What Can Your Son Expect From Boy Scouts?
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What is Expected of Parents in Scouting?
Welcome to BSA Troop 70! Troop 70 is a community of boys who meet and participate in activities of the Boy Scouts of America. Our aims in Scouting are to foster citizenship, build character, and develop fitness in the young men who are members of the troop. These goals are accomplished through a fun and exciting outdoor program, and through programs and activities presented in our weekly meetings.This guidebook is intended for Scouts who are new to the troop and their parents. It provides basic information about the Boy Scouts of America and detailed information about the organization and operation of our troop.
Troop 70 was founded in 1989. Since then we have produced 52 Eagle Scouts.
Complete Parts A and B of the BSA Health and Medical Record (covers health history, parental informed consent, and hold harmles/release agreement).
Note: Part C of the BSA Heath & Medical Record will be needed for scouts prior to participation in summer and winter camps.
Membership is open to parents planning to participate in scouting events, to work directly with scouts, or to participate in the troop committee. You do NOT have to be a member to attend the annual family camp-out.
This can be as much of an adventure for the parents as for the boys.
Lend a hand. There are many valuable roles. Every family needs a job in the troop. Your participation improves your scout's participation.
Note: Part C of the BSA Health and Medical Record will be needed for scouts and adults prior to participation in summer or winter camp. Part D is needed only for high adventure participants. Click here for more information about the BSA Health and Medical Record.
Westlake Hills Presbyterian Church, who is known as our chartering organization, sponsors troop 70. As a service to the community, the church provides meeting facilities for our troop. In return the troop supports the church through service projects and other means.
Troop 70 is nondenominational in the operation of the program. The only religious requirement is a reverence to God and to the teachings of the Scout's family. Scouts are expected to respect the religious beliefs of others.
Troop 70 meets every Monday, year round, at 7:00 p.m. in Ross Hall at Westlake Hills Presbyterian Church. The meetings end at 8:30 p.m.
Game Time – boys play a game brought by one of the patrols. It is outside if weather allows or in the gym.
The Boy Scouts of America is a uniformed organization and Troop 70 is a uniformed Troop. Scouts are required to wear their uniform to every Troop 70 meeting. The uniform stands for the principles of Scouting, helps make every boy an equal, and tells the world that we are Scouts and proud of it. The full uniform is required for the Scoutmaster conferences for rank advancement, Board of Reviews, and Courts of Honor.
In addition to the uniform, each Scout is required to have a Boy Scout Handbook and to bring it to troop meetings.
During the summer months, Troop 70 wears the Class "B" uniform, which consists of a Troop 70 or other B.S.A. T-shirt with Scout shorts and socks.
Scout sash (optional and only for formal events such as Courts of Honor). The sash is a convenient way to display the merit badges awarded to the Scouts as they advance through their ranks. The sash is worn over the right shoulder or folded neatly and tucked into the belt.
Click here for a guide to the Boy Scout Uniform. These items may be purchased through the Boy Scout office. The Troop Committee also maintains a uniform exchange closet. Please check with the Troop Committee Chair if you are interested in the uniform exchange.
The Troop designates an official Troop 70 Scout T-shirt. These will be available through the Troop and may vary from year to year.
Members of Troop 70 are divided into small groups of eight to twelve boys known as Patrols. Each patrol has an identity and work together well. Troop 70 has four patrols Eagles, Dolphins, Badgers and Bears.
Each patrol elects a patrol leader. The patrol leader serves for six months and then another boy is elected. In this way, every boy should have a chance to assume a leadership role and learn valuable leadership skills.
Each patrol will be assigned a Troop Guide. This is an older, more experienced Scout who will help the younger Scouts in the patrol. The Troop Guides assist a patrol for six months. Troop Guide positions rotate among the boys in the same manner as the patrol leader positions.
The troop elects one of its older Scouts to be Senior Patrol Leader (SPL). The Senior Patrol Leader presides at all Troop meetings, events and activities. He chairs the Patrol Leaders Council. The SPL appoints an Assistant Senior Patrol Leader (ASPL). The ASPL fills in for the SPL when he is not available and also manages the "Staff" roles including Scribe, Quartermaster, Instructor, Chaplain's Aide, AO Rep, Bugler, Librarian, Historian, and Webmaster.
The Patrol Leaders Council (PLC) is composed of the Senior Patrol Leader, Assistant Senior Patrol Leader, Patrol Leaders and Troop Guides from each patrol. The Patrol Leaders Council meets once a month (usually the Monday following a week-end campout) to plan the troop meetings for the next month. The Scribe, Quartermaster and Instructors are optional, non-voting, attendees to the PLC meeting.
Scoutmaster The Scoutmaster serves as counselor and guide to the Senior Patrol Leader and other Junior Leaders. He is responsible for the training of all Junior Leaders and for the health and safety of the Troop. He is helped by his Assistant Scoutmasters and is supported by the Troop Committee.
The Troop Committee meets monthly on the first Tuesday of the month at Westlake Hills Presbyterian Church. The meetings begin at 7:00 p.m. and are held in Ross Hall.
The leadership positions of this committee are: Troop Committee Chair, Treasurer, Secretary, Chartering Organization Representative, Chairperson for Advancement, Chairperson for Outdoors, and Chairperson for Troop Meeting Programs.Troop 70 needs and values your presence, opinions and ideas.
The website provides answers to many questions you may have. Please take some time to explore it. There is useful information about the troop, scout skills, training links, registration links, other council links, calendar and our latest events and activities.
We maintain an annual calendar of all regularly scheduled troop activities and campouts on Troop 70's website. Troop 70 also posts a monthly newsletter on its website. The newslettercontains information about Troop leadership and upcoming Scout activities.
Scouts are responsible for bringing their Scout Handbooks, a notebook and a pen to all meetings. They are responsible for listening at Troop meetings, taking notes and transmitting this information to their parents. Communication is handled within the Troop through the Troop leadership, from the Senior Patrol Leader to the Patrol Leaders to the individual Scouts (in both directions). Communication of Troop Activities is Through the Boys — The Troop Does Not Send Notes Home to Parents Parents – ask your son about his troop meeting and if he has any leadership activities to follow through with between meetings.
