text: The guru of Services Drafts Allison Bell 1 Instructional Design and e-Learning Pro I am a training and development pro with a passion for helping people contribute to organizational success through innovative learning solutions. I design, develop, implement and evaluate learning programs. My core expertise is in helping people learn software applications and supporting user adoption of new systems and business processes. During my 20 years of experience, I have enabled employee learning and performance by developing and delivering 8000+ hours of instructor-led training, e-learning, educational videos, and webcasts for a wide range of audiences.My approach on projects is to understand the needs and follow an iterative design and development methodology. You won't ever have to wonder what the status of the project is, and I am committed to high quality outcomes.


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I will rather divorce than cheat on my partner- Folashade Shittu
Rising Yoruba actress, Folashade Shittu, who is also an entrepreneur, may have spoken the minds of many women of today who would rather divorce than cheat on their partners.
In a chat with TheNewsGuru, the talented actress bared her mind on what she would do If her man cheats on her.
"I would rather divorce than cheat on my partner, I don't support married women cheating".
On why she hasn't been featuring in movies lately, Shade said she has been paying more attention to her business.
"Why I took a break from acting is because of my event planning business you know to plan an event isn't an easy task, you have to be fully involved in everything. My business pays more than acting,but business hasn't been rosy lately".
When asked how far she can go to interpret a role, Shittu revealed that she can go any length as along as she doesn't have to be naked.
"I can go to any length to interpret a role, as long as I'm not being asked to be naked. That I can't do".
The beautiful actress recently concluded the shoot of her movie, 'OWO KONIFE' which features Damola Olatunji, Kemi Afolabi,Afeez Eniola, Yewande Adekoya and others.

subset: commoncrawl


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List of all Bee Fit Health Club Outlet stores locations in the US, Canada and Mexico. Select state and get information about Bee Fit Health Club brand location, opening hours, Outlet Mall contact information.
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Don't miss the Archdiocesan One Faith One Family Conference!
This year's theme is "The Family the Plays Together, Prays Together," and features the following:
Food & Games & Live Music!
Child Care
Mass & Adoration
Dr. Greg and Lisa Popcak (hosts of More2Life on AveMaria Radio)
and much more!
Visit the official website by clicking here for more information, and to get Registered!


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New Business Development Manager
A large Birmingham city centre IT Service Provider with onsite facilities including table tennis and inclusive parking spaces are seeking an experienced New Business Development Manager covering the Midlands. You will be joining one of the UK's leading IT services, solutions and procurement providers and you will be covering mostly customers in the Midlands, but other travel Nationwide will be required.
The company has been a managed service provider for over 15 years supporting over 500 small and medium sized businesses. The services include managed security, back up and proactive support.
Role Purpose
The main purpose of the New Business Development Manager is to create and close new opportunities and increase revenue growth via new account development and expanding existing accounts.
As an experienced New Business Development Manager, you will ideally have a strong understanding of IT products, software and service sales and how to effectively close new deals. You be securing profitable new business on contracts and generating additional business from existing accounts. You will work closely with pre-sales and sales specialists to identify opportunities, close deals and deliver solutions.
You will sell IT services, solutions and hardware from a broad portfolio of offerings.
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A Brief Article On Technology
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Posts tagged Ted Moss
Joel Radio #233: Unlaughing Fat Guy
Nov 29th
The holiday movie season (and Oscar season) is in full-swing as Joel and Ted Moss review some of the award hopefuls including the very good Green Book, and the awful Netflix/Coen Brothers cash-burn The Ballad of Buster Scruggs. What's worth a look this holiday? Lots of reviews to hear as Melissa McCarthy gets serious, those Asians are Rich and Crazy, and a remarkable documentary, Three Identical Strangers. There's also a big argument over a depressing movie with a great performance as well. Plus, Joel performs in front of the "Unalughing Fat Guy" again, Ted goes west on Amtrak and visits Amazon even though he doesn't subscribe, why everyone should watch YouTube videos, and Joel receives the worst Christmas card ever – from Ted.
Podcast: Play in new window | Download
Turn this movie off after the first story. Trust us!
Joel Radio #230: All New Stuff
Oct 19th
Comedian Ted Moss returns to sit in with Joel and tells him everything he knows about comedy. Unfortunately, much of what what Ted has to say is wrong, at least according to Joel. When should comedians introduce new material to their act? How should you approach an open mike at a club versus one at a bar? It's a spirited debate where there are no right or wrong answers, with the only possible conclusion being that both guys are sure the other is wrong. Also, Jon Lovitz and TJ Miller perform at the Comedy Castle and Joel has reports on both shows. Turns out, people enjoy seeing celebrities. Who knew? Plus, Ted's internet dating history is a comedy of errors (hear Joel's way more limited experiences too), early Oscar contenders A Star is Born and First Man get reviewed, and you'll find what happened to Corey on this show but it's not much of a surprise if you've been paying attention for the last thirteen years.
Podcast: Play in new window | Download
You've made it in show business when the dog gets the green room to himself
Joel Radio #228: Bloopers Over The Credits
Sep 20th
Joel Radio welcomes comedian Ted Moss back to the podcast. Ted was previously heard on his Broke N' Road Comedy Tour and he's back to discuss the successes and failures of that tour, what the comedy scene is like in other towns, what it's like to sleep in an RV with another guy and more nonsense. The guys discuss comedy classes becoming real-life arguments, Joel's guitar inspiration, and what happened when Ted tried to give Joel a "free" piano. Ted's a nut and he can bullshit with the best of them – he's perfect for this show. Also, Joel talks about seeing Ed Sheeran in concert, but he doesn't talk as much as Ed did at the concert. How much chatter is too much? Hear Joel's Springsteen impression for a comparison. Plus, Burt Reynolds dies and leaves a legacy of beer, blondes and sports cars, John Mayer gets spotted in Chicago, Jack Ryan is more entertaining, implausible Tom Clancy bullshit , but Joel will tell you when his BS became real. And a movie review of A Simple Favor – shoulda been called "Gone (Again) Girl".
Podcast: Play in new window | Download
Yes, Ariel Winter, old Burt Reynolds skeeves us out, too
Joel Radio # 209: Three Arguments Outside Savannah, Georgia
Dec 22nd
The last show of 2017 sees lots of holiday spirit as Joel and Corey Hall fight over a movie that critics loved and the audience liked far less – no, not Star Wars (but they get to that), instead it's Three Billboards Outside Ebbing, Missouri. Joel found the characters unlikable and the film boring, while Corey thinks the allegorical message and fine performances made it stand out. It's a classic argument, but one to consider if you're into seeing the Oscar-bait movies that come out this time of year. Also, Joel sees Bruce Springsteen's Broadway show with some A-list company but braved a terrorist attack and snowstorm to do so. Plus, a road update from Ted Moss on his tour through the south, including Joel embarrassing him and Bill Reno in Savannah, Georgia, The Disaster Artist gets reviewed, and more Star Wars coverage at the end of the show. Hear how the guys nailed all the controversies before they even started and how those controversies will impact the future of the franchise.
