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Snow Moving In...Roads Soon To Get Slippery
A weak wave of low pressure will nonetheless bring the first widespread snow accumulation of the Winter to our area today into tonight. In fact, folks down in the Coalfields of Kentucky and West Virginia have already had up to 1" of snow under a band that set up this morning. Drier air around Huntington and Charleston has so far kept the snow from reaching the ground but the air is moistening and flurries are now coming down as of 10:30 AM. The snow will pick up as we get into the lunchtime period and early afternoon. While a lull may settle in after that first batch...expect another round of moderate to even heavy snow to move through by late this afternoon and evening. That will be associated with a strong "jetstreak" that will set up across Tennessee and force air to rise over our area. Combined with the local terrain this should help generate a healthy snow that will be aided by cold temperatures and will fluff up a bit more than it sometimes does.
By nightfall we should have about an inch or two on the ground in most spots (maybe 3 in the Coalfields) and snow will continue to fall steadily up through midnight. After that the jetstreak will shift east and we'll lose the lift a bit, so steady snow will break up to more scattered activity. The majority of our snow accumulation will be from this afternoon to midnight. With the heaviest snow falling during the evening commute the concern for serious road impacts are there so the quicker you can get home the better off you'll likely be. A number of schools across our area are already letting out early for the day.
While amounts aren't especially high with this event (it will end up being about 1/8 to 1/10 of last January's snowstorm) the timing and the temperatures are what make this a potentially high impact event. Even when the snow tapers overnight secondary roads in particular will be snow covered. Any snow that gets packed down will turn to ice thanks to temperatures falling into the teens.
It still looks like a general 2-4 inches of snow is in the works for the Kanawha Valley. Farther north and west amounts should be lighter, with a general 1-2...maybe 3" over near Huntington and eastern Ohio. South and east of Charleston totals will likely reach about 4-6 inches in places like Beckley and Fayetteville. I've got eastern Kentucky and the Logan area outlined in 2-4 for now but the band this morning may help push you closer to the 4 to 6" mark when all is said and done.
Cold weather will be the rule for Friday and our weekend as high temperatures struggle to crack 20 and we fall to 10 or lower at night. While it looks quiet here another wave tracking farther south than this one looks to bring a significant snowstorm to the North Carolina and Southeast Virginia area. That would start Friday night and continue into Saturday so keep up to date on the forecast if you're heading south down I-77 or east on I-64 into Virginia this weekend. In fact, Charlotte and Raleigh, NC may end up with more snow than most of us do!


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1) Pack clothes, shoes, PJs, diapers, wipes, medications, hairbows, undies, toothbrushes, books, lovies, blankets, and toys after only 14 separate negotiations on who got to wear what to which place on which day with which coordinating thing. The entire semester of inorganic chemistry was easier than that task. Still, CHECK!
2) Clean out the fridge tossing the perishables and emptying all the trash cans while trying to keep Tank from stealing the 6m old green lasanga and running around the house trying to open the container for "JUST ONE BITE, MOMMY!"...CHECK!
3) Packing myself into two carryon bags that couldn't hold the entirity of my behind itself much less 8 days worth of travel needs. Booya CHECK!
4) Preparing the house for our abscence with blind closures, checking all door and window locks and that the alarm is on. Arguing over which lights make it look like we're more home. Clearly two upper story lights are more suggestive that someone is home at 3am when typically all the lights are off when we actually are at that hour. We pray for dumb burglers. CHECK!
5) Getting Dean Dog to appropriate daycare for the week (at least there is one family member that just does what we ask him too...unless that involves not rolling in poop in order to transfer it onto my very nice carput or leg). CHECK
6) Travel 3 hours to Sparkleton for Nana and Bud to be our saving grace while we jaunt off to catch our 5 o'clock (albeit tremendously delayed) plane to Edinburgh. Thank you thank you thank you CHECK!
7)Leaving these sweet children for the week, though it must be done, has been intensely difficult for me. But when everyone is happily enamored with Nana's treats and play schedule so much that they narely bat an eye when it is time for us to leave, then I know they are in the right place while we are gone. CHECK!
Ohm and 8) Awesome family picture .. . CHECK!

subset: commoncrawl


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Wir informieren Sie gerne, wenn Sie zum ersten Mal mit dem Gedanken spielen, in Gold zu investieren.
British Sovereign Queens
(Jubilee and Veil Head design)
Minted 1893 - 1901
Fineness: .917
Actual Gold Content: .2354 troy ounce
The Queen Victoria sovereign gold coins invoke a special nostalgia for a time when the British Navy ruled the seas, and the sun never set on the Empire. London flourished as the trading and financial capital of the world; Britain became the center of rapid technological innovation; and, India glittered as the Crown Jewel of the Empire. The gold Sovereign came to symbolize British financial solidity and to this day enjoys a strong international market, wide-spread recognition and strong liquidity.
The mints were pressed to keep pace with Queen Victoria's 64 year reign. Several different portraits were utilized beginning with the Young Head Portrait (1838-1887/not shown), followed by the Jubilee Head design (left image) meant to commemorate the 50th year of Queen Victoria's rule (1887-1893) and finally the Veil Head design (1893-1901) which features the mature Victoria (middle image). All three designs display St. George slaying the dragon on the reverse (right image). The Queen Victoria sovereigns have lower mintages and are considerably scarcer than the King sovereign issues of Edward VII and George V which followed.
The Young Head is offered for sale in quantity infrequently. The Jubilee is more readily available, and the Veil head is seen more often than the rest. For the most part, the early Queen Sovereigns are either on the low end of uncirculated or circulated condition, with the Veil head variety often sold in uncirculated condition at a premium to the King Sovereigns.
Saturday August 18
Deutschland: 0800-183-8415


text:
Desna River
|Десна, Desna
|Russia, Ukraine
|- left
|Seim, Oster
|- right
|Bryansk, Novhorod-Siverskyi, Chernihiv
|- location
|Smolensk Heights, Russia
|Desna Delta
|- location
|near Kiev, Ukraine
|- coordinates
|50°33′0″N 30°32′0″E / 50.55000°N 30.53333°ECoordinates: 50°33′0″N 30°32′0″E / 50.55000°N 30.53333°E
|1,130 km (702 mi)
|88,900 km2 (34,324 sq mi)
|for Kiev
|- average
|360 m3/s (12,713 cu ft/s)
The Dnieper and the Desna Rivers' drainage basin. Belarus is labeled as Weiß-russland and Russia as Russ-land.
Desna (Russian: Десна́; Ukrainian: Десна) is a river in Russia and Ukraine, a major left tributary of the Dnieper river. The word means "right hand" in the Old East Slavic language. Its length is 1,130 km (702 mi), and its drainage basin covers 88,900 km2 (34,324 sq mi).
In Ukraine, the river's width ranges from 60 to 250 metres, with its average depth being 3 m (10 ft). The mean annual discharge at its mouth is 360 m³/s (12,713 ft³/s). The river freezes over from early December to early April, and is navigable from Novhorod-Siverskyi to its mouth, which totals about 535 km (332 mi).
The Desna River originates in the Smolensk Heights of Smolensk Oblast, Russia. The river's source lies in Yelninsky District, eastsoutheast from the city of Smolensk and not far from Yelnya in a forest near the village of Naleti. The Desna then flows south through a low and swampy valley toward the city of Bryansk, where the river's right bank rises.
After its confluence with the Seim River near the Russian-Ukrainian border, the river then widens, splitting into numerous smaller branches. Its right bank declines again near the city of Chernihiv, and again near one of its tributaries, the Oster, where the Desna continues its course through a low, muddy plain until it finally reaches its mouth near Kiev at the Dnieper River.
The Desna has 18 right and 13 left tributaries. The most significant are:
Cities and towns on the Desna[edit]
The Svensky Monastery is located at the confluence of the Desna and the Sven River.
See also[edit]
External links[edit]
|Wikisource has the text of the 1879 American Cyclopædia article Desna.
- Desna River at the Encyclopedia of Ukraine
- Brockhaus and Efron Encyclopedic Dictionary — Desna, tributary of the Dnepr[dead link]


