Someday you'll have to replace yourself. There are many ways to share your enthusiasm that don't involve having a student seeing patients with you. Please send us your contact information and tell us in which ways you could make yourself available to help grow future doctors. We can be contacted at askuwsom@uw.edu.
Answer emails or return phone calls to students who have questions about your specialty and type of practice.
Take a pre-med student or a medical school applicant to lunch or dinner and talk about what it is like being a doctor. If your background is underrepresented in medicine, meeting you can be especially inspiring for pre-medical students when they realize that their dreams can come true. You can also introduce them to what is going on with minority health professionals in the local community. (If you are especially interested in meeting students from underrepresented minorities in medicine, contact Nora Coronado, Center for Health Equity, Diversity and Inclusion ncorona@uw.edu.
Provide overnight lodging for applicants who come from out of town to interview for University of Washington School of Medicine. Interviews are held in Anchorage, Boise, Laramie, Seattle and Spokane.
Like many medical schools across the country, the UWSOM wants to make sure that applicants are making an informed decision before they spend their time and money to apply to and attend medical school. Shadowing provides prospective physicians with the opportunity to witness firsthand both the joys and frustrations of practicing medicine. To learn more about being shadowed by a pre-med student, please visit our Shadowing page.
The Center for Health Equity, Diversity and Inclusion at UWSOM provides free summer enrichment programs for high school and college students who are interested in pursuing medicine or dentistry. These include the following.
The National High School Student Summer Research Apprentice Program (NHSSSRAP): sponsored by the NIH/NIDDK/Charles R. Drew University of Medicine and Science, the program brings high school students here to the UWSOM for an 8-week research experience with a mentor.
SHPEP at the University of Washington is committed to increasing the diversity of the pool of health professionals thus improving access to quality healthcare. The University of Washington program involves rigorous academic enrichment through classes that provide a strong knowledge base in the basic foundational sciences and statistics. It is best suited for students completing their freshman year of college who are about to take these courses or those who have taken them already and feel that they could use some additional help mastering these subjects. SHPEP is a free, 6-week summer enrichment program focused on improving access to information and resources for college students interested in the health professions. SHPEP is implemented at 13 program sites across the nation. SHPEP at the University of Washington is a collaboration of the Schools of Medicine, Dentistry and Public Health. If you have questions or are interested in SHPEP please contact Danielle Ishem at ishem@uw.edu or at 206.616.5866.
If you have questions or are interested in either of these programs, please contact Nora Coronado, Center for Health Equity, Diversity and Inclusion at ncorona@u.washington.edu or at 206.685.2489.
Panels on careers in medicine are coordinated for pre-medical students by Alpha Epsilon Delta (AED), the pre-medical honor society with chapters on many campuses in the WWAMI region. If there is no chapter in the college near you, consider helping the college start one. Panels are also coordinated for current medical students by the Medical Student Association and the Student Affairs Office at the Seattle site of the University of Washington School of Medicine and by the respective WWAMI Assistant Deans' offices at the Spokane, Pullman, Anchorage, Bozeman, Laramie and Boise sites.
UW Medicine Alumni Association: A nonprofit, non-dues organization which cultivates unity among alumni of the UWSOM. If you graduated from the UWSOM, or one of its residency programs, check out the UW Medicine Alumni Association for a variety of ways to help prospective and current medical students. You can also contact them at 206.685.1875 or toll free 1.866.633.2586 or medalum@u.washington.edu for questions or more information.
University of Washington Alumni Association (UWAA): Offers opportunities for membership benefits and activities, learning, networking and news. Produces Viewpoints, a magazine published in partnership with the diversity community of the UW, Columns Magazine, and UW Newslinks.
SAID (Student-Alumni Informational Dinners): These dinners occur three times a year and match medical students interested in a given specialty with UWSOM alumni who practice in that specialty.
HOST (Help Our Students Travel): The HOST Program has helped hundreds of UW's fourth-year medical students find a friendly home while traveling for their residency interviews.
Health Sciences/UW Medicine Tour Guide: Guide eager high school students and future healthcare professionals through the Warren G. Magnuson Health Sciences Center and the UW Medical Center.
Community Health Advancement Program (CHAP): Work in a volunteer clinic alongside medical students and faculty.
Al-Shifa Clinic: Al-Shifa is a student-run clinic for underserved, predominantly immigrant communities.
Aloha Inn: The Aloha Inn provides transitional housing for 66 formerly homeless residents and has an inter-professional, student-run free clinic. Also see Students In The Community (SITC).
Introduction to Clinical Medicine course: Help teach physical exam, or evaluate medical students on their ability to perform physical exams and do case presentations. Please contact Julie Calcavecchia for more information.
Observed Structured Clinical Examinations (OSCEs): Observe and evaluate second and fourth year medical students on their ability to perform basic clinical skills (physical exams, medical interviewing, clinical reasoning). Testing dates occur four times a year in winter, spring and summer. Contact Jennie Struijk if you are interested.
Preceptorships: Medical students may elect to complete one preceptorship in either their first or second year of medical school. A preceptorship consists of a minimum of eight four-hour sessions during which the student spends time with a physician in a clinic. You must be a member of the clinical faculty to be a preceptor.
Rural Underserved Opportunities Program (RUOP): The Rural Underserved opportunities Program (RUOP) is a four-week, elective immersion experience in community medicine for students between their first and second years of medical school. Students work side by side with local physicians in the WWAMI region providing healthcare to underserved populations.


text:
Pierrot lunaire - also convincing with orchestra
Reading time: 2 min. Arnold SchönbergPierrot lunaireFaradsch Karaew
'I confess: the occupation with scores of the Second Viennese School gives me a special pleasure. My experiences with the reduced versions of Schönberg's Erwartung and Berg's Violin Concerto for Ensemble have led me to deal with the reverse idea of enlargement. That's why I chose Pierrot lunaire.
My main goal was to achieve the sound of Schönberg's scores, so that listeners and performers do not think of an arrangement, but of another original version of this wonderful work.
For this purpose I left all instrumental solos in the respective instruments, also the chamber music gesture has been preserved as much as possible. Large tutti passages, as is usual in orchestral works, are rarely present. The spirit and character of the individual pieces should also be retained. To achieve this, I tried to use the orchestra as a gigantic chamber ensemble. The piano part of the original has migrated completely into the orchestra and has thus obtained sharper contours, with much more contrasting lines, and the chordal combinations are partly, differently illuminated. Even if the listener will find something new and different, Schönberg has remained Schönberg.
I started to work in the summer of 2016 and moved on from piece to piece, immersing myself even deeper into Schönberg's world.
The special text by Giraud/Hartleben was additional motivation for the work, as well as the key to deciphering the secrets of Schönberg, the ingenious master who has overtaken himself for decades.' (Faradsch Karaew)
A further performance of this sophisticated orchestral version will take place on 29 November in Baku, Azerbaijan.
Read the full score:

redpajama_set_name: RedPajamaCommonCrawl


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As a Wayland Public Schools Foundation (WPSF) business partner, your philanthropic support will positively impact over 2,500 students and their families in the Wayland school system. Through the funding of grant proposals submitted by Wayland teachers and staff for innovative programs that would otherwise go unfunded, WPSF invests in the future of our community. Join us in continuing our mission of promoting educational excellence in our schools, and we will work with you to create a custom-tailored partnership to publicly recognize your company's support of our students and their families - your customers and clients.
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The Foundation Board of Directors and the Wayland community thank our Business Partners for their continued support. Please fill out the form below to support the Wayland community and excellence in the Wayland Public Schools again this year.


