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Does Sad Music Make One Sad? An Ethnographic PerspectiveSkip other details (including permanent urls, DOI, citation information)
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The question of the presence and role of negative emotions in the experience of music - Does sad music make one sad? - has been recognized as a key to understanding much musical experience, especially in terms of the apprehension and expressive power of specifically formal features of music. One set of scholars, sometimes loosely labeled "emotivists," has argued that negative emotional responses do play a central role in the apprehension of much music, that is, that actual sadness is a natural, intentional and essential response to sad music. Advocates of this view base their arguments in large part on stated assumptions that many listeners do claim that sad music makes them sad. This article presents the results of a survey of listener responses to music. In particular, in its admittedly limited sample, it finds little support for the emotivists' assumptions about listeners' reactions and raises doubts about their argument in general.
negative emotions and music, arousal theory, sadness in music, cognitivism/emotivism, music aesthetics, music reception
1. Introduction
The question of the presence and role of negative emotions in the experience of music - does sad music make one sad? - has been discussed at such length and with such sophistication in the literature on aesthetics that it might well seem that little or nothing more could be said about it. The academic interest in the question, as reflected in dozens of publications, might well seem obsessive were it not for the recognition that understanding how listeners appreciate sad music, especially abstract instrumental music, is a key to understanding much musical experience and aesthetic experience in general. Upbeat, kinetically stimulating music, vocal music with lyric texts and genres explicitly invoking extra-musical sentiments like patriotism or religious devotion-all these idioms involve dimensions of aesthetic responses that may be relatively easy to explain.
Scholars have recognized that focusing on the apprehension of a music style which is seen as precisely lacking in these features, quintessentially, Western instrumental art music of the nineteenth century, can illuminate the mechanisms by which the purely formal aspects of music generate meaning and affect. Thus attention has been concentrated on Western Romantic-era instrumental music not only because writers tend to be familiar with it but, more appropriately, because that genre that has been so explicitly and to a large extent justifiably upheld as a relatively abstract music, ideally intended to be enjoyed for its purely formal properties in a process of disinterested aesthetic contemplation.[1] An understanding of the nature of the aesthetic reward of listening to sad music might indeed shed light on the pleasures of listening to music in general, as well as the apprehension of visual art and other media.
Short of a dramatic breakthrough from the field of psychology (whose literature has thus far been inconclusive), the only sort of progress may continue to come from persistent sharpening, clarification and exploration of the various issues involved as undertaken by writers on aesthetics. In this brief essay, while not advancing any general viewpoint on the debate, I wish to call attention to what I regard as a methodological flaw in the varieties of emotivist positions as advocated by Jerrold Levinson, Colin Radford, and Stephen Davies.
The cognitivist position, as argued variously by Carroll Pratt, Elsie Payne and, most extensively, by Peter Kivy,[2] holds that while a musical piece or passage might be expressive of a negative emotion like sadness, the listener's experience consists primarily not of sadness but of a more generalized state of being moved by the beauty of the music. In opposition to this view are scholars, including those labeled "emotivists," who opine that such a view denies the heterogeneity of musical experience, and claim that the experience of negative emotions, such as sadness, may be an integral, undeniable and appropriate response, however (as in the view of Davies) perhaps secondary to the general state of being moved as argued by the cognitivists.[3]
In this essay I wish to focus on a basic premise of the latter camp, namely that a significant number of listeners claim to be moved to sadness by music. Radford, Levinson, and Davies, the most outspoken advocates of the notion that musical experience may legitimately include sadness, all appear to use this premise as a basis and starting point for their subsequent discussions of why they think musical experience encompasses certain sorts of negative emotions. I point out here that these writers do not substantiate their premise, and report my own findings, however inconclusive, that very few of the roughly 50 listeners I have polled do in fact claim that music can make them sad.
The claim in question, as advanced explicitly or implicitly by these authors, is that a significant number of listeners attest to the role of negative emotions in their own musical experience. Radford writes:
"Listening to sad music does make people sad. To deny this is itself paradoxical because it involves the cognitivist maintaining that when people say that this is what happened, they are mistaken."[4]
Elsewhere, Radford writes that bright, cheerful room colors "lighten people's spirits," but he admits that this notion, presumably like his assertion about people being saddened by sad music, is merely an "impressionistic belief."[5]
Similarly, Davies refers ambiguously to "the testimony offered by some listeners about the character of their emotional response to music," which allegedly contradicts Kivy's cognitivist position. Thus Davies writes, "At first glance Kivy's approach faces an obvious problem: it runs against the undeniable tendency that people sometimes display to describe their responses as mirroring the music's expressive character."[6]
In like manner, Levinson, in his article discussing why negative emotions allegedly occur in musical experience, seems to take for granted the fact that they do occur. He claims that "a listener is standardly made sad by apprehending and then identifying with sadness in the music." While his discussion of the possible role of sadness in musical experience is astute, he makes no attempt to document his basic premise that listeners actually do feel or claim to feel sad. His article commences with a fictive description of an avid music listener who "is subjected to an unyielding bombardment of stimuli, producing in him a number of states which prima facie are extremely unpleasant, and which one would normally go to some lengths to avoid. He appears upset, pained, and at turns a small sigh or a shudder passes through his body. . . . "[7]
My reaction to these assertions has been one of suspicion: I would like to know how many intelligent and self-reflective listeners really do insist that music, and we must specify instrumental music, as free as is possible from extra-musical associations, can make them sad. I do not find Levinson's portrait of the music listener to be entirely realistic, and I note, unless I have missed something, that none of these three authors explicitly claims that they themselves are made sad by music. In order to acquire some sense of the sorts of statements music listeners actually do make about their experience, I conducted what I would regard as a woefully limited but not entirely useless survey on the subject. I here report its results and suggest some implications. In particular, I found that among my sample, hardly any listeners once superficially acquainted with the cognitivist premise did in fact insist on the ability of music to make them sad per se.
Before discussing my findings, I must clarify that I do not intend the responses to be misconstrued as some sort of vote on the cognitivist vs. emotivist debate. Obviously, this is not the sort of issue that can be resolved by means of a poll, however expansive and elaborate. Rather, my survey is intended to address the very specific and hitherto unsubstantiated assertion that a significant number of listeners do claim to be made sad by music. Assessing the implications of these listeners' responses remains in many respects a separate issue, and scholars need not necessarily endorse the listeners' interpretations of their responses.
In soliciting listeners' views on the nature of their aesthetic reactions, I pursued a few different tacks (all methodologically imperfect in their own ways). First, I have discussed the issue in person with several musician or music-loving acquaintances of mine. Second, I have taught graduate seminars on music aesthetics three times in the last decade, to a total of some twenty students; in these seminars we read and animatedly discussed relevant publications and I solicited from students not only their intellectual opinions, but, more relevantly here, their thoughts on how they themselves experience music. Finally, I sent out via email a query, reproduced below, to several musician friends and to members of two e-mail listserves (collectively, with around one thousand recipients).[8] In all, comments were received from around fifty people.
In all these contexts I have endeavored not to sway respondents' perspectives, presenting my own stance as essentially neutral. This pose is not entirely insincere; although I incline toward a cognitivist stance, I find some of the opposing arguments, especially, for example, as presented by Davies[9], to be plausible enough that I could be persuaded of their correctness.
My email query, although briefly outlining the cognitivist position in order to clarify the question, endeavored to be unbiased, and read as follows:
Dear colleagues,
As a music professor interested in issues of aesthetics, I'm wondering if list members could shed any personal light on an ongoing debate regarding the nature of musical experience. Among writers on music aesthetics, there are those who argue that although one may be deeply moved by 'sad' music (or 'sad' passages), that experience, however perhaps marked by a lump in the throat, is not in fact sadness per se (if it were, why would we enjoy it?), but rather a general state of being moved by the beauty of the music. Others argue that listeners do often experience genuine sadness in listening to sad music, resting their argument on the (unsubstantiated?) claim that many listeners do in fact describe their experience that way. I would be very interested to hear from list members regarding their own sense of how they experience quintessentially 'sad' music. For purposes of argument, we must exclude vocal or programmatic music (which is more concrete and involves other issues), and all emotional reactions that are affected by non-musical associations (e.g., the way the piece reminds you of your adolescent sweetheart, etc.). I would warmly welcome responses ranging from one word (e.g., yes/no) on up.
Yrs :::
Peter Manuel
It should be self-evident that I had a certain range of ideal respondents in mind. They should, of course, be aficionados not only of music but of Western classical music, for purposes of argument, if nothing else. Moreover, they should be educated enough to be able to reflect dispassionately on the nature of their own emotional responses; I assume that most classical-music listeners would fall into that category, whether or not they would feel inclined to dilate on the issue. Further, I consider it essential that respondents would be at least exposed, albeit in the space of a few sentences, with the two sets of positions, in however bowdlerized a form. I thus seek to exclude the large group of listeners who have never considered the possibility that, for example, the lump in their throat experienced through music might signify anything other than sadness; I suspect that such listeners might constitute the bulk of those envisioned by Radford et al as claiming to be saddened by music. I also purposely did not direct my query to musicologists or philosophers, who I presumed particularly likely to ramble on about the issue in general, rather than focusing on their own personal experiences. As suggested in my query, I explicitly sought to exclude vocal music, which may possibly involve a qualitatively different sort of aesthetic response involving the concrete subjects presented in the lyrics. I also urged respondents to try to exclude the realm of what Leonard Meyer would call "referential meanings," involving extra-musical associations, memories and the like, as opposed to those forms of more abstract (embodied) meaning largely inherent in the music itself.
Ideally, then, I hoped for responses that might fall into two general categories, along the lines of: (1) "Although music may give me a lump in the throat, now that I think of it, what I feel is perhaps not sadness per se but a general state of being moved," or, alternately (2) "I understand the argument, but I insist that what I sometimes experience in listening is genuine sadness."
A number of legitimate objections to this methodology could be raised. First of all, the number of opinions obtained is too small to be conclusive in any way. Even more problematic is the schematic nature of the e-mailed query. Relatively few musical passages, in my opinion, can be accurately described in such simplistic terms as "sad," and the entire question "Does sad music make one sad?" is inherently reductive. While there are sound reasons for phrasing the issue in this way, it also fails to do justice to the richness of most musical expressivity and experience. A few informants voiced this concern, which was no doubt shared by many of those who did not respond.
It need scarcely be reiterated that the responders' views, aside from being contradictory in some respects, should not be accepted uncritically. Those who claim to be saddened by music could be claimed to be sadly mistaken, while the others could be regarded as emotionally stunted, or similarly confused as to the nature of their reactions. But let us proceed to their responses.
2. The (Select) Public Speaks
In this section I reproduce several excerpts of comments received from individuals on this topic. Most of these consist of verbatim passages from email responses; a few others are drawn from direct conversations, in which I endeavored to maintain a neutral pose. I believe that the comments are of interest not only for the rough consensus of position that they suggest, but also as astute poly-vocal perspectives in themselves. If I may be forgiven for saying so, the debate on this issue in forums like the Journal of Aesthetics and Art Criticism and elsewhere has tended to be dominated by a small handful of scholars, consisting of those who are especially interested in the subject and who have devoted the most thought to it. I do not intend this observation as a criticism of these scholars (who have so thoroughly influenced my own thoughts), but I believe there may be something to be said for exposure to a broader spectrum of voices. As far as I can tell, only one of my informants is an academic philosopher or musicologist, although I would opine that all are clearly intelligent and educated people, whether or not one chooses to endorse their opinions. Nevertheless, several of the opinions dovetailed nicely with or corroborated arguments made by scholars who have published on this question.
While I discuss the implications of the responses in my concluding section, I may briefly point out certain general features here.[10] Only one informant claimed unequivocally that music could in fact typically make her sad, in a manner relatively free of extra-musical associations. Several insisted, along cognitivist lines, that they are not moved to sadness but are instead moved by the beauty of the music. A few, reflecting the lack of consensus in the field, stated that they were unsure as to the nature of their aesthetic experience in this respect. And two, justly protesting the reductive nature of the question, opined in so many words that they can experience a complex unleashing of emotion which could include a certain sort of sadness.
The roughly twenty graduate students in my aesthetics seminars may constitute a special group. In these seminars, as I have mentioned, we read and discussed the major publications on the theme, and I also encouraged students to reflect upon and articulate their own way of experiencing music. On the whole, neither a strong emotivist nor cognitivist consensus emerged, but no student insisted on the ability of music to make them sad. A more typical response was the following:
"When I listen to Shostakovich's Fifth Symphony, I feel something powerful; it could be sadness, but I'm not sure." (Rebekka Gold)
Aside from the students, several other informants, while not giving any indication of having read Kivy et al, expressed a fairly unambiguous cognitivist interpretation of their listening experience:
"I'm in the first group. I think that if you are seriously sad
(clinically depressed) you're probably not listening to music anyway, and I don't believe that music can make you sad. Music can be profoundly moving because it deals with human emotions which may include sadness, but it explicates them, if it is any good, and makes them easier to deal with. And I do not mean that it is soothing: if you understand something you are less afraid of it. Music is intellectually and emotionally anti-sad." (Donald Clarke)
"Sad music impacts me, but I wouldn't describe it as a feeling of sadness; it's more of an intense beauty that moves me. Happy music tends to make me mad. Is there a category for me?" (Don Satz)
"Sometimes [it might make me sad], but that has more to do with circumstances outside the music -- like Whitman associating the thrush with the death of Lincoln. In general, I'm "generally moved." And here's something else: some might describe their feelings as sad because feelings are so repressed and reading so rare (in my country, at any rate) that people lack the vocabulary to articulate their feelings." (Steve Schwarz)
"Sad music does not make me sad, but rather makes me admire the beauty of the music. This often manifests itself with a lump in the throat or tears, but those are not tears of sadness. Overpoweringly joyful music (end of either part of Mahler 8) brings the same reaction. Music almost always affects me by lifting my emotions and making me happy, whether the music would be characterized as sad, happy, tender, or whatever. Even the terror-laden opening of Shostakovich 4th makes me happier than I was before listening. I think the reaction to sad music is wired into us (or me, at least) because sad music is usually tender, appealing deeply to our vulnerabilities and making a connection between us and the composer." (Jeff Bondono)
"I've often thought about the sad music question myself. I'm a violinist and come from a family of professional musicians, so I'm a somewhat critical listener. I decidedly come down on the side of being moved by beautiful music. Like Barber's Adagio for Strings, or most anything by Shostakovich. They truly move me. I think I just associate them with being sad because they get played in sad movies. I just find them beautiful." (David Swaney)
A corroborating voice from the younger generation was provided by a precocious fourteen-year-old piano student, whose tastes range from Kabalevsky to bubble-gum music. Succinctly taking a stance on the unresolved and much-debated issue of whether emotions require objects, this young acquaintance opined, without any particular prompting,
"Of course music doesn't make me sad. For me, music is either beautiful or ugly. In order to be sad you have to be sad about something." (Sophia Rosa)
This view is reiterated by the following response:
"I must say that music has never made me sad. I've sometimes been very moved by music but it has never made me sad. I think this is a good thing because tragedies in your life and friends and family should make one feel sad, not listening to music. " (David Whitbeck)
A few others expressed a clear ambiguity as to the nature of their experience, such as:
"I've come to terms with the fact that I don't myself understand
why I tear up, and if I were really that smart, I'd have my head examined. " (Chet Pryor)
"And Bach's works, because of the harmony, more than not, evoke for me, feelings of an elated sadness - or sad elatedness!! Oh dear, I have not helped at all!" (Naomi J.)
A few informants, such as the music professor quoted below, responded in a more theoretical vein, however consistent with the general approach of most of those cited above:
"I wonder whether music stimulates a physiological condition that is somehow itself the basis for an emotional state, but, shorn of context, is not quite the same thing as the emotional state itself. We feel the psycho-physical components of sadness, without truly being sad, just as we feel elation in other music, without having anything particular to be joyful about . . .These feeling-states are in a sense idealized, purified, and in some measure distinct from reality. . .
Put it this way: the ineffable sadness of, say, the Barber "Adagio for Strings" or Bach's so called "Air on the G string" brings us not depression but a kind of pleasure. True sadness is in no way joyful, in no way stimulates us to a higher plane; instead, it immobilizes us, or cuts us off from feeling, or provokes us to wild anger, or--anything but the sense of something wonderful that those works, or Miller's Death of a Salesman, or Guernica, or Crime and Punishment, etc., etc. leave us with. We cherish what those works bring us. Whoever looks back at true sadness with gratitude?" (Daniel Paget)
The comments of Seattle-based composer David Lamb were particularly articulate, and are worth quoting at length:
"As a composer I have spent years thinking about the problem of expressing emotions in music, but this is not really what Dr. Manuel asks about. A composer can do his best to express sadness, but it may or may not evoke a sense of sadness in a listener. There are certain pieces of music that almost always bring tears to my eyes, and yet they are more likely to be tears of joy rather than sadness. Last year I wrote a piece having to do with grief and the grieving process. In part it was my way of dealing with the death of a friend. Composing the music helped me work out my own grief and did not at all make me feel sad. A few times in my life I have seen people brought to tears by my own music, and it has never been by pieces that I thought of as sad. Most often it was with music that had a certain bitter-sweet tinge of nostalgia about it that people could identify with. Last week I went to a rehearsal of a youth orchestra that was preparing a work of mine. They were working on a movement that was really just a simple lullaby. When the rehearsal was over I noticed a mother sitting in the back of the room dabbing her eyes with a handkerchief. As I was leaving, she asked if I had written the piece. I admitted it. She sniffled and said that for some reason it went right straight to her heart. That was certainly not what I had in mind when I composed the music. Still, it was obvious that the woman was not sad. In fact she was very happy. I don't pretend to understand this. . . I think the reality is that people bring their own emotions to the music and find in it whatever they need. The blues was not meant to make you sad but to help you deal with the sadness you already had. "(David Lamb)
Particularly astute and relevant is Lamb's observation that listeners may inevitably bring their own emotive histories to the listening experience, and indeed may use music in this sense, as a way of addressing but not necessarily experiencing sadness. Other informants' comments, such as the following, echoed this theme:
"I probably would not listen to music that forced me to feel any specific emotion. I want to be able to put my own feelings into the music. RE sad per se, I am trying to think of what music I have felt sad while listening to. My 1st thought was the 4th movement of Mahler's 9th symphony. I have literally cried listening to that, but was sad to begin with and was doing a Camille routine. Often I feel melancholy listening to it, but that is a much different emotion and can be pleasant or helpful; it has a sense of resignation which may be necessary to resolve some life situation . . . Like any non-trivial art, IMO, one must be able to put oneself into the piece and the best will allow for many moods." (Bill Blank)
Two informants, with whom I discussed the issue at length, opined, in a manner somewhat reminiscent of Davies' argument,[11] that prior experiences might inherently evoke a certain sort of sadness in the complex and somewhat ineffable emotional response to music.
"Nobody comes to any aesthetic experience as a blank slate. There's no such thing. Every time you listen again to a piece, or even to something new, you bring to it a history of prior listenings, experiences, associations. Everything we do we approach with memory and meaning, like a grid, that might include sadness. . . .Sadness might be a part of a memory mixed with nostalgia, yearning, loss. . . Have I ever cried after listening to a piece? Absolutely. The music stirred something in me. Was it sadness? It's hard to say, but I think of it as a sort of oceanic feeling, of being connected to something larger. Music has the power to provoke and summon feelings - could it be sadness? Sure, but tinged with so many other feelings. Does Shostakovich's 5th Symphony make me sad? The question is so reductive and unanswerable, because what it expresses is so non-verbal and ineffable." (Carla Levy, pianist)
A somewhat kindred view was expressed by my wife, pianist Beth Robin, whose eyes roll at the mention of this topic, but who can nevertheless offer an opinion on the matter:
"We all have to put our emotions on hold most of the time. So when I listen to a piece that moves me, I feel unlocked, as if I am able to experience those emotions. I feel a heightened awareness of beauty, a wave of emotion, some of which certainly feels like sadness, whether it is that or not."
Two informants did report rather equivocal endorsements of the emotivist position, one saying that sad music might rarely provoke sadness, and the other suggesting that music might intensify and heighten a pre-existing sad mood.
"Does 'sad' music make you sad? What a question! My answer is yes--rarely." (Jeff Dunn)
"When I'm sad, I like to listen to sad music, and it gives me if not a sense of comfort, rather a sense of fully experiencing my sadness, which is somehow satisfying." (Anne Manuel)
Finally, I conclude this section with one more opinion: my own, however warped it is by excessive exposure to Kivy, Davies and others. While I easily choke up when listening to the right kind of music in the right mood, I do not believe that I am experiencing sadness per se, but rather a general, if ineffable, state of being moved. I do, however, recognize the uniqueness of such aesthetic experiences and could perhaps be persuaded to alter my opinion.
3. Interpretations
Colin Radford claims that only people confused by philosophical theories about the emotions would say that the response to sad music cannot be sadness.[12] While such a criticism might well apply to myself or to my graduate students, it could hardly apply to the several individuals cited above (including the fourteen-year-old Sophia), whose brains cannot be assumed to have been addled by reading Kivy, Hanslick and the like.[13] Indeed, the generally articulate and astute tenor of such informants' observations might suggest that, if anyone may be confused by philosophical theories, it is not they.
I should reiterate that the findings of this essay certainly do not demolish the emotivist position, although I believe it is significant that most of the comments received and quoted can be seen as questioning or rejecting that stance. Rather, my target is the specific premise, asserted by Radford, Levinson and Davies, that many listeners routinely claim to be made sad by music. It is entirely possible, of course, that these authors have encountered several listeners who make such claims or that they might in the future conduct their own surveys and find many such people. However, my own sample of around fifty people revealed only four people who claimed to feel a certain sort of sadness; of these, one stated that she first had to be feeling sad to begin with, another said the feeling was rare, and the other two were markedly ambiguous in their assessments of their emotional responses. As it is, we should thus wonder just who are these allegedly typical people referred to who claim to be made unambiguously sad by music and how proportionally numerous are they?
The responses presented here must naturally remain inconclusive, especially since we wish to retain the possibility that some or all of the informants are mistaken about the nature of their experience. Hence, indeed, some of them, such as Levy, attested to the impossibility of answering the question posed. Nevertheless, I believe the responses suggest certain interpretations. First of all, blithe and unsubstantiated claims such as those made by Levinson, that listeners are "standardly made sad" in listening to sad music, are simply untenable. Moreover, the responses should make us question whether it is appropriate to use the notion that listeners claim to be made sad as a reason for exploring the reasons why music might generate that response. That is, Levinson, Davies and Radford devote many pages to discussing why and how music can allegedly make us sad. Insofar as they seem to base their discussions on the premise that listeners claim to be made sad, I think there is good reason to question or reformulate the entire basis of their discussion.
Authors of the voluminous and still-growing body of literature on the negative-emotion issue have been astute in focusing on it as a key to understanding the most basic aspects of how music moves us. What is indeed remarkable is that despite so much erudite discussion by so many learned scholars, there persists complete disagreement about this most essential aspect of aesthetic apprehension. To some extent, this lack of consensus may derive from limitations inherent to the scholarly approach of aestheticians, most of whose treatment of the subject has consisted of essentially common-sensical, albeit sophisticated, arguments and rebuttals. One criticism occasionally voiced is that aestheticians have failed to avail themselves of (much less undertake their own) neuropsychological studies, some of which have certainly addressed some of the same issues, albeit with a quite distinct methodology and language. Particularly fruitful may be the use of fMRI (functional magnetic resonance imaging) studies of music reception and brain activity. Such studies, which have commenced in recent years, may reveal much about music reception, although they may leave many questions unanswered. A different sort of criticism of extant music aesthetic writing, more relevant to this paper, would involve the failure of aestheticians to attempt to base their arguments in any sort of ethnographic research. Instead, there has persisted in the writings of Radford, Levinson and others, a certain ivory-tower academic habit of making blanket generalizations about people's alleged reactions to music without any attempt at documenting such statements.
This essay has sought to take a tentative step toward redressing the latter shortcoming in the debate on the negative emotion issue, suggesting the untenable nature of a key premise in the emotivist position. I would argue that my findings shift the burden of proof on to the emotivists themselves: If they wish to claim that genuine sadness is a common, basic and desirable part of aesthetic response to music, then it is up to them to substantiate this argument, especially as they may be able to find few informed listeners who would attest to such an experience.
1. Needless to say, other genres, such as Indian classical music, might be equally appropriate for such an inquiry, but would pose problems of familiarity to the primarily Western-based writers on the subject.
2. Kivy's numerous publications on the subject include the following: Sound Sentiment: An Essay on the Musical Emotions Including the Complete Text of The Corded Shell (Philadelphia: Temple University Press, 1989); Music Alone: Philosophical Reflections on the Purely Musical Experience (Ithaca, N.Y.: Cornell University Press, 1990); The Fine Art of Repetition: Essays in the Philosophy of Music (Cambridge: Cambridge University Press, 1993); and New Essays on Musical Understanding (Oxford: Oxford University Press, 2001). The British Journal of Aesthetics and Journal of Aesthetics and Art Criticism contain many reviews, articles, and rejoinders on the issue. See also the useful summary of the debate in Stephen Davies, Musical Meaning and Expression (Ithaca, NY: Cornell University Press, 1994), pp. 283ff.
3. Note that the dichotomous "emotivist" and "cognitivist" designations are problematic and reductionist, as neuroscientists and psychologists generally believe that emotion is cognitively based and cognition has emotive elements.
4. Colin Radford, "Emotions and Music: A Reply to the Cognitivists," Journal of Aesthetics and Art Criticism 47, 1 (Winter 1989),69-76, ref. on p. 72.
5. See Radford, "Muddy Waters," Journal of Aesthetics and Art Criticism 49 (1991), pp. 242-52.
6. Davies, op. cit., pp. 286, 284.
7. Jerrold Levinson, Music, Art, and Metaphysics (Ithaca, NY: Cornell University Press, 1990), pp. 321, 306.
8. The listserves were the "classm-L" (Classical Music List) and Dave Lamson's list (accessed via email@example.com).
9. E.g., particularly plausible is Davies' critique of Kivy, in op cit.
10. A few responses, not quoted here, focused on issues other than that specified, such as the relevance of the composer's emotions and intent.
11. See Davies, op. cit., pp. 307-20.
12. "Emotions and music. . ." p. 75.
13. Of those cited, the only evident exception would be Levy, whose comments were studded with references to the writings of Hanslick, Wagner and others whom she had read in college. Note that in spite of this, she did not adopt a strict cognitivist position.
Peter Manuel
Professor, Dept. of Art, Music, and Philosophy
John Jay College, and Music Dept., CUNY Graduate Center
127 Park Ave.
Leonia NJ 07605
Published October 14, 2005


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Bank of America CEO Brian Moynihan on Friday defended large banking companies, arguing they are needed to help multinational companies based here and the U.S. economy in general.
"While I may understand why people might question the value of large institutions these days, it seems misplaced," he said, according to prepared text, in a speech before the National Press Club. "Companies across our industry, my own included, made poor business judgments that certainly affected our economy, our customers, and the communities where we live and work. However, U.S. global financial services companies remain vital to the success of our customers and.in fact. to the success in the countries we operate.including and especially the United States."
The speech also reiterated Moynihan's concerns about the "headwinds" bearing down on the U.S. economy and offered his take on financial reform. Although Moynihan was expected to receive questions about foreclosure-documentation problems, the speech made no direct mention of the broadening controversy.
However, a Dow Jones report just hours before the speech said B of A plans to place a moratorium on all foreclosure proceedings and sales across the U.S. The company would be the first financial institution to stop all foreclosure actions due to revelations that the banking industry had used "robo-signers" — people who sign hundreds of documents a day without reviewing their contents — when foreclosing on homes, the report said. B of A, JPMorgan Chase & Co. and Ally Financial Inc. last week postponed foreclosures in 23 states.
In his prepared remarks, Moynihan devoted a considerable portion to the "critical role" of large financial institutions. He said that "large national franchises with global reach" are needed to provide U.S. companies such as Coca-Cola Co. the financing to operate globally; back the expansion efforts of middle market companies that have global aspirations; serve as an intermediary that brings "pools of capital" from investors to clients; fund domestic consumers and small businesses; afford investment in innovations like mobile baking; maintain the "largely invisible" infrastructure at the heart of the financial system and the economy; and promote America's global leadership.
"We help people realize the opportunity life presents for them. And we do it well," he said in the prepared remarks. "While there will always be a place for banks of all sizes. and we believe firmly that no institution should be too big to fail..I am proud that large financial services providers help people seize the opportunities they see."
In discussing the economy, Moynihan pointed to positive signs, including stabilizing jobless claims and increased spending by consumers on their debit and credit cards. However, he reiterated his concerns about factors that could impede growth such as persistent high unemployment, overextended mortgage borrowers and rising government debt.
"In the end, we have a slow recovery ahead," he said.
Regarding financial reform, he said the Dodd-Frank act addressed some causes of the financial crisis and that the 7% Tier 1 capital requirement in Basel III is "reasonable."
However, he said the efforts at implementing regulations needed to be carefully handled.
"There is much work ahead to get that right, but recent reforms, if properly implemented, should contribute to future stability of the financial system," he said. "However, there is no substitute for management's core responsibility to run the company correctly, balancing short and long term risk and reward."
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The Oscar-nominated documentary writer, producer, editor and director has been tapped for the second day address at the Los Angeles event.
Documentarian Kirby Dick will give the second day keynote address at WESTDOC: The West Coast Documentary and Reality Conference, it was announced Tuesday by conference co-founders Chuck Braverman and Richard Propper.
The film producer, director, editor and writer was nominated for an Oscar in 2004 for directing Twist of Faith, about sex abuse in the Catholic Church. His 2009 film Outrage, about gay conservative politicians who won't come out of the closet, was nominated for an Emmy.
Dick's 2006 documentary This Film Is Not Yet Rated exposed the inner workings of the MPAA movie rating system and led to changes in the system. His most recent film was The Invisible War, about the epidemic of rape in the armed forces. It won the Audience Award at the 2012 Sundance Film Festival.
"Kirby Dick is one of the few people successfully and consistently producing theatrical documentary films today," said Braverman.
The third edition of WESTDOC takes place from Sept. 9 to 12 in Culver City. Dick will do the keynote on Tuesday, the second day. The opening keynote, as previously announced, will be by National Geographic Channels president Howard Owens.
WESTDOC also announced its schedule, which is available at thewestdoc.com.


