By implementing the advanced float features, AH Formatter V6.2 is capable of arranging the float content in an arbitrary place of the page, arranging the float content in multi-column layout with column spanning of the float. As a result, AH Formatter V6.2 can meet various demands of the arrangement while formatting the document with the illustration, etc.
Using with XSL-FO, the float extension properties (axf:float-*) are applied to the fo:float objects.
Using with CSS, the float extension properties (-ah-float-*) are applied to elements that will become floated elements.
Specifies horizontal (or vertical if writing-mode is vertical) float alignment.
Specifies vertical (or horizontal if writing-mode is vertical) float alignment.
Specifies whether the text wraps around the float.
Specifies reference area where the float is positioned.
Specifies whether the float moves to the next page (or column).
See individual extension properties for details.
The values left, right, top, bottom, center, inside, and outside which express absolute directions have the ambiguity to extend to both <float-x> and <float-y>. This can be solved as follows.
When one of before, after, start, or end is contained, either <float-x> or <float-y> will be selected. The remaining ambiguous value will become another value.
When none of before, after, start or end is contained, the first value which expresses the absolute direction will be <float-x>, the latter value will be <float-y>.
Not floated horizontally (or vertically if writing-mode is vertical).
Floated to the start side. Same as left in horizontal left-to-right writing-mode.
Floated to the end side. Same as right in horizontal left-to-right writing-mode.
Floated to the left side. Used only for horizontal writing. It cannot be specified for vertical writing.
Floated to the right side. Used only for horizontal writing. It cannot be specified for vertical writing.
Floated to the top. Used only for vertical writing. It cannot be specified for horizontal writing.
Floated to the bottom. Used only for vertical writing. It cannot be specified for horizontal writing.
Floated to the center horizontally (or vertically if writing-mode is vertical).
Floated to the inside (left side on a right page, right side on a left page). Used only for horizontal writing. It cannot be specified for vertical writing.
Floated to the outside (right side on a right page, left side on a left page). Used only for horizontal writing. It cannot be specified for vertical writing.
Not floated vertically (or horizontally if writing-mode is vertical).
Floated to the before side. Same as top in horizontal left-to-right writing-mode.
Floated to the after side. Same as bottom in horizontal left-to-right writing-mode.
Floated to the top. Used only for horizontal writing. It cannot be specified for vertical writing.
Floated to the bottom. Used only for horizontal writing. It cannot be specified for vertical writing.
Floated to the left side. Used only for vertical writing. It cannot be specified for horizontal writing.
Floated to the right side. Used only for vertical writing. It cannot be specified for horizontal writing.
Floated to the center vertically (or horizontally if writing-mode is vertical).
Floated to the inside (left side on a right page, right side on a left page). Used only for vertical writing. It cannot be specified for horizontal writing.
Floated to the outside (right side on a right page, left side on a left page). Used only for vertical writing. It cannot be specified for horizontal writing.
Specifies reference area where the float is placed.
Same as normal. However, when float-y is none in CSS, the float positioning is affected by block indents where the block contains the float anchor.
The float is placed in the current reference area.
The float is placed in the page area (region-body).
The float is placed in the column area.
The float is placed in the multi-column area.
When float-y is none, the reference area in x-axis will be set.
When using with CSS, if float-y is none and the float-reference is auto the float positioning is affected by block indents where the block contains the float anchor, but by specifying normal, page, or column, it is possible to position floats regardless of the block indents.
Same as keep if float-y is none, same as auto-next otherwise.
The float is moved to the next page (or column).
The float is moved to the next page (or column) if there is no sufficient space in the current page (or column).
The float is moved to the next page (or column) if there is no sufficient space in the current page (or column). It is also possible that the float anchor and around text are moved to the next page (or column) instead.
The float and its anchor are always placed on the same page (or column). If there is no sufficient space for that, a page (or column) break occurs before the float anchor and a blank space is left.
Although it is almost the same as keep, the following points differ. With keep, keep-with-next="always" is automatically set to anchor area and a page break (or column break) is deterred between the next area. However, it is not performed by keep-float. The difference on operation will appear when the height of anchor area is zero.
If both float-x and float-y are none, the object is not floated and the float-move specification is ineffective.
Same as wrap if float-x is other than none. Same as skip if it is none.
Wraps the text around the float. However, when there is a space on both side of a float within the column (by specifying center to float-x or float-offset-x), it is the same as skip.
The text doesn't wrap around the float. The text is positioned by skipping the float.
Specifies the minimum width for the text wrapping around the float.
If the width for the text wrapping around the float is smaller than the width specified by this property, the text doesn't wrap.
The initial value, normal is minimum wrapping width of normal floats. It is same as 0pt.
Specifies the minimum extent for the text placed before and after the float.
When the float-y value is not none and there is remaining space to place the text before or after the float within the formatting target area, if the extent of that space is smaller than the extent specified by this property, the text is not placed to that space.
When the float-y value is none and the float-move value is auto-next and there is remaining space to place the text after the float within the formatting target area, if the extent of that space is smaller than the extent specified by this property, the float position will move so that the extent may become zero. The text placed after the float will move in front of the float.
When the float-y value is none and the float-move value is auto-move, the behavior is similar to auto-next; if the space extent for the text not only after but also before the float is smaller than the extent specified by this property within the formatting target area, the float position will move so that the extent may become zero. The text placed before the float will move after the float.
The initial value, normal is the same as 0pt.
Specifies whether the float is centered when the width for the text wrapping around the float is insufficient.
The float is not centered.
The float is centered when the width for the text wrapping around the float is less than the width specified by the float-min-wrap-x property.
The float is centered when the width for the text wrapping around the float is less than the width specified by this property.
Specifies whether the float is centered when the extent for the text placed before and after the float is insufficient.
The float is centered when the extent for the text placed before and after the float is less than the extent specified by the float-min-wrap-y property.
The float is centered when the extent for the text placed before and after the float is less than the extent specified by this property.
Specifies the space between the float and the text wrapping around the float (in x-axis).
Value: [ <length> | <percentage> ] [ <length> | <percentage> ]?
When two values are specified, the first one will be the value of the start side, the next one will be the value of the end side.
Specifies the space between the float and the text before and after the float (in y-axis).
When two values are specified, the first one will be the value of the before side, the next one will be the value of the after side.
Specifies the space between the float and another neighboring float (in x-axis).
The initial value auto is same as the float-margin-x value. When two values are specified, the first one will be the value of the start side, the next one will be the value of the end side.
The float-float-margin-x value cannot exceed the the float-margin-x value.
Specifies the space between the float and another neighboring float (in y-axis).
The initial value auto is same as the float-margin-y value. When two values are specified, the first one will be the value of the before side, the next one will be the value of the after side.
The float-float-margin-y value cannot exceed the float-margin-y value.
Specifies the offset placement for the float (in x-axis).
If float-x is start, the offset to the end side is specified. If it is end, the offset to the start side is specified.
Specifies the offset placement for the float (in y-axis).
If float-y is before, the offset to the after side is specified. If it is after, the offset to the before side is specified.
The unit 'gr' is a special length unit and it counts both column-width and column-gap as 1gr. n-column-spanning can be specified as (2n-1)gr. Fractions of gr unit can be used to specify halfway length of column-width or column-gap. Negative value cannot be specified.
Note that the '3gr' means 2 column-widths plus 1 column-gap.
gr is defined only to the float specified as axf:float="multicol". It is not applicable to the other floats or properties other than float. If applied, the operation will be indefinite.
In order to express footnotes by CSS, (-ah-)float: footnote and @footnote are used. The following shows a very easy example of a footnote.
Thereby, the portion enclosed with <span class="footnote"> and </span> will be placed at the bottom of the page as a footnote, that portion will be replaced with a reference mark. (-ah-) float: footnote expresses a footnote body. (Equivalent to <fo:footnote-body> in FO). The appearance of a footnote can be specified with @footnote. You can specify the appropriate position of footnotes using (-ah-)float. display: inline is not supported.
The appearance of a reference mark can be specified by ::footnote-call. The number added to a footnote can be specified by ::footnote-marker. Those default appearances are specified in the default stylesheet (html.css). The following example shows the way to put letters of the alphabet, like A, B, C... as an alternative method of numbering. You can specify the same values that can be specified to list-style-type.
To reset the counter, specify counter-reset: footnote to @page, etc. accordingly.
In order to express sidenotes by CSS, (-ah-)float: sidenote and @sidenote are used. The same way as footnotes applies to sidenotes.
The default stylesheet does not include the setting of ::sidenote-call and ::sidenote-marker.
In the following example, the float is placed on top of a page.
In the following example, the float is placed on bottom of a page.
In the following example, the float is placed on top of a column.
In the following example, the float is placed on bottom of a column.
In the following example, the float is placed on the top right corner spanning three columns on a multi-column area.
In the following example, the float is placed on the bottom inside corner on a multi-column area.
Since float is arranged at the place of the anchor area, when an image, etc. are contained and there is no sufficient space for that, it will be sent to the next page. As a result, a blank space will remain in the lower part of the page. In order to avoid this, use the axf:float-move property to move float automatically from the anchor area. Note that the blank space will remain when there is no room to move.
The following example arranges an image with no text wrap on the right, left or center of a page. If there is no sufficient space at this time, only an image will move to the next page leaving an anchor to that position. Note that it's necessary to specify axf:float-x at this time.
In the above example, if axf:float-move="auto-move" is specified, an anchor (and text around it) will move to the next page depending on the situation of the blank space. As a result, it looks like the image moves to the previous.
You may not want to move the float across over the chapter or the paragraph. Since the float does not move over other float, it is realizable by putting the dummy float into the break of the chapter or the paragraph. The following shows how the empty float prevents the other float from moving across the chapter.
You may want to allow the float in a new chapter to move to the previous. In the above example, since keep-with-next="always" is set to the empty float, there is no room for the float to move before the new chapter. By specifying axf:float-move="keep-float", the setting will be cleared, then this empty float will be arranged at the last of a previous page and the float can move between the next block afterwards.
AH Formatter V6.2 Float Extensions have the following restrictions.
Float Extensions may not be positioned correctly within fo:table-cell or fo:block-container.
When float-y is none and the float-reference value is multicol or page, the text doesn't wrap around the float except for the specified column, then the text and the float may overlap.
Copyright © 1996-2014 Antenna House, Inc. All rights reserved.


