text:
Plains Cree Information
Table of Contents ⇨
|Plains Cree
|ᓀᐦᐃᔭᐍᐏᐣ nēhiyawēwin
|Native to
|Canada, United States
|Manitoba, Saskatchewan, Alberta, Montana
|53,000 (no date) [1]
Native speakers
|(34,000 cited 1982) [2]
|Official status
Official language in
|Northwest Territories ( Canada), as "Cree" [3]
|Language codes
Plains Cree ( endonym: ᓀᐦᐃᔭᐍᐏᐣ nēhiyawēwin) is a dialect of the Algonquian language, Cree, which is the most populous Canadian indigenous language. Plains Cree is considered a dialect of the Cree-Montagnais language or a dialect of the Cree language that is distinct from the Montagnais language. Plains Cree is one of five main dialects of Cree in this second sense, along with Woods Cree, Swampy Cree, Moose Cree, and Atikamekw. Although no single dialect of Cree is favored over another, Plains Cree is the one that is the most widely used. Out of the 116,500 thousand speakers of the Cree language, the Plains Cree dialect is spoken by about 34,000 people[ citation needed] primarily in Saskatchewan and Alberta but also in Manitoba and Montana.
The number of people who can speak an Aboriginal language, such as Plains Cree, has increased. For example, in the 2016 census, 263,840 people could speak an Aboriginal language well enough to conduct a conversation. From 1996 to 2016, the total number of people who were able to speak an Aboriginal language went up by 8%. The number of Plains Cree speakers similarly has increased along with population increases over the past 20 years. [6]
- 1 Phonology
- 2 Morphology
- 3 Syntax
- 4 Vocabulary
- 5 Writing systems
- 6 References
- 7 Bibliography
- 8 External links
The consonant inventory of Plains Cree contains 10 or 11 sounds. [7] [8] [9] This includes the semi-vowels /w/ and /j/, which are glides that act like and often follow consonants.
The consonants of Plains Cree in the two standard writing systems, Cree syllabics and the Cree Latin alphabet, are listed in the following table (with IPA phonemic notation within slashes). Note that the Cree syllabics symbols chosen for this table all represent syllable codas, as in ᐁᐤ ēw, ᐁᑊ ēp, ᐁᐟ ēt, etc. The consonants are represented differently when they comprise or are a component of a syllable onset, as in ᐍ wē, ᐯ pē, ᐻ pwē, ᑌ tē, etc. The exception is ᐦ h, which always has the same representation, as in ᐁᐦ ēh or ᐦᐁ hē.
|ᑊ p /p/
|ᐟ t /t/
|ᐠ k /k/
|ᐨ c /t͡s/
|ᒼ m /m/
|ᐣ n /n/
|ᐢ s /s/
|ᐦ h /h/
|ᐤ w /w/
|ᐩ (ᐝ) y /j/
The status of the glottal stop, /ʔ/, as a phoneme in Plains Cree is uncertain. It was recorded in the word ēhaʔ "yes" (transcribed ähaʔ) by Leonard Bloomfield, who stated that the sound occurred only in this word. [9] In a collaborative online dictionary, Cree speakers have contributed several variants of this word, including ᐁᐦᐊ ēha (written eha and êha), ᐁᐦᐁ ēhē (written êhê), and ᐄᐦᐃ īhi (written îhi). [10] None of these forms includes a final glottal stop. However, there is no way of writing a glottal stop in the standard Latin alphabet or in Cree syllabics. Wolfart's grammar [8] contains a text sample which includes this word without a glottal stop, and in his synopsis of Plains Cree sounds no mention of this sound is made. The same word also occurs in Michif, a language derived in part from Plains Cree. There it appears with a final consonant (and nasalized vowels), as aenhenk "yes". [11]
There is a degree of variation in the sounds ᐨ c /t͡s/ and ᐢ s /s/. On the Sweetgrass Reserve in Saskatchewan in 1925, ᐨ c /t͡s/ was either alveolar [t͡s] or palatoalveolar [t͡ʃ], but ᐢ s /s/ was normally alveolar [s], and only abnormally palatoalveolar [ʃ]. [9] In contrast to this, Michif words of Plains Cree origin at Turtle Mountain, North Dakota, invariably have palatoalveolar pronunciation for both of these sounds. [11]
Voicing of the stops and the affricate is not contrastive in Plain Cree, which is to say that the phonemes ᑊ p /p/, ᐟ t /t/, ᐠ k /k/, ᐨ c /t͡s/ have voiceless allophones [p], [t], [k], [t͡s, t͡ʃ] and voiced allophones [b], [d], [ɡ], [d͡z, d͡ʒ]. According to Wolfart and Carroll, [7] the distribution of voiceless and voiced allophones is complementary: voiceless allophones occur in unvoiced phonological contexts; voiced allophones occur in voiced contexts. The context limit is word boundary, not phrase boundary. So voiceless variants occur at the beginning of a word, at the end of a word, and after ᐦ h /h/ or ᐢ s /s/. The voiced variants occur in all other situations. However, other distributions of voiceless versus voiced sounds are possible. Bloomfield reported the same voicing pattern as a possibility for the phoneme ᐠ k /k/, but did not mentioned it for ᑊ p /p/, ᐟ t /t/, or ᐨ c /t͡s/. [9] The Plains Cree component of Michif shows a different pattern with respect to voicing. [11] Plains Cree ᑊ p /p/, ᐟ t /t/, ᐠ k /k/, ᐨ c /t͡s/, and also ᐢ s /s/ normally correspond to the Michif sounds p /p/, t /t/, k /k/, ch /t͡ʃ/, and sh /ʃ/, which in Michif do not have voiced allophones. Michif has voiced sounds b /b/, d /d/, g /ɡ/, j /d͡ʒ/, and zh /ʒ/ which are distinct phonemes, and in some cases the Plains Cree sounds correspond to these. These cases all involve syncope of vowel i /i/ that results in a cluster of nasal consonant plus stop, affricate or sibilant. At the beginning of a word, the nasal consonant is subsequently lost. Unlike the stops and the affricate, sh /ʃ/ becomes voiced only at the beginning of a word.
|Plains Cree proper
|Plains Cree words in Michif
|"in the mean time"
|ᒣᒁᐨ mēkwāc [meːɡwɑːt͡s, meːkwɑːt͡s]
|maykwawt, maenkwawt [mẽːkwɑːt]
|ᐱᒥᐸᐦᑖ pimipahtā [pɪmɪbahtɑː, pɪmɪpahtɑː]
|pimbahtaw, pimbastaw [pɪmbahtɑː, pɪmbastɑː]
|ᑖᓂᓯ tānisi [tɑːnɪsɪ, tɑːnɪʃɪ]
|tawnshi [tɑ̃ːʃɪ]
|"he/she is loved"
|ᓵᑭᐦᐋᐤ sākihāw [sɑːɡɪhɑːw, sɑːkɪhɑːw]
|shawkihow [ʃɑːkɪhɑːw]
|"I love him/her"
|ᓂᓵᑭᐦᐋᐤ nisākihāw [nɪsɑːɡɪhɑːw, nɪsɑːkɪhɑːw]
|zhawkihow [ʒɑːkɪhɑːw]
Plains Cree has pre-aspirated stops and a pre-aspirated affricate which are actually clusters of /h/ plus a following stop or affricate; these are not separate phonemes. Pre-aspiration can uniquely distinguish words. For example, compare the simple ᐠ k and cluster ᕽ hk in ᐑᒋᐦᐃᐠ wīcihik "help me!" and ᐑᒋᐦᐃᕽ wīcihihk "help him!". [7]
Plains Cree is often described as having seven contrastive vowels, three short and four long. [7] [8] [12] [9] However, northern Plains Cree has only three long vowels. [7]
These vowels in the standard writing systems are listed in the following table (with IPA phonemic notation within slashes). Note that the Cree syllabics symbols chosen for this table all represent syllable nuclei which have no syllable onset. The vowels are represented differently with non-null onset, as for example with n-onset in ᓀ nē, ᓂ ni, ᓃ nī, etc.
|High (close)
|ᐃ i /i/
|ᐅ o /u/
|ᐄ ī /iː/
|ᐆ ō /oː/
|ᐁ ē /eː/
|ᐊ a /a/
|Low (open)
|ᐋ ā /aː/
A distinction not indicated in the table is between back rounded and back unrounded. The back vowels ᐅ o and ᐆ ō are rounded, whereas the sometimes back vowels ᐊ a and ᐋ ā are not.
Within these phonemes there is a degree of allophonic variation. [9] The short close vowels ᐃ i /i/ and ᐅ o /u/ are typically near close [ɪ] and [ʊ], but range to close [i] and [u]. The short open vowel ᐊ a /a/ is typically open, ranging from front [a] to back [ɑ], but its range extends to front open-mid [ɛ] and back open-mid [ʌ]. The long front close vowel ᐄ ī /iː/ is [iː]; ᐁ ē /eː/ is close-mid [eː]; ᐆ ō /oː/ is typically close-mid [oː] but its range includes close [uː]; and ᐋ ā /aː/ ranges from front open [aː] to back open [ɑː].
The description of ᐁ ē /eː/ must be further qualified to account for geographic variation. Although this sound is [eː] in southern Plains Cree, it becomes closer farther north, becoming [iː] and merging with /iː/ in northern Plains Cree, [7] as it has done also in neighbouring Woods Cree. [13]
Contrast in vowel length can be seen in such pairs as ᓴᑲᐦᐃᑲᐣ sakahikan "nail" and ᓵᑲᐦᐃᑲᐣ sākahikan "lake" or ᓂᐱᐩ nipiy "water" and ᓃᐱᐩ nīpiy "leaf". [7]
Phonological processes
Consonant sequences
The vowel /i/ is inserted when morphemes with non-syllabic endings are followed by morpheme-initial consonants, such as when the transitive animate conjunct ending -at is followed by the third person plural marker -k. The result is not atk but rather acik. Note the palatalization of the /t-i/ sequence. This insertion does not occur before semivowels such as /w/ or in certain specific combinations. Because Plains Cree does not accept the phonological sequence /ww/, however, one /w/ is dropped. When the morpheme /ahkw/, a marker for the inclusive plural in the conjunct order, is followed by /waːw/, the third person plural marker, the word is realized as /ahkwaːw/. [8]
Vowel sequences
The glide /j/ is inserted between two long vowels, which is why the combination of kīsikā "be day" and āpan "be dawn" forms kīsikāyāpan "it is day-break". Also, the combination of a long vowel and a short vowel deletes the short vowel. Therefore, nīpā "in the dark" and ohtē "walk" form nīpāhtēw "he walks in the dark". This deletion is true whether the short vowel occurs before or after the long vowel. When two short vowels occur in sequence, however, it is the second that deletes. For instance, the stem ositiyi "his foot/feet" combines with the locative suffix /ehk/ to produce ositiyihk "on his foot/feet". Normal patterns of vowel combination and deletion, however, are set aside during prefixation, a process in which a [t] is inserted between vowels when the personal prefixes ki-, ni-, o-, and mi- precede a stem-initial vowel. As a result, when the personal prefix for "I" ni- is affixed to the stem for "sit" apin, the word is realized as nitapin instead of nipin. In isolated cases, /h/ or /w/ is sometimes inserted instead of [t], such as the word nihayān "I have it". [8]
Palatalization of the sounds /θ/ and /t/ to /s/ and /t͡s/ respectively occurs before the vowels /i/ and /iː/ as well as the consonant /j/. For example, the stem /naːθ/ "fetch" becomes kināsin "you fetch me" before the ending /in/ and kinātitin "I fetch you" where it is not palatalized before the ending /etin/. This pattern includes several important exceptions, including that of the stem wāt- "hole". Before the inanimate proximate singular suffix /i/, one would expect the /t/ to become either /s/ or /t͡s/ but it does not. Palatalization is also found in diminutives, where all instances of /t/ in a word are replaced by [c] before the diminutive suffixes /es/, /esis/, etc. Thus, nitēm "my horse" would become nicēmisis "my little horse" and atimw- /aθemw/ "dog" would realize as acimosis "little dog". Palatalization to indicate diminution extends even to internal changes within the stem. This is why the statement yōtin "it is windy" can change to yōcin to say that "it is a little windy". [8]
Word-final short vowels tend to be subject to apocope except for when the stem is syllabic. That is, the word /sīsīp-a/ would become sīsīp "duck" but /nisk-a/ remains niska "goose" because the stem is composed of only a single syllable. Similarly, post-consonantal word-final /w/ is lost. In the case of the Plains Cree word for "dog" /atimwa/, the /w/ is only lost after the short vowel /a/ is dropped when the plural suffix -k is added. Thus, the word is realized atim while its plural form is atimwak. [8]
Surface variations
In normal, everyday spoken Plains Cree, several phonological contractions are observed. For instance, final vowels can merge with the initial vowel of the following word. This is how the phrase nāpēw mīna atim is reduced to nāpēw mīn ātim "a man and a dog". In this case, the contraction involved the same vowel; the first vowel is taken and included in the second word in its long form. When the contraction involves different vowels, the first vowel is deleted and the second is lengthened: nāpēw mīna iskwēw "a man and a woman" is reduced to nāpēw mīn īskwēw. Contraction does not always occur, and the word boundary may also be distinguished by the insertion of the /h/ sound: mīna iskwēw and mīna(h) iskwēw respectively. Within words, short vowels may also disappear when they are unstressed, especially between [s] and [t] or [n] and [s]. In normal speech, for example, the greeting tānisi "hello" is reduced to tānsi. [7]
Syllable structure and stress
The stress pattern of Plains Cree is dependent on the number of syllables rather than on vowel length. For instance, in disyllabic words, it is the last syllable that receives primary stressed, as in the word /is'kwe:w/ iskwēw "woman" or /mih'ti/ mihti "piece of firewood". Words of three syllables or more exhibit primary stress on the third syllable from the end. In this case, secondary stress falls on alternate syllables from the antepenult. One may observe, for instance, that the word pasakwāpisimowin "Shut-Eye Dance" is pronounced /'pasa'kwa:pi'simo'win/. This rule holds even in cases where the penultimate syllable is long.
The syllable itself consists of an optional onset, a peak obligatory vowel and an optional coda. The onset can be non-syllabic or a consonant, sometimes followed by a w. Although any vowel can occur in any position in the word, the long vowels /iː/, /eː/, and /oː/ are found only rarely in initial and final positions. Plains Cree does not permit vowel clusters; clusters of identical non-syllabics; or fricatives followed by a fricative, nasal, or y. The coda, when it occurs, is either [s] or [h] but many Plains Cree words end in a vowel. [14]
The following table describes the phonotactics of Plains Cree by the distribution of consonants and semivowels with relation to the obligatory vowel. Parentheses indicate optional components. [14]
|Word-initial (#_V)
|Word-medial (V_V)
|Word-final (V_#)
Plains Cree is classified as a polysynthetic fusional language as a result of the complexity of its affix combinations. Apart from four personal prefixes, Plains Cree utilizes suffixes exclusively. [14]
Because almost all grammatical information is stored within the verb, nouns in Plains Cree are relatively simple. Nouns can be marked with possessive prefixes, which are paired with suffixes for plural possessive pronouns like that for our (excl.) ni(t)-...-inān. Nominal morphology, like the language in general, is nevertheless dominated by suffixes. This includes the diminutive suffix, plural number suffixes -ak and -a, and the locative suffix -ihk. These forms each have predictable allomorphs. Additional suffixes include those to mark obviation. [7] [7] [15]
- Personal Prefixes (excl. third persons)
|First Person
|/ki(t)-...-inaw/ (incl.)
/ni(t)-...-ina:n/ (excl.)
|Second Person
|Third Person
|/o(t)-/ (prox.)
/o(t)-...iyiw/ (obv.)
Position classes
Bakker (2006) provides several position class templates for the morphemes in the verbs of Plains Cree, the following of which is the most derived.
- Preverbs
- A – Person [or conjunct]
- B – Tense
- C – Mood
- D – Aspect 1
- E – Aspect 2
- F – Aspect 3
- G – Aktionsart (Lexical Aspect)
- Stem
- Suffixes
- I – Possessed object (Obviation)
- II – Direction/Theme
- III – Valency
- IV – Voice
- V – Possessed subject (Obviation)
- VI – Person
- VII – Plural
- VIII – Conditional
Bakker (2006) observes that this model does contain contradictions relating to the ordering of preverbs and that this is likely due to the multiple functions of some preverbs. That is, identical forms with distinct meanings can occur at different positions in the verb complex. [15]
Wolfart (1973b) identifies two preverb position classes, position 1 and 2. The preverbs of position 1 are few and mutually exclusive while those of position 2 make up an open class of particles, of which several may occur in succession. The preverbs of position 1 include subordinating particles like /e:/ or /ka:/ and the preverbs /ka/ and /kita/, which indicate subsequence or futurity. Position 2 preverbs are arranged semantically along a scale from abstract to concrete. Abstract preverbs include /a:ta/ "although, in vain", in ē-āta-kitōtāt "although he spoke to him", and /wi:/ "will, intend to", as in wī-mēscihāwak "they will all be killed". An example of a concrete preverb can be found in /ka:mwa:ci/ "quietly", in kī-kāmwāci-pimātisiwak , or /ne:wo/ "four" in ē-kī-nēwo-tipiskāyik "when the fourth night passed". [8] Bakker (2006) classes tense as a position 1 preverb but the following mood as both a position 1 and position 2 preverb. Aspect 1 and the Aktionsart are also classified as position 2 preverbs. The difference between Aspect 2 and 3 seems to be that of length, with 2 being durative and 3 being iterative. [15]
Two types of reduplication occur to verbs and particle roots to denote continuity, repetition or intensity. The first type changes the stem during the process and is not predictable, common, or productive. For example, the root pim- "along" becomes papām- "about". The productive type of reduplication places the reduplicated syllable in front of the root. The reduplicated syllable is formed from the first consonant of the word and an /aː/. The final form looks like /kaːkiːpa/ "over and over". In words beginning with a vowel, the reduplication is marked by /ay-/, as evidenced by the word /ayaːtotam/ "he tells it over and over". [8]
Word order
The basic transitive sentence is of the form SVO, such as awāsisak nipahēwak sīsīpa "the children killed some ducks", but the other forms (SOV, VSO, VOS, OVS, and OSV) are also possible. Subject and object noun phrases both may be omitted. Thus "the children killed some ducks" may also be expressed nipahēwak sīsīpa "they killed some ducks", awāsisak nipahēwak "the children killed them" or nipahēwak "they killed them". [14]