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This Before and After is a little different.
It is going to show how important the finished surroundings effects your painted project.
|AFTER install
|BEFORE install
|AFTER install
|BEFORE install
Just because it doesn't win the beauty pageant in the work shop
doesn't mean it won't be the star attraction once it is part of your home.
My girlfriend and I painted this vintage sideboard in her unfinished basement.
The perfect place to paint but not the perfect surroundings.
We brush painted it with ASCP in Provence, sanded it smooth, and finished it with clear wax.
We kept the original hardware and preserved the detailed inlays.


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ABC News
Cemetery Listings
Joshua Randall Voils
11/05/1983 - July 31 , 2004
Obituary posted by :
Deanna Thurston ,
Person Description:
Don't grive for me, for now im free, I'm following a path that's been chosen for me.
I took his hand when I hear him call, I turned my back and left it all.
I could not stay another day to laugh, to love, to work or play.
If my leaving has left a void, then fill it with remembered joys.
A friendship shared, a laugh, a kiss…Oh yes, these things I too will miss.
My life was good, I enjoyed much. Good friends, good times, A loved one's touch.
I know my time seemed very brief, But don't lenghen it now with undue grief.
Lift up your heart and share with me, "God heard my plea and set me free."
Service Information:
Joshua's service was held in Jacksonville,Florida,Salt Lake City,Utah and also one in the state of Indiana where his father is also laid to rest.
Click here to contribute your words
Click here to inform your friends about this memorial


text:
Build Guide by Grim Arrow
Not Updated For Current Season
This guide has not yet been updated for the current season. Please keep this in mind while reading. You can see the most recently updated guides on the browse guides page.
Thank You!
Your votes and comments encourage our guide authors to continue
creating helpful guides for the League of Legends community.
Nidalee Build
Ability Sequence
Not Updated For Current Season
The masteries shown here are not yet updated for the current season, the guide author needs to set up the new masteries. As such, they will be different than the masteries you see in-game.
Hello and welcome to my AP Nidalee guide. Ima make this short, sweet, and to the point: allowing you to faceroll faces sooner. :P
This build is for burst dmg, great heals, survivability with masteries and summoner spells, and lol moments of you running away with ghost and cleanse up as a whole enemy team chases you and gets crushed by your team mates. good times nidalee. good times. :D
btw, for those who dont know. tears of the goddess procs off of your no mana cost cat form skills so its a must have for you mana hungry caster form. so while you spam your cat form skills you will be gaining a larger mana pool and just gaining mana in general. :D. oh, and i start with a fort elixer so i can dominate my lane early game and harrass the hell out of whoever im laning against. plus, it pretty much ensures you dont get face raped in first blood :D. extra health and some nice AD for 3 min is no joke. u can do alot with that. take dodge boots if its a melee heavy team but if its a aquishy group, take sorcs. :D
oh, and most games are over by the time you get arch angel staff, or are on your way to making lich bane.
lemme know what u think!!! good or bad experiences. its all a learning process! happy hunting!!!


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2013-03-25 39 -77
Mon 25 Mar 2013 in 39,-77:
About a hundred feet off Evergreen Mills Rd in Leesburg, VA
Depending on traffic, I may try to get there this evening before sunset. Would leave Rockville at 5.
- On my way there right now 45 minutes -- OfficeLinebacker (talk) @39.0746,-77.1641 17:14, 25 March 2013 (EDT)
Today was a snow day for much of the area. I had to work until 5 and I figured maybe there would be light traffic. I checked the cameras along the route at 5 and decided to go for it. I lit up a cigar and set out. From the map it looked like Evergreen Mill was a divided highway and the geohash point was in the middle of the southbound lanes. Once I got there I realized that the road is a narrow two lane blacktop with minimal shoulders. So I pulled over and put two wheels in a watery ditch--thanks to 4 wheel drive. I got out and started wandering. The clear patch was due to clearing a path for the power lines which run parallel to the road. I wandered around in the woods watching my phone until the numbers turned green. Success!
Made it! @39.0109,-77.5744
Thank goodness for 4 wheel drive. @39.0110,-77.5740
The view. @39.0110,-77.5740
- Land geohash
| OfficeLinebacker earned the Consecutive geohash achievement