Tuscany Condo Community Information by Bill Jamison - Jamison & Co.
There are currently 2 condos available in Tuscany with an average price of $324,900. For availability or more information about condos for sale in Tuscany call Bill Jamison - Jamison & Co. at 404-419-3643 .
Tuscany is located in Atlanta GA, Fulton County. There are currently 2 condos active and for sale inside the condo community with the average price being $324,900. The number of condos for sale in Tuscany is always changing so if you see a home you like and you would like to schedule a time to take a look please give me a call at 404-419-3643.


From the nation's premier performing arts venue to the second-largest fine art museum in the state, Illinois provides a rich variety of cultural experiences for research, education, and entertainment.
We are home to more than 9,000 works of art, 46,000+ artifacts, four theaters and four cultural centers. From the Library's extraordinary special collections to our Title VI student study centers, arts, and culture are a rich part of campus life. Below are links to some of the most popular offerings.


If you are responsible for a healthcare facility, no matter how big or how small it might be, the risk of disease is ever present. When disaster strikes, it is up to you to work quickly to minimize the spread of harmful agents. You will want to enlist the services of a professional restoration specialist that has the proven experience of providing an infectious disease control service that is known to be effective.
It is no secret that hospitals and various types of medical clinics are breeding ground for disease. In most situations, health care professionals are well qualified to deal with the control of such diseases and ensure that the facility remains unaffected. This is typically accomplished via regular cleaning and the filtering of air and other areas. When a natural disaster such as an earthquake strikes unexpectedly, however, it can become quite difficult to control the spread of airborne pathogens and certain types of infectious diseases.
First responders need to be trained in the effective removal of potentially hazardous material from a hospital site. There are new standards related to construction compliance that must be followed, in addition to procedures to safeguard the personal and patients in the facility at the time of the disaster. It is important to have a professional come in an evaluate your existing facility to ensure that it is up to host standards and that you minimize the risk of any spread of disease should an unforeseen event occur.
When a catastrophe strikes, it is also important to have a team located nearby that can arrive on the scene as quickly as possible. There will be many things that need to happen simultaneously in order to stabilize the scene and minimize any further damage. The disease can linger for quite some time, while airborne pathogens can escape into the surrounding area. This is an important task to consider and one that should not be taken lightly.
Thankfully, there are complete teams that are ready to assist in any way possible when disaster strikes. This could be due to damage caused by water, fire, and or any of a number of occurrences. Safeguard your facility as best you can and then call in a professional to assess the situation. This is the way to control the spread of disease and keep the surrounding area safe.


Tags: Home Office In Living Room Pinterest. Office Design. Office Interior. Formal Living Room Turned Home Office. Home Office Living Room Layout. Office Ideas. Office Decoration. Home Office Living Room Combination.


Government reports are often filled with useful information. Some reports can be difficult to locate. A good example is GAP-19-210 "Homeland Security: Research & Development Coordination Has Improved, but Additional Actions Need to Track and Evaluate Project." This report is online as of March 23, 2019, at this link: https://www.gao.gov/products/GAO-19-210. In order to obtain a copy, right click on the link and download the PDF. Rendering of the document in a browser is not reliable.
I think this findability issue provides a good example of the information sharing issues discussed in the 59 page report.
If you are interested in the structure of DHS, the report contains several current organization charts.
The information about the technologies in use for border control is one of the first lists of this type which I have seen recently. You can find these data in Appendix I: Overview of the Science Technology Directorate's Research and Development Projects on pages 48 and following.
This is a useful document because future procurements are hinted at.
A quick heads up. If you look for the document at www.gao.gov, the document does not appear on the public facing Web site yet. Experimenting with the different options for locating public information, one selector returned a list of DHS related reports with the most recent document dated 2014.
Cellebrite, a unit of Japan's Sun Corporation, offers specialized services and hardware to law enforcement agencies worldwide. Like other cyber security and policeware vendors, Cellebrite is a secretive company.
Prices much lower than Cellebrite's. Cellebrite, it appears, may have need to revisit its product resale guidelines for its customers. More information about Cellebrite can be found on the company's Web site.
We wonder if would be bad actors are reading about drones?
Yes, I mentioned Dedrone deployed counter measures at its test airports when incursions were discovered. Though they may seem the most obvious, airports are not the only sites at risk from pesky drones. Dedrone has leapt upon on an emerging need—to secure organizations' airspace from the increasing risk of drone intrusions. Founded in 2014, the company brought its first solution to market the next year. Based in San Francisco, they also happen to be hiring as of this writing.
One branch of the British government has inked a deal with Amazon to build the "Crown Marketplace." Think in terms of the British version of GSA/DSA running on Amazon's AWS infrastructure, buying goodies from Amazon's warehouses, and getting some of the stuff delivered in nifty Amazon trucks. When will GHCQ follow the CIA's approach and use Amazon for plumbing? Source: The Telegraph which dearly wants your email address.
Most commercial outfits won't care or understand the steady expansion of the breadth and depth of the GovCloud. Mark your calendar, while some folks were guzzling Champaign, Amazon Amazon EC2 High Memory instances with up to 12 TB of memory to the US GovCloud West region. Source: Amazon itself. Want to know more about "high memory"? Click this link.
Sputnik reported that the artificial intelligence behind Rekognition, which can identify, track, and analyze people and recognize up to 100 faces in a single image, was being marketed by Amazon to US police departments for as little as $6 a month. That tiny fee gave law enforcement agencies access to Amazon Web Services (AWS). In turn, Amazon requested that those agencies recommend the brand to their partners, including body camera manufacturers, according to documents obtained by the American Civil Liberties Union (ACLU).
That's a compelling price point for many law enforcement entities. True or false. Well, the secret region is a thing.
Perception Health, a leading provider of healthcare market prediction software, announced today their inclusion on the new machine learning (ML) and artificial intelligence (AI) discovery page on AWS Marketplace.
WP Engine leverages a modern technology stack to make sure our customers have the resources they need to scale their WordPress environments. It's why we give our customers access to a suite of developer tools they can use to build great websites, and it's why we utilize best-in-class technologies like Amazon Web Services (AWS) to add resiliency and speed to our digital experience platform.
Screw up one part of a microservice based app and you can have an exciting time of it. But what if one wants to combine the goodness of microservices with the Bezos bulldozer? No problem. Details plus code appear in "How to Deploy a Microservice Application to AWS." Now about those microservices which don't "service"? Sparse info, gentle reader.
If you haven't started migrating your analytics to the cloud, then hopefully this will convince you to start reconsidering. The opportunity to have access to a 64, 96 or even 128 core machines with 2TB of RAM rarely crosses the path of most Data Scientists. This can mostly be accredited to the fact that most of us don't really need such a large machine for what we need to achieve, see Szilard's twitter posts if you need convincing. Another reason that we don't use these big machines are purely because we just don't have access to such machines within our working environments. Luckily for us, access to cloud computing have become more accessible and well, lets be honest, cheap as chips.
I read "Facial Recognition Gives Police a Powerful New Tracking Tool. It's Also Raising Alarms." The write up is one of many pointing out that using technology to spot persons of interest is not a good idea. The Telegraph has a story which suggests that Amazon is having some doubts about its Rekognition facial recognition system. What? Hello, reality calling.
Many law enforcement agencies — including the FBI, the Pinellas County Sheriff's Office in Florida, the Ohio Bureau of Criminal Investigation and several departments in San Diego — have been using those databases for years, typically in static situations — comparing a photo or video still to a database of mug shots or licenses. Maryland's system was used to identify the suspect who allegedly massacred journalists at the Capital Gazette newspaper last month in Annapolis and to monitor protesters following the 2015 death of Freddie Gray in Baltimore.
Yep, even the Hollywood gangster films have featured a victim flipping through a collection of mug shots. The idea is pretty simple. Bad actors who end up in a collection of mug shots are often involved in other crimes. Looking at images is one way for LE and intel professionals to figure out if there is a clue to be followed.
Let's go with software because there are a lot of bad actors, there are some folks on Facebook who are bad actors, and there are bad actors wandering around in a crowd. Don't believe me. Go to Rio, stay in a fancy hotel, and wander around on a Saturday night. How long before you are robbed? Maybe never, but maybe within 15 minutes. Give this test a try.
Software, like humans, makes errors. However, it seems to make sense to use available technology to take actions required by government rules and regulations. That means that big companies are going to chase government contracts. That means that stopping companies from providing facial recognition technology is pretty much impossible.
I would suggest that the barn is on fire, the horses have escaped, and Costco built a new superstore on the land. Well, maybe I will suggest that this has happened.
Facial recognition systems are tools which have been and will continue to be used. Today's systems can be fooled. I showed a pair of glasses which can baffle most facial recognition systems in my DarkCyber video a couple of months ago.
The flaws in the algorithms will be improved slowly. The challenge of crowds, lousy lightning, disguises, hats, shadows, and the other impediments to higher accuracy will be reduced slowly and over time.
But let's get down to basics: The facial recognition systems are here to stay. In the US, the UK, and most countries on the planet. Go to a small city in Ecuador. Guess what? There is a Chinese developed facial recognition system monitoring certain areas of most cities. Why? Flipping through a book with hundreds of thousands of images in an attempt to identify a suspect doesn't work too well. Toss in Snapchat and YouTube. Software is the path forward. Period.
Facial recognition systems, despite their accuracy rates, provide a useful tool. Here's the shocker. These systems have been around for decades. Remember the Rand Tablet. That was in the 1960s. Progress is being made.
Outrage is arriving a little late.
I read the stories about Amazon's facial recognition system. A representative example of this genre is "Amazon's Facial Recognition Tool Misidentified 28 Members of Congress in ACLU Test." The write up explains the sample. The confidence level was set at 80 percent. Amazon recommends 95 percent.
The result? Twenty eight individuals were misidentified.
What if these individuals are criminals?
I jotted down the remarks on my mobile phone. Ah, the Bluegrass state.