It is uncommon in conversation for the subject and object of a verb to be realized by full noun phrases. Most often, the highly marked parallel noun phrases are used to indicate emphasis. In narration, sentences with full parallel noun phrases often mark the beginning or end of discourse, indicate peripeteia in narrative, or introduce new information. Sentences of the OSV form with two full nouns occur extremely infrequently. [14]
Direction and obviation
Direction, or the semantic designation of the actor-goal relationship, is morphologically expressed through theme signs that also show agreement between the verb and its nominal complements. In Plains Cree, direction is dependent on person hierarchy, or the order of person-marking morphemes in the verb. The person hierarchy in Plains Cree is: 2 > 1 > 3 > 3'. Note that 3' refers to the obviative third person. Derivational suffixes mark whether the semantic roles of persons follow this person hierarchy or invert it, called direct or inverse form respectively. The following examples place the second person marker first linearly but the direct and inverse suffixes change the semantic roles. The direct marker /-i-/ in the sentence ki-wāpam-i-n indicates that it should be read "you see me". The reading is reversed to "I see you" in the sentence ki-wāpam-iti-n because of the inverse marker /-iti-/. [15] Compare the difference in meaning between the two directions in the following tables. [8]
- Direct Set
|Plains Cree
|you feed me
|I feed him
|He feeds him
|He feeds him
- Inverse Set
|Plains Cree
|I feed you
|He feeds me
|He feeds him
|He feeds him
Note that the situation is made more complicated when both referents are third persons because Plains Cree implements obviation. For example, we have the sentence sēkihēw nāpēw atimwa. The verb sēkihēw "scare" contains the direct-set marker /-e:w-/, indicating that the proximate third person is acting on the obviative. The noun nāpēw "man" is marked as proximate through the absence of a suffix while the noun atimwa "dog" contains the obviative suffix /-wa/. Thus the sentence reads "the man scares the dog", with special emphasis on the proximate "man". This is contrasted by the sentence sēkihik nāpēw atimwa, where the markers for obviation are the same but the direction marker is now the inverse-set /-ik/ representing action of the obviative third person on the proximate third. Therefore, the sentence becomes "the dog scares the man" and the emphasis still lies with the proximate "man". Of course, the sentence may require that the dog atim be the proximate noun, in which case the sentence would be either sēkihēw nāpēwa atim "the dog (3) scares(3-(3')) the man (3')" or sēkihik nāpēwa atim "the man (3') scares ((3')-3) the dog (3)". Direction and obviation are not versions of the passive, which is formed separately in Plains Cree. [8]
Locative suffix
Because Plains Cree does not have a true case marking system, it has to instead rely on direction, obviation, and the locative suffix. This suffix, /ehk/ or its variant /ena:hk/, has the basic meanings of at, in, on, etc. The simple locative suffix /ehk/ can be used with stems or possessed themes, such as the stem skāt "leg". The personal pronoun /ni-/ can be added to the stem to make niskāt "my leg" and the addition of the plural suffix /-a/ makes niskāta "my legs". On top of these changes, the simple locative suffix is affixed to produce niskātihk "on my leg(s)". The distributive locative suffix /ena:hk/ is used with nouns that reference humans or animals. In this way, ayīsiyiniw- "human being" becomes ayīsiyinināk "among humans" or "in this world". Similarly, the noun sāsīw "Sarci Indian" changes to "at Sarci Reserve" sāsīnāhk. [8]
Noun incorporation
According to Denny (1978), Wolfart identifies intransitive verbs with transitive stems as clear examples of noun incorporation because they can be reworded with the medial replaced by independent nouns. The example nōcihiskwēwēw "he chases women" is given to illustrate the inclusion of the noun woman iskwēw within the verb complex, which can be paraphrased as iskwēwa nōcihēw "he pursues a woman". Denny (1978) contends that these sentences have an importance semantic difference in that the meaning of the incorporative form is narrower and denotes habitual action. He argues that the medial, or noun classifier, has taken on an adverbial meaning in this context. This is illustrated in the Plains Cree sentence wanihastimwēw "he loses his horse" or, literally, "he horse-loses". [16]
Plains Cree is one of several dialects of Cree-Montagnais. The following tables show words in Plains Cree and corresponding words in a selection of other Cree dialects. A number of similarities and some differences can be seen. In some cases the differences are only in orthography. Plains Cree has some regular sound correspondences with other Cree-Montagnais dialects, and in some cases the differences between Plains Cree and other dialects exemplify these regular correspondences. Note that in terms of linguistic classification, the East Cree dialect which appears in these tables is a dialect of Montagnais.
In the following table, each noun is given in its singular form. All forms are either specifically proximate, or can be either proximate or obviate. If a noun is possessed, the possessor is first person singular.
|Plains Cree
|Woods Cree
|Swampy Cree, eastern
|East Cree, southern inland
|ᒌᑲᐦᐃᑲᐣ cīkahikan
|ᒉᑲᐦᐃᑲᐣ cīkahikan
|ᒌᑲᐦᐃᑲᐣ cīkahikan
|ᐅᓯᑖᔅᒄ usitaaskw
|ᒪᐢᑿ maskwa
|ᒪᐢᑿ maskwa
|ᒪᐢᑾ (western ᒪᐢᑿ) maskwa
|ᒪᔅᒄ maskw (but also ᒋᔐᔮᒄ chisheyaakw, ᑳᑰᔥ kaakuush)
|ᒪᓯᓇᐦᐃᑲᐣ masinahikan
|ᒪᓯᓇᐦᐃᑲᐣ masinahikan
|ᒪᓯᓇᐦᐃᑲᐣ masinahikan
|ᒪᓯᓇᐦᐄᑲᓂᔥ masinahiikan
|ᓭᐦᑫᐤ sēhkēw
|ᐅᑖᐹᓈᐢᐠ otāpānāsk
|ᐅᑖᐹᓐ utaapaan
|ᐲᓯᒧᐦᑳᐣ pīsimohkān
|ᐯᓯᒧᐦᑳᐣ pīsimohkān
|ᐲᓯᒧᐦᑳᓐ piisimuhkaan
|ᐊᑎᒼ atim
|ᐊᑎᒼ atim
|ᐊᑎᒼ atim
|ᐊᑎᒽ atimw
|ᐃᐢᑯᑌᐤ iskotēw
|ᐃᐢᑯᑌᐤ iskotīw
|ᐃᐡᑯᑌᐤ iškotew
|ᐃᔥᑯᑌᐤ ishkuteu
|ᑭᓄᓭᐤ kinosēw
|ᑭᓄᓭᐤ kinosīw
|ᓇᒣᔅ names
|ᐹᐢᑭᓯᑲᐣ pāskisikan
|ᐹᐢᑭᓯᑲᐣ pāskisikan
|ᐹᐢᑭᓯᑲᐣ pāskisikan
|ᐹᔅᒋᓯᑲᓐ paaschisikan
|ᒥᐢᑕᑎᒼ mistatim
|ᒥᐢᑕᑎᒼ mistatim, ᒥᓴᑎᒼ misatim
|(western ᒥᓴᑎᒼ misatim)
|ᑳᐸᓚᑯᔥᑴᐤ kaapalakushkweu, ᐊᐦᐋᔅ ahâs
|ᐋᐦᑯᓰᐏᑲᒥᐠ āhkosīwikamik
|ᐋᐦᑯᓭᐏᑲᒥᐠ āhkosīwikamik
|ᐋᐦᑯᓰᐎᑲᒥᐠ āhkosīwikamik
|ᐋᐦᑯᓰᐅᑲᒥᒄ aahkusiiukamikw
|ᒨᐦᑯᒫᐣ mōhkomān
|ᒧᐦᑯᒫᐣ mohkomān
|ᒨᐦᑯᒫᐣ mōhkomān
|ᒨᐦᑯᒫᓐ muuhkomaan
|"man (male adult)"
|ᓈᐯᐤ nāpēw
|ᓈᐯᐤ nāpīw
|ᓈᐯᐤ nāpew
|ᓈᐯᐤ naapeu
|ᓲᓂᔮᐤ sōniyāw
|ᔔᓂᔮᐤ šōniyāw
|ᔔᓕᔮᐤ shuuliyaau
|ᒨᔁ mōswa
|ᒨᔁ mōswa
|ᒨᐢ mōs (western ᒨᔁ mōswa)
|ᒨᔅ muus
|"my father"
|ᓅᐦᑖᐏᕀ (ᓅᐦᑖᐃ᛬) nōhtāwiy, ᓂᐹᐹ nipāpā
|ᓂᐹᐹ nipāpā, ᓄᐦᑖᐏᕀ nōhtāwiy
|ᓅᐦᑖᐎᕀ (western ᓅᐦᑖᐏᕀ) nōhtāwiy
|ᓅᐦᑖᐐ nuuhtaawii
|"my mother"
|ᓂᑳᐏᕀ (ᓂᑳᐃ᛬) nikāwiy, ᓂᐹᐹ nimāmā
|ᓂᒫᒫ nimāmā, ᓂᑳᐏᕀ nikāwiy
|(western ᓂᑳᐏᕀ nikāwiy)
|ᓂᑳᐐ nikaawii
|"my older brother"
|ᓂᐢᑌᐢ nistēs
|ᓂᐢᑌᐢ nistīs
|ᓂᐢᑌᐢ nistes (western nistēs)
|ᓂᔅᑌᔅ nistes
|"my older sister"
|ᓂᒥᐢ nimis
|ᓂᒥᐢ nimis
|ᓂᒥᐢ nimis (also western)
|ᓂᒥᔅ nimis
|"my younger brother/sister"
|ᓂᓰᒥᐢ nisīmis
|ᓂᓭᒥᐢ nisīmis
|(western ᓂᓰᒥᐢ nisīmis)
|ᓂᔒᒻ nishiim
|ᒪᐢᑭᓯᐣ maskisin
|ᒪᐢᑭᓯᐣ maskisin
|ᒪᐢᑭᓯᐣ maskisin
|ᒪᔅᒋᓯᓐ maschisin
|ᓲᑳᐤ sōkāw, ᓰᐏᓂᑲᐣ sīwinikan
|ᓲᑳᐤ sōkāw
|ᔔᑳᐤ shuukaau
|ᐆᑌᓈᐤ ōtēnāw
|ᐃᐦᑖᐎᐣ ihtāwin
|ᐃᐦᑖᐎᓐ ihtaawin, ᐅᑌᓇᐤ utenau
|ᒥᐢᑎᐠ mistik
|ᒥᐢᑎᐠ mistik
|ᒥᐢᑎᐠ mistik
|ᒥᔥᑎᒄ mishtikw
|ᐃᐢᑵᐤ iskwēw
|ᐃᐢᑵᐤ iskwīw
|ᐃᐢᑶᐤ iskwew
|ᐃᔅᑶᐤ iskweu
In the following table, each verb is given with a third person singular subject, and if a verb is transitive, with a third person object or objects (primary and secondary). The pronouns used in the English translations are imprecise due to an imprecise correspondence of Cree categories with English categories. "He/she" in a subject and "him/her" in an object refer to Cree animate gender even when "it" might be a better English translation. So for example the verb "he/she kills him/her/them", might describe a bear killing a moose, in which case "it kills it" would be a better English translation. In the table, "it" in a subject or an object refers to Cree inanimate gender. The presence of "they" or "them" indicates that the subject or object could be either singular or plural. And finally, the designation "him/her/it/them" indicates that the object could be either animate or inanimate and either singular or plural.
|Plains Cree
|Woods Cree
|Swampy Cree, eastern
|East Cree, southern inland
|"he/she arrives"
|ᑕᑯᓯᐣ takosin
|ᑕᑯᔑᐣ takošin
|ᑕᑯᔑᓐ takushin
|"he/she can see enough of it/them"
|ᑌᐹᐸᐦᑕᒼ tēpāpahtam
|ᑌᐹᐸᐦᑕᒼ tepāpahtam
|ᑌᐹᐸᐦᑕᒻ tepaapahtam
|"he/she coughs"
|ᐅᐢᑐᐢᑐᑕᒼ ostostotam
|ᐅᐢᑐᐢᑐᑕᒼ ostostotam
|ᐅᔥᑐᑕᒻ ushtutam
|"he/she dies, ceases to live"
|ᓂᐱᐤ nipiw, ᐴᓂᐱᒫᑎᓯᐤ pōnipimātisiw
|ᓂᐱᐤ nipiw
|ᐴᓂᐱᒫᑎᓰᐤ puunipimaatisiiu
|"he/she embarks"
|ᐴᓯᐤ pōsiw
|ᐴᓯᐤ pōsiw
|ᐴᓲ puusuu
|"he/she gives him/her/it/them to him/her/them"
|ᒥᔦᐤ miyēw
|ᒣᖧᐤ mīthīw
|ᒦᓀᐤ mīnew
|ᒦᔦᐤ miiyeu
|"he/she is sleeping"
|ᓂᐹᐤ nipāw
|ᓂᐹᐤ nipāw
|ᓂᐹᐤ nipaau
|"he/she kills him/her/them"
|ᓂᐸᐦᐁᐤ nipahēw
|ᓂᐸᐦᐁᐤ nipahew
|ᓂᐸᐦᐁᐤ nipaheu
|"he/she knows him/her/them"
|ᑭᐢᑫᔨᒣᐤ kiskēyimēw
|ᑭᐢᑫᓂᒣᐤ kiskenimew
|ᒋᔅᒉᔨᒣᐤ chischeyimeu
|"he/she laughs"
|ᐹᐦᐱᐤ pāhpiw
|ᐹᐦᐱᐤ pāhpiw
|ᐹᐦᐱᐤ pāhpiw
|ᐹᐦᐴ paahpuu
|"he/she lives"
|ᐱᒫᑎᓯᐤ pimātisiw
|ᐱᒫᑎᓯᐤ pimātisiw
|ᐱᒫᑎᓰᐤ pimaatisiiu
|"he/she plays"
|ᒣᑕᐍᐤ mētawēw
|ᒣᑕᐍᐤ mītawīw
|ᒣᑕᐌᐤ metaweu
|"he/she sees him/her/them"
|ᐚᐸᒣᐤ wāpamēw
|ᐚᐸᒣᐤ wāpamīw
|ᐙᐸᒣᐤ wāpamew
|ᐙᐸᒣᐤ waapameu
|"he/she sees it/them"
|ᐚᐸᐦᑕᒼ wāpahtam
|ᐚᐸᐦᑕᒼ wāpahtam
|ᐙᐸᐦᑕᒼ wāpahtam
|ᐙᐸᐦᑕᒼ waapahtam
|"he/she shoots him/her/them"
|ᐹᐢᑭᓷᐤ pāskiswēw
|ᐹᐢᑭᓷᐤ pāskiswīw
|ᐹᔅᒋᓷᐤ paaschisweu
|"he/she shoots it/them"
|ᐹᐢᑭᓴᒼ pāskisam
|ᐹᐢᑭᓴᒼ pāskisam
|ᐹᔅᒋᓴᒻ paaschisam
|"he/she shoots"
|ᐹᐢᑭᓯᑫᐤ pāskisikew
|ᐹᐢᑭᓯᑫᐤ pāskisikew
|ᐹᔅᒋᓯᒉᐤ paaschisicheu
|"he/she walks"
|ᐱᒧᐦᑌᐤ pimohtēw
|ᐱᒧᐦᑌᐤ pimohtīw
|ᐱᒧᐦᑌᐤ pimohtew
|ᐱᒧᐦᑌᐤ pimuhteu
|"he/she works"
|ᐊᑐᐢᑫᐤ atoskēw
|ᐊᑐᐢᑫᐤ atoskīw
|ᐊᑐᐢᑫᐤ atoskew
|ᐊᑐᔅᒉᐤ atuscheu
|"it is big"
|ᒥᓵᐤ misāw
|ᒥᔖᐤ mišāw
|ᒥᔖᐤ mishaau
|"it is nice"
|ᒥᔼᓯᐣ miywāsin
|ᒥᓍᔑᐣ minwāšin
|ᒥᔻᔔ miywaashuu
|"it is raining"
|ᑭᒧᐘᐣ kimowan
|ᑭᒧᐘᐣ kimowan
|ᑭᒧᐗᐣ kimowan
|ᒋᒧᐎᓐ chimuwin
|"it is snowing"
|ᒥᐢᐳᐣ mispon
|ᒥᐢᐳᐣ mispon
|ᒥᐢᐳᐣ mispon
|ᒥᔅᐳᓐ mispun
|"it is windy"
|ᔫᑎᐣ yōtin
|ᖫᑎᐣ thōtin
|ᓅᑎᐣ nōtin
|ᔫᑎᓐ yuutin
|"it tastes good"
|ᒥᔪᐢᐸᑿᐣ miyospakwan
|ᒥᓄᐢᐸᑾᐣ minospakwan
|ᒥᔪᔅᐳᑯᓐ miyuspukun
|Plains Cree
|Woods Cree
|Swampy Cree, western
|East Cree, southern inland
|"in the morning"
|ᑫᑭᓭᑊ kēkisēp, ᑮᑭᓭᑊ kīkisēp
|(eastern ᑫᑭᔐᑊ kekišep)
|ᒉᒋᔐᑉ chechishep
|ᐘᔭᐑᑎᒥᕽ wayawītimihk
|ᐘᖬᐍᑎᒥᕽ wathawītimihk
|(eastern ᐗᓇᐐᑎᒥᕽ wanawītimihk)
|ᐐᐐᑎᒥᐦᒡ wiiwiitimihch
|ᐯᔭᐠ pēyak
|ᐯᔭᐠ pīyak
|ᐯᔭᐠ pēyak (eastern peyak)
|ᐯᔭᒄ peyakw
|ᓃᓱ nīso
|ᓀᓱ nīso
|ᓃᓱ nīso (eastern ᓃᔓ nīšo)
|ᓃᔓ niishu
|ᓂᐢᑐ nisto
|ᓂᐢᑐ nisto
|ᓂᐢᑐ nisto
|ᓂᔥᑐ nishtu
|ᓀᐓ nēwo
|ᓀᔪ nīyo
|ᓀᐓ nēwo
|ᓀᐅ neu
|ᓂᔮᓇᐣ niyānan
|ᓂᔮᓇᐣ niyānan
|ᓂᔮᓇᐣ niyānan
|ᓂᔮᔨᓐ niyaayin
|ᓂᑯᑤᓯᐠ nikotwāsik
|ᓂᑯᑤᓯᐠ nikotwāsik
|ᓂᑯᑤᓯᐠ nikotwāsik
|ᓂᑯᑣᔥᒡ nikutwaashch
|ᑌᐸᑯᐦᑊ tēpakohp
|ᑌᐸᑯᐦᑊ tīpakohp
|ᑌᐸᑯᐦᑊ tēpakohp
|ᓃᔣᔥᒡ niishwaashch
|ᐊᔨᓈᓀᐤ ayinānēw
|ᐊᔨᓈᓀᐤ ayinānīw
|ᐊᔨᓈᓀᐤ ayinānēw
|ᓂᔮᓈᓀᐤ niyaanaaneu
|ᑫᑲ ᒥᑖᑕᐦᐟ kēka-mitātaht
|ᑫᑲ ᒥᑖᑕᐦᐟ kīka-mitātaht
|ᑫᑲ ᒥᑖᑕᐦᐟ kēka-mitātaht
|ᐯᔭᑯᔥᑌᐤ peyakushteu
|ᒥᑖᑕᐦᐟ mitātaht
|ᒥᑖᑕᐦᐟ mitātaht
|ᒥᑖᑕᐦᐟ mitātaht
|ᒥᑖᐦᑦ mitaaht
Words sources for these tables are: Plains Cree, the Online Cree Dictionary website; [10] Woods Cree, the Gift of Language and Culture website [17] and the Saskatchewan Indian Languages website, [18] western Swampy Cree, the Saskatchewan Indian Languages website; [18] eastern Swampy Cree, Ontario Ministry of Education (2002), [19] and East Cree, the Eastern James Bay Cree Language website. [20] Note that where a table entry is blank, it is because the word was not found in these listed sources; without additional information this should not be interpreted to imply that the word does not exist for the dialect in question.
Writing systems
Two writing systems are used for Plains Cree: Syllabics and Latin script.
Cree Syllabics
Plains Cree follows the western Cree usage of Canadian Aboriginal syllabics. [13] The distinguishing features of western Cree syllabics are the position of the w-dot and the use of western finals. The western w-dot is placed after its syllabic, as in ᒷ mwa (eastern ᒶ mwa). The form of a western final is unrelated to the corresponding syllabic with a-nucleus, whereas an eastern final is like superscript version of the corresponding syllabic with a-nucleus; thus the western final ᐟ t bears no resemblance to ᑕ ta (eastern final ᑦ t), and western final ᒼ m is not like ᒪ ma (eastern final ᒻ m).
Some Plains Cree communities use a final for y which is different from the usual western final. This is a superposed dot ᐝ, instead of the usual ᐩ, as in ᓰᐱᐩ (ᓰᐱᐝ) sīpiy "river". When the dot y-final is placed after a syllabic which has a w-dot, the two dots combine to form a colon-like symbol, as in ᓅᐦᑖᐏᐩ (ᓅᐦᑖᐃ᛬) nōhtāwiy "my father".
Writing style in syllabics can differ with respect to pointing. In the Online Cree Dictionary, examples can be found of words with vowel length not distinguished due to lack of pointing. [10]
Standard Roman Orthography
Plains Cree's Standard Roman Orthography (SRO) uses fourteen letters of the ISO basic Latin alphabet to denote the dialect's ten consonants (p, t, c, k, s, m, n, w, y and h) and seven vowels (a, i, o, ā, ī, ō and ē). Upper case letters are not used. [21]:5
The stops, p, t, k, and the affricate, c, can be pronounced either voiced or unvoiced, but the symbols used for writing these sounds all correspond to the unvoiced pronunciation, e.g. p not b, t not d, etc. The phoneme /t͡s/ is represented by c, as it is in various other languages.
Long vowels are denoted with either a macron, as in ā, or a circumflex, as in â. [13] [21]:4, 7–8 Use of either the macron or circumflex is acceptable, but usage should be consistent within a work. The vowel ē /eː/, used in southern Plains Cree, is always long and the grapheme e is never used (in northern Plains Cree the sound has merged with ī, thus ē isn't used at all). [21]:8
The use of unmarked o and marked ō for the phonemes /u/ and /oː/ emphasizes the relationship that can exist between these two vowels. There are situations where o can be lengthened to ō, as for example in ᓂᑲᒧ! nikamo! "sing (now)!" and ᓂᑲᒨᐦᑲᐣ! nikamōhkan! "sing (later)!".
An acute accent is sometimes used on y for the sake of mutual intelligibility with speakers of Woods Cree and Swampy Cree, where ý would be replaced by ð or n respectively. E.g. kīýa ('you') vs. kīða or kīna. [21]:7
- ^ Plains Cree at Ethnologue (15th ed., 2005)
- ^ Plains Cree at Ethnologue (18th ed., 2015)
- ^ Official Languages of the Northwest Territories Archived 2013-12-06 at the Wayback Machine (map)
- ^ Hammarström, Harald; Forkel, Robert; Haspelmath, Martin, eds. (2017). "Plains Cree". Glottolog 3.0. Jena, Germany: Max Planck Institute for the Science of Human History.
- ^ Poundmaker (c. 1842-86) Encyclopedia of Saskatchewan
- ^ *Stats Canada
- ^ a b c d e f g h i j Wolfart, H. Christoph and Janet F. Carroll. (1973). Meet Cree: A guide to the Cree language. Edmonton: University of Alberta Press.
- ^ a b c d e f g h i j k l Wolfart, H. Christoph. (1973). Plains Cree: a Grammatical Study. American Philosophical Society Transactions n.s. 63, pt. 5. Philadelphia.
- ^ a b c d e f Bloomfield, L. (1934). Plains Cree Texts. New York: AMS Press, 1974 (reprinted). ISBN 0-404-58166-8
- ^ a b c nehiyaw masinahikan / ᓀᐦᐃᔭᐤ ᒪᓯᓇᐦᐃᑲᐣ / Online Cree Dictionary
- ^ a b c Laverdure, P. and I.R. Allard. 1983. The Michif Dictionary: Turtle Mountain Chippewa Cree. Pemmican Publications. Winnipeg.
- ^ Silver, S. and Wick R. Miller. (1997). American Indian Languages: Cultural and social contexts. Tucson: The University of Arizona Press.
- ^ a b c Language Geek: Cree
- ^ a b c d e Wolfart, H. Christoph. 1996. Sketch of Cree, an Algonquian language. In Handbook of North American Indians, ed. by Ives Goddard, Vol. 17: 390-439.
- ^ a b c d Bakker, P. 2006. Algonquian Verb Structure: Plains Cree, in "What's in a Verb", ed. by Grazyna Rowicka and Eithne Carlin.
- ^ Denny, Peter J. 1978. "The Semantic Roles of Medials within Algonquian Verbs". International Journal of American Linguistics 44.2: 153-155.
- ^ Gift of Language and Culture website
- ^ a b Saskatchewan Indian Languages website Archived 2011-09-27 at the Wayback Machine
- ^ Ontario Ministry of Education (2002), Resource Guide, The Ontario Curriculum Grades 1 to 12, Native Languages, A Support Document for the Teaching of Language Patterns, Ojibwe and Cree
- ^ Eastern James Bay Cree Language website
- ^ a b c d Okimāsis, Jean & Wolvengrey, Arok (2008). How to Spell it in Cree (The Standard Roman Orthography). Saskatoon, Saskatchewan: Houghton Boston. ISBN 978-0-9784935-0-9.
- Dahlstrom, Amy. Plains Cree Morphosyntax. Outstanding dissertations in linguistics. New York: Garland Pub, 1991. ISBN 0-8153-0172-3
- Hirose, Tomio. Origins of predicates evidence from Plains Cree. Outstanding dissertations in linguistics. New York: Routledge, 2003. ISBN 0-415-96779-1
- McIlwraith, Naomi Lynne. 2007. "Nitohta anohc. Nakatohke. Now listen. Listen hard: A creative study of Nehiyawewin, the Plains Cree language, and the reasons for its preservation," University of Alberta MA thesis.
- Wolfart, H. Christoph and Freda Ahenakew (1998). The Student's Dictionary of Literary Plains Cree, Based on Contemporary Texts. Algonquian and Iroquoian Linguistics Memoirs 15. Winnipeg: University of Manitoba Linguistics Department. ISBN 0-921064-15-2.
- Wolvengrey, Arok. nēhiýawēwin: itwēwina. Canadian Plains Research Centre. Regina: 2001. ISBN 0-88977-127-8
External links
- Plains Cree – Y dialect
- Bakker, Peter. Algonquian verb structure: Plains Cree in What's in a verb? (LOT Occasional Series 5). Landelijke Onderzoekschool Taalwetenschap (Utrecht: 2006). ISBN 90-76864-94-2 ISBN 978-90-76864-94-5
- OLAC resources in and about the Plains Cree language
- Plains Cree language tools: Morphological and syntactic analysis of running text, latin/syllabic conversion, inflecting dictionary, ICALL language learning program