Service to others is a cornerstone of the Scout movement. Troop 70 supports Westlake Hills Presbyterian Church through service projects throughout the year. We also organize community volunteer opportunities for the scouts.
Service to others is required for rank advancement to the ranks of, Star, Life, and Eagle. Troop 70 encourages all Scouts to be active in community service whether they are currently working on rank requirements. They are also encouraged to participate in Eagle service projects conducted by our Eagle Scout candidates. To insure that service hours are appropriate to meet rank advancement requirements, the Scoutmaster must approve service projects in advance.
Troop 70 receives funding from several sources. Annual dues are collected from each Scout at the time of troop rechartering in January. This amount will vary depending on the money available from troop fund raising activities and anticipated expenses for equipment and activities. Troop 70 historically has participated in a major fund raising activity such as selling fresh greenery for the Holiday Season.
Expenditure of funds occurs in several areas. The Troop pays an annual fee assessed by the Boy Scouts of America for each boy in the Troop. This annual fee includes a subscription to Boys Life magazine. The Troop spends funds for camping fees at state parks, rank and merit badge insignia, and miscellaneous items.
Monthly camp-out fees are collected to cover the expenses of that camp-out, which are mostly the patrol meals. Those who buy food for the camp-out are expected to submit their expenses to be reimbursed from the collected fees.
Troop 70's Code of Conduct form must be read and signed annually by the Scout and his parents.
Scouts should strive to live by the Scout Oath and to obey the Scout Law. Of course our Scouts are not perfect, nor are they expected to be, so disciplinary action is from time to time unavoidably required.
In the event that the Scoutmaster or other registered adult finds the actions of a Scout to endanger anyone, or be disruptive, disrespectful, disobedient, or abusive, disciplinary action will be taken. Normally, the first step of disciplinary action is a verbal warning. If the situation continues or is of a more serious nature the Scoutmaster will hold a private conference with the Scout.
If a verbal warning or a conference with the Scoutmaster is not effective and the inappropriate behavior continues the Scout will be asked to leave the meeting, campout, or summer/winter camp and the parents will be called. The Scout may also be asked to stay home from one or more Troop meetings or campouts, as the Scoutmaster may deem necessary.
The Authorization to Participate in Troop Activities and Medical Release form (Parts A and B of the BSA Health and Medical Record) must be completed and on file before any Scout or adult leader can attend any Troop 70 activity away from the church. This form is updated annually.
All Scouts traveling with the troop to an activity away from the church are required to wear seat belts, and ride in a vehicle driven by an adult at least 21 years of age. The parents within the troop share transportation duties to and from campouts and other activities, and it is expected that all parents will do their share by volunteering to drive several times during the year.
During Scout activities away from the church, it is imperative that the adult trip leaders be aware of all prescription medication anyone on the outing is currently taking. The dosage, doctor's name, and phone number are also required. This information will be kept confidential and used only in the event that medical attention is needed.
Scouts are required to wear their Class A uniform driving to and from any scheduled camp or activity. Troop 70 provides a Class B shirt that the Scout can optionally wear once they arrive at camp. When returning from a campout, it is a tradition in Troop 70 to stop for lunch. Scouts should remember to bring money to the campout for this lunch stop.
Troop 70 conducts a full program of camping activities year round. Monthly weekend campouts are held monthly from September to May. During winter break our troop annually attends our Councils Winter Camp. In the summer we like to head for the cool mountains of Colorado or New Mexico. Both camps offer a great opportunity for our scouts to earn exciting Merit Badges. For our older scouts (14 years or older) we annually rotate between the high adventure camps of Philmont, Northern Tier, and Sea Base.
Campouts are usually held within a two-hour drive of Austin. Both car camping and backpacking treks are offered during the year. Campout activities may include skill instruction, service projects, rank advancement work, campfires, a Sunday devotional service, and free time. Planned activities will generally be centered on a Scouting theme.
Campouts are held rain or shine, and will only be postponed or canceled if a traveler's advisory is in effect. Each Scout should bring all necessary equipment he will need during the campout, and be prepared to adequately protect himself from expected weather conditions, insects, blisters, and other potential hazards. Instruction in outdoor skills is provided to the Scout by regularly attending the Troop meetings and by studying the Scout Handbook. Part of the Scouting program teaches Scouts how to deal with adversity, such as bad weather, how to plan, and to be prepared.
No flames of any kind are allowed in tents. This includes candle lanterns. Additionally, no gas, propane, or flammable liquids of any kind are allowed in the tents. Battery powered lights are recommended for use in tents.
The Troop maintains a supply of stoves and other cooking equipment that are assigned by patrols. The Patrol/Scout is responsible for returning items in the condition they were issued. If items are lost or damaged the Scout/Patrol must repair or replace them at their expense.
A checklist for backpacking and trips and a list of sample menus are provided on Troop 70's website. These lists are also useful in planning for campouts that do not involve backpacking. It should be noted that camping gear, including backpacks and sleeping bags, are available for rental at several Austin area outdoor equipment stores.
Ice chests may be brought if the campout does not involve backpacking. The Scoutmaster will alert the troop if Scouts need to carry water. Water will generally be available at the campsites.
Troop 70 encourages each Scout in the Troop to advance along the Scouting Trail. Seeking and achieving advancement goals helps the Scout derive something tangible from his Boy Scout activities, and teaches him practical skills that will stay with him throughout his life. Advancement is achieved by active participation in Scout activities and in showing Scout spirit.
The Merit Badge program is one of Scouting's basic character-developing tools. Earning Merit Badges gives boys the kind of self-confidence that comes only with overcoming difficult obstacles to achieve a goal. There are more than 120 merit badges. Scouts can learn about sports, crafts, science, trades, business, and future careers as they earn these merit badges.
Any Boy Scout may earn any merit badge at any time. You don't need to have had rank advancement to be eligible. However, some specific badges are called "Eagle-required" and are necessary for higher ranks.