Eyeball technology is a greatest invention in science world.so many of us loose our eye sight in accident or any type of infection ....etc,but think once they gone,there is a no color in lonely life.but there is a proverb all problems has a one massive exit..so here is one way to goodbuy to blindness....and that is eyeball technology.
hii did u done this project??


text:
Research Outputs > Rotavirus vaccine effectiveness against different genotypes circulating in Hong Kong during 2014/15
Rotavirus vaccine effectiveness against different genotypes circulating in Hong Kong during 2014/15
CUHK Authors
Professor CHAN Kay Sheung Paul (Department of Microbiology)
Professor Edmund Anthony Severn NELSON (Department of Paediatrics)
There are no full text file(s) associated with this record.
AbstractBackground and aims
Rotavirus vaccine of at least one dose was shown to have 89%-96% effectiveness in preventing hospitalisation from the disease during the 2014/15 rotavirus season in Hong Kong. Here we assess the effectiveness of rotavirus vaccine against different circulating genotypes.
We conducted a 'test-negative' case-control design vaccine effectiveness study in six public hospitals in Hong Kong. Rotavirus G and P genotypes were identified using nested reverse-transcriptase-polymerase chain reaction.
A total of 404 patients were included in the effectiveness study. 73 of 126 (58%) rotavirus-positive patients had the virus G and P genotypes determined. The predominant genotype was G9P[8] (58%), followed by G1P[8] (18%). Among those who were rotavirus-negative, 67 (24%) were vaccinated: 46 had full course Rotarix, 12 full course RotaTeq, 5 partial course Rotarix and 4 partial course of RotaTeq. Rotavirus genotype distribution by vaccination status is shown in the table below.
Vaccinated n (%) Unvaccinated n (%) Vaccine effectiveness 95% Confidence interval
G9P[8] 0 (0) 42 (100) 100 -
Genotypes other than G9P[8] and G1P[8] 1 (6) 17 (94) 81 (-42, 98)
Genotypes other than G9P[8] 1 (3) 30 (97) 90 (22, 99)
Rotavirus-negative 67 (24) 211 (76)
We provide further support for the heterotypic protection provided by rotavirus vaccines.
This work was supported by the Research Grants Council General Research Fund [CUHK 14111514]. Genotyping was done by Department for Viral Diarrhea, National Institute for Viral Disease Control and Prevention, Chinese Center for Disease Control and Prevention, China.
All Author(s) ListYeung KHT, Chan MCW, Chan PKS, Nelson EAS
Name of Conference6th Asian Vaccine Conference
Start Date of Conference27/04/2017
End Date of Conference29/04/2017
Place of ConferenceSingapore
Country/Region of ConferenceSingapore
Month4
LanguagesEnglish-United Kingdom

redpajama_set_name: RedPajamaCommonCrawl


Welcome to the brand new Uxbridge Studio Tour website!
We're so very excited to launch the gorgeous new website in advance of the 2018 Uxbridge Studio Tour – and we truly hope you enjoy it!
Uxbridge Mixed Media artist Lynne McIlvride reacquainted herself with her older more 3 dimensional symmetrical style in her latest commission for Our Lady of Perpetual Help Catholic Church in Toronto.
The Botanical Illustration program exposed me to colored pencil (see Rhododendron drawing in coloured pencil), pen and ink (see birch bark drawing in pen and ink) as well as water colour. Each new medium stretched my brain in new ways to my surprise and delight.
The $1000 Gift Certificate prize was the result of a new partnership between The Second Wedge Brewing Company and The Uxbridge Studio Tour aimed at inspiring local people to explore the incredible talent of artists and craftspeople in the community.


text:
A Damsel Redefined
Elysa Gardner | May 29, 2018
How do you reveal the heart of a 2,000-pound, 20-foot-high gorilla? That was one of the challenges facing the team behind King Kong, the new musical set to arrive in New York — about a mile north of the Empire State Building — this fall.
Due to begin previews October 5 in preparation for a November 8 opening at the Broadway Theatre, the show brings together an array of established talent: playwright and screenwriter Jack Thorne, currently up for a Tony Award for Harry Potter and the Cursed Child; composer Marius de Vries, whose credits include the celebrated movies La La Land and Moulin Rouge; songwriter Eddie Perfect, who is working on a musical adaptation of the film Beetlejuice; and director/choreographer Drew McOnie, whose most recent project, Strictly Ballroom: The Musical, had its West End debut this spring.
Noted creature designer Sonny Tilders developed the Kong audiences will meet, using a combination of cutting-edge animatronics and puppetry. And the musical actress Christiani Pitts, currently completing a run in A Bronx Tale, will reintroduce Ann Darrow — the woman who inspires Kong and is inspired by him — as a decidedly contemporary heroine.
Producer Carmen Pavlovic had in mind a character different from "the screaming blonde who made the big, scary monster save her," as Pavlovic puts it. After different incarnations, including a show staged in Australia in 2013, she tapped Thorne, known for his ability to inject emotional depth and nuance into a variety of characters and settings.
"We wanted to get away from the stereotype of the damsel in distress," says Thorne. In that process, he decided to scrap the character of Jack Driscoll, Ann's love interest in the original 1933 film starring Fay Wray, and subsequent movies, including the 1976 and 2005 updates with, respectively, Jessica Lange and Naomi Watts. (Thorne's book is based on a 1932 novel adapted from the first movie's screenplay as production was wrapping.)
Thorne retained the character of Carl Denham, the filmmaker who travels to Skull Island to capture Kong. "He's this swashbuckling adventurer who makes you think that anything is possible, but who has no sense of moral responsibility and stops at nothing to get what he thinks he deserves," Thorne says of Carl, played by Eric William Morris. "So you have this journey with two very complicated people, and one very complicated gorilla."
For Pitts, this King Kong is distinct "because it's from Ann's perspective, where in other versions everything happens to Ann; she's never really in control. In this version, she's incredibly strong and compassionate and thoughtful." Pitts, who also writes, has actually been in love with the character since seeing the 2005 film during her youth: "It wasn't just her physical beauty, but her soul, how she saw the light in a dark world. I tried to write roles like that for myself, adventurous and compassionate female protagonists, because it didn't seem like I would ever be able to play her."
As an African American woman, Pitts finds resonance in "another layer of Kong's journey, which is about freedom. His was ruined when he was made captive and sent to America. There are racial undertones in King Kong that people have been trying to figure out for a long time, and as a black woman, I do feel a connection to that. But this role is not particular to one type of woman: It's about strength and courage."
Pitts points out the musical is topical on a variety of levels. "Ann is a woman in a world dominated by men, and at one point she's cornered by a man and told, 'If you don't do what I tell you to do, I'll ruin you.' And she still stands up for herself; she knows she has to do what's right for her, and for this other being."
That story, McOnie adds, involves "a different kind of love, based on mutual experience and trust" between Ann and Kong. It also entails the kind of action and adventure you'd expect from the various films, reimagined in a theatrical context. "Big swaths of story are told through dance," says McOnie, noting that the title character of this musical neither sings nor speaks lines. "There's a lot of visual storytelling, with acrobats and dancers and this huge puppet that breathes and roars and cries with you. It's this romantic explosion of body language, where you don't need words to communicate."
Pavlovic notes that the tale "takes place against four really epic backdrops. There's the city of New York, the boat journey at sea, Skull Island, and then a return to a very different New York City. In early stages of development we went down the path of being a more traditional musical, but we realized that the music had to work on a cinematic scale to fit these large landscapes, and that music and movement needed to come together during this journey."
The result, Pavlovic says, is a King Kong with "so many relatable emotions and ideas. It fascinates me that no matter what point in time this story is told, the journey seems to speak to something in the zeitgeist. And it's a great tale of adventure and hope. I'd love for people to go and have a great time."
Learn More About King Kong
King Kong Heads to Broadway With a Larger-Than-Life Star
The Voodoo Puppeteers of King Kong on Broadway
King Kong Announces Principal Casting