text:
Religious Life
The cemetery is located at 901 Circus Blvd, Sarasota, Florida 34232
Temple Beth Sholom is the owner of the only Jewish cemetery in the Sarasota-Manatee County area. It was established in 1932 and has served families of our congregation for many years. Jewish non-members of the Sarasota-Manatee community are welcome to be buried in the cemetery as well. The cemetery sits on 8.4 acres and provides a serene and peaceful final resting place.
The cemetery is located on Circus Boulevard, east of Beneva Road and north of Fruitville Road in Sarasota. It is possible to choose from single graves to multiple grave family plots as suits your family planning. Wide roads give lot owners and visitors easy access to all lots. The cemetery's maintenance, beautification and perpetual care are paid for through the sale of plots. Volunteers who operate the cemetery have dedicated themselves to serving the congregation and the community with dignity and compassion.
It is important to look to the future and plan ahead. In the short time between death and burial of a loved one, many family members find themselves rushing to buy a cemetery plot often without a careful thought or a personal visit to the site. That is why it is in the family's best interest to buy plots before you need them. Do not leave the decision to the loved ones.
If you need additional information or are interested in purchasing a plot, please contact Helene Kaufman at (941) 377-4309 or Ben Berman at (941) 355-2469. For directions, please call the Temple Beth Sholom Main Office at (941) 955-8121.
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subset: commoncrawl