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Thank you for your interest in the New York Folklore Society and our calendar. We would like to inform you that as we search for ways to best serve our members, we have decided to phase out our statewide calendar listings. If you are interested in ways that you can stay involved with the New York Folklore Society, please contact us at firstname.lastname@example.com.
• EVENTS by date & deadlines • ANNOUNCEMENTS • ONGOING EXHIBITIONS
World Music Institute (WMI) and (Le) Poisson Rouge present
Salif Keita
8 p.m.
Pre-performance Q&A with the artist 7 p.m., moderated by Banning Eyre of Afropop Worldwide
The Town Hall | 123 W 43rd St, Manhattan
Tickets: $40/$50/$55/$65
Salif Keita, known as the "Golden Voice of Africa," is undoubtedly one of the most influential and important artists in African music. Born an albino, Keita was cast out by his family and ostracized by his community as his albinism was considered a sign of bad luck in Mandinka culture. He overcame these obstacles to become one of Africa's most celebrated singers. In 1973, Keita joined the group Les Ambassadeurs, later called Les Ambassadeurs Internationaux, and rose to international fame in the 1970s. In the early 1980s Salif began a solo career and has gone on to become a superstar in Afropop music. Keita's music blends together the traditional griot music of his Malian childhood with other West African influences from Guinea, the Ivory Coast, and Senegal, along with influences from Cuba, Spain, and Portugal. His latest album Talé immerses us in the digital fountain of youth, with a sound that references Remain in Light by Brian Eno and Talking Heads, artists who pioneered their own future with their quest for the sounds of West Africa.
This concert is presented as part of WMI's Masters of African Music Series.
Save the Date! Museum Association of New York Annual Conference
Saratoga Springs, NY
Registration to open on or before January 30th. www.manyonline.org/events/register
Two days of learning and two nights of fun await in Saratoga Springs. Sessions and events will be held at The National Museum of Dance and historic Gideon Putnam in Saratoga Spa State Park.
Caribbean Cultural Center/African Diasporan Institute announces
Save the Date: 2nd Annual Spring Gala
6-10 p.m.
The Loeb Boathouse Central Park, East 72nd Street & Park Drive North 10021 New York, NY 10021
Mark your calendars for CCCADI's 2nd Annual Spring Gala! Join us for a carnival-themed evening in celebration of CCCADI's 40th year and grand opening of state of the art building in El Barrio. Our Gala will take place at the elegant Loeb Central Park Boathouse. Stay tuned for the formal invitation and more details!
Flushing Town Hall presents
Monthly Jazz Jam
Flushing Town Hall, 137-35 Northern Boulevard, (at the corner of Linden Place), Flushing, NY 11354
Tickets: $10; FREE for Members, Students and Jamming Musicians
Held on the first Wednesday of every month, Jazz Jams are a fun way to hone your skills and jam with your peers. House band led by saxophonist Carol Sudhalter (Carol Sudhalter, tenor sax/flute; Joe Vincent Tranchina, piano; Eric Lemon, bass; Sylvia Cuenca, drums). All are welcome, regardless of instrument (vocalists, too!). Don't play? Come listen!
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The Folkus Project presents
Diana Jones
8 p.m.
May Memorial Unitarian Universalist Society, 3800 East Genesee St, Syracuse, NY
Tickets range from $15 to $20. More info is available at www.folkus.org. Advance sale tickets are available via PayPal and other methods; advance ticket holders receive preferential seating.
In the last decade, singer/songwriter Diana Jones has brought her unique and original style of Appalachian singing and songwriting to devoted audiences on concert stages from Nashville to Amsterdam. Her songs have a spiritual home in the Appalachians, combining traditional mountain music with a literate, character-driven brand of storytelling.
World Music Institute (WMI) and (Le) Poisson Rouge present
Alam Khan — Maestro Ali Akbar Khan Birthday Celebration
Opening act: Om Gam Ensemble
8 p.m.
(Le) Poisson Rouge, 158 Bleecker Street, Manhattan
General admission unreserved seating with additional standing room tickets available: $30 advance/$35 day of show – seated tickets (tables);
$25 advance/$30 day of show – standing room
Co-presented with Brooklyn Raga Massive
Son of the legendary sarod maestro Ali Akbar Khan, Alam Khan has been touching the hearts of audiences worldwide for over a decade. For this special concert celebrating what would have been his father's 95th birthday, he will be joined by Nitin Mitta on tabla. Alam was blessed to learn and live in the traditional style of Guru and student. Ali Akbar Khan's careful crafting and guidance show in each note as well as in Alam's imaginative way of expressing ancient ragas. He has toured worldwide and established himself as Ali Akbar Khan's true heir and the face of a new generation of sarod players. Ali Akbar Khan was a legendary Hindustani classical musician and sarod virtuoso. Along with fellow artists such as Ravi Shankar, Khan was instrumental in popularizing Indian classical music in the West, both as a performer and as a teacher. He established a music school in Calcutta in 1956, and the Ali Akbar College of Music in California in 1967 at which Alam is now the teacher of advanced instrumental classes.
Nitin Mitta is one of the most sought after tabla players of his generation. Apart from being a dymanic soloist, he is a sought after accompanist who has performed with some of India's most celebrated Hindustani classical musicians including Pandit Jasraji, Amjad Ali Khan, and Nishat Khan.
Opening this concert will be the Om Gam Ensemble, led by bassist and composer Michael Gam. A sought after and versatile musician, Michael has performed with luminary musicians from a variety of traditions including world-class jazz musicians trumpeter Ambrose Akinmusire, pianist Tigran Hamasyan, and guitarist Rez Abassi, classical violin virtuoso Hillary Hahn, Afro-Cuban master percussionist Roman Diaz, and Indian classical maestros sitarist Pt. Krishna Bhatt and ghatam/konnakol artist Sri Subash Chandran. Michael initiated his ongoing study of Indian classical music in 2009 at the Ali Akbar College of Music and is also a core member of the Brooklyn Raga Massive.
This concert is presented as part of WMI's Masters of Indian Music Series.
Robert Browning Associates presents
VISHWA MOHAN BHATT with SUBHEN CHATTERJEE
Indian Music for Mohan Veena (Slide Guitar) & Tabla
8:00 p.m.
Roulette, 509 Atlantic Avenue (at 3rd Ave), Downtown Brooklyn
Tickets: $30; seniors, students $26
Vishwa Mohan Bhatt has been acclaimed throughout the world for his electrifying performances on the mohan veena, a slide guitar that he modified in shape and design and on which he assimilated techniques from the sitar, sarod and veena lutes. A top disciple of Ravi Shankar, he has received many honors including the prestigious Padma Shri, the Sangeet Natak Academy Award, and a Grammy® for Best World Music Album for his collaboration with Ry Cooder. He is joined by the brilliant tabla player Subhen Chatterjee, a disciple of Swapan Chaudhuri, who has performed with many of India®s major artists, including Bhimsen Joshi, Girija Devi, V. G. Jog and Pandit Jasraj. He also created the fusion bands Karma and Friends of Drums (with Sivamani).
World Music Institute (WMI) presents
9 p.m.
BAM Café, 30 Lafayette Ave, Brooklyn
Presented in conjunction with Korean Cultural Center NY and BAM Café
Free. Limited unreserved seating and standing room
Baraji, while preserving the folkloric forms of both Korean music and dance, is known for the exceptional improvisation and spontaneity of their performances. In traditional Korean music, Sinawi, the word Baraji is often used to describe improvised singing in harmony. Baraji's performances derive from a Korean shamanic tradition known as Jindo Ssitgim Gut. This rite is used to cleanse the spirit of a deceased person. Since ancient times, there is a Korean belief that when somebody dies, their body cannot enter the world of the dead because of the impurity of their spirit. The Ssitgim Gut washes away this impurity.
This concert is presented as part of WMI's Origins Series.
Story Sundays at the Glen Sanders Mansion
Stories and Traditions From the Iroquois Longhouse
Kay Olan and Tom Porter
5-8 p.m.
Glen Sanders Mansion, 1 Glen Avenue, Scotia, NY
$37 per person (includes entertainment, 3 course dinner, coffee/tea, tax and tip)
Bring someone new and you each save $3 (only one discount/person during non-benefit dinners).
Pay at the door using cash or checks made out to "Story Circle"
Reservations Required: (518) 384-1700 or firstname.lastname@example.com. Please indicate how many of each entree is desired.
Tom Sakokwenionkwas Porter, National Treasure of the Mohawk Nation, Spiritual Leader of Kanatsiohareke, author and lover of stories always fills the hearts of his listeners with compassion, smiles and inspiration. Kay Ionataie:was Olan, Mohawk Storyteller, retired teacher and former director of Kanatsiohareke shares old and new stories from the oral tradition of the Rotinonshionni (Iroquois Confederacy.)
Entrees: Chicken Marsala, Sole Florentine with Spinach and Bread Stuffing and Lemon Veloute, or Mushroom Ravioli.
Eighth Step at Proctors presents
Sonny Ochs: 80th Birthday Concert!
Proctors, 432 State Street, Schenectady, NY
Call Eighth Step TicketLine: 518-434-1703
Eighth Step at Proctors announces
SAVE THE DATE! Adirondack Folk Night
Proctors, 432 State Street, Schenectady, NY
Call Eighth Step TicketLine: 518-434-1703
World Music Institute (WMI) presents
Opening Act: Dengue Fever
8 p.m.
Brooklyn Bowl | 61 Wythe Ave, Brooklyn
Tickets:: $25 advance/$30 door
Standing Room Only, 21+
For Saharan blues band Tinariwen, the desert is their home, and their hypnotic and electrifying guitar rock reflects complex realities of their home base in Northwest Africa. They are Tuareg, descended from nomadic people who have wandered the dunes for millennia. The music of Tinariwen travels too, reverberating far from the dusty plains of Mali. Their 2011 album Tassili, recorded in the Algerian Desert — in a tent and under the stars with an esteemed cadre of musicians including Nels Cline and TV On The Radio's Tunde Adebimpe and Kyp Malone — won a Grammy Award for Best World Music Album. Now, their latest record Emmaar returns to their roots, delivering stripped-down dirges, effervescent anthems, and above all, simplicity and honesty.
Opening for Tinariwen will be Dengue Fever, an American-based band that is widely recognized for their trademark blend of 60s Cambodian pop and psychedelic rock, Dengue Fever's latest release expands their musical palette to include Khmer rap, Latin grooves, Afro percussion, layered Stax-like horns and more.
This concert is presented as part of WMI's Desert Blues Series.
The Arts Center of the Capital Region presents
Social Media April: Cake Decorating & Cake Batter Martinis
5:30-7:30 p.m.
The Arts of the Capital Region, 265 River Street, Troy, NY 12180
Cost: $35; Sign up online
Make your Food Network dreams a reality and learn basic cake decorating skills while enjoying cake batter martinis! Even if your dreams become nightmares, you can have your cake and eat it too!
Cooperstown Graduate Program presents
2017 Bruce Buckley Lecture: Robert Baron
"Contemporary Resonances of Mid Century Cooperstown Public Folklore and Public History"
7:30 p.m.
Fenimore Art Museum Auditorium, 5798 State Route 80, Cooperstown, NY
Free and open to the public
In the mid-twentieth century Cooperstown was the nexus of a pioneering, broad based movement in New York State that brought together popular involvement with folklore and history with academic scholarship. The ideas and practices of Louis Jones, Bruce Buckley, and others anticipated later developments in public history and public folklore that emphasize the sharing of representational and interpretive authority, dialogic engagement with communities and an imperative to enable communities to represent their history and traditions on their own terms. Robert Baron will discuss the significance of this Cooperstown legacy and relate it to contemporary public history and public folklore practices that he will illustrate in his talk.
Robert Baron is the founding director of the Folk Arts Program of the New York State Council on the Arts (NYSCA) and teaches in the Master's Program in Cultural Sustainability at Goucher College. Prior to working at NYSCA, Baron was a museum educator at the Brooklyn Museum, where he developed interpretive programming and produced a festival of New York Haitian traditions for a Haitian art exhibition. He has been a Fulbright Senior Specialist in Finland, the Philippines and Slovenia, a Smithsonian Museum Practice Fellow and Non-Resident Fellow of the W.E.B. Du Bois Institute for African-American Research at Harvard University. Baron is a Fellow of the American Folklore Society and received its Benjamin A. Botkin award for significant lifetime achievement in public folklore. His research interests include public folklore, cultural policy, creolization and museum studies. His publications include Public Folklore, edited with Nick Spitzer; Creolization as Cultural Creativity, edited with Ana Cara; and articles in Curator, International Journal of Heritage Studies, Journal of American Folklore, Western Folklore, and the Journal of Folklore Research. Baron holds a PhD in Folklore and Folklife from the University of Pennsylvania.
Eighth Step at Proctors presents
Open Mic
Theme: Water Ways
Sign-up starts at 6:45 p.m.
Fenimore Gallery, Proctors, 432 State Street, Schenectady, NY
Performers do individual sets onstage until about 8:30 p.m. We then join each other for a song circle and jam, backing each other up, joining in on harmonies or trying out new tunes. The jam is popular! If you are too shy to perform up in front, or if you want to try out something in a more casual way, the jam part of the night is perfect. And it's a fine time to just sing or play along. It's an early night for Open Mic, closing up by 9:30 p.m.
Each month has a "theme" or topic for the month. Suggested—NOT REQUIRED. It is a nudge to bring something you wouldn't otherwise bring, either for the time on stage or for the round robin afterward. We post the themes ahead of time to give us all a chance to write, think of or collect something interesting to bring. Feel free to stretch the idea of the topic in any direction, or ignore it. Poetry and Storytelling are also welcome! At each Open Mic, participants are eligible for a free drawing for upcoming Eighth Step shows!
A Place for Folk presents
Opener: OG Kush Hang the Alien (Steven Metivier).
Concerts start at 7:30 p.m., Doors open at 7:00 p.m.
Unitarian Universalist Society of Schenectady, 1221 Wendell Avenue, Schenectady, NY 12308
Tickets: $20 per adult (Family rate, $5 per child 6+ years with paying parent) Students, $10
Reservations appreciated
Named "Best Group/Duo" in the 2014 International Acoustic Music Awards, acoustic duo Ryanhood got their first break more than a decade ago as street-performers at Boston's Quincy Market. It was there that they were spotted by a college booking agent and thrust into the college touring scene, where Campus Activities Magazine would name them "one of the most requested acts by college buyers all across the country."
OG Kush the Alien, real name, S.M. Metivier, has been a drummer and percussionist since the age of 5. Having studied with the great percussionist and teacher, Larry Levine, OGKush the Alien began his career playing along side trumpet player, Peter Ferguson (nephew of one the greatest trumpet players to date, the great Maynard Ferguson), started teaching at a summer music camp at the age of 13, and was head percussionist at Northeastern University. He has played percussion for just about every genre of music including rock, jazz, R&B, Reggae, folk, blue grass, as well as Orchestra and Concert band.