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text:
About Richmond Supply
A Short History About Richmond Supply
Richmond Supply Company
There aren't many people still living who can tell the stories of life during the Great Depression and World War II. My generation's understanding of the years spanning 1930-1945 was based on what we've heard from our parents and grandparents.
It's hard for me to imagine a poverty so broad that it would touch most every #American and a War that changed every life. But the people who did live to see America plunge into darkness and then boldly recover, bore witness to some of her worst and best times.
Levi was a child of the Great Depression
My father was just a child during the Depression. #Poverty, or at least some level of it, was really the only life he knew growing up. But he didn't consider himself poor. Everyone was in the same boat. In those days, nobody had any money.
My father's life as a youth was quite sweet and idyllic, or at least that's how I understand it. He talks of his friends and his family and his cousins and their many escapades. He speaks of those times as the #GoodOleDays. He misses them. He misses his family, and most of them now gone.
In those early times, there was no television or air conditioning. There were few paved roads and some still rode horses to town. Summers were hot in the small #Georgia town of #Sandersville where my father and his family grew up. But being hot wasn't anything that a dip in the river wouldn't cure. Bare feet were more common than those with shoes. And tobacco spit was the biggest hazard to walking downtown.
Selling Mill Supplies at Lomard Iron Works
It was during those times and in that small town setting that my grandfather Levi Hill Jr. found various things to do in order to make ends meet. He worked for a while with his father as a farmer and a general store operator. And then at some point he began selling and servicing coin operated pool tables and vending machines. It was in the mid nineteen forties that he found a steady position in the nearby city of #Augusta selling industrial mill supplies for a company called #Lombard Iron Works.
Lombard was primarily a foundry. They also made and sold parts for heavy machinery. The job of selling mill supplies was perfect for my grandfather. He had studied engineering at #Clemson University, was good with numbers and had a natural talent for machine works. In addition, he was an excellent salesman who never met a stranger.
It wasn't long before he and one of his fellow salesman decided to form a partnership and go it alone. In 1942, they started their [own] mill supply company in Augusta, naming it Richmond Supply (for the county of its location, Richmond). For a year or two they successfully operated their partnership until my grandfather offered to buy out his partner. Richmond Supply Company has been in our family since that time.
When Levi Jr first started the business the first thing he did was purchase an old brick building that became his warehouse. It was located on 7th street, just a few blocks down from his earlier employer Lombard Iron Works. This building [while old even at that time] had plenty of space and was well suited for warehousing all kinds of industrial supplies like sprockets, chain, bearings, drive belts, tools, pipe fittings, planer knives and saw bits.
Richmond Supply on 7th street thrived, supporting the area's sawmills, foundries, and textile mills with supplies necessary to keep their operations going. As the United States entered the war, the military's need for products escalated and so manufacturers were busy. #Steel parts were needed, textiles, lumber — most every resource that our country could provide, the military needed. The Great Depression had come to its end, and the United States was at war.
Having learned a little something about the lumber business from a friend of his in his hometown of Sandersville, my grandfather also started a lumber sales operation in conjunction with #Richmond Supply. Quite naturally, he called it Richmond Lumber and found success too in this business. With a natural gift for salesmanship, he began moving truckloads of pine and hardwood lumber to the building trades all over the South. Operating those two businesses for a period, he welcomed his son (my father) Levi III to the business in 1951. Levi Hill III joined Richmond Supply after a time in the United States Air Force and a short period working for Savannah River Site, otherwise known as "the bomb plant." He was enthusiastic about the mill supply business and himself a natural salesman and all-around gentlemen.
My father believed in having inventory and servicing the customers quickly and with high-quality products. He had an innate understanding of how to provide the greatest value to the customer.He sought the best products that industry had to offer and the best people to sell and support them. At Richmond Supply, my father built a reputation for service, know-how and high-quality products. He grew the business at Richmond Supply into a very successful distribution company selling a multitude of products from a large local inventory. He felt that our customers were our friends, and he enjoyed the opportunity to help them.
In the early 1970s, my father had the foresight to open a #Rubber Division in order to supply hose and conveyor belting to industry. Located in its [own] building just across the street from Richmond Supply Inc. Industrial Supplies and Services, the Rubber Division also grew into a successful enterprise boasting a large inventory of rubber hose, sheet rubber and conveyor belting. He added service to this new product line by employing a team of fabricators who traveled directly to customer sites to install conveyor belting. Handling belt was a heavy job, and it required special equipment and know-how. But my father felt it could be a very important part of the service we offered. And he was right.
In 1982, Richmond Supply Company moved from its original location on 7th street (near downtown Augusta, Georgia) to its new home several miles down the road. Its location was closer to some of the industry it served. The Rubber Division, which by this time had become an important part of our business, would no longer be housed in a separate building and has today become an integral part of Richmond Supply.
We've been happy to serve you, our customers, for these seventy years. And we look forward to many more years of being your supplier. I'm proud to be the third generation in our family business, and I'm also happy to say that I have a son who's learning the ropes. His name? Well, you can probably guess it: That's right: He's Levi V.
Thank you for your business over these many years. Send me an email. I'd love to hear from you.
Levi Hill IV
601 Laney-Walker Blvd, Augusta, GA 30901 | Phone: (800) 282-8556
MAIN BRANCH in Augusta, Georgia Industrial Supply, Sales, Services and Parts. Paints, General Mill Supply, Pipe Valve and Fittings, Abrasives, Power Transmission and Tools.
117 Park of Commerce Dr Savannah, GA 31405-1356 | Phone: (800) 282-8556
In Savannah, Georgia Industrial Supplies and Services.
2325 Prosperity Way, Florence, SC 29501 | Phone: (800) 282-8556
In Florence South Carolina Industrial Fabrication and Equipment Sales - Rubber Division specializing in rubber, hose, belting, conveyor belting and supplies.


South Africa's Triggerfish Animation Studios has received development funding to develop the first two projects in a slate of five movies, says The Hollywood Reporter. The Cape Town-studio behind two recent successful CG-animated features Zambezia and Khumba, says it will continue to explore additional financing options and the possible sale of a stake to a strategic partner.
Among the movies in development at the Cape Town-based studio are a sea monster adventure called Here Be Monsters and a new project with the working title Seal Team. Here Be Monsters, which was selected for the Creative Focus pitch at the Annecy Festival earlier this year. is based on an original story Raffaella Delle Donne, who also worked on Zambezia and Khumba. It tells the story of a boy and a sea monster. Seal Team is an action-comedy about the conflict between a group of seals against the great white sharks of South Africa. The script is currently being written by Brian and Jason Cleveland of Cinema Management Group who handled world sales on Triggerfish's previous films.
According to Forrest, Zambezia has grossed more than $30 million to-date.
Distributed by Millennium Ent., Khumba has been performing well since its release in South Africa on Oct. 25. The film, which is one of the 19 titles submitted for Oscar consideration this year, has grossed over $30 million to date. It features the voices of Liam Neeson, Laurence Fishburne and Steve Buscemi. It will open wide in the U.S. in early 2014.