text:
Just finished this 28.3g/1oz. tube of First Aid Beauty Face Cleanser so I'm posting a short review for it.
I haven't heard of First Aid Beauty before and this is my first time using their product, so I didn't have any expectation at all. Turns out I like this cleanser quite a bit. It's unscented and doesn't foam much if at all. It cleanses well but is rather mild, rinses clean but doesn't leaving my face and neck area squeaky and stripped of moisture. Yes, I will probably buy a full size with a good promotion in the future.


text:
As busy SEO consultants, our obvious number one priority is delivering results for our clients. We deliver actionable insights, that ultimately help them achieve their business goals. But how do we achieve our goals? More specifically, what tools do we use to help us achieve our business aims? Not from an SEO or marketing perspective, but the behind the scenes, daily running of a business sense.
Networking With The Next Generation
I've been a little bit quiet on the old blog front recently because, to tell you the truth, I've just been swamped with work (which – as Simon Dalley says – is a good problem to have!) but I wanted to tell you about a fabulous event that I attended last week courtesy of Alder Grange School Sixth Form College in Rawthenstall.
As part of their Enterprise Week for Year 10 pupils, and representing GrowTraffic, I was lucky enough to be able to spend a morning with pupils as a business mentor, offering support and advice for their project on Tourism in Rossendale. Not only did I enjoy myself much more than I was expecting to, it was also really heartening to see such enthusiasm and dedication from all the students involved. Read more
On Yer Bike!
A couple of months ago, GrowTraffic were doing a little bit of networking at our local Shout! Network Group and we were fortunately enough to hear a talk by Wendy Bell from Lancashire County Council (LCC) about the council's Sustainable Travel Grants, which had recently become available to businesses in the East Lancashire Area. We thought 'we could do with a bit of that', so we applied and – guess what? We were granted a Sustainable Travel Grant! Fantastic. Read more
What Did I Learn From Building A Website?
About 6 months ago, I embarked upon my first project management of an SEO web build. As a Freelance SEO Copywriter, the building of websites is not usually my domain and that was a state of affairs that I was perfectly happy with, but the boss said project manage and so project manage I did. Well, I tried. Read more
The Best & Worst Of The Halloween Content Marketing
OK, so as most of you obviously already know (as you live on planet Earth) it was Halloween on Friday and that means that not only did you spend most of last night feeling sick, but your social media feeds were also filled with companies making tenuous links between their product/company and the Eve of All Hallows. Well mine were at any rate.
Now, as I am married to a marketer (for my sins) I obviously know how important it is to use key calendar dates to help fill up your blogging calendar – hell, I've even written blogs about how important this is – but when I sat down yesterday morning to have a look at the efforts of my fellow marketers and try to think of something inspirational to blog about, I was attacked by a great big scary Halloweeny monstery thingy, who drained me of all motivation.
It wasn't as if everything that I saw was bad – some of it was good – but most of it was tenuous at best. So, instead of something inspirational, I present you with this. Lucky you. Read more
Are Google Glasses Any Good?
Google's Project Glass is Google's recent project to develop augmented reality glasses and had markedly ambitious aims and was backed up by equally stunning and impressive marketing. Unfortunately, it appears that Google's marketing team have envisioned a future (if you excuse the pun!) that Google Glasses are failing to live up to. Read more
Advanced Web Ranking Software – Review
A few years after I started working in SEO, and after years of trawling through the search engine results I found a piece of software that I've been using regularly ever since.
Danger Signs & Safety Signs
A new iClick website has gone live, namely iClickSafetySigns.
iClickSafetySigns is the latest site to join the range of iClickStores ecommerce websites, it's looking like it's going to be the number 1 website for all those looking for Safety Signs and Danger Signs . Read more
Ministry of Sound Tickets
I've set live a new website all about tickets available at Ministry of sound in London.
Buy slimming capsules online from Little Black Dress
Little Black Dress is one of the UK's premier suppliers of slimming products, with a number of their own unique brands, including the Little Black Dress Shape slimming pills products.
There products range from diet pills to slimming capsules to cellulite creams and lotions and the organisation is geared towards giving its client up to the minute information to help them lose weight as fast as possible.
Buy Slimming Capsules
There are loads of websites out there that sell diet pills and other similar products, however if you're looking to buy slimming capsules make sure you check out the Little Black Dress website.
Whilst you're on the Little Black Dress website, after you've reviewed their diet product solutions and maybe bought some of the slimming capsules, makes sure you have a look at their blog as it's a gold mine of information about dieting and slimming solutions – they aren't just trying to sell their diet pills they do really seem to care.