Podcast: Play in new window | Download
This image is more entertaining than the film, says Joel anyway
Joel Radio #204: A Medium Show
Oct 19th
Comedians come up with a lot of bad ideas. But they'll also do anything for a joke. One such example is today's guest, Ted Moss, and his idea for a low-budget, unplanned RV comedy tour and web series, The Broke N Road Comedy Tour. Ted and another comic, Billy Reno, will travel all over the US this winter and perform comedy anywhere people will have them – clubs, rest areas, RV parks, you name it. Joel thinks this is a terrible idea, even if he likes both comics a lot. Money? Food? Sex? Who's taping the videos? Ted, ever the salesman, has an answer for everything and thinks the tour will be a smashing success. Or, at least ,he'll find a vacation home. It's always entertaining listening to Ted! Also, Joel's wrestling pilgrimages continue as he travels to Ring of Honor in Chicago, where he had a front row seat and even wrote an airport love letter to a wrestler, because the show was so good. Plus, Blade Runner 2049 lives up to the hype, Alien: Covenant is a good one of those, Nathan For You is fantastic and funny, and find out why Joel won't watch comedy on TV and why he doesn't miss working the road.
Podcast: Play in new window | Download
Billy and Ted break the #1 tour rule – never drink from a bottle!
Joel Radio #196: Knives Out For Comedy
Jun 21st
The joyful art of stand-up comedy had yet another controversy this week as Iliza Shlesinger outraged both comedians and comedy fans with some pointed opinions in a recent interview. Were Iliza's comments about female comedians off-base or was there some merit to her statements about originality and audience's expectations? Should you really be proud of a World War II joke? Joel investigates with the help of Corey Hall and the returning Ted Moss. Ted is a fan of Iliza's and thinks she's getting a bad rap. Joel thinks she's talented but also shares his experience working with Iliza a few years back and is not surprised that this happened at all. The guys discuss advantages and pitfalls of being a hot chick in comedy, and why the most important thing is show business is to be easy to work with. Also, I'm Dying Up Here on Showtime continues to get it wrong, a second look at La La Land, doing a podcast with the power out, and a review of Saving Banksy on Netflix. Plus, Corey has seen the latest Steve Harvey abomination. Piece of advice: when you're in the Funderdome, don't look him in the eye.
Podcast: Play in new window | Download
Ted Moss and Iliza Shlesinger in happier times (photograph by Joel!)


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The Balance of Aerial Power
Paul Merkle
Thank you for another great issue (June 2019). I was particularly intrigued by Vincent O'Hara's article "D-Day, A Year Too Late?" (pp. 14–19), which asks the question: Could the invasion of northwestern Europe have been completed in 1943?
O'Hara quite rightly lists the four requirements for a successful invasion, and air supremacy is the second. But then he does not examine the state of the aerial conflict in the summer of 1943 and how it might have affected a cross-Channel invasion at that time. One could argue that air supremacy would not be realized until the summer of 1944.
If an invasion had been attempted in the summer of 1943, the Luftwaffe would have made the price in Allied ships and men very high. At that time, the German fighter force was strong enough to escort bombers and fighter bombers to the Normandy coast and beaches. A crowded English Channel would have provided ample targets.
As Steven J. Zaloga points out in Operation Pointblank 1944 (Osprey, 2011), the destruction of the German fighter force was as much the strategic objective of the U.S. Army Air Forces in Europe as the destruction of German war production. A total of 8,749 German single-engine fighters were destroyed on the Western Front from 30 June 1943 to 30 June 1944. More important, 1,200 German fighter pilots were lost in the first six months of 1944.
Also, by the summer of 1944, the Germans were feeling a shortage of aircraft fuel. The first effect was to limit the hours training aircraft could be flown, in turn reducing the quality of Luftwaffe pilot training.
On the Allied side, great improvements in fighter aircraft were made. In September 1943, the superb P-51B Mustang was introduced. By the spring of 1944, Allied escort fighters were taking a toll on the German Air Force in the air, and they were strafing them on the ground.
In short, the Luftwaffe was a much more effective force in the summer of 1943. It would have made a cross-Channel invasion at that time a very costly enterprise. The Allies saved themselves much blood by waiting until true aerial supremacy was achieved over the invasion front.
The author responds: Mr. Merkle is right that a powerful German Air Force would have caused problems over any beachhead, as it did for the Allied forces landing in Italy in September 1943. My article did take this superiority for granted. A more extensive analysis would have considered this question in detail. In brief, I think by midsummer 1943, given the proximity of air bases and superior numbers, the Allies could have secured air superiority over the beachheads and farther inland. This superiority would not have been as absolute as it was in 1944, but it would have been enough.
What About Dieppe?
George Walker
I was surprised that Vincent O'Hara in "D-Day, A Year Too Late?" made no reference to the Dieppe Raid of 19 August 1942, which had a profound effect on Allied invasion planning. Intending to seize and temporarily hold a French Channel port while gathering intelligence and destroying enemy installations, a force of 6,050 Canadian, British, and American troops encountered fierce German counterattacks that resulted in a 60 percent casualty rate among the raiders and a complete military disaster for the Allies.
The raid revealed many shortcomings in Allied preparations and convinced the British high command that a cross-Channel invasion of occupied France would require far more resources and personnel than originally thought. Hence their extreme reluctance to support the U.S. demand for a cross-Channel assault in 1943.
Lessons learned from the Dieppe Raid were applied to the North African and Italian landings with considerable success. Ultimately, the outcome of the June 1944 invasion of Normandy was bought with Soviet blood, as General Sir Alan Brooke of the Imperial General Staff had anticipated, along with the experience gained from the Dieppe Raid and its successors.
Yalu River and McGiffin
Bruce Egli
I found Commander Mark Metcalf's article in the April issue, "Humiliation Is Prologue" (pp. 42–47), of great interest, as much of it reflected the late-19th-century efforts of the Imperial Chinese Navy to modernize. Handicapped by corruption, treachery, and incompetence on shore, the Chinese fleet was defeated by the Japanese at the 1894 Battle of the Yalu River. The battle was not as one-sided as it may have appeared, as the newer Japanese ships were unable to overcome the two Chinese ironclad battleships, the Ting Yuen and Chen Yuen. The action, while fatal to imperial China, confirmed that heavily armed and armored battleships could retain their place in the naval hierarchy.