This Autumn - Winter season Van Cleef & Arpels invite you to join them on a Voyage of Discovery. Inspired by the novels of Jules Verne, Van Cleef & Arpels President Stanislas de Quercize and Creative Director Nicolas Bos kindly allowed some of us a sneak peak at the Haute Joaillerie collection that will be shown in full at the Paris Biennalle in September 2010.
This is Couture Jewellery created using the adventure of travel as it's theme and I think that the beauty of the creations reflect the joy and richness of the memmories that we treasure from travel. It is made possible by The Young Talents and Mains d'Or.
It is also important to note the deep romantic association that Van Cleef & Arpels have with Travel as the young Estelle Arpels and Alfred Van Cleef travelled the world in search of new experiences just as their clientele did. The boutique they founded oposite the Ritz in Paris also brought the world to them.
These pieces are groupled around 4 novels, Five Weeks in a Balloon, Journey to The Centre of the Earth, From the Earth to The Moon and Twenty Thousand Leagues Under the Sea.
Above is the Maximus Brooch and the White Nile Earrings inspired by the novel Five Weeks in a Balloon. (C) Van Cleef & Arpels.
I love Elephants and Maximus is a very unique Elephant. As with all the other pieces he is a one-off couture piece.
create a bracelet, shown to the left. Below the bracelet is the Autour de la Lune clip.
(C) Van Cleef & Arpels.
shortend can be worn beautifully with the bracelet.
Below, these 3 clips explore the maritime world and are among my favourites from the collection. I love the way that the Maison has depicted animals in their couture creations.
I love the Polaire clip, it's both opulent and very cute and he is accompanied by many sea creatures such as a little Whale that blows a water jet when the secret of the Jewel is activated. The Octopus of the Olindias clip below has a mysterious Medusa like quality according to Nicolas Bos and I think what is extraordinary is that the piece does caputure a real sence of movement.
along the East African Shoreline.
Balaine Bleue Clip. All above images (C) Van Cleef & Arpels.
beauty of High Jewellery craftsmanship.
Plancton Earrings. (C) Van Cleef & Arpels.
At Boucheron across the Place Vendome I had the pleasure of speaking with the lovely Laura Schuetz who guided me through the Maison's Autumn - Winter 2010-2011 Haute Joaillerie collection. Love is in the air at Boucheron.
The collection is based around several different themes of the game of seduction. So to get you in the mood for some romantic times with a special person this Autumn and Winter enjoy the collection below and please contact Boucheron if you would like to know more.
silk ribbon laces that crisscross up the body.
for several ladies to wear the pieces as a set ensemble (C) Boucheron. Hourglass Figure necklace.
to wear the pendants individually for example.
Below are two pieces from the Fatal Attraction theme. I love the marine blue, it's mesmerising like the sea around Greece and Italy also for me the shapes suggest marine life. I think it's beauty is very inviting. These pieces are created using saphires, diamonds and white gold.
(C) Fatal Attraction Pendant earrings (L) & Fatal Attraction Ring (R).
like the feelings of love that lead to attraction.
worn about the waist or in the hair.
(C) Boucheron. Fatal Attraction necklace.
hand, ears or decollette you will have a memory of that special kiss forever.
Using teardrop emeralds and a flower features of the 'Chic Lingerie' collection express the delicate feminity of those secrets that we keep closest to our chest. Boucheron sum it up very well "The diamond paved flower motif of the set evokes the idea of delicate lace lingerie. While a second double strand of diamonds on the necklace echoes the silk ribbon details often used on intimate apparel. A series of nine teardrop cut emeralds are a clever addition to the design and should resonate with any woman who is a connoisseur of fine lingerie."
Further romantic guestures are made by the Pretty Puff piece that references the woman's time spent making up. Curlicue celebrates the crowning glory of women, our hair and Heavenly Aroma captures the mystique that women create from their perfume. I was given Boucheron's Fragrance Initial a few years ago and it's still one of my favourites.
I said farewell to lovely Laura and her colleagues at Boucheron and left wondering what my favourite romantic moment would be surmised by this collection. I think it would be one of the pieces from the Stolen Kiss collection.
Chaumet - Bijoux de Tete.
The legendary Maison that brought the Tiara to the modern age opened it's doors for an amazing Catwalk show of Haute Joaillerie in the parfect setting. The Maison's own palatial home in Place Vendome.
Chaumet had the opprtunity to show it's collection in it's traditional setting.
before the show. (C) Angela Cliffe 2010 at Chaumet.
I found it really wonderful to see the tiaras and 'Bijoux de Tete' shown in this way.
of Chuamet and 'The memory of this great House'.
Beatrice was kind enough to explain to me the significant role that Josephine Beauharnais played in building the renown of the House.
The entrance to the salon was a beautifully decorated ante-room decorated with two large portraits of Josephine Beauharnais and Marie Lousie of Austria, respectivly the first and second wives of Emperor Napoleaon. There, in the drawing room that could have been a room in Josephine's Palace, Beatrice explained to me the important role that Tiara's had in court ceremonial and also told me about Josephine and her role in European history.
could not give him children.
Bijoux de Tete, Ornaments of the Hair.
Right. Josephine Beauharnais Empress of France.
ancestry from the French gentry and Anglo-Irish plantation families. She was known as Rose until her marriage to Napoleon.
Josephine's influence lives on in modern Royal Europe and beyond as women still wear tiara's at special events. Beatrice told me that they still create tiara's and tiara models each year for clients. As the models below show hair ornaments have never gone out of fashion. The last time that tiara's where seen on a large scale in the UK was at the coronation of Elizabeth II. This collection shows that hair ornaments of varying types from the tiara to the beautiful bijoux bumble bee (see below).
At the Chanel Haute Couture show in July 2010 Daphne Guinness was noted for wearing diamonds in her hair. Hair ornaments will never go out of fashion and I think day to day it's a fun way to decorate your hair. When I'm reporting from Fashion Weeks I try to wear a Rose emblem in my hair.
Here are two pieces from the Autumn - Winter 2010-2011 collection. Chuamet's pieces are Haute in the truest sence as you cannot wear Haute Joaillerie any higher than on the head.
(C) Chaumet Attrape-Moi tiara. Bijou de Tete A-W 2010-11.
Left (C) Chaumet Josephine tiara 1.
Bijoux de Tete A-W 2010-11.
Center: Pear cut Yellow diamond.
The Haute Couture Joaillerie show was held in a room with the most amazing display. The walls where lined with 'vitrines'. These cabinets displayed both tiara's and the equally beautiful models and casts that are made, to full scale before the finished tiara is produced. The defiles danced to a mixture of classical music exerpts interspersed with modern dance music. The music was synchonised to lights over them as they danced as chess pieces on their squares and one by one as the music changed and they had their cue to move from the light above.
Image below from Haute Couture Joaillerie at Chaumet. Defile Bijoux de Tete (C) Angel Cliffe.
(C) Chaumet. The Josephine collection tiara 2. 2 Periots, 2 Pink tourmalines, 1 Green Tourmaline and 101 brilliant-cut diamonds.
I would urge as many people as possible to discover Chaumet and it's wonderful history. They have created a whole genre of Haute Joaillerie in the last 200 years.
CHANEL Bijoux de Diamants 1932.
At CHANEL for Autumn - Winter 2010 they have chosen to recreate and expand the collection of Jewellery that Coco Chanel created. This collection like the others above was prepared ahead of the Biennale des Antquires in September 2010 in Paris.
actually created her own collection of diamond Haute Joaillerie and it was launched in November 1932.
like many areas of her life it is a mystery as to why she did not continue.
day very beautiful and capture the essence of classic CHANEL style.
(C) Above the Broche Plume CHANEL.
I think there is a delicate feminity in all these pieces that will appeal to most women, whether they are in love, hope for love or have lost love and remain alone. Beautiful things are always a pleasure to behold and radiate light into the spirit.
I really believe that diamonds, just like crystals can be very relaxing and cleanse the spirit.
These pieces of Haute Couture Jewellery show craftsmenship and artistry at it's hight. These pieces where the first emeralds that I've seen person that absolutely gripped me in their glowing green gaze.
As I watched them dance I drew a comparison between the girls moving around the chess board and Josephine herself who was a skilled at understanding the movements on the European political stage but perhaps I was overthinking things.
The show was breathtakingly beautiful and I am very gratful to my hosts.
In the half-light of the ball room, the tiaras and hair ornaments shone just like they would have done under candle light in the past.
Josephine's spirit lives on perhaps in many women today who are able to dance into the night wearing such beautiful pieces both newly created and antique.
designed by American Architect Peter Marino.
of Madam Chanel in 1932.
The stones are set in 18k White gold.
I have found that this is the best choice for working with diamonds in Haute Joaillerie as White gold enhances the luminosity of diamonds even further.
(C) CHANEL Brooche Aigrette (C) CHANEL Collier Plume.
that the House of CHANEL have exhibited there.
found a very perfect symbol. (C) CHANEL Savoir Faire.
It was wonderful to visit Paris for Haute Couture and Haute Joaillerie week in July and I would like to say a big Thank You to the Houses of Van Cleef & Arpels, Boucheron, Chaumet and CHANEL for such a warm welcome and a wonderful guided tour of their collections.
I know that many pieces from these collections have been sold ahead of the Paris Biennale and that Haute Joaillerie is very much in demand. I've seen many inspiring visionery pieces of Joaillerie that are simply the most magnificent form of High art. I am very glad that Haute Joaillerie has been designated a part of Haute Couture week and can take it's rightful place alongside fashion in Paris.


Reflexive pronouns are used in English when the subject of the sentence is also the object of the verb. Simply add the appropriate pronoun with the ending –self or –selves after the verb. For example, "Let me introduce myself. My name is Sonia," or, "The children enjoyed themselves at the beach."
Some verbs change their meaning slightly when they have a reflexive pronoun as direct object. For instance, "She found herself at the grocery store," or, "We will help ourselves to some coffee." To find oneself means to discover oneself in a surprising place or situation, and to help oneself means to take.
Unlike in other languages, we do not use a reflexive pronoun after verbs which describe things people usually do for themselves. Verbs like wash, dress, and shave do not usually include a reflexive pronoun.
However, reflexive pronouns are used in this way to stress that someone can do something without help. For example, "My daughter can dress herself now that she's five," or, "I can feed myself. I don't need your help!"
I want to teach myself yourself how to play the guitar.
The bird hurt herself itself when it fell out of the tree.
Did they enjoy themselves themself at the party?
It's easy to cut himself yourself with a knife if you're not careful.
Let's introduce ourselves himself to Brad Pitt!
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Is it correct? Isn't it?
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text:
The trombone is a musical instrument from the brass instrument family. Trombone's first premiere in jazz was with Dixieland jazz as a supporting role within the Dixie Group. This role later grew into the spotlight as players such as J.J. Johnson and Jack Teagarden began to experiment more with the instrument, finding that it can fill in roles along with the saxophone and trumpet in bebop. The trombone has since grown to be featured in standard big band group setups with 3 to 5 trombones depending on the arrangement. A person who plays the trombone is called a trombone player or a trombonist.

History of trombone in jazz

Traditional jazz trombone
Trombone first saw use in the jazz world with its entrance into traditional jazz where it played along with the chord changes, often connecting the seven to third or third to root resolutions of cadences, allowing the other musicians of the group to improvise along with it. In a standard dixie group, the players marched through the streets or were hauled around, playing in an open trailer. The trombone having a slide instead of valves or strings or holes for playing had difficult positioning themselves, and tended to sit in the back of the trailer, gaining the name "Tailgate Trombone". This style of playing included many trombone specific techniques such as growling, scoops, falls, and slides. These factors provided traditional jazz with its well known, almost "dirty" feel. The most famous tailgate trombonist was Edward "Kid" Ory. Even though the trombone was finally featured in jazz at this point, it was not until the swing era of jazz that the trombone actually stepped into the spotlight.

Swing era trombone
The swing era of jazz reached its peak in the 1930s, where the trombone was then popular. In a standard swing band there were 5 saxophones, 4 trumpets, 3 or 4 trombones and a rhythm section. This is when trombone started to stand out as a solo instrument, as many trombone players such as Jack Teagarden. Characteristic for the Teagarden style of trombone playing is a clean articulation, excellent high register and limited slide movement. This often results in  pentatonic scales.  Other famous trombone soloists in swing bands were Tricky Sam Nanton and Lawrence Brown in the Ellington Band, and Dickie Wells and Vic Dickenson in the Count Basie Orchestra. Several trombonists (e.g. Tommy Dorsey, Trummy Young) began to form their own swing bands, and allowed themselves to show off their instrument that had before been hidden behind the rest of the horns. When this happened, the standard style of playing switched away from the "tailgate trombone" style, and moved towards a lyrical and smooth form of playing. This revolutionized jazz trombone in a way that no player had thought possible before. This helped move trombone into the spotlight, as it became an instrument of lyrical, smooth, soft playing that people enjoyed listening to.

Bebop jazz trombone
As the era of swing jazz ended, the new style of bebop jazz emerged from the early 1940s. Bebop was a faster form of swing that was played for its own sake, as opposed to swing jazz, which was played for dancing. In this era, the trombone was less often played as a solo instrument, as many of the passages in the music were too technically fast for the playing style that had developed during the swing era, as that style was held back by the slide more so.  The leading trombonists at the time also worked on adapting and creating a new style to follow the fast paced bebop. The driving force of this stylistic movement was J.J. Johnson. He followed the influences of bebop jazz innovators Charlie Parker and Dizzy Gillespie while adding his own, smooth, slower form of playing over the fast tracks of bebop. J.J. Johnson eliminated mast of the glissando's, rips and such from his playing, replacing it with a more precisely articulated style, enlivened by extended chords and alterations characteristic of bebop. Although this level of slide trombone virtuosity had been previously displayed in brass bands by the likes of Arthur Pryor it was new to jazz trombone.