text: A Professional TV Mount Manufacturer and ExporterRuby Mount is a professional TV mount manufacturer and exporter in Ningbo, a major port city in the East Coast of China.We can do almost all kinds of TV mount you need.With experienced engineers and advanced equipment, we are specialized in manufacturing a wide range of flat panel TV mounts and brackets. We offer quality products with competitive price and excellent service to achieve ultimate customer satisfaction. In addition, customized products as per your requested drawings and specification are also... [Details]


text: Scripps Networks Tower East Tennessee Children's Hospital's New State-of-the-Art Facility East Tennessee Children's Hospital's expansion project features program and support space in a new five-story building with parking accommodations spread across two levels. The 245,000 square-foot space will expand services for children with chronic conditions such as cystic fibrosis and other special needs. Forty-four private Neonatal Intensive Care Unit (NICU) rooms will enable us to give the best possible care to our tiniest patients. Scripps Networks Tower also adds new operating rooms and desperately needed new parking spaces. Enhanced family areas, such as a rooftop garden, will give our patient families a place to relax and relieve their anxiety. The groundbreaking began in the summer of 2014, and the building took approximately two years to complete. It opened for patients in the fall of 2016. On April 19, 2016, Scripps Networks Interactive announced a partnership with East Tennessee Children's Hospital and donated $10 million to the new expansion. In honor of this generous donation, the building was named Scripps Networks Tower. "The project is about acknowledging the importance of families in the care we provide, improving the efficiency of care and ensuring that we have the opportunity to accommodate future growth." - Keith Goodwin, Children's Hospital CEO


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by Kristen Smith Dayley
LDS Nonfiction
Complimentary copy provided for review by publisher.
All opinions expressed are solely my own.
For All the Saints provides an uplifting account of the ways in which the Lord builds his kingdom through ordinary men and women. Set in Boston, Massachusetts and its surrounding areas, the book draws upon the experiences of hundreds of members, ranging from prominent Church leaders to brand new converts. Their collective insights teach powerful lessons about commitment, faith, sacrifice, and leadership that are applicable to us all, no matter our corner of the vineyard.
Drawing upon accounts both humorous and profound, these Saints remind us of the impact one person can have when partnered with the Lord. They also instill a sense of gratitude for the contributions of those who precede us and demonstrate that the Lord's promises are sure, as we each play a role in a work much larger than our own vantage point might suggest.
Willing to work. Fervent in faith. Led by the Lord.
The members of the Church of Jesus Christ are not perfect. But that doesn't stop us from striving for perfection. And when it's the Lord's work we're engaged in, He's happy to help.
This inspirational collection of stories and experiences from the lives of real church members shows how the gospel connects us with others and magnifies our daily efforts into greatness. Grouped by topic, these accounts illustrate the great and marvelous things the Lord can do through faithful, dedicated Latter-day Saints. Discover the everyday, ordinary heroes who accomplish extraordinary works in the service of the Lord.
No matter what your calling or where you serve, you are not alone. Filled with true-to-life moments that will benefit every member and every organization, this is an uplifting and motivating read you'll want to share with your fellow saints.
As a member of the Church of Jesus Christ of Latter-Day Saints, I was predisposed to enjoy this book. I enjoy studying the history of the church, despite the tremendous heartaches and trials that have occurred (and continue to occur) throughout that history. I enjoy reading such stories because of the faith and courage of those who have dedicated themselves to building the Lord's kingdom. This book provides a glimpse into the hearts and minds of those who have labored to do so throughout the New England states since the Church was founded in 1830.
The efforts and struggles of the early saints have lead to a flourishing church presence as well as the building of the Boston Temple, where saints meet to receive sacred ordinances. (See here for more information.) I also found it interesting to realize that while a lot of things have changed over the years, the opposition to the church has not waned and continues to this day. But despite the opposition and sometime lack of interest, the church has grown through the direction of the Lord and the efforts of those like Clair Robison, who helped establish the first Relief Society (the women's organization that is part of the LDS faith, see here for more information) and served as it's president for 27 years. I highly recommend this book as both a learning experience and an inspiring example of what is possible when faith in God is present. I feel blessed to have my own ancestors involved in these efforts.
Check out the rest of the tour here.