The Folkus Project presents
David Wilcox
8 p.m.
May Memorial Unitarian Universalist Society, 3800 East Genesee St, Syracuse, NY
Tickets range from $15 to $20. More info is available at www.folkus.org. Advance sale tickets are available via PayPal and other methods; advance ticket holders receive preferential seating.
Considered a 'songwriter's songwriter," his songs have been covered by artists such as k.d. lang and many others. In addition to his writing prowess, his skills as a performer and storyteller are unmatched. He holds audiences rapt with nothing more than a single guitar, thoroughly written songs, a fearless ability to mine the depths of human emotions of joy, sorrow and everything in between, and all tempered by a quick and wry wit.
World Music Institute (WMI) presents
Tongues in Trees
9 p.m.
BAM Café, 30 Lafayette Ave, Brooklyn
Tickets: Limited unreserved seating and standing room
New York City's psychedelic experimental art rock, Indian-folk group, Tongues in Trees, is comprised of Samita Sinha, Sunny Jain, and Grey McMurray who met as a trio in spring of 2013. The band draws from North Indian classical and folk music, sonic texturing, propulsive beats and multiple languages to create a musical vocabulary of their own. After many months of improvising, composing, developing, rehearsing and performing shows in New York City, Tongues in Trees recorded their debut album, Parallel, in February 2014 in Brooklyn at Valleau Studios. Parallel is a testament to the chemistry and eclectic sound of this band of three.
This concert is presented as part of WMI's Global/Local Series.
Golden Link Folk Singing Society presents:
Joe Crookston
7:30 p.m.
Rochester Christian Reformed Church, 2750 Atlantic Ave., Penfield, NY 14526
Advance $20 ($15 for Golden Link members); at the door $22 ($17 for Golden Link members); $10 for students; free to children 12 and under.
"Joe Crookston is decidedly one of today's standout troubadours … he sings the heart pure, he sings the soul holy, he sings the mind unshackled."—Roots Music Examiner
Robert Browning Associates presents
Haitian Roots & Grooves
8:00 p.m.
Roulette, 509 Atlantic Avenue (at 3rd Ave), Downtown Brooklyn
Tickets: $25; seniors, students $21
Lakou Mizik ("Music from the Homeland") is a powerhouse collective of Haitian musicians who blend troubadou, vodou, rara carnival music, and urban soul. With such legends as master drummer Sanba Zao, and rising stars Steeve Valcourt and Jonas Attis, the group performs an exhilarating mix of traditional and modern roots music which blends the soulful spirit of a church revival, the social engagement of a political rally, and the trance-inducing intoxication of a vodou ritual. Formed in the aftermath of the devastating 2010 earthquake, Lakou Mizik communicates a message of pride, strength and hope.
World Music Institute (WMI) presents
DANCING THE GODS: Neena Prasad
8 p.m.
Co-curated by Rajika Puri
7 p.m. Pre-Show Lec-Dem by Rajika Puri "The Cultural Contexts of Mohiniyattam, & Kathak"
Chat and chai with the artists after the performance
Symphony Space, 2537 Broadway at 95th Street, Manhattan
Tickets: $35/$40
Dr. Neena Prasad is considered one of the leading representatives of the Mohiniyattam dance form, performing at the most prestigious dance festivals in India and abroad. Dr. Prasad is a rare blend of successful academic and superb performing artist. She has been at the forefront of change in Mohiniyattam, with her innovative techniques and stylistic approach. Her performances have won enthusiastic acclaim in India's artistic circuits and she has also been the recipient of distinguished awards from the Kerala Sangeeth Academy and Madras Music Academy.
World Music Institute (WMI) presents
DANCING THE GODS: Sanjukta Sinha
7 p.m.
Co-curated by Rajika Puri
6 p.m. Pre-Show Lec-Dem by Rajika Puri "The Cultural Contexts of Mohiniyattam, & Kathak"
Chat and chai with the artists after the performance
Symphony Space, 2537 Broadway at 95th Street, Manhattan
Tickets: $35/$40
One of India's leading Kathak artists of her generation, Sanjukta Sinha is known for her technical expertise and immense artistry. Rooted yet modern, Sanjukta aims to create a new idiom of Kathak as a performing art, one that is an arresting blend of the traditional and contemporary. She will be performing Angika, Journeys in Love which is a manifestation of the tukra, a celestial pirouette encompassing the four seasons of love — hope, longing, anguish and joy.
Robert Browning Associates presents
Voices of the Ancestors: Mbira Music of Zimbabwe
Part of A World in Trance Festival
8:00 p.m.
Roulette, 509 Atlantic Avenue (at 3rd Ave), Downtown Brooklyn
Tickets: $25; seniors, students $21
For centuries the Shona people of Zimbabwe have connected with the spirits of ancestors. These spirits are summoned by spirit mediums at biras, all-night ritual ceremonies where mystical mbira (metal-pronged thumb piano) music is played and people participate through dancing, singing, ululating, and sometimes whistling. The collective energy created evokes a trance atmosphere that summons the spirits of ancestors to come and give daily guidance and healing.
The internationally renowned traditional mbira master Chartwell Dutiro (mbira, lead vocal, dance), who played mbira in bira ceremonies in his native Zimbabwe from the age of four and is best known for his eight-year stint with Zimbabwe's famed Thomas Mapfumo & the Blacks Unlimited, is joined by his son Shorai Dutiro (mbira, vocal), David Holmes (mbira, vocal), Nora Balaban (mbira, vocal) and Bill Ruyle (hosho – gourds, tabla – tuned drums, percussion).
Eighth Step at Proctors presents
Proctors, 432 State Street, Schenectady, NY
Call Eighth Step TicketLine: 518-434-1703
World Music Institute (WMI) presents
House of Waters
9 p.m.
BAM Café, 30 Lafayette Ave, Brooklyn
Tickets: Limited unreserved seating and standing room.
Comprised of Max ZT on hammered dulcimer, Moto Fukushima on six-string bass, and percussionist Ignacio Rivas Bixio, the trio House of Waters incorporates elements of West-African, jazz, psychedelic, indie rock, classical and world music into their astonishingly unique sound. Their newest self-titled album House of Waters marks the band's first record for GroundUP, the artist-friendly label started by Snarky Puppy's Michael League. With musical and cultural influences that stretch from India and Senegal through Ireland and the heart of New York City, they are, as one critic noted, "the most original band on the planet."
This concert is presented as part of WMI's Global/Local Series.
The Jalopy Theatre and School of Music presents
The 9th Annual Brooklyn Folk Festival
View schedule online
St. Ann's Church, 157 Montague Street, Brooklyn, NY (between Clinton and Henry)
...More information coming.
Flushing Town Hall presents
Herencia de Timbiqui: Afro-Colombian Music of the Pacific Coast
8:00 p.m. (dance lessons 7:00 p.m.)
Flushing Town Hall, 137-35 Northern Boulevard, (at the corner of Linden Place), Flushing, NY 11354
Tickets $16/$10 Members & Students
Free for Teens Age 13–19 with ID.
Herencia de Timbiqui preserves the traditional currulao music of enslaved Africans brought to Colombia, while infusing it with jazz and funk. Currulao music uses call and response, and audiences are encouraged to sing along with the group as they explore Afro-Colombian culture.
Robert Browning Associates presents
NIYAZ featuring AZAM ALIPart of A World in Trance Festival – 3rd edition
8:00 p.m.
Roulette, 509 Atlantic Avenue (at 3rd Ave), Downtown Brooklyn
Tickets: $30; seniors, students $26
Niyaz has created a 21st century global trance tradition by seamlessly blending Sufi poetry and folk songs from its native Iran and surrounding countries with rich acoustic instrumentation and modern electronics. Formed in California in 2004 and based in Montreal, Niyaz has a far-reaching repertoire that tears down cultural boundaries and bridges the gap between East and West. The group was founded by the spellbinding vocalist/composer Azam Ali, whose Iranian heritage and Indian upbringing have deeply influenced her music, and multi-instrumentalist/ composer Ramin Loga Torkian (oud & kamaan lutes). They are joined by Didem Basar (kanun-zither), Garbriel Ethier (keyboards, programming) and Vaneet Vyas (tabla-drums).
Cricket Media seeks folktales, fiction, non-fiction, and poetry submissions for its literary magazines for children and teens
Cricket Media seeks folktales, fiction, non-fiction, and poetry submissions for its literary magazines for children and teens: Babybug (ages 0–3), Ladybug (ages 3–6), Spide (ages 6–9), Cricket (ages 9–14), and Cicada (ages 14 and up). Especially welcome: works by LGBTQIA+ writers/artists, writers/artists with disabilities, and writers/artists of color. We are sensitive to issues of cultural appropriation and misrepresentation.
Visit us at cricketmag.submittable.com/submit for more details.
Call for Submissions: Journeys
Deadline: March 24, 2017
Ladybug and Babybug, magazines for children age 6 and under, seek fiction, nonfiction, and poetry about journeys. For a young child, a journey might be a walk to the corner store, a long trip by boat or train, or a game of make believe. Stories should have childlike points of view and simple yet strong plots; they need to be short, too (under 800 words). When reading submissions, we look for playfulness, humor, and a sense of wonder. Most of our readers live in the United States, and sensitive explorations of different cultures are welcome.
Call for Submissions: Contemporary Fiction Deadline: March 27, 2017
Cricket (for ages 9–14) seeks contemporary middle-grade fiction of 1,200 to 1,800 words. Strong submissions will feature a protagonist who is actively engaged in the challenge and adventure of being a kid—taking on new responsibilities, discovering hidden talents, overcoming fears, or meeting new and surprising people. The tone may be lighthearted or serious—exploring with friends or facing problems at home or school. Stories should have an authentic voice, revealing character primarily through action and dialogue, and reach a satisfying resolution. Stories set within city environments, or in non-American settings, and featuring characters from underrepresented groups are especially welcome.
Call for Submissions: Folktales, Myths, and Legends Deadline: April 27, 2017
Cricket (for ages 9–14) and Spider (ages 6–9) are looking for retellings of folktales, myths, and legends from around the world. We seek tales of humorous tricksters, of adventurous heroes on epic quests, of clever and strong women, lovable fools, and formidable demons, as well as traditional wisdom tales and creation myths. Retellings should be lively and dramatic, with an authentic voice that engages the imaginations of our young readers. They must also be well researched, accurately reflecting the meanings and traditions of the story's cultural background. Please include a list of sources and your credentials with your submission.
Call for Submissions: Hauntings
Deadline: March 27, 2017
Cicada YA/teen lit magazine seeks fiction, poetry, comics, and essays on the theme of Hauntings. A haunting is a remnant of something that never really left and refuses to be completely forgotten. A house might be haunted by the spirit of a previous owner, or a person might be constantly shadowed by past events. Maybe someone is always on your mind, or maybe you are constantly dwelling on what could have been. Show us what's rattling chains in your dark corners.
Call for Submissions: Aliens
Deadline: April 27, 2017
Cicada YA/teen lit magazine seeks fiction, poetry, comics, and essays on the theme of Aliens. Tell us a story of a stranger in a strange land, whether they be a three-headed visitor from the Andromeda Galaxy or just someone trying to navigate an unfamiliar place. Of course, feeling like an alien does not always have to do with physical location—sometimes you might feel like an alien in familiar spaces. We love works about extraterrestrials and outer space, but we also encourage authentic and diverse works about immigration, gentrification, and feelings of otherness and dissociation. Not welcome: cultural appropriation.
Call for Submissions: Puppets and Dolls
Deadline: May 27, 2017
Cicada YA/teen lit magazine seeks fiction, poetry, comics, and essays on the theme of Puppets and Dolls. Around the world, puppets and dolls serve many purposes—children's toys, storytelling props, decoration, conduits for the supernatural. How do we pull one another's strings to get what we want? How do we project our feelings onto one another? How can this harm a relationship? Respectful works exploring manipulation/toxic relationships: great. Exploitative, explicit, or abusive works: nope. Also encouraged: works about totally non-metaphorical dolls and magnificent puppetry performances.
Call for Submissions: Flash Fiction
Deadline: rolling deadline
Wanted: your flash fic.
Samuel Dorsky Museum of Art presents the
Curated by Murtaza Vali
Hours: Wednesday-Sunday: 11 a.m. - 5 p.m.
Howard Greenberg Family Gallery, Samuel Dorsksy Museum of Art, State University of New York, 1 Hawk Drive, New Paltz, NY 12561,
Suggested Donation: $5
The exhibition also includes examples of modern Arabic and Hebrew calligraphy, illustrating texts from both Western and Islamic philosophical traditions, as well as works that evoke hurufiyah, an influential modern Arab variant of Lettrism, which used the swoops and curves of the Arabic alphabet as painterly gestures. From abstract collages constructed out of the remains of destroyed books to the Hebrew calligraphy seen in Halahmy's art, these works demonstrate the importance of the literary in Iraqi society, culture and visual arts, both past and present.
This exhibition, drawn from the personal collection of New York-based sculptor Oded Halahmy, a Jewish native of Baghdad, presents his work alongside that of eight contemporary artists from Iraq. Literary culture—letters, words and books—has been a mainstay of Iraqi culture for many millennia. The ancient civilizations that inhabited the territory constituting modern day Iraq were responsible for the development of cuneiform, one of the earliest systems of writing, and ancient texts like the Epic of Gilgamesh and the Code of Hammurabi. In the centuries following the advent of Islam, Baghdad was the most important center of knowledge and learning, home to the dar al hikma or House of Wisdom, the largest and most famous library in the world at the time of its destruction in the thirteenth century by invading Mongol armies.
Text and texture have a shared origin: texere, or Latin for "to weave." The exhibition uses this shared word root to enmesh the idea of text with that of texture. While the layered and abraded surfaces of some of the works in this exhibition reference the region's ancient past and/or its violent present, the picturesqueness of others captures the powerful affective textures of nostalgia and exile. Celebrating their country as a pastoral idyll, where people of different beliefs, cultures, and ethnicities peacefully coexisted for centuries, these works also mourn the eventual fraying of the once rich fabric of Iraqi culture.
Participating Artists: Hayder Ali, Amal Alwan, Mohmammed al Hamadany, Oded Halahmy, Ismail Khayat, Hanaa Malallah, Hassan Massoudy, Naziha Rashid, and Qasim Sabti
February 4, 2017 —May 21, 2017
Irish Arts Center presents
Marie Connole
As Above, So Below
Join us for an artist talk and reception on Tuesday, February 23 at 6:30 p.m.
Donaghy Theatre, Irish Arts Center, 553 West 51st, New York, NY 10019
Gallery hours by appointment Monday – Friday | 10 a.m. – 6 p.m.
Admission to the artist talk and reception is free, but reservations are encouraged.
Working in watercolor and pencil with sacred iconography and archetypal symbols, visual artist Marie Connole re-imagines the folklore and customs of the west coast of Ireland through the lens of memory, personal narrative, and history.
January 25, 2017 — April 3, 2017


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Why You Still Need Life Insurance
Who's not buying
Sitting down at the kitchen table with an insurance agent once was a financial rite of passage. Today, people prefer to sit down with their stockbroker. Fewer than half of all American households have any life insurance beyond the usually inadequate amount provided by employers, according to A.M. Best & Co., an insurance rating company. Americans bought one-third fewer life insurance policies last year than they did 15 years ago.
Often individuals will purchase extra life insurance through their employer because it is a little bit cheaper, and it is easier to get as you don't usually have to qualify medically. This however is not usually the best option for someone with real life insurance needs.
Why do you need coverage outside of what your employer may give you for free?
- What if your employer goes out of business?
- What if you change jobs?
- What if your employer cuts your life insurance benefit?
- What if you want coverage after you retire?
You may think, "I will just look for insurance at that time." What if you are now much older, it will be much more expensive to buy your life insurance on your own. You may not be in as good of health, or you may not qualify at all. Life insurance is not something everyone qualifies for, you need to purchase it while you do qualify for it and lock that benefit in for life.
- You have control over the policy
- You can keep it even after you retire
- Your price is locked in
- Most employer life polices are group policies that are annually renewing and increase in cost each year. They may be super cheap now, but wait until you are older. By the time you figure that out you might not qualify for individual life insurance.
There are numerous reasons life insurance is being ignored. People have grown more concerned about funding their retirement, so they're putting money into tax-favored retirement accounts instead of into life insurance premiums. Life insurance companies emphasize the investment qualities of their policies instead of the death benefits at a time when more and more people consider it a poor investment alternative. Class-action lawsuits against insurance carriers claiming product misrepresentation have also contributed to the backlash. Two-income families feel they can better weather the death of a spouse than a single-wage-earner family. Nonetheless, owning adequate life insurance should remain an important part of your financial picture.
The benefits
The principal reason to own life insurance is the protection provided by the death benefits. Life insurance can replace the lost income of the deceased and pay for future financial needs such as college education for the children.
Investments in the stock market are not a substitute for life insurance. Many Certified Financial Planner professionals recommend making sure adequate life insurance is in place before starting an investment program-even if it means paying the premiums with money that otherwise would have been invested.
Insurance vs investment
Why spend money on premiums when you could use it to earn money in the stock market? For one thing, investments don't guarantee a return. Yes, a well-conceived investment plan will probably earn at least a reasonable rate of return-perhaps an excellent one-over the long term. The problem is that death doesn't always wait long term. As a group, people live well into their seventies, but individuals die at all ages.
Let's say you ignore buying additional life insurance and divert the premium money into the stock market because you feel the market is a better investment than life insurance. If you live to a ripe old age and your investments do well, that may prove to be a smart choice. The problem is, what if you die prematurely, before you've had time to invest enough in the market? Your family can't live off the investments you never made. But they could live off life insurance proceeds. And those guaranteed death benefits become available the day you buy the policy. You don't have to wait for the market to rise or for the long-term benefits to occur.
The other risk you run with investments as a substitute for life insurance is that even if you've built up a sizable portfolio, its value might be down at the time your survivors need the money. Worse, your survivors will almost certainly pay income taxes on the profits from the sale of investments. Death benefits would have passed to them income-tax free, and with proper planning, estate-tax free.
This issue of investments versus life insurance remains true regardless of whether you buy a term policy (fixed death benefits for a fixed period of time) or a cash value policy (death benefits plus an investment component). Term insurance may be the best buy for the majority of families. However, even if some form of investment-type life insurance is right for you, such as for estate planning purposes, the first priority of the policy should still be the death benefits. Insurance should never be bought solely as an investment asset.
Life insurance serves more than one purpose: it may be used to cover your family's financial needs at the time of death (hospital bills, burial costs, estate taxes), during an adjustment period (new job, new home) and then for ongoing expenses (regular bills and expenses, the cost of day-care costs or tuition, retirement). It's important not to overlook the death benefit value of life insurance.
There is no one-size-fits-all plan. How much and what type of insurance you need are details to be discussed with a trusted financial planner or life insurance advisor.