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GR Dailies: Community – Analysis of Cork-Based Networking
Posted by Thom Yee in Television
Community images courtesy of NBCUniversal Television Distribution
5×06: "Analysis of Cork-Based Networking"
Particularly In comparison to the last two episodes, both, in their own ways, gut-wrenching goodbyes to two long-standing cast members, "Analysis of Cork-Based Networking" is a relatively light episode. It's very plot-based, not particularly dependent on established relationships or longstanding quirks of the series, and it's probably the closest the show's felt to season one in a while. Which isn't a bad thing.
In establishing the "Save Greendale" Committee, Annie splits the remaining members of the Greendale Five (née Seven), along with Professors Duncan, Chang and Hickey, into teams to tackle a variety of pressing issues around the school, among them updating the Greendale Student Census, planning the decorations for the mid-term dance, and rehanging the bulletin board in the cafeteria. So, three tasks, three storylines.
Of the three tasks, the bulletin board proves to be the most difficult, involving a labyrinthine series of interdepartmental give-and-take. Along the way, we meet first time guest stars Nathan Fillion (of the custodians), Paget Brewster (of IT), and Robert Patrick (of the parking division), each representing different interests, pulling Annie and Professor Hickey into a tangled web of co-dependent favours and relationships as Annie learns a valuable lesson in backdoor dealings and staying true to her ethics. Or something. Meanwhile, Jeff, Shirley, Chang and Professor Duncan have to cover for somehow unknowingly making decorations of a highly controversial recent event for the dance, and Britta and Abed seem to entirely ignore their task in favour of one-upping each other in giving away spoilers in Bloodlines of Conquest (a fake [I almost wrote fictional, but this whole show and that series is fictional] Game of Thrones-esque TV show/book), Abed having watched the entire show thus far and Britta only having started and then deciding to read ahead in the book.
I just like how little sense this picture makes out of context.
It's all very nice and good and very "Jokey Jokerson" at a level only notably (rather than the usual far) above normal sitcoms, and even though it doesn't really further the overarching stories of our characters, it's a nice breather before we go to the midseason break. The conventional nature of the episode along with the plethora of guest stars is what serves to make the episode feel so much like a year one episode (back when NBC thought it might become a big hit and would commit to things like guest stars and full-season orders), but oddly, unlike any episode in that first year, in taking such an Annie-centric viewpoint, it becomes one of the first episodes where Jeff really doesn't feel like the main character anymore.
Is that… could it be… it is…!
"Analysis of Cork-Based Networking" is a slightly above average episode and, therefore, worthy of a 7.5. Crucially, though, just before the episode ends and after Britta ruins a potential romantic relationship for Abed in the duo's further attempts to spoil Bloodlines of Conquest, Abed gets a chance at reconnecting with Rachel (Brie Larson), one of the few characters worth remembering from one of the few episodes worth watching from the Gas-Leak Year. Turns out the two just never called each other and that's why we never saw her again (and not just because last year's showrunners never thought ahead enough to plan for Abed having a girlfriend).
To be honest, guest starring Brie Larson as Rachel in a second Community appearance is almost like a cheat code for me, and just like Iron Man 3 got a full point score above its actual quality from me for having completely ripped off scenes and scenarios from Lethal Weapon, so too does "Analysis of Cork-Based Networking".
Community "Analysis of Cork-Based Networking" final score: 8.5
-Something that slightly undermines the episode is that so much of the resolution of Annie's problems is dependent on the Dean's approval as pretty much everything else about Dean Pelton in the show has been about immasculation, dehumanization, and a lack of power on his part.
-So Chang's a math teacher now. But that flies in the face of the very first thing he said in the very first episode he was in.
-"I detonated a mollusk."
-It's kind of hilarious that they need to use a green screen just to make the cafeteria set look empty.
-A Paget Brewster-looking woman (Debra in IT) has been working at Greendale? Seems like someone Jeff should have met three to four seasons ago (à la Professor Slater).
-"Everything!"
-Ewoks = "yip-chaa".
-This toast isn't over until everyone says, "Easy-peasy, lemon-squeazy!" Everyone!
-Make sure to watch the text crawl on the news show Professor Hickey's watching towards the end of the episode for an update on how Troy's voyage is going.
-Fat dog! You've heard this expression your entire life!
-Rachel: "I guess I could've put in some effort… I started this coat check without permission anyway." Veiled denouncement of season four?
-This is our last week of coverage as NBC's schedule gives way for Olympics coverage. See you all (if any) at the end of February and our seventh episode of Community's great comeback year.
<< Last Episode: Geothermal Escapism
Next Episode: Bondage and Beta Male Sexuality >>
Community season 4 review


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Q: trying to calculate price of rooms * tax (const double 0.06) getting error on console i am trying to calculate price of rooms and tax price for simple program everything works , just at the end when i program calculate tax with total price of rooms, i get wrong answer on the console.
the rooms and tax:
int  small_rooms {0};
int  large_rooms {0};
const double price_of_small_room{25.0};
const double price_of_large_room{35.0};
const double tax_price {0.06};

======================================================
the actual calculation
cout << " cost: "  << (small_rooms * price_of_small_room) + (large_rooms * price_of_large_room) << endl;
cout << " tax: " <<  ( (small_rooms * price_of_small_room) + ( large_rooms * price_of_large_room) )* tax_price << endl;
cout << " =================================== " << endl;
cout << " total estimate " << (small_rooms * price_of_small_room)  + (large_rooms * price_of_large_room) * (tax_price) << endl;

===================================================================================
screenshot:
(look at the end , the total price after tax is wrong at bottom)
http://floomby.io/s/091119/Nfi45lzx?a

A: In the last line the parantheses are wrong. Probably you want to add the tax to the sum of both costs. Why make it so compilcated? Just use some more variables:
auto cost = (small_rooms * price_of_small_room) + (large_rooms * price_of_large_room);
auto tax = cost * tax_price;
auto total = cost + tax;

cout << " cost: "  << cost << endl;
cout << " tax: " << tax << endl;
cout << " =================================== " << endl;
cout << " total estimate " << total << endl;

redpajama_set_name: RedPajamaStackExchange


Electric power generation engineers design and develop systems which generate electrical power, and develop strategies for the improvement of existing electricity generation systems. They strive to conciliate sustainable solutions with efficient and affordable solutions. They engage in projects where supply of electrical energy is required.
Understand electrical engineering, a field of engineering that deals with the study and application of electricity, electronics, and electromagnetism.
Power capacity in the form of mechanical, electrical, heat, potential, or other energy from chemical or physical resources, which can be used to drive a physical system.
The different types of energy sources which cannot be depleted, such as wind, solar, water, biomass, and biofuel energy. The different technologies used to implement these types of energy to an increasing degree, such as wind turbines, hydroelectric dams, photovoltaics, and concentrated solar power.
The compliance with safety measures which need to be taken during the installation, operation, and maintenance of constructions and equipment which function in the generation, transmission, and distribution of electrical power, such as the appropriate safety gear, equipment handling procedures, and preventive actions.
The engineering elements like functionality, replicability, and costs in relation to the design and how they are applied in the completion of engineering projects.
Understand the principles of electricity and electrical power circuits, as well as the associated risks.
Flow of electric charge, carried by electrons or ions in a medium such as an electrolyte or a plasma.
Drawing software and the various symbols, perspectives, units of measurement, notation systems, visual styles and page layouts used in technical drawings.
The principles and operations of devices that can convert mechanical energy into electrical energy, such as dynamos and alternators, rotors, stators, armatures, and fields.
The systematic approach to the development and maintenance of engineering systems.
Develop and implement strategies which ensure that swift and efficient actions can be taken in the event of a disruption in the generation, transmission, or distribution of electrical energy, such as a power outage or sudden increase of demand.
Monitor and control operations on an electrical power transmission and distribution system in order to ensure that major risks are controlled and prevented, such as electrocution risks, damage to property and equipment, and instability of transmission or distribution.
Accommodate a temporary shutdown of electric power generation systems by shifting energy demands. The goal is to limit power disruptions for customers while a certain problem is identified and dealt with.
Construct generation plants, distribution stations and systems and transmission lines to get energy and new technology where it needs to go. Use high tech equipment, research, maintenance and repair to keep these systems running. Further design and plan layout of the buildings to be constructed.
Give consent to the finished engineering design to go over to the actual manufacturing and assembly of the product.
Promote the use of renewable electricity and heat generation sources to organisations and individuals, in order to work towards a sustainable future and encourage sales of renewable energy equipment, such as solar power equipment.
Create technical designs and technical drawings using specialised software.
Set in motion the strategies created for responding to emergency situations, as well as respond to unforeseen problems, in the generation, transmission, and distribution of electrical power, such as power outages, in order to rapidly solve the problem and return to normal operations.
Gain, correct or improve knowledge about phenomena by using scientific methods and techniques, based on empirical or measurable observations.
Adjust designs of products or parts of products so that they meet requirements.
Monitor the operations of an electrical energy distribution facility and electricity distribution systems in order to ensure that the distribution goals are met, and the electricity supply demands are met.


The Registered office address is at Brunswick Court, Yeomans Drive, Blakelands, Milton Keynes, MK14 5LR and VOLKSWAGEN FINANCIAL SERVICES (UK) LIMITED is a company registered in England and Wales with Company No 2835230 and VAT registration Number of GB 745 9638 83.
Volkswagen Insurance Service (Great Britain) Limited is an appointed representative of Volkswagen Financial Services (UK) Limited. Volkswagen Financial Services (UK) Limited is authorised and regulated by the Financial Conduct Authority.


BONUS GR SYSTEM AND FRUIT SYSTEM!
At the momet if you collected 100 fruit can exchange it to change your 4lvl wings to other class.
We added new sub NonPvP!
KS is available on this sub.
On map gens PK is on! On all other maps pk is off.
Remember to do empty place in wh0. Wings must be placed in wh0.
Exchange System GP to Wcoin!
Exchange System Goblin Points to Wcoins is available in Account Panel!
Copyright 2019 © War of Glory Retro Season 6Ep3. All Rights Reserved.


text:
Glen Canyon Float Trips in Arizona
Caverns of California
Best Family Tours of the Grand Canyon
Caverns Outside Sacramento
Grand Canyon Railway Schedule
How to Prepare for a Grand Canyon Rafting Trip
Grand Canyon Rafting Trips on the Colorado River in Arizona
Located in northern Arizona, the Grand Canyon provides families opportunity to share in outdoor adventures that will be fondly remembered for a lifetime. While some might wish to drive up to the South Rim and peer briefly into the canyon before driving away, taking time to engage in a family-friendly tour can enrich your family's knowledge of the canyon, as well as providing an engaging, hands-on adventure for the car-bored offspring wriggling in the backseat.
Mule Tours
Riding a mule at the Grand Canyon has been a tradition for families for more than 100 years. At the South Rim, Xanterra (xanterra.com) offers full-day mule rides to Phantom Ranch at the bottom of the canyon, or half-day mule rides to the Abyss Overlook. If your stomach churns at the thought of looking down a cliff inches away from the feet of your mount, you'll appreciate the Abyss Overlook's gentle ride through pinyon pine forests well away from the canyon's precipitous edge. Children must be at least 4 feet 7 inches tall, and all passengers must be able to effectively speak and understand the English language. The ride has been given the "Best for Kids" designation by Kids Can Travel, a family-friendly travel magazine.
Kids as young as 6 can participate in Grand Canyon Field Institute's (grandcanyon.org) "Meet The Canyon Hiking Adventure." Kids Can Travel recommends this full-day hiking tour that begins at the Bright Angel Trail. Your guide will point out ancient native inscriptions, landforms, plants and animals as you down the trail at a pace and distance suitable to the ability of the group and dependent upon weather conditions. Back on the rim, the guide will give you a tour of historic buildings and take you to amazing canyon views along the rim.
Arrive at the Grand Canyon the same way tourists did 100 years ago with a train trip on the Grand Canyon Railway (thetrain.com). The train departs from Williams, Arizona, in the morning and takes a 65-mile journey into the park to the canyon's south rim, where you'll arrive in time for lunch. You'll have nearly four hours to explore the canyon's South Rim before heading back to Williams. A mock train robbery and other entertainment add family-oriented fun to the two-hour journey. The park's main concessionaire, Xanterra suggests a family-friendly package that includes two overnights in Williams, as well as breakfast and dinner buffets. If you'd like more time at the canyon, you can add an overnight at the Maswick Lodge.
River Tours
Commercial whitewater rafting trips require kids to be at least 12 years of age and can last a minimum of nine days if you don't want to hike out 10 miles uphill carrying all your gear. Families with kids as young as 4 can enjoy smooth water rafting on the Colorado River. Xanterra recommends that families with kids under 12 try Colorado River Discovery's (raftthecanyon.com) flat-water tour of the upper canyon. The tour picks you up at Maswick Lodge in the morning and takes you to the base of Glen Canyon Dam, where you will raft 15 smooth miles to Lee's Ferry, stopping for a box lunch beneath tall canyon walls.
Kids Can Travel: Family-Friendly Tours in the South Rim
Grand Canyon Field Institute: Meet the Canyon Adventure
Xanterra: Abyss Overlook Mule Ride
Grand Canyon National Park Lodges: Smooth Water Raft Trip
Grand Canyon Tours From Sedona
What to Wear to a Dude Ranch
How to Plan a Road Trip From Maine to Tennessee
Hiking Trails Near Hoover Dam


Spacious, well built and well kept home located in the convenient subdivision behind Menards. This 4-level split has tons of space for everyone including a family room with built-ins, and a rec room on the lowest level for your enjoyment! You will find vaulted ceilings on the main level with a bow window in the living room and mullioned windows throughout add character. TONS of natural light fill the home and the patio door off the kitchen to the back yard is super convenient. 4 nice sized bedrooms with 3 on the same level, 2 baths and neutral décor will make you want to move right in. Tastefully landscaped large back yard with 4 raised garden beds and a watering system to service 3 of them. There is a stairwell from the garage to the basement, steel siding and a side parking pad for additional parking/storage. There is a Radon Mitigation system in place along with a sump pump. At the end of the block is a park offering basketball/baseball, playground, and paved walking path. Foosball table, pool table and waterbed to stay. All APPLIANCES STAY.


Nominated by the public as one of their favourite buildings in Adelaide in 2013, Darling House is not only historically and architecturally significant but has been the source of much intrigue since being left idle in 1997.
For the last 18 years Darling House has sat disused and un-maintained. Rising damp, water damage and wood rot have taken its toll on this once bustling establishment.
However, plans are afoot to restore the old building. Scheduled to be completed by the end of this year we eagerly await to see her rescued from its current dilapidated condition.


text:
GSMA Innovation Fund
The GSMA AgriTech Accelerator
Digital Agriculture Maps
Digitise supply chains
Improve Climate Resilience
Mobile content services
Design for farmers
ClimateTech
The GSMA Innovation Fund for Climate Resilience and Adaptation
The GSMA Innovation Fund For Digital Urban Services
Renewable Energy for Mobile Towers
Mobile for Development | Central Climate Hub
Connected Society
The State of Mobile Internet Connectivity Report 2022
Mobile Connectivity Index
Mobile Coverage Maps
Mobile Internet Skills Training Toolkit
Mobile Digital Skills Alliance
Innovation Funds
The GSMA Innovation Fund for Assistive Tech
Principles for Driving the Digital Inclusion of Persons with Disabilities
GSMA National Dialogues
Connected Women
Commitment Initiative
Accelerating Digital and Financial Inclusion
The Mobile Gender Gap Report
Reaching 50 Million Women with Mobile: A Practical Guide
Connected Women Life Stories
Digital Utilities
The value of pay-as-you-go solar
The Digital Utilities Partnerships Hub
Building the ecosystem
Industry data and insights
State of the Industry Report on Mobile Money
Mobile Money Metrics
GSMA Mobile Money Certification
Inclusive Tech Lab
GSMA Mobile Money API
The Mobile Money Regulatory Index
Mobile Money at MWC Africa
Ecosystem Accelerator
GSMA Mobile Innovation Hub
MIH EAST Incubation Programme
Platforms for Tomorrow
Ecosystem Accelerator Innovation Fund
Mobile for Humanitarian Innovation
Humanitarian Connectivity Charter
M4D Donors
Application highlights from The GSMA Innovation Fund for Climate Resilience and Adaptation
Samir Hafiz
Climate Monitoring, Evaluation and Learning (MEL) Manager
Anna Colquhoun
Senior Insights Manager
Tuesday 8 November, 2022
Africa | Asia Pacific | Blog | ClimateTech | Innovation Fund
Climate change is the most pressing challenge facing humanity and we continue to witness its impact across the world. This includes more extreme and unpredictable weather events, sea-level rise and changing ecosystems. People in low- and middle-income countries feel the impact of climate change most, and often find it hardest to adapt and recover.
Digital technology can be a unique lever in helping create a more resilient and sustainable future for communities vulnerable to climate shocks and stressors in these countries. Mobile services, digital payment services, data assets and frontier technologies such as Internet of Things (IoT), artificial intelligence (AI) and blockchain present a range of possibilities for digital and mobile-enabled solutions in the climate context.
While some tech-driven models such as Pay-As-You-Go have shown promise in the last decade, there is still much to learn, particularly with regards to business models aiming to build resilience to climate change. There is a need to test technologies and use cases linked to climate change resilience and adaptation and to support partnerships and ecosystems to help them create sustainable change.
With this in mind, in November 2021 at COP26, the GSMA Innovation Fund for Climate Resilience and Adaptation was launched, with funding from the UK Foreign, Commonwealth and Development Office (FCDO) and the Swedish International Development Cooperation Agency (Sida).
The objective of the Innovation Fund is to support the launch and accelerate the scaling of mobile and digital innovations that could enable some of the world's most vulnerable communities build their resilience to climate change. We will be supporting start-ups, small and medium enterprises (SMEs) and social enterprises working on climate action. Successful applicants will be awarded between £100,000 and £250,000 in grant funding, alongside additional support on technical assistance, partnership facilitation with mobile operators and connections to investors. An announcement about the successful applicants and the solutions proposed will be made at COP27 this month.
The Innovation Fund received a total of 524 applications from 70 countries. We analysed the applications to observe trends and study the range of locally founded innovations in climate change resilience and adaptation in LMICs. Please see the Terms and Conditions for details on the types of organisations the fund has been looking to support and the eligibility criteria for applying for funding.
High representation of locally led innovation from Africa
The fund was open for applications from Africa, South and Southeast Asia and for limited parts of Latin America, Eastern Europe and Western Balkans. However, in line with the scope of the fund, most applications received were for projects based in Africa (78%), followed by Asia (19%). Pockets of extreme climate vulnerability also exist in Latin America, the Caribbean and small island states, yet only a handful of submissions were made by start-ups in this region. The top 5 countries with the most applications were Kenya (62), Nigeria (47), Zambia (19), Ghana (17) and India (16).
We particularly encourage applications from local entrepreneurs, with good representation of homegrown talent at all levels of the organization. We know that locally-led solutions, where affected communities are rooted in the design and implementation of projects, are critical to their success by ensuring that the solutions are relevant and appropriate to the context, or that there is a sense of ownership of the project deliverables and outcomes. As such, it was encouraging to see that almost all (90%) of project applications were being designed and delivered in-country.
A focus on agriculture and smallholder farmers
Agricultural solutions dominated the pool of applications, with 46% of eligible projects pitched focusing on this sector – particularly in North, East and West Africa. As a result, smallholder farmers were the most common target user groups.
Other sectors with high numbers of digital solutions proposed included utility services (39%), natural resource management (32%) and insurance and financial services (22%).
The prevalence of agriculture within the applications highlights the growing awareness of the linkages and dependencies between agriculture and climate change. It also suggests scope for further support to other sectors that can either build climate resilience, mitigate climate change or safeguard natural resources.
Mobile apps most common; use of innovative tech still nascent
Most of the applicants were using a combination of different technologies within their projects. The most popular solutions being pitched were more traditional ones – such as mobile applications or mobile money.
For example, access to digital financial services and marketplaces are often used to help vulnerable communities adapt to and absorb financial risks associated with climate shocks and stressors.
In contrast, more innovative technologies – such as artificial intelligence, satellite imagery or the use of big data – were pitched by less than a third of all applicants. At the regional level, the use of frontier technologies was much more common amongst start-ups in Asia, compared with the Africa region.
This indicates the use of innovative technology for addressing climate issues is happening and promising, but still nascent.
The Innovation Fund offers a unique opportunity to work with start-ups to further generate and test insights. This will help provide a body of evidence on how to improve the sustainability and scalability of digital climate resilience and adaptation solutions with impact on the lives of people vulnerable to climate risks. To hear about the latest research, please sign up to our newsletter here.
An announcement about the successful applicants and the solutions proposed will be made on 12th November at COP27. Before then, you can explore the full GSMA Innovation Fund portfolio of organisations here.
This initiative is currently funded by the UK Foreign, Commonwealth & Development Office (FCDO) and the Swedish International Development Cooperation Agency (SIDA), and is supported by the GSMA and its members.


text:
Conanesque ou conanesco (variante hispânica) é um termo usado para definir personagens inspirados em Conan, o bárbaro, criado em 1932 por Robert E. Howard para a revista pulp Weird Tales, Howard é apontado como um dos precursores do gênero espada e feitiçaria.