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Dance to Learn From a Teacher's Perspective
Ordway 11/2/17
We recently kicked off our 2017-2018 Dance to Learn dance education program! We love this program because it allows us to partner directly with schools in our community to promote arts-based learning. But rather than just sharing our perspective, we brought in someone who's seen Dance to Learn in action: Pam Winkler, first grade teacher at Matoska Elementary and three-year program participant! Check out our interview with Pam below:
How would you describe the Dance to Learn program?
Dance to learn is an integrated, dynamic program that works with a school's culture while introducing new ways of looking at movement and dance. Dance to Learn has been a vehicle to not only teach our students about dance but also how to focus, how to take a brain break, and as teachers, how to integrate some of the essentials of dance into our teaching. Dance to Learn also allows students to experience dance as individuals, and to work as a team in a creative way. Brian Evans, our Dance to Learn Teaching Artist, works with the students and teachers to create a unique program that is specific to our school!
What do you think sets Dance to Learn apart from other programs?
While I think Dance to Learn comes with some basic tenants of dance, it is a program that changes and adjusts to what the school, teacher and student needs are. At our school, Brian has been great at integrating what we are focusing on in IB with his lessons. Other programs and/or curriculums that we introduce to students are often specific and static. Dance to Learn is flexible and changes with the needs of the school as well as our specific classrooms each year.
What do you think the impact of have a teaching artist in your classroom has on your students?
The impact is multilevel. Students get to know Brian, our artist, very well. They are excited to see him and to learn what he will teach them. Students begin to make connections beyond the individual lessons; they link what they are learning to new situations whether that be something in art or in another subject like math (dance tempo) or science (naming specific muscles used in dance). Dance to learn isn't just surface learning; it is deeper learning.
How do students and teachers react to the Contemporary Dance performance you attend at the Ordway as part of the program?
Without the Dance to Learn program students and staff would appreciate performances only at a surface level. Dance to Learn students interact with the performance. They recognize levels, skills and finesse of dance along with the nuances that come with creating a performance. The appreciation for what they see on stage is more complex. Students see the physical aspects of the dance and appreciate the aesthetic in different ways. Additionally, they begin to interpret the meaning of the dance. Dance to Learn gives them the tools to appreciate the dance on stage and personalize it by making connections to their own life.
What is one moment from Dance to learn storied form your experience with Dance to Learn over the last 2 years that has stayed with you?
Initially you always have one or two students who are resistant to dance for a variety of reasons. Brian always finds a way to get them to participate along with the class and by the end of our sessions with Brian, they are fully participating with the rest of the class. One child in my class who was very reticent at the beginning, was up at the end hugging Brian and telling him he wanted to be a dancer when he grew up and that he loved dancing!
Last year at the Dance to Learn Kick-off performance we introduced Brian as our artist. Students immediately found a connection to him. They were up hugging him after the performance. Brian was very open to conversation and helped the kids establish a personal connection to him as "our artist". It brought the connection to another level. The kids didn't see Brian as a person they would just see once at a performance, instead they saw him many times in their classrooms throughout the year. He became part of their learning environment. In fact, even students who didn't experience Dance to Learn saw Brian around our school and that helped to build even more bridges to art, dance and the Ordway.
How are you working your school and Parent Teacher Organization?
Our Parent Teacher Organization is really supportive of the Arts and very excited about the Dance to Learn program in our school. Last spring our team of teachers participating in Dance to Learn and the Ordway presented an idea to the PTO to support an event to bring families from our school to the Ordway for a Dance performance. Many families in our school wouldn't have the opportunity to go without this collaborative event. In collaboration with the Ordway we are hoping to offer families transportation to the Ordway paid for by our PTO, and a discounted ticket to the Diavolo performance at the Ordway in October! We hope this will help families see the connection with the Ordway and the Dance to Learn program at school as well as help them connect more with the field trip experience their children are having with the Ordway.
How has Dance to Learn impacted your classroom and teaching?
I've always been a big support of the arts. Dance to Learn has given me one more way to show my kids a way to express themselves and also personalize what they see on stage. We talk a lot with our kids about what makes a performance – the sets, lighting, sound, and the team backstage that puts on the performances.
I feel the more we can be exposed and interact with arts the more it connects us with our life and our world. The Ordway offers a myriad of multi-cultural experiences that our students really enjoy!
We are very grateful for the opportunity to partner with the Ordway. It started at our school very organically with just a few classes coming to the Ordway. Now there are multiple classes from multiple grade levels taking advantage of the opportunities. These experiences give us all opportunities to make a small world a little broader!
I hope others are taking advantage of the opportunities too!
Visit our Dance to Learn page to find out more about the program and learn how schools in your community can get involved.


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If you don't have a team, or at least the beginnings of one, start looking for people now! Many publishing companies provide these services. Be sure to ask about them when looking for a publisher.
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Full Demo
February 14, 2017
Full Download:370MB • 292 x WAV 44.1 kHz, 24-bit. // Including 42 MIDI Files + 7 Synthmaster Presets, 13 Sylenth Presets, 12 Spire Presets & 14 NI Massive Presets. (Sylenth v2.21 beta, Spire v.105 & NI Massive 1.02 or higher is required)
The pioneers of this hot new genre 'Future Bounce' are back: Audentity Record presents: 'This Is: FUTURE BOUNCE 2' More music, more new ideas, more hot samples and loops; the fanboys and girls of this new EDM / Future House genre will like this new production pack.
This is a new concept – because this time the pack is full of Loops such as Synth, Bass, Layered Synths and Vocal-Loops, but also did we add Shots, Drums, Midi and Kicks, every element you are hearing in the demo is in the pack as a Loop or One Shot.
All of the sounds are broken down into individual files for you to use in your fav DAW.
As always with Audentity Records: All Royalty Free!
What's in the pack?
• 24 Bassline Loops (Sidechained & Non Sidechained)
• 26 Layered Loops (Wet & Dry)
• 42 Midi
• 56 One Shots (Wet & Dry)
• 58 Synth Loops (Wet & Dry)
• 16 Vocal Chops Loops
• 12 Drumloops
• 12 Kicks
• 7 Synthmaster Presets
• 13 Sylenth Presets
• 12 Spire Presets
• 14 Massive Presets
*Other genres that this package may be useful in:
• House


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It's been 3 weeks since Grayson made his debut and I am finally getting around to posting an update. Oh well!
Labor & Delivery: For those of you who haven't heard the story... Yes, I was is labor for 17 hours. This was due mainly to the fact that Grayson had "cord compression" which meant that any intense contractions caused his heartbeat to drop alarmingly. One thing we discovered was that the compression/dropping was less significant when I was positioned on my right hand side, so there I stayed for most of the time - many, many hours! Because of this compression, we weren't able to be very agressive with labor inducing drugs and had to keep backing down to keep Gray Boy safe. So, we took things slow, I laid on my right side, and we prayed for our sweet little boy to make it safely into the world, which he did at 12:47 a.m. the following morning, Tuesday, April 20, 2010. I was such a worried mess during the whole ordeal and was beyond relieved and thankful that the NICU team that was on hand in the room was not needed and that Gray was happy and healthy upon entry into this world.
Home from the Hospital: I can't even begin to describe how scared I was to bring Grayson home from the hospital. I doubt I slept more than a couple of hours the first night we brought him home; I found it necessary to check on him in his crib every hour (or less) to make sure he was sleeping safe and sound. As the nights went on, I began getting adventurous and started sleeping with the light off! :) Thankfully, my mom and Ben's mom were able to stay with us the first nearly two weeks to help soothe my nerves and help with the long night duties. Besides the amazing help around the house and child-raising experience the moms provided, Ben and I were blessed with the amazing gift of meals from friends. I cannot even begin to describe what a blessing this has been the last 3 weeks! We have had more than enough food that we haven't had to cook once since Gray was born, which has been essential since we haven't had a minute to spare.
The Here & The Now: Things are getting more and more normal as the days go on. Ben, Gray, and I've gotten used to our new lives together and are becoming adjusted to life without routine. (But we can't wait for Gray to be old enough to start introducing one!)According to Gray's and my follow up appointments over the past week, we are both doing fabulously! Gray's gaining weight and I am growing somewhat less sleep deprived and stronger as the days go on.
Thank You's: While we are moving forward, I am still behind in many areas, one being expressing my sincerest thanks for the unimaginable love and support we've received! Thank you to all of our friends and family for the prayers, gifts, meals, visits, and general support and love. We have been blessed beyond belief and want you all to know your efforts have not gone unnoticed. THANK YOU! We love you all!
More to come!!!
Monday, May 10, 2010
3 Weeks In
It's been 3 weeks since Grayson made his debut and I am finally getting around to posting an update. Oh well!
Posted by The Joneses at 8:04 PM


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Chess pieces Jaques Sheesham (95mm), double weighted with luxury box
€ 89,95
chess pieces
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design: Classic Staunton,
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The chessmen are made from the finest acacia and boxwood. They have been expertly finished and polished to a natural shine. No lacquer is used to create this amazing finish, it's the hand polishing of the dense hard woods that have created such an amazing finish. The knights are hand-carved, and have very nice detail. The bases of the chessmen are from leather. The chess pieces are of course weighted in their bases and exhibit superb balance. They are even triple weighted.
Chess pieces are weighted? Double, triple, single. What's it all mean?
Weighted chess pieces are typically more desirable. As a result few unweighted sets exist. The added weight lowers the center of gravity for a more stable piece. The terms are somewhat subjective, but generally, they range from unweighted to extra-weight. The most common weights are double and triple, with the double being very comfortable, and the triple, noticeably heavy.
The beautiful chess pieces come with a chess box. The box is lined with a soft material to protect the pieces and includes a removable center divider so that you can separate the colors if you choose. The best chess box available, comes with the pieces!
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schaakbord-shop! online schaakwinkel voor schaakborden, schaakstukken en schaakklokken!
Warning! Not suitable for children under 3 years due to small parts! Danger of suffocation.
Reviews (0)


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Nov. 28, 1664, on the death of Purcell's father, was made Musician in Ordinary to the King. He composed several songs, some of which appeared in 'The Treasury of Musick,' 1669, and died June 27, 1704. A John Goodgroome, probably his son, was organist of St. Peter's, Cornhill, about 1725. Theodore Goodgroome, the singing-master of Samuel Pepys and his wife, was probably his brother.
GOODSON, Richard, Mus. Bac., on July 19, 1682, succeeded Edward Lowe as organist of Christ Church, Oxford, and Professor of Music in the University. Some Odes composed by him for performance at the Acts at Oxford are still extant. He died Jan. 13, 1718. His son, Richard, Mus. Bac., was the first organist of Newbury, to which post he was appointed August 24, 1709. He graduated Mus. Bac. March 1, 1716. On the death of his father he succeeded him in both posts, and was also organist of New College. He died Jan. 9, 1741.
GORDIGIANI, Luigi, the son of one musician (Antonio) and the younger brother of another (Giovanni Battista), has been called the Italian Schubert. He was born at Modena June 21, 1806. His musical education was most desultory, but his talent was great, and while still in his teens he had written three Cantatas. In 1820 his father died, and he was forced to make a living by writing pianoforte pieces under such German noms de plume as Zeuner and Von Fürstenberger. His start in life was due to two Russian princes, Nicholas Demidoff and Joseph Poniatowski, the latter of whom not only furnished him with the libretto of an opera, 'Filippo,' but himself acted in it with his wife and brother at the Standish Theatre, Florence, in 1840. Between the years 1835 and 1849 Gordigiani composed or produced nine other operas, all at different theatres in Florence. But it is by his 'Canzonette' and 'Canti populari' for voice and piano that he will be remembered—delicious melodies, of a sentimental, usually mournful, cast, in the taste or on the actual melodies of old Italian national tunes, and often set to words of his own. They are more than 300 in number, and were published in parts, usually of 8 or 10 each, with characteristic titles—'In cima al monte'; 'Le Farfalle di Firenze'; 'In rival al Arno'; 'Mosaico Etrusco,' etc. They have been republished everywhere and in all languages. He also published a collection of Tuscan airs with accompaniments in 3 books. Gordigiani was odd and fantastic in manners and disposition. He died at Florence in 1860 [App. p.652 "May 1"].
GORDON, John, the son of an eminent watchmaker of the same names, was born in the parish of St. Martin, Ludgate, March 26, 1702. He was admitted a foundation scholar at Westminster, and elected thence to Cambridge, where he became pensioner of Trinity College June 18, 1720. In 1721 he obtained a scholarship in the same college. He left Cambridge June 1, 22, and returned to London to study law, in view of which he had on Nov. 9, 18, entered as a student at Gray's Inn. On Jan. 16, 23, he was elected Professor of Music in Gresham College, which place had become vacant by the death of Dr. Edward Shippen. On Feb. 10, 25, he was called to the bar at Gray's Inn, but continued to hold his professorship till his death, Dec. 12, 1739.
GORDON, W., a Swiss of English descent, born about the end of the 18th century. In his youth he studied music as an amateur, and was a pupil of Drouet, the celebrated flutist. After the fall of the first French Empire he obtained a captain's commission in one of the regiments of Swiss Guards in Paris. In 1826 he began his improvements in the construction of the flute. The Swiss Guards being disbanded after the revolution of 1830, Gordon devoted his whole attention to his favourite object. In 1833 he went to Munich, where he had some flutes made on a novel plan. He circulated prospectuses of his invention in Germany, Paris, and London. He came to London in the hope of finding a large demand for his instruments, but was doomed to disappointment, and returned to Lausanne. In 1836 he became deranged, and (with the exception of a short interval in 1839) remained so until his death. His modifications were carried out by Boehm, and resulted in the flute which bears that name. [Boehm; Flute, 536b.]
GORGHEGGI. [See Solfeggi.]
GOSS, John Jeremiah, born at Salisbury in 1770, received his musical education as a chorister of the cathedral there, of which he subsequently became a lay vicar. On Nov. 30, 1808, he was appointed a gentleman of the Chapel Royal, and about the same period obtained the places of vicar choral of St. Paul's Cathedral and lay vicar of Westminster Abbey. His voice was a pure alto of beautiful quality, and his skill and taste in part-singing remarkable. He was for many years the principal alto at the Meetings of the Three Choirs. He died in May 1817.
GOSS, Sir John, Knight, Mus. Doc., son of Joseph Goss, organist of Fareham, Hants, where he was born in 1800 [App. p.652 "Dec. 27"]. In 1811 he became one of the children of the Chapel Royal under John Stafford Smith, and on leaving the choir became a pupil of Attwood, under whom he completed his musical education. About 1824 he was appointed organist of the new church of St. Luke, Chelsea, and in 38 succeeded Attwood as organist of St. Paul's Cathedral. On the death of William Knyvett in 56 Goss was appointed one of the composers to the Chapel Royal. He was knighted in 1872, and shortly afterwards resigned his appointment at St. Paul's. He graduated as Doctor of Music at Cambridge in 1876. Goss's compositions consist of services and anthems, chants, psalm-tunes, glees, songs, orchestral pieces, etc. Of his anthems the best known are 'If we believe,' written for the funeral of the Duke of Wellington; 'Praise the Lord, O my soul,' composed for the bicentenary festival of the Sons of the Clergy; 'The wilderness'; and 'The Lord is my strength,' composed, together with a 'Te Deum,' for the Thanksgiving for the


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I am sure that there has been a lot written over the years about approaching that 'difficult second album' So here's the thing: A band, or a solo artist in creating their first album probably has a lot of well rehearsed stuff they think is pretty good. It's been in the pipeline for years (or in the case of my first album decades! ). But come time to start on album number two, the band or artist in question is faced with a blank sheet of paper, and some difficult questions they need to ask themselves…
What worked on the first album? What didn't work? Should the 2nd album be a continuation of the first, revisiting the same style again, or should it branch off in a completely new direction? These are just some of the questions that spring to mind, and can at best be an annoyance, or at worst leave you second guessing yourself at every turn.
As always, I try not to overthink this stuff. My mantra in this jolly old game we call music has always been this:
Write the music that moves you… If it moves other people, that's a bonus.
So that's what I've been doing. First of all, having mined 30 years of songwriting for Fantasy Bridge, I hadn't exactly exhausted that seam. There were songs that didn't make the cut for that album, not because I didn't think they were bad songs, but simply because I didn't think they fitted with the Fantasy Bridge up-beat vibe. So, albeit in at least one case with so much re-writing it really is a new song, there are several new offerings from the archive. (Which by the way, still isn't empty!)
Then I set about writing some altogether new songs. The first of which, Learning to Fly has actually had a couple of live outings already and seems to go down quite well.
Anyway, we are now at the point where I have one 20 minute prog monster, which is intended to be the foundation of the new album, and five shorter songs ranging between 8 minutes and 3 minutes that variously explore themes such as emergence of artificial intelligence in the internet, life after a post-nuclear holocaust, voices in your head and the end of time…
And a song that as yet doesn't have any lyrics, or a theme to hang them on.
So far there isn't a boy-meets-girl-who-fall-in-love-under-a-silvery-moon song… But that doesn't mean there won't be!


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Volunteer drivers a lifeline for the home bound
For information about iRIDE Petaluma, or for details about becoming a driver in Petaluma or Rohnert Park, call 707-765-8488, email firstname.lastname@example.com or visit petalumapeople.org.
For a guide to senior transportation options in Sonoma County, call the Sonoma County Area Agency on Aging at 707-565-5950 or visit socoaaa.org.
When Jack Rhodes pulled up to the affordable housing complex where 85-year-old Ellie Jaquish lives, he could have been driving a stretch limousine. The iRIDE Petaluma volunteer was behind the wheel of his 2013 Honda Accord, but Jaquish felt like royalty.
She's among the senior citizens receiving free door-to-door rides through the volunteer iRIDE program sponsored by the nonprofit Petaluma People Services Center, in collaboration with the Petaluma Senior Center.
Some clients are on limited incomes; many need the additional assistance other transportation services can't provide.
Jaquish was using a walker and carrying a sports bag on a recent morning as she waited outside her apartment for Rhodes, 72, who averages 15 to 20 hours weekly as a volunteer driver. He's logged some 4,500 miles since beginning with iRIDE in March.
Rhodes greeted Jaquish, helped her to the front passenger seat of his sedan and placed her belongings in his trunk. The two made the 10-minute drive to a local gym, where Jaquish exercises in a heated, indoor swimming pool, something that's been critical to her success losing weight and dropping several dress sizes.
She is grateful to Rhodes and the other volunteer drivers who bring her back and forth to the gym three days a week, using their own vehicles and gasoline without reimbursement.
"I just don't know what I'd do without them. They are wonderful," said Jaquish, who gave up driving in her late 70s, after a frightening incident when her foot went numb and slipped off the brake.
"I just felt like Jell-O. I took the car home and said I can't drive anymore," she recalled.
Jaquish can't afford a taxi several times a week, doesn't have friends or relatives able to drive her often and finds it difficult to negotiate other transportation options.
Lauren Garibaldi, the iRIDE Petaluma coordinator and its only paid staff, said volunteer drivers provide more than just transportation. As an integral part of the Petaluma People Services Center program, they are helping elderly clients "age in place" by assuring they keep medical appointments, get groceries and household supplies, and stay engaged in their community.
Some, like one 100-year-old client, schedule rides to the local senior center to meet friends and participate in activities. A pair of elderly men developed a friendship after riding together a few times a week to a Petaluma program for frail seniors. A visually impaired woman in her 80s meets with friends in Marin County for bowling after getting a ride to the local SMART train station.
Drivers get to know their frequent riders and develop bonds, too. Volunteers contact Garibaldi if they suspect changes in health or welfare so she can investigate and contact a family member or caseworker, if necessary.
"We're their eyes, too," said Garibaldi, 65.
The program currently has 315 registered clients and 16 volunteer drivers, most drivers "young seniors themselves who have time and want to help," Garibaldi said. On average, about 300 rides are provided within the Petaluma area each month.
All iRIDE Petaluma clients must be local residents at least 60 years old and ambulatory; the majority use canes or walkers or have difficulty negotiating stairs. The program also helps younger people with disabilities, typically those in their 50s.
For information about iRIDE Petaluma, or for details about becoming a driver in Petaluma or Rohnert Park, call 707-765-8488, email firstname.lastname@example.com or visit petalumapeople.org.
For a guide to senior transportation options in Sonoma County, call the Sonoma County Area Agency on Aging at 707-565-5950 or visit socoaaa.org.


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Due to the potential effects of Winter Storm Harper, the Hiram College Athletics' schedule has been altered for the weekend of January 18th and 19th.
Men's Volleyball: The Terrier men's volleyball team will open their 2019 season as scheduled with the Hiram College Invitational. However, the time of the games have been moved up. The tournament schedule will now go as follows.
Friday, Jan. 18
4 PM – Adrian vs Geneva
6 PM – Hiram vs Adrian
8 PM – Geneva vs Thomas More
Saturday, Jan. 19
9 AM – Thomas More vs Adrian
11 AM – Hiram vs Thomas More
Swimming & Diving: The Terrier swimming & diving teams will still hold their senior day meet on Saturday against Washington & Jefferson and Franciscan University. However, instead of a 1 p.m. start, the meet will begin at 11 a.m.
Men's & Women's Basketball: The Terrier basketball programs will travel to The College of Wooster on Saturday for North Coast Athletic Conference action. The women will now play at 11 a.m. with the men to follow at 1 p.m.
For continuous weather updates, fans can check back at hiramterriers.com or follow Hiram Athletics on Twitter, Instagram and Facebook.


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The runways for Spring/Summer 2012 were exploding with tribal prints. Celebrate the different cultures of the world by adding ethnic looking pieces to your wardrobe.
1) Ocelot print leggings by Alexander McQueen- £375.00
2) High-waisted pencil skirt from Burberry Prorsum- £695.00 (from net-a-porter.com)
3) 24K semi-precious stone bracelet by Oscar De La Renta- £320.00
4) Silk and cotton printed scarf Weekend by MAXMARA- £70.00
5) Paisley print fringed top by J.W. Anderson- £630.00
6) Leather and crochet knit platform sandals by Missoni- £730.00
– Emily Cain