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© www.leisurecycling.co.uk
The Netherlands - A Cycling Utopia?
After spending five years living in the Netherlands I thought I'd reminisce a little and hopefully give an insight into my cycling experiences while living in
the land of the windmills, clogs, cheese and canals. Now as you all know, they have in the Netherlands (I'm using the country's full name as I was
continually reminded by my Dutch friends that Holland is in fact just two of the provinces within the Netherlands, not the whole country - unless you're
talking football that is!) a lot of bikes and I mean a lot! Over 18 million at the last count, a large percentage of which can be seen left daily in huge cycle
parks outside of train stations throughout the country. An example of this is a three storey cycle parking garage just outside the Centraal Station in
Amsterdam which is said to cram in over 4,000 bikes every day.
The Netherlands has the best cycle infrastructure I've seen, every major and most minor roads have their own cycle path next to it, complete with
traffic lights for cyclists for crossing over a main road, junction or bus lane. I spent a lot of time riding through the countryside, towns and cities
alongside some beautiful architecture and very scenic canals and rivers. Very pleasant on a nice sunny day! They also have a wonderful system of
national cycle routes, clearly signposted throughout and many of which are specially built tracks through fields, sand dunes and large nature reserves.
I used to live in Haarlem and was lucky enough to have two of these beautiful areas close to where I lived. My favourite journey, especially during the
summer, was a 10km jaunt through a lovely park to the long sandy beach and the cornucopia of ice cream shops & beach bars in Zandvoort.
I could, and often did, spend a day riding from Haarlem to Alkmaar and back (40km each way) only having to use roads very briefly. The ride would take
me via numbered cycle routes along gravel paths through the woods, past lakes and dunes and also included a couple of short ferry trips over the
North Sea Canal. Another favourite was Haarlem to The Hague (again around 40km each way) also through a nature reserve along a path skirting
through the dunes, past the colour of the bulb fields in springtime and small seaside towns until finally reaching the promenade leading to the
beach at Scheveningen. Both of the longer distance rides were reasonably easy even for a tall, rather rotund person like myself as both were very
flat routes. These trips were always a lot busier during the summer with what seemed like a mass exodus from Haarlem and further away, of
people en route to the beach especially at weekends. I soon found out the Dutch are most definitely a sun worshipping nation with the bike being
their transport of choice to get to the sunbeds, beach and bars!
Personally I used to prefer a cold crisp frosty morning cycling through a deserted park with only the birds, deer, wild ponies and the odd herd of
highland cattle to keep you company. No, I've no idea how or why the highland cattle are there either, a great photo opportunity though especially
when they decide to take up residence on the cycle path! If you fancy testing yourself climbing some hills then Northern Holland won't be for you,
they are the atypical flatlands associated with the country, you'll have to journey to the south of the Netherlands before you see any sign of a rolling
landscape. You've probably seen the undulations around Valkenburg including the famous Cauberg during the Amstel Gold race but you also have
Maastricht and a lot of pretty little towns and villages to explore. The hills there can be quite testing (well they were for me anyway!) and it's also
where you'll find groups of club cyclists from all over the country as well as many people touring from abroad, all resplendent in their colourful lycra
outfits, shades and very expensive road bikes! This is also a great area for the more leisurely cyclist as you have the joys of slipping across the border
into Belgium and Germany close by (again both countries having a superb cycle path infrastructure). Sometimes if I had a few days off I would take
the long train journey down south either taking my trusty bike or hiring one on arrival from one of the plethora of cycle shops while down there.
The Dutch train system is certainly more cycle friendly than its equivalent in the UK with several carriages having plenty of space for bikes although
I will say that things here do seem to be changing for the better, albeit slowly. It really is a superb way to spend those all too infrequent long hot
summer days.
All ages from teens to octogenarians cycle and it seems everyone in the Netherlands has at least one bike; many have two, three or even four.
Most have two, a decent bike for longer rides and an "oma fiets" (translation: granny bike) for trips to the shops or leaving it locked up outside a train
station. The "oma fiets" is nothing like any other bike I'd ever ridden before; it's like a step back in time to the 19
century. A very upright position,
I think the term here is a sit up & beg bike, with most have just the one gear although the luxury models can have three, and both have an encased chain
and mechanical back wheel brakes which you activate by cycling the pedals backwards. Not easy to remember when someone pulls out in front of you!
All of these have a luggage rack over the back wheel which are more often than not utilised as a second seat for giving a friend a lift. They also have
a very creative way of transporting small children around, often having custom made cargo bikes (bakfiets) with usually two smaller wheels on the front
with various sizes and designs of large wooden crate type carriers in between, more than enough room for 2-6 kids and perfect for the morning school run.
I've only seen one similar style of bike in the UK and that was a mobile bike mechanic using this design as a way to transport his full tool kit around!
Bike shops are, as you would expect, rife in the Netherlands in Haarlem alone there were 24 to serve a city of 150,000. I now live in a town in Berkshire
with a population of just over 110,000 and we have…..one.
One thing I will say is cycling isn't a cheap pastime in Holland. Bikes are very expensive to buy and there are none of the cheap mountain bikes you find
in Halfords, Tesco's or the like over here. Even a new basic granny bike will set you back anything from €400-800. Second-hand granny bikes usually cost
anything from €150-350. Mountain bikes and any expensive bikes are definitely not the norm and become targets for the thieves in towns and cities
which is why most ride their old rusty bikes if they're on a short journey or leaving the bike at a train station, town or city centre. Unfortunately I had
first-hand experience of this too, I lost two good bikes, one of which was in the city centre, I was only away from one for 10 minutes and it had a D lock
and a separate thick chain lock on it! I was gutted and ended up doing what most other people do in the same situation, not believing it really was gone
walking around the bike racks for ages thinking I must have been mistaken about where exactly I'd left it. I probably raised a few eyebrows with the locals
that day thinking about it, wandering backwards and forwards looking at all the locked bikes, it was lucky I wasn't arrested myself! Be very careful
if you're cycling in Holland and decide to leave your bike locked up even in a seemingly "safe" place. There's no such thing as a safe place in city centres
unless you use one of the many bike parking garages you have to pay to use.
One quite interesting point about cycling in Holland is if you have a collision with a motor vehicle then, according to Dutch law, it's automatically the
drivers fault. The driver is deemed responsible for any collision between a vehicle and a cyclist and I understand drivers are trained for interaction with
cyclists as part of learning to drive, something we could well do with here. It also helps that most car drivers in Holland are also cyclists so are possibly
more aware of the potential hazards involved. More of a problem for cyclists (well, more like an annoyance especially to me) are "brommers" which are
the equivalent of our mopeds. These can legally use the cycle paths and its normal to see them weaving in and out between the cyclists,
lawnmower engine screaming, often only missing you by inches. Brommers are very popular with the 15-25 age group especially during the summer and are
mainly ridden without a helmet. Talking of helmets, interestingly most cyclists in the Netherlands don't wear them at all. I've cycled throughout the
country; the parks, villages, small towns, larger towns all the way to city cycling in Amsterdam, Rotterdam, The Hague & Maastricht and I could count
the number of people I saw wearing helmets on the fingers of one hand. In fact the few that were wearing them turned out to be expats or tourists.
Light years away from the furore and cyclist bashing currently raging in the media and government in the UK at the moment. It has to be said it is
much, much safer to cycle on the purpose built cycle paths you find alongside every road in the Netherlands.
One last example of just how much their system differs from ours. I remember leaving my house one cold dark winter morning for the long journey
into work only to find it had snowed quite heavily overnight. The roads and footpaths were covered in a couple of inches of snow and the cars were
crawling along at a snail's pace yet the cycle paths were clear. I was a tad confused and after struggling on for around ten minutes found the answer, as I
turned a corner I saw a mini snow plough diligently clearing all the cycle paths but no sign of one to clear the roads! It always amuses me just thinking
about it and certainly shows where the priorities lie in the Netherlands!
To sum up, I really enjoyed having the opportunity to spend a lot of time cycling around the whole of the Netherlands and would encourage anyone
thinking of a holiday there to give it a go. The people are very welcoming and most hotels, guest houses cycle friendly and everyone will enjoy
the cycling infrastructure they have in the Netherlands including several new initiatives recently added that I've not had the opportunity to try yet.
Well, thanks for bearing with me as I took a trip down memory lane reminiscing about my former life and I hope it was at least a little informative and
didn't bore you too much!
Dave Read
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This Clarke four-LED bath light in aged brass by Hudson Valley is unassumingly accenting at its most impeccable.More Details >
A simple, yet refined, linen box shade wraps around four LED light sources in Hudson Valley's ambiance-flattering Clark LED bath light in aged brass. Square, tubular arms jut out from a solid, sturdy, circular backplate in one piece of proprietary cast metal. A beguiling, beautifully-accented addition to bed or bathroom spaces.