Jazz techniques and equipment
Typically when playing jazz music, it is preferred to be played on a standard small or medium bore tenor trombone with no extra attachments, as it will give the brightest sound and is more comfortable to play for longer periods of time in the extreme ranges of the instrument that you tend to hit playing jazz music.
There are certain techniques that trombone players will prominently find in jazz music, or jazz inspired music, such as growling, scooping, falling, flutter tongue, use of mutes, multiphonics, and even recently with some players, distortion effects.

Use of mutes

The trombone, like most other brass instruments uses mutes from time to time in music in order to get a certain sound. There are many different types of mutes for different situations or desired sounds to be put out.

Plunger Mute - A plunger mute is a plunger head that covers all or part of the open portion of the bell, this gives the "wah wah" sound. One distinct example of this sound effect is the sound that adults make when they talk in the Peanuts cartoons.
Cup Mute - The cup mute is a mute that sticks to the inside of the brass bell, and completely covers it with its distinct cup shape. This specific mute gives a sound similar to that of a full cover plunger mute. Typical use during smoother and lyrical jazz playing.
Bucket Mute - The bucket mute is a mute that is normally shaped like a bucket that clips on to the trombone bell, and is filled with some form of dampening material in order to reduce the overall sound output of the instrument it is over. It is primarily used in soft ballads in jazz. The Bucket Mute effect is also possible to achieve by playing into a music stand.

Changes of sound
There are different techniques to change the sound that comes out of the bell of the trombone, these can create very interesting effects in playing certain jazz licks, or even just during an improvised solo.
Growling - Growling is a technique that where a type of guttural throat sound is produced while playing a pitch, creating divided sound with the pitch. Primary examples of this are found in Dixieland/New Orleans jazz trombone parts, and in the Ellington Band by growl specialists Tricky Sam Nanton and Quentin Jackson.
Glissando - A glissando is an unarticulated movement from one note to another. Trombone is one of the few instruments that can put into effect a true glissando, or an undisturbed movement from one pitch to the next (within a tritone movement at the most) simply by moving from an outer slide position to an inner slide position without change of partial. This is another example most common in Dixieland.
Scoops and Falls - Scoops and Falls are a form of technique where you approach or move away from the intended pitch, usually marked with a curved line in the sheet music heading up to going from the note head, depending on which one it is. A scoop is done by very quickly moving from an outside slide position to a close inner slide position (ex. Position 2 to Position 1), while a fall is the exact opposite motion. (inner position to outer position, ex. Position 1 to Position 2). Very common in Dixieland and in Swing Era jazz.
Multiphonics - Multiphonics is a technique that is much more common in newer age jazz, as it creates such a distinct sound. The most famous exponent of this technique is the German trombonist Albert Mangelsdorff. Multiphonics are performed on the trombone by playing a pitch, and then humming an interval above the pitch being played. This causes both pitches to come out the bell at the same time, therefore playing multiple pitches. The two pitches interfere in the instrument, creating a third tone, the difference tone.

References

External links
Blackdiamondbrass.com

Jazz instruments

redpajama_set_name: RedPajamaWikipedia


The ACN provides opportunities for our members to connect with others who have similar experiences to their own. Be they language based, health issues or other aspects of their autism world, you can connect with people who share a Common Ground with you.
You choose to join any of these groups or suggest another.
You can then in your time contact others who may live near you for a chat or mutual support. Updated lists are sent out monthly.
In addition to the lists, we also invite you to join the Facebook page set up for your Common Ground group as well as one for your area. These are Secret pages, meaning no one can search for them or see what is written, and require us to invite and then accept you. It allows our members to speak in as private a forum as the internet allows.


text:
Reformowany Kościół Episkopalny – jest konserwatywnym kościołem anglikańskim, silnie podkreślającym swą reformowaną, protestancką i ewangelikalną tożsamość, przy równoczesnym zachowaniu wierności wobec reformacyjnych zasad anglikanizmu, tradycyjnej liturgii anglikańskiej opartej o Modlitewnik powszechny i episkopalnego ustroju Kościoła z zachowaniem ważnej sukcesji apostolskiej.

Kościół został założony przez najprzewielebniejszego bpa George'a Davida Cumminsa oraz szeregu byłych duchownych i wiernych Kościoła Episkopalnego w Stanach Zjednoczonych, którzy sprzeciwili się utracie, jak uważali, "protestanckości" i ewangelikalnego charakteru  Kościoła Episkopalnego, przy jednoczesnym podążaniu tego wyznania w stronę liberalnego chrześcijaństwa. Reformowany Kościół Episkopalny uznaje aborcję i praktykowanie homoseksualizmu za grzechy, nie stosuje ordynacji kobiet na urzędy duchowne, z wyjątkiem wyświęcenia na urząd diakonisy (lecz nie diakonki). Jest zwolennikiem deklaracji jerozolimskiej i uczestniczył w Globalnej Konferencji Przyszłości Anglikańskiej, na której założono Wspólnotę Anglikanów Wyznających.

Obecnym biskupem Kościoła jest najprzewielebniejszy Leonard W. Riches. Reformowany Kościół Episkopalny działa w Stanach Zjednoczonych, Kanadzie, Niemczech, Brazylii, Indiach, Kubie i Liberii.

Geneza
Reformowany Kościół Episkopalny został zorganizowany 2 grudnia 1873 r. na gruncie idei powrotu do protestanckich i reformowanych korzeni anglikanizmu. Grupa amerykańskich episkopalian – zarówno wiernych, jak i wielebnych – na skutek, ich zdaniem, odejścia od staroprotestanckich wartości i porzucenia przez Kościół Episkopalny ewangelikalnego charakteru wyznania na rzecz teologii liberalnej, doprowadziła do powstania nowego anglikańskiego wyznania w Ameryce Północnej. Najprzewielebniejszy Cummins – biskup założyciel – jakkolwiek uważał, że Reformowany Kościół Episkopalny powinien pozostać przy zachowaniu zarówno ważnej sukcesji apostolskiej, jak i episkopalnego charakteru Kościoła, odrzucił jednak ideę konieczności występowania owych elementów do prawidłowego funkcjonowania Kościoła. Najprzewielebniejszy Cummins działał na rzecz zbliżenia między episkopalianami a innymi wyznaniami protestanckimi, m.in. ewangelicznymi chrześcijanami, prezbiterianami i metodystami. Podczas konferencji dorocznej Aliansu Ewangelicznego wraz z innymi anglikańskimi wielebnymi ze swego otoczenia odprawił z nie posiadającymi sukcesji apostolskiej pastorami ewangelikalnymi nabożeństwo Wieczerzy Pańskiej, za co został skrytykowany przez zwolenników anglokatolicyzmu.

Doktryna
Na pierwszym Synodzie Generalnym Reformowanego Kościoła Episkopalnego, który odbył się 2 grudnia 1873 r. przyjęto deklarację stanowiącą o kierunku doktrynalnym Kościoła:

Kościół eksponuje protestanckie, reformowane i ewangelikalne aspekty historyczne anglikanizmu, wskazując na 39 artykułów wiary i dziedzictwo angielskiej reformacji i jej czołowych przedstawicieli, jak Thomas Cranmer. Jednocześnie, Reformowany Kościół Episkopalny krytykuje rytualizm, jaki jego zdaniem ogarnął niektóre kościoły anglikańskie.

Stosunki z kościołami ewangelicznymi i reformowanymi
Reformowany Kościół Episkopalny, w przeciwieństwie do Kościoła Episkopalnego, posiada wspólnotę ambony i Stołu Pańskiego z kościołami ewangelicznymi, reformowanymi i metodystycznymi – nie posiadającymi sukcesji apostolskiej. Naucza, że posługa Słowa Bożego i sakramentów w tych kościołach pozostaje na równi ważna i obfituje w te same błogosławieństwa, co posługa sprawowana przy jej zachowaniu. Prawdziwy Kościół Chrystusowy istnieje według reformowanych episkopalian także poza historycznym episkopatem.

Linki zewnętrzne
 Oficjalna strona Reformowanego Kościoła Episkopalnego
 Komitet Misji Zagranicznych Reformowanego Kościoła Episkopalnego
 Reformowany Kościół Episkopalny w Niemczech

Przypisy

Anglikańskie związki wyznaniowe
Kalwińskie związki wyznaniowe
Ewangeliczny protestantyzm
Protestantyzm w Stanach Zjednoczonych


Claude Berthaudin of the Domaine du Cret in Switzerland was dismissive of such practices. 'The only reason someone in my region would irrigate is to increase their yields. The vines don't need it,' he says.
Linda Johnson-Bell is the author of Wine and Climate Change: Winemaking in a New World (Burford Books). Her book Blind Drunk: Wine or Water? will be published in early 2019.