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You recognize that all penises aren't created equal and you want to do something about it. Good for you. You're making an important decision here. After all, this is your penis! Now, how do you go about enhancing your best friend? You've got some choices, and they point to either penis enhancement surgery or natural methods. There are factors to consider for both options. Let's break them down.
What is Phalloplasty?
Penis enhancement surgery, or phalloplasty, is a cosmetic surgery that can be performed to either widen the girth of your penis or to make your penis longer. Recent studies suggest that men who undergo girth enlargement are generally satisfied with the results, with 81% of patients giving their approval with their widened penis. This form of phalloplasty can produce a penis girth up to 5.7 inches.
The process of girth enlargement involves injecting a foreign growth or enlargement object – often silicone – into the scrotum. This is an emerging field, with some plastic surgeons favouring treated tissue over silicone. While the FDA does not approve of this practice, some surgeons even use AlloDerm, or treated cadaver tissue, to increase penis girth.
Phalloplasty to lengthen the penis involves transplanting sections of the patient's tissue, or grafting, to the penis, and extending the urethra. The grafts are taken either from the forearm, chest, leg or pubic flap just below the belly button. Each process leaves scarring and requires follow-up surgery, usually three to six months later, to implant an erectile prosthesis. Penis lengthening surgery can extend the penis to a maximum seven inches in length.
Unlike girth widening, penis lengthening surgery produces disappointing results. Studies performed on patients who underwent the process indicate that 70% of men were unhappy with the results.
The surgery is not without risks either. Complications and side effects include scarring, bruising, shortage of blood supply, loss of sensation in the penis and an inability to penetrate. Worse, this form of phalloplasty comes with a high risk of loss of ability to produce an erection. In many cases, this effect is permanent.
Of course, there are financial considerations that come with phalloplasty as well. Penis enlargement surgery isn't cheap, at around five grand a pop. Scared of the knives? Thinking of a surgeon's scalpel prodding the blood vessels and ligaments that constitute the penis isn't exactly a pleasant thought. Phalloplasty has produced enough horror stories to make Stephen King cringe.
The Natural Way
Fortunately, you can enhance your penis without knives, scalpels or dead body parts. Natural penis enhancement involves using methods proven to stimulate penis growth. They include penis enlargement pills, penis extenders and exercises that encourage cell division and tissue growth within the penis by traction. These methods come with none of the side effects of surgery.
Penis pills, such as VigRX™ Plus, stimulate penis growth by increasing blood flow to the penis, using a variety of herbals and amino acids and Bioperene® (VigRX™ Plus only). These herbals include damiana, horny goat weed and ginkgo biloba. In addition to growing penile tissue, VigRX™ Plus also boosts overall sexual health, including stamina and erection control.
Penis enhancement exercises stimulate cell mitosis (division) within the penis through traction. Using a variety of exercises, penis exercise systems increase blood flow throughout the penis and have been documented to increase penis length up to four inches. While highly effective, these exercises require proper attention to instructions. Any penis exercise regiment should include warm-ups, tissue overload and appropriate rest time. The penis is a tissue, not a muscle, and is therefore prone to bruising, tearing and damaged ligaments that can lead to permanent damage if not performed correctly. Look for an exercise program that provides comprehensive, step-by-step instructions, such as Erection Fitness™.
Like penis exercises, lengtheners extend the penis through traction. Penis lengtheners are another highly effective lengthening method, provided instructions are followed. Consisting of a plastic ring, in which the user inserts the penis, and movable rods, lengtheners place light pressure on the penis that, over time, extends and widens the penis. Results with penis extenders correspond to the duration of time they're used, and generally produce the best results when worn from eight to ten hours a day for up to six months. There are no side effects with penis extenders, provided you use a high quality mechanism with medical-grade plastics, such as ProExtender™ System, to avoid a rash or allergic response.
Natural penis enhancement is most effective for lengthening, although they're also proven to add girth. These methods are substantially safer and more affordable than surgery. Penis enhancement pills like VigRX™ Plus come with additional benefits including boosting sexual health, while penis exercises and extenders are documented to improve erection and ejaculation control, which leads to a more controlled and enjoyable orgasm.
Knives or Natural?
Of course, the decision between surgery versus natural penis enhancement is yours to make. You're more than welcome to spend five thousand dollars of your hard-earned money to have a doctor slice your penis with a scalpel to perform a surgery that 70% of men are unhappy with that necessitates at least one follow-up surgery that produces horror-movie quality side effects, including loss of sensation and erection ability, which is often permanent.
But there's not much fun in that, is there?
Or you could go with a natural penis enhancement method, like VigRX™ Plus, Erection Fitness™ or ProExtender™ System, which are all proven to lengthen and widen the penis, with none of the side effects or costs associated with surgery and that also benefit overall sexual health, control and stamina, which translates to more regular, controlled and longer orgasms.
Your choice.


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Executive Boardroom Design and Deployment
Duane Morris, one of the 100 largest law firms in the United States, represents clients across the nation and around the world through a combination of 17 offices. Cenero was tasked with designing and installing an audio visual solution for several conference, training and meeting spaces that would allow for collaborative communication as well as local display of various input sources while maintaining an elegant, uncluttered environment.
Cenero designed several standardized teleconferencing systems for 10 partner meeting rooms. The solution utilized a series of remote and fixed wireless systems that allow for distributed audio capture and sound reinforcement for a variety of different meeting types. These systems are far superior to the 'star phones' that were previously utilized during meetings. Additionally, a boardroom, partner meeting room and video conferencing facility were each designed with multiple laptop and computer connections, DVD Players, teleconferencing and video conferencing units, and backlit LCD touch panels that allow for both ease of use and management of the systems. All control interfaces have common designs so users can easily move between rooms to operate the systems.
Duane Morris has one of the premier meeting spaces in the area and as a result the rooms are in constant demand. Distributed audio conferencing systems have improved the overall quality of both near and far end audio intelligibility. Additionally, the improved video conferencing solutions have increased the overall usage levels with partners and clients. All systems can be managed remotely which allows the support personnel to proactively response to problems before they become issues.


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Do you ever sit there and day dream about an idea and think of all the ways of how great it will be? I certainly do. Every now and then I'll think of a photo I want to take and I'll start imagining the perfect light, outfit, expression, props, location, even the right amount of wind. Then I get to the shoot that I tried so hard to plan out perfectly and I remind myself that "life does not always turn out the way you plan". So true. This quote is said by Sandra Bullock at the beginning of While You Were Sleeping (great movie that everyone should see and probably own!) and it has stuck with me.
The best part about this quote is her dad was the one who said it to her and as she was telling the audience the quote, she followed it up with "I just didn't realized at the time he was talking about my life." Even more true.
So back to my daydream – I imagined this cute rustic boys only camp out styled shoot and figured I would try it on my nephew. I imagined a raccoon skin cap like Davy Crockett, a manly vest and maybe wood to look like a fire. And a really cool forest look. And the perfect golden hour light. Very minimal wind.
I had everything all ready, a location in mind, the vest in hand, the set up in my car…buuutttt then we had a time crunch and a 3 year old that didn't want to deal with driving to a forest nor did he want to wear his manly camp out man vest. Nor did he really want to take any photos.
But even though kids are unpredictable and time sometimes is not on our side, my cute nephew still posed for me in my boys only camp out and I got some sweet photos of him.
Side note – You can totally see my parent's house in the background but it reminds me of the times my dad would set up the actual tent in the backyard and we'd "camp out"…in between the swings and the pool.
All that to say, if you are interested in scheduling a time with me to shoot a boys only camp out, let me know. I would love to take your photos!


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After reversing an earlier decision to adopt a by-district voting system in which council members would be elected from four districts and a mayor would be elected at-large, the West Covina City Council this week instead moved forward with a five-district system to resolve an ongoing lawsuit challenging the city's current at-large election system.
The council voted 3-2 in favor of adopting an elections system in which council members are elected every four years from five geographic areas of the city. By establishing five districts instead of four, each council member would have the opportunity to serve as mayor for one year.
The issue of whether to change the city's current electoral system was prompted by a lawsuit that alleges the city's current election method violates the California Voting Rights Act. The lawsuit alleges the system has created "racially polarized voting" in the city, meaning the preferred candidate of a minority group — Latinos in this case — is not the preferred candidate of the rest of the electorate.
Because the chances of winning the case, which could cost the city millions win or lose, are low, three of the five council members have said they must adopt districts even though they prefer at-large systems.
The vote on a five-district system came after Councilman Lloyd Johnson made an ultimatum earlier this month. Johnson, who initially voted in favor of a four-district system with a directly elected mayor, said he had heard from several residents who were concerned that if the city elected a mayor directly they would never see a mayor come from their neighborhoods.
On Dec. 6, he voted against the four-district system on the council's second reading of the ordinance, causing the motion to fail 3-2. A subsequent motion to establish five districts that night failed.
On Tuesday, it succeeded.
"At the last council meeting, this item completely failed because we couldn't agree," Johnson said.
Mayor Pro Tem Mike Spence and Councilman Tony Wu have consistently opposed the idea, suggesting the city hold a special election on the matter instead or fight the lawsuit.
"I think this is money well spent if we can make a stand to tell those people don't try to blackmail us," Wu said.
But Johnson, Councilman James Toma and Mayor Corey Warshaw were not willing to take that risk. Even if a ballot measure to establish districts succeeded, the lawsuit would have continued because the plaintiffs stated they would not dismiss their complaint in that situation.
The lawsuit, filed in Los Angeles County Superior Court in September, was the latest in several attempts over the last decade to establish a system in which council members come from all parts of the city.
In 2009, a group of residents, including one of the plaintiffs in the lawsuit, collected enough signatures to place a measure on the ballot to establish council districts in West Covina, but the ballot measure failed.
Since then, the plaintiffs' attorneys have sent two letters, one in 2011 and one in July of this year, demanding that the city abandon at-large methods.
Historically, the majority of the City Council has hailed from the South Hills neighborhood in the northeast end of West Covina. Currently, no council members live south of Francisquito Avenue — a fact that makes some residents feel they are not adequately represented on the city's governing body.
"We have to make a decision and I can guarantee you this is not an easy decision," Warshaw said.
"I don't really want it, but I am not willing to let this city go into bankruptcy," from fighting the lawsuit, he said.


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Debra Vortex Shoe
$ 69.50 $ 129.95
Please note that this is a "Last Call" shoe. For "Last Call" shoes, all sales are final—we do not accept any returns, whether for refund or exchange, with respect to "Last Call" shoes.
The Debra is a closed-heel clog with a printed Vortex leather upper with double elastic gores for easy slip on and off.
- Elastic at the instep allows for a secure fit.
- Lab-rated slip resistant outsole and stain resistant leather coating.
- Leather covered insole allows for your feet to naturally breathe, leaving them feeling fresh and dry.
- Cork, memory foam and polyurethane loaded footbed creating a 'perfect fit' by forming to the natural contours of your foot.
- Removable footbed, using our Classic footbed style (you can even insert your own orthotics!)
- Mild rocker outsole engineered to roll naturally to encourage proper posture.
- Hand sewn topstitching finish, leather lining, superior arch support, and padded Achilles heel.
- Suitable for casual and professional environments, providing comfort and support to individuals on their feet for extended periods of time.
- American Podiatric Medical Association (APMA) Accepted.
- Heel height: 1.5"


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A couple weeks ago I saw the video for "The Fear" by Lily Allen. There was no doubt I would love the style of the video. All that color! Balloons which become dancing balloons! Desserts! And giant presents that come alive and start cuttin' a rug with Lily, who is wearing a cute mini dress with long hair and bangs, singing and dancing along as if she were in a musical…
Hmm. Wait a minute this looks familiar….


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Lemony Snicket's A Series of Unfortunate Events
A Netflix Original Series
Premiere Date Jan 13, 2017
I will begin by saying that when I first heard that Netflix was doing an adaptation of this book series I was, for lack of a better word, overjoyed. When A Series of Unfortunate Events, the books, first came out they were something I had never been exposed to before. There were truly, dark, witty and utterly entertaining. Disaster after disaster the Baudelaire children had you rooting for them again and again. You were desperate for someone, anyone to finally be able to help them and no matter how often things went wrong, they never lost their fight. They were truly heroes, an example of perseverance and strength.
While the 2004 film was certainly entertaining, I remember leaving with a sense of disappointment (as one often does when your favourite books are adapted to film). For this it had been the speed in which they had torn through the dark story. They had squished the first three books into one film and cut out so much of the story that I was left wondering what had happened. That and Jim Carrey's portrayal of the frightening Count Olaf was more on the absurd side than the truly terrifying.
So a series provided the outlet much needed for this story to be told. Several episodes over which their journey could begin to be spread out. Time to grow and really get to know the characters. I had extremely high hopes.
I was not disappointed. Tackling this story as a series was exceptional. The proper time and care given to introductions to each character. As I began to watch this series I was thrown directly back into the books. Things I hadn't thought about in fifteen years suddenly came flying back into my memory.
It is truly the vision. Every set piece, every character and minor detail were given exactly the amount of attention it needed to bring the story to life exactly as my mind had imagined. There were certain additions that were not mentioned in the books that added additional intrigue to the story! The show is dark, but not darker than the themes of the books.
Overall, this show met, and exceeded my expectations. Netflix has done a fantastic job at bringing this vision to life. I have not yet finished the series but what I have seen so far has me wanting to binge the remainder!
If you were a fan of this book series I urge you to check the show out!
Though fair warning as they tell you at the very beginning
"What you are about to see is extremely unpleasant. It tells an unhappy tale about three very unlucky children. Even though they are charming and clever, the Baudelaire siblings lead lives filled with misery and woe." - Lemony Snicket