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Thank you for your interest in CMS. We are confident that you will be impressed with the services we provide and our comprehensive approach towards property management. At CMS, we strongly believe that each of our properties should be maintained as to its physical integrity, financial stability, quality of living and economic value.
CMS is a full service commercial and residential property management company. The principals of CMS are college trained accountants and each worked in the private accounting sector prior to their respective real estate careers. The combination of a solid financial background and over 30 years of real estate related development and construction experience bring a unique level of skills to our property management business.
We are a fully staffed organization with state of the art information technology. Careful coordination and support of our office staff provides continuity and responsiveness in our services. Our office staff functions quickly and with precision. Phone inquiries are answered immediately, any problems that may arise receive same day attention, and emergencies are channeled through a carefully orchestrated, 24 hour crisis program. All accounting and data processing is done in-house on state of the art computer systems by well trained professionals.
Choosing a new management company is not an easy decision. In fact, it could be complicated and time consuming. That is why we encourage you to contact us for a confidential interview so you can see for yourself that choosing CMS is the obvious choice. We can assure you that the transition process will be smooth and timely.
If you are interested in a free consultation please click here.


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Angel Projects has been awarded the management contract for The Domino Foundation Soup Kitchen for 2013. The kitchen is located in Brookdale, Phoenix and prepares and feeds 1400 children a day.
Soup is delivered to children at 30 crèches in the Amaoti community on a daily basis. We also distribute JAM (Joint Aid Management) porridge to 16 crèches on a monthly basis. Crèches prepare and serve the porridge on their own. Our task is to monitor and distribute. Our aim is to extend this distribution to all 30 crèches by mid 2014. The kitchen employs 7 staff members from the Amaoti community.
For more information, please visit www.domino.org.za


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Myth: Hospice Means Giving Up Hope
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About a month ago my wife and I went out to the local theater to get our movie fix on. During the previews, a clip popped up of the upcoming Joss Whedon's remake of Shakespeare's, Much Ado About Nothing. Joss Whedon's movies and TV credits range from Buffy the Vampire Slayer to the recent Avenger's movies, so he's a big time Director!
I'm not really not much of a Shakespeare person, the whole Old English thing is kind of like listening to someone talking about math problems, but what happened at the end of the preview was what grabbed my attention. Right after the preview ended, Joss Whedon came on the screen and announced that he was having a fan movie poster contest for his Much Ado About Nothing movie. He made the movie in 12 days at his home and on his own dime, and was looking for a new take or alternate version of the current version of the movie poster already out. The winner would get their poster in all Regal Theaters! That sold me!
Being a movie buff and a digital artist who loves making movie style type images, I figured this was right up my alley. And with only a week before the entry deadline, I needed to do some quick research on a story I've never read and get some ideas on paper.
I thought the original idea for the poster was pretty clever (left), but I obviously didn't want to copy it. There was no access to hi-res images from the movie; only screenshots off the internet, and since it needed to be printable, I didn't want to go down the road of using less then usable images as the design. So that left me to come up with my own take on what would represent the characters and overall mood and feel of the movie.
One of the hard parts about developing a look for a movie is never having seen the movie! So, after reviewing the trailer several times, going to Wikipedia and then reading the Cliff notes for the play, I felt I had a glimpse of what I was going to do.
With a woman named Hero, a detective named Dogberry, a plan to marry and a plot to deceive-the story has it all. I think there was even a kitchen sink somewhere in the background? The majority of the story takes places amongst friends and relatives during a house party. So, I decided to set up and photograph a still life that symbolized all the people and activities that were taking place in the story as this party was in full swing.
After collecting all the items for the shoot, I wanted to arrange everything in a way that made it look like they were just thrown or placed on a party table yet still had the feel that they were all connected and had reason for being there. After many hours of set-up, shooting and post-production work, the resulting images were created.
Version 2
Decision day was fast approaching and I believed I had a pretty good shot at winning. Ultimately however, the decision was going to be made by one person and one person only and that was the director of the movie, Joss Whedon. Not knowing his style, his likes or dislikes, and out of 360+ entries it was going to be a crap shoot on who was going to win.
"As the new day arose and treacherous decisions were made of unintended consequence, an unpleasant fate had befallen mine abilities and sought to bring about thy downfall. Rife with competition and rich with disappointment, I saw upon the horizon a riding doom of an unhappy ending, methinks!"
Greg "Shakespeare" Agee.
Yeah, that means I lost. This story does not have a happy ending! I did not win the contest, not 2nd or even 3rd place. Not even mentioned in the runner-ups. Sad face goes here!! Oh well...
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For NAD Pastors
Pastor Life
Women Clergy
Why the NAD Needs Women Pastors
History of Female Leaders in the Adventist Faith
By V. Michelle Bernard Discuss this on Facebook.
Although they haven't always been recognized, women pastors and leaders have long been an integral part of the Seventh-day Adventist Church.
These women worked with their male counterparts as evangelists, church planters, health reformers, worked in Adventist publishing houses and as administrators.
From its roots in the Millerite movement, Adventists have been served by female preachers. Joshua V. Himes, William Miller's administrative assistant, was a strong advocate for women's rights and his congregation featured women preachers regularly. This familiarity with women in high profile positions may have opened the door for the co-founder of the Adventist Church, Ellen White to provide leadership to the early Adventists.[1]
White called women's work "essential" and said that without it the cause would "suffer great loss." [2] She also said that some women ministers should make the job their lifelong vocation and that their role was even so important that it sometimes took priority over taking care of children. White herself left her oldest sons with other families so she could work in ministry fulltime for a period when they were young.
White was not the only woman in leadership. When the rapidly expanding denomination faced a critical shortage of pastors during the 1870s they began licensing women for ministry. Minnesota conference licensed four women in one year alone.[3]
"I don't know that their accomplishments were any different than men pastors, they were all working to get churches started," said Stan Hickerson, vice president and historical consultant for Adventist Heritage Ministry.
Sarah Hollack Lindsey is often remembered as the first woman to be a licensed minister (in 1869), and was among the first surge of preachers—male and female—to be licensed at all in the Adventist church.
Lindsey and her husband, John, worked as evangelists in Pennsylvania and New York. Lindsey was a talented speaker and a great communicator. Although Lindsey and her husband had a successful ministry she still struggled with doubts, worrying if she was "good enough" for ministry said Hickerson, but she continually returned to God for strength, and was affirmed by early church leaders such as Uriah Smith.
Like Lindsey, Lulu Wightman's ministry was focused on evangelism and setting up churches. Wightman worked as an evangelist for almost 11 years starting in 1897. After a few years she was seen as the most effective minister in New York states in terms of conversions, said Bert Haloviak, former director of the General Conferences' Office of Archives and church historian.
"Indeed, the results from her evangelism would rank her not only as the most outstanding evangelist in New York State during the time, but among the most successful within the denomination for any time period," said Haloviak in the "Route to the Ordination of Women in the Seventh-day Adventist Church: Two Paths."[4]
During this time her husband, John, assisted her in the work—helping her publicize events, and eventually joining her as a licensed and ordained pastor.
The couple, with the help of mostly female Bible workers, established 12 churches in New York. Wightman later moved to Kansas and Missouri to work on religious liberty issues.
Although the Wightmans later over religious liberty issues, they left a lasting impact on the church.
Another one of the church's early women leaders was Lorena Florence Plummer, a former teacher, who excelled in church administration. She was elected secretary of the Iowa Conference in 1897, was an acting conference president in California, and headed the Sabbath School Department of the General Conference from 1913 to 1936.[5]
Plummer saw Sabbath School as a soul winning agency said church historian Dr. Josephine Benton. During her time as leader she implemented new methods of encouraging people to attend and increased missions offerings from $22,000 a year to $2,000,000 a year, an almost100-fold increase.
A drop in female leadership?
Although women leaders were always active in the church the amount of recognized leaders dramatically lowered after Ellen White's died in 1915.
From 1915 to 1975 only 25 women were listed as having ministerial credentials, as opposed to 28 women who had licenses between 1884 and 1915.[6]
The drop was impacted by White's death, but also by the great depression, men returning from the World Wars, and a shift towards more congregational pastoring. Another subtle factor was a partial alignment with the fundamentalist movement in defense of the Bible against the assault of higher criticism. Part of the unintended consequences of this relationship was the subtle influence of fundamentalism introducing Adventism to verbal inspiration and male headship, both of which were foreign to Adventist theology.[7]
Modern-day women pioneers
The long decline of women pastors slowed in the 1970's with pioneers such as Dr. Josephine Benton. Benton, a professor at Columbia Union College, began to notice the increase in women pastors in other denominations and began thinking about becoming a pastor herself.
When choosing a career Benton had thought that she would become a minister if she was a man, she said. But instead chose to study teach speech and oral reading, so that she could still help theology majors become better communicators.
With the new hope of serving in ministry, Benton studying Greek, and getting ready, "just in case," she said.
Taking another step closer to the ministry, and helping reopen the conversation about women leaders, Benton was ordained as an elder at the Brotherhood Seventh-day Adventist Church in Washington D.C in May of 1973.
In that same year Benton was hired as an associate pastor of Sligo Church in Takoma Park joining fellow female pastor Kitt Watts who was already on staff. Benton worked there from 1973 to 1979, then as pastor at the Rockville church from 1980 – 1982.
Besides charting a path for modern women ministers, Benton researched and wrote about the history of women leaders in the Adventist Church, retelling the stories of many "forgotten" women leaders and providing inspiration to future ones.
During their time at Sligo Benton and Watts felt the impact of people's questions about the appropriateness of our ministry, said Watts. "Realizing that some people strongly disapprove of your gender, something you can do nothing to change, is painful."
But Watts was also was grateful for the many people who encouraged and supported them, she said.
Watts had turned down a call to be on the Sligo pastoral team before she accepted in 1973, but reconsidered when Elder Hannah and the Holy Spirit called on her again, she said.
"I did not know that scores of women had been pastors, evangelists, revivalists, and conference and General Conference department leaders and officers," said Watts.
Watts, eventually called the minister of publications, was part of a diverse team that rethought how large churches ministered, and gave each pastor a different area of ministry to focus on.
This new team approach resulted in more major events dramatized skits, processions, and beautiful decorations—which were virtually unknown in other Adventist congregations at the time.
"Today, so many churches do this routinely it's hard to imagine that how highly unconventional—and exciting—it was to foster joy and celebration and creativity in worship and outreach," she said.
Benton, Watts, Wightman, and Lindsey and White were soon joined by other modern day pioneers in America including Hyveth Williams, who served as a senior pastor for 20 years, and numerous other female leaders.
Today in the Adventist Church there are more than 140 women clergy serving as church pastors, chaplains, and in church leadership positions. Their impact is only limited by their ability to let them be led by God.
What does the future hold? Dan Jackson, president of the North American Division urges that "The North American Division, its Unions, and Conferences must become more intentional in the development of pathways to ministry for female pastors." His dream is to double the number of women clergy over the next few years.
Watch an interview with Stan Hickerson D. Min. Senior Pastor as he shares his research about the First Adventist Licensed Female Minister
[1] Stan Hickerson, interview, September 25, 2012
[2] White, Evangelism, 493., http://www.sdanet.org/atissue/books/wim/wim10moon.htm#N_40_
[3] Stan Hickerson, interview September 25,
[4] Bert Haloviak, "Route to the Ordination of Women in the Seventh-day Adventist Church: Two Paths," March 18, 1985, unpublished paper.
[5] Women in Ministry, pg 228 Mivhael Bernoi, Nineteenth-Centry Women in Adventist Ministry Against the Backdrop of their times
[6] The Welcome Table, page 52 moving Away from the Table: A Survey of Historical Factors Affecting Women leaders, Kitt Watts.
[7] Stan Hickerson, Interview on September 25, 2012
- WANTED! More Female Pastors — Essential for the Harvest
- Judges, Seminary Deans & Deacons
- History of Female Leaders in the Adventist Faith
- Finding Relevance in Ancient Writings
- Let the Women be Silent
- Where there is one there should be twenty--Ellen White on Female Leadership
- Exceptional Pastors--changing Views of Members about Women Pastors


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As one applies for agricultural credit, the lender expectations for documentation will vary with each request. Read on to find out how.
Source: GreenStone FCS Dollars and Sense Column in the Michigan Farm News
As one applies for agricultural credit, the lender expectations for documentation will vary with each request. If the loan will not materially change your farm operation, it's reasonable to expect a decision in a few days with minimal financial information. For example, at GreenStone Farm Credit Services, most requests for a $70,000 equipment loan require only the applicant's estimate of the market value of assets, total liabilities, annual gross income, and annual non-farm income.
Larger requests will require more information, but if the proposed transaction will not materially change the operation, a market-basis balance sheet with detailed schedules of assets and liabilities, along with three to five years of income and expense records, should suffice.
If an expansion is being planned and the present operation will not cash flow the requested financing, the required documentation changes dramatically. The applicant should complete a detailed balance sheet, then create a post-expansion balance sheet, being careful to anticipate all needed new assets and what those assets will realistically cost. Some expansion costs can easily be missed. New facilities often require a new well, a new driveway or other items that are easily overlooked. If the dairy herd will be expanded, the forage inventory will typically need to become larger, which takes working capital. Where will it come from? Many managers find, during the expansion process, that there are enhancements they cannot do without. Often these enhancements are well intentioned and may even generate strong returns on the investment. Perhaps a neighbor, seeing construction in progress, stops by to say what he would do differently if he could do his expansion over again. Such conversations are valuable. Visit other operations and engage in such conversations early during the planning process. Another expense that often is overlooked is interest expense that occurs prior to the beginning of increased cash flow. Money is not free during construction or during the years between planting the apple tree and the harvest, when sales exceed annual expenses.
Next, a post-expansion income and expenses projection needs to be created.
The first step in creating the projection is to identify reasonable production and price assumptions. Any variation from the actual experience during recent years should be explained in writing. Lenders look at the expense ratio. This ratio is determined by deducting depreciation and interest from total expenses, then dividing this adjusted expense number by gross farm income. Any material change (reduction) in the projected expense ratio from the historical average needs to be fully understood and explained. When it comes to projections, the devil is in the details. Be prepared by providing written descriptions of crop and livestock budgets. How much feed might you need to buy at what price? You may want to create several "what if" projections that show the impact of variations in production and price.
Often the question is asked, do I have to provide all this in writing and do I need to provide a written business plan? The short answer is usually no, but you can use both to your advantage. The business plan is especially important if you are undertaking a new enterprise. Hiring a consultant can be worthwhile, but the projection and plan need to be yours. You need to be able to explain and defend what you present to your lender.
If the loan application process goes as it should, regardless of the decision, the farmer and the lender should leave better informed and more knowledgeable.