Philo N. McGiffin, an 1884 U.S. Naval Academy graduate, was executive officer of the Chen Yuen. Unemployed by the small contemporary U.S. Navy, he and many other foreign officers were employed by the Chinese Navy. Captain McGiffin is the subject of a current exhibit at the Naval Academy Museum (See "Museum Report," p. 58).
His story is included in a China Daily online article, "Remembering Maritime Heroes from Abroad" by reporter Peng Yining. She interviewed several Chinese scholars who are attempting to learn more about these foreign officers. Chinese interest in the First Sino-Japanese War has even resulted in the construction of a full-size replica of the Chinese flagship Ting Yuen in the port of Weihai.
Setting the Record Straight
Merlin Dorfman
It's not often that I—or anybody—get to correct Barrett Tillman, but in his review of David Rigby's book Wade McClusky and the Battle of Midway in the June issue (p. 64), he writes, "At least one aircraft type is misidentified: the 'Douglas R-5D' when the R5D was the Curtiss Commando, C-46 to the Army." Actually, the R5D (without the dash) was the Douglas C-54 Skymaster, while the Navy designation for the C-46 was R5C.
Danny Mohundro
Your April 2019 issue has an error that a lot of old salts probably noticed. On page 50 of "A Least-Likely Combatant," the "Climax at Coral Sea" section tells of the USS Yorktown (CV-10). It should be CV-5.


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Reel To Reel Tape
Opus 3
Eva Taylor The Legendary Eva Taylor Live At the Pawnshop Master Quality Reel To Reel Tape
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Brand/Label/Format: *Opus 3 Master Quality Reel To Reel Tape* (2 Reels)
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Item Number: OPRR22071
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Each Opus 3 Reel-To-Reel Tape is made upon order and is ready to ship in approximately 21 Days!
This item not eligible for any further discount offers!
Limited Production Run of only 50 Copies Worldwide!
Master Quality Reel To Reel Tape!
Exceptional Audiophile Sound as close to the Original Master Reference Quality as possible!
Opus 3 Records Offers Analogue Copies From Original Analogue Masters!
Master copies of Opus 3 analogue recordings! The shortest and best possible signal-path, without any conversions.
The current Opus 3 catalogue contains 50 titles which have been strictly analogue recorded and preserved. To cater to the needs of people for whom only the best is good enough and demand the ultimate in sound perfection we now offer open-reel master copies of Opus 3 albums.
All tapes are copied 'by hand', track by track, where all Mastering corrections are made with meticulous calibration and control.
We use:
A modified Technics RS-1500 for playback of the master tape, which has also been used for all of our re-mastering for SACD of our older titles. This tape recorder is world renowned as one of the best for playback. However it is specially modified to achieve the best possible quality.
Telefunken Magnetophone M-28 for the recording of your copy. This tape recorder has been used for the recording of all of Opus 3's master-recordings since 1978.
The tape:
which we used for many years was Agfa PEM-468 which is no longer manufactured, however the RMG Studio Master SM-468 produced in the Netherlands has 100% identical performance.
1/4", 2-Tracks
Speed: 38 cm/s (15")
Playback EQ: IEC (CCIR) 35uS
Over many years Opus 3 has from time to time been asked to offer Analogue Tape Copies. At the end of 2014, the first copies were sold in Sweden and the response was overwhelming.
When Opus 3 Records creates an Analogue tape copy, it is always a One to One Copy where, for example, no analogue sub-master is in between, in order to make it as good as possible with no added distortion, noise and wow and flutter, etc.
The drawback is this process takes a lot of time, because all the tracks have to be copies one by one which is the reason the Analogue Tape are high. Because of the way this is done, production is limited to a maximum of 50 pieces. The upside to this process is you are guaranteed to have the best sounding Analogue Tape Copy.
It was certainly a magical night at the Pawnshop (Stampen) in March, 1976 when a young lady of 81 completely captured and entranced the audience with her stage presence and vibrant personality. Her communication with the musicians and audience combined to elevate her artistry beyond the aural level to include that indefinable ingredient atmosphere. This atmosphere was retrieved from the vaults from 31 years ago and like a good wine has aged well as lovers of jazz from the twenties will appreciate.
Eva Taylor is a direct link with the great era of jazz when she was singing with the Clarence Williams Blue Five and also with Louis Armstrong and Sidney Bechet who were coming to their peak as influential jazz geniuses in the mid twenties.
The band which perfectly complements her artistry is Maggies Blue Five and includes Tomas Örnberg on clarinet & soprano saxophone and Bent Persson, trumpet from Tomas Örnbergs Blue Five and later on, The Swedish Jazz Kings.
Also in the band are Andreas Heymowski - clarinet and bass clarinet, Jens Jesse Lindgren - trombone, Hans Hultman-Boye - piano, Göran Stachewsky - banjo, Lennart Bohm - bass and Margaretha Thalén - vocals.
* Reel To Reel Master Tapes do not include cover art
1st Generation Reel to Reel Tape made from the Original Master Tape
Limited Production Run of only 50 Total
Analogue Tape Copies from original analogue masters
Two 10.5" Metal-NAB-Reels
Playback EQ: IEC/CCIR (35uS)
2-track, 1/4" at 38 cm/s (15")
Eva Taylor, vocals
Tomas Örnberg, clarinet, soprano saxophone
Bent Persson, trumpet
Jens Jesse Lindgren, trombone
Andreas Heymowski, clarinet, bass clarinet
Hans Hultman-Boye, piano
Göran Stachewsky, banjo
Lennart Bohm, bass
Margaretha Thalén, vocals (10)
1. Everybody Loves My Baby
2. I Wish I Could Shimmy Like My Sister Kate
3. I Found A New Baby
4. Papa De-Da-Da
5. Cake Walkin' Babies From Home
6. Of All The Wrongs You've Done To Me
7. Are They Pickin' On Your Baby
8. Mandy, Make Up Your Mind
9. High Society
10. I'm A Little Blackbird
Product Reviews:
"What makes this such a great sounding (album) is the combination of fabulous acoustic instrumentation, only the voice is amplified, a great venue and real being there ambience in the sound. The presence of Taylor undoubtedly heightened the experience for the audience and band alike with the resulting joy coming through loud and clear on this fabulous transcription. This even was recorded in 1976 but thanks to the quality of engineering and equipment at the time, the tape recorder was a modified Sony TC-756, and that used to transfer it to DSD, EMM Labs converters, it sounds like it could have been made twenty years later..." - Jason Kennedy, HiFi-Plus, Issue 54 "Record Of The Year" Music: 8, Recording: 10!
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- This role would suit someone with several years' experience within the financial services industry or in a commercial environment
Additional Information
Broadridge are seeking a task focused individual with requisite language skills who can work to tight deadline and has a willingness to learn and progress and be seen as the go to person around setting up and submitting voting to agents in the local markets.


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Learn Bass .. In this lesson you will learn a common major triad pattern. Often when playing with a guitar or keyboard player you can follow the chords they. Teach yourself how to play bass guitar with our award winning easy lessons for beginners, designed and used by professional bass guitar teachers and. bass guitar, sound good and have a great time is only a lesson or two away! I have been playing and teaching music professionally for many years and.
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Bass Guitar Lesson - Rock Bass - Beginner to Pro in 4 Weeks - Free download as PDF File .pdf) or read online for free. (mister –guitar). occupation. I call it "short user manual for bass". with help of this book you will not lose lot of time on inappropriate soundofheaven.infouction Hi. PDF Drive is your search engine for PDF files. As of today we have 78,, eBooks for you to download for free. No annoying ads, no download limits, enjoy .
All that I present in these basic lessons is designed to bring you to the point where you can know some basics and actually know what you're doing while conversing with and playing with other musicians. And vi, V, IV. Every position refers to specified C major mode. Sometimes you'll have to break your counts down into half counts. As in some videos, occasionally you might like to challenge yourself by harmonizing some strings here and there but you still won't usually need to go above that high E and will rarely harmonize two or more notes anyway in the reality of playing with other musicians ninety five percent of your basic real time bass playing, on stage or in a recording studio , again, due to the above reasons about conflicting with the sounds of midrange instruments or creating a 'muddy' sound.
Good luck! Play exercises all the way to the end and back. Here where I live. Do not give up easily. I am not sure if I got the point in translation.
When we reach note B on G-string we play backwards — B. This will help you to remember where to start with your practice for next time. If you are using four string bass guitar — simply disregard the left column. We do not press anything — just pick the string. Notes with different sign. Guitar fingerboard also: Numbers show frets. Fifth string is low B. If it is too quick for you. I will repeat one more time. One famous musician said — if I do not practice for one day — I can notice that.
Be patient. I am right-handed person. If you do not feel comfortable with plucking strings with fingers. Chapter 5 — Before you start- exercises for warming up and stretching fingers I suggest you to warm up fingers and hands before you start practicing scales and positions.
Just put the fingers onto fingerboard. For all these exercises set metronome on tempo Vertical line bar lines separates time signature - so play in. Do not worry if it seems it is too slow. Remember the good news. After less than a week you will start to realize it is not so hard — it is easy. I would recommend somewhere on the middle of your fingerboard. It is allowed to raise tempo when you are able to play exercise nice.
When you reach top form. If frets are too far for your hand. If you rush while you are still not able to speed things up — you are on good track to screw things completely. And if I do not practice for three days — audience starts to notice. If it is still too quick — do not be afraid to slow down even more. One of things that they actually do is the same as sportiest — they train to achieve and keep good form.
You have probably already heard when some famous musicians. G 2 … and so… Remember at very beginning it is hard. At very beginning it is ok just to play one single note. There is big chance that you will not set your fingering correctly.
These few exercises are also excellent for stretching hands. One finger. If I do not practice for two days — critics will notice that. Do not worry about this.
Numbers match fingers. Put fingers on whatever position on your guitar. You play: If you are just starting — I guess you will even feel a bit of pain in your hand. Repeat every exercise at least eight times. After a while. Stretching exercise No 1. But for start. It looks simple. I do recommend these exercises.
You can move hand up. Stretching exercise No 5. Stretching exercise No 9. E and F notes. From that point. Notes that you play in this position are: For four string guitar: On E string — play. It is actually Phrygian mode of C-major scale.
F — index finger 1.
D note is played with open string. B and C notes. On B string. G — ring finger 3. B — middle finger 2. On A string — play open A. A and B notes For five string guitar. But having in mind that I will also use extended scheme for five-string guitar.
C — ring finger 3. A - index finger 1. E — middle finger 2. On D string — play open D. Fingering is: B is played with middle finger 2. F — ring finger 3. F and G notes. If you are on five-string guitar — you can call it C position — first tone on five string bass in this position is note C.
C and D notes. On A string — we play B. On A string: Fingering for second position is: On D string — we play E. For five string guitar.
But just to remind you. Notes to play in this position are: On E string — we play notes: G note is played with middle finger 2. C is played with middle finger 2 and note D is played with pinkie 4 On D string: Just to check: G note is played with pinky 4 and finally On G string: D and E.
D is played with middle finger 2 and note E is played with pinkie 4 On D string: On G string: On E string — play notes: Fingering for third position is: Note G is third note within C-major scale.
A note is played with middle finger 2. On D string — play F and G notes. Location is on third fret on E string. Note D is played with index finger 1. On A string — play C. E and F. Just to check — have you played slowly. D and E notes. If you are on five-string guitar — you can call it D position —first note on five string bass in this position is note D. On D string: G — index finger 1. C note — index finger 1.
F and G. On A string — play D.
Also located on fifth fret. A string: This position can also be played with slightly different fingering. F note middle finger 2. Chapter 9 - Position four — fourth position Aeolian A I call it also A-position — on four-string guitar.
B and C. On G string — play C. On D string — play G. E note — index finger 1. Position four — fingering II B string: A and B. You can choose which one you like more.
It is located on fifth fret. Fingering for fourth position is: On E string — Note A — index finger 1. If you are on five-string guitar — you can call it E-position —first note on five string bass in this position is note E. D note middle finger 2. On E string — play notes A. B note — little finger 4.
E string: D string: It is located on seventh fret. If you are on five-string guitar — you can call it F- position — first tone that appears on five string bass in this position is note F. On A string — play E. It is located on sixth fret. C and D. Fingering for fifth position is: On E string — note B — index finger 1. Just to bother you — have you played slowly. On E string — play notes B.
On G string — play D. On D string — play A. For five string guitar: Chapter 10 - Position five — fifth position Locrian B I call it also B-position — on four string guitar. For five-string guitar: G and A. See and hear how each one is played by a teacher, then play along with the backing band. Also includes music score animation for easy music learning. It taught me everything I needed to know about playing bass. Progressive Beginner Bass contains all you need to know to start learning to be a great bass player - in one easy-to-follow, lesson-by-lesson bass tutorial.
Suitable for all ages and all types of basses including electric bass and acoustic bass. No prior knowledge of how to read music or playing the bass guitar is required to teach yourself to learn to play bass guitar from this book. Beginner bass lessons have never been this easy for anyone who wants to learn how to play the bass guitar, fast.
For over 30 years, our team of professional authors, composers and musicians have crafted bass lesson books that are a cut above the rest. We offer a huge selection of music instruction books that cover many different instruments and styles in print, eBook and app formats.
Have you ever dutifully practiced your scales, as shown to you by a guitar teacher or in a book and wondered what is needed to turn it into real music? Vibrato and bending are two great techniques that will help to bring your guitar playing alive. Think of any accomplished lead guitarist - all of them would use vibrato and bending at some sta Read more. You have no items in your shopping cart. Login via Facebook. What's this? Checking "Remember Me" will let you access your shopping cart on this computer when you are logged out Close.
Forgot Your Password? Join Login. Choose a sheet music product Books eBooks Choose an instrument Guitar. Product details. You can see a pattern developing here. The 11th is five half-steps above the octave and is the octave of the 4th. Play the scales and add the 9th and 11th. After playing the 9th play the 2nd and after playing the 11th play the 4th. The 12th isn't used, again, as in the case of the 3rd and the l0th because of the power of and powerful harmonics of the 5th.
The 12th and 5th are inversions of each other. The 13th is equivalent to the unflatted 6th but an octave higher. If you've come this far, you probably have a firm grasp of where on the fret board, of what part of that 'box' pattern you learned.
Play both scales and add the 9th, 11th and 13th and each of their lower octaves, the 2nd, 4th and 6th. In the natural minor scale use a flatted 6th and a flatted 13th in keeping with the definition of natural minor scales.
In the major scale, the melodic minor scale and our 'Rock minor' back eighteen or twenty pages ago , use the unflatted 6th. The above info is useful of course. It's also an example of how to play notes which go with the extended chord structure s that the other musicians are using. Here are some tab diagrams or charts for the 9th, 10th, 11th, 12th and 13th positions. The fretting fingers horizontally across the fingerboard stay within 4 frets vertically except for the two highest positions, the 12th and 13th.
Since the 10th and 12th are rarely used except as connecting notes you only have to go out of the box for one note, the 13th. Please say the names of each of these notes as you play them. You could sing them, too, as you play, an octave or two higher.
D 7 to 9 — slide up 3rd finger A D 7 to 5 — slide down 1st finger A Don't worry about the lower notes for now. Right now, this is about the 9th, 10th, 11th, 12th and 13th positions which are higher than the notes in the scale in the first octave.
Maybe even more important than the fixed notes. Sounds silly? You could play all wrong notes and by using various techniques make them the right notes and the best sounds for the song!
Of all the things that could be practiced every day, working a technique or two into your everyday playing is the most important single thing that you can do.
Chords and Chord Groups Below is how you create major and minor chord-based bass note sequences. These are notes that you have the option of playing. You can include them all or leave some out. But for now play them all. Further on in this section is a list of how to create many other chords and, for the bass player, this is also a list of the notes which can be selected but don't have to be selected when you're playing the notes in chords and trying to influence the sound of a piece in one way or another.
But for now, play them all so that the harmonies of the individual chords become familiar and you can actually hear the chords in your mind even though you're playing separate notes. From here on I will refer to the positions by number and omit the ths or rds or nds after the numbers. I advise you to spend a lot of time on this section, maybe five days, and play the notes of many different chords using each of these ideas, below, which extend or alter the structures of chords.
Then play the major 7th succession of notes see the chart beginning two pages forward , then the major 6th succession of notes, then the major 9th succession of notes, then the major 11th, major 13th, then the minor 6th, etc. Constructed by adding on a major or minor third beyond the existing chord's notes. The 7th is a 3rd four half-steps beyond the 5th. The 9th is a minor 3rd three half-steps beyond the 7th. The 11th is a minor 3rd three half-steps beyond the 9th.
The 13th is a 3rd four half-steps beyond the 11th. Most often used on the 5th and 9th position notes but sometimes on higher numbered positions, too. Just one or two at first. You might also want to buy the CD or cassette that has the song s on it. Chord Groups There are three basic groups of chords: Major chords are characterized by having a 3rd; minor chords have a b3rd; dominant chords have a b7th, again, using the major scale positions as basic reference points and defining the minor and dominant 7th scales and chords in terms of the positions of the major.
The dominant 7th group has many more chords. There is a fourth group, the augmented and diminished group augmented means 'added to' or sharped and diminished means 'subtracted from' or flatted b whose chords are characterized by having one or two altered notes. This group has very few chords in it and is less important for that reason.
You will, however, run into augmented and diminished forms of chords so please understand them in their group, below. LISTEN carefully as you play to get your ears attuned to the differences in these successions of notes.
By going through these formulations mentally and playing them on your bass you'll slowly become familiar with them, patterns will become more apparent to you and you'll absorb them rather than just memorizing them. Remind yourself to do this: For example, if you play the notes C, E and G, mix them up a bit. Add a 6th. Add any other position s.
Add some fingering techniques in the Appendix. You've learned seven or eight fingering techniques by now haven't you? It's very important to spend this much time on this!! Five days of this and it'll blow your mind how much you've improved!! Positions Note: If the 7th were not present the chord would be called an 'add 9th. If the major 7th is in the chord then the chord is called a major 9th. It's named or labeled by its highest numbered extension.
If no 7th is present then it would be called an 'add 9th. The chord is called the 11th if the 7th is present. Minor group: Positions minor 6th b This is a case in which the 6th is not flatted to the natural 6th as is done in the natural minor scale.
Dominant 7th group: When the b7th is present it is common to label a chord by the number of its highest extension. Co or Abo diminished 7th bb5-bb7 A double flatted 7th, - equal to a major 6th. If it has no 3rd it is neither major nor minor. The suspended 4th chord, most often played without the 3rd present, is used a lot in Rock music!
Many musicians prefer to use it as a substitute for chords with 3rds in them because it gives the lead singer or instrumental soloist s more flexibility since it is neither major nor minor. The major 3rd highly defines a structure and many musicians like to do away with committing so heavily to a harmonic structure that's so narrowly defined or restricted as with the use of a major 3rd.
As you can see sometimes chords can be notated in more than one way. This may seem confusing but most of the time it really isn't because once you get the hang of all this chord nomenclature, a glitch in the labeling won't matter very much to you at all. When you're playing alone, sometimes you just have to make an educated guess. When playing with other musicians the best choice to make is simply to ask the others what note or position they're using.
As you can see, there's no end to the chords that people can invent. The only test as to whether a chord or sequence of bass notes is valid or not is whether or not it's useful, that is, whether or not it sounds good in the context of the rest of the music structure around it. As you can see, too, there are clear patterns to all this. Patterns of what positions using the major scale as a reference point to sharp or flat depending on the names that are given to the chords.
You don't have to actually memorize any of this. With time, it'll all become second nature. Repeat the above exercises for each of the groups I hope that you can see them as little games. It's been very important to have spent so much time on this. One other thing that is useful to know and which might have popped up in your mind as a question when going over the above material is this: Well, no, not necessarily.
Take the extended chords for example. They can be played by your guitar or keyboard player without the tonic note or the band can allow the tonic or root note to be played by another instrument like a saxophone or harmonica. Which is where you come in. You play the 1st position when others are leaving it out or maybe don't play it - at your option.
Leaving out the 1st position can be fun and lend an air of the unexpected to the music!
Reggae bass players do this frequently. Slash-chord notation This leads to another idea about notation which you ought to know: Chord Progressions Definition: When a musician plays a number of chords in a sequence that sequence is called a chord progression.
Three notes, exactly, sounded together or at about the same time, are triads also, chords ; triads are chords. A series of bass notes following in order. Bass notes that would make up a chord if played at or about the same time but which are played on successive beats.
Chords are built by choosing a starting note and adding notes which are certain intervals apart from the starting note remember intervals, or steps, from earlier days? The note s which are added are usually in intervals of major and minor thirds four half-steps and three half-steps and two notes apart. For example, to form a C major chord, start with a C note. Then add a note which is two notes four half-steps in this case higher.
So we start with C, the tonic note, and add an E, which happens to be the 3rd position in the C major scale. Then we want to add at least a third note because a chord is at the very least a triad or a group of at least three notes, so we add a note which is two notes higher than the new starting note, E. E to F to G, three half-steps higher. We add a G note to the C and the E. The G note is the 5th position in the C major scale.
Now we have a basic chord, the C major, comprised of the C, E and G notes. We've formed the chord by adding notes which are four and three half-steps higher than the preceding note. Major and minor thirds. This is called Harmony or Harmonizing and is the basis not only of forming chords but of a great deal of composing which revolves around combining melodies counterpoint and chords.
For now I mention this only to illustrate the point that this is how we form basic chords. Let's take the second position of a C major scale, the D note and form a chord. Starting with the D note we look for a second note which is two notes higher than the starting note. This is the minor third of the D scale which will make the chord we're forming a minor chord.
Going two notes higher, F to G to A, four half-steps, we add the third note to the now forming D minor chord, the A note. The A note is the fifth position of the D minor scale.
We have created a D minor chord. D, F, A. See if you can do two things: For example, we created a D minor chord, above; now take the 3rd position of the C major scale, the note E, and create a chord from it using the rules above. Those notes which are an 8th octave , 9th, 11th and 13th higher only form the same chords as the 1st, 2nd, 4th and 6th positions but an octave higher so we don't have to create them over again.
We won't consider the 10th and 12th positions due to the reasons cited earlier in this manual day Doing the second step in the previous paragraph may seem a little tough. It's a bit abstract. But it's fairly easy because all you have to do is count notes and half-step intervals. You might try doing this for some other scale s besides the C scale s major and minor. Try the A scales minor and major because the notes in the A minor scale are the same notes as in the C major scale but they're in different half-step relationships as far as positions of the scales are concerned.
So why am I showing you this? Because I would like to show you where some very common Rock chord progressions come from and how they are labeled: I, ii, iii, IV, V, vi and vii o in Roman numerals, the capitalized numerals indicating major chords and the small numerals indicating minor chords and the little letter o indicating a diminished chord. If you created the seven chords, say, using the C note as your note of choice, and the C major scale as your scale of choice you would have created these chords: These chords would be labeled I, ii, iii, IV, V, vi and vii o or 1, 2, 3, 4, 5, 6 and 7dim or just 7.
What scale positions are in a diminished chord? The 7 chord would be a diminished chord if you started with a major scale and the 7 chord would be a major chord if you started with a minor scale.
Another question: The 2 chord, the 3, the 4, the 5, or the 6 chord? Playing these seven chords in sequence would be a chord progression.
But not a very often used one. Why not? Just because. Just kidding. So, why not? Because when you listen to Rock you'll hear that most songs are based on chord progressions which contain three or four or, sometimes, five chords.
Maybe that won't be true in the future as Rock evolves. That shouldn't prevent you from composing song s with more than three or four or five chords. There are also some songs with only two chords in the progression.
What are often used chord progressions? I, IV, V. And vi, V, IV. I, vi, IV, V very often used. Also, ii, V, I.
And I, iii, vi, ii, V. If you feel like it you could ask the same question referring to the A note, A minor scale, key of A minor. Play the three notes chord-based bass note sequences of each of the chords in the chord progressions above. Play the basic 1st, 3rd and 5th positions of each chord in different orders each time you come back to each particular chord - just for variety.
Maybe use a connecting note passing tone or two to get from one chord-based bass note sequence to the next but isolate and understand the three notes which make up the heart of each chord. As your ears get attuned to the sounds of the groups of the bass notes which are in each chord you'll learn to discern the differences in the sounds of different chords.
As you become more and more familiar with discerning differences between chords in the music that you play and listen to you'll soon be able to hear the number of different chords in a song's progression.
You'll become an afficionado! That is, each of the chords has concordant notes in it that are common to some of the other chords in the progression - a non-theoretical explanation if I've ever heard one.
In the near future you can play extended and altered chords chord-based bass note sequences , too. Why stop with three note chords. Go on to four note chords. What are the difference s between these two terms? Although they may be the same notes, the notes in chords are played at or about the same time while the notes in chord-based bass note sequences are played on successive beats.
Arpeggiation Now would be the time to read, understand and begin to introduce the idea of arpeggiating into your repertoire of skills. See the first definition in the 'Fingering Techniques' section in the Appendix.
Go read it now. Read this entire section, Lesson VI, modes. Begin to play some of the modes of the C major scale. Lesson VI - Modes Of course there's a lot of technical music theory about modes most of which you can learn little by little over time.
But, if you have a basic understanding of what modes are and at least the following basic ways of creating them, you'll be a long way towards your most immediate goal: You create and formulate them in the same way that you derived a minor scale from the basic reference point, the major scale. In the same way that you derived the positions of the minor scale from the positions of the major scale you memorize simple rules. Play all eleven notes, all the positions. You can play the l0th and the 12th as connecting notes if you like.
Major Ionian 1stndrdthththththththth Dorian b3rdb7th Phrygian b2nd-b3rdb6th-b7thb9thb13th Lydian 4th 11th Mixolydian b7th Aeolian b3rdb6th-b7thb13th What scale is this? I start with the key of C because it's a common Rock key but modes exist in all keys. Just as you would sharp or flat certain numbered positions of the major key to derive the minor scale, you would likewise sharp or flat the positional notes of other scales to obtain the various modes of that particular scale.
For example, the key of G. Take the notes of the major scale G: The key of a song can usually but not always be labeled by its basic root note, the 1st note or 1st position in the scale. C in this case. Play the notes, going up or down or using inversions or whatever You've just played notes in the Ionian or first mode.
If you move your starting note two half-steps up on your fret board or anywhere else you want to play a familiar D note and start in that position given that it is now a D note , and play the notes, D, E, F, G, A, B, C and D note that the notes haven't changed, they're still the unflatted or unsharped notes of the Cmaj scale , you've just played the Dorian or 2nd mode.
If you move your starting note up four half-steps or two whole-steps to E or anywhere else you want to play a familiar E note and play E, F, G, A, B, C, D and E the unflatted or unsharped notes of the Cmaj scale , you've just played the Phyrigian or third mode. Of the Cmaj key. Get the idea? Just move the starting note up or down, start the scale with that note but play only the actual notes of the Cmaj scale and you'll have one mode or another of the Cmaj scale.
It's really that simple. A little complicated coordinating your mind with your fretting fingers at first. You bet! But, it's another way of understanding modes. Personally I prefer the first way that I described, above, the way of just memorizing the rules of sharping and flatting notes. It's similar to how you've learned to create the minor scale by flatting certain positions of the major scale.
However, with more advanced musical theory, sometimes the second method is more revealing of the music structures involved.
I'd spend three days on this topic. It's so close to the ideas on altered and extended chords that if you have that topic down pat after having spent five days on it modes will be fairly easy to understand and play. Ionian - the major scale, the fundamental mode in western music, much rock, classical, theater and pop. Locrian - jazz, metal - If you want to play Metal, pay particular attention to this mode.
Also learn to build bass note sequences based on having created chords from the positions of this mode using the rules of chord creation. This'll open your eyes wide! Better reread this second to last sentence a million times, or more.
All these modes can lead into each other and be used in combinations. Play around. But don't get obsessive! It just means that you can come up with the correct notes from which to make your selections of notes that you're going to play when you hear that such and such mode is being used or that a certain series of chords is about to be played.
Then you fiddle around pun intended with the other musicians until you begin to sound good and this good-sounding-ness becomes the basis on which you all build a more concrete music structure: Or a tune. Or a piece. Or whatever you call it in whatever genre rock, jazz, classical, country, bluegrass, etc. I do not attempt to teach you to 'feel. This is what you learn on your own as well as you can.
May I make a suggestion? Try anything anyone else suggests that you try and don't let other peoples' frustrations affect you.
Modes can be created based on just about anything. You can take any scale, use it as a base and derive other modes from it in musical theory and by just following sets of rules, as above. For example, pick an unusual scale, say, the natural minor scale with the flatted 3rd, flatted 6th and flatted 7th positions in the key of, say F or any other key you like , and write out the notes' names below the scale's positions and then below that write out the notes' names that are in, say, the Lydian mode of the natural minor scale.
You might even want to try to just totally invent a never-heard-of scale with eight or more, or less notes in it, octave to octave or crate a scale that, as in Indian scales, has no octaves! Play the scale. Create some chords. Create its modes! If you can do this you really have these ideas down pat. Again, don't be obsessive. If you can't do this or just don't want to bother, don't worry about it. It's just a goofball exercise. However, it is helpful to learn to read music.
You might want to familiarize yourself with music notation, at least the basics, because you will run into written music from time to time and it's good to at least be able to follow a lead sheet several pages of basic sheet music written in treble clef for singers and other musicians.
Take your time with this because it can be about as frustrating as learning how to type. Annoying but useful. Bass clef is just notes written a little lower and it's fairly easy to learn. You only read and play one note at a time.
Yet one more summary: There's a lot of confusion among musicians about how to use modes. Most musicians play snippets of modes without knowing exactly what they are doing or how what they're playing relates to the musical structures at hand. It won't hurt you to be among those musicians, but, on the other hand, if an opportunity comes along to play with some new people whom you might like for one reason or another, it might be a good idea to know as much as you can.
You never can tell what's going to be pulled out of the hat at any given moment. Knowledge of modes, the ability to shift from one mode to another just might come in handy. It can certainly make your playing stand out from the crowd. Reread the entire section, Lesson VI, modes, above, even if rereading it is annoying to you.
Play the modes of the A major scale and then the modes of the E major scale. As you play each of the modes of these two scales, contrast each mode with its respective major scale by playing them back to back: Backwards, etc. Work up a little speed but keep to a rhythm, any rhythm. Play around with several different rhythms. Maybe tap your foot if you like to do that.
Try tapping both of your feet in patterns that a drummer would use. Have you been observing drummers at clubs or on videos? Take some ideas from previous lessons your choices and use some of the techniques in the Appendix that you've learned and combine them with or blend them into your playing. Try exploring the A natural minor scale modes.
Play the A natural minor scale. Play the modes using the rules of sharping or flatting notes or the idea of creating the modes by starting on succeeding higher notes but still playing only the notes in the A natural minor scale. Is the Phrygian mode, the 3rd mode, of A natural minor the same as the Aeolian mode, the 6th mode, of C major? A little musical puzzle. Auditioning So, if you've come this far and can actually understand all this stuff and have developed some playing skills and techniques described in the Appendix as 'Fingering Techniques', you are probably or are just about to be making some money playing.
This makes you a Pro or will make you a Pro as soon as you get into a band.
Start one with some friends. Or check local ads for people looking for a bass player. You'll need to audition with several groups. Of course you'll be nervous. Expect to be nervous. It wouldn't be a bad idea to talk to or interview some people you know who are in bands about their first audition experiences.
Maybe there's a book in the local library about it. If you can understand a little about this first time experience in advance it'll help you to put everything into perspective and enable you to cope with your nervousness better. Once you start or find a group you'll need to rehearse with them of course. It's not a bad idea to rehearse with several different groups to determine everyone's goals make sure that you all have the same goals!!
I can't emphasize enough the importance of this and also to loosen up yourself. See how things operate. Build some confidence. It's not hard. You've got new people to meet, places to go! I've probably left a few things out. Or haven't explained some things enough. After you've finished this booklet why don't you let me know what it is that you might have benefitted more from knowing about or of having had a more detailed explanation?
As part of an experiment I am granting you the right to sell copies of this booklet, for the price you purchased it for you must purchase it to resell it , under the honor system agreement that you send me one third of whatever you sell it for. Drop me a note with payment s and comments about how I might improve this instruction manual.
I'm adding one more exercise that might be the most important one in this booklet: I'll call it the Mental Positioning Exercise. It's an exercise that you doentirely in your head. You don't have to touch your bass to do this. But you can do it on your bass if you want to.
What's nice about it is that you can put your obsessive mind to good use doing it instead of letting your mind roam freely through its usual wonderland of repetitive thoughts. It's a very simple exercise which tells you: For example the note, C, would be in the first position in the C scale or the C chord. In your mind's eye play on your mental fret board the notes in the C scale and the notes in the C chord C, E. Now do it for the C major 5 9 chord. Of course the C note will be in the same 1st position for all of these scales and chords.
Now, take the same note, C, and picture in your mind any other chords and scales, say, to start with, an F chord and F major scale. What position is the C note in within that scale and chord? Imagine playing them - the C note, the F scale and the notes in the F major chord. Try various inversions of some of the notes. In each case picture the fret board in your mind and the notes that you're considering while at the same time emphasizing the position of the single C note.
You can get quite good at this and fairly fast. After a while you can do it automatically when you have a spare moment or as a meditative exercise or when you're feeling down or confused and don't want to think at all. You can use it to shut your mind off if you want to. I've speculated that some people listen to music to keep themselves from thinking about themselves.
A way of preventing self-confrontation. This can be useful at times. A good habit it's not. Pick any note and any scale, chord or series of scales and chords and figure out in your mind just where that note lies and what its numbered position is.
You can make the mental image static, just envisioning all the notes and the single, emphasized note or you can make it more dynamic by imagining the notes or positions changing on the fret board in your mind.
This exercise will review and reinforce all the basic structural knowledge that you've learned in this booklet.
If you like this mental, pictorial, imaginative exercise that is, you don't hate it or feel nothing toward it you can extend it to include other elements of bass playing like fingering techniques or syncopation or actually seeing in your mind's eye the playing of chords with the placement of three or even four fingers on three or four separate notes on three or four separate strings much as a guitar player would do.
In each instance single out one note and examine in your imagination its numbered position in the musical structure that you're imagining. It's an exciting mental exercise! One that reviews and reinforces all your knowledge up to this point and into the future , one which will enable you to continue teaching yourself about the mechanics and theories of the bass with or without further readings of music literature and one which sharpens your mind in various ways and opens your playing up to discovery, taking the lid off the hidden or the unknown, musically speaking.
My mind runneth over. Another good mental exercise but you can play it on your bass, too is re- labeling chords with other names after you've shuffled the notes around. Are there any other chords that can be formed from these four notes? Do we always need a 5th or any single 'position' in a chord? Not always, so, loosely speaking, we could call it that if we had some other instrument play the A note. If you think about it, you see that you can play the same bass notes along with two or more entirely different chords which are probably being used in different keys along with many other different chords in differing harmonic structures.
Boggles the mind. Who says that you always have to play the notes in a chord or the 'positions' in the same order all the time? These ideas lead you to chord substitutions and deeper levels of musical theory - the next steps if you're interested.
But you don't have to take any next steps if you don't want to right now. This game, which you can do on paper if it's too difficult to do entirely in your mind, will do it for you! Another, even simpler example of shuffling the notes of a chord around and creating a new chord using the same notes but choosing a different root or tonic is, again, the C major chord and its notes C, E, G.
These notes are the 1st, 3rd and 5th positions as defined way back when we were first talking about chords.
Let's take the E note. What chord can be named if we use the E note as the root? Let's say we move the C note above the G - we do an inversion, an upwards inversion. Now we have the notes E, G and C. What chord does this form?
Well, one way to approach this puzzle is to examine the number of half-steps between the notes. E to G is three half-steps so that implies a minor. E to C is eight half-steps.
What's this? Well, we know that there are seven half-steps between the 1st position and the 5th position from our half-steps chart so the 5th position would be a B note.


text:
This past Sunday we had the opportunity to be part of a fall festival organized by another church in town. It was so cool. First off there were estimated to be 6000-7000 people in attendance through the course of the three hour event. Certainly not all of those came by our tent, or played our game, but hundreds of them did.
It was so cool to be able to interact with so many different people. To play the GIANT connect four with them. To talk with them. To give them candy. Just to hang out with them. I can't say for certain that a single person will come to Journey this Sunday because of what we did, but I KNOW that more people know about us because of it.
More importantly I know that we were obedient. From the very beginning I felt that God wanted us to be part of this community. This means being part of events like this. Ultimately, our job in these cases is to be obedient. We then must trust God with the results.
That being said, if we are not careful this can become an excuse to not work hard, or not be prepared. We can not do that. Part of being obedient is following the leading of the Holy Spirit, working to be prepared for where ever he is sending us, and making sure that we are doing what we can, on our end. The results are still up to God, but that doesn't leave us without any responsibility.
So, we were obedient and I can't wait to see what God does next.
Speaking of next, check out tomorrow's post as we look forward to our first Pop-Up Church.


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03 Jun 2019 13:27:24
Football London reporting west ham are going to up there bid for gomes to 20 million.
Agree0 Disagree0
03 Jun 2019 18:19:24
Prefers a move to us from what I have been reading. Let's hope it's true.
03 Jun 2019 19:40:49
West ham, last of the big spenders eh?
Surely he's too young and too good for them.
03 Jun 2019 20:27:36
I heard if that £20 million bid fails they will raise with a further £500 plus a signed shirt from Gold and Sullivan.
04 Jun 2019 18:16:29
Imagine a hug a thon at West hams ground. You can't see the fans from the pitch let alone hug them.


text:
SOURCE: The Washington Post
tags: Second Amendment, guns, gun control, Ronald Reagan, NRA, gun rights, Gun Violence
Read entire article at The Washington Post
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Before Trump's wild shifts on the NRA, Ronald Reagan took on the gun lobbyBreaking News
tags: Second Amendment, guns, gun control, Ronald Reagan, NRA, gun rights, Gun Violence
President Trump floored Republican lawmakers Wednesday when he embraced gun restrictions during a televised meeting at the White House, putting him at odds with his own party and with the National Rifle Association.
But it wasn't the first time a powerful GOP voice defied the gun lobby.
On May 3, 1994, Ronald Reagan and two other former presidents sent a letter to House members, urging them to support a controversial ban on lethal, military-style assault weapons. At the time, President Clinton was battling Republicans, conservative Democrats and the NRA to pass a bill barring many semiautomatic rifles.
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