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TITLE: No Greater Challenge: Assessing Legal Responses to Terrorism
SPEAKER: James Renwick
FORMAT: Video + Captions
RUNNING TIME: 59 minutes
TRANSCRIPT: View Transcript (link will open in a new window)
The Law Library of Congress presented a lecture by James Renwick. Renwick is an Australian barrister and visiting Fulbright Scholar. His lecture, "No Greater Challenge: Assessing Legal Responses to Terrorism," focused on the United Kingdom's and Australia's legislative response to terrorism since 9/11 and the supporting policy issues and how it compares to the response of the United States.
Speaker Biography: James Renwick is an Australian barrister and visiting Fulbright Scholar with the School of Advanced International Studies in Washington, D.C. He was educated at the University of Sydney where he received the first doctor of juridical studies degree conferred by an Australian university, in 1993, with a thesis in constitutional law. In 2003, at the University of Sydney, he devised and was a principal lecturer in the first national security law course taught in Australia. In late 2004, he represented Australia at the trial of David Hicks at Guantanamo Bay, Cuba. He holds a commission in the Royal Australian Naval Reserve, where he has experience in appearing at criminal trials and boards of inquiry, and providing legal advice.


text: April 3, 2011 - 07:30 GMTOn my news quest today, I came across an interesting article from Fraunhofer Research on new wind-turbines - although off topic but of current interest - and being Dutch, it got my attention. In the search for cleaner sources, wind energy is really taking off and giant wind turbines are currently on the drawing boards. The largest is the Enercon E126 with its blade tips reaching 198 meters, a mastodon compared to De Noord (45m), the highest historic wind mill in the world, and the Nolet (55m), a modern wind turbine in a replica tower mill completed in 2008...More

subset: commoncrawl


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The American ship captain who was taken hostage by Somali pirates and freed in a dramatic rescue is to return to the United States Wednesday.
Maersk Line, Limited says Captain Richard Phillips and his crew are to arrive at a U.S. Air Force base outside Washington (Andrews Air Force Base) late Wednesday on a chartered flight from Mombasa, Kenya.
The pirates took Phillips hostage Wednesday, after an unsuccessful attempt to hijack his vessel, the Maersk Alabama. They held him for days in an enclosed life boat.
The captain was freed Sunday, when U.S. Navy snipers killed his three captors.
Some information for this report was provided by AP.


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Graduation Memories Reminder
Graduation Memories
Pre-order your copy of this years Graduation Ceremony and Senior Highlight Video now. For just $20 you can get either a digital download or DVD! Don't miss your chance to capture this memory and have it forever.
On June 10th the Tahoma High School Video Production Program will film the ceremony. In the day's following they will work to create the Digital Download and DVD's and the finished produced will be distributed by mail/email by June 16th.
Click the link below to go to the order form. When you have submitted the order form you will be given a link to the schools e-funds site to make an electronic payment. If you prefer to order through a paper and pen method then stop by the cashier with $20 in the form of a check or cash and you can handwrite an order form when you make payment.
Questions? Email Mr. Haag at firstname.lastname@example.com.


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Sergeant Dakota L. Meyer is a United States Marine Corps veteran, the recipient of the Medal of Honor – the military's highest honor, and the New York Times best-selling author of Into the Fire: A Firsthand Account of the Most Extraordinary Battle in the Afghan War. He is also an entrepreneur, having founded a successful construction company in Kentucky.
Exclusively represented by Leading Authorities speakers bureau for lectures, he addresses inspiration, motivation, courage, leadership, believing in yourself, doing what is right, and what happened that day in Afghanistan.
In his presentations, Medal of Honor recipient Dakota Meyer talks about taking advantage of the opportunities life gives you, holding each other accountable to achieve our potential, striving constantly for the best possible outcome, and creating a support network. His life underscores these themes in this moving and motivational talk, and his stories are full of detail and imagery. From growing up in a small town in Kentucky to joining the Marines, Meyer elaborates on courage, leadership, and what happened that day in Ganjigal Valley with humor and gripping anecdotes. He believes that anyone can achieve greatness, and he inspires his audience to do their best. His humility, sincerity, and courage are what make him one of Leading Authorities' most popular speakers.


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When you move to Boystown, you earn a badge. A badge of being awesome. Everyone in Chicago knows people who live in our 'hood know how to party. It's kind of what we do. It's easy when you live here though: There are awesome restaurants (Frog N Snail, Taverna 750), epic clubs (Sidetrack, Roscoe's), a never-ending supply of beer, and did we mention Market Days?
In fact, it's so easy to live in B-town, you might find it hard to leave. It's something that all your friends who don't live here will remind you of constantly. But they're also the friends who are going to want to sleep on your couch after having too much fun during a Cubs game or Pride, the LGBT community's biggest blowout of the year.


