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It was another great fall of good hard-nose distance running turned out by the Old Bridge High School boys' cross-country team this season.
For the 11th time in the program's history, Old Bridge produce a Top 10 overall team finish in the New Jersey State Interscholastic Athletic Association Meet of Champions race.
The Knights earned a team-average time of 16:50.80 to place seventh at the NJSIAA Meet of Champions race that was held on Holmdel Park on Nov. 23. That result marked the program's third Top 10 finish in the past five years.
"We went about things a little different this year," said Old Bridge coach Jack Campbell. "We held our guys out of running a lot of races early on in the season, so they could be fresher come the bigger races at the end of the season. To qualify as a team for Meet of Champions and finish with the third-best team time for a Group 4 school was great. Very proud of our guys."
Old Bridge was led by its top runners in seniors Charlie Harvey and Michael Keefe.
Harvey finished 25th for the Knights' best individual placement at the Meet of Champions with a time of 16:24. Keefe came in 15 seconds later for 40th place at the state meet.
Both senior runners cracked the Top 10 for the best times ran at Holmdel Park during the Group 4 race on Nov. 16.
Harvey placed sixth with a time of 16:23, while Keefe cracked the Top 10 by coming in at the 16:26 mark for ninth place to help lead Old Bridge to a sixth-place finish at the Group 4 meet.
It was only the second time in school history Campbell said that two runners placed in the Top 10 at a state championship meet.
At the Central Jersey, Group 4 state race at Thompson Park in Monroe Township, Harvey and Keefe both placed among the top runners again for the Knights. Keefe, this time around crossed the finish line with Old Bridge's best finish in seventh place, while Harvey grabbed 10th place to help the Knights take home silver at sectionals.
Both runners finish their careers on the Top-10 list for the best times in school history on both the Thompson Park and Holmdel Park courses.
"Charlie and Michael were our leaders all season long," Campbell said. "They're extremely hard-working young adults. They did a great job of leading our team from day one."
Sophomore Kieran Donnelly and juniors Nicholas Mederios and Steven Tan each made a solid impact in Old Bridge's success this postseason.
Mederios placed 12th at sectionals, while Donnelly and Tan posted 14th and 19th place finishes, respectively to give Old Bridge five runners in the Top 20 for its second-place sectional prize.
All three runners placed among the top 100 runners for both the Group 4 and Meet and Champions races for Old Bridge.
The Knights racked up their conference record 17th Greater Middlesex Conference title on Oct. 26 at Thompson Park.
Keefe finished second and Harvey came in third, while Tan and Mederios finished back-to-back in seventh and eighth place. Donnelly placed 12th, while junior Timothy Davis came home to place 15th in the race for the Knights.
South Brunswick High School's Vidhur Polam won the GMC meet with a time of 15:49.
"To put five runners in the Top-20 at sectional and to have six make it into the Top-15 at the GMC's is not easy to do," Campbell said. "Central Jersey and the Greater Middlesex Conference have a lot of good runners every year. Our guys just continued to work hard all season to get better and help the team have success."
Another successful season in his fifth year as head coach, Campbell is happy that the long-standing tradition of Old Bridge is staying the same and continuing to grow.
"Our runners work harder each and every year to continue our program's tradition," Campbell said. "They really care about the program and its success over the years. We hope that our upperclassmen take that next step and continue to lead us to another successful season next year."
Follow Steven Bassin on Twitter @SBassin_Sports


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What the In-Crowd Won't Tell You About Indoor Dog Camera
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If you need to move the camera to a new room, you can simply grab Beehive View and head out. For example , the camera provides HDR to deliver superior images. As stated above, the Hive Indoor Smart Camera was not made to serve as an animal camera yet instead securities cam.
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When full, the potty can be readily best indoor security camera 2019 emptied employing a fast discharge drainage valve. An indoor potty resembles a little patch of grass. A great indoor dog toilet could be the suitable answer to a tricky matter. The finest indoor puppy potty to your house is usually one which simple to clean and that doesn't smell unpleasant.
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You don't need to wash the potty. An inside potty will help to lessen the amount of trips you'll be wanting to take daily. An indoor puppy potty might be excellent solution where dogs have to get left only for at least a couple of hours on a usual basis, or perhaps in an crisis. Having mentioned your options and what things anticipate from, here are the best five indoors dog toilet to think about.


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Visiting Lecturer in the Humanities/Ferris Professor of Journalism/McGraw Professor of Writing
The Program in Journalism and the Humanities Council welcome proposals from journalists who wish to teach seminars in journalism as visiting Ferris Professors of Journalism, or seminars in other kinds of non-fiction related to journalism as visiting McGraw Professors of Writing. Full-time and part-time positions are available for one-semester terms only: fall 2020 or spring 2021.
Full-time visiting professors take a formal leave from daily journalism to devote themselves to teaching. They must be present on campus four full days each week, on average; attend all faculty gatherings; and participate in University life. They give public talks, participate in panel discussions, advise certificate students, and join in events.
Part-time visiting professors must spend two full days, on average, on campus each week for the 12-week term, as well as during the week of Reading Period. Part-time professors are expected to attend faculty gatherings whenever possible.
Seminars meet once per week for three hours, with enrollment limited to 16 students. Students are expected to devote four to six hours a week to class preparation. Every week or two, students submit assignments, which are critiqued by the professor during mandatory one-on-one writing conferences. Professors often invite guest speakers and arrange a class visit to a newspaper or magazine.
Part-time appointments offer a salary of $37,500. Full-time appointments offer a salary of $75,000. Former Ferris and McGraw Professors are eligible to propose seminars that include leading a class trip over fall or spring break, during which students conduct reporting off-campus (domestic or international). These professors receive a salary of $90,000 and are expected to be "in residence," relocating to Princeton for the semester.
Applications must be received via AHIRE by 11:59 p.m. EST on Wednesday, October 2, 2019. The selection committee aims to complete its work by February 2020.
Applicants should submit: a résumé or CV that includes employment history, recent publications, and at least one reference that we may contact; a proposal for a seminar related to journalism or non-fiction writing; and a cover letter that describes your interest in teaching.
Most seminars fall under one of these broad course rubrics:
- The Literature of Fact
- Investigative Journalism
- Politics and the Media
- The Media and Social Issues
- International News
- Audio Journalism
- Data Journalism
- Visual Journalism (video, photography, multimedia, and/or data visualization)
- Writing about (Culture, Film, Ideas, Law, Science, etc.)
Seminar proposals should include:
- One or two paragraphs about the focus of the course
- A short course description for the course catalog (75 words)
- Specific topics for each of the 12 weeks of the course
- A sample reading list of no more than six titles (books, articles, websites, etc.)
- Possible writing assignments (typically 5-8 short pieces, one of which might be developed into a longer project to be submitted during Reading Period)
Essential Qualifications:
- Applicants should have achieved distinction in journalism or other kinds of non-fiction writing
- Must be able to communicate their experience effectively to students, peers, and members of the community
- Must be a practicing journalist–a reporter, editor, producer, journalistic historian, cultural critic, or documentarian
- Must have at least five years' experience working at a news organization or writing regularly for major publications, including in the year immediately prior to submitting application
- Must not have a tenure-track or administrative position at an academic institution
- Must have a bachelor's degree or equivalent experience
The application for these positions can be found at: https://puwebp.princeton.edu/AcadHire/apply/application.xhtml?listingId=12861
Questions may be addressed to Margo Bresnen, Journalism Program Manager, at email@example.com or 609-258-9948.
Ferris Prizes for Outstanding Undergraduate Projects in Journalism
Prizes of $250 that recognize excellent projects submitted by students in journalism seminars during the academic year, on any topic and in any medium of journalism, including audio and video presentations.
Journalism professors are invited to nominate the best papers or other work produced in their courses. The selection committee consists of faculty members and journalists. The prizes will be awarded during the summer to projects nominated in the previous fall and spring semesters.
Criteria for Judgment
- Originality
- Depth of insight
- Skill of presentation
- Contribution to a reader's understanding of the topic
- Short pieces receive equal consideration with longer ones
John McPhee '53 Awards for Summer Projects in Independent Journalism
Awards of up to $3,000 meant to recognize promising student journalists and to help underwrite the cost of long-form, nonfiction writing projects of at least six weeks in duration.
Princeton freshmen, sophomores, and juniors who have completed at least one journalism course at Princeton may apply.
How to Apply
Prepare the following:
- An official transcript confirming that the applicant has completed at least one journalism course at Princeton;
- A résumé or CV;
- Two journalism writing samples (published or class work);
- A proposed budget outlining specifically how the applicant would expect to spend the award funds (include travel and living expenses, if appropriate);
- The name(s) of one or more references, including at least one member of the Princeton faculty who would advise the applicant on the project from inception to completion;
- A letter of commitment from the applicant's faculty advisor, confirming that the advisor will meet or video conference with the applicant once pre-departure, two or three times during reporting, and once for a post-project writing conference;
- A letter of commitment to publish from an executive at a news outlet, on company letterhead (optional); and,
- A proposal letter of no more than 1,000 words. Subjects that would be appropriate to touch on in the letter include:
—The general topic matter the proposed article would cover, and why the subject would be of interest to readers and of importance to society;
—The maximum story that reasonably could result from the applicant's efforts and, if unforeseen challenges arise, the minimum story the applicant is confident would result;
—Human sources the applicant would seek to interview, and why;
—Primary documents and data the applicant would seek to gather and review, and why;
—Places the applicant would travel to during his or her reporting, and why; and,
—Where the resulting article might be published and the size of the publication's readership.
Submit the application through the Student Activities Funding Engine (SAFE).
Application deadline in 2019 is May 13.
A committee of faculty and journalists from the Humanities Council will review applications and select recipient(s).
Post-Project Requirement
Award recipients are required to submit a two-page report on their project along with a copy of the resulting article.
Summer 2017 Recipients
In 2017, John McPhee '53 Awards for Summer Projects in Independent Journalism provided funding to three students to pursue long-form, nonfiction writing projects:
- Mohammad Adnan, Class 2019, "Italy's South Asian Diaspora"
- Julia Case-Levine, Class of 2018, "Refugee Communities in Sweden"
- Jack Lohmann, Class of 2019, "Politics of Refugees"
Ferris Summer Grants for Student Internships in Journalism
Grants of up to $3,000, funded by the endowment of Edwin F. Ferris, Class of 1899, to support summer internships in writing, publishing, and journalism, in both print and digital media. The goal is to help students acquire experience in news organizations, including television networks, and in companies that publish books, magazines, or journals. Since many internships are unpaid or only modestly remunerated, these grants are designed to help defray some of the expenses associated with these summer experiences.
Internships must take place in a recognized organization for at least six weeks, typically eight weeks.
All Princeton freshmen, sophomores, and juniors may apply.
How to Apply
Submit the application through the Student Activities Funding Engine (SAFE).
In the documents section of the application, upload the offer letter from the organization providing the internship. The offer letter should include details of the internship and the amount of financial support, if any, the organization will provide.
There are two rounds of awards. Application deadlines in 2019 are April 28 and May 19.
A committee of faculty and journalists from the Humanities Council will review applications and select recipients. In assessing proposals, the committee weighs financial need, academic standing, and the potential benefits of the internship.
Post-Project Requirement
Grant recipients are required to submit a two-page report after their internship. The grants are paid in two installments: 90% (up to $2,700) in June, and the 10% balance in September after submission of the report about the internship.
Summer 2017 Recipients
In 2017, Ferris Summer Grants for Student Internships in Journalism went to 19 Princeton undergraduates:
- Mashad Arora, Class of 2020—Forbes India (Mumbai)
- Eli Berman, Class of 2020—PRI's Afropop Worldwide (New York City)
- Christian Bischoff, Class of 2019—research with The New Yorker's Evan Osnos (Washington, D.C.)
- Rohana Chase, Class of 2019—Bellevue Literary Press (New York City)
- Robert Cortes, Class of 2019—Nikkei Asian Review (Tokyo)
- Marina Finley, Class 2019—American Chamber of Commerce (Taipei)
- Katherine Fleming, Class of 2019—Signs: Journal of Women in Culture and Society (Boston)
- Carolyn Kelly, Class of 2018—Booklist Publications (Chicago)
- Megan Laubach, Class of 2018—David R. Godine, Publisher (Boston)
- Arthur Li, Class of 2020—The New York Times (Beijing)
- Lavinia Liang, Class 2018—TIME, Inc. (New York City)
- Crystal Liu, Class of 2019—Exberliner (Berlin)
- Alice Longenbach, Class 2018—PEN America (New York City)
- Kevin McElwee, Class of 2018—The GroundTruth Project (Moscow and Washington, D.C.)
- Briana Pagano, Class of 2018—Emma Sweeney Agency (New York City)
- Ben Perelmuter, Class of 2019—The New York Review of Books (New York City)
- Iris Samuels, Class of 2019—research with The New York Times' Elaine Sciolino (Paris)
- Logan Sander, Class of 2018—China Post (Taipei)
- Khaled Tinubu, Class of 2019—The Paideia Institute (Rome)


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text: Cape Town - Kudakwashe Mahachi claims life was tough during his brief stay at Mamelodi Sundowns but he's enjoying football again at Golden Arrows.The Zimbabwean international winger was allowed to leave the Brazilians after falling out of favor with coach Pitso Mosimane after just seven starts for the club and the 22-year old admits the high expectations at the club made it difficult for him to adapt."I came from Zimbabwe and went straight to a team with huge demands, big pressure and high expectations," the former Chicken Inn winger told KickOff. "I feel I did fairly well in my first season as I was in the team a number of times."Sundowns is a club where you are not given a chance to make mistakes as there is always another equally capable - if not better - player waiting for his chance to play."So it is always about pressure at there."Mahachi has enjoyed an upturn in form scoring three goals and registering four assist in his first 13 Premiership fixtures since his transfer to Abafana Bes'thende and believes the freedom of allowing to play his natural game has helped him regain confidence."After I wasn't registered this season due to the foreign quota, I knew that coming to Arrows meant my priority would be to get my confidence back so that I can show what I am all about," he added."At least at Arrows you can be given a chance to rectify your mistakes in the next game."


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I could have chosen anything interior-related for my blog post but I immediately dived in with wallpaper. And then I asked myself "why?" I think the reason is that almost every room in my childhood home was a myriad of different colours, patterns and textures and this has clearly had a deep-rooted effect on my psyche - in a good way, of course!
Many old friends have said to me they loved coming to my house because it was so vibrant and cheerful. I'm sure that, because of the bold interiors of the house I grew up in, it's made me more confident at making strong and creative choices when it comes to colour and pattern with my own designs.
Here's a little photo montage I put together of some of the crazy 70's wallpaper images I found from that very house!
So why wallpaper? Well, as William Morris once said:
"Whatever you have in your rooms, think first of the walls for they are that which makes your house and home, and if you do not make some sacrifices in their favour you will find your chambers have a kind of makeshift, lodging-house look about them…"
And so in short, wallpaper is an easy, relatively inexpensive and effective way of adding personality, colour and depth to your home.
You may be aware of the current trends that have been around, and here I've highlighted a few of my favourites from some of my fellow IDC members.
Jungle fever
I love the idea of transforming a space into a tropical paradise! Emilie Fournet has done just that in this project with this fabulous palm print wallpaper.
I decided to mix this Paradisa wallpaper by House of Hackney with the clashing Mey Meh print below. The combining and layering of patterns adds drama to a tiny cloakroom.
Bloomin Marvelous
Because who doesn't love a beautiful bunch of flowers? But we're not talking small, pretty repeats here, we are talking large scale, sumptuous imagery. IDC Co-Founder, Fiona Duke shows how to perfect a feature wall to create a cosy, inviting sofa area with this gorgeous Eunoia wallpaper by IDC Trade Partner, Woodchip and Magnolia.
Serena Pitchers of Your Interiors Friend has taken scale to another dimension with this wall mural. A blown up National Gallery image by trade partner, Surface View. The wall creates a focal point, drawing the eye away from the TV whilst tying together the upholstery colours in the room, giving a cohesive, atmospheric ambience.
Geo-orgeous Geometrics
Geometrics are here to stay! And I think the reason being is that whether we're talking triangles, hexagons or squares, geometric shapes have a timeless elegance, illustrated perfectly here in this living room by IDC co-founder Karen Knox of Making Spaces. The deep blue background is highlighted with metallic gold lines adding a sense of glamour and luxury.
JOAN have used this digitally printed wallpaper by trade partner, Smink Things, which has a realistic geometric tiled effect. The distressed look and pastel colours give a soft, calm feel to the room.
After spending years scraping it away from our walls, i'm pleased to say textured wallpaper is back! But instead of the limited swirls and stipples, there are now numerous patterns and textures to choose from which can look fantastic when painted in your favourite shade. Take a look at Anaglypta's new collection for some instant inspiration.
And then there's the "how should I hang it?" and "where should I put it?" questions. The good news is, there are no right or wrong answers here.
You could go bold and cover all the walls in the room. Or if you would prefer a more subtle approach, you could try splitting the wallpapered areas as Karen Knox has done here, giving a modern twist to a traditional, heritage wallpaper by William Morris....
.... or as Vickie Nickolls of Interior Therapy has done by wallpapering up to the picture rail and adding extra colour and pattern to the wall by layering a collection of art prints.
Wallpaper could also be used on stair treads, as a kitchen splashback covered with a sheet of plexiglass, you could wallpaper the ceiling, aka. the fifth wall, like Kate Lovejoy...
....or you cold wallpaper your wardrobes as Emilie Fournet has cleverly done with this gorgeous terrazzo wallpaper by Ferm Living from trade partner, Cloudberry Living.
And finally if you get your hands on some wallpaper offcuts. You could always frame them or paste on to large boards and use them as pieces of art to brighten up your wall as I did here for this living room project.
The moral of the story is be brave, be bold and get pasting!


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Key Largo, Florida
Key Largo is the first and northernmost of the Florida Keys, and is only an hour's drive from South Florida's two major airports. Home to tropical hardwoods and winding creeks, Key Largo has some of the most interesting botanical scenery in Florida.
Several state parks are within easy reach including John Pennekamp Coral Reef State Park, Dagny Johnson Key Largo Hammock State Park, Everglades National Park, and the Florida Keys National Marine Sanctuary. In these natural sanctuaries, visitors can enjoy eco-tours, paddleboarding, glass-bottom boat tours, nature trails, and wildlife viewing. Florida Keys Wild Bird Rehabilitation Center will delight visitors with a variety of bird species whether in recovery or enjoying renewed life in a safe environment.
Head to the beach for excellent scuba diving, snorkeling, swimming, and even dolphin encounter programs. Molasses reef is home to turtles, nurse sharks, rays, and many different kinds of reef fish. Nearby wrecks including Speigel Grove are perfect for advanced divers looking for a challenge. Key Largo is also well-known as a sport-fishing destination. Team up with some of the world's greatest fishing guides for offshore or backcountry excursions.
Playa Largo Resort and Spa
Playa Largo Resort and Spa is perfectly situated on 14.5 secluded beachfront acres boasting sweeping views of Florida Bay and was named the #1 Resort in the Florida Keys by the Condé Nast Traveler 2018 Readers' Choice Awards.
Unwind in the stunning beachfront pool or get active with a vast array of watersports, eco tours, diving, snorkeling, or fishing. Nearby attractions include glass bottom boat, sightseeing tours and unique island shopping. With multiple restaurants, room and beach service, guests will enjoy a variety of epicurean delights. The Ocean Spa, with its massages and treatments, will provide a relaxing and pampering escape. Recharge in your own personal hideaway from days of sand, surf and sun and evening strolls and cocktails. Or never go out and take in the views. This family-friendly resort is a destination in itself.
Guest accommodations are reminiscent of old Florida with an Ameri-Caribbean aesthetic and feature modern amenities such as an interactive Ipad that allows guests to control their experience with a touch of their finger, Smart entertainment panel that allows a cinema effect to streaming movies and music, wood washed porcelain tile flooring, Marriott Luxury Beds, and a balcony. Other room amenities include mini-fridge, coffee/tea maker, alarm clock, safe, iron/board, robes, hairdryer, and more to ensure a comfortable stay. This upscale Island destination located 64 miles from the Miami International Airport (MIA). Valet parking is included in daily resort fee for hotel guests; complementary self parking is also available. Parking fees subject to change without notice.
This course is designed for physicians, certified registered nurse anesthetists, physician assistants, nurse practitioners, registered nurses and other medical care providers who must maintain state-of-the-art knowledge of the anesthesia specialty or are impacted by it.
The practitioner of anesthesiology must possess the scientific background for clinical practice; maintain state-of-the-art knowledge of not only the specialty, but also of all additional related disciplines which may impact it; maintain an up-to-the-minute armamentarium of knowledge and skills for the selection and use of complex equipment, pharmacological agents, and procedures necessary for the provision of quality patient care; manage self and colleagues to function toward common goals in the clinical setting, the clinical and educational institutions, and the community in which the practice resides; serve as an expert in matters involving health care delivery; serve as an informed manager of clinical and educational services provided, including the acquisition and distribution of resources necessary in meeting professional goals; and provide assistance with and support of other service providers, departments, institutions, and organizations dependent upon the professional expertise of the practitioner. Presentations are designed to facilitate the healthcare provider in reviewing, updating, and/or expanding knowledge and abilities in one or more of these areas vital to the practicing professional.
At the conclusion of this activity, the participant will be able to:
Apply the pertinent physical and behavioral sciences - to include but not be limited to advanced anatomy and physiology, pathophysiology, chemistry, physics, psychology, and social sciences - as they impact and are affected by the planning, delivery, and monitoring of anesthesia and related services inherent in the anesthesia professions.
Explain the selection, dosing considerations with methods of administration, safe use, and contraindications and precautions of presented pharmacological agents through the understanding of their physico-chemical properties, pharmacokinetics and pharmacodynamics, updated uses, and more recently developed additional, related, and similar drugs.
Outline comprehensive management plans for the group of patients discussed, whether related in age, physical status, cultural background, invasive procedure, anesthetic or analgesic requirements, clinical setting, adverse reactions, and/or goals of care.
Apply the principles of safety and asepsis in the performance of anesthetic procedures and administrations, equipment use, and other applications encountered during the provision of anesthesia and analgesia whether in the surgical unit, the labor and delivery suite, the pain management clinic, or other more remote location of anesthetizing services.
Incorporate the appropriate recommendations and/or requirements of pertinent external organizations, institutions, and professional groups - recognized as serving as the authority for and/or holding the responsibility to compile and approve such tenets - in the provision of anesthesia and related services, whether medical, legal, philosophical, ethical, or health care management standards.
Apply the new techniques in the clinical setting of the participant.
Current Topics in Anesthesia
Thursday, January 9
|Registration - Mandatory Sign In - Continental Breakfast
|NWAS Staff
|The Patient With Cardiac Disease 1: Preop Clearance Is Not So Clear
|The Patient With Cardiac Disease 2: Management, Monitoring and Meds
|Essentials of Ultrasound for Regional Anesthesia
|Understanding the Ultrasound of the Lumbar Spine and Neuraxis
|Pediatric Potpourri: Current Controversies
|H.De Soto
|Pediatric Pain Management in the Perioperative Period
|H.De Soto
1.6 Pharmacology Hours
Friday, January 10
|Registration - Mandatory Sign In - Continental Breakfast
|Anesthesia in Pediatric Trauma
|H.De Soto
|Fluid Management in the Pediatric Patient
|H.De Soto
|The Patient With Cardiac Disease 3: Stents and CIEDs in the Perioperative Period
|The Patient With OSA: Hidden Dangers for Everyone
|Consolidating PECS / Serratus Blocks Into the SAP Block for Breast Surgery
|TAP Block and Variations
1.9 Pharmacology Hours
Saturday, January 11
|Registration - Mandatory Sign In - Continental Breakfast
|Femoral vs. Adductor Canal Blocks for Knee Analgesia
|Ultrasound-Guided Interscalene and Supraclavicular Blocks
|The Adult Outpatient: Current Issues
|H.De Soto
|Management of the Geriatric Patient
|H.De Soto
|Anesthetic Implications of Drug Abuse
|H.De Soto
|Is There a Doctor or Nurse on Board? Tips to Handle an Emergency at 30,000 Feet
|H.De Soto
2.2 Pharmacology Hours
Sunday, January 12
|Registration - Mandatory Sign In - Continental Breakfast
|Ultrasound-Guided Femoral, Sciatic and Popliteal Blocks
|Intraneural vs. Extraneural Injections in Regional Anesthesia
|Risk Management: The Minefields Where You Walk and Work
|The Obese Surgical Patient: A Big Challenge!
|Chemical and Biological Warfare Agents: How They Affect the Anesthesia Service
|Recent Cases from the AQI
1.9 Pharmacology Hours
24 Class A CE
7.6 Pharmacology Hours†
|Refreshments served at the meeting are for registered attendees only.
Hernando De Soto, MD
Chief of Anesthesia, University of Florida Proton Institute
Chief of Pediatric Anesthesia and Airway Services
University of Florida Health Hospital
Jacksonville, Florida
Carlo D. Franco, MD
Chairman Regional Anesthesia
JHS Hospital of Cook County
Professor Anesthesiology and Anatomy
Rush University Medical Center
Chicago, Illinois
Mark T. Murphy, MD
MSN Education, LLC
Treasure Island, Florida
Medical Director
Northwest Anesthesia Seminars
Pasco, Washington
This activity has been planned and implemented in accordance with the accreditation requirements and policies of the Accreditation Council for Continuing Medical Education (ACCME) through the joint providership of The A. Webb Roberts Center for Continuing Medical Education of Baylor Scott & White Health and Northwest Anesthesia Seminars. The A. Webb Roberts Center for Continuing Medical Education of Baylor Scott & White Health is accredited by the ACCME to provide continuing medical education for physicians.
The A. Webb Roberts Center for Continuing Medical Education of Baylor Scott & White Health designates this live activity for a maximum of 24 AMA PRA Category 1 Credit(s)™. Physicians should claim only the credit commensurate with the extent of their participation in the activity.
American Board of Anesthesiology: CME credit will be sent directly to The American Board of Anesthesiology to fulfill the Part 2 requirement for the Maintenance of Certification in Anesthesiology Program (MOCA®).
Canadian Physicians: This activity is eligible for Section 1 credits in the Royal College's Maintenance of Certification (MOC) Program. Participants must log into MAINPORT to claim this activity.
Certified Registered Nurse Anesthetists: This program has been prior approved by the American Association of Nurse Anesthetists for 24 Class A CE credits; Code Number 1037328; Expiration Date 1/12/20.
Nurse Practitioners: The American Academy of Nurse Practitioners Certification Program (AANPCP) and the American Nurses Credentialing Center (ANCC) accept CME from organizations accredited by the ACCME.
Osteopathic Physicians: This program is eligible for Category 2 credit with the American Osteopathic Association (AOA).
Physician Assistants: The American Academy of Physician Assistants (AAPA) accepts certificates of participation for educational activities certified for AMA PRA Category 1 Credit™ from organizations accredited by ACCME or a recognized state medical society. Physician assistants may receive a maximum of 24 hours of Category I credit for completing this program.
Registered Nurses: NWAS is an approved provider for the following state nursing boards: Arkansas State Board of Nursing (Provider Number 50-7480), California Board of Registered Nursing (Provider Number 4833), District of Columbia Board of Nursing (Provider Number 50-7480), Florida Board of Nursing (Provider Number 50-7480), Georgia Board of Nursing (Provider Number 50-7480), and the South Carolina Board of Nursing (Provider Number 50-7480). This program offers 24 contact hours.
†Pharmacology hours subject to change.
Mark T. Murphy, MD, MSN Education, LLC, Treasure Island, Florida, Medical Director, Northwest Anesthesia Seminars, Pasco, Washington
Factors beyond our control sometimes necessitate changes in the schedule and faculty. If time permits, we will inform all registrants of any changes prior to the program. Changes on site due to local conditions will be announced in class.
We reserve the right to cancel a course for any reason. In such case, a minimum of 30 days notice will be given to those registered and 100% of tuition paid will be refunded. NWAS and NWWT will not be responsible for any non-refundable airfare, hotel, or other liabilities you may incur. We highly recommend purchase of travel insurance. Travel at your own risk.
$100 November 10, 2019 to December 10, 2019. No refund after December 10, 2019; however, 50% of tuition paid may be applied toward tuition for another NWAS program within the next 12 months. Cancellation must be made in writing.
FAP (Frequent Attendee Points)
FAP lets you accumulate points based on dollars spent with NWAS including net hotel and tuition booked through NWAS (but not air). Once you have enough points to cover a full tuition they can be redeemed for tuition (no cash value). A great program to reward you for supporting NWAS! Click here for more information.
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You must sign-in every day you attend to receive credit.
While we strive for accuracy at all times with our published information, we cannot be responsible for typographical and other errors.
Please note that children and non-registered guests are not allowed to attend the lectures. The concierge can provide you with childcare information.
Travel at your own risk.
Airfare available through Universal Travel. Be sure to mention Northwest Anesthesia Seminars when booking (booking fees may apply.) Contact Kellee Gray: Phone number: (858) 456-7962 - Email: firstname.lastname@example.com
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Shine Louise Houston on Craft Porn, Erotic Thrillers, and a Different Kind of Coming Out Story
August 28, 2015
Hosted by Tristan Taormino
[Download MP3] [itunes] [Bookmark Episode]
Guest Information
Episode Description
This week we welcome back to the show Shine Louise Houston, the founding producer and director of Pink & White Productions, who is currently finishing her latest erotic thriller, SNAPSHOT. Written and directed by Houston, SNAPSHOT draws inspiration from film classics such as Hitchcock's Rear Window and Antonioni's Blow Up, featuring a diverse cast and intimate portrayals of queer sex in Houston's signature cinematic style. We'll also discuss how she's telling a different kind of coming out story with her work and also share stories from working with the leads Beretta James, Chocolate Chip, & Lyric Seal.
Sex Out Loud with Tristan Taormino
Archives Available on VoiceAmerica Variety Channel
This program contains explicit content that may be unsuitable for some listeners. Discretion is advised.
Join award winning author, speaker, sex educator and filmmaker Tristan Taormino as she explores the world of sexuality from every angle. Tristan will interview leading authors, educators, artists and icons and give you an uncensored, inside look at alternative sexual practices and communities. She'll delve into topics from the popular to the taboo, including erotic fantasies, BDSM, non-monogamy, the adult industry, and more. Tristan will answer your questions on the air sharing her fifteen years of experience and honest, down to earth, sex-positive advice. Open your mind and expand your erotic horizons.
Tristan Taormino
Tristan Taormino is an award winning author, sex educator, speaker, and filmmaker. She is the author of seven books, including The Secrets of Great G-Spot Orgasms and Female Ejaculation, The Big Book of Sex Toys, Opening Up: A Guide to Creating and Sustaining Open Relationships, and The Ultimate Guide to Anal Sex for Women. She has edited 25 anthologies including The Ultimate Guide to Kink and the Lambda Literary Award winning series Best Lesbian Erotica. She's written for a multitude of publications from Yale Journal of Law and Feminism to Penthouse. For nine and a half years, she wrote a column in The Village Voice and has written an advice column for Taboo Magazine since 1999.
As the head of Smart Ass Productions, she directs and produces adult sex education and erotic films, including The Expert Guide series for Vivid Entertainment. Her films have won more than a dozen awards, and she was honored with the prestigious Feminist Porn Trailblazer Award in 2010. Tristan and her work have been featured in over 300 publications including O: The Oprah Magazine, The New York Times, Redbook, Cosmopolitan, Glamour, Men's Health, and Playboy. She has appeared on HBO's Real Sex, Ricki Lake, The Howard Stern Show, Loveline, MTV, CNN, NBC, and The Discovery Channel. She lectures at top colleges and universities including Harvard, Yale, Cornell, Princeton, Brown, Columbia, and NYU. She teaches sex and relationship classes around the world.


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Ok i have 4 free slots for guilds. I can create them. I can join them. Somehow.
How do i even find any? I want to join guild to play with good people, how do i find that
In WoW there is special interface for that with brief guild description where you can apply to
them. Is such feature implemented in dota? Am i missing it?


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See Also
Examples of carbon dating being wrong
What problems can cause carbon dating to be wrong
Examples of wrong carbon dating
Carbon dating gone wrong
Why is carbon dating wrong
How carbon dating is wrong
See Also


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Category Archives: Ancestors
52 Ancestors in 52 Weeks – Quick and Dirty Catching up! (Week 11 [luck] and Week 12 [popular] and Week 13 [Nearly Forgotten])
I've been swamped with school work the past couple of weeks, especially as our university transitioned all our courses to online, stay-at-home learning. They were prepared and the transition went smoothly, even for a luddite like me, but it was still a lot to handle in addition, of course, to preparing for the whole shelter-in-place for the next couple of weeks. It's only now that I have a chance to sit down and catch up. So without further ado, let's get started. These may be a bit short and to the point, but that's better than nothing!
Week 11: Luck
I don't actually associate luck with my family. I know we have it, we're survivors but when I think of luck, I think of great success or fame or fortune and that's not my family. They were, depending on which line one explores, lower landed gentry, peasant farmers, craftsmen, or clergy. We're still here though so I guess that counts for something!
Actually, if I had to say who was lucky in my family, I'd say myself. Even through the most grueling moments in my life, the darkest and roughest, there's been a glimmer, a lifeline. The Gods provide. I'm grateful for that and maybe I need to recognize it a bit more often. I'm lucky.
Week 12: Popular
Well, they're not my blood ancestors obviously, but they are a family of spirits that I honor with deep love and affection so what the hell. For popularity, you can't get more popular than the family of spirits I term my 'masked ones': the castrati and also the various ballet dancers that I honor (the latter because I was a ballet dancer, that is my professional lineage, and these were the men and women who inspired me when I worked in that field). Men like Carestini, Cafarelli, Senesino, Atto Melani and women like Marie Salle, Olga Spessivtseva, Marie Taglioni, et al. Now I do have one opera singer in my line (my maternal great grandmother) and one pianist (my adopted mom) but none strove for a career like these luminaries. I'm grateful for what I know of their struggles and trials and it is their popularity and success that has carried those stories down to us now.
Week 13: Nearly Forgotten
I'll tell the story of the death of my third great grandfather William Seymour Baldwin (1823-1864). He lived in Hardy County, West Virginia and died there too on October 16. I received the story from a distant cousin, who himself is an avid and skilled genealogist. It was taken from a family bible belonging to the Pratt family, from a record written by S.Y. Simmons, Esq. in 1896. If it hadn't been for my distant cousin being willing to share this information, or for S.E. sharing it with him, this story would have been lost to my family. Here we go:
""Issac Pratt was killed on Walker's Ridge while in pursuit of his horse, by some roughs who had formed themselves into a company in the late war. He was unarmed and they took him prisoner." S.Y. Simmons says "Seymour Baldwin was with him and was killed also. I sent for them and had them brought home and buried in Snodgrass Cemetery." According to older Pratt family members living in WV a man by the name of Klein was believed to be responsible for these deaths."
According to a story told in West Virginia –When a man by the name of Klein and his family moved into the area many, many years later, the Pratts living nearby made his life so miserable that he and his family moved in three days. The older Pratt members living in that area still have no use for the Kleins. Received from S.E., Moorefield, WV."
So, my three times great grandfather was killed by a band of roving thugs while helping his friend retrieve a stolen horse. No good deed goes unpunished, apparently.
There's a lot left unsaid in the description. Was Seymour armed (one would hope that when going to retrieve stolen property, one would take a rifle at the very least)? How were they killed (beaten? Shot? Stabbed?)? Was Seymour ex-military? If you'll note, the Civil War had just ended when all this happened. It wasn't uncommon for (often run-away) southern soldiers to form small criminal bands. We can tell from the story that Seymour wasn't part of such a band but did he himself have military service? Had he just returned from war? So much left to research!
Maybe one day I'll get to visit his grave.
Question from a Reader: Joining Organizations like the DAR?
Ms. Krasskova,
Because of your past writing on ancestor work, I have a question if you are willing to share your thoughts. Generally, I'm wondering if you have any opinions about organizations like Daughters/Sons of the American Revolution, Daughters/Sons of Union Veterans of the Civil War, etc., and the role they play in mediating our relationship with our Ancestors on a broad, national scale. And because my initial experiences with DAR in particular have shown the organization to have strong monotheist underpinnings, I am wondering if you have any general advice about how to navigate being a polytheist in those kind of organizations.
For context, in my personal ancestor work and my genealogical research, I came across documentation of several ancestors who participated in the American Revolution, which qualifies me for DAR membership. One would hope that an organization like DAR would provide access to a local community of people who value honoring their ancestors and preserving their local history. Unfortunately, although these sorts of organizations have done a lot of good for our Dead, they have been (in the past) outright racist and (in the present day) monotheist at best, aggressively Protestant at worst–to name just a few problems. Suffice it to say that I can't, in good conscience, participate in the opening prayers of every DAR meeting because of their monotheist language.
In an ideal world, I think that such organizations could do some of the heavy lifting for the ancestral healing that American culture needs, as part of their service work. But in the world as it exists, do you think it's worth trying to participate in these organizations as a polytheist? Is the desire to honor ancestors and preserve local history enough common ground to put up with monotheistic assumptions?
P. Anon.
HI P. Anon,
This is a very, very good question, especially since genealogy work is one of the most concrete practices within the umbrella of ancestor work and also where many of us begin. I've also found myself in the same situation, having a direct maternal ancestor who fought in the Revolutionary War and thus being eligible for membership in the DAR. For me, I've never been able to make myself do the paperwork and really, what they represent is just not part of my personal identity, and having learned about this particular ancestor's military work has been enough for me. Still, there are benefits to joining such organizations including scholarships and access to research archives. That being said, the concerns you bring up are absolutely valid and one of the reasons that I've always dragged my feet when it came to filling out that paperwork.
Here's the thing though: you can challenge those monotheistic assumptions. You can do it gently, persistently, and by your very presence. You don't have to 'put up with' them necessarily. Just pick your battles. You will most likely be the first polytheist that any of these women have met. It is likely to be completely outside of their idea of what is possible in the world. Your patience may be tested.
The fact remains that while organizations like this can and quite probably should be doing the heavy lifting when it comes to ancestral healing in this country, they are not, and in some instances, re-instantiate the very patterns that need to be challenged if healing is to occur. That isn't going to change unless and until ancestor workers and those who are deeply committed to understanding the truth of their ancestors' lives and experiences step into these spaces and do what it is their ancestors call for them to do and that can be uncomfortable (on both sides) and difficult (also on both sides).
As to the monotheistic prayers, I would address that in two ways. Ancestor work is a two-way street: it's those of us living and those who are dead. Some of those dead were Christians, probably the majority (or Jewish, or Muslim). It's ok to allow prayers to be said that they will recognize. You may not be able to participate in them licitly (I know that for the most part, I could not since many praise that particular Deity as the only one or the highest one, or make claims of allegiance that conflict with my loyalty to my own Gods). At the same time, it does not hurt these organizations to realize that there are those among them (likely among the specific groups of dead too) for whom that may not be the case. When opportunity arises, gently but persistently suggest other prayers. Point out that when the only prayers are constantly monotheistic in tone, it excludes you and possibly others from participating. There are delicate ways to push the issue. Each group is different so get to know the people in charge and once they understand who you are and their intentions, gently introduce the idea of using more inclusive, or different prayers. Many don't want to be exclusionary, it's just they've never encountered someone who isn't them.
But in the end, you don't need to join these organizations to honor those particular groups of dead. Depending on your ancestry, it might be contra-indicated – the goals of one group may show disrespect to the other group. It really depends. There's no one pat answer to any of this, like so much in ancestor veneration. What do they want (easily discovered via divination), what do you want? (For instance, if I had a child I might be more intent on joining the DAR because they do have scholarships that would help that child go to college. Things like this can be negotiated. Things like this, like life, like engaging with the ancestors, like so many other things are complicated. Always). One thing you may take on if you choose to join organizations like the DAR is helping them to realize the healing and service work that they can be doing. It's likely to be an uphill battle but it is a worthy one.
Then of course, there are genealogical organizations that are non-partisan, but exist solely to help and encourage its members in good, solid genealogical research. Those are uncomplicated and actually really helpful (I particularly recommend the National Genealogical Society and their online classes). Also, be kind to your living history people. Those who are engaging in living history work, public history are giving voice to the dead. They're doing sacred work. Be kind to them and find ways to support what they're doing.
Thank you for a very though-provoking question.
52 Ancestors in 52 Weeks: Week 10 (Strong woman)
When this prompt came up, I knew immediately about whom I would write: my adopted mom Fuensanta Arismendi Plaza (1950-2010). She formed me, healed me, loved me, and sustained me in ways large and small for the all too brief time that she was in my life (up to and including formally/legally adopting me). She was my miracle mother and it's actually because of her that I was able to eventually make peace with my bio-mother. It's because of her that I became a human being, that I learned to move in the world, that I gained enough footing to be able to reach out to give others a boost up too. Like some soul deep kintsugi, she carefully put me back together, smoothing out or maybe honing my roughest edges, and breathing life and color and brightness into a life I'd long thought dismal and grey.
We began our friendship, which quickly morphed into a mother-daughter relationship (that's just how it was, a blessing) in 2004. She had read a poem that I wrote that was included in an anthology and wrote to the publisher who eventually forwarded the letter to me. Her handwriting was so beautiful that I was almost afraid to open the letter. Her regular, every day writing looked like medieval calligraphy! (no joke). The letter itself asked about other things I had written and my theological perspective on a particular issue within our religious community (I'm a theologian) and of course I wrote back, sending her a few pieces. Things blossomed very, very quickly and within the year we'd met in person. I have binders, at least a dozen, of hand written letters that she wrote me and after she died (in 2010), I inherited her binders of my letters too. Even though we were visiting in person all the time, traveling together, and talking on the phone several times a day, we still maintained a lively written correspondence. She was the single most devout person I have ever known. She's actually venerated as a saint in (at least) two religious traditions.
There's the famous verse from Corinthians, "love is patient, love is kind," to which I would add, love rolls up its sleeves and gets to work. I owe my life to this woman, just as much as if she'd given birth to me. She rescued my heart and soul from a profound despair and darkness and …she was my mom. I miss her every day. I won't say much about her life because she herself was very private and would not have liked it. She was Swiss, attended the music conservatory in Basel, absolutely could not sing lol, taught piano for decades, spoke eight languages fluently, and read at least one more, loved animals, was an avid gardener, and had a calling to contemplative devotion that I flatly envy. She quite simply loved her Gods. They were her reason for being. I think the burden of living, what she once called the pain of the world, was very, very hard for her, but she bore it with dignity doing what she could when she could in order to make it better. I had been a priest for over a decade when we met but she taught me how to pray. She taught me what it meant to be devout. She taught me that integrity and devotion were both choices that we make again and again and again each day of our lives. She taught me the grace of endurance. For all of this and more, I am grateful. Her soul was a star held aloft in the hands of the Gods and its brightness continues to guide me daily. More I shall leave to those who knew her.
52 Ancestors in 52 Weeks: Week 8 (disaster)
I've put off writing about this because it's such an ugly story and had such terrible consequences for my grandfather, and by extension his children, and by further extension me. I will preface this by saying that I respect my ancestors. They were imperfect, often wounded human beings, flailing about in the anguish of their humanity. I get that. I don't judge them, or at the very least I try hard not to do so. I am no better when I am in pain. That being said, brace yourselves.
I don't know very much about my great great grandmother Edna Baldwin. She was an opera singer, played the piano (I've been told both professionally in Baltimore) but she was a cypher. I know she had a vicious temper (hey grandma, me too), was very volatile, and tried to hide her background. I've found outright lies on her children's birth certificates about where she was born. It reads like she is trying to hide her origins and I have no idea why (suspicions, but no clear proof). Her marriage (if they were actually married…) to my great grandfather Perry Barnes Hanna was passionate, violent (on both sides), and short lived. He had a penchant for alcohol and both for physical violence and she for the latter (she went after him with a knife once, and family stories point to both of them being equally ill-matched) She apparently had two children with him, my grandfather Roland Isaac Hanna and his older brother Van.
When Roland was six and Van nine, Edna took them to a local park. She told her sons that they should wait a moment and she'd be right back. Then, with no explanation, she left. She never came back. Both boys were adopted out to separate families. Roland was used as farm labor, living in conditions close to brutal, indentured servitude. He was brilliant – and since I'm sure I'll talk about him later during this project, I won't go into too much detail about him now save to say that this destroyed him. I don't think he ever recovered emotionally. Later, as a teenager, he sought out his mother and showed up at her door. When she answered, he told her, "I'm your son, Roland." She closed the door on him with the words, "I have no son Roland." While Van detested her, Roland never stopped trying to win her love.
That one act: her abandonment of her children, damaged three generations. Roland grew up into a harsh man, a brilliant polymath married to a woman who could no way match him intellectually (my grandmother, was a very devout woman, but they were not well matched intellectually in any way, shape, or form). He was so abusive to his wife and children, that one uncle told me, "Every night he'd beat us with a coal shovel until we pissed or bled" and my aunt remembers her deep fear coming home from school every day, wondering if they'd find their mother dead on the floor. My bio-mother was his least favorite child and he was the harshest with her. This left her cold, contemptuous, depressed, and angry. She was not physically abusive, but she was unloving, emotionally abusive, and mean (to me, not to my brother – he thinks she was the most amazing mother in the world and it's a point of contention between us that I don't agree. I do think that she did the absolute best she could and for that, she has my respect). I was blessed to have an adopted mom, and to have made peace with my bio-mom before she died. I understand why she was as she was: it was a deep, deep pain and sense of being unloved. Her father and mother divorced in the 50s and before he died in the 90s, he tried to make peace with her, but she was having none of it. The wounds were still too fresh. He destroyed her trust in the world and her ability to believe herself worthy of happiness, as his has been destroyed the day his mother left him in the park.
Years ago, I remember standing in front of my ancestor shrine and meditating on Edna Baldwin and I said aloud, "I just don't understand your choice" (i.e. to abandon her children). Clear as a bell ringing through my mind and heart I heard her voice, "You assume I had one" (a choice.). I pray for them all, honoring them amongst my dead, doing regular elevations. There are stories there that I do not know and pain I cannot fully understand and my job is to hold it, honor them, and do what I can by way of our ancestral techniques (like elevation, story-telling, prayer, etc.) to heal what I am able to heal, for the living and the dead.
Hurt and pain echoe through generations continuing to do their damage. Nothing goes away. It must be faced, acknowledged, wrestled with, dealt with, and ultimately – hopefully with the grace of our Gods – healed. Disasters happen but I think we are made, forged and honed in how we meet them. We happen too, we become, even in the midst of generations of ancestral pain and that is an opening for the glory of our Gods.
Honor your Dead. Why does this even have to be said?
This is an excellent article. Not only can those of us coming from European ancestries reclaim our ancestral roots, we must. I think it is crucial, holy work. To say that because one is [insert skin color here] that one should not honor one's dead, work to peel back the layers (good and bad) and reclaim pre-Christian traditions is frankly, bullshit. It's hateful, it's destructive, and it's prolonging the very systematic types of abuses such nay sayers think they're trying to stop.
We are called as polytheists to honor our dead, to take up the obligation of cleaning up our ancestral debts, to heal those of our ancestors who are damaged, and to recognize that we are the culmination of our ancestral lines walking, with everything that entails. We are called to speak for the dead. We are not separate from these people and they call out to us to right the wrongs that tore them away from their tribal consciousness, that destroyed their traditions, that corrupted and damaged the way they and their descendants engaged with the world and with others in it.
Yes, we have to reclaim and those who say that there's nothing to reclaim are speaking from a place of emptiness, of nothingness, of base ignorance. We have to reclaim, restore, and nourish because we owe it to our dead to step up and to stay the course despite the nonsense to which the post above was responding.
52 Ancestors in 52 Weeks – Week 8 (Prosperity)
When this topic came up in the genealogy challenge, I immediately thought of my maternal third great grandmother Rachel Bobo. She was born in 1824 and died 1908 having spent her entire life (as far as I can tell) in Hardy County, West Virginia. She married a farmer, William Seymour Baldwin (1823-1864) in 1839 and they had a passel of children including my great great grandfather Isaac Hamilton Baldwin.
(yes, the birth date is off on the photo – welcome to genealogy)
The first time I saw her last name, I was amused so of course, I had to research it even further. It's a French name that can also be spelled Beaubeau, Baubeau, or Bobeau – keeping in mind that there was no standardization with the spelling of names until well into the early 20thcentury). Turns out, Rachel is descended from Gabriel Bobo, an Huguenot immigrant to VA c. 1681. Originally from St. Sauvant, he was fleeing religious persecution in Catholic France. The Edict of Nantes, issued in 1598 had given Huguenots the right to practice their faith free of persecution but this was revoked by Louis XIV in 1685 leading to government sanctioned persecution, pressure to convert to Catholicism, imprisonment, and violence. Many Huguenots fled to Britain and Denmark (and some, eventually to the American Colonies). I was surprised to learn that they had a reputation for being fine craftsmen of various sorts, though I can't tell if that was also the case with Rachel's family. I do know she was tough and you can see it in her face too. My impression from her photo and the stories that I have of her is that this is a woman possessed of grit.
Rachel's Grandfather, Leonard Ludwick fought in the Revolutionary war and I'm amused by the names she chose to give some of her children: Andrew Jackson Baldwin, Isaac Hamilton Baldwin, etc. Obviously, this was a generation proud to be part of the new America. It doesn't seem like she or her husband were literate but they sure made certain that their children were. Her son Isaac, my second great grandfather was a mechanic, and his daughter was, at least for part of her life, an opera singer. One can see an upward educational trend.
It may seem strange to write about Rachel on a week focused on "prosperity," but she and her husband worked hard and it's clear that they did so in order to give their children something better than they themselves had. I wonder what the word "prosperity" meant to her and I very much wonder what I can learn from how she lived her life and her values.
52 Ancestors in 52 Weeks – Week 7 (Favorite Discovery)
This is a hard one because each time I learn something new about my ancestral lines, I get excited. Each discovery is my favorite one. That being said, I think the thing that I've been focusing on recently the most, that just tickles me pink, lol, is something I've mentioned before; namely, that my 11thgreat grandfather is Jakob Boehme, seventeenth century theologian, mystic philosopher, and gadfly to the establishment.
Given that I myself am a theologian, I like knowing that I'm carrying on a family tradition: pushing the boundaries within my religious community. Boehme is not the only clergy person or theologian in my maternal line, but he's the one that I found the most surprising.
For more info on him, see the wiki article here.
For you, my readers, for those of you who've done genealogical work as part of your ancestor practice, what has been your favorite discovery?
52 Ancestors 52 Weeks – Week 6 (Same Name)
I actually don't have any ancestors that I know of who share my first name. I was, however, very nearly named Ursula after my paternal grandmother, so I'll share her story this week. (I think I would have liked sharing her name as an adult—it means "little bear"—but I'm not sure I'd have been overly thrilled with it as a child).
(Ursula and Karl with their children Julia and John)
Ursula Blasis was born in 1888 in Kurliu, Lithuania (though unlike her husband Karolys, she listed "Russian" rather than "Lithuanian" on her immigration forms, making me wonder if one of her parents was Russian – I haven't been able to find out anything about them yet) and immigrated to the US in 1910. She had three children: my aunt Julia (1912-1999), my dad John (1917-2005), and my uncle Joseph (1921-2011).
She was married to Karalys (or Karl) Dabravalskas (1882-1973), a dairy farmer and carpenter. This is the story that my dad told me of their courtship. Apparently, Karl was originally betrothed to Ursula's older sister. My impression from what my dad told me was that this was, more or less, an arranged marriage. So, Karalys immigrated to the US, settled in Albany, NY and got himself settled and set up and then sent for his bride to be. She, however, decided she didn't want to leave Lithuania so without telling him beforehand sent her younger sister Ursula over. Once she was here, in those days, one couldn't just send her back so they married and that was that.
While I didn't know my grandfather (he died when I was less than a year old), I do have memories of my grandmother. She was birdlike and thin, spoke very little English, and was very affectionate. She scared me as a child – she always wanted to hold and pet me but even as a child I wasn't much for being crowded and as a very small child I thought she was Baba Yaga! Now I wish that I had had the opportunity to know her when I was just a bit older. I think she was very tough and very brave.
She is buried in Albany and I visit her grave regularly (as well as that of her husband, my aunt Julia, and her husband Kurt Wagner). It's probably time I visit again. It's been awhile…
52 Ancestors in 52 Weeks: Week 5 (So Far Away)
This week, I want to talk about a group of men that I honor as ancestors, even though they never had physical children. For years now, I have honored the baroque castrati as a group of honored dead on my ancestor shrine. I love them, I truly do and they've become an integral part of my spiritual practice of honoring the dead.
Music has always been an important part of my life. I spent the first quarter of my life as a professional ballet dancer (retired in my early twenties due to injury). That was the first way by which I was introduced to ecstatic spirituality. It was the first way I ever touched the sacred. It's an art intimately connected to that of music. One of the first really famous ballet dancers, Marie Salle, who was herself a gifted choreographer, worked with Handel and his castrati in London. Ballet and opera evolved one from the other. There's a lineage there and in a very small way, I was part of that. Even now, when I listen to music it takes me out of myself and brings me to a place where I throw myself far more deeply into holy work. It's a visceral, full body experience. It roars through my blood and then carries me to the spirits and worlds I seek. It was from the castrati that I really came to understand what an important journey maker music has always been for me. Now I use it consciously in my work and often under their auspices. I am grateful.
Anyway, for those who may not know – since I do have a number of new readers –the castrati were singers, first in church choirs and then in the opera, who were castrated before puberty to preserve their voices. So, they were adult men with the chest and lung capacity of adult men, but the vocal chords of prepubescent boys. They were sopranos, mezzos (both classed as "soprano" in their day) and altos and their voices were ethereal wonders. We don't know exactly what they sounded like. There is a recording of the very last famous castrato, but he was well past his prime during the recording, had never been an operatic virtuoso, and turn of the century recording technology lacked the capacity for recording the fullness of his voice. What we get is warped and thin. The same thing occurs with female opera singers who were recorded in the first decade of the 1900s too. All we really have are descriptions from those who heard these men. They were the rock stars of their day. One woman, upon hearing the famous castrato Farinelli sing was moved to such ecstasies by the sound that she burst out with an enthusiastic, if slightly blasphemous, "one God, one Farinelli!"
Now, we usually think of the castrati as belonging to the the baroque era but they worked roughly through the 16th to 19th centuries. In reality, even longer — the first castrated singer that I've encountered (thanks to the work of scholar Neil Moran) is the 5th century Brisson, who was choir master in the Byzantine court of Empress Eudoxia. We know that the Byzantines had castrati in their choirs though there is no indication of an industry that castrated boys purely for their vocal potential. That comes later in the 16th century in the Vatican states where women were forbidden from performing on stage (because of a prohibition in Paul). The last well-known castrato was A. Moreschi who died in 1922. He's the one who was recorded. Today, their repertoire, which created opera as we know it, is usually performed by women or counter-tenors. I prefer the latter (I like lower female voices, probably because I'm a tenor myself and higher male voices. Female sopranos tend to annoy me—the quality of the sound is different from a man singing in the same range. I'd rather listen to a female contralto but in the end, I'm glad for all the vocal instruments we have). By the way, that Byzantine choir master Brisson was a bad ass. He is recorded (by the 6th c. historian Socrates) as getting into fist fights with religious heretics lol.
Anyway, I consider these men, men like Atto Melani, Cafarelli, Carestini, and Senesino to be part of my ancestral house. I honor them regularly. They have immortality like the heroes of old, and it is up to those of us who recognize the beauty and sacrality in what they did to serve the function of progeny: that of remembering those who came before us. So, I hail them, regularly and very soon, I will complete a small novena book for them too. I will conclude this with one of the prayers I give them. May they always be remembered, valued, and praised – both those who were famous, and those who broke in the process.
Prayer for the castrati
By Galina Krasskova
Your predecessors haunted the courts and choirs of Constantinople.
The enchantment of your voices was heard from Italy to Spain,
England to Germany, and well beyond even to farthest Russia.
The ghostly memory of your glory haunts every operatic stage,
everywhere in the world today and that is good. We should not forget.
We should never forget the debt our artists owe to each of you,
with every voice lifted in song, every note resonant in modern throats.
You rose up from the ashes of Rome,
glittering jewels in the crown of the world,
bright, hard, glorious, unbreakable.
You shone like the sun
with the glory of the moon at your backs:
magic, allure, erotic power.
Your voices tore open the heavens
and left frenzied desire in their wake.
No king was ever more feted.
No saint ever more reverenced.
Let us taste anew that frenzy–
pouring ourselves out in offerings to you.
White, cold and unyielding,
beautiful angels,
with hearts hungry
and less than angelic,
each of your voices a blade,
inviting longing, revealing desire,
leaving ecstasy in its wake.
I praise you today and every day.
Your names sanctify my lips.
(from the forthcoming "Viva 'il coltello: In Honor of the castrati" by G. Krasskova, Sanngetall Press).
The closest we can get is the modern counter tenor. Here are three of my favorites.
Andreas Scholl singing Bizet's "Habanera" (he's known for his interpretation of Bach and his voice is exactly the same vocal range as the castrato Senesino. He also went to the same conservatory in Basel as my adopted mom. I just get a kick out of him singing "Carmen" so I chose that one instead of Bach).
Michael Maniaci singing Mozart's "Exsultate" (written for the castrato Venanzio Rauzzini).
Philippe Jaroussky singing Gluck's "Che faro senza Euridice" (originally sung by the castrato Gaetano Guadagni).
Jakub Jozef Orlinski singing Hasse's "Mea tormenta, properate!"
52 Ancestors in 52 Weeks: Week 4 (Close to Home)
I grew up amongst my maternal kin. Rather, I should say, I grew up amongst the Shoff and Heffner descendants. There wasn't much awareness of continuity or genealogy in the immediate family – for instance I was in my forties before I realized my great grandfather and great-great grandmother were buried not 20 minutes from my childhood home—and with one exception, my maternal grandmother's children seem to want to cut themselves off from their heritage. There's something emotionally unsettled and rootless in them, a brittleness that I put down to that conscious abrogation of their ancestry. I could speculate on why they feel that way, but that's not where I want to go in this post. Rather I'd like to focus on connection.
There is a cemetery, St. Luke's Evangelical Lutheran in Chanceford Twnship, PA where I am related to 98% of the inhabitants and if I looked closely enough, I could probably find connections to the remaining 2% as well. So many of my direct descendants are there. Visiting was overwhelming. I've been to cemeteries before where I had one or two relatives buried but never six+ generations of my maternal line! It was one of the richest and yet most disorienting moments I've ever had in my genealogy work! I sank down in the grass in front of my great, great, great grandparents' (Elizabeth Oberlander and Jesse Runkle) stones and it felt like a homecoming. I wanted to stay there for hours and hours.
My friend MAG was with me (she took the picture of the cemetery shown here) and helped me to stay focused. She's a good handler lol! It was blistering hot and all I could think of was finding relatives but she made sure I stayed hydrated and kept an eye on me as I staggered from grave to grave. She was a trooper too. When we started out, we knew the cemetery was off route 425 but not the exact address. When we found it after about an hour of driving around, the sense of "this one is mine" was so strong it knocked the breath out of me. (I found this page, by a librarian and genealogist talking about the cemetery for those interested).
My third great grandparents are there, second great grandparents, my second cousin twice removed who died in WWI, his parents, assorted Revolutionary and Civil War dead to whom I'm related. There's a list of the burials MAG found as I was staggering through the cemetery and when I started reading through it, I think all I could say over and over was 'Oh my Gods. Oh my Gods. Oh my Gods." Shoffs, Runkles, Oberlanders, Heffners, Smeltzers oh my. (Even as I typed this up I went off on a genealogical expedition through cemetery records. I had to stop myself lol).
Not belonging to an Abrahamic religion, I often ponder the fact that we have no universal "holy land" comparable to what Jerusalem is for Jews, Christians, and Muslims. One could say that all land is holy to us but that, I think, is a cop out. This cemetery is the closest I've ever gotten to a place that felt holy on an inter-generational level, on a deeply sacred level and it was a joy.


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Poignant Relations: Three Modern French Women
James Smith Allen
|About the Book
To what extent are autobiography, memoir, diary, travelogue, correspondence, prose fiction, literary criticism, journalistic polemic, and scientific research expressions of a female self? How does the more or less explicit narrative in each one ofMoreTo what extent are autobiography, memoir, diary, travelogue, correspondence, prose fiction, literary criticism, journalistic polemic, and scientific research expressions of a female self? How does the more or less explicit narrative in each one of these genres define womens personal identity, conscious agency, and discursive resistance? -- from the IntroductionTo trace the origins of feminist consciousness in France, James Smith Allen explores the lives and words of three nineteenth-century women: Marie-Sophie Leroyer, Genevive Brton-Vaudoyer, and Cline Renooz-Muro. Though not identifying themselves with any specific group of feminists--indeed, even rejecting the label feminist--these women wrote extensively about important feminist issues: marriage, sexuality, education, religion, and politics. Theirs was a discreet, relational feminism that they expressed by considering their relationships to themselves and to others. Because they were less political (and thus less well known) than other feminists, these three women have been neglected by historians and literary theorists. But they are thus more representative of a generation of women who often wrote about, but did not necessarily act on, their independent ideas. For them, writing was transgression enough.Allen has chosen three fascinating subjects to examine. Marie-Sophie Leroyer, a novelist and literary critic, actively corresponded with George Sand and Gustave Flaubert. The descendant of an aristocratic family, she inherited enough property to allow herself to devote her life to writing: in her novels and letters we encounter narratives of personal sacrifice, and learn of a life filled with emotional and spiritualpain. Genevive Brton-Vaudoyer, most well known as the mother and mentor of author Jean-Louis Vaudoyer, wrote extensive and revealing diaries that helped her cope with personal tragedies--the death of loved ones in war, her relationship with a difficult husband. Her writing was an emotional necessity, a kind of prison, as she often called it. And Cline Renooz-Muro, a scientist, historian, and journalist, published over a dozen books and founded the Socit Nosophique. By examining the writings of these three figures, including many unpublished diaries, letters, and memorabilia, Allen documents the deliberate efforts of modern French women to construct a stable, reliable, discursive self. A bold experiment in empathetic biography, Poignant Relations: Three Modern French Women will appeal to readers interested in history, literary theory, and womens studies.


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