Visit our website to view the list of merit badges and the counselor volunteer who will help with each one. Also, Read about the SEVEN simple steps to earning merit badges. Scouts will work closely with the scoutmaster, the merit badge counselor and the advancement chair on merit badges and rank advancement. Troop 70 also has assigned specific assistant scoutmasters as rank advancement coordinators.
Our goal is to provide each boy with an opportunity to reach Eagle. It is a very personal journey for every scout. Along the way, each scout must pass through several ranks.
The first rank a boy will earn. He will earn this very quickly, usually at his first or second meeting.
A scout will know basic scouting skills to enable him to function successfully in the troop setting. He will be able to set up a tent, cook, and know basic first aid.
Building on the Tenderfoot skills, a 2nd class scout will be more advanced in his outdoor skills.
The final step in learning the core scout skills is 1st Class. These scouts are strong in outdoor skills, including nature identification cooking, first aid, hiking, compass, and much more. Our goal is to allow each boy to achieve 1st Class in their first year in Troop 70.
Star Scouts are self-motivated, and must complete significant leadership and service responsibilities. They also must complete a number of merit badges, including several Eagle required badges.
Life Scouts must perform even more leadership and service. They must complete a number of merit badges, and Eagle required badges.
The final step along the journey. Eagles have leadership, service, and merit badge requirements. They must complete a significant Eagle project which has a lasting impact.
Eagles may also go on to earn Bronze, Gold and Silver Palms, which are even higher achievements.
Active participation is a Troop 70 requirement for all rank advancement. The Scoutmaster and his assistants will be the judges of active participation and will keep attendance records. During each Scoutmaster conference before each Board of Review, the Scout will be asked to describe his active participation. He should be able to discuss his attendance, appearance, and attitude and what he has done since the last rank advancement to meet this requirement.
Attendance is judged by how often the Scout is present at troop meetings, campouts and other troop events. It is expected that Scouts participate in a majority of Troop 70 activities. Scouts should be at the activities on time and ready to participate in whatever is planned.
Appearance is judged by how the Scout looks and takes care of himself. As a member of Troop 70 each Scout serves as a role model for every other Scout. The eleventh Scout Law is "a Scout is clean". Scouts should wear their uniform correctly, completely, and with pride.
Attitude is by far the most important element of active participation. Attitude shows in everything the Scout does and in how seriously responsibilities to his patrol and troop are carried out. Good attitude is portrayed by how fast the Scout becomes quiet when the Scout sign is given, how ready the Scout is to participate in activities, and how fairly and honestly the Scout conducts himself in games and other activities.
Scout spirit is the living of the Scout Oath and the Scout Law both when in uniform and in every day life. It is naturally expected that every Scout will exhibit Scout spirit in all his activities. "Doing a Good Turn Daily" is one of the best ways in which the Scout can show Scout spirit. The ideals of Scouting are much easier to follow when practiced every day, and in doing so positive values, attitude, and behavior are reinforced.
These are the first three ranks of Scouting, and all Scouts are encouraged to achieve the First Class rank within one year. The Boy Scout Handbook is the best source of information for the requirements for advancement to each rank. An introduction to each subject required for rank advancement is covered in the Scout Handbook. Understanding this material will provide the Scout with a working knowledge of the skills that must be learned for each rank.
Read and understand the requirements as outlined in the Scout Handbook.
Read the entire section of the Scout Handbook that pertains to the skill studied.
Meet with his patrol leader, troop guide, instructor, Scout of Star Class rank or above, or an adult leader as designated by the Scoutmaster, complete the requirement as stated in the Scout Handbook, and have the Scout Handbook initialed and dated.
Submit the Scout Handbook to the Advancement Chairperson periodically for updating the troop advancement records. The Advancement Chairperson will keep track of the Scout's progress and the PLC will use use the information to better plan advancement activities. Note that Scouts may work on any of the requirements for the first three ranks concurrently.
After all of the requirements for either Tenderfoot, Second Class, or First Class have been completed, the Scout should contact the Troop Advancement Chairperson or Scoutmaster and present his Scout Handbook. The Scout should then schedule a Scoutmaster conference and a Board of Review.
When the Scout has completed all the requirements for the next rank, he should schedule a conference with the Scoutmaster. During the conference the Scoutmaster will review the rank requirements and merit badges needed for advancement. He may question the Scout on any activity he has completed. The Scout may be asked to explain how he demonstrated "Scout Spirit" since his last rank advancement. Plans for working on the next rank may also be discussed.
For the next rank, the Scout should decide which requirements and badges he is going to pursue and set a goal for their completion. If a leadership position is required for the next rank, the Scout should discuss this with the Scoutmaster.
When the Scoutmaster is satisfied that the Scout is ready for the next rank, he will sign the Scout's Handbook, and he is then ready for the Board of Review.
The Scoutmaster cannot advance a Scout to the next rank. Advancement requires passing a Board of Review, which is the final step in the advancement process. Troop 70 committee members and sometimes scouts of higher rank conduct the Board of Review. The Scoutmaster and Assistant Scoutmasters do not sit boards of review. Parents will not sit on any Board of Review in which their sons are involved.
At the Board of Review the leaders will ask the Scout about his progress. The Board will make sure that the Scout has completed all of the individual requirements for the rank, and mastered the necessary Scout skills. If the Board feels that the Scout has not met the requirements for the next rank, they will so inform the Scout and he will have an opportunity to complete the deficient requirements.
Merit badges, which enable the Scout to learn a wide variety of skills, are available through the Scouting program. Advancing beyond the First Class rank to Star, Life, and Eagle requires that the Scout earn merit badges. To earn a merit badge in a particular skill, the Scout should work with an approved merit badge counselor for that skill. Only adults registered with Troop 70, or an adult registered with the Council as a Merit Badge Counselor, may work with a Scout for a specific merit badge. Troop 70 maintains a list of registered Merit Badge Counselors that are approved by the Troop Committee, and Troop 70 parents are urged to assist as merit badge counselors in any skill in which they are competent.
Scouts should obtain approval of the Scoutmaster on a merit badge application slip in advance before working on any merit badge. Some merit badges may also be worked on as a part of the regularly scheduled Troop meetings.
Requirements for all merit badges are listed in a merit badge pamphlet, which also describes the skills that must be learned and the activities that must be completed to obtain the merit badge. Merit Badge Pamphlets are available in the Troop library, or from the Boy Scout office. Merit badge options can be found on our Merit Badges page.
Upon completing all of the requirements for the merit badge, the Counselor will sign the blue merit badge application slip, which signifies completion of the merit badge. The actual badge will be presented to the Scout at the next Court of Honor, but, for advancement purposes, the merit badge is officially earned on the date that the signed merit badge application slip is returned to the Advancement Chairperson or the Scoutmaster.
Approximately three times a year Troop 70 meets for a Court of Honor. This is a formal ceremony in which the Scouts of Troop 70 are awarded the rank advancements and merit badges, which they have earned since the last Court of Honor. Parents are urged to come to this meeting, which generally replaces a regularly scheduled Monday night meeting. The Court of Honor is an opportunity to recognize to all of the hard work and achievements, which have been completed by the members of Troop 70.
While the role of parents in Boy Scouting is much different than their role in Cub Scouts, it is no less important. We encourage parents to consider a role in which they can best use their talents and skills (i.e.,Assistant Scoutmaster, Committee Chair, Secretary, Treasurer, Fund Raising, Advancement, Transportation, Merit Badge Counselors, or as an assistant to one of these positions). We have found that in most cases the Scouts who have parents who take an active role in the Troop's leadership are the Scouts who make a strong commitment to get the most out of their scouting experience. There are training classes to get you started so please do not hesitate to ask the Scoutmaster or Committee Chair how you can help.
Troop Resource Survey — It is requested that all parents complete and return this form to the Troop Committee so that the unique skills you bring to the troop can be inventoried.
Authorization to Participate in Troop Activities and Medical Release — This form needs to be completed by a parent or guardian annually. Please complete this form and return it to the Troop Committee.


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Compositional praxis and historical time in the late works of Jani Christou.
The avant-garde Greek composer Jani Christou (Cairo 1926 - Athens 1970) composed pieces synthesizing multiple forms of artistic expression and wrote theoretical texts providing an intellectual theoretical and experimental framework that encompasses his philosophical and psychoanalytical conceptualizations, his multi-disciplinary prism and his distinctive musical notation. This paper aims to discuss Christou's work in close connection with the socio-political setting of the 1960s that signify a period of global turbulence and significant transformations by focusing on the influence of the social-political setting on compositional praxis. More particularly, it focuses on the formative ideas mainly in two major Christou's works -The Strychnine Lady (1967) and Epicycle I (1968) - and illustrates the appearance and representation(s) of themes, images and debates deriving from the contemporary social and political atmosphere in his musical notation and notes. The paper highlights the dialectic between the politics of confrontation, ranging from the Vietnam War to the fear of the Atomic Bomb, and the formulation of Christou's philosophical reflections on music and performance according to his 'proto-performance' concept and to his 'phoenix pattern'. Moreover, it analyzes his oeuvre through the 'praxis-metapraxis' concept, which suggests a conceptualization of performance theory, and the direct influence of socio-historical events on his compositional praxis. Finally, it focuses on the use of historical time units as basic elements shaping musical structure and the presence of symbols (repeat signs, dices etc.) combining the fatality of eternal repetition of history and the aleatoric dimension that characterizes an experimental happening-performance.
Over the last years there is a considerable interest in a mythical figure of the history of the avant-garde music in Greece, the composer Jani Christou (Cairo 1926 - Athens 1970). His life and his work attract attention for their multiple aspects: his enigmatic personality, his philosophical and psychoanalytical conceptualizations, the multiplicity of his work, the expression means that he uses, his eclectic intellectual influences, the musical concepts and terms that he introduces and the distinctive musical notation of his compositions.
His references to history, ancient civilizations, philosophy, anthropology, psychoanalysis, as well as the connection of his compositions with 20th century socio-historical events provide a multidisciplinary background for the study of his music and writings.
This paper discusses Christou's work in close connection with the turbulent political and social setting of the 1960s by focusing on the influence of the social-political setting on compositional praxis. The charting of these connections allows a discussion on the ideas of Jani Christou on historical evolution, a theme that interrelates with his understanding of the individual's position in the world- the existential question that penetrates his thoughts, writings and reflections.
This paper highlights the formative ideas in two major Christou's works -The Strychnine Lady (1967) and Epicycle I (1968)- and illustrates the appearance and representation(s) of themes, images and debates deriving from the contemporary social and political atmosphere in his musical notation and notes.
The 1960s represent the most fruitful period in Christou's career. He composes his works during a period when old norms seem to decline amidst significant clashes, while a younger generation –the biological product of the postwar prosperity- revolts combining traditional forms of political expression (protest) with new slogans, such as the famous 'Soyez réalistes, demandez l'impossible' – 'Be realistic, demand the impossible' . The telling title of a famous documentary of that time, Confrontation , which narrates the Parisian May 1968 events, seems to describe a global milieu.
I am concerned with a music that confronts; with a music that wants to stare at the suffocating effect, even terror, of much of our everyday experience of living; with a music that does not seek to escape the relentlessness of the patterns in which this experience keeps unfolding. With a music that not only does not attempt to escape this experience, but that seeks out its forms - and eats them up, and throws them up again, just as dreams do (Lucciano 2000, 149).
I am not advocating a music of violence, although some of it may often appear to be just that. On the contrary, what seems to me to be important is a subtlety of operation: a quiet picking at the threads of reality; a loosening of the fabric; a soft collapse into pictures of distortion; a slow disintegration; maybe a glimpse into the void beyond - or at nothing. (Lucciano 2000, 150).
Any living art keeps generating an overall logic fed by a collectivity of characteristic actions. Whenever an action is purposefully performed to conform with the current overall logic characteristic of the art, that action is a 'praxis', or a purposeful and characteristic action. But whenever an action is purposefully performed so as to go beyond the current overall logic characteristic of the art, that action is a 'metapraxis', or a purposeful non-characteristic action: a 'meta-action' (Lucciano 2000, 98).
Christou's formative ideas on compositional praxis and historical time are addressed in two major late works: The Strychnine Lady (1967) and Epicycle I (1968).
The Strychnine Lady is a performance for a solo woman viola player, two groups of massed strings, brass, percussion (including pianoforte), magnetic tapes, a metal sheet construction, sound-producing objects and toys, a red cloth, five actors and a conductor. The soloist, a woman who 'supplies strychnine and undertakes to provide unusual experiences', is the protagonist of an oniric and terrific musical work where dreams connect to reality and where an alchemical text is combined with a Jungian extract.
[...] The music proper may exist without these  other events and vice versa. Basically, there is no 'communication' between the two – Nor, and this is more important, is there any 'communication' between components within the same type of event. It is rather like individuals caught up in a crowd; they act with the crowd but do not communicate with each other. And if there does seem to be a relationship between components of a particular group, this is because they are reacting to identical signals, not because they are establishing a relationship with each other (Lucciano 2000, 108).
At the beginning of the work an actor walks out on stage to address the audience. He announces the cancelation of the last work of the program and its replacement by another piece. Suddenly, an actress in the audience shouts 'I protest' and brings confusion and disorder in the concert hall. Two actors reach the center of the stage and start 'displaying a red cloth'. The first actor tries to convince the public that 'there is absolutely no real cause for alarm'. The escalation between the disruption and the protest is followed by a gradual de-escalation, since there is 'absolutely no real cause for alarm'. Nonetheless, these are words that affect the audience and blur the lines between the regularity of the performance and the irregularity of the 'happening'. Therefore, what appears to be initially a disruption, at the end proves to be a prescribed and pre-composed episode.
While studying this composition it is impossible not to think of the time and place of its performance. The première of The Strychnine Lady took place at the Hilton Hotel in Athens in the frame of the 2nd Hellenic week of Contemporary Music, in the early days of April 1967- a month with strong connotations for those familiar with Greek history since on the 21st of April 1967 a military junta signaled a protracted period (seven years) of oppression . Rumors and conflicting scenarios were circulated in Athens weeks before the coup d'état. Everything seemed possible and the period was marked by instability, amidst tensions that ranged from the political field to the disruption of a Rolling Stones concert in Athens on April 17th- the reason being a bouquet of red flowers on stage; according to the police a definite signal of 'communist propaganda' .
The Strychnine Lady reflects the interest of Jani Christou on the blurred boundaries between reality and myth/fantasy. This work derived from a medieval text and from a dream that Jani Christou had in February 1967. The recitation of some fragments of the medieval alchemical text concerning the union of Gabricus and Beya, and the total disintegration of the male within the female's body is a form of a re-enactment of a ritual . The female figure issued from a dream that Jani Christou had in February 1967 places an advertisement in the newspaper announcing that 'young woman supplies strychnine and undertakes to provide unusual experiences'. Strychnine provokes hallucinations when administrated in small doses and can be lethal when absorbed in a strong dose. The experimentation of artists with various means to achieve a state of 'fluid reality' is a well-explored issue as it is the advent and popularization of new chemical means in the 1960s, the methamphetamines and the LSD being the most well known.
As one can see in a personal note of June 27th 1968, Christou was concerned with the progress of chemical substances, drawing connections between the progress of chemistry (and medicine) and the negative aspects of the development of biological weapons of mass destruction- such as those used in Vietnam. The Strychnine Lady actors confess to the audience: 'We too dreamt that dream […] we too were disappointed'. In that way Christou means that what can emancipate (drugs, chemicals) can also bring destruction.
The dialectic between the politics of confrontation, ranging from the Vietnam War to the fear of the Atomic Bomb, and the formulation of Christou's philosophical reflections on music and performance are reflected in Epicycle I (1968), a collective performance commissioned by the Hellenic Association for Contemporary Music for its 3rd Hellenic week of Contemporary Music that was held in Athens in December 1968 and in which it received its world première.
The entire world shook in 1968. Across cultures, people of all generations recognized the significance of the moment. A global wave of urban protests produces a crisis of authority in nearly every society. Many of the demonstrators who took to the streets in 1968 were young citizens, angered by what they perceived as a stagnant political status quo (Suri 2003, 164).
In that socio-political context Christou uses the epicycle, a geometrical model used to explain the variations in speed and direction of the apparent motion of the moon and sun. The small circle is part of a greater movement- the human experience is confined to the small circle, which in fact is only a part of a bigger picture- the eternal turn of a bigger circle that is adjunct to the smaller one.
Epicycle I serves a 'tableau vivant' including musical and para-musical events and is another step towards the implementation of experimental and performance practices. The work may last throughout any stretch of time: days, weeks, months, years. Anybody wishing to participate in the continuum is welcome and for this purpose any sound may be produced.
Since there has been such an abdication, I must accept all the negative aspects of this action, i.e. loose form, no form, repetition, non-sense, lack of synthesis, abolition of the sense of 'climax', neutralization of musical 'impact' and so on and so forth. [...] On the other hand, the role of the composer has not been devalued simply for the sake of the surprise value of some 'happening' (which quickly wears off anyway). The role of the composer has been devalued in order to allow whatever elements were available at the time to behave as symbols of events, and certainly not as 'artistic events', nor as synthesized events (Lucciano 2000, 110).
Once a participant has chosen his own sound, he must keep sustaining it and must never perform any different sound. [...] The continuum should be mostly only just audible, in a climate of total impassivity. [...] Those joining the continuum must accept that they are entering a climate of total impassivity and must dissociate themselves from all other events […] .
The fact that the audience can participate in the performance by producing any sound that contributes to the 'continuum', but within a pre-decided and agreed upon framework means that it liberates and emancipates, but also indicates the limits of emancipation: people think that they are important and that their epicycle move is the center of the universe, but in fact they are just one part of a much broader cyclical movement (the performance as a whole). The participation of the people in Epicycle I is a comment on the fantasy that people participate in history -when they protest etc.- since the composer has preconceived the main elements of the performance.
The one-page-score of Epicycle I allows an understanding of these reflections' and their symbols' graphic integration to the piece and features various events and scenes that could be found in 1968 newspapers: armed forces greeted with resistance by crowds of protestors- a direct reference to the Soviet invasion of Czechoslovakia in the summer of 1968; the war in Vietnam represented through the powerful image of the General Nguyen Ngoc Loan executing a Viet Cong prisoner in Saigon (February 1968); a number of references to mass culture- James Bond films and Coca-Cola advertisement, the 'soft power' influence of the Western culture ; a more abstract reference to sports with the advertisement (Pro-Po) referring to the popular gambling on football results in Greece etc .
The composition focuses on the use of historical time units as basic elements shaping musical structure as well as the presence of symbols (repeat signs, dices etc.) combining the fatality of eternal repetition of history and the aleatoric dimension characterizing an experimental happening-performance. All socio-historical references (the whole score) are enclosed in repeat signs that symbolize the eternal repetition of history and repetitive historical patterns as they are explained by Christou in his writings on Epicycle I. The 'experiences' are situated on the left part of the score and the 'news' are visually represented on the right, in the form of a newspaper, next to the repeat signs. The newspaper symbolizes the transformation of 'experiences' into 'news' that after a point are not new, because according to the composer's credo history is an eternal repetition . In this perspective, when the composer asks the participants to destroy newspapers, he asks them to destroy the news and to bring some 'irregularity'.
This issue is addressed in a text of the same year, 1968, titled The Lunar Experience. In this Christou illustrates his understanding of historical evolution through the idea of the eternal cycle of historical time, which is based on the 'pattern of the renewal': generation – growth – destruction – cessation. Christou explains that in the depths of man's prehistory it was the moon's monthly performance that originally drew attention to this pattern; and even if the moon did not provide man with his first experience of the pattern of renewal, it must have certainly given him one of his first awe-inspiring experiences of this pattern. In the 'lunar perspective' the death of the individual and the periodic death of humanity are necessary, even as the three days of darkness preceding the 'rebirth' of the moon are necessary. The death of the individual and the death of humanity are alike necessary for their regeneration (Eliade 1959, 88).
These were proto-performances  (re-enactments) of the original proto-pattern- the master-pattern; re-enactments in terms of corresponding mythic imagery; key-performances re-vitalising the master-pattern, when its cycle was exhausted, through forms of sacrifice, life for life, keeping it going. Because the pattern simply had to keep on renewing itself, if man and nature were to do the same (Lucciano 2000, 146).
As never before perhaps, we are all in the grips of the lunar experience, and there simply does not seem to be much we can do about it, except perhaps to take refuge in fantasy (myth's poor relation, or substitute). Fantasies about ideal societies and technological paradises. Fantasies about controlling the course of our political evolution, and fantasies about controlling our environment through science (Lucciano 2000, 148).
This exceptional state ('as never before'), underlines the inexistent prospect of a permanent and decisive exodus (a salvation) from the eternal lunar experience. In this condition what appears to be an alternative is in essence just a 'fantasy' which takes various forms, such as 'ideal societies and technological paradises'- could this be a comment on the fascination of that period either with the revolutionary East (ideal societies- China etc) or the utopias of space expansion underpinned by contemporary projects (Apollo program- in 1968: first efforts for manned flight to the moon).
The lunar experience concept is used to include man's expectations with regard to lunar pattern (that is a dynamic system of circular patterns), but also the fear of a non-renewal of any of those patterns, a fear that becomes worse by the additional possibility of an eclipse threatening the whole process during every stage of its operation.
In any case, even what appears to be irregular, 'the moon's most spectacular performance', the eclipse, is in essence a predetermined part of the eternal cycle emphasizing thus the absence of an actual disruption of normality and the lack of a breaking point over historical time . Thus, in Christou's works all participants may be subjected to processes of dissolution: amputation of the material they produce and its dissociation, or separate events, representing totally different systems, occurring together; as well as abrupt cessations, abrupt resumptions, fragmentations, exaggerations and distortions that correspond to the eclipse pattern. In a metaphorical fashion, events that seem to be irregular (war) or promise a new beginning in history (revolution) are episodes within an eternal order of events. Humans cannot easily see the whole picture; they stare this 'irregularity' with panic and thus they feel trapped and they are confronted to an existential problem.
Jani Christou explores a multi-disciplinary artistic field that synthesizes multiple forms of expression and encompasses his philosophical and analytical conceptualizations. His major last works as well as his theoretical texts allow a connection with the turbulent political and social setting of the 1960s while the analysis of the musical praxis and the socio-historical element highlight the interplay between historical time, eternal repetition and the interaction between individuals participating in collective performances. More precisely, in The Strychnine lady (1967) and Epicycle I (1968) the composer uses elements stemming from the socio-historical events that took place in Greece and in the World, and integrates them in his music under various forms: events and symbols such as the Vietnam War, mass culture, the dictatorship in Greece, the 'soft power' influence of the Western culture etc. The theoretical background provided by the composer includes concepts on performance ('praxis-metapraxis'), on repetitive patterns in history ('proto-performance') and focuses on the notion of confrontation that reflects the problematic of the long 1960s.
Trappmann, Klaus, 1994. 'Mythos und Ritual in Christous letzten Werken', in Angermann, Klaus. Jani Christou: Im Dunkel singen, Symposionberichte des Musikfestes Hamburg. Hofheim: Wolke.
Eliade, Mircea, 1959. Cosmos and history, The myth of the eternal return. New York: Harper.
Detlef, Siegfried, 2008. 'Music and Protest in 1960s Europe' in Klimke, Martin and Scharloth, Joachim. 1968 in Europe: A History of Protest and Activism, 1956-1977. New York: Palgrave Macmillan.
Jung, Carl Gustav, 2014, Psychology and Alchemy, ed. by Herbert Read, Michael Fordham and Gerhard Adler, vol. 12 of The Collected Works, New York: Routledge (1st published: Routledge & Kegan Paul Ltd, 1953).
Kornetis, Kostis, 2013. Children of the Dictatorship: Student Resistance, Cultural Politics and the 'Long 1960s' in Greece. New York: Berghahn Books.
Lucciano, Anna-Martine, 2000. Jani Christou, The Works and Temperament of a Greek Composer. Amsterdam: Harwood Academic Press.
Suri, Jeremi, 2003. Power and protest, Global Revolution and the rise of Detente. Cambridge, Massachusetts, London: Harvard University Press.
 Cf. Detlef 2008, 65-68 on the 1968 protest movements.
 Dreschen, Seymour and Mc Creary Eugene, Confrontation, documentary, 1970, 41 min.
 Cf. Kornetis chapter 1, section 1, paragraph 2.
 Ibid. chapter 1, section 7, paragraph 19.
 'Then Beya mounted upon Gabricus and enclosed him in her womb, so that nothing at all could be seen of him any more. And she embraced Gabricus with so much love that she absorbed him completely into her own nature, and divided him into indivisible parts' (Jung, 2014, 337).
 Introductory notes, Epicycle, J. and W. Chester, Ltd., London, 1970.
 Kornetis 2013, chapter 2, section 5, paragraph 17.
 Ibid. chapter 3, section 2, paragraph 13.
 As one can see in his personal notes, Christou studied thoroughly Mircea Eliade's texts on the 'eternal repetition of history'.


What does it mean when they say new engines have tighter tolerances? Do that mean new engines are made with smaller passages for oil to flow through. Also did they make tighter tolerances for new thinner oils.
The recommended oil for my 07 Camry is 0w-20 or 5w-20. It is written on oil fill cap. I have always used. 5w-20.
Is it possible to use 5w-30. Why or why not?
Tighter tolerances is a term that gets overused in many cases. Doesn't necessarily mean smaller clearances between bearing surfaces, though that can be a side effect of tighter tolerances, It just means that improvements in machining, manufacturing, and assembly has shrunk down the acceptable deviations in critical dimensions between parts.
With the oil viscosity - the move to 20 weight oil from 30 weight was more for CAFE numbers than anything performance related. Lower viscosity, thinner oils means less internal drag and pumping losses - means more MPG overall. Some conditions warrant running a 5w-30 or even heavier - 0w-20/5w-20 are the RECOMMENDED oil viscosity for MOST operating conditions.
Some cases, you might find a good deal on 5w-30 motor oil and want to stock up. I see no reason wrong with running that viscosity - just note that MPG might drop slightly. Also, some 5w-30 motor oils will shear down to a 20 weight, and some 0w-20 weight oils shear up to a 30 weight. What this means? Just use the oil that is as close to the recommended grade as possible and change it as needed. You'll find that some brands and weights of motor oil will give you the best MPG, others will give you better performance, and some give you a good compromise between the two.
Need someone that is schooled in Tribology to give you a more definitive answer. Might try the BITOG forums - lots of good info there, just have to wade through some of the Amsoil pitches and BS that you can find in almost any forum.
I have always used 5w-20 oil in my 07 Camry. On my next oil change I am going to try 5w-30.
You said you see no problem with it so I will give it a try.
You might notice a quieter valvetrain with 5W-30... You do use synthetic? Which one?
Here's a different look at 0W20 and noise. My Camry (2009 Camry LE Auto 2AZ-FE) was so noisy on Mobil 1 0W20 and 0W30 (both at the thin end of their respective scales) I'm 90% certain the knock sensors picked it up and retarded timing. It would feel like crap when accelerating. With the much thicker 5W30 it feels and sound completely different.
It's literally the only thing my wife has ever noticed I did to the car (and I did an HID retrofit, fogs, RSB, FSB, and rear spoiler).
Yup, with these sort of things, you just have to try it out. As dom mentioned, the slightly thicker 5w-30 may help quiet down valvetrain chatter while retaining all the performance as 5w-20 oil. All depends on the specs of the motor oil you plan on using - brand, synthetic or not, etc.
On the Corolla, I tend to favor oils that tend to be on the thinner side - like Mobil 1 5w-30 or 0w30. Still have the protection and pressure of a 30 weight when at operating temperature - but is what is called a "light 30 weight". Towards the end of my OCI - it tends to shear down to almost a 20 weight (notice more tapping from the valvetrain) - that's when I change it out. Still plenty of additives left, but running thinner than I'd like. Some oils, like Pennzoil Ultra Platinum and Amsoil tend to shear thicken over time, for me. They also tend to sit on the heavier side of the 30 weights. Amsoil tends to shear up the most - I've ran into a case where it went from a 5w-30 (Honda CRX Si) to almost a 10w40 when I drained it out. Little too thick for me. Platinum also sheared up - but still stayed in grade for me over the OCI - though it was definitely thicker when it came out than when it first poured in.
All depends on what you like - each case will be different, every driving situation will be different. One person's favorite oil could be disastrous in someone else's car. Look at the Lotus Exige/Elise guys - same 2ZZ-GE engine from Toyota (Celica GTS, Matrix XRS, Corolla XRS) but with a slightly different fuel map and different intake/exhaust - but they swear by a 15W-40 oil. Tad too thick to run in my daily driven car (2003 Matrix XRS), but perfect for those guys as they do track events.
I use conventional oil in my corolla. I change my oil every 3000 miles. I only use 5w-30 oil. On my next oil change I was going to use Valvoline premium conventional oil 5w-30. It was called something before and it is the only oil you used in your Camry that has 400,000 miles on it. I think this is the right oil.
Question: is Valvoline a light 30. Does this oil shear up or down.
I think it was called Valvoline All-Climate conventional motor oil - that should be pretty decent oil for the short oil change interval you are doing.
On my Camry - I was sticking with originally the manufacturer recommended 7500 mile oil change interval (normal use), then dropped it to 5000 around the 200K mile mark. If all cars will last long with the same treatment? - impossible to say.
It will be a tall order as the S-series engine and oversized A-series transaxle back then were already near legendary in reliability even when I bought the car - back when Toyota was pushing for longer life and overall reliability than fuel economy, emissions and environmental impact.
As for shearing - most conventional motor oils tend to shear down as the miles pile up, some better than others - Valvoline I would consider average. As for weight - they tend to be in the middle of most 30-weights.
That name is right but I thought it is now called Valvoline Premium Conventional Oil.
In about 1000 miles I will be doing my first oil change myself. I am getting away From mechanic oil changers.
I want to know why do I keep reading do not use a adjustable wrench or socket on drain plug. Only use correct box end/ close end wrench.