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Microsoft Acquires Skype For $8.5 Billion, Full Details Of The Big Investment
In what has turned out to be a shocker, Microsoft has apparently closed the wraps on the Skype deal for $8.5 Billion. According to the press release, "Skype will become a new business division within Microsoft, and Skype CEO Tony Bates will assume the title of president of the Microsoft Skype Division, reporting directly to Ballmer." As we all expect, this acquisition will enhance and bring together a deeper integration of Skype into Microsoft's products such as: Windows Phone 7, future Windows devices, and the Microsoft Kinect. Check out a few statements mentioned in the press release:
Skype will support Microsoft devices like Xbox and Kinect, Windows Phone and a wide array of Windows devices, and Microsoft will connect Skype users with Lync, Outlook, Xbox Live and other communities. Microsoft will continue to invest in and support Skype clients on non-Microsoft platforms.
The acquisition will increase the accessibility of real-time video and voice communications, bringing benefits to both consumers and enterprise users and generating significant new business and revenue opportunities. The combination will extend Skype's world-class brand and the reach of its networked platform, while enhancing Microsoft's existing portfolio of real-time communications products and services.
With 170 million connected users and over 207 billion minutes of voice and video conversations in 2010, Skype has been a pioneer in creating rich, meaningful connections among friends, families and business colleagues globally. Microsoft has a long-standing focus and investment in real-time communications across its various platforms, including Lync (which saw 30 percent revenue growth in Q3), Outlook, Messenger, Hotmail and Xbox LIVE.
So what do you think about this acquisition? Will Microsoft stifle innovation at Skype? Did Microsoft spend too much? Are you more or less interested in Microsoft's devices now that Skype will be embedded deep within? Weigh in and let us know. Oh yeah, what happened to Facebook and Google?


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You are currently browsing the tag archive for the 'singing bowls' tag.
It had been 15 years since I'd been to Nepal. As a result our buy-out of my former partner, our supply chain had broken down on so many fronts: malas, tingshaw, Ghanta & Dorje, gongs: we had run out of most of these items in the past year. And although I managed to find antique bowls, it always meant pulling a numerous reproductions into the net as well. So our supply chain had to be repaired. It was ambitious to the point of crazy, really. How was I to pack a three-week buying trip to Nepal into just nine days? That, in a country itself still in repair after the horrific earthquakes of April and May of this year. Still, nine days, plus the onerous travel time on either end, was all I could be away. So it had to work.
But as it turned out, the upheaval from the earthquakes was only the beginning. After a decade or longer of political infighting, On September 20th, Nepal formally adopted a constitution; its first, following a civil war that killed 13,000 people and ending 239 years of monarch rule. But it was not to be a unifying event that we had hoped. The Madhesi people of the southern plains, on Nepal's border with India, complained of becoming "second class citizens", and protested that the constitution diluted their vote. Almost everyone I talked to had a different understanding of the Madhesi situation, but protests became violent almost immediately gave rise to paralyzing strikes and 40 deaths. Violence broke out in Western Nepal, also for the charge of under-representation. The constitution created a second class citizenship level for children born of Nepalese mothers and foreign fathers. Some called the constitution a "conservative backlash".
Then India's Prime Minister, Narendra Modri, spoke out against it, which created an uproar in Nepal and the great fuel crisis began. India, surrounding Nepal on three borders, closed their borders, and as Nepal was reliant for fuel from India, cars had no petrol; restaurants lacked cooking oil. The Nepali government rationed petrol to keep government and tourism vehicles running, but petrol sales to private vehicles slowed to a trickle. This created long lines of vehicles parked in the roads extending for blocks, some waiting for gas for two days. A competitor called me and asked it I was going to cancel my ticket. "Jimmy Carter canceled," he said. "I'm not Jimmy Carter," I observed. I had to go. Canceling my ticket wasn't an option, so off I went on my first buying trip to Nepal in 15 years in the middle of an unprecedented fuel crisis.
But the Nepalese are an endlessly resourceful people. As there were no taxis, I hired a driver to get around who procured
gas from the black market. So much had changed in Kathmandu. The air was clogged with pollution. Where once platoons of bicycles were the Nepali middle class mode of transport, now armies of motorbikes choked the streets; entire families often sandwiched together on them. Nearly everyone wore masks, respiratory illness was rampant. In addition to the gas shortage, restaurants taped limited selections to their menus due to lack of cooking oil. Getting milk was a problem, so I never knew if Chai would be served. So this was not the Nepal I remembered.
In Thamel, the tourist section of Kathmandu, my perch at the Kathmandu Guest House was an oasis. The first hotel in Thamel, it had a huge, manicured garden trimmed with pots of bright marigolds and dotted with garlanded statues of the Buddha. My nine day visit coincided with Navarati; (meaning nine nights) a holiday commemorating the triumph of the Goddess Durga over the evil demon Mahishasura. The Autumnal Navaratri precedes Nepal's biggest festival, Deshain (meaning 10th day), when the country sacrificed goats and went back to the villages to celebrate the festival with their families. My goal was to be out of the country before the bloodletting began. I booked full days with my singing bowl suppliers, while trying to carve out time to locate the vendors of incense and mala beads, and to hopefully connect with Seejan's family, as well as do a little pilgrimage to Pashupatinath.
As I'd heard from my suppliers many of the small Tibetan dealers where we used to buy the findings for our malas were breaking early for the holidays due to the gas shortage. So on the day after I arrived, I set off with a Nepali friend to go to Boudhanath Stupa to try to find a Mala supplier I had not seen in 15 years. The Stoupa had suffered damage on its dome, and I was crestfallen to see the dome completely barren – its brick steeple and been removed, and the aerial array of prayer flags missing from the empty sky above.
The smooth, polished Bodhi seed malas we got from dealers 15 years ago were abundant – we used to sell them wholesale. Now shops and alleