The Birth Caul and Highbury Working – were a big influence. When he agreed to provide his voice for some of the Cult of Water I was over the moon. The central premise of his novel Jerusalem seems to be that in staying put anywhere (in his case Northampton) and digging deep enough, all the meaning and myths are there, as long as you know how and where to look. It's the same with Alan Garner remaining in Alderely Edge for sixty-odd years and mining a different kind of landscape for stories. If Moore could rewrite Northampton as Jerusalem I figured it was time to try my hand at doing that with my old home town of Doncaster.
FHR: I believe the show is directed by Daisy Campbell, the daughter of theatre legend Ken Campbell. Have you known each other for some time, or did you specifically come together with this project in mind?
David: My first solo show, The Haunted Moustache, which delved into magic, spiritualism and the occult, was created with Ken Campbell's help. I got to know Daisy because of Ken. She's been a friend for many years. We're currently collaborating on a podcast series, making her dad's vast archive of recorded one-man shows available for the first time. Being a seeker, Daisy was the obvious choice for directing this show.
FHR: I believe you have worked on a number of broadcasts for both BBC Radio 3 and Radio 4 including a programme about the legendary Ivor Cutler. Can you tell us about any amusing encounters you may have had with him?
David: In the mid-90s I sent some scribblings to the poet Ian MacMillan who, at the time, had a slot on the Mark and Lard show on BBC Radio One. Ian seemed to like my poems so I sent a bunch to my hero Ivor Cutler. Cutler was less than enthusiastic and suggested I do something useful with my life instead, such as 'becoming a teacher or a botanist'. He was right of course, my poetry was awful. But it's hard getting a rejection letter from your hero.
20 years on I'd started presenting programmes for Radio 4 and got a call from a producer saying that she was considering me as presenter for an Archive Hour on Ivor Cutler and offered me a minute on the phone to 'sell myself'. I thought for a moment then remembered the rejection letter from Ivor. 'Do you still have it?' she asked. 'I dug it out, read it to her and got the job. So thanks inadvertently to Ivor, I got to make a documentary about him, meet his friends and family and even perform live on one of his harmoniums. If Ivor had still been alive to hear the programme I'm sure I'd have received another rejection letter.
FHR: Many of us know you from your rather wonderful and always well received Singalong-A-Wickerman show. What have been the strangest things to have happened during the various performances of this show? Do you think you were able to invoke something of the ritual spirit that infused the original film?
David: Things got strange when, ten years ago, the director Robin Hardy started showing up at our gigs, sometimes with wife and family in tow. I never imagined I'd be leading the director of the Wicker Man in the actions to the Maypole Dance. It was delight to have Robin's support for the show but it was always a bit odd him being there; we do at times, gently take the piss out of some of the clunky dialogue in the film. The relationship culminated in us us doing the show with Robin in the Elengowan Hotel in Dumfries and Galloway, which is where all the original bar scenes were shot.
Over the years we've also had several individuals overcome with the desire to re-enact the naked scenes from Willow's Song on stage with us. It's always men. And someone in Belfast once threatened to shoot me for blasphemy. My blood turned cold when he whispered into my ear: 'I've killed before and I''d kill again.' I believed him.
FHR: Beyond adapting The Wicker Man as a sing-a-long. Can I ask you about how the ideas of Folk Horror have influenced your work in general? Are there specific artists, film makers and writers whose work has particularly been influential to you or do you draw more inspiration from the countryside around you?
David: Folk Horror has been, and continues to be, a huge inspiration. Like many of a certain age I really was scarred for life by the spirit of dark and lonely water and haunted by TV programmes like Children of the Stones. I love the unsettled atmosphere of Garner's work and films like The Shout, Penda's Fen. And of course The Wicker Man, despite having watched it now over 100 times. More recently the work of Peter Strickland and films like November show the genre is evolving.
There's a line by Alan Moore that I've used in The Cult of Water and also in a track by my band Oddfellow's Casino: we have wandered too far from some ancient totem. Something central to us that we have misplaced and must find our way back to, following a hair of meaning.' For me, Folk Horror re-connects us to an age of magic, when everything was imbued with meaning. For me at least, the dark heart of Folk Horror beats strongly in The Cult of Water.
Thank you to David for speaking to us at FHR, and if you want to buy tickets for The Cult of Water they are available now from the Soho Theatre priced from £10. Just head along to the link below.
You can also check out David's own website for more information on David and any future events or shows.
http://www.drbramwell.com/
Posted in Blog, Events, Musings, Uncategorized, WritingTagged alan moore, Aleister Crowley, Blog, books, Chris Roberts, Daisy Campbell, David Bramwell, Folk Horror, Folk Horror Revival, fragments, HighlightResource, interview, Ivor Cutler, Jarvis Cocker, Ken Campbell, Mark Golding, Oddfellows Casino, psychogeography, Singalong-A-Wicker man, Soho Theatre, The Cult of Water, The Haunted Moustache, Theatre
#Folklore Thursday: Folk Magic – Horse Whisperers
November 8, 2018 November 7, 2018 fertilitycult
Horse-Whisperers were far more common in the times when horses were more widely utilised for transportation, agriculture and industry. Some horses more than others are loath to be ridden and strongly resist being tamed. It is in these circumstances that Horse-Whisperers would come into their own. They were so named because they were believed able to calm and train wild horses by whispering into their ears (the Horseman's Word). There have been suggestions that concoctions of certain aromatic herbs may have also been utilised in the soothing of equine temper and nervousness. Whatever their true methods, it could not be disputed that the Horse-Whisperers generally had an excellent and impressive record of breaking beasts. Onlookers and clients would often conclude that supernatural powers were afoot, a supposition that Horse Whisperers did little to dispel and may even have encouraged. Not just anyone could become a Horse-Whisperer however, for they guarded their prowess with the utmost secrecy. Elaborate Masonic-style initiation was the only way into the ranks in Scotland, and women were never made privy to the Horseman's Word. Rumours spread that the introductory rites and the deliverance of knowledge involved the presence of the Devil himself. The form of Horse-Whisperers known as Toad-Men heightened this sinister notion further. Their name was derived from their habit of carrying the skeleton of a Toad around in a pouch, apparently as a magical device.
Image and text. © Andy Paciorek. Adapted from the book Strange Lands: A Field Guide to the Celtic Otherworld
Posted in Uncategorized, WritingTagged #Folklore Thursday, andy paciorek, art, Blog, books, folk magic, folklore, fragments, horse whisperers, Strange Lands
Daniel Pietersen – Archivist of the Constant University
August 20, 2016 August 20, 2016 skaldsummerisleLeave a comment
Daniel Pietersen is an author of weird fiction and horror philosophy who has spent the past few years poring over the vast and only-recently unearthed archival material from the so-called Constant University. This vast selection of prose fragments, poetry, anthropological material and photographic media of various types and qualities outlines the lives and customs of the inhabitants of the city of Benedictine, a curiously formless conurbation consisting of five Quarters and surrounded on all sides by the dangerous wildlands of The Fen.
As these scraps are analysed and put into some kind of order, a world as rich and complex as our own comes into being.
Further information on the archive can be found at its aetherycal repository. Daniel Pietersen has an online presence here.
The foundations of the city are riddled with holes. Basements, sewers, sub-basements, forgotten wells and more upon more. Even the eerily still worlds of natural cave systems stretch down for untold fathoms beneath the daylight world. Very few people venture down into these dark, fungus-haunted spaces. Fewer still return.
And, in the centre, the great campanile rises high above the clouds of salesman's patter as if unconcerned by the price of silken gloves or sesame. An ersatz gnomon – although built long after the square was named for a now-forgotten bureaucrat, giving it a perhaps not entirely subconscious homophone – whose even-paced shadow strolls from dawn to dusk, a dark-suited overseer marking out ungraded time against lamp-post and flagpole.
There lies, far East, a nameless fen/didst Man last tread I know not when/but beasts there are/and worse by far/things that yearn for foreign stars/things as shy from mortal ken/but dance and howl on the nameless fen…
H. Devlin Weard (attrib.)
Posted in Uncategorized, WritingTagged archives, Blog, Folk Horror Revival, fragments, poetry, weird horror, WritingResource


About Mr. Green Africa: Mr. Green Africa (MGA) is a fast-growing startup established in 2014 in Nairobi, Kenya. We are a young, dynamic and committed team who believe in changing the perception of waste. We use technology along our value chain to trade recycled material while achieving tangible social and environmental impact. We currently operate in three counties and plan to cover all of Kenya by 2021.
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Experience in working indirectly or directly plastics manufacturing and processing.
Mr. Green Africa is an equal opportunity employer.