Since 2000 Eric has been giving professional presentations and working with Generation Y. Eric's work has been in the New York Times, Dallas Morning News, Hartford Courant, Better Homes and Garden, Health Executive and numerous other trade journals. He is probably the only speaker and consultant on this topic who actually has a Facebook account, formed a Facebook group and frequently uses text messages. He knows the mindset of this generation. His professional training background comes from working with the nation's largest seminar company where he traveled across the country helping companies foster a team environment at work. It is here Eric experienced first hand the conflicts of companies who were dealing with younger employees.
"The most influential generation in history will be Generation Y." Are you concerned with the work ethic and habits of the next Generation of Leaders? Will your company be facing a gap in leadership in the next 5-10 years? Based on Eric's book, Leading the Entitlement Generation, he tells stories and examples of how to bridge the gap with your company's next leaders. He gives ideas on how you can maximize their talents for profit.
Eric's presentation themes include: Your Future Workforce, Personal Leadership, Effective Communication, and Self Development.


text:
Iheanacho Voted Leicester's MOTM After Wonder Goal Vs Crystal Palace
Kelechi Iheanacho has been voted Leicester City's Man of the Match after his stunning strike secured a hard-fought 2-1 win against Crystal Palace on Monday, rushhoursport.com reports.
Leicester announced Iheanacho as the winner on their verified Twitter handle after conclusion of votes by the club's fans.
Iheanacho came first after claiming an overwhelming 87 per cent of the votes while Johnny Evans and Timothy Castagne got seven and five per cents respectively.
The in-form striker struck a beautiful curler to make it 2-1 with 10 minutes left in the game against Palace.
He has now taken his goals in the Premier League this season to 10 and 17 in all competitions.
Leicester maintain their hold on third position on 62 points and four points ahead of fourth-placed Chelsea.
Tagged in beautiful, Bites, competition, conclusion, Crystal Palace, hard-fought, Johnny Evans, Kelechi Iheanacho, Leicester City, match, Overwhelming, Premier League, Secured, strike, Striker, stunning, Timothy Castagne, Votes
PrevOlise Nominated For Championship Young Player Of The Season Award
NextIheanacho Named In Emirates FA Cup Team Of The Semi-Finals


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It was the first Sunday of the new year. Soon after I woke up I was overwhelmed with anger, with someone I love, but who I feel no longer loves me. I had the day before me but did not really know what I wanted to do with it.
I had a pot of tea in bed, and a bath, and then sat down to meditate for an hour.
After a while, I felt myself to be sitting or lying at the bottom of a pond, looking up at the surface. It was choppy and disturbed, so that the light in the pond was subdued, as on a grey overcast day. I realised, as I looked at the surface, which seemed far above me, that it was my anger, confused and disturbed. Yet I felt completely calm; it was quite separate from me. Although I could feel it, or remember how it had felt a half hour or so before, it didn't touch or affect me - as if I was watching a surgeon cutting my flesh under a local anaesthetic. Not like that really, because I did not feel numb or drugged, just that it was distant, happening outside of my self. A sort of haiku popped into my head, which I wrote down in my journal after the meditation had finished.
When I got up, I had breakfast and a cup of coffee. I decided I wouldn't go to mass at 9.30, but that I would try to find the Friends Meeting House in town, which I had been meaning to go to for some weeks. The meeting was due to start at 10.30. I got up to leave at 10, still sort of undecided, not quite sure where the Meeting House was, or where I could park the car. When I had spoken to someone about the times of meetings before Christmas, he was very particular to say I was very welcome but that, if I came, I should arrive before the Meeting started. I decided to leave it in god's hands - if I found a parking space, and if I found the Meeting House, and I arrived in time, I would go to the Meeting - if not, I'd go to Asda and do some grocery shopping.
As it happened it was easy - a parking space appeared and I followed my nose (I had a vague idea where the Meeting House was as I'd been there for a sort of seminar two years before) and I arrived at the house a few minutes before 10.30.
As I stepped through the door, into a hall crowded with people, and stood looking about, an elderly lady came up to me and asked me who I was, and offered her help. I explained I was a visitor and she gave me a few leaflets about the Quakers. I felt how friendly Friends seemed to be - there was a warmth and liveliness in the hallway that was very warming and reassuring.
We all trooped in to the room where the Meeting was to be held. The Meeting House itself looks Georgian, but the room is a sort of annex, modern, hexagonal, with large windows letting in the brilliant winter sunshine, and comfortable chairs arranged in circles around the room. A large bearded man got up and apologised for the loud drilling noise, and assured us it would soon stop, which it duly did, and everyone sat in silence around the room. I closed my eyes, and assumed most of the others did also. Somewhat to my surprise, and pleasure, the meeting proceeded exactly as I'd always heard they did. There was no leader, there were no readings, or hymns or rituals, just about twenty people sitting quietly. After a while a woman got up and asked us to remember a friend who was appearing in Clacton Magistrates Court for refusing to pay part of his taxes - the part that he estimated was paying for a war in Iraq. After a while a man got up and talked about old age, and a bit later another man picked up the same subject and said a few words more. All the time, the room was filled with sunshine, warmth, and the sound of birdsong from the little garden outside. I sat in my chair and meditated.
I then had a very clear visual experience. Occasionally when I meditate this happens. When I first began, many years ago, it would usually consist of a dark background, with a bright glowing golden disc in front of it, or occasionally a sort of doughnut. The disk or doughnut looked like molten gold, a brilliant rich yellow colour, slightly blurred around the edges, and the darker background generally looked like clouds, grey and dark and brilliant white where the light caught them with here and brilliant edges of gold and silver where the sun caught them. The background might vary but the disc or doughnut was nearly always there. I read some time later in a book called A Meditator's Diary, by an American woman who had stayed in a Buddhist monastery in Thailand to learn to meditate, that this was a nimitta, and that each person had a different one, and that this tended to change over time as they meditated. The visual experience never lasted very long - it's hard when meditating to know how much time has passed in any case, but it usually seemed to last for only a few minutes, perhaps only seconds, and frustratingly, because it was always very beautiful, if I attempted to look at it, it disappeared even more quickly. As if by grasping at it, I had chased it away.
I stopped regular meditation many years ago - there never seemed to be enough time - and only very occasionally made an attempt to do so, and I usually ended up feeling frustrated. Then my marriage failed and after several months on my own I started to meditate again, every day, for an hour, usually straight after I had got up and bathed. On the odd days when I missed it, I felt uncomfortable and insecure. Ironically, I missed it most often on Sundays, when I got up too late and didn't want to miss mass at 9.30. During the week, as I work for myself, I would simply go to my office that much later in the morning, if I woke up later than usual.
When I resumed regular meditation, I did so in quite a different spirit than on those few occasions when I had tried over the previous twenty or so years. Then I had often felt desperate, or very depressed, and needy for some dramatic experience, which never came, so I gave up frustrated and discouraged. Now, despite all the anguish over the preceding months, I came to it without any expectations, just a feeling that this was something I should never have given up, and that I should persist, patiently, and trust in God I suppose, to let whatever was to happen, happen. And nothing very much did happen. I found it relaxing, deeply so, and as the months went by, it became more and more important to me that I made the effort every day to put the time aside for it. That was the only effort - meditation is about the contradictory state of trying (to meditate) without trying, which can be confusing, and disheartening. But that was also part of the benefit - not to be disheartened, to accept whatever happened in meditation as intended, part of the process. Sometimes after an hour of trying to still my thoughts, continually focussing on my breath coming in and going out, or simply on being aware of my surroundings - the bird song outside, the warmth of the sun on my face - it would seem as if I had done nothing but daydream, one endless stream of thoughts about anything and everything chasing their tails around my mind, and, only for a few seconds in the hour, actually being aware of the moment. But I began to realise that this was not time wasted. For a start, although trains of thought came and went, I wasn't interested in them, or what they were about. Although not perhaps aware in that pure sense of the moment, I was very much aware of how these thoughts arose, and each thought led to another, and another, and another, in an endless silly cycle of mental chatter. At times it was like watching a hamster scurrying round its cage, running in its wheel or up and down its little ladder, endless motion, without going anywhere. So even if I wasn't stilling my mind, I was at least becoming aware of its separate existence, and for such a lot of time, its futility. And oddly, sometimes after the most frustrating sessions, feeling deeply relaxed and secure afterwards, as if the part of me that was observing the mind, was really relaxed, and was quite separate from the thoughts themselves. Sometimes the thoughts were quite disturbing - violent, or fearful, or angry. I didn't try and suppress them, or change their direction or mood, just constantly tried to pay attention what was actually happening in the moment.
After a while I began to have visual experiences again - I am deliberately not referring to them as visions, because they aren't - more akin to the effect of pressing your fingers against your eyeballs with your eyes closed, which makes you see bright flashing lights, or what you see if you've been looking at a bright light and then close your eyes and you can still see the after-image. This time they were different. The background is light, varying from a silvery grey to bright white light like hazy sunshine, and in the foreground, a tiny dark fragment. If you imagine the background as a sheet of white A4 paper, the object in the foreground measures perhaps only one or two millimetres square. It looks most like a small fragment of paper ash, very sharply in focus, with the colour varying from jet black to a soft grey. It often seems like the focus of the whole field, as if everything is being drawn in to it. I also sometimes think it may be the "blind spot" at the back of the retina where the optic nerve leaves the eyeball and there are no rod or cone cells to detect light - that is as if with my eyes shut what I am aware of is that part of the brain that processes the signals from the retina.
To return to the meeting. As I sat there meditating, I was once again sitting or lying at the bottom of the pond looking up at the surface. Now the light from the surface was much brighter (probably the effect of sitting in the sun filled Meeting room, even with my eyes shut) when it seemed quite suddenly that two things happened. Firstly my nimitta was no longer a piece of ash, but a water boatman swimming on the surface of the pond. I could see with pin sharp clarity each of its legs, moving frantically, and so clearly that I could see the depressions in the meniscus that its body and legs were making. And at the same time I could see that the surface was completely flat like a sheet of glass, mirror smooth, through which I was able to see the sky completely clearly. And then, suddenly, as I was looking at the water boatman, it suddenly shot off out of view over my right shoulder, and I suppose I sort of came to.
What was so wonderful, funny ha ha really, or funny ah ha!, was the way in which this experience complemented and completed the experience I had had whilst meditating at home that morning. What the little boatman signified, if anything, I don't really know or care about. Perhaps nothing, perhaps the last vestiges of my anger, perhaps me, the little me that wanders about the world supported on this perfectly clear, perfectly still, pond of water. But I felt wonderfully answered, completed, satisfied. I wanted to stand up in the Meeting, but something held me back, and I said nothing.
Once the hour was up (I heard no bells or alarms so I suppose one or more were looking at the wall clock) everyone sort of woke up, and shook hands with each, and after a bit of business (upcoming events and announcements, just like the priest gives out at the end of a service) we all went back into the hallway for coffee, and I chatted with one or two of the Friends, and borrowed a book from their library. After about half an hour I went off to Asda to do my shopping, and then to the village pub for a couple of pints and a bit of social life.
Towards the end of the week, on the Friday, I got into a bit of a panic about the amount of work I had to do, and having slept late, rushed off to the office without meditating. In the event I got there no earlier than I normally do, and although I worked away all day, did no more than I often do in two or three hours. I went home at the end of the day, having worked until nearly 9 pm, feeling nervy and frazzled, and determined that tomorrow I would not miss out.
I thought I had the Saturday to myself, and was relaxing in bed with a pot of tea, smoking a cigarette and reading from the book I'd borrowed from the Friends' library the previous Sunday. I was looking forward to my bath, and an hour's meditation, when the 'phone rang. As this doesn't happen often, I didn't want to miss the caller, and hopped out of bed and rushed down to answer it before the answering machine picked up the call - it wasn't an old friend, or one of the family, as I'd hoped, but someone from the gliding club, asking me why I wasn't there to do my winch duty. Somewhat confused, I said I wasn't there because I was on duty the next day (Sunday) but it turned out that the man who'd done the winch driver's rota had got his dates muddled and that in fact I was due at the club this morning at 9 am for a 3 hour shift. As I had in any case wanted to go to the Friends Meeting again, I was quite pleased, and in any case it was too late to try and get someone else to do the shift in my place, so I said I'd be there as quickly as I could. So I finished my tea and got dressed, and rushed out without either bathing or meditating, deciding that I would do both when I got home again after my shift was over.
I then spent three hours driving the winch, launching gliders into a clear blue sky on a beautiful clear and very frosty morning. When driving the winch, one is generally alone and, for a lot of the time, just waiting for someone to call you on the radio to ask you to launch the next glider. In the intervals I tried to meditate, but I found it hard to concentrate. I then had a very powerful insight, a sort of visualisation. Although not in that meditative state that I had been on the previous Sunday, I saw myself again, now looking down. I was in air rather than water. And all I was was an observer, just consciousness. And below me, quite separate from me, was the rest of me - David really - the full set of vices and virtues, my past, my personality, everything of me that makes me me as distinct from anyone else, apart from my consciousness. And I had this wonderful perception of how completely innocent that entity was, how what David is, how he behaves, responds, acts and reacts, how he thinks and feels, is all contingent, all arises out of where he was born, his parents, his upbringing, his genes - that he is utterly helpless to change any of this. Even that the boundary between himself and the world, where his autonomy begins and ends is almost a construct, that he is part of a continuous chain of causes and effects which he both suffers and transmits. And that this David has come into being, at his birth, and will disappear utterly with his death. That if anything continues, it is simply this awareness. As I am describing this, it may sound as if I'm describing a chain of thought, but it wasn't like that - it was all bound up with the visualisation or vision, apprehended immediately, although the implications worked out over the next few hours.
It was wonderfully liberating - no guilt, suddenly seeing what is meant by action without acting - David is part of the flow of events, continuously responding to the things that happen to him, and this disembodied self floating above him, the will, now wills nothing, desires nothing. And David is no more special than all those other personalities he's interacting with, that they are all equal, and equally unimportant - that what matters is the self behind and above and beyond each of these personalities, and that's how it's possible to love your enemy - ironically easier to love your enemy's true self, because you don't even like the personality - that all there is to love is the self (whereas to truly love our friends and lovers and children is much harder, because as personalities we love their personalities or perhaps what we see in them that is of us, or complements us). The Dalai Lama talks about this in his little book On Transforming the Mind - that we need to learn to see particularly those we love without attachment, to realise that the thing we are loving is transitory, not really real.
The experience is also horrifying, as The Gospel of Thomas (apparently) says ". . when you find that for which you are seeking, you will first be horrified and amazed . ." because suddenly all these things from which all my happiness has seemed to come, are nothing. It's not lonely or depressing, it's just so different.
And then seeing so clearly what I've been told and sort of intellectually understood for years, about our desperate searching for happiness and fulfilment in the world, but really seeing it and understanding it - that it is the self trying through the personality to find the satisfaction in the world and its abundance and riches, in relations with others, the satisfaction that only the self can provide. That the world is wonderful, but as soon as we begin to believe in it, we are lost to it, and to our true selves.
And more of the same, to the point where I feel myself on top of a very high mountain, and very much afraid that I shouldn't really be up here at all, and that I will fall, and it will hurt terribly. I shall probably go home soon, and get drunk.