Histórico

Em 1950, o escritor e roteirista de histórias em quadrinhos, Gardner Fox e John Giunta criaram para a editora Avon Comics, o personagem Crom, the barbarian, o nome do personagem faz referência a outro personagem das histórias de Conan, o fictício deus Crom, assim como Howard, Fox também escreveu contos para a revista pulp Weird Tales. Em 1967, o escritor americano Lin Carter criou Thongor of Lemuria, um pastiche de Conan, Carter estava familiarizado com o Conan, ao lado de L. Sprague de Camp, deu continuidade as histórias criadas por Robert. E. Howard. Em 1969, Fox lançou um outro pastiche de Conan, Kothar, o personagem foi publicado em cinco romances. Em 1970, a Marvel Comics inicia publicação de histórias de espada e feitiçaria, Roy Thomas (roteista) e Barry Windsor-Smith produzem a história  "The Sword and the Sorcerers" (Abril de 1970, protagonizada por "Starr the Slayer", Wally Wood escreve e desenha "Of Swords and Sorcery" publicada na revista Tower of Shadows número 7, protagonizada por "Vandal, the barbarian", Stan Lee propôs a Martin Goodman que a editora deveria licenciar um personagem do gênero espada e feitiçaria, Roy Thomas pensou em licenciar Thongor, porém Lee, o convenceu a desistir da ideia e tentasse licenciar Conan. Em Outubro de 1970, foi publicada a primeira edição de Conan the Barbarian, com roteiros de Roy Thomas e desenhos de Barry Windsor-Smith. Em 1971, a editora licencia outro personagem de Howard, Kull, originalmente, Kull era uma espécie de protótipo de Conan, publicado na revista Weird Tales, três anos antes de Conan, na cronologia criada por Howard no ensaio A Era Hiboriana, Kull vivia suas aventuras na Atlântida, num período anterior a Era Hiboriana criada por Howard.

Em  Conan the Barbarian #23 (1973),  Roy Thomas cria a guerreira Red Sonja, a personagem foi inspirada em duas personagens de Howard,  Red Sonya of Rogatino do conto  "The Shadow of the Vulture" publicada em 1934 na revista The Magic Carpet e em  Dark Agnes de Chastillon, ambas as personagens possuíam histórias no século XVI, Thomas incluiu Sonja na Era Hiboriana, interagindo com Conan. No seguinte, outras editoras investem em cópias de Conan, são eles, Dax the Warrior (Gold Key), Haxtur e Hoggarth (Warren Publishing).

Em 1973, quando Thomas ocupava o cargo de editor-chefe, retomou a ideia de licenciar Thongor, o personagem estreou na revista Creatures on the Loose número 22 com roteiros de George Alec Effinger  e desenhos de Val Mayerick, a capa da edição ficou a cargo de Jim Steranko. Gardner Fox chegou a escreveu uma única história de Thongor publicada em Thongor #26 (Novembro de 1973). Thongor não fez tanto sucesso quando os outros personagens e teve sua última história publicada na revista Thongor #29 (Janeiro de 1974). Em 1975, a DC Comics lança Garra, O Invencível, criado por David Michelini e Ernie Chan, Chan havia trabalhado em Conan, arte-finalizando histórias desenhadas pelos por John Buscema. A revista do Garra foi cancelada na décima segunda edição publicada em 1978, no mesma ano, a editora publicou duas histórias do personagens na revista "Cancelled Comic Cavalcade", o personagem ainda seria publicado nas edições 48 e 49 da revista Warlord publicadas em 1981. Em 1977, o canadense Dave Sim cria uma paródia de Conan, Cerebus, um porco bárbaro, na terceira edição de Cerebus, o autor cria Red Sophia, nitidamente inspirada em Sonja, em 1982, surge Groo, o errante do quadrinista espanhol Sergio Aragonés, conhecido por seus trabalhos na satírica Revista Mad .

Ainda em 1982, o filme Conan, o bárbaro, estrelado por Arnold Schwarzenegger,  faz com que surja vários filmes de espada e feitiçaria, alguns deles protagonizados por bárbaros conanesques  tais como :The Beastmaster (1982), The Sword and the Sorcerer (1982), Deathstalker (1983) e Red Sonja (1984), embora tenha a participação de Schwarzenegger, este não interpreta Conan e sim Kalidor, no mesmo ano o ator estrela Conan, o Destruidor. Também em 1982, Gary Gygax, co-criador do RPG Dungeons & Dragons, introduz a classe de personagem bárbaro, claramente inspirada em Conan, em 1984, após o sucesso dos filmes estrelados por Arnold Schwarzenegger, a TSR, Inc., a editora TSR, Inc. adquiri a licença para adaptar as histórias de Conan para Dungeons & Dragons em três livros baseados nas histórias de Howard, no ano seguinte, a editora publica um livro próprio para Conan sem ligação com Dungeons and Dragons.  Ainda em 1985, Gygax ao lado de Flint Dille cria a série de livros-jogos  Sagard the Barbarian. A série animada Caverna do Dragão (1983-1986), baseada em Dungeons and Dragons, apresentava um bárbaro, o jovem Bobby. A influencia já era observada em outras animações da década, tais como: Thundarr the Barbarian (1980-1982), Blackstar (1981) e  He-Man and the Masters of the Universe (1983-1985).Em 1989, a fabricante de jogos Milton Bradley Company, lança no mercado HeroQuest, um misto de jogo de tabuleiro e RPG, neste jogo, uma das classes de personagem disponíveis é o bárbaro.

Em 1986, os brasileiros Mozart Couto (desenhista) e Júlio Emílio Braz (roteirsta) criam "Brakan, o bárbaro vingador", porém não conseguem publicar pela editora, o personagem chegou a ser publicado na Europa e permaneceu inédito no país. Em 1987, desenvolvedora de jogos eletrônicos  Taito lança o primeiro jogo da franquia "Rastan Saga", nitidamente inspirada em Conan, em 1989, a empresa japonesa Sega lança o primeiro jogo da franquia Golden Axe, o jogo tinha como um dos seus protagonista, Ax Battler, o bárbaro.

Na década de 2000,  Mozart Couto ilustra capas da revista Espada Selvagem de Conan da Editora Abril, em 2001, resolve apresentar a editora, uma história de Brakan para ser publicada na revista, porém a Editora Abril perde a licença de Conan e a revista é cancelada na edição 197. o cancelado da revista era inevitável, uma vez que a própria Marvel Comics já havia deixado de publicar Conan em 2000. Em março do ano seguinte, Brakan ganha uma revista própria pela editora Opera Graphica, a revista fazia referências a Conan e a Era Hiboriana na capa, porém a editora não sabia que a Mythos Editora havia adquirido a licença para publicar Conan novamente no Brasil e está ameaça processar a editora Opera Graphica por plágio e uso indevido de marca registrada, o editor da Opera Graphica, Franco de Rosa, alegou possuir licença da Conan Properties para publicar tiras de jornal de Conan. Em dezembro, a Opera Graphica publicou uma segunda revista de Brakan, desta vez sem fazer menção a criação de Howard. Conan voltaria a ter histórias inéditas em 2003, a editora Dark Horse Comics adquiri a licença para publicar os quadrinhos de Conan, tanto para relançar encadernados de histórias publicadas pela Marvel Comics, quanto para produzir histórias inéditas, nesse contrato não estavam incluídos nem Red Sonja, nem Kull. já que os direitos dos personagens ficaram separados, Sonja passou a ser controlada por  Red Sonja Corp ou Red Sonja LLC e Kull pela Kull Productions, Red Sonja voltaria a ter novas histórias em quadrinhos em 2005 pela Dynamite Entertainment, no ano seguinte, a Dynamite chegou a publicar em parceira com a Wildstorm (um selo da DC Comics) a miniserie em Red Sonja & Claw, que apresentava um crossover entre Sonja e  Garra, O Invencível, publicada em quatro edições, a mini-série ganharia uma edição encadernado no ano seguinte. ainda em 2006, a Paradox Entertainment, empresa que adquiriu os direitos das criações de Howard processou a Red Sonja LLC por uso indevido de personagem. Em 2008, a Dark Horse consegue os direitos de Kull e de Solomon Kane (outra criação de Howard), já que os personagens também passaram ser controlados pela Paradox. também em 2008, fica estabelecido que a Red Sonja LLC tem os direitos tanto sobre Sonya quanto de Sonja e a Paradox da Era hiboriana, para relançar o conto The Shadow of the Vulture, a Paradox precisa da autorização da Red Sonja LLC a personagem continua sendo publicada pela editora Dynamite e podendo usar a Era hiboriana como cenário. Em 2012, a Dark Horse anunciou a publicação de um crossover entre Groo, o errante e Conan. No ano seguinte, as editoras Dark Horse e Dynamite anunciam um crossover entre Conan e Red Sonja, o primeiro desde que os personagens deixaram de ser publicados pela Marvel.

Ver também
 Espada e feitiçaria
 Bárbaro
 Bárbaro (RPG)
 Tarzanide

Ligações externas

Conan
Neologismos
Estereótipos
Terminologia de banda desenhada
Fantasia

redpajama_set_name: RedPajamaWikipedia


text:
Metabolic myopathies are myopathies that result from defects in biochemical metabolism that primarily affect muscle. They are generally genetic defects that interfere with muscle's ability to create energy. At the cellular level, metabolic myopathies lack some kind of enzyme that prevent the chemical reactions necessary to create adenosine triphosphate (ATP). ATP is often referred to as the "molecular unit of currency" of intracellular energy transfer. The lack of ATP prevents the muscle cells from being able to function properly. Some people with a metabolic myopathy never develop symptoms due to the body's ability to produce enough ATP through alternative pathways.

ATP → ADP + Pi + energy → muscle contraction

ATP is needed for muscle contraction by two processes:

 Firstly, ATP is needed for transport proteins to actively transport calcium ions into the sarcoplasmic reticulum (SR) of the muscle cell between muscle contractions. When a nerve signal is received, calcium channels in the SR open briefly and calcium rushes into the cytosol by selective diffusion (which does not use ATP). The diffusion of calcium ions into the cytosol causes the myosin strands of the myofibril to become exposed, and the myosin strands pull the actin microfilaments together. The muscle begins to contract.
 Secondly, ATP is needed to allow the myosin to release and pull again, so that the muscle can contract further in what is known as the sliding filament model.

ATP is consumed at a high rate by contracting muscles. The need for ATP in muscle cells is illustrated by the phenomenon of Rigor mortis, which is the muscle rigidity that occurs in dead bodies for a short time after death. In these muscles, all the ATP has been converted to ADP, and in the absence of further ATP being generated, the calcium transport proteins stop pumping calcium ions into the sarcoplasmic reticulum and the calcium ions gradually leak out. This causes the myosin proteins to grab the actin and pull once but without further supply of ATP, cannot release and pull again. The muscles therefore remain rigid in the position at death until the binding of myosin to actin begins to break down and they become loose again.

Symptoms
In the event more ATP is needed from the affected pathway, the lack of it becomes an issue and symptoms develop. People with a metabolic myopathy often experience symptoms such as:

 exercise intolerance,
 muscle fatigue, pain and cramping during and/or after exercise,
 shortness of breath (dyspnea) or rapid breathing (tachypnea),
 inappropriate rapid heart rate in response to exercise (tachycardia),
 exaggerated cardiorespiratory (breath and heart rate combined) response to exercise (dyspnea/tachypnea and tachycardia),
 myogenic hyperuricemia (exercise-induced accelerated breakdown of purine nucleotides in muscle via Purine Nucleotide Cycle),
 muscle contracture (like a really bad cramp that can last for hours, which is myogenic and EMG silent),
 progressive muscle weakness,
 myoglobinuria and considerable breakdown of muscle tissue (rhabdomyolysis).

The degree of symptoms varies greatly from person to person and is dependent on the severity of enzymatic defect. In extreme cases it can lead to Rhabdomyolysis. The symptoms experienced also depend on which metabolic pathway is impaired, as different metabolic pathways produce ATP at different time periods during activity and rest, as well as the type of activity (anerobic or aerobic) and its intensity (level of ATP consumption).

Types

Metabolic myopathies are generally caused by an inherited genetic mutation, an inborn error of metabolism. (In livestock, acquired GSD is caused by intoxication with the alkaloid castanospermine.) Metabolic myopathies cause the underproduction of adenosine triphosphate (ATP) within the muscle cell. The genetic mutation typically has an autosomal recessive inheritance pattern making it fairly rare to inherit, but it can also be caused by a random genetic mutation. Metabolic myopathies are categorized by the metabolic pathway to which the deficient enzyme belongs. The main categories of metabolic myopathies are listed below:
 Muscle Glycogen Storage Diseases (Muscle GSDs) and other Inborn Errors of Carbohydrate Metabolism that affect muscle—defect in sugar (carbohydrate) metabolism. The deficient enzyme occurs in the cytosol of the muscle cell.
 Lipid storage disorder—defect in fat (lipid) metabolism. The deficient enzyme occurs in the cytosol of the muscle cell.
 Nucleotide Metabolism disorder—defect in Purine Nucleotide Cycle enzyme (such as AMP deaminase deficiency). Purine nucleotide metabolism is a part of protein catabolism, and the Purine Nucleotide Cycle occurs within the cytosol of the muscle cell.
 Mitochondrial myopathy—defect in mitochondrial enzymes for oxidative phosphorylation (including Citric Acid Cycle and Electron Transport Chain). Occurs in the mitochondrion of the muscle cell.

Diagnosis
The symptoms of a metabolic myopathy can be easily confused with the symptoms of another disease. As genetic sequencing research progresses, a non-invasive neuromuscular panel DNA test can help make a diagnosis. If the DNA test is inconclusive (negative or VUS), then a muscle biopsy is necessary for an accurate diagnosis.

A blood test for creatine kinase (CK) can be done under normal circumstances to test for signs of tissue breakdown, or with an added cardio portion that can indicate if muscle breakdown is occurring. An electromyography (EMG) is sometimes taken in order to rule out other disorders if the cause of fatigue is unknown. An Exercise Stress Test can be used to determine an inappropriate rapid heart rate (sinus tachycardia) response to exercise, which is seen in GSD-V, other glycogenoses, and mitochondrial myopathies. A 12 Minutes Walk Test (12MWT) can also be used to determine "Second Wind" which is also seen in McArdle Disease (GSD-V).

A cardiopulmonary exercise test can measure both heart rate and breathing, to evaluate the oxygen cost (∆V'O2/∆Work-Rate) during incremental exercise. In both glycogenoses and mitochondrial myopathies, patients displayed an increased oxygen cost during exercise compared to control subjects; and therefore, can perform less work for a given VO2 consumption during submaximal daily life exercises.

Differentiating between different types of metabolic myopathies can be difficult due to the similar symptoms of each type such as myoglobinuria and exercise intolerance. It has to be determined whether the patient has fixed or exercise-induced manifestations; and if exercise-related, what kind of exercise, before extensive exercise-related lab testing is done to determine the underlying cause.

Adequate knowledge is required of the body's bioenergetic systems, including:

 which circumstances constitute anaerobic exercise (blood flow restricted by contracted muscles, insufficient oxygen and blood borne fuels, particularly isometric exercise, as well as sudden increased intensity) versus aerobic exercise (blood flow unrestricted),
 anaerobic metabolism (Phosphagen System and anaerobic glycolysis - ATP produced without oxygen, regardless of adequate blood flow or not, quickly produces ATP which is useful in high-intensity activity and the beginning of any activity) versus aerobic metabolism (oxidative phosphorylation - ATP produced with oxygen, adequate blood flow required, slow to produce ATP but produces for longer and high yield),
 the different sources of energy (phosphagen system, carbohydrate metabolism, lipid metabolism [including ketosis], protein metabolism [including the Purine Nucleotide Cycle], oxidative phosphorylation),
 how long does each source take to start producing energy,
 how long does each source continue to produce energy,
 how long does each source take to replenish,
 how much ATP can each source generate,
 and which fuel source is primarily used given the intensity of the activity.

For example, leisurely-paced walking and fast-paced walking on level ground (no incline) are both aerobic, but fast-paced walking relies on more muscle glycogen because of the higher intensity (which would cause exercise intolerance symptoms in those with muscle glycogenoses that hadn't yet achieved "Second Wind"). When walking at a leisurely pace on level ground (no incline), but there is loose gravel or sand, long grass, snow, or walking into a headwind, that added resistance (requiring the muscles to tense more) makes the activity more reliant on muscle glycogen also.

Those with muscle glycogenoses can maintain a healthy life of exercise by learning activity adaptations, utilizing the bioenergetic systems that are available to them. Depending on the type of activity and whether they are in second wind, they slow their pace or rest briefly when need be, to make sure not to empty their "ATP Reservoir."

Treatment
Metabolic Myopathies have varying levels of symptoms, being most severe when developed during infancy. Those who do not develop a form of a metabolic myopathy until they are in their young adult or adult life tend to have more treatable symptoms that can be helped with a change in diet and exercise.

Depending on what enzyme is affected, a high-protein or low-fat diet may be recommended along with mild exercise. It is important for people with metabolic myopathies to consult with their doctors for a treatment plan in order to prevent acute muscle breakdowns while exercising that lead to the release of muscle proteins into the bloodstream that can cause kidney damage.

A ketogenic diet has a remarkable effect on CNS-symptoms in PDH-deficiency and has also been tried in complex I deficiency. A ketogenic diet has demonstrated beneficial for McArdle Disease (GSD-V) as ketones readily convert to Acetyl CoA for oxidative phosphorylation, whereas Free Fatty Acids take a few minutes to convert into Acetyl CoA. As of 2022, another study on a ketogenic diet and McArdle Disease (GSD-V) is underway.

References

External links
 Metabolic Myopathies - eMedicine
 IAMGSD (International Association for Muscle Glycogen Storage Disease)
 Walking With McArdle's - IAMGSD videos
 EUROMAC Introduction - Video about McArdle Disease and the EUROMAC Registry of McArdle Disease and other rare glycogenoses patients

Muscular disorders
Metabolic disorders


text:
Not me Guv – tenant accuses landlord of cannabis stash
A serial offending tenant when caught red-handed with a stash of cannabis told the police that it was the landlords and nothing to do with him.
The Leeds police uncovered cannabis hidden away in the tenant's flat in the loft. The cannabis was in ten bags and its street market value was in excess of £2,000. The Crown Court was told that all of the bags had the tenant's fingerprints on.
The tenant had told police officers that he was threatened by his landlord if he did not carry out his orders to put the illegal drugs in the flat's loft.
He was arrested within a week, at his mother's and again had an amount of cannabis on him.
The serial offender was restrained and arrested at the end of February this year, when neighbours at a different address called the police because various items were being thrown out of the tower block.
At the time of his last arrest he was found to be carrying a ball bearing gun and a knife. The police had no other option than to use a taser on him as he was also "high" on cannabis and was throwing out threats; he has been in prison on remand awaiting the court hearing.
He admitted to being guilty of possessing of cannabis to supply, he also pleaded guilty of three offences of possessing cannabis, criminal damage and threatening behaviour.
The judge handed him a 12-month community and drug rehabilitation requirement order.
Judge James Spencer, QC, said: "That will give you the encouragement that you will need if you are going to break this drugs habit."


Great Beach Block, Oceanview Condo - Just Steps to the Beach!
Just steps to the beautiful, pristine, safe beaches of Wildwood Crest! Voted top ten best beaches at the Jersey Shore and never a beach fee!
Ocean views from your deck, enjoy your morning coffee or evening relaxation with the sounds of the ocean. Located near major, luxury resort complexes this condominium offers an upscale, quiet beach block location. Just bring your linens and pillow for a perfect summer vacation at the Jersey Shore!
Spacious, bright condo featuring beach decor complimented by a full kitchen with all utensils or dine at one of the nearby award winning restaurants. Elevator will take you directly outside the door to your island oasis.
Spend days at the beach and the evenings watching fireworks or enjoying the famous Wildwood boardwalk - all without ever moving your car! The Island Trolley picks you up at the corner for a relaxing, fun filled evening of entertainment. Fishing, boating, bicycling, golf and water sports, etc. are all close by. Free WiFi!!
Only minutes away, enjoy a day in historic Cape May. Take in the wonderful Victorian charm as you stroll past historic homes, and antique shops. Enjoy high tea or a fabulous dinner at one of the many top rated restaurants in New Jersey.
Come and relax in your own island getaway!
Master Bath has a stall shower and a tub / shower. Main bath has a tub/shower.
Located in the beach block. Approx. 400 feet to the beach, with no streets to cross.
Full size in separate laundry room inside condo. Laundry detergents provided.
Auto-drip coffeemaker. Filters are supplied +Single serve Keurig.
Aluminum foil, wax paper, plastic sandwich bags, dish detergent, dish washer detergent, hand soap, etc.
Complete with cooking utensils, cookware, glasses, dishes, silverware, toaster, coffeemaker, garbage disposal. All stainless steel appliances.
TV & DVD in Living room. Flat screen TV in Master bedroom. TV with DVD Player in Second bedroom.
Very clean and pleasant. Great location next to the beach. Well appointed.
We had a great time the week that we stayed here. This was definitly the perfect beach condo. It had everything we needed and was walking distance to the beach. The rooms were perfect and the balcony was great to sit and drink coffee in the morning and enjoy the morning breeze from the ocean. Would definitly recommend this place to others and would definitly rent it again in the future.
We thoroughly enjoyed our stay in this beautifully decorated condo. They provide basically everything. It was clean and well cared for. It is very close to the beach, with in walking distance. The condo complex is quiet. We hope to be able to visit again soon.
Our stay in this lovely unit was wonderful. The unit is beautifully decorated, well stocked and exceptionally cared for and clean. It was so nice coming back from the beach to cocktails on the lovely deck. This was our second stay at the unit and it will not be our last. All the comforts of home at the beach. What more could you ask for!
We have been coming to this condo for the past 3 years and twice the last 2 years. The location is excellent, very short walk to the beach, neighbors nice and quiet, but most of all the condo is immaculate!!! The owners are the best, very nice and attentive to all our needs. We are looking forward to visiting again for the second time this year in about 2 weeks! We highly recomment it!!!


text:
Musa campestris is a species of wild banana (genus Musa), endemic to the island of Borneo. It is placed in section Callimusa (now including the former section Australimusa), having a diploid chromosome number of 2n = 20.

Gallery

References

campestris
Endemic flora of Borneo
Plants described in 1902
Taxa named by Odoardo Beccari


by what you may hear.
This page is a tribute to my old days on alt.prose. The front lines of writing, putting your work right out there for people and gaining (mostly) useful feedback. Right now, this section is mostly poetry, but I plan to eventually add more longer pieces as I deem them worthy.
Chop Wood, Carry Water--a short essay on tea cermonies, Zen, and finding enlightenment through daily chores.
Chunks of longer, unfinished works. All rough draft.
Part of an untitled novella.
A dream sequence from the longer Necrophage.
Epilogue from an untitled novel.
Two diff openings to Scary Larry. My first attempt at the serial-killer genre. Difficult to get into that frame of mind to write, and difficult not to back away from once going.
Scary Larry, Chapter 1, take 2.
Scary Larry, Chapter 1, take 3.


Bonner General Health's Otolaryngologist, also known as an ENT physician, is board certified with expertise in diagnostic, medical and surgical management of diseases and disorders related to the ear, nose, throat, and structures of the head and neck. Our ENT treats adult and pediatric patients.
Ears - ear trauma and injury, infections, ear tubes, hearing loss evaluations, tinnitus, ear wax removal, and swimmer's ear.
Nose - congestion, airway obstruction, polyps and growths, nose bleeds, allergies, deviated septum, and postnasal drip.
Throat - hoarseness, tonsil and adenoid infections, problems swallowing, and disorders of the larynx (voice box).
Head and neck - head and neck masses, benign and malignant tumors of the mouth, throat, and voice box, thyroid nodules and tumors, salivary glands, and skin cancer.
Sleep - sleep-disordered breathing, snoring, and sleep apnea evaluations.


text:
TOURING CONTINUED: A break-out session on co-productions and co-commissions
Convener(s): Simon Pittman and Vicky Graham
Participants: Simon Pittman, Vicky Graham, Ros Philips, Annie Fitzmaurice, Claire Saddleton, Will Glenn, Jules Munns, Dan Woods, Nick Brucerman, Sarah Corbett, Ellis Kerkhaven, Tid, Jo Crowley, Ana Brothers, James Hadley, Holly Hardy, Jen Lunn, Kristin Fredricksson, Kas Darley, Shakera Ahad, Leo Wood, Emma Callander, Mary Swan, Poppy Burton-Morgan, Angela Clerkin, Alyson McKechnie, Jamie Zubairi, Ellie Griffiths, Alyn Gwyndaf, Rachel Parish, Nicola Stanhope, Ellie Stamp, Monica Nappo Kelly, Kelly Golding, Hannah Myers, Dan Copeland
Summary of discussion, conclusions and/or recommendations:
Opening question: "When creating new work which could tour, HOW and WHEN should we talk to venues?"
Do your research into each venue, and know exactly what you offer. Venues are often interested in an exchange, and in long-term relationships – not just in a project / product.
Only begin the conversation when you're sure your work is a match
"Dream big, ask big"
Talk about a long-term relationship from the start
Companies and venues can build an audience following together
A company can give an immobile venue both mobility and increased exposure
It's not about the pitch and package you put together (although they're helpful). You just need a great project.
Co-productions aren't always about cash. Be creative in what you ask for.
Contracts & clarity
Be absolutely clear on the terms of the partnership: who contributes what at the beginning, and who takes what at the end?
What is the difference between a co-production and a co-commission? A co-commission tends to be agreed earlier, and require support to make an idea a reality. A co-production tends to be agreed when the support needed is less about the idea, and more about the production. Is there more to it than just timing?
There are further complications to consider, especially regarding billing and ownership. Some companies feel their co-producers "own" them. An "in association with" partnership often reflects more creative autonomy.
The more producers are involved, the more complicated the artistic conversation could be
Get into the habit of re-affirming the roles of the different parties at the beginning of each meeting. You cannot be too clear.
There's an increasing amount of venue- / festival-commissioned work in the current climate. Some commissioning contracts can stifle the work.
Recommended reading: Gemma's Action Hero blog.
Difficult relationships, and how to prevent them / improve them
What should a small company do if its bigger partner isn't delivering their side of the bargain? Step up and tell them – it's your responsibility to protect your work.
Take your time to ensure that relationships with partners are real and honest
If you've been burned by an experience, no matter how high the partner's profile, don't be afraid to stay away, and to warn others to do the same.
It's never too late to say you're dissatisfied, or that you want to withdraw
There's no need for first-timers to learn by trial and error. Suggested action: let's put information in the public domain, share contracts, and talk about them. If you're unsure about something, pick up the phone to others who have worked with that producer. If you're not sure, don't sign.
There's a tension between building a creative relationship and agreeing a contract. Make sure that creative and contractual meetings are separate. Even if you just take a coffee break between or move rooms.
Always ask for definitions of terms, and restate those terms regularly. Words mean different things to different people.
Your first point of contact may not be the only / best person to speak with. Assistants and PAs are often the gatekeepers, or will become them. Don't be afraid to ask others (within the organisation / external mediators) to join the conversation.
On smaller companies, expectations, and failure
The best relationships allow artists to experiment and risk failure. Venues / producers should see beyond this, and see the potential in the failure.
Venues / festivals should be writing a nurturing contract with companies if they're interested in their work in the long-term
Be open about when a show will be finished. It's okay to ask for more time, or to shift deadlines. See session "It'll take years"
Even if a show isn't as artistically excellent as the co-producer / commissioner hoped, it's not a failure if the relationship remains honest and intact.
What venues want (in no particular order, and in the opinion of one Artistic Director):
A good, enjoyable relationship
Artists to keep their promises
Brilliant artistic product with the venue's name on it, which delivers the venue's artistic aims
Work that's exportable, mobile
Something their audience will see and enjoy
The company to have the wherewithal and drive to do their own publicity and promote their own work
Good advice:
The best partnerships happen when both partners could make something great independently of each other, but make something doubly great together
It's a myth that larger venues can give greater support. The bigger the venue, the more they'll expect you to bring.
Why are students made to feel like the arts is a 'soft' subject or the 'easy' option?