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Dog-sledge team
Formal records are generally silent about the human details of events, the things that really bring the past to life. The British Antarctic Survey (BAS) oral history archive gives a new view of the British endeavour in Antarctica.
The archive focuses on the period from the first continuous British presence there, during Operation Tabarin in 1943-45, to the present day. It includes testimony from a wide variety of people, including those who served the Falkland Islands Dependencies Survey (FIDS) and BAS. The bulk of this collection is the work of the ongoing British Antarctic Oral History Project (BAOHP), which so far has 200-plus audio and video recordings.
These recollections of men and women who worked in Antarctica give a unique perspective on the social, scientific and political interactions of their times, the development of polar science and technology, and the hardships, triumphs and eccentricities of everyday life in one of the world's most hostile environments. For all the audio clips abridged below, and many more, visit the BAS oral history project webpages.
Petra Searle, map officer Directorate of Overseas Surveys 1953-60, BAS 1984-88
"Women didn't go further south then, it just was not done. Sir Raymond[1] was from the heroic age, women stayed at home and waited for their men to come back again. Women didn't start going south certainly until Bunny[2] had retired. I think probably Dick Laws[3] was against it as well actually."
John Huckle, FIDS 1946-62: Falkland Islands and Dependencies Aerial Survey Expedition helicopter pilot 1956-7
"We were sending a surveyor to the top of Tower Island by helicopter, and the helicopter as it came in to land stirred up a great deal of loose powder snow which gave the pilot a whiteout and he unfortunately missed his landing. And the helicopter overturned and of course was smashed up. Later on there was an inquiry into what had caused the crash. The colonial secretary asked the surveyor, 'What did you think when the helicopter overturned as you landed?' And the surveyor said, 'Well, it was the first time I'd ever flown in a helicopter and I didn't know quite what to expect, but it did seem a bit peculiar when I found myself hanging upside down.'"
Halley team in 1971
Richard Taylor, meteorologist 1954-56
"The most wonderful thing - the most joyous thing - was the actual beauty of the place, and the physicality of it. I can still remember now those times when you had really marvellous, perfect sledging weather. You had this deep blue sky, this whiteness everywhere, you're on the sea ice, it's crisp you can just skim over it. And around you this wonderful fjorded coast, these magnificent 6000ft peaks all around us. And you had the dogs, so excited too. The exhilaration and the purity of it was just magnificent. And all the petty little squabbles were totally forgotten - this made it all absolutely worthwhile."
Alan Wright, surveyor 1961-62
"I had one experience on [Mount] Bransfield - I lost the tent. It is bad weather up there, you're in the cloud very often and you can't see any detail. I went out to feed the dogs and then went to the toilet, and I lost the tent - completely! Luckily by then I knew how you could make the dogs howl, so I worked my way upwind and howled, which I hoped would set the dogs off. Then I went downwind until I picked up the sound of the dogs, so I could go back upwind to the dogs and then I found the tent."
Peter Robert 'Bob' Bond, RAF pilot seconded to BAS 1960-63
"There was quite a sizeable cargo area [in the Single Otter aircraft] and you could get a dog sledge in there with dogs either side quite happily. If you needed to transport a dog team we put the sledge in first then tied the dogs down either side of the fuselage so they couldn't get at each other - huskies love to get at each other. We would have the lead dog up front with us. He'd sit between the pilot and whoever else was up front, tied to one of our seats, so he could sit up there and keep an eye on them. And that suited his status, he was something special. We turned the heat up full and generally speaking they went to sleep, which was nice."
Stuart Lawrence, ship's master 1970-2003
[Unrest on BAS's main supply ship RRS Bransfield, during the Falklands conflict.]
"Everybody was wound up, it's not surprising that they were. I was woken at about midnight to be told the whole ship was being taken over and they were going to sink her in the narrows in the entrance to Stanley Harbour. They'd got somebody in the engine room who was on their side, and it was all definitely going to happen. So I sat them all down and said, 'OK, let's talk this through. But before we do that, anybody want a drink?' So I got a case of beer out and everybody had a beer, then another case of beer and everybody had a beer... By the time six o'clock rolled round I'd sat there for about six hours, with my brandy and my cigars, letting them have their say, and we continued on our way rejoicing."
Julian Taylor and Alan Precious 1954-5
"Ron Mottershead and I built - I don't know what you would call it - a dog's urinal. We did it with sheet metal, a sort of big square funnel with a grid on top and the dogs were supposed to stand on the grid and do a wee wee, which would be collected underneath in a suitable vessel. Only the dogs wouldn't cooperate... No and you complained bitterly when I boiled the faeces... So the next thing was to hang around with a bucket of some kind and when they cocked their leg up at the base of the hut you collected it as it came out, and gave it to Julian."
An albatross with a satellite tag attached to its back
John Croxall, BAS bird biologist 1976-2006
[On noticing a drop in albatross numbers in the 1980s.]
"We got a bit of an alarm call - the albatrosses aren't doing too well. Our first thought was: is this something to do with us? We were studying them fairly intensively, disturbing some colonies on a daily basis. We quickly set up controls - areas where we didn't go - and found actually: no - it didn't seem to be us. We then started to look at the ringing recoveries. We knew these species migrated to Australia and New Zealand as we had ringing recoveries from there since the 1960s in the BAS archive; now we were getting a completely different pattern - all these birds reported from fishing vessels, many in the Atlantic or the Indian Ocean. So something completely strange was happening.
"That led to the recognition that it was a problem to do with fisheries. And we started to team up with other people, who had been on fishing boats and seen albatrosses being killed. We had data on population-scale impacts and enough data on marine recoveries to make at least a plausible case. From that we felt, not only did we have a huge responsibility to document this, we actually had some responsibility to fix the problem."
[On the best walk on Bird Island]
"That was the walk I never tired of doing, even though every morning, and particularly on a Sunday when you had the hangover from hell, you had to go up 250m of pretty steep climb to get off the base - up the slope to go down to the interior of the island. But then this panorama opens up and you've got this wonderful short-sward grassland flanked by tussock, with screes to the left and this wonderful view out to the Willis Islands and the ocean on your right. The whole of the meadow is just full of wandering albatross. There's this huge macaroni penguin colony, you can hear it - it's like a football crowd, as you came over that ridge the crowd applauded! If it was a blue day with icebergs in the background you'd sit down, you couldn't keep walking you just had to stop and take it all in. It was just such a magnificent spectacle, still a view to conjure with."
Vicky Auld, physicist and base commander 1997-2008
[At Birmingham University] "A BAS man came and gave a lecture - I'd just seen a poster and thought that looks pretty exciting. I had a word with him after that talk and he said, they're not actually taking women down there for any physics-based work, so come back in a couple of years and see what we're doing. That was 1994. There were women doing summers, but it was the wintering positions I was interested in."
Sir Raymond Priestley became Director of FIDS in 1955. He had been a geologist with Shackleton in 1907-09 and with Scott in 1910-12.
Sir Vivian Fuchs, first Director of FIDS.
Richard Laws, Director of BAS 1973-1987.
The BAOHP is a collaboration coordinated by the UK Antarctic Heritage Trust (UKAHT) and involving BAS, BAS Club, the Scott Polar Research Institute (SPRI) and other funding partners.
A detailed database and access to all archived items is available through the BAS Archives Service - external link. The service holds a unique resource of physical and digital collections, including scientific data, maps, administrative records, publications and artwork. A list of interviews and audio clips held by the archive - external link - is available online.
Email Ellen Bazeley-White or Joanna Rae at basarchives@bas.ac.uk.
BAS oral history project - external link
UK Antarctic Heritage Trust - external link
Scott Polar Research Institute oral history collection - external link
BAS Club - external link
Tags: Antarctic

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Highlighting one of the best award winning music video's ever made.
The first of two posts about the 2nd Annual Bloggers Bash held in London, on June 11th 2016.
There's a Brand New Blogging Award On The Block and it's for Men Only.


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Recent research in the area of suicidology has provided significant new insights in the epidemiological,psychopathological,and biological characteristics of suicidal behaviour. The International Handbook of Suicide and Attempted Suicide is the first book to bring together this expertise and translate it into practical guidelines for those responsible for policy issues and for those involved in the treatment and prevention of suicidal behaviour.
Leading international authorities provide a truly comprehensive and research-based reference to understanding, treating, and preventing suicidal behaviour. They explore concepts and theories which best guide work within this field and detail key research which has supported conceptual developments, preventive interventions and clinical treatment.
"No self-respecting worker in deliberate self-harm and suicide prevention, either clinical or research, can afford to be without access to this comprehensive handbook - possession and regular use, may well become a marker of serious involvement in the subject! ...This is the most comprehensive, up-to-date, informative and well-written source of information on sucide and suicidal behaviour...an invaluable work of reference which will be essential for clinicians and researchers for many years to come."
Keith Hawton, University of Oxford, UK and Kees van Heeringe, University Hospital Gent, Belgium.
Introduction (Keith Hawton and Kees van Heeringen).
PART I: UNDERSTANDING SUICIDAL BEHAVIOUR.
Suicide in the Western World (Christopher H. Cantor).
Suicide in Asia and the Far East (Andrew T.A. Cheng and Chau-Shoun Lee).
Attempted Suicide: Patterns and Trends (Ad J.F.M. Kerkhof).
Biological Aspects of Suicidal Behaviour (Lil Traskman-Bendz and J. John Mann).
The Psychology of Suicidal Behaviour (J. Mark G. Williams and Leslie R. Pollock).
Ethology and Suicidal Behaviour (Robert D. Goldney).
Psychiatric Aspects of Suicidal Behaviour: Depression (Jouko K. Lonnqvist).
Psychiatric Aspects of Suicidal Behaviour: Schizophrenia (Marc De Hert and Jozef Peuskens).
Psychiatric Aspects of Suicidal Behaviour: Substance Abuse (George E. Murphy).
Psychiatric Aspects of Suicidal Behaviour: Personality Disorders (Marsha M. Linehan, Shireen L. Rizvi, Stacy Shaw Welch and Benjamin Page).
Psychiatric Aspects of Suicidal Behaviour: Anxiety Disorders (Christer Allgulander).
Sociology and Suicidal Behaviour (Unni Bille-Brahe).
The Genetics of Suicidal Behaviour (Alec Roy, David Nielsen, Gunnar Rylander and Marco Sarchiapone).
Pathways to Suicide: an Integrative Approach (Kees van Heeringen, Keith Hawton and J. Mark, G. Williams).
PART II: SUICIDE AND ATTEMPTED SUICIDE IN SPECIFIC POPULATIONS AND CIRCUMSTANCES.
Suicidal Behaviour in Children: an Emphasis on Developmental Influences (Cynthia R. Pfeffer).
Adolescent Suicidal Behaviour: a General Population Perspective (Erik Jan de Wilde).
Adolescent Suicidal Behaviour: Psychiatric Populations (Alan Apter and Ornit Freudenstein).
Suicidal Behaviour among the Elderly (Daniel Harwood and Robin Jacoby).
Sexuality, Reproductive Cycle and Suicidal Behaviour (Jose Catalan).
Suicidal Behaviour and the Labour Market (Stephen Platt and Keith Hawton).
Repetition of Suicidal Behaviour (Issac Sakinofsky).
Physical Illness and Suicidal Behaviour (Elsebeth Nylev Stenager and Egon Stenager).
Ethical and Legal Issues (Antoon Leenaars and Colleagues).
Suicide and Violence (Mathew K. Nock and Peter M. Marzuk).
Suicide among Psychiatric Inpatients (Manfred Wolfersdorf).
The Impact of Suicide on Relatives and Friends (Sheila E. Clark and Robert D. Goldney).
PART III: THE TREATMENT OF SUICIDAL BEHAVIOUR.
Pharmacotherapy of Suicidal Ideation and Behaviour (Robbert J. Verkes and Philip J. Cowen).
Psychotherapeutic Approaches to Suicidal Ideation and Behaviour (Heidi L. Heard).
General Hospital Management of Suicide Attempters (Keith Hawton).
Treatment Strategies for Adolescent Suicide Attempters (Philip Hazell).
Treatment and Prevention of Suicidal Behaviour in the Elderly (Diego De Leo and Paolo Scocco).
Multidisciplinary Approaches to the Management of Suicidal Behaviour (Kees van Heeringen).
PART IV: THE PREVENTION OF SUICIDE AND ATTEMPTED SUICIDE.
Prediction of Suicide and Attempted Suicide (Robert D. Goldney).
General Population Strategies of Suicide Prevention (Rachel Jenkins and Bruce Singh).
Prevention of Suicide in Psychiatric Patients (Louis Appleby).
Approaches to Suicide Prevention in Asia and the Far East (R. Srinivasa Murthy).
Suicide Prevention in Schools (David Shaffer and Madelyn Gould).
Suicide Prevention and Primary Care (Konrad Michel).
The Role of Mass Media in Suicide Prevention (Armin Schmidtke and Sylvia Schaller).
Volunteers and Suicide Prevention (Vanda Scott and Simon Armson).
Future Perspectives (Keith Hawton and Kees van Heeringen).


text:
Vésky jsou místní část města Uherského Hradiště. Rozprostírají se ve svahovitém terénu na levém břehu řeky Olšavy. První zmínky o Véskách jsou ve srovnání s okolními obcemi poměrně mladého data, konkrétně z 15. století, kdy markrabě Jošt daroval Petrovi z Kravař dvě vesnice – Vésky a Sady.

Historie
Dějiny vesnice jsou velmi podobné Sadům a především Kunovicím, s nimiž se později staly součástí ostrožského panství. V obci stojí kaple sv. Anny z 19. století. Od roku 1980 doposud jsou Vésky součástí Uherského Hradiště.

Kultura
V městské části působí regionálně známý ochotnický divadelní spolek SKI Vésky (zkratka znamená Slovácké kivadlo Vésky), na jehož představení jezdí lidé z širokého okolí. Na kulturním životě se velkou částí podílí také sbor dobrovolných hasičů. Poslední srpnový týden se v obci každoročně konají slovácké hody.