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February 09, 2016Click here to download PDF
For Immediate Release: February 9, 2016
Media Contacts: Sally Cohen, 585-749-1795, firstname.lastname@example.com
RPO Info: rpo.org, facebook.com/RochesterPhilharmonic, twitter.com/RochesterPhil, rochesterphilharmonic.blogspot.com, instagram.com/rochesterphilharmonic
American Music Festival, Mozart's Requiem, Star Wars and More
Jon Nakamatsu opens season, La Bohème closes
Music of the Eagles at Kodak Center for Performing Arts
Rochester, NY – The Rochester Philharmonic Orchestra (RPO) announced its 2016/17 season this evening in grand style in Kodak Hall at Eastman Theatre. With the entire orchestra performing selected excerpts on stage, Music Director Ward Stare once again previewed the RPO's upcoming season to an enthusiastic full house – a tradition that he began last year for his inaugural season.
"Our upcoming 94th season is a spectacular one, and Rochester can be very proud, not only of this world-class orchestra, but also of what the RPO contributes to the quality of life here," says 33-year old Stare, a Rochester native who became the orchestra's 12th and youngest music director in 2014. "We have not only restored the Philharmonics season to 14 concerts that will spotlight American composers as well as classic masterpieces, but we've added some exciting Special Concerts that will appeal to new audiences."
One of those exciting Special Concerts is undoubtedly a highlight of the RPO's 2016/17 season: world-renowned cellist Yo-Yo Ma on Tuesday, December 6, 2016 at 7 p.m. in Kodak Hall at Eastman Theatre, with Maestro Stare conducting. New and renewing subscribers to a 2016/17 Philharmonics, Pops, Compose-Your-Own or Sunday Matinee Series package will get pre-sale access.
Both the Philharmonics(sponsored by M&T Bank) and the Pops Series (sponsored by Canandaigua National Bank & Trust) will kick off with Rochester favorite, Jon Nakamatsu, who is celebrating the 20th anniversary season of his gold medal win at the Van Cliburn International Piano Competition. He appears with Ward Stare for Stare Conducts Beethoven 7 + Nakamatsu Returns on September 15 and 17, performing Rachmaninoff's popular and passionate Piano Concerto No. 2. He then plays Gershwin's iconic Rhapsody in Blue with Principal Pops Conductor Jeff Tyzik for Gershwin Favorites on September 30 and October 1. That concert celebrates the 10th anniversary of Nakamatsu's Gershwin CD release with the RPO and Tyzik that rose to #3 on the Billboard charts. Tenor Doug LaBrecque, RPO Principal Clarinet Kenneth Grant (The Robert J. Strasenburgh Chair), and the Rochester City Ballet (David Palmer, artistic director) join the fun.
RPO Conductor Laureate Christopher Seaman (The Christopher Seaman Chair, Supported by Barbara and Patrick Fulford and The Conductor Laureate Society) returns on October 13 and 15 for Seaman Conducts Elgar & Beethoven, featuring Elgar's Symphony No. 2 and the "brilliant" (Chicago Tribune) Andrew von Oeyen on Beethoven's Piano Concerto No. 2.
Ward Stare celebrates Rochester's long history of championing American music with a three-weekend-long American Music Festival. The Festival begins with Diamond, Gershwin & Copland on Sunday, October 23 at the Performance Hall at Hochstein as part of the Sunday Matinee Series. The program includes renowned Rochester composer David Diamond's Rounds, Gershwin's Lullaby, and Copland's The Tender Land Suite.
The Festival continues on October 27 & 29 with American Music: Stage and Screen (sponsored by Constellation Brands), featuring the RPO debut of Dr. Atomic Symphony by John Adams – arguably America's greatest living composer – as well as The Unanswered Question, a cosmic soundscape by American maverick, Charles Ives. The program also features the RPO debuts of John Williams' For New York (Variations on Themes of Leonard Bernstein) and Gershwin's "I Got Rhythm" Variations, as well as a suite from Bernstein's iconic film score for On the Waterfront. Pianist Andre Russo guests.
Stare concludes the Festival on November 3 & 5 with Higdon, Copland & Barber. The RPO debut of Jennifer Higdon's Grammy-winning Percussion Concerto will feature the "world's finest percussionist" (The Spectator) for whom it was written, Colin Currie. The concert fittingly concludes with what many have deemed the Great American Symphony: Copland's Symphony No. 3, which includes the iconic Fanfare for the Common Man.
Another Philharmonics Series highlight, Mozart's Requiem, takes place February 2 & 4, 2017, with Maestro Stare and the Eastman-Rochester Chorus (William Weinert, director), made possible by The Mozart Performance Fund: Sarah D. Atkinson, M.D. and Steven Hess. The Rochester Oratorio Society (Eric Townell, director)will take center stage for Handel's Messiah, led by guest conductor Christopher Warren Green, on Saturday, December 10 (8 p.m.) & Sunday, December 11 (2 p.m.). Other Philharmonics concerts include:
- Ehnes Plays Beethoven on January 12 & 14, 2017, with Ward Stare and Grammy-winning violinist James Ehnes.
- Stare Conducts Shostakovich 5 on January 26 & 28, with opera star and Eastman School of Music graduate Nicole Cabell, winner of the BBC Cardiff Singer of the World competition.
- Romantic Classics with Stare & Denk on February 16 & 18, featuring the return of pianist Jeremy Denk (made possible by The Alfred Davis and Brunhilde Knapp Artists Performance Fund) for Brahms' Piano Concerto No. 2, plus selections from Berlioz' Roméo et Juliette.
- Stare Conducts Brahms 1 on March 2 & 4, with Argentine pianist Ingrid Fliter playing Chopin's Piano Concerto No. 2.
- Rachmaninoff & Tchaikovsky on March 9 & 11, with Philadelphia Orchestra's Cristian MÄÂÂcelaru guest conducting Rachmaninoff's Symphony No. 3 and pianist Natasha Paremski's "astonishing power and speed" (Chicago Classical Review) on Tchaikovsky's Piano Concerto No. 1.
- Stare Conducts Mahler 5 on April 20 & 22.
- Debussy's La Mer with a Rochester favorite, guest conductor Fabien Gabel, on May 11 & 14, featuring Concertmaster Juliana Athayde (The Caroline W. Gannett & Clayla Ward Chair) on Bartók's Violin Concerto No. 2. Athayde's performance is made possible by the Katherine T. and Jon L. Schumacher Orchestra Musician Soloist Fund.
The grand finale to the 2016/17 Philharmonic Series is Puccini's La Bohème on May 25 & 27, a complete concert performance of the beloved opera led by Ward Stare, sponsored by The Gouvernet Arts Fund and The Haskell Rosenberg Memorial Fund for Opera.
Starting off with the aforementioned Gershwin opener, Principal Pops Conductor Jeff Tyzik announced next season's Pops Series offerings via video:
- Soul Unlimited with Ellis Hall on October 21 & 22, with Ray Charles protégé and former Tower of Power lead singer, Ellis Hall. Jeff Tyzik conducts.
- Cirque de la Symphonie returns on November 18 & 19, conducted by Ward Stare.
- Gala Holiday Pops celebrates its 23rd season on December 16, 17 & 18 with Jeff Tyzik and the Festival High School Chorale (Amy Story & Harold McAulliffe, co-directors).
- Bugs Bunny at the Symphony II on January 20 & 21 features classic Looney Toons favorites on the big screen with live music by the RPO and guest conductor George Daugherty, plus two new Warner Bros. cartoons presented in 3D.
- Two-time Tony Award-winner Sutton Foster (and star of TV Land's Younger) makes her RPO debut on February 10 & 11 with Jeff Tyzik.
- The Hot Sardines' vintage jazz with a modern edge makes its RPO debut March 24 & 25 with Jeff Tyzik.
- Star Wars and More: The Best of John Williams celebrates the American master of film music on April 28 & 29 with guest conductor Stuart Chafetz.
- The 2016/17 Pops Season closes with Jeff Tyzik's debut of his latest exciting program, Women Rock, on June 2 & 3, featuring the music of Aretha Franklin, Joni Mitchell, Pat Benatar, and more.
Principal Conductor for Education and Community Engagement Michael Butterman (The Louise and Henry Epstein Family Chair) also made a video appearance, to announce the 2016/17 OrKIDStra Series. All four concerts take place at 2 p.m. on Sundays at the Performance Hall at Hochstein and offer free, hands-on activities starting at 1 p.m.:
- The Pirates of Penzance – Opera for Kidson October 9, featuring Eastman School of Music vocal and opera students (Steven Daigle, director) in a semi-staged version of this comic tale. Steven Byess guest conducts.
- Wands & Wizards: The Magical Music of Harry Potter on November 13, with guest conductor Vinay Parameswaran of the Nashville Symphony.
- Symphonic Tales from Around the World on March 19 with Maestro Butterman.
- 100th Anniversary of America's National Parks on May 21, with photography and music by photographer/composer Stephen Lias. Michael Butterman conducts.
The 2016/17 Sunday Matinee Series, also at the Performance Hall at Hochstein, includes:
- Beethoven & Haydn on October 2 with Ward Stare and recently appointed Principal Cello Ahrim Kim (The Clara and Edwin Strasenburgh Chair).
- October 23rd's Diamond, Gershwin & Copland is the American Music Festival opener (previously mentioned).
- · Music of Mozart follows on January 22 with Concertmaster Juliana Athayde and RPO Principal Violist Melissa Matson playing Mozart's Sinfonia concertante for violin and viola. Michael Butterman also conducts Mozart's Symphony No. 39. Made possible by The Mozart Performance Fund: Sarah D. Atkinson, M.D. and Steven Hess.
- · Next up is Guitar Romances on February 19 with Eastman School of Music Professor of Guitar Nicholas Goluses and Maestro Butterman, featuring music of Villa-Lobos and Rodrigo.
- Ravel's Mother Goose Suiteon April 30 features Principal Clarinet Kenneth Grant (The Robert J. Strasenburgh Chair), Principal Bassoon Matthew McDonald (The Ron and Donna Fielding Chair) and guest violinist Charles Wetherbee, with Michael Butterman.
- · Butterman also conducts Bach & Stravinsky on June 4 with guest pianist Simone Dinnerstein.
In addition to Yo-Yo Ma on December 6th, the RPO's Special & Holiday Concerts include:
- The Legend of Zelda: Symphony of the Goddesses – Master Quest on Friday, November 11. This multi-media spectacle features 28 years of music from Nintendo's video game series performed live by your RPO with guest conductor Amy Andersson, while HD Zelda videos are projected on the big screen.
- The Nutcracker with Rochester City Ballet (David Palmer, artistic director) and the Bach Children's Chorus (Karla Krogstad, director), November 23, and 25-27. Michael Butterman conducts this Rochester holiday tradition, sponsored in part by Caldwell.
- Music from The Polar Express & Frozen(OrKIDStra special at the Performance Hall at Hochstein) on Sunday, December 4. Two holiday favorites come alive with music and narration.
- Handel's Messiah (previously mentioned) on Saturday, December 10 at 8 p.m., and Sunday, December 11 at 2 p.m.
- Gala Holiday Pops (previously mentioned), December 16-18.
- Raiders of the Lost Ark – Film with Orchestra, Friday, January 6. Relive the magic on the big screen while John Williams' epic score is performed live by the RPO.
- Six-time Grammy Award-winner Amy Grant makes her RPO debut on Saturday, January 7.
- The Music of the Eagleson Friday, April 7 at Kodak Center for Performing Arts, formerly Theater on the Ridge (200 Ridge Road West, Rochester 14615), a debut for the RPO! Brent Havens returns with a full rock band to join the RPO and perform Eagles' classic hits including "Heartache Tonight," "Desperado," and "Hotel California." Patrons can enjoy free, onsite parking.
RPO 2016/17 Subscriptions went on sale immediately following the announcement concert to renewing subscribers, and to new subscribers on Monday, February 15 at 10 AM. Subscribers get the best seats at the best prices, saving up to 27% off single ticket prices. Philharmonics Series offers new four-concert packages starting at $126, seven-concert packages from $143, and 14-concert packages from $248. Five-concert Pops packages start at $110, and the full series with all nine concerts starts at $172. OrKIDStra subscriptions are available for $41 and the Sunday Matinees Series for $145. All subscribers, excluding OrKIDStra, get presale access to Yo-Yo Ma, which is expected to sell out to subscribers. Additional subscriber benefits include an invitation to an open rehearsal in the fall, free and easy ticket exchanges, presale priority for all RPO concerts, a discount restaurant coupon book, a subscriber-only Will Call table and more. Subscribers can also add non-subscription tickets to their purchase immediately, guaranteeing priority seating. To subscribe, please call (585) 454-2100 or visit rpo.org. Single tickets will go on sale on July 29.
The RPO's 2016/17 series sponsors include M&T Bank (Philharmonics Series) and Canandaigua National Bank & Trust (Pops Series). Individual concert sponsors include Constellation Brands (American Music: Stage & Screen), The Gouvernet Arts Fund (Puccini's La Bohème), and Caldwell (The Nutcracker). RPO performances are also made possible by the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature. Additional support is provided by Monroe County, the City of Rochester, the Alfred Davis and Brunhilde Knapp Artists Performance Fund, the Mozart Performance Fund: Sarah D. Atkinson, M.D. and Steven Hess, and the Katherine T. and Jon L. Schumacher Orchestra Musician Soloist Fund.
The Rochester Philharmonic Orchestra (RPO) has been committed to enriching and inspiring our community through the art of music since its founding in 1922. The RPO presents approximately 160 concerts and broadcasts a year, serving up to 170,000 people through ticketed events, education and community engagement activities, and concerts in schools and community centers throughout the region. 12th Music Director Ward Stare joins the ranks of former notable RPO music directors, including Eugene Goossens, José Iturbi, Erich Leinsdorf, David Zinman and Conductor Laureate Christopher Seaman. Principal Pops Conductor Jeff Tyzik has earned a national reputation for excellence in pops programming during his 22-year tenure with the RPO. With Michael Butterman as Principal Conductor for Education and Community Engagement (The Louise and Henry Epstein Family Chair) – the first endowed position of its kind in the country – the RPO reaches more than 12,000 children through its specific programs for school-aged children.
Media please note: High-resolution images and a complete listing of 2016/17 concerts are available at http://ow.ly/XTOa6, and interviews and photo/footage opportunities can be arranged.
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Problems with schools cheating on test scores and how they harm the public through cheating.
Different ways to cheat, for students who don't realize they are already doing it.
This is not advice to help students cheat. This is so that teachers are aware of the ways in which students cheat.
Having trouble keeping your students from cheating? These ideas may help.
Could that help you are giving Junior on his class project actually be cheating?