In this commentary, the author first looks at some ethical reasoning supporting physician-assisted dying. Second, he examines some of the lines that have been drawn between withdrawing and withholding life-sustaining treatment on the one hand, and physician-assisted dying on the other. Finally, he relates both of these matters to constitutional reasoning, beginning with Cruzan and ending with the cases before the Supreme Court at the time of the article's publication.
Gostin, Lawrence O., "The Constitutional Right to Die: Ethical Considerations" (1997). Georgetown Law Faculty Publications and Other Works. 748.


text:
Comics Blog
Comic Lists
Josh Shalek (Kid Shay Comics)
by GoComics
Inherent talent has very little to do with making good comics. It's more about willpower and obliviousness.
One statement I hear a lot from readers is something to the effect of, "I wish I had the talent to draw comics." This strikes me as funny. (Don't worry, I'm not laughing at them.) If only naturally gifted people drew comics, there might be three cartoonists in the entire world. The rest of us have had to work at it for many, many years. I've been drawing comics since I was 10 and still haven't mastered the craft.
Garfield was the first comic strip I read. It was hilarious. I bought those skinny books about the fat cat, and laughed and laughed. At some point my parents must've alerted me to the treasure trove of comics printed daily in the newspaper.
For a while, I was content to read the daily strips. Then, for no reason that I can remember, I drew a comic strip of my own. It was during math class. I used my lined notebook paper to rule out three panels. Garfield usually had three panels, so I went with that.
Soon after, I began thinking of myself as a cartoonist. I always kind of thought some other occupation would come along to usurp it, but none ever did. I've always enjoyed the process of making stories one panel at a time.
If Garfield got me into reading comics, Calvin and Hobbes taught me how to make them. The totally insular world of Calvin and Hobbes drew me in. While reading it, I was living in Calvin's world. The storytelling was incredibly fun and imaginative and the art was stunning. I wanted to create a world like that.
Even though we've never met, Bill Watterson has been one of my greatest teachers. Fundamental things, like character design and development, story pacing, even how good a brush looks for inking. And I learned BATS AREN'T BUGS. Calvin and Hobbes is more than entertainment to me; it is part of who I am.
When I was growing up, there wasn't a wealth of easily accessible information about cartoonists-I learned by reading lots of comics. FoxTrot, The Far Side, Bloom County in the '80s. Get Fuzzy, Mutts, Bizarro in the '90s. There was plenty to learn just by studying what was on the page. How Bill Amend drew mouths, Gary Larson's hilarious way of drawing cows, Berkeley Breathed's crack comic timing or Patrick McDonnell's genius pacing and use of negative space-there is so much to learn simply by looking.
Of course, there were things that I missed because I couldn't see the process. It wasn't until college that I began drawing my originals at a comfortable, larger-than-print size. Fitting in text was a huge pain until I realized I could just make the panels bigger. For some reason, I used to draw action scenes very quickly, because, you know, it was happening so fast! I've learned to take my time. This period of trial and error might've been shortened had I taken comics classes, but figuring it out myself strengthened my resolve and made me happy when I found my own solutions.
For you comics scholars out there, here's my comics autobiography. I made comics for my middle-school newsletter. The less said about those, the better. It is a testament to my boundless optimism that I continued at all. In high school, I drew my first ongoing feature. Fool's Gold was about life in high school, and was informed by my reading of 1984 and Catch-22. It was deeply ironic. (It was also the '90s, so. You know.) In college, I drew Atticus and Glen, about a naive freshman and the wise squirrel who helps him navigate the uncharted waters of a liberal arts school in Ohio.
Upon graduating college, my plan was to become a syndicated cartoonist. I knew this could take a while. Bill Watterson got syndicated when he was 28. I figured I'd be doing good if it took me until 30. So, while my friends were going to grad school or New York (or both), I took lousy day jobs and used my free time to work on cartooning.
Fortunately, a local paper in Boulder, Colorado, where I moved, gave me space to run my first daily feature. The Family Monster ran in The Colorado Daily, a free paper distributed around town and mainly covering town and university events. The Family Monster wasn't intended as a weird post-college strip, but in many ways, it was. I learned a lot by drawing those characters for four years. I think of that as my grad school.
I retired The Family Monster for an idea I thought would be more friendly to newspaper syndication. Welcome to Falling Rock National Park ran, first in just The Colorado Daily. Later it was picked up by the McClatchy-Tribune Campus syndicate for college newspapers. I drew that strip for six years, submitting to national syndicates once a year.
It was during this time that Falling Rock made its film debut in a wonderful documentary called Dear Mr. Watterson. Since I owe much to Calvin and Hobbes for my cartooning chops, it was an honor to be featured in a documentary about the legacy of that strip. Seeing my name adjacent to Mr. Watterson's in the credits is beyond thrilling.
Although I never got the crucial "Yes" for syndication of Falling Rock, the "Nos" started to come with hand-written notes by editors. That was almost as good for my ego. People were taking notice of my efforts. Eventually Shena Wolf, an editor at Universal Press Syndicate (now Universal Uclick, operator of this here site) gave me a great offer. She wanted to run a book-length story I had done about friendly zombies in Egypt.
Tomb of the Zombies arose from the grave of an abandoned idea I had while drawing The Family Monster. Originally, it was about a man raising zombies and teaching them to dance. His long-term goal was to ship them to Las Vegas to star in a show, making him rich. The story was rock-solid (obviously), but it was far too long to tell in daily installments. When I worked it out I thought I could tell it in a month. By that time, the few readers I had would undoubtedly have moved on.
In 2010, like half the country, I was out of work. I finally had the time to devote to a long-term project. Unlike a daily strip, characterized by space restrictions and deadlines, Tomb of the Zombies would be as long as needed and I would finish it when I was done drawing the last page. I approached it like a short story in terms of storytelling, although it turned out to be a bit longer. When I want to sound pretentious, I call it my graphic novella.
It was while drawing Tomb that I developed my current three-step drawing process. On copy paper, I sketch the page, full-size, in pencil. I then trace onto Bristol board using a non-photo blue pencil. Then I ink, using a couple different size brushes and India ink, over the blue lines. For lettering and detail work, I use either a Staedtler or PITT pen. It is far from fast, but I've been happier with the results since I started doing it this way. Apparently it takes me three times to draw something good.
When I began writing Tomb, zombies were quickly eclipsing vampires as the pop culture icon-du-jour. What I saw as missing was zombies with human personalities, zombies with a sense of humor. Even Shaun of the Dead used zombies as mindless (or, semi-mindless) drones. They were hungry: They ate.
Zombies have not always been this way. In Zora Neale Hurston's Tell My Horse, she wrote about real zombies she met in Haiti. Voodoo zombies are slaves to the person who rises them. They do yard work. They eat people food, not people-as-food. This fit in nicely with my idea of a mad scientist who wants his own zombie menagerie. The zombies in my story are regular people who have been resurrected against their will to do the bidding of a loopy, hat-loving scientist.
Tomb of the Zombies takes a lot from the zombie movies it is subverting. It features a strong female protagonist (Kate Crane, on her summer break from college), a mad scientist, a shadowy quasi-militaristic organization. Most of the story occurs in Egypt, a place rich in history, much of it still unknown.
The comics I love now are both older and newer than the ones I read growing up. Cul de Sac, surely one of the all-time greats, is a must-read. Tom the Dancing Bug does what The Daily Show cannot. The K Chronicles is so witty I cannot believe it. I finally got into Peanuts and now know why Baby Boomers won't stop talking about it. Pogo is dense and lyrical. It can be as political as Doonesbury one day, completely silly the next. Krazy Kat is the absolute spirit of comics: dreamlike, insular, abstract.
There is so much I love about comics. When I was a kid, I wanted to be a comic strip artist. I thought that was the only way for me. Now I know there are so many ways to make comics, and they're all awesome. I am thrilled to be a part of GoComics and I hope you enjoy reading Tomb of the Zombies.
Read Kid Shay Comics here or follow Josh on Twitter.
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Shoo, Fly Review (Guitar Lesson)
Home > Guitar Lessons > Skill Building > Reading Music and Rhythms > Reading Music and Rhythm > Shoo, Fly Review
Shoo, Fly Review
Matt Brown reviews the song "Shoo, Fly" in second position.
Taught by Matt Brown in Reading Music and Rhythm seriesLength: 8:56Difficulty: 2.0 of 5
Chapter 1: (00:38) Introduction G Major Scale (2nd Position)
Welcome back to the Reading Music and Rhythm Series! With lesson 15, Matt continues to transfer melodies from previous lessons to second position. This time around, he explains how to play the melody to "Shoo, Fly" in second position.
Before you attempt to play the melody, you must first learn how to play the G major scale in second position. This is a relatively easy task since you have already learned how to play the C major scale in this position. When playing in the key of G, simply sharpen each of the F notes within second position. Remember that the key signature for G major contains one sharp (F#). With the inclusion of F#, no finger stretches must be made in order to play the scale in second position. Consequently, you will probably find this scale much easier to play than the second position versions of the C major and F major scales.
Note: Tablature and standard notation to the G major scale in second position can be found under the "Supplemental Content" tab. Proper left hand fingerings are included as well. Do not deviate from the fingerings that Matt has indicated!
Practicing Scales
Follow the guidelines listed below when learning / practicing any new scale.
1. Say each note name out loud as you play it. Combining multiple brain functions will allow you to learn new material in the most efficient manner possible.
2. Do not simply memorize the visual shape of the scale pattern. You must learn where each individual note is located within the scale.
3. When you can play the scale from memory, begin to practice along with a metronome. Tap your foot along with the metronome to further internalize the pulse.
4. Always begin and end the scale on the lowest root note in the pattern.
5. Remember the proper fingering rules for position playing. If necessary, review the fingering rules that were discussed in the "Lesson Information" section of lesson 13.
6. Apply the rhythm exercises presented in past lessons to the new scale.
7. Practice through the pattern using a variety of picking techniques. Use the following picking patterns when practicing all scales:
1. All Downstrokes
2. All Upstrokes
3. Alternate Picking Beginning with a Downstroke
4. Alternate Picking Beginning with an Upstroke
Chapter 2: (02:52) 2nd Position Advantages of Second Position
Once you become acquainted with second position, you will probably find that the melody is easier to play in this position than first position. Since there are no longer any open string notes, no left hand muting must be applied. This is one practical reason for choosing to play the melody in this position.
Difficult Features
The melody to "Shoo, Fly" is rather busy. The rhythm moves steadily in eighth notes and quarter notes throughout. There are no long sustained notes such as half notes or whole notes. Consequently, you must have a firm knowledge of all second position notes in order to sight read the melody. The connection between the eyes, brain, and hands must be exercised regularly in order to read through challenging melodies.
Many large melodic leaps are also included in the melody. For example, a wide leap of a major sixth occurs in measure 5 (D up to B). A leap of a perfect fifth occurs in measure 7 (A down to D). Another major sixth interval occurs in measure 8 between the notes G and E. This particular leap requires the pinky finger to jump rapidly from the fourth string to the second string. If you find any of these melodic leaps to be difficult for you, drill them along with a metronome until they become second nature.
Watch and listen carefully at 02:14 as Matt demonstrates the melody to "Shoo, Fly" in second position. Listen to how he highlights the phrases. There are no rests in the melody to define phrase structure. To define the phrases, Matt applies a light staccato feel to the final quarter note in each phrase. By including this subtle addition, the overall performance of the melody breathes better. Consequently, the performance sounds much more musical.
Chapter 3: (05:24) Performance Performance 1 (110 bpm)
Remember not to start over if you make a mistake. Keep plowing on towards the end! Go back and address any mistakes after the conclusion of the performance. Also, try not to fumble the rhythm if you make a mistake. Stop and determine where Matt is. Then, jump back in.
This tempo represents the bottom end of the acceptable tempo range for "Shoo, Fly."
Performance 2 (120 bpm)
This is around the tempo at which the song is typically performed. If you find this tempo too difficult, knock the metronome back down to 112 and gradually work back up in 2 beat increments.
This tempo is faster than the typical performance tempo. Matt has included this exercise as an opportunity to test your reading and technical skills. Alternate picking absolutely must be applied at this tempo. Pick all notes that occur on downbeats with a downstroke. Perform all notes on upbeats with upstrokes.
Preview of Upcoming Lessons
In upcoming lessons, Matt will explain how to play minor scales and melodies in second position. He will also introduce a new time signature called "cut time." New melodies will be practiced in this signature. In addition, you will learn how to count and play in various strumming rhythms.
G Major in 2nd Position
panama400 replied
I was looking ahead and was wondering why you stoped at the second position? I was hoping to move down the fret board. I will follow this set to the end its awsome, but can you give me advice on where to go practice the next positions.
Thanks Matt, I will.
mattbrown replied
Hey! Second position is just the farthest we've gone so far. Hopefully, we'll eventually make it all the way to 12th position. It's going to take a long time though. We're averaging about a position a year. If you're ready to move on to the other positions though, check out the Modern Method for Guitar books by William G. Leavitt. These books are published by Berklee Press.
Glad you liked this one! I think I finally get into some brand new stuff with the next lesson.
ronin808 replied
thats cool man. what ever i can learn is a bonus.
Reading Music and Rhythm
Matt brings all of his years of education right to you with this fantastic series on how to read music. You will start with the very basics and work up to some very advanced concepts.
Intro to Reading Music
This introductory lesson will walk you through the basics of reading music and reading rhythm.
Learn how to identify notes, the key signature, and the staff. Implement your reading skills by playing a few simple tunes.
Length: 43:32 Difficulty: 1.5 FREE
Rhythm and Time Signatures
Learn the basics of notation and time signatures. Practice these concepts with a few timing exercises.
3/4 Time Signatures
Now that you've learned a bit about 4/4 time, it's on to 3/4 time.
Reading Music Practice
Now that you know the basics of reading music, it's time to put that knowledge to work with some exercises.
On Top of Old Smokey
Get some more practice reading music and rhythms during your rock fest rendition of "On Top of Old Smokey".
He's Got the Whole World
Matt Brown reviews the G major scale and teaches "He's Got the Whole World".
Matt Brown explains how to read music in the key of F major. He uses the song "Amazing Grace" as an example.
Shoo, Fly
Matt Brown teaches the song "Shoo, Fly" as another excellent rhythm and reading example. This song is in the key of G.
Scales and Key Signatures
Matt Brown returns with the 10th installment in his Reading and Rhythm series. In this lesson, Matt discusses key signatures.
Minor Key and Aura Lee
In this lesson Matt Brown covers the first minor key song in this series, "Aura Lee".
In this lesson, Matt introduces the A Dorian mode. He applies it to the song "Scarborough Fair".
Second Position
In lesson 13, Matt Brown discusses and demonstrates second position.
Lesson 14 is all about rhythm. Matt Brown discusses its importance and provides several exercises.
On Top of Old Smokey Review
Matt Brown reviews "On Top of Old Smokey". This time around, the melody is played in second position.
Reviewing Angels We Have Heard On High
For lesson 14, Matt Brown reviews "Angels We Have Heard On High". The melody is now played in second position.
Rhythm Strumming
This lesson covers right hand rhythm technique. Matt introduces syncopated strumming patterns.
Matt teaches the melody to "Down by the Riverside". This tune is used as preparation for learning accompaniment techniques.
Matt uses the song "Down by the Riverside" to teach accompaniment techniques for rhythm backing.
Fur Elise Pt. 1
Matt teaches the classic tune "Fur Elise" in a two part series. For Part 1, Matt demonstrates the melody section.
In lesson 22, Matt teaches the accompaniment sections to Beethoven's "Fur Elise".
The Entertainer Pt. 1
Lesson 23 starts a 2 part series on the classic tune "The Entertainer".
Lesson 24 completes the two part series on "The Entertainer". You will learn the accompaniment in this lesson.
Sea to Sea Pt. 1
Matt starts another 2 part lesson, this time on the tune "Sea to Sea" by William G. Leavitt.
Lesson 26 completes Matt's 2 part series on "Sea to Sea".
Stars and Stripes Forever Pt. 1
Matt introduces the B flat major scale and teaches the song "Stars and Stripes Forever".
Matt completes his two part series on "Stars and Stripes Forever" by teaching the accompaniment.
D Major in First and Second Position
Matt Brown teaches the D Major scale in both first and second positions.
Danny Boy Pt. 1
Matt Brown demonstrates "Danny Boy" in both first and second positions.
Matt Brown teaches the accompaniment to the "Danny Boy" melody.
Silent Night Pt. 1
Matt teaches the Christmas classic "Silent Night."
Matt teaches the accompaniment to the "Silent Night" melody.
Funiculi Funicula Pt. 1
Matt Brown teaches "Funiculi Funicula" as an exercise in reading and playing in 6/8 time.
Matt Brown teaches the accompaniment to "Funiculi Funicula".
Strumming Triplets
In lesson 36, Matt provides exercises to help you strum triplet patterns.
Strumming Sixteenth Note Rhythms
In lesson 37, Matt Brown demonstrates how to strum sixteenth note rhythms.
Song of the Volga Boatmen
Matt Brown demonstrates the melody and tips for playing the Russian folk tune "Song of the Volga Boatmen".
Song of the Volga Boatmen Pt. 2
In lesson 39, Matt teaches the accompaniment to "Song of the Volga Boatmen".
Dance of the Ukraine
Matt Brown teaches and demonstrates "Dance of the Ukraine."
Dance of the Ukraine Pt. 2
Matt demonstrates the accompaniment to the "Dance of the Ukraine" melody.
Etude by Ferdinando Carulli
Matt Brown teaches an etude for classical guitar by Ferdinando Carulli.
Morning Pt. 1
Matt Brown teaches the melody section to "Morning" by Edvard Grieg.
Matt teaches the accompaniment for Edvard Grieg's "Morning."
Bach's Minuet Pt. 1
Matt Brown teaches Bach's classic Minuet.
In lesson 46, Matt Brown covers the accompaniment section to Bach's Minuet.
Little Prelude in C Pt. 1
Matt Brown teaches Bach's "Little Prelude in C."
Matt Brown teaches the accompaniment to "Little Prelude in C" by Bach.
Clementi's Sonatina
Matt Brown teaches the 2nd guitar part to Muzio Clementi's famous "Sonatina."
Bach's Invention #1
Matt Brown teaches Invention #1 composed by J.S. Bach.
Third Position
Matt takes a look at playing in third position. This lesson will set up future reading lessons that require the third position.
Third Position Practice
Matt Brown has you working through Jean Philippe Rameau's Minuet for third position playing in lesson 52. He provides a play along and accompaniment to help your sight reading and playing.
About Matt Brown View Full Biography Matt Brown began playing the guitar at the age of 11. "It was a rule in my family to learn and play an instrument for at least two years. I had been introduced to a lot of great music at the time by friends and their older siblings. I was really into bands like Nirvana, Alice In Chains, and Smashing Pumpkins, so the decision to pick up the guitar came pretty easily."
Matt's musical training has always followed a very structured path. He began studying the guitar with Dayton, Ohio guitar great Danny Voris. I began learning scales, chords, and basic songs like any other guitarist. After breaking his left wrist after playing for only a year, Matt began to study music theory in great detail. I wanted to keep going with my lessons, but I obviously couldn't play at all. Danny basically gave me the equivalent of a freshman year music theory course in the span of two months. These months proved to have a huge impact on Brown's approach to the instrument.
Brown continued his music education at Capital University in Columbus, Ohio. He completed a degree in Classical Guitar Performance in 2002. While at Capital, he also studied jazz guitar and recording techniques in great detail. "I've never had any desire to perform jazz music. Its lack of relevance to modern culture has always turned me off. However, nothing will improve your chops more than studying this music."
Matt Brown currently resides in Dayton, Ohio. He teaches lessons locally as well as at Capital University's Community Music School. Matt's recent projects include writing and recording with his new, as of yet nameless band as well as the formation of a cover band called The Dirty Cunnies.
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