Reference

Externí odkazy

Části Uherského Hradiště
Sídla ve Vizovické vrchovině

redpajama_set_name: RedPajamaWikipedia


text:
Today I'm Researching…
How to Write Horses
The Writer's Guide to Horses
How to Write HorsesWriting
4 Things Writers Get Wrong About Knights & Their Horses
by Mac September 12, 2018
We writers love to base our fantasy worlds on medieval Europe: knights! Horses! Pageantry and chivalry! It's certainly fertile ground for storytelling, but unfortunately a lot of our perceptions of the era have been influenced by modern media that lacks historical accuracy. When it comes to horse writing, these are a few of the most common myths that writers buy into:
1. Myth: Knights rode giant draft horses.
If any one item on this list is likely to send me off on a twenty-minute rant nobody wants to hear, it's this one. Sure, some wealthy knights in medieval Europe rode an animal known as "the great horse," or destrier, which was used by as a mount for tournament and war. But "great" doesn't necessarily mean "big." A knight's horse, even the expensive destrier, would have been prized for its power, quality, and training, and not necessarily for its size.
We know from examination and measurements of artifacts (including horse armor and horseshoes) from the period that your average knight's horse was around 14-16 hands high, which these days is a fairly normal size for a light riding horse; 16 hands would be fairly average today, and 14 hands positively tiny by the standards of most modern recreational riders. (Today anything under 14.2 hands high is considered a pony.) Though medieval artists weren't renowned for their photorealism, it's typical for manuscripts from the period to depict people riding fairly small horses compared to the human figures, with the riders' feet reaching well beneath the animals' bellies.
On an unrelated note, this work is apparently called "An Equestrian Duel Between A Creditor And A Debtor," which I find amazing. Do you think I could discharge my student loans by way of armed combat? I'd be willing to do it and I think my desperation would give me an edge.
Not only did knights not ride draft horses, they probably wouldn't have been caught dead on one: a horse in many historical cultures was a status symbol and a sign of wealth and prestige, and that meant the horse also had to be of an appropriate type to convey that status. Draft horses were bred for draft, the definition of that word which means pulling loads. The draft breeds were developed as labor animals, for drawing a plow, moving logs, pulling heavy carts of goods to market… they were farm horses, doing the same work as oxen. They were an essential and important part of medieval life, but they certainly weren't the fashion for the local richie riches to be tooling around on, and the local lord was about as likely to be touring his lands on the back of a donkey as on the back of a draft horse. In his book The Last Duel, author Eric Jager describes from historical sources the ignominy of knights returning from a foreign campaign so destitute, and having survived famine that killed their horses, that they rode farm horses home:
"They obtained passage to France and returned through Flanders, or wherever they could land, famished, and without arms and horses, cursing Scotland, and the hour they had set foot there."
On returning to France, many knights and men-at-arms "were so poor they knew not how to remount themselves," and some "seized the laboring horses wherever they found them in the fields," straggling home without their warhorses and riding instead on the backs of beasts accustomed to pulling plows and wagons.
Obviously this wasn't an ideal situation for any person of elevated position to find themselves in.
Today's draft horses are far taller and larger than their medieval ancestor anyway, so the idea of a knight on a modern-type draft horse (as done by today's full-contact jousters) becomes even more ridiculous. In my opinion, the modern horses that probably most closely resemble the knight's destrier would be Andalusians (also called the Pure Spanish Horse or PRE) and Lusitanos. These compact, powerful horses are bred on the Iberian Peninsula, a region which has historically been as famous for the quality of its horses as it still is today, and they have the type of endurance, speed, and agility that would have been invaluable on the battlefield. Want to see the best qualities of these horses at work? The modern Working Equitation Speed Test offers some particularly terrific examples of equine athleticism:
These horses have been bred specifically for the sorts of traits that are exhibited here, and which are be ideal for a warhorse: power, maneuverability, responsiveness, and levelheadedness. On the field of battle, a knight would have prized his horse's ability to act quickly to keep both horse and rider out of harm's way.
The next video shows how toreadors train horses for bullfighting. (Though a bull is present in this video, no harm comes to it and it's not even stressed out, I promise). It shows some of the same skills knights undoubtedly trained their horses for. You can imagine how useful this agility would be against a foe with a lance or sword! And while the horse's own instincts certainly come into play, the rider has to be able to direct the horse very precisely as well; the horse is both powerful and controlled, not to mention extremely fit.
2. Myth: A knight in full plate armor couldn't mount his horse without assistance.
This is one of those myths for which modern culture is mostly at fault, with the idea being perpetuated in films that a knight in full plate armor required some sort of winch in order to be hoisted onto his horse. (Thanks for nothing, Sir Laurence Olivier.) It just isn't true: a full harness often weighed only about 50 pounds; the heaviest (made for tournaments) were still under 100 pounds. And that's weight distributed over the body, with armor typically custom tailored to the knight who wore it.
The best modern analogies for similar weights are a firefighter in full gear, or a soldier with field equipment. (If you'd like to see a firefighter, a soldier, and a knight walk into a bar run an obstacle course to compare their mobility, take a look at this! The full gear test starts around the 3-minute mark.) A fully armored knight could not only easily mount his horse (especially when we consider that it was probably somewhere between 14 and 16 hands high and not a towering modern draft horse), and he probably would have been able to vault on (jumping onto the horse's back without using the stirrup). This short film by Daniel Jaquet shows not only a knight's range of motion in full armor, but also the exercises that one knight used as a training regimen to prepare for tournaments:
Of course, at tournaments knights probably did mount with some assistance, simply because they could; they had mounting blocks or a short set of stairs, and just like modern riders, would probably have used them, if not simply to make mounting easier, then to reduce strain on the horse's back. The equipment in use would also make a difference; before you write your knight vaulting back onto his horse in the heat of battle, bear in mind that many jousting saddles were very high in both the back and the front, and mounting with the use of the stirrup at very least would probably be necessary.
3. Myth: The mounted knight was the most powerful and important force on the battlefield
This would have depended a lot on the shape of the battle and the era in which it was taking place. Though the massed charge was probably a terrifying sight to behold, disciplined infantry with long spears could effectively repel mounted men, and the development of the English longbow completely changed the game. Many battles were also sieges, in which siege engines and strategy were much more important than mounted knights. There were many battles and many societies in which cavalry forces like knights were crucial and decisively victorious, but that wasn't always the case.
In fact, often knights didn't ride their horses into battle at all. Their horses were both expensive and valuable, and they wouldn't necessarily risk them in the sort of battle that would result in heavy casualty of horses. (One 15th-century Italian master of arms advised that in tournament, one should aim for the man, and at war, he should aim for the horse.) Instead of risking their animals in the open engagement, if a massed cavalry charge wasn't the most effective strategy, the horses would convey their riders to the front, and then be led away to be held in reserve. When the enemy was routed and fleeing, the horses could be brought back up so that the knights could use them for speed in the pursuit.
So against disciplined infantry with shield walls or pikes, horsemen might not have much impact unless the infantry wall broke; later, when bows and crossbows became increasingly powerful, knights were forced to leave their horses well behind the lines (horse armor hadn't kept up with the advances in human armor), or lose them to hails of arrows. Dismounted knights acted as officers, directing infantry and bowman to devastating effect, as in the battle at Crecy, where an outnumbered force of English archers and dismounted knights turned back cavalry charges again and again, and killed thousands of mounted French knights in the process. The image of the knight on his horse dominating the medieval landscape in Europe was never a true reflection of reality. (For more, read James G. Patterson's "The Myth of the Mounted Knight.")
4. Myth: Medieval knights rode specific breeds of horses, like Friesians.
We've already tackled the draft horse issue, but here's another one to trip you up. Today we think of horses as breeds, with specific bloodlines and recorded histories, but in medieval Europe, that wasn't as much of a thing. Though there were definitely regional types, organized stud programs, and careful tracking of lineages (some orders of monks were well known for their breeding programs), horses were generally classified by their use, or their type. The jennets, hackneys and palfreys were light riding horses; the rouncey, courser, and destrier were used in war; and the sumpter was a pack animal. Of course, many horses had multiple uses — the rouncey for instance was a fairly low-cost all-around animal — and what specific qualities led a horse to be classified as one or the other is in some cases lost to time.
John Wootton's 18th century painting "Lady Conaway's Spanish Jennet" depicts a colorful light Spanish riding horse.
For the most part, horses might be referred to by their type, by the region in which they were bred (which is where many modern breed names, like Clydesdales and Friesians, also originate), the person who bred them, their type of gait, or even their color. So your character referring to her horse as "the bay", "the ambler" or "the Spanish jennet" would make more sense than her referring to it with a more modern name like "thoroughbred" or "Paso Fino".
Knights may have used rounceys, coursers, or destriers in the joust… depending largely on what they could afford to ride.
Let's talk about #chivalricproblems
If you've got the time to truly get your history nerd on, one of my absolute favorite talks of all time about medieval history is this hour-long lecture from The Met, How to Mount a Horse in Armor and Other Chivalric Problems:
Are you struggling with your medieval horse-world-building? Have questions about knights that you'd like to geek out about? Hit me up in the comments!
If you found this information helpful, you might enjoy my book, The Writer's Guide to Horses! Learn about travel on horseback and by carriage, equine habits and personalities, the basics of riding and driving, worldbuilding a horse culture, creating fantasy horses, common tropes to avoid, and much more. Includes illustrations and quick reference guides to body language, color and markings, and vocalizations. Available as ebook or paperback!
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Phyllis November 1, 2019 - 4:01 am
Thanks for this article. I dropped in for 'horse noise' clarification (very helpful) and learned things about medieval horses and knights I didn't realize I wanted to know!
Spring Strahm May 25, 2020 - 2:54 pm
Hey! This was super helpful! Also concise, well written and enjoyable. I've been consuming a lot of material in this vein, and I have to say this is the least painful read I've had so far. Thanks!
Mac August 14, 2020 - 11:22 pm
Thank you! I've got more content on knights coming, that's a favorite subject since I was a kid.
Mac October 21, 2020 - 5:38 pm
Hah thank you, I'll take it! I've got a lot more coming so if you have any particular questions you're wrestling with, feel free to hit me up!
Fiona August 5, 2020 - 9:14 am
Lusitanos are from Portugal. Just saying.
Oooh yeah that was a fumble. I should've said Iberian, not specifically Spanish; I have now corrected my mortifying error. 😀
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Today I'm Researching: Condoms in WWII
@2020 Mackenzie Kincaid. All rights reserved.


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OPINION | LETTERS TO THE EDITOR
Letter to the Editor: Twenty years later, we will #NeverForget
LTE generic
Photo by Ferna Simbulan | The Independent Florida Alligator
This year marks the 20th anniversary of the 9/11 terrorist attacks that took the lives of 2,977 American people. At UF, the Young Americans for Freedom chapter plans to commemorate the lives lost to radical terrorism through the 9/11: Never Forget Project — a nationwide student activism project.
The importance of this year's anniversary cannot be understated — this year's freshman class was not even born when 9/11 happened. I, as a sophomore, was born six months after the attacks had happened, only knowing the horror stories from my parents of that tragic day in American history.
This year we have seen the increasing instability in Afghanistan with the overthrow of the democratic Afghan government by the Taliban and its allies. The vacuum left behind will allow terrorist groups like al-Qaeda and the Islamic State to find new strongholds in the Middle East, making another terrorist attack a very real possibility.
These were groups the U.S. set out to destroy in the aftermath of the 9/11 attacks and whose revival puts the Americans still in Afghanistan at risk of attack. The Taliban helped to harbor al-Qaeda in 1999; al-Qaeda even pledged their allegiance to the Taliban.
President Joe Biden's hasty withdrawal is nothing less than an insult to the troops who served, the tens of thousands of Afghans who fought alongside us and those who lost their lives on 9/11.
Since 2003, Young America's Foundation has planted more than 12 million flags through this project. We will do the same here at UF. As in years past, students will be able to find our display on the Plaza of the Americas Saturday, Sept. 11.
We encourage all students to take a moment out of their day to pass by the display, plant a flag in the ground and give a moment of silence to all those who passed that day. It is up to us to make sure our generation will #neverforget.
Alexander Munguia, Chairman of Young Americans for Freedom at the University of Florida
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Support your local paper
The Independent Florida Alligator has been independent of the university since 1971, your donation today could help #SaveStudentNewsrooms. Please consider giving today.
Three Gainesville city board members resign
Gainesville City Manager fires all assistant city managers, makes changes to the staff
By Erina Anwar | Jan. 12
'You will never be forgotten': Community remembers murder victims over 30 years later
By Alexis Carson | 9:04am
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By Jackson Castellano | Jan. 14
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Soft Vested Harness that easily identifies the small working dog. This harness is a professional looking harness with room on the vest for several patches. It is a harness that gives you control and comfort for the dog at the same time. The top fabric of the harness is made from 1000 denier and the harness is lined with soft quilted fabric. Both neck/chest and girth have hook & loop closures and side release buckles for secure closing of the harness. There is a D-ring on the back of the harness for the dog's leash. This Soft Vested Harness comes in 4 sizes and 13 colors. Comes with two regular 1.5"x3.5" patches of your choice. The front chest strap is made of elastic material.