Also in your opinion how good are these filters: Denso, Wix and Napa Gold.
I heard Wix and Napa Gold are one of the best filters you can buy for 05 corolla.
Do you have any other pointers I should know since this is my first oil change.
Sockets are OK - just have to make sure they actually fit the drain bolt. 6-point sockets are preferred over the 12-point ones. As for adjustable, I agree, just too much slop in there to get a good bite on the bolt, way too easy to have it slip and end up rounding off the bolt.
As for the filters - all of them are great. I think the WIX one actually makes the Napa Gold filter. Pick whichever one you can find at the best price - can't go wrong with any of them.
As for tips - I think you probably picked up most of them on this forum. Only things I can add are to pre-fill the filter before you install it. Takes no time to do, any oil that gets dribbled on the filter end - you can use that to dab onto the gasket/o-ring - ensures that you have some oil in there on the first start. Follow the directions on the oil filter - they usually say something like tighten an additional 3/4 turn after the gasket makes contact - sometimes they print it on the filter itself. Each filter is different, so make sure you find out first before you get ready to pre-fill it.
Drain plug gasket - if it isn't too distorted, you can reuse it. If in doubt - replace it, lots of material out there - fibre, composite, rubber faced aluminum, soft aluminum crush washer, etc. Don't need a whole lot of force to tighten it - you can use a box wrench or stubby wrench to tighten it, as there is only so much torque you can apply onto the bolt with that short of a lever arm.
Don't forget to put in the fresh oil - you'd be surprised how many people forget on their first oil change. Easiest way to start is to lay out all your tools and supplies, that way they are readily at hand. Put some cardboard or similar under the car to catch any drips/spills of oil. Have plenty of heavy duty shop paper towels or rags, brake cleaner solvent works great at washing down parts - degreasing them. After you are all done - run the car a bit to circulate the new oil, shut it off and let it sit for a few minutes - then check underneath for any leaks. Check the oil level often to make sure there are no leaks and to monitor if you need more oil or not. If you overfill slightly - should be fine, but if the oil level is a good 1/2" or 1" higher on the dipstick - you put way too much in and need to drain some back out.
Now does the new filter get filled up with oil or do you just smear some oil on the gasket. If so how much oil does it get filled with. Why do you fill filter with oil because I never heard of it before. I only head of smearing gasket with oil.
fish my 05 corolla 4!cylinder 1.8 liter Le what cc is the engine 1794 or 1795. I need to know to get the wix part # for oil filter for my car. Unless you know part #. That is what wix site is asking for.
Fish the Valvoline all season conventional oil did it change it's name to Valvoline Premium .
The new filter gets filled with as much oil as it takes to fill it. Its exact capacity is irrelevant. It really doesn't matter how much oil it takes to fill it. Just go ahead and fill it with new oil... Carefully fill it slowly up to the top as it displaces air. This is done for quicker oil circulation upon startup, as the oil pump has to fill the filter before the oil can then build pressure and continue its path to the engine's main bearings and up to the valvetrain, etc.
Wix oil filter # 51394 (Denso 1501000, Bosch 3311), or you can opt for the larger # 51348 (Denso 1501002, Bosch 3330) as listed for Camry V6.
Why not go with Valvoline MaxLife Higher Mileage Motor Oil, available in synthetic blend or full synthetic?!
Thanks. The new filter I want to fill it completly up with new oil and also smear the gasket with some oil then screw it on.
I did not know about filling it up with oil. I only heard to smear some oil on gasket before you screw new filter on.
1ZZ-FE engine displaces 1.8L or 1794cc. The higher performance 2ZZ-GE is also a 1.8L or 1796cc engine. Not sure where they get the 1795cc size from - could be referring to the 2ZZ-GE. Surprised that the wix filter site doesn't go by engien family, but displacement.
My 05 corolla takes 4 quarts of oil with filter for an oil change. This is original number and not new number.
My 07 Camry takes 4.5 quarts with filter for oil change.
Now when you fill new filter completely up with oil is car now over filled with oil.
In the owner's manual - they will list oil capacity with and without the filter. The listed capacities sounds like the filter pre-filled (oil "with" filter). Double check with your owner's manual.


text:
European Rocket to Launch Satellites for Japan, UK Today: Watch Live
By Mike Wall 2018-04-05T20:41:30Z
An Arianespace Ariane 5 rocket nears completion of its transfer to the launch pad at the Guiana Space Center ahead of a planned April 5, 2018 liftoff.
(Image: © Arianespace)
A European rocket will launch two communications satellites today (April 5) in its first action since a Jan. 25 anomaly, and you can watch the flight live.
An Ariane 5 rocket, operated by the France-based company Arianespace, is scheduled to lift off from the Guiana Space Center in French Guiana today at 5:34 p.m. EDT (2134 GMT). You can watch it live here at Space.com beginning at 5:19 p.m. EDT (2119 GMT), courtesy of Arianespace, or directly via Arianespace.
If all goes according to plan, the Ariane 5 will deliver the DSN-1/Superbird-8 and HYLAS 4 satellites to geostationary transfer orbit high above Earth, for Japanese operator SKY Perfect JSAT and British operator Avanti Communications, respectively.
Today's launch is the first for an Ariane 5 since Jan. 25, when the rocket dropped two communications satellites off in the wrong orbit. An investigation later determined that human error caused the anomaly; the wrong navigation coordinates had been entered into the Ariane 5's onboard computers.
Both satellites reached space safely on Jan. 25 despite the issue, but both will need to burn more fuel than expected to reach their desired final orbits, their operators have said.
Follow Mike Wall on Twitter @michaeldwall and Google+. Follow us @Spacedotcom, Facebook or Google+. Originally published on Space.com.

redpajama_set_name: RedPajamaCommonCrawl


Here is a list of boat rental companies on Lake Fork.
Ricky's Boat Rental rents fully rigged bass boats and pontoon boats on one of the best bass fishing lakes in the country.
Ricky's will deliver the boat to the ramp of your choice. Comes with a free tank of gas!
J&J Marina has pontoon boats and bass boats for rent on Lake Fork.