text:
Wildwood Church To Build Northside Community Center
By Staff on March 30, 2016 3 Comments
By Joshua King
We were excited to read the recent Tallahassee Reports article, "Where are the Northside Community Centers?". The reason for our excitement is because this need is already being addressed…not by the City, but by a church in the northside community, Wildwood Church.
As your article noted, there is currently no such center north of Tharpe St. So many families live in this area now, not to mention new housing developments that continue to bring families to the Northside. Even as early as 2004, our leaders began to consider how our church might serve our community. The original plan for the purchase of 60 acres north of Summerbrooke on N Meridian Rd was to build a larger church, but after careful deliberation and consultation with community organizations, they decided our church family should instead build what the people in our area needed most…a community center.
The initial stages of the project are nearly complete, including a new road, Oak Grove Rd, and pedestrian/bike path connecting entrances from N Meridian Rd and Bannerman Rd. The recreation fields will soon be grassed to be available in late summer.
The first building will be an 18,000 sq. ft. facility to feature basketball courts; classrooms; fitness spaces; a cafe, and several multipurpose spaces. Outside, there will be a large pavilion adjacent to the recreational fields; a dog park; walking trails; play areas; picnic areas, and more. The next phase includes a larger 40,000 sq. ft. addition to complete the Northside Community Center. Our church family will eventually relocate to the community center for worship on Sundays.
There are so many possibilities for community life with a facility such as this, including sports leagues; after-school programs, summer camps; and senior activities. Some programs will be fee-based, but many will be open activities for the community enjoy together.
We will also host community-wide events such as the annual Northside Easter BBQ, which will take place for the first time at the community center site the Saturday before Easter. Wildwood Church invites everyone to join us on March 26th, 11am-2pm, to see the new location firsthand and enjoy this free family event, including food (provided by Wildwood), live music, egg hunts for all ages, and many other activities for kids. The address is 8018 Oak Grove Rd.
We believe the Northside Community Center will be a place for community growth, connection, and engagement for all ages. Our desire is simply to serve the needs of the people around us in a meaningful way. We are honored to be part of such a vibrant and growing community in Tallahassee.
More information about the community center, including the most recent updates, can be found on our website at wildwoodchurchonline.org.
Joshua King is the Director of Communications
Wildwood Church
community centers, Wildwood Church
Wildwood Church To Build Northside Community Center added by Staff on March 30, 2016
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3 Responses to "Wildwood Church To Build Northside Community Center"
Pat Lee says:
Are there any updates as to when the first phase of the Northside Community Center building will be completed
R B says:
Please include a room at least 30'x 15′ where a quality table tennis table can be set up . We have several groups of such players on the north side of town , but very limited facilities where such use is an after thought. Thanks
Joshua King says:
UPDATE: Due to all the rainy weather, we we very disappointed to have to cancel the Northside Easter BBQ. However, we will be rescheduling it as a "non-Easter" Northside Community BBQ this fall!
By then, the recreation fields will be available and construction will be underway on the initial building, so there will actually be more for the community to see.
Stay tuned for more details to be announced on our website at wildwoodchurchonline.org.


Jenna Blogs: Day 4 of the Commenting Challenge!
Welcome to day 4 of the 3rd Annual Blog Commenting Challenge!
If this is your first time here and you're trying to figure out what the challenge is, or if you need to link your blog to the challenge click here. Also click that link if you are looking for the list of blogs to comment on!
Tell us about your hobbies! What do you do in your free time? What are your favorite books, movies, music etc?
Seriously. I read almost every single day. My kids take 1 nap a day at the same time for about 3 hours, give or take. I usually spend some of that time reading. I'll wake up early to read or, more likely, stay up waaaay too late. If I find a book I love, I've been known to read until 4am then get up at 7am.
I have always been that way. When I was a kid my parents never had to worry about me misbehaving or any of that, because I was always in the corner with my nose in a book. Little known fact about me: In 4th grade I was put in the "gifted and talented literacy program" because I tested at a junior in college level for reading comprehension. Haha!
I listen to everything - classical, Christian, pop, rock, you name it. Country is probably my least favorite, but I do listen to some of it (like Taylor Swift type stuff). Right now, I'd say my favorite band is The Black Keys. I've actually liked them for a couple of years now. I've never been to a concert (unless you count The Gaither Vocal Band, and I don't) but if I could pick one to go to, it'd be theirs.
Movies...well, I'm not a huge movie buff but I do like to watch movies. I wasn't able to go see The Hunger Games in the theatre, unfortunately, but I will watch it as soon as it comes out. I really wanted to see Snow White & The Huntsman - maybe for my birthday! As far as favorite movies go, I love Sweet Home Alabama, Christmas Vacation, Pride & Prejudice (the one with Kiera Knightly) and Serendipity.
Lastly, I really enjoy baking. I like to cook as well, but baking is my favorite thing to do. I love creating new recipes, and I really love sharing my creations with my friends and family. I post a lot of what I make in my recipes section. Christmas is my favorite time to bake - I probably make at least 10 or 15 types of goodies every Christmas!