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Our History | Schweitzer Engineering Laboratories
Innovation is the heart of SEL. Inspired by his research as a doctoral candidate, Dr. Schweitzer invented the first microprocessor-based digital protective relay, the SEL-21, which revolutionized the electric power industry and provided new functionality in power system protection. He made his first sale to Otter Tail Power Company in 1984.
The grit, passion, and creativity that drove SEL from a basement with a handful of employees to a worldwide company with over 5,000 employees continue to be a driving force and source of inspiration today.
Dr. Schweitzer founds Schweitzer Engineering Laboratories with the invention of the SEL-21, the first relay to use microprocessor-based computation and algorithms.
SEL makes its first sale to Otter Tail Power Company in Fergus Falls, Minnesota, as a company of seven working out of Dr. Schweitzer's basement.
SEL grows to 100 employees.
SEL implements the employee stock ownership plan (ESOP).
We release the SEL-351, which became the benchmark for protective relay standards in North America.
SEL begins offering engineering consulting, testing, and design through our Engineering Services team.
We introduce our unprecedented ten-year, worldwide product warranty—the best in the industry.
SEL establishes Government Services to serve government customers.
SEL opens a site in Monterrey, Mexico, to manufacture high-quality panels for our customer Comisión Federal de Electricidad.
SEL acquires E. O. Schweitzer Manufacturing in Mundelein, Illinois, which was started by Dr. Schweitzer's father, Edmund O. Schweitzer, II.
SEL becomes 100 percent employee-owned.
SEL opens a manufacturing facility in Lewiston, Idaho.
We kick off the first year of our Modern Solutions Power Systems Conference, which encourages cross-disciplinary discussion of common challenges and success stories relating to electric power and promotes idea generation to drive innovation.
We introduce the SEL-T400L Time-Domain Line Protection, the fastest relay in the world.
SEL President and Chief Technology Officer Dr. Edmund O. Schweitzer, III, is inducted into the National Inventors Hall of Fame for his invention of the microprocessor-based digital protective relay.
We open the doors to our fifth manufacturing facility, next to Purdue University in West Lafayette, Indiana. The site's proximity to Purdue University allows close research collaboration between the two entities.


Celebrate 4/20 with The Green Cross!
4/20 is just around the corner and we can't wait to celebrate with you! It's our favorite holiday and we always go all out to mark the occasion. While 4/20 means different things to different people, we view it as a day of liberation and self-expression for cannabis enthusiasts everywhere.
For this year's 4/20 festivities, there will be a tent set up outside our storefront offering complimentary donuts, sandwiches, chips, coffee and water to members throughout the day. On Friday, April 19, and Saturday, April 20, we are running a raffle contest where members can win a wide assortment of amazing prizes. Keep reading for more details on how to enter the contest and the many exciting prizes up for grabs. In addition, we're offering many great deals on 4/20 and throughout the month of April that you won't want to miss out on. So stay tuned!
Here at The Green Cross, we are extremely proud of the work we do and view 4/20 as a celebratory day for medical cannabis patients and adult consumers across the world. We take pride in supporting safe and affordable access to cannabis and cannabis-infused products. Now that cannabis is legal for adult use in California, it's an even more special day for us. We've come a long way since the days of cannabis prohibition and the passing of Prop 215. The energy on 4/20 is unmatchable and we look forward to what 2019 has in store for all of us!
Raffle tickets will be drawn on Monday, April 22, and all winners will be notified that day. Good luck!
If you plan on attending any of these events, don't forget to purchase tickets in advance. You can visit the individual event websites for further details. More importantly, don't forget to stop by our booth to say hello and pick-up some great swag items and samples. We look forward to seeing you there!
Select IncrediMeds Chocolate Bars are on sale! While supplies last, our IncrediMeds Dark Chocolate Bar with Crystalized Ginger, Milk Chocolate Bar with Cherries, and Milk Chocolate Bar with Coconut Chips are on sale for $10 + tax each.
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Satori Strawberries in Milk Chocolate - $15 + tax.
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From now until April 20, get a PAX Era Vaporizer for the low price of $14.20 + tax!
For the entire month of April, Bloom Farms PAX Era Pods are available for the discounted price of $34 + tax!
For 4/20 only, get a complimentary Bloom Farms Battery with any Bloom Farms Vape Cartridge purchase. Limit one per member.
Absolute Xtracts 100 mg Soft Gels 10 Pack - $60 + tax $90 + tax.
High Gorgeous Daily Dose 10:1 Drops - $62 + tax.
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Stiiizy 1:1 Mango Pod - $44 + tax.
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Our signature House-Blended Ready-Go Mix is back! For a limited time only, 1/2 oz. Ready-Go Mix is back in stock and available for $100 (tax included). Don't miss your chance to stock up on one of our most popular products!
After four decades of fighting for marijuana reform at the state and federal levels, Rep. Earl Blumenauer (D-OR) is riding high as cannabis legislation gains momentum in the House.
More Americans are voicing their support for the legalization of marijuana for medical and recreational use, according to a recent survey.
We hope you all have a safe and fun-filled 4/20! Please visit us at The Green Cross soon!


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Indians and World Music show east London's diversity at Rich Mix
Published: 11:23 AM November 6, 2013 Updated: 6:33 PM December 7, 2020
Indian musicians are celebrating east London's diverse culture with World Music from classical Indian to western contemporary.
The London International Arts Festival is running at Bethnal Green's Rich Mix arts centre and Ilford's Kenneth More Theatre until Sunday.
It features performers from around the world as well as the South East and east London itself, in genres including world, jazz, classical, folk and contemporary both live and musical workshops.
Performances include Indian Bharatanayam Dance, British Asian contemporary beats, fusion Greek folk music and a Polish band.
The festival, curated by Indian violinist and composer Jyotsna Srikanth, is now in its second year, hosted by DJ Ritu and Ashanti Omkar.
Last year's inaugural festival attracted an audience of 7,000. But this year, both Rich Mix and the Kenneth More Theatre are hoping to beat that giving Londoners an insight into Indian culture.


The Solomon Islands Flash Flood in 2014 was a catalyst event for World Vision Solomon Islands (WVSI). After the flash flood, WVSI integrated the World Vision International (WVI) Emergency Response System (EMS) into their operations. As part of the project with WVSI, an organizational change process was used to assist to identify the most needed organizational processes to increase response effectiveness.
Key leaders in WVSI were able to create a strategic path forward through reflecting on the flood response, through using an organizational change process (Lencioni, 2012), and by integrating an understanding of the WVI EMS in to their processes. These steps led to the organization developing an Incident Command System.


text:
Skull fragments found in town of Greenfield
Remains are believed to be those of child; Testing expected to take weeks
GREENFIELD — Lab technicians were to begin analyzing fragments from what police believe to be a human skull found Tuesday in a wooded area in northern Saratoga County, State Police Maj. William Sprague said.
"We've recovered some skull fragments," the commander of Troop G said. "The initial analysis indicates that they are from a child roughly between the age of 10 and 12 years."
Sprague declined to say who found the skull bones and reported it to troopers.
The remains were submitted for testing, he said. "We will try to get DNA from them. We don't know if we'll get anything that we can link to any missing-person case."
Several people are reported missing in the Capital Region, but if the skull bones are that of a child it could limit tying them to any specific case. The major refused to speculate on whether the bones could be that of a specific missing person.
"We don't have the age of the bones, or how long they've been there," Sprague said. "But we don't think it's an ancient Indian burial ground or remains that could be tied to an archaeological find."
The lab testing will take a while, possibly a month or six weeks, the major said.
Saratoga County District Attorney James Murphy said the State Police forensic identification unit is involved in the matter.
He said investigators are attempting to determine how old the portion of the skull is, how long it's been in the woods and to whom it belonged.
"We do have a number of missing-persons cases in the area," Murphy said. "It's still too early to say. There are lots of questions. It's going to take some significant time."
Dennis Yusko contributed to this report.


Rainbow Brite was an animated television show in the United States based on a series of Hallmark cards. It involves a girl called "Rainbow Brite" and the "Color Kids" who are in charges of bringing color to the earth. It was produced by DiC Entertainment and syndicated in its Kideo TV package.
A tie-in movie, Rainbow Brite and the Star Stealer, came out in 1985.
This page was last changed on 8 April 2013, at 19:38.


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Mandolin Swing Chords
Mostly mandolinists don't bother with full swing chords. Three notes is enough most of the time, and if you're playing swing, you usually have a guitar playing plenty of chord notes. Still, there are times when it is useful, or pretty, or just plain fun to whack out those Bingo chords (Under the B, 13. . .)
If you are deft enough, there are split-string tricks where you get two different notes from a pair of strings. And there are tuning things you can do - for instance, make one pair of strings six semitones apart, so you always have a one-finger tritone available. This article is going to eschew such things and cover playable chord forms for most swing sequences.
The way I'm going to show the chords is pretty close to standard chord diagrams, with letters below (R,3,5,7, etc) to clarify which note is the root, 3rd, 5th, etc of the chord. As usual, when I say "up" I mean "toward the bridge", which gives a higher note but is actually lower on the page unless you read this upside down. Also, when I say "First string", I'm talking about the E string, which is rightmost in the diagram. If you've looked at chord diagrams before, you've probably already gotten used to this inconsistency. Large M means "Major", small m means "minor", and a small b is a flat symbol. Here we go . . .
Major Chords
C Major      A Major      E Major     F Major      F# Major
|  |  |  |   |  |  |  |   |  |  |  |   |  |  |  |   |  |  |  |
|--+--+--|   |--+--+--|   |--+--+--|   |--+--+--|   |--+--+--|
|  O  |  |   O  O  |  |   |  O  O  |   O  |  |  |   |  |  |  O
|  |  O  O   |  |  |  |   |  |  |  |   |  O  O  |   O  |  |  |
|--+--+--|   |--+--+--|   |--+--+--|   |--+--+--+   |--+--+--+
|  |  |  |   |  |  O  |   O  |  |  O   |  |  |  |   |  O  O  |
O  |  |  |   |  |  |  O                |  |  |  O
|--+--+--|   |--+--+--|                |--+--+--|
R  3  R  5   R  5  3  R   5  R  5  3   3  R  5  3   3  R  5  R
If you play bluegrass, you're already wondering what happened to the G shape. If you know a lot about theory, you're wondering why anybody would use such a lousy F shape, with a 3 note in the bass and another on top. And if you just learned a few beginner chords, you miss the two-finger chords with open strings in them. Sorry to all of you. The bluegrass G shape sounds fine, but it isn't easy to warp it into related chords. The F shape sounds almost as pretty as the E shape moved up a fret, and sometimes it's much easier to get to. And there aren't any open note chords because all of these shapes are intended to slide up and down the neck, so the C shape could as easily be C#, or D, or anything up to G. You can slide a shape down until the lowest fret becomes the open note for that string, and often that's the easiest thing to do.
II - V - I Sequences
The defining sound of swing is the IIm7 - V7 - I cadence. In C, that would be Dm7-G7-C6. (Usually the tonic chord is a 6 or a major 7). Since swing is usually in flat keys, I'm going to show the shapes for Cm7 - F7 - Bb6 and Fm7 - Bb7 - Eb6.
Cm7    -->    F7     -->    Bb6             Fm7   -->     Bb7    -->    Eb6
|  |  |  |    |  |  |  |    |  |  |  |      |  |  |  |    |  |  |  |    |  O  |  |
|--+--+--|    |--+--+--|    |--+--+--|      |--+--+--+    |--+--+--|    |--+--+--+
|  |  |  |    |  |  |  |    |  |  |  |      |  |  |  |    |  |  |  |    |  |  |  |
|--+--+--|    |--+--+--|    |--+--+--|      |--+--+--|    |--+--+--|    |--+--+--|
|  |  |  |    |  O  |  |    O  O  |  O      |  O  |  |    O  O  |  |    O  |  O  O
|--+--+--|    |--+--+--|    |--+--+--|      |--+--+--+    |--+--+--|    |--+--+--|
|  |  |  |    |  |  |  |    |  |  |  |      |  |  |  O    |  |  |  O    |  |  |  |
|--+--+--+    |--+--+--|    |--+--+--|      |--+--+--|    |--+--+--|    |--+--+--|
O  O  |  |    O  |  |  O    |  |  O  |      O  |  |  |    |  |  O  |
|--+--+--|    |--+--+--|    |--+--+--|      |--+--+--|    |--+--+--|
|  |  O  O    |  |  O  |                    |  |  O  |
|--+--+--|    |--+--+--|                    |--+--+--|
R  5  m3 7    5  R  7  3    R  5  3  6      5  R  7  m3   R  5  3  7    5  R  6  3
These aren't hard shapes, but I'm going to explain where they come from anyway. The A major shape is just one member of a family of closely related chords. Slide the 3 note on the 4th fret down to the 3rd fret, and you have an A minor. Slide the upper root note down one, two, or three frets to give a major 7, 7, or 6 chord. So sliding the 3 down to a minor and the upper R down to a 7 gives an A minor 7 chord. Slide the whole thing up three frets and it's a Cm7. The Bb6 comes from the same shape family, moving the upper root of the A shape down to the 6 note, then sliding the whole chord up one fret to produce Bb6. The F7 chord comes from the family based on the E shape. Move the upper 5 note up three frets and you have an E7, which slides up one fret to be an F7. (In this case, you would use a new finger to add the new note, while some of the previous alterations can be done by sliding a finger.)
In the same way, Fm7 and Eb6 derive from the E shape and Bb7 from the A shape.
Usually I start players off with two families of chord shapes. Here they are:
The A shape family
A Major         A7             A6             AMaj7          A7+5           A9
|  |  |  |     |  |  |  |     |  |  |  |     |  |  |  |     |  |  |  |     |  |  |  |
|--+--+--+     |--+--+--+     |--+--+--|     |--+--+--|     |--+--+--|     |--+--+--|
O  O  |  |     O  O  |  |     O  O  |  O     O  O  |  |     O  |  |  |     |  O  |  |
|--+--+--|     |--+--+--|     |--+--+--|     |--+--+--|     |--+--+--|     |--+--+--|
|  |  |  |     |  |  |  O     |  |  |  |     |  |  |  |     |  O  |  O     |  |  |  O
|--+--+--|     |--+--+--|     |--+--+--+     |--+--+--|     |--+--+--|     |--+--+--|
|  |  O  |     |  |  O  |     |  |  O  |     |  |  O  O     |  |  O  |     O  |  O  |
|--+--+--+     |--+--+--|     |--+--+--|     |--+--+--|     |--+--+--|     |--+--+--|
|  |  |  O     |  |  |  |     |  |  |  |     |  |  |  |     |  |  |  |     |  |  |  |
|--+--+--|
R  5  3  R     R  5  3  7     R  5  3  6     R  5  3 M7     R +5  3  7     9  5  3  7
A Minor          Am7            Am6            AmMaj7         Am7b5         A#dim
|  |  |  |     |  |  |  |     |  |  |  |     |  |  |  |     |  O  |  |     |  |  |  |
|  |  O  |     |  |  O  O     |  |  O  |     |  |  O  |     |  |  O  O     O  |  |  O
|  |  |  |     |  |  |  |     |  |  |  |     |  |  |  O     |  |  |  |     |  |  O  |
R  5  m3  R    R  5 m3  7     R  5  m3 6     R  5 m3 M7     R b5  m3 7     R b5  m3 6
The E shape family
E Major         E7             E6            EMaj7          E7+5            E9
|  O  O  |     |  O  |  |     |  O  |  |     |  O  |  |     |  O  |  |     |  |  |  |
O  |  |  O     O  |  |  O     O  |  O  O     O  |  |  O     |  |  |  O     O  O  |  O
|  |  |  |     |  |  O  |     |  |  |  |     |  |  |  |     O  |  O  |     |  |  O  |
|--+--+--|     |--+--+--|                    |--+--+--|                    |--+--+--|
|  |  |  |     |  |  |  |                    |  |  O  |
5  R  5  3     5  R  7  3     5  R  6  3     5  R  M7 3     +5 R  7  3     5  9  7  3
E Minor          Em7            Em6           EmMaj7         Em7b5          E#dim
|--+--+--+     |--+--+--+     |--+--+--|     |--+--+--|     |--+--+--|     |--+--+--+
|  |  |  O     |  |  |  O     |  |  |  O     |  |  |  O     O  |  |  O     |  O  |  |
O  |  |  |     O  |  |  |     O  |  O  |     O  |  |  |     |  |  |  |     O  |  |  O
|  |  |  |     |  |  O  |     |  |  |  |     |  |  |  |     |  |  O  |     |  |  O  |
|--+--+--|                                   |--+--+--|                    |--+--+--|
|  |  O  |
5  R  5  m3    5  R  7  m3    5  R  6  m3    5  R M7  m3    b5 R  7  m3    b5 R  6 m3
I have included the m6 and mMaj7 shapes to show how they fit into the shape families. You don't use them often.
Comments on the diminished chords: I have notated them as R-m3-b5-6. The upper note is really a diminished 7 (which is the same note as a 6, doing a different job), but there wasn't room to put this on the chord diagrams. I have put in A#dim and E#dim for two reasons: first, because A#dim contains the same notes as A7 with the root, and only the root, shifted up one fret, and the same with E#dim and E7. Second, one of the very commonest sequences is I - I#dim - IIm7 - V7. Notice that both diminished chords are the same shape, but different strings have different functions. A#dim, with the root on the 4th string, could as easily be heard as E dim, with its root on the 3rd string. It could also be heard as C#dim or Gdim, with the root on the 2nd or 1st string. This leads us naturally to . . .
Inversions and Voicings
Your first priority is to get the notes played. But it does make a difference which note goes on which string. In general, a chord sounds best with the root on the lowest string, second-best with the root on the 3rd string. If your chart calls for an Abdim, you could play it with the 4th-string note on the 1st fret(Ab), the 4th fret(B, with Ab on the 1st string), the 7th fret (D, with Ab on the 3rd string), or the 10th fret(F, with Ab on the 2nd string). Normally, you'd choose the first or third of these alternatives, unless the chord before or after makes one of the others play better.
This is most important with 6th and minor 7th chords, since a C6 and an Am7 contain exactly the same four notes. You really want the root to be on one of the lower strings so the listener can tell which chord you mean. This applies even more to m6, m7b5, and 9th chords, since Am6, F#m7b5, and D9(omit root) all use the same notes. It is least important with 7th and major 7th chords, where the 7 note rings out so strongly that the ear accepts the function of the rest of the notes. This is particularly useful because the Maj7 in the E family is quite difficult to finger in lower positions. So here are some
Alternative 7th and Maj7 Voicings
G7             C7             GMaj7          CMaj7
|  |  |  |     |  |  |  |     |  |  |  |     |  |  |  |
|--+--+--|     |--+--+--|     |--+--+--|     |--+--+--|
|  |  |  |     |  O  |  |     |  |  |  |     |  O  O  |
|  O  |  O     O  |  O  O     |  |  |  O     |  |  |  O
O  |  |  |     |  |  |  |     O  O  |  |     |  |  |  |
|  |  O  |     |  |  |  |     |  |  O  |     O  |  |  |
|--+--+--|                    |--+--+--|     |--+--+--|
3  7  5  R     7  3  R  5     3 M7  5  R     R  3 M7  5
Leaving Out Notes
Four-note chords may lead to choices between finger-busting shapes or less-than-optimal voicings, but we can get them played. What do we do when faced with a 9th, 11th, or 13th chord? The 9th shapes in the E and A families omit the root, but this is kind of an important note. In general, the four most important notes of a chord are the root, the third (because it determines whether the chord is major or minor), the highest add-in note, and the 7th. That would make a 9th chord contain root, 3rd, 7th, and 9th. Possibilities for a D9 with root on 7th fret of 4th string: R-3-7-9 would finger 7-4-3-0 or 12, R-3-9-7 gives 7-4-7-8, R-7-3-9 is 7-10-9-0 or 12, R-7-9-3 is 7-10-7-2. Only 7-4-7-8 can be fretted very easily. Look at A9th with root on the 3rd string: 3-R-7-9 fingers 6-7-10-7, 3-R-9-7 is 6-7-2-3, and putting the 7th or the 9th into the bass just sounds wrong.
Two of the 9th shapes lead to good 11th shapes: R-3-7-11 fingered 7-4-3-3 and 3-R-7-11 fingered 6-7-10-10. The need to have the 7th note well away from the 13th note means there are only two playable 13th chords, R-7-3-13 and R-3-7-13. So here are the 9th, 11th, and 13th chord shapes that are easiest to use:
C9            Ab9             C#11           F11            A13            C#13
|  |  |  |     |  |  O  |     |  |  |  |     |  |  |  |     |  |  |  |     |  |  |  |
|  O  |  |     |  |  |  O     |  |  O  O     O  |  |  |     O  |  |  O     |  |  O  |
|  |  |  |     |  |  |  |     |  O  |  |     |  O  |  |     |  |  |  |     |  O  |  |
|  |  |  |     |  |  |  |     |  |  |  |     |  |  |  |     |  |  O  |     |  |  |  |
O  |  O  |     O  |  |  |     |  |  |  |     |  |  |  |     |  O  |  |     |  |  |  |
|  |  |  O     |  O  |  |     O  |  |  |     |  |  O  O     |  |  |  |     O  |  |  O
R  3  9  7     3  R  9  7     R  3  7  11    3  R  7  11    R  7  3  13    R  3  7  13
That is all I would put in an introduction to mando swing chords. Use the same techniques moving from chord to chord as you would anywhere: find which finger doesn't move or slides on the same string. You can go up a 5th by moving up one string, and down a 5th by moving down one string, in both cases dealing with the note that falls off the edge of the fretboard if you have time to think about it. You'll find a few sequences like I - I#dim - IIm7 - V7 or I - VIm7 - IIm7 - V7 or I - I7 - IV- IVm that crop up again and again, so once your fingers know how to play them in two different ways, your eyes can send them directly to your hands and leave your mind free to think about what happens next.//Zeke Hoskin, July 2008.


Russian is the most widely spoken language of Eurasia and the most widespread of the Slavonic languages. My Russian program has been designed for both those who want to learn travel vocabulary or wish to become fluent in advanced conversation classes. By learning Russian you will be immersed into a culture that has a rich artistic and political history.
Dr Sergey Fedoseev was graduated from Russian University of Peoples Friendship (Moscow, Russia) at 1978 having two Certificates: MS in Physics and French-Russian Translator and Interpreter. As an linguist he lectured Russian language for students of Tammasat University in Thailand. Last few years he works as a teacher of Russian at Centre for Continuing Education at Sydney University.
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We have recently approved Wolverhampton University's MA Interpreting as a route to registration for Sign Language Interpreters and Sign Language Translators. The course is available from September 2018.
In preparation for the new standards, which will be implemented from 1 April 2018, we have revised the guidance for TSLIs, Supervisors and Endorsers.
The document contains important information for TSLIs and those involved in teaching, assessing and supervising TSLIs.
You can also read our news article explaining the new standards, which was published on 15 January 2018.
The Deafness Cognition and Language (DCAL) Research Centre, University College London is conducting research into BSL interpreter provision in the UK. The purpose of the survey is to gather data about what types of qualifications Registered Sign Language Interpreters have, and why they chose their qualification. DCAL are consulting with various interpreting organisations, and the results of this survey will be offered to them if the information might offer guidance on setting up new interpreter training programmes across the UK.
If you hold a BSL/English Interpreting qualification please take this survey. The survey will close on 20 April 2018.
Signature is developing some CPD courses for communication and language professionals. They are conducting a survey to help them understand what type of CPD communication and language professionals would like to see available.
We are attending Heriot-Watt University on Monday 26 March to talk to the final year interpreting students about Registration.


The sun's heat these days can really cause sudden attack of hypertension and some skin diseases but I've heard that we should protect ourselves now from prevailing heat wave stroke that caused confinement to some people in the hospital. Actually upon hearing the news on television last Thursday I suddenly felt dizzy from going out in the sun the whole day. I got many errands and commitments that day that I found myself neglecting my protection from sun. I was just glad that I was at home already when I felt sick and in pain.
I'm thinking about it now again as the sun's glare kept on reaching our windows at the terrace. The curtains there is made of silk and the rays of sun can easily get through. I appreciate it on cold days but on these summer days I'm thinking if I could get blinds for the windows. If only I could get some of those window tinting los angeles products for my house it would be very effective. I heard many residential and corporate offices are now using these window films because they have proven its versatility when it comes to UV protection, security from theft and safety from accidents, earthquakes and some other natural disasters.
With the use of window film los angeles in your residences you will not only get UV protection but a lot of savings for cooling costs too because they reduce the sun's glare and 99% of the harmful UV rays. Besides, your precious furniture and interiors would be protected too from being worn out easily. Its effectiveness can extend up to corporate buildings, to your car and to your loved ones.