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We discuss what we mean by 'radicalisation', and what its connections to socialisation, terrorism, and 'religion' might be. We take on the methodological question of how one might go about researching such a contested topic, and look specifically at some of Matthew's findings relating to the causes of radicalisation, and the neo-Durkheimian 'sacred'.
Dear subscriber,
Do you have a call for papers, an event announcement, a job vacancy, grant or award you would like others to distribute?
How about having your notification posted with the Religious Studies Project's weekly Opportunities Digest? It's easy, just forward them to firstname.lastname@example.com! Please be aware that the old e-mail firstname.lastname@example.com does not currently work.
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Fascinating, magical and mysterious! The color of the year 2014 is Radiant Orchid.
Vital and inviting, Radiant Orchid has magic warm tones, set up on a violet base with a graduated shading of pink and purple. This color suggest creativity and immagination, intrigues the eye and sparks the immagination. A mixing of enchanting fuxia, purple and pink tones that emanates joy, love and charm. Radiant Orchid in your Environments.
Radiant Orchid is a lively and versatile shade, perfect to be combined with every kind of enviroment; For this prismatic hue, Radiant Orchid became very seductive pulled over red, and very romantic matched with lavander colour.
This is the perfect colour to create a focus point in your home, to create a frame around furniture pieces and accessories. Sophisticated and elegant, it is the perfect combination between Orchid and olive green. It contrasts very nicely with turquoise, hunter green, and light yellow.
With it's vibrant tone of colour it livens up the neutral and pastel tones of gray, beige and taupe. Perfect to energize any colour palette.
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Integrated Marketing and the Many Factors
Linton and Morley "list ten potential benefits of integrated marketing communications" (Linton and Morley 1995: 124)
Creative Integrity
Consistent Messages
Unbiased Marketing Recommendations
Better Use of Media
Greater Marketing Precision
Operational Efficiency
Cost Savings
High-calibre consistent service
Easier working relations
Greater agency accountability
In brief the value of IMC is that it will help an organization
Assess the market and set their objectives
Hone communication messages and target key stakeholders
Leverage resources
Build internal databases and marketing resources
Tie together the tone and style of all corporate communications, collateral and advertising
It is without question the main reason for using any combination of the core marketing activities is to help mainstream communications with customers. However even though the five core activities reach a common goal each has its own approach and solution to facilitating information. For instance:
Public Relations "consists of activities that influence public opinion and create goodwill for the organization" (Marketing Seminar MKT5540: 2003). Simply put this usually involves any type of public message such as
Sponsorship activities
Conferences and events
Media/trade briefings
Getting stories in newspapers/ magazines and on T.V, radio etc.
Direct Marketing "Is any activity which creates and exploits "direct relationships" between an organization and its customers." (Marketing Seminar MKT5540: 2003). In brief this method enables organizations to contact prospective and current customer directly and address their unique needs through way of
Outgoing E-mail/...
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Wellness and SPA in Bad Wörishofen
KneippSPA at Kneippianum in the Allgäu
Relaxing and wellness is a very special kind of bliss at KneippSPA in Bad Wörishofen, the Mecca of Kneipp therapy. Let us pamper you at Kneippianum in the Allgäu.
Recreational saunas, a visit at the steam bath, soothing massages and pleasant wellness and beauty treatments - all this and much more is possible at the Kneipp Spa in Bad Wörishofen in the Allgäu. Indulge in a time-out and enjoy the soothing effect of a spa cure stay or a wellness weekend at Kneippianum in Bad Wörishofen.
KneippSPA and wellness in Bad Wörishofen
Wellness and beauty on 2,000 square metres - so much space is reserved for your wellness at the Kneipp Spa in Bad Wörishofen. At the Kneipp Spa we focus on the Kneipp hydrotherapy, soothing treatments like aroma massages, herbal stamp massages or Lomi-Lomi massages as well as the whole range of classic therapy methods like physiotherapy, manual therapy or craniosacral therapy. The bright indoor pool, a Jacuzzi, an outdoor Jacuzzi and various saunas, as well as a steam-sauna, the organis sauna and the Finnish log cabin sauna are available for you. Enjoy peace and recharge your batteries for your everyday life.
The naturopathic approach by Father Sebastian Kneipp is the focus at KneippSPA in Bad Wörishofen.
- Wellness in Bad Wörishofen
- Beauty at Kneippianum
- Actively through Bad Wörishofen
- Pictures and impressions
Indulge in a time-out and spend soothing wellness-days in the spa town of Bad Wörishofen in the gorgeous Allgäu. Spend a holiday in the middle of the gorgeous natural environment, relax in the spa area and enjoy soothing tranquility in the stylish rooms at your Kneippianum. Send us your no obligation enquiry today and look forward to peaceful days at KneippSPA in in Bad Wörishofen in the Allgäu.


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Let Them Wear Towels -- the third of nine documentaries in the eclectic ESPN Nine for IX series about women in sports that airs on July 16 -- isn't really about female athletes at all, rather it's about the female journalists who won the right to compete with their male colleagues to cover the story in the locker room. This measured and smart look back at the struggle for equality and access to every room in the stadium echoes scenes from this summer's Jackie Robinson movie 42 - only this time, there is a little crying in baseball.
Inspired by the 40th anniversary of Title IX, the series presents stories of women who played hard to win something -- equality, respect, acceptance or just first place -- all against the backdrop of the seismic social changes for women in the last 40 years. Each story is different, but the outrage, the struggle and always, the admiration for just how awesome women are is steady throughout. Whether it's Coach Vivian Stringer taking on Imus after he insulted her Rutgers basketball team or Venus Williams demanding equal pay at Wimbledon or Sheryl Swoopes paving the way for gay women or Audrey Mestre who free-dove to her death, these women have an integrity and a real light that just shines through every film.
And for once, journalists, and in this case, women journalists are seen as their true selves- not members of the pack of mindless jackals who swarm hapless subjects with microphones and shouts, not the overly sexualized Mata Haris who manipulate and exploit their appeal (see House of Cards) but thoughtful, articulate, low-key and very focused women who just want to do their jobs.
"That's why it was all so ridiculous" says series producer Jane Rosenthal, "All they were trying to do was tell the story... and the fact was that you couldn't do your job because you couldn't go into the locker room and tell the other half of the story"
The stories are gripping and well-told by filmmakers Ricki Stern and Annie Sundberg, who also produced the sublime Joan Rivers - A Piece of Work.
The maturity and class of these reporters in the face of literal locker-room antics brings to mind older sisters babysitting a bunch of fifth grade boys. Ignore them and they'll stop .And as if they want to be in this stinky sweaty room with some of these characters. But it's part of the job.
We learn about Melissa Ludkte of Sports Illustrated who successfully challenged Major League Baseball in 1977after she was banned from the New York Yankees locker room and missed out on the operatic interplays between Reggie Jackson and Billy Martin. "The world of big time sports was like the tree house where the boys went and nailed a sign that said 'no girls allowed.'"
We hear New York Times reporter Claire Smith describe literally being pushed out of the San Diego Padres locker room in 1984. Humiliated and furious, she wept when pitcher Steve Garvey came out to the hallway immediately afterwards to give her an interview and quietly stood by until she got herself together and asked her first question.
And these are women who were not looking for controversy.
"They speak so strongly and so steadily about this but when you hear about how vulnerable they were , it's hard to believe they went through this," says ESPN Films Associate Director of Development Libby Geist -- "we were impressed at how well spoken and how smart these were women were, although we should have known that knowing they were writers." She adds that many were hesitant to revisit those times. "They felt they were past it now and wanted to make sure everyone knew they weren't complaining, this is just something that happened."
What happened to Lisa Olson, however, became a cause célèbre and speaks to the threat of sexual violence that was always an undercurrent to this story. Lisa Olson was the 26-year-old reporter for the Boston Herald who spoke up about being sexually harassed in the locker room by players for the New England Patriots. She received threatening phone calls, hate mail and her tires were slashed. Patriot's owner Victor Kiam publicly called her "a classic bitch." An NFL investigation found she had been 'degraded and humiliated' and her case helped create guidelines against harassment of female reporters . The experience was so difficult, however, that Olson left the United States and lived in Australia for several years.
"It was an ugly backlash", says Geist, who reports that Olson has never spoken to her experience but did view the film. "I understand she watched it with friends and a bottle of wine and while she's still emotional about it she was supportive of the way we treated her story.
Nine for IX celebrates the progress women have made in the last 40 years not only in sports but in every human arena and Let Them Wear Towels helps remind us that every single inch forward brings with it colossal resistance. As one of these reporters calmly puts it, " all change is hard, especially when you're giving up power."
Or as Jane Rosenthal says, "look, we just had the first two women admitted to Augusta, we just had a Saudi woman entered into the Olympics -- women are still being held back throughout the world and the only way we can solve this is through education and telling these stories. To have that girl effect be in full effect."


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Hello and Good Morning!
Sorry no post yesterday I wasn't well and didn't feel much like crafting (very unusual lol). I'm now a little behind with the A-Z so I'll hopefully be back again later with U!
Before that I am going to the sheltered housing complex around the corner from us to run a bottle stall at their Christmas Fair. We always have such fun when we go there and Iona loves it too!
Ok, so onto my card for the letter 'T'. This time I have gone for Tatty Teddy. I have used the same layout of an earlier TT Christmas card which I was really happy with, which is on my DoCrafts Gallery (before my blogging days!). This is the first time I've used TT with anything other than pastel colours and I think the rich reds look even better!
I've used a Tatty Teddy glittered topper and sentiment (thanks again Fiona!) and matted and layered them on to deep red card. The papers are ones I picked up in Carole's Crafts, I have no idea which brand they are. You can't see very clearly from the photo but the underneath one has snowflakes on it. I've added some stars die-cut with my X-cut nesting dies using off-white glitter spot card and the same red card I used for the matting and layering. The only other embellishments are some ribbon and pearls.
Hope you all have a fantastic Saturday, catch up with you later on xx


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Hotels in Cam Pha, Vietnam
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Cam Pha overviewBe sure stop by Halong Bay and Quan Lan Island Port while you're here. Cam Pha is an inviting destination that has something for everyone.
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What to see around Cam PhaHere are some top sights to see:
- • Halong Bay
- • Quan Lan Island Port
- • Son Hau Beach
- • Nha Tho Hon Gai Temple
- • Halong Bay Marina
When to visit Cam PhaWondering what time of year to travel, or what clothes to pack? Here are seasonal norms to help you with your planning:
Seasonal temperature averages
- January-March: 78°F day, 51°F night
- April-June: 90°F day, 65°F night
- July-September: 91°F day, 70°F night
- October-December: 86°F day, 52°F night
- January-March: 9.37 inches
- April-June: 21.18 inches
- July-September: 27.36 inches
- October-December: 7.32 inches