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Find a Glass Artist
Welcome to our complete Members Directory where you can find details of all our current members. Joining as a member automatically entitles you to a listing in this Directory, where you can provide a biography, upload photos of your work, list exhibition information and provide details of how people can get in touch.
To browse ALL our members without filters, simply click on 'APPLY'. To filter your selection select from the drop down menus and this will only show you those members that meet the criteria you have selected. If you know exactly who you are looking for, please enter their LAST name into the name search field to find them.
My photographic images are important to me as a way of capturing and keeping memories. They are the first tangible material along with the pebbles I collect from the seashore to be used as physical inspiration for my work in glass.
History lies around us
Memories lie within us
Both are moments in time
Some are ephemeral; some are carved in our souls
At Alx Creations I endeavour to hold those memories and the emotions they evoke, in beautiful, handcrafted glass. I work on a range of pieces from architectural glass and public art to smaller works of art for the home and jewellery. I am also available to create bespoke pieces for a range of customers and run one to one workshops.
Andrew is a Reading, UK based glass artist who trained for 2 years on the PGC Glass course at Central Saint Martins. He now works in traditional stained glass and modern kiln-formed techniques. Both private individuals and public organisations commission Andrew to design and make architectural glass windows which are beautiful and practical. He also produces innovative fused glassware such as bowls, plates and more sculptural items.
See more at www.boddingtonglass.com
My love affair with glass started about 8 years ago and delights me with the many ways I have found to express my 'creative' self! I am.an ex Primary school teacher and now have so much more time to devote to designing and creating my fused glass designs and lampworking which has inspired me.


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AT&T Got National Security Requests for 35,000 Accounts
Company Also Received National Security Letters Seeking Access to At Least 4,000 Accounts
AT&T Inc. received requests on national security grounds for detailed information for at least 35,000 customer accounts in the first six months of 2013, the company disclosed in its first report describing official requests for customer data.
The report follows a recent agreement between the Justice Department and major Internet companies to make public more information about security requests. Under that agreement, telecommunications companies can now disclose limited information about the requests....


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Status: Closes in 34 minutes
Know more about this business than we do? Cool! Please submit any corrections or missing details you may have.Help us make it right
Be the first NJ.com user to add photos or videos of Glass Frog Studio
Glass Frog Studio was founded in 1997, and is located at 920 Asbury Ave in Ocean City. It employs 1 employees and is generating approximately $72,000.00 in annual revenue.
Glass Frog Studio can be found at Asbury Ave 920. The following is offered: Ornamental Glass, Metal, & Stone. The entry is present with us since Sep 9, 2010 and was last updated on Nov 14, 2013. In Ocean City there are 2 other Ornamental Glass, Metal, & Stone. An overview can be found here.


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Hotel Botticelli (3 Star Hotels) Firenze
This hotel is no longer part of the
www.Tuscany-Traveller.com collection
Via Taddea, 8 - 50123 Firenze (Firenze)
Tel. +39 055 290905
Fax +39 055 294322
Located within the walls of Palazzetto dei Serragli, an elegant edifice built in the second half of the 16th century for the Serragli family, whose coat of arms still adorns the façade of the town house, Hotel Botticelli is a charming 3 star property, right in the heart of the historic center of Florence.
The hotel's public rooms still contain many of the original decorative elements of the old palazzo. The spectacular ribbed vaults in the reception lobby, painted with floral motifs and cherubs, the typical Florentine loggia, and the internal "kneeling window", which looks on to an exquisite painted townscape are just some of the features which never fail to delight guests staying at Hotel Botticelli. Wireless internet connectivity is available in all communal spaces.
Hotel Botticelli provides attractive guest accommodation in 34 bedrooms, all furnished in modern Tuscan style. Sleeping up to four people, the hotel's Junior suite is the ideal choice for those seeking a spacious family room. Almost all rooms have views over the streets of the historic center of Florence.
Ideally located for those eager to explore the historic center of Florence, Hotel Botticelli is just steps away from the majority of the Tuscan capital's most famous tourist attractions. The Cathedral, the Church of Santa Maria Novella, Piazza della Signoria, the Uffizi Gallery and Ponte Vecchio are, in fact, all within easy walking distance of the hotel. A great choice for anyone needing to come to Florence on business, Hotel Botticelli is close to the main railway station, Palazzo dei Congressi, and the Fortezza da Basso trade show center.
Hotels in the area
0.10 Km
Palazzo Tolomei
0.36 Km
Granduomo Charming Accommodation
From € 425.00
0.39 Km
Hotel Astoria
0.53 Km
0.54 Km
Be ONE Art and Luxury Home
0.58 Km
Hotel Savoy
0.61 Km
Hotel Roma
0.64 Km
0.66 Km
Helvetia & Bristol
0.68 Km
Grand Hotel Cavour


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To win at chess, you have to think at least a few moves ahead. Let's take a moment to apply that principle to this election.This week I watched a talk between Noam Chomsky and Yanis Varoufakis. They were asked about the 2016 presidential election—specifically, what they thought about the spectre of fascism in America, given the increasingly ripe conditions for fascism and the rise of a fascist candidate in Donald Drumpf.
Varoufakis made the compelling assertion that, if not for the New Deal, the United States might have turned to fascism in the 1930s. He added that without a "new New Deal" now, it's only a matter of time before fascism rises—if not via Drumpf today, then someone worse tomorrow. He's not the first person I've heard make this argument.
To win at chess, you have to think at least a few moves ahead. Let's take a moment to apply that principle to this election.
So let's assume that Hillary Clinton wins the presidency in 2016—a huge assumption given her lackluster polling against Donald Drumpf, lack of support from young people and independents, and most crucially her missing multiplier effect.
We don't need to assume that Clinton won't give us a new New Deal; she's said as much. She's basically against everything Bernie Sanders has proposed (the basis of a new New Deal).
If the management of our present economy is any indication, simply maintaining the neoliberal status quo will more than likely continue the downward slide of the American middle class—which today is no longer the majority—intensifying already record-breaking inequality. The student debt crisis will deepen despite Elizabeth Warren's continuing unsupported efforts. Our legally mandated health care premiums and overall costs will continue to escalate. The ecological crisis will not be seen as an existential threat, but if past performance (and present-day rhetoric) predicts future results, Hillary Clinton will escalate America's involvement in existing and new armed conflicts.
Given the strong likelihood of this forecast, if we think ahead to 2020, the conditions for a fascist candidate will be even worse. What's to keep Drumpf from winning against an incumbent Hillary Clinton then? And eight years from now, what's to keep an even worse fascist from succeeding him?
If the only thing that can stop the ascent of fascism in America is a new New Deal, shouldn't we think ahead and make that move now, before fascism puts us in check?


text:
Dunkin' Brands Group, a franchisor of quick service restaurants, said Monday that it has entered into a partnership with Price Chopper to open three restaurants in Kansas.
The national grocer will own and operate all three locations, with the first store slated to open on July 26 and the two additional restaurants opening later this year. Shares were little changed in recent morning trade.


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I'm happy to announce that I am now exclusively playing with D'Orazio Strings. D'Orazio make fantastic strings which I use with my Chapman Stick and bass guitars which they have customized exactly to my needs. I'm looking forward to working with them in the future and to an upcoming clinic tour of Italy sponsored by D'Orazio.
Für Elise transcription now available.
The transcription for my version of Beethoven's Für Elise is now available in the Tabs section of the website.
Full Transcription for "Mercury, The Winged Messenger"
You can now view the full seven bass guitar transcription of the first track from my new album "The Planets Suite".
Mercury, The Winged Messenger Full Transcription
For those of you who've enjoyed the tabs that are available on my website and feel they'd like to make a donation I've created a button below. All contributions great and small will be warmly received!
"The Planets Suite" is now available!
Simon Fitzpatrick – "The Planets Suite"
"Voyage through the solar system from Mercury to Neptune with the bass guitar as your guide!
"Simon Fitzpatrick has reinterpreted Gustav Holst's classical masterwork through the medium of his own instrument, the bass guitar. Multi-layered basses are supported by Chapman Stick and Minitaur Synthesizer to create a brand new vision of the British composer's much loved celestial suite. The many timbres available on the bass guitar are used to emulate the various orchestral departments which are so well exploited in the composer's original arrangement. In "The Planets Suite" Fitzpatrick deploys the full range of his technique to create all the colours and moods evocative of our planetary neighbours, veering between layered grooves, soulful melodies, virtuosic flourishes and atmospheric soundscapes."
Download "The Planets Suite" Album from these sites and more:
Google Play
CDs available here.
Track Listing:
1. The Planets Suite, Op. 32: III. Mercury, the Winged Messenger
2. The Planets Suite, Op. 32: II. Venus, the Bringer of Peace
3. The Planets Suite, Op. 32: I. Mars, the Bringer of War
4. The Planets Suite, Op. 32: IV. Jupiter, the Bringer of Jollity
5. The Planets Suite, Op. 32: V. Saturn, the Bringer of Old Age
6. The Planets Suite, Op. 32: VI. Uranus, the Magician
7. The Planets Suite, Op. 32: VII. Neptune, the Mystic
New Tabs Available: Family Guy Theme on 4 and 6 String
From the Archives: No Woman, No Cry
Keith Emerson Tribute Show Announced


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Temple Israel, a Reform congregation, has been in Catskill, NY since 1923. Thats right! We are celebrating our 95th year. We invite all who wish to worship to attend our services. Our congregation is diverse and growing and we look forward to welcoming you to our family.
Temple Israel is a house of worship, a house of study and a house of gathering. We strive to be a synagogue where all feel welcome and comfortable. We accept people as they are in their Jewish experience. Together we form a diverse family, respectful of each other and bound by our love of Judaism and its acts of loving-kindness.


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Euro Truck Simulator 2 – the game that you'll mock until you actually play it and then become instantly addicted. It's hard to describe why ETS2 is so addictive but today SCS Software released the beta for the 1.20 update. Despite American Truck Sim being in production, they're pushing Euro Truck updates as rapidly as ever.
The 3 main changes are: the option to create custom GPS routes; a geographically correct sun position and a community image spotlight on loading screens. These improvements are backed up by general engine, AI and vehicle tweaks (see the full changelist here).
The ability to make a custom GPS route is a long needed addition in my opinion. It means that free roaming doesn't mean driving around just using road signs. Plus, for completionists it means that you can set destinations for specific roads that you haven't yet driven. Alternatively it'll be useful for planning long road trips if you've got a hell of a lot of time to kill. Although the Euro Truck world isn't open, and so in some ways easier to navigate (than The Crew for example) this feature will make the game more accessible for new players too, as driving from city to city without following a route can be a daunting process.
Another one of the main changes, the 'geographically correct sun position' highlights SCS's attention to detail. Basically, the sun will be higher in the sky as you get closer to the equator – so you have longer dawns and dusks in the northern parts of the map as the sun clings closer to the horizon. This feature sounds like it might go un-noticed, it makes a surprisingly big difference to the lighting. In fact, it's so authentic that SCS claim you'll be able to 'set up any location on the globe' if you so wish.
The attention to detail continues with the smaller fixes, including increased AI car density in cities; the 'correct turbo noise' when reversing; increased mirror view distance and even adding daytime running lamps to one of the trucks in line with its real life counterpart. I think it's this attention to detail paired with the progression that makes Euro Truck so popular – it's a relaxing game yet never really gets stale or boring. Other simulators (not so much racing or flight sims) remain niches that rarely sell well yet Euro Truck is almost always in the top 25 most played games on Steam. Yet tell someone that you're playing a truck simulator and you'll probably still get laughed at – oh well, their loss.
Euro Truck Simulator 2 is available on Steam for £14.99. The 1.20 update is currently in public beta and will be pushed to the full release branch in the coming days/weeks.


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Call Centre opportunities (Doha)
If you are bubbly, well-polished speaker and confident who has a background in Customer Service or Call Centre, and willing to join a Marketing team doing outbound calls to high-end clients then you are already halfway fitting the job!
I'm looking for ladies who will be in my team & who are comfortable working with men (mostly British). The job is full-time and our office is in West Bay area. There's no selling activity. Salary to be disccused once short-listed.
Please phone me on Protected content more info. Bilingual expats (Arabic & English) may also phone in.


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Let's face it – social media is a great tool to have. We get information on what our family and friends are up to instantly, we have a way to keep in touch while travelling, and we have access to trends and news stories that we may otherwise not be aware of.
The other side to social media, however, is the copious amount of time one can spend on it without accomplishing much. Remember our post on disconnecting? Spending too much time on social media can lead to a comparison trap. For instance, if you're trying to get fit, following fitness stars on Instagram may be a good idea to stay motivated… but what if it starts to actually bring you down? What we fail so often to realize, is that social media is only portraying the highlight reel of someone's life. People don't tweet the bad stuff – they're not Instagramming the ugly parts of life. Raw, emotional posts are few and far between.
How does this impact our mental health?
On average, adults aged 18-64 spend 3.2 hours a day using social media (*1). This is reportedly even higher for young adults. That's a big chunk of our day consuming portrayals of "perfect" days/weeks/vacations/bodies/workouts/food.
Which leads us to…
Several studies have shown that there may be a connection between social networking and depressive symptoms, a decrease of self-esteem, and other issues. Another study found there was a positive correlation between depressive symptoms and time spent on social networking sites (*2). Since we're all spending an average of 3 hours or more on social media a day, this is a pretty significant finding.
If you're someone who struggles with self-esteem or comparing yourself to others, taking a break from your social network of choice could help you re-evaluate what kind of content you'd like to see on your social media feed. This is really something that applies to all.
Are all the fitness pages you follow really that motivating? Or would a quote on how exercise fuels our bodies and keeps us healthy be a better option? Sometimes scrolling through a feed of chiseled abs and post-workout selfies isn't what we really need in the moment.
Get creative with your choices on who to follow. Find pages that really inspire and uplift you. Follow users who make you laugh. Do your best to avoid a negative social environment. Working on creating a positive online environment and finding a balance for yourself is key!
Sources: *1 Ipsos Open Thinking Exchange, 2013 / *2 Igor, 2014.
This post is contributed by Samantha Thayer, Online Outreach and Education Specialist from What's Up, USANA?. For more information on health, feel free to visit their blog or find them on Twitter @USANAInc.


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Mural Arts Program
The City of Philadelphia Mural Arts Program is an anti-graffiti mural program in Philadelphia, Pennsylvania. It was founded in 1986 and directed by Jane Golden as a division of the Philadelphia Anti-Graffiti Network. Its roots began in a 1984 meeting between Tim Spencer and Golden. Golden asked to run a program within the Philadelphia Anti-Graffiti Network. Spencer envisioned a program that would entice kids towards other arts and crafts, but Golden envisioned what is now the current Mural Arts Program.[1]
In 1984, Golden met with Tim Spencer, who was head of the Philadelphia Anti-Graffiti Network, in hopes of creating a program under the umbrella project. Spencer had originally envisioned a program that would rehabilitate graffiti artists and into other arts and crafts. Golden's vision won out and the Mural Arts Program was created. The Mural Arts Program works with community groups to educate and involve children in arts and in creation of murals throughout the city.[2]
In 1986, the Mural Arts Project, headed by artist Jane Golden,[1][2] was founded as a division of the Philadelphia Anti-Graffiti Network.[3][4] In 1991, Philadelphia was awarded the Innovations in American Government Award due to the success of the Mural Arts Project and Mural Arts Program in surrounding communities.[4][5][6] In 1996, the Mural Arts Project was split off into a separate program and placed under the umbrella of the Philadelphia Recreation Department.[3][4]
In 1996, the Philadelphia Anti-Graffiti Network was merged into the Philadelphia Recreation Department and the Mural Arts Program was elevated as an independent entity.[3][4] The Philadelphia Mural Arts Advocates was founded as a nonprofit corporation to raise funds for the Mural Arts Program.[7] Tim Spencer, who founded of the Philadelphia Anti-Graffiti Network, died that same year.
The Mural Arts Program is responsible for the largest mural painted in Philadelphia at 600 feet (180 m) in length. Titled History of Immigration, the mural displays settlers of different ethnicities who have settled in Philadelphia over time. The average mural painted by the program is approximately the height of a three-story row house and 35 feet (11 m) wide. The average cost of each mural is $10,000–$15,000, which includes artist commission and supplies.[8]
The program is currently one of Philadelphia's largest employers of artists, employing over 300 artists a year. The Mural Arts Program also hires prosecuted graffiti vandals at a rate of over 100 per year and involves them with the creation of murals around Philadelphia. Currently[when?], the program employs 36 former graffiti artists as staff members on permanent payroll and serves more than 300 children a year with arts programs.[3] During the 2001–2004 Neighborhood Transformation Initiative, the Mural Arts Program had painted over 600 murals around Philadelphia.[9] In February 2006, the city of Watertown, New York asked Jane Golden to speak in hopes of creating a similar program in their community.[10]
See also
- The Sprout Fund — Pittsburgh mural program
- ↑ 1.0 1.1 "Philadelphia Weekly Online: Hit the Wall". Philadelphia Weekly Online. October 18, 2006.
- ↑ 2.0 2.1 "Jane Golden, Robin Rice, Natalie Pompilio: More Philadelphia Murals and the Stories They Tell". Temple University. Retrieved November 14, 2006.
- ↑ 3.0 3.1 3.2 3.3 "Mural Arts Program: About Us". Mural Arts Program. Retrieved November 14, 2006.
- ↑ 4.0 4.1 4.2 4.3 "Philadelphia Department of Recreation: Cultural Programs: Mural Arts". Philadelphia Department of Recreation. Retrieved November 14, 2006.[dead link]
- ↑ "Philadelphia Anti-Graffiti Network (PAGN)". United States Department of Agriculture: National Agriculture Library. Archived from the original on August 27, 2006. Retrieved November 14, 2006.
- ↑ "Government Innovators Network: Philadelphia Anti-Graffiti Network". John F. Kennedy School of Government. Retrieved November 14, 2006.
- ↑ "Mural Arts Program: About Us: Philadelphia Mural Arts Advocates". Mural Arts Program. Archived from the original on October 14, 2006. Retrieved November 14, 2006.
- ↑ "Philadelphia in color". Temple News. October 10, 2004.
- ↑ "Philadelphia Neighborhood Transformation Initiative 2004 Report" (PDF). City of Philadelphia. Archived from the original (PDF) on October 6, 2006. Retrieved November 15, 2006.
- ↑ "Press Release". Watertown Downtown Development. Retrieved November 14, 2006.[dead link]
External links
- No URL found. Please specify a URL here or add one to Wikidata.
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Fleeing The Complex
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Somewhere in a far off land, where the snowy mountains meet the sea, lies a prison complex. Welcome to The Wall, the 'home' of some of the baddest and smartest criminals from all over the world. Henry has become the newest resident.
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New Chapter® Grape Seed Force™
Write a Review
Item # 792352
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Size: 30 Capsules
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Product Information
DescriptionFull-Spectrum, Researched Extract Promotes Cardiovascular Health & Lean Muscle Mass*
Clinically studied Grape Seed extract is shown to support heart health.* Grape Seed also supports lean muscle mass in the body, which is important for physical fitness as well as healthy aging.*
We use a whole-food approach to deliver a broad spectrum of Grape Seed's beneficial compounds, matching Nature's true profile by extracting the whole seed using traditional methods.
We extract a specially selected New Zealand Grape variety that produces extraordinary levels of beneficial plant compounds and phytonutrients.
PRODUCT DIRECTIONS / ADDITIONAl INFOSuggested use: One capsule daily. For athletic performance use, take one capsule prior to exercising.
WarningsAs with any dietary supplement, you should advise your healthcare professional of the use of this product. If you are nursing, pregnant, or considering pregnancy, you should consult your healthcare professional prior to using this product. Discontinue use and contact your healthcare professional if you experience a side effect or an allergic reaction. Keep out of reach of children.
Other IngredientsCapsule (pullulan- carrageenan, water and potassium chloride)
New Chapter, Inc
90 Technology Dr
Brattleboro, VT 05301
90 Technology Dr
Brattleboro, VT 05301
Nutrition Facts


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Other adherents will offer this option to me, "If you only would trust your heart, then you would know that God is real." To this I say, "I have followed what I felt was the Lord's leading in my life for many things as surely as you feel that you are now." This also includes for family, friends, in jobs, relationships, where to go for trips and much more. There is not a single area that I didn't try to "bring under" the power of God. Even my marriage. But the facts of reality must be…Continue
Added by Thomas True on December 21, 2010 at 3:05pm — No Comments
In both of science and religions areas of my life, I have many more experiences that added to both my understanding of the natural world and understanding about Christianity and religion. In high school, I was fortunate to take almost every science class that was offered. I even became a science proctor, [that is a teacher's aide or assistant]. The classes I took included: General Science, Biology,(two years) Chemistry, Astronomy, Physics, and Zoology. The only two classes I didn't take that…Continue
Added by Thomas True on December 14, 2010 at 9:13am — No Comments
I have been what I call a devoted and or a committed atheist for about 10 years now. After getting free from the repression of the "Steve Abrams" family of Kansas. Yes, the Steve Abrams that was on the Kansas State Board of Education that thought evolution wasn't such a good thing to teach in science classes in public school. So I have seen a few things change in the past few years in my life and in the current cultural discussion. I may go into that later but…Continue
Added by Thomas True on December 9, 2010 at 5:00pm — 1 Comment
But as I have said before, since non-adherents do not have a dogma we really have no need to meet together or organize. But I have a feeling
that will change as we fight through the courts to return our nation to
the secular nation that it was founded as. People seem to be tiring of
the rules and control of dogma and want to be good peaceful people
living with one another. Helping out where we can and staying out of the
way when we…
Added by Thomas True on November 3, 2010 at 11:00am — 2 Comments
Added by Darrel Ray on June 29, 2009 at 3:29pm — 2 Comments
Added by Darrel Ray on June 13, 2009 at 7:00pm — 2 Comments
Added by Darrel Ray on June 10, 2009 at 12:53am — 1 Comment
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About Brown & Toland Physicians
Brown & Toland PhysiciansOpens new window is a comprehensive, multi-specialty independent practice association (IPA) serving the residents of San Francisco and the Bay Area. Brown & Toland physicians are located throughout San Francisco, Marin and San Mateo counties, which means they are located close to where you live and work. Their comprehensive hospital network gives individuals both choice and convenience, as well as access to nationally ranked community and university hospitals--including California Pacific Medical Center.
Now serving more than 160,000 patients, Brown & Toland is committed to providing individuals with the best physicians, hospitals and care, not just in sickness but also in good health.
Brown & Toland is a three-time winner of the prestigious Pacific Business Group on Health (PBGH) Blue Ribbon Award for medical excellence and has earned numerous other awards for quality.


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Saturday, 20 August 2011
I'm supposed to be editing but the book is making me cross eye'd right now and I find myself easily distracted. Of course it's easy to be distracted with things like work and facebook.
I don't often write about work because there's not so much to write about and there's a confidentiality issues which is a line I don't want to cross. But I can talk about some stuff, like how much I love my job, no really I do. I have this crazy little mini job ( as it's called in Germany) I work 50 days a year and no more ( has to do with taxes and pensions and stuff none of which apply to a mini job) I pick up the slack essentially and do a lit little things which means my job is varied and I learn new things more often than not.
The last few weeks have been about a fairly large project that required some massive logistical organization and a LOT of help from other people. This was fun ( outside of the frustrating bits) and the really nice part was actually getting to work outside my desk WITH other people. And this was cool because the people I get to work with - ALL of them are amazing, fun, clever and willing to go that extra step.
I've never worked in a place like ACER before actually. Most of the jobs I've had, and I've had a lot ( with one or two exceptions) sucked. Either there was too much bitching going on and it was everyone out for themselves or just the actual job sucked, or it was a bit of both.
I'm a trained Animal health technologist. But I haven't worked in that field for years ( thank god) my experience with the Vet business is that it was cut throat and mean. Animal Doctors yell a lot. And the customers / pet owners are not much better. I enjoyed working with lab animals but when I moved to Germany I turned my back on the entire work field and I have not looked back.
So I'm an artist / vet tech and I now work in a computer company as a logistics / warehouse go-to. It is my favourite job ever. Not just because it's part time because I loved working there when I was full time as well. Anyway this past could of weeks saw me do more than 1 day a week for this hefty project and boy it was tiring. I'm not used to being on my feet all day.
Then there's my FB posse, especially K. who nudges me to write more. And as payment for her picking me up a signed bookplate from Timothy Zahn I wrote her a short story, which it appears has spawned what might be a nice series of shorts. Easy to write and fun to do. But none of this is helping me edit the main books.
Evil woman that she is, she started quoting some rather ghastly slash Thrawn/car'das fiction to me. Okay I'm not a huge fan of Slash anyway, aside from the fact that much of what I have read is terribly written, it's also jarring and distracting. A little like reading someone's deepest darkest fantasy and I don't need this in my brain, thanks.I countered the evil by rewriting one of my own erotic short stories. Not sure if it's any better than a slash fiction but it's a pleasant distraction.
Now I also have a calligraphy commission which will be fun and 4 rather hefty backlogs scrolls to do. I also want to make new garb and 501st costumes and suddenly I feel very busy.
But it's been a peculiar summer. The weather has been terrible, I mean seriously the heating is ON. It has rained just about every single weekend and the garden looks like crap.
On top of this I have not had my period since Feb. So...am I now in menopause for real? A lot of the constant endo pains have vanished but they do pop up with some regularity so I assume I am still producing some sort of hormones and going through the motions but I no longer get a period. ( yay) Now it's sweats, night sweats and a bunch of other things ( oh and headaches lot sand lots of headaches) but mostly I'm doing okay. which is nice.
so now we are almost through August.
Time flies when you waste it front of the computer.
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Corporate Meetings & Events Venue Cumbria
Corporate Meetings, Board Meetings & Team Building events
Whether you're looking for a unique venue to host a discreet board meeting, or you have a corporate event that you really want to shout about then we can provide you with the perfect solution.
Broadoaks can be exclusively hired for as many days as you wish to host your event.
Key reasons to book:
- 7 Acres of gardens to use – great for team building events
- Heli pad to fly in the boss!
- 4 x Break out rooms for your exclusive use
- Orangery
- Music Room
- Oaks Room
- Bar
- 19 beautiful rooms to relax in after a hard day's work
- Wi fi, flip charts and projectors all available for use
- Clay Pigeon shooting & Archery can be arranged
- Hire the entire house & grounds for 32 people including food and drink From £2,995 (terms apply)
- Residential day delegates from only From £ 150 per day
- Day delegates from only From £ 25 per day
To get a detailed quotation for your event please make contact with our events team on 01539 445566.
Or use this form to request a call back.
If you fancy adding in something a bit more adventurous for your group such as:
- Clay Pigeon Shooting
- Black Powder Shooting
- Archery
- Air Rifles
- Cross Bows
- Orienteering
- Treasure Hunts
- Water activities
Then we are delighted to work in partnership with a local company called See Events - see their details by following this link http://www.see-events.co.uk/pages/venues/Broadoaks-Country-House
We look forward to hearing from you.
The Broadoaks Events Team x
Music Room (capacity up to 12)
(This room makes an excellent board room when set up)
Find out more about the William Morris Music Room.


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1992 -
Below is the text of the Conservative Party Press Release on Mr Major's comments on Conservative principles. It was issued on Friday 27th March 1992, reference 631/92.
"Since this election campaign began, I have been using these morning press conferences to make very clear the principles for which the Conservative party stands," the Rt Hon John Major, Prime Minister and Leader of the Conservative Party, said at a press conference at Conservative Central Office, today.
I want to bring those principles together for you this morning.
We are fighting for low taxation -
We are fighting for individual freedom -
We are fighting for the secure defence of this country, for Britain's interests in Europe -
We are fighting for opportunity and choice, for good public services, which respond to what people want -
I want to lead a government that helps people build their own lives, a government that gives people a good start, and a better life.
I want to give people what is rightfully theirs:
That's what I want for this country.
That's what I'm going to fight for between now and 9 April.
And that's why we will win."