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Al Davis of the Oakland Raiders created the most successful brand in football by plying maverick methods. Today he is better known for fighting his fellow NFL owners.
The National Football League commissioner's greatest legacy? Wealth creation.


Our meeting is being sponsored and attended by a number of companies and we would like to thank them all for their support.
The Society for Experimental Biology (SEB) would like to invite exhibitors and sponsors to participate in SEB Florence 2018.
The SEB Annual Meeting brings together biologists from all over the world to share and discuss their research. With scientific sessions spanning animal, cell and plant biology, SEB Florence 2018 presents an excellent opportunity for researchers at all stages of their career to meet and present their research to colleagues, and therefore an excellent opportunity for you to meet and network with a huge range of biologists from the three disciplines, all in one place.
For further information on sponsorship and exhibition opportunities, please contact Oliver Kingham on o.kingham@sebiology.org or +44 (0)207 685 2600.


text:
Home / Subjects / Atlantis
It was Plato, a Greek philosopher and student of Socrates who first spoke of Atlantis. Plato told the stories of Atlantis through characters in his plays. Plato insisted that Atlantis was real even though many thought he made it up for his plays.
Every race and religion has a story about a great flood that destroyed an entire civilization. Plato claims that Atlantis was a large island in the Atlantic Ocean somewhere west of the Rock of Gibraltar. This description leads some people to believe that Atlantis may have been the Aegean Island of Thera, also known as Santorini that suddenly blew up. Some even say that the Bermuda Triangle was created by the sinking of Atlantis. It is believed that some of the Atlanteans survived the demise of their island.
Plato claims that the Atlanteans were superlative and blessed people but had lawless ambition and power. They began valuing material wealth above goodness causing their divinity within to become faint and weak. Being unable to bear the burden of their possessions, there occurred portentous earthquakes and floods, and Atlantis was swallowed up by the sea. The area where Atlantis sunk has been impassable and unsearchable, hence the Bermuda Triangle theory.
In 1973, the United Press International reported that a scientific expedition found Atlantis at the bottom of the ocean. Scuba divers found data to prove the existence of the super-civilization. They found evidence of roads and large columns, some with concentric spiral motifs in the exact place as described by Plato.
The expedition revealed over 30 ruins including pyramids, domes, paved roads, rectangular buildings, columns, canals, and artifacts that have been found on the ocean floor from the Bahamas to the nearby coasts of Europe and Africa.
Dozens of historians have written about the existence of Atlantis and how the Mayans and Aztecs have told that their conquerors came from Atlantis and Mu. They have written about ancient tablets photographed in Peru showing the two lost continents, Atlantis and Lemuria, and of ancient maps clearly showing Atlantis.
In 1970, Dr. Ray Brown and four divers explored the ocean floor off the Bahamas and discovered a pyramid, roads, domes, rectangular buildings, unidentified metallic instruments, and a statue holding a "mysterious" crystal containing miniature pyramids. After analysis of the crystal and the metal devices, it was discovered that the crystal amplified energy that passed through it.
Explorer Dr. Mansan Valentine photographed and published his findings in the 1960's of ruins and buildings off Binini Island. Similar ruins were photographed off Cay Sal in the Bahamas and Morocco 50 to 60 feet underwater.
Tony Benlk (reported finding a huge 11 room pyramid 10,000 feet under water in the mid Atlantic Ocean. Ari Marshall's expedition photographed the huge pyramid found off Cay Sal in the Bahamas in 1977. It is said to be 150 feet under water with the pyramid itself being 650 feet high. Instead of black water surrounding the pyramid, it is surrounded by green water and the water is lit by sparkling white water flowing out of the openings in the pyramid.
A Soviet expedition led by Boris Asturua found a sunken city about 400 miles off Portugal that had buildings made of extremely strong concrete and plastics and streets that suggest the use of monorails for transportation.
The famous ruins of Troy were discovered by explorer Heinrich Schilemann who also found a bronze vase made of an unknown metal. He left a written account of this in the famous Priam Treasure. Inside the treasure are glyphs in Phoenician. The Phoenician's claim they are from King Chronos of Atlantis. Identical poetry was found in Tiajuanaco, Bolivia.
An underwater marble acropolis spreading across 5 acres of fluted columns raised on pillars has also been discovered. There are many examples of buildings, roads and columns made of materials not available in their areas. Ancient maps that Christopher Columbus used before sailing to America are said to show Atlantis.
The Aztecs, Myans, Greeks, Egyptians, Spain, India, Tibet, and islands in the Atlantic and Pacific oceans all speak of ancient sunken continents that they are connected to in the writings.
All of these discoveries were made public in daily newspapers when they were discovered, but because historians cannot explain the human footprints and shoe prints, perfectly engineered cubes, jewelry, the prehistoric animal with a hole in its skull that scientist admit could have only been made by a bullet, a remnant of a screw, and other modern artifacts, these discoveries have been left out of the history books.
The Atlantean's technology was far superior to our own. One of their greatest accomplishments was perfect weather control. They became bored with the endless summer weather and longed for the storms they loved so much. After all, the Atlanteans came into the physical world for stimulation. Therefore they controlled the weather by creating violent storms. They also controlled geological events such as volcanic fountains, steam and mineral venting for artistic results.
The Atlantean's had technology that our military is highly attracted to known as "threshold" technology. This is a solid device with no selectable dial that uses time/space as an energy source. The threshold is a lens into probable existence streams, or continua. There was mention of this in the movie "Stargate" and researched by the Government in what we know as "The Philadelphia Experiment".
As was told earlier in this article, there was a crystal found that scientists discovered would amplify energy as it passed through the crystal. Crystals have the ability to transfer, retain and maintain intensity of energy. They can use them to focus and transmit energy over great distances to similar receivers that are equal or comparable to the transmitter. The Atlanteans used these crystals to transmit energy from one pyramid to another. When the face of the earth was directed toward a certain point, one pyramid would function to intensify and transmit energies to other pyramids that would then act as receiving devices and would disperse energy as it was needed. When the pyramid was at an unfocused point, the other pyramids would then become the transmitters. It was a very simple and effective method that would bring them many troubles later.
Atlanteans sped up the growth of their natural crystals to produce crystals as high as 25 feet and 10 feet in diameter. They had 12 sides and they were used for storing and transmitting power. Smaller crystals of about 4 or 5 feet were infused with different colors, and had a variety of facets to be used for different purposes such as healing, mediation, psychic development, increasing mental capacity, communications, powering generators, dematerialization, and transport of objects, magnetic force fields, and travel at speeds undreamed of by today's culture.
Some of the crystals were inverted with four to six sides and infused with various shades of pink or rose. These were used as light beams for surgery by changing the molecular structure. They were also used for soothing pain in areas to include the brain, the eyes, the heart and reproductive organs. Crystals infused with yellow or gold change to deeper hues of gold and yellow if there was a presence of disease or bodily vibrational disorders. Crystals infused with Ruby and purple helped cure emotional and spiritual problems; and black crystals were powerful protectors.
The Atlanteans were said to meditate for 15 or 20 minutes inside a circle of 6, 111, 22, or 24 different types of stones while holding a clear quartz crystal in their hands. The clear quartz acted as a controller or focalizer. This practice was said to bring rejuvenation and a return of vitality allowing them to live hundreds of years while maintaining a youthful appearance.
The crystals received their power from the Sun, the Earth's energy grid, or each other. The larger crystals known as Fire Crystals were the central receiving and broadcasting stations, while others acted as receivers for individual cities, buildings, vehicles and homes. Rooms made of crystals were a place where those with secret knowledge on a spiritual level left their bodies in their final transcendence.
Edgar Cayce mentioned the Fire Crystals many times. He claims they were housed in a special oval shaped building that had a dome that could be rolled back allowing the crystal to be exposed to the Sun, moon, and stars during favorable times. It appears the crystals gathered solar, lunar, stellar, and atmospheric and Earth energies as well as unknown elemental forces concentrating these at a specific point, located between the top of the crystal and the bottom of the capstone. They were used for to transmit currents of energy throughout the land, the sky and under the sea at the speed of sound. They were also used to transmit the human voice and pictures over long distances.
They used the crystals extensively for many things such as extracting this and that from the same basic substance and using the division of energy to be able to grow things. Some divisions of energy were also used for healing, knowledge or to increase substances. They also used them to disassemble molecule structures, combinations of this stratum to build and assemble structures such as chains and the transmutation of matter. This extensive use of crystals is what led to the Atlantean's becoming greedy for power. They tuned the great crystals to higher and more destructive frequencies, activating volcanoes and melting mountains, causing the catastrophe which caused Atlantis to sink in the ocean and possibly the shift of the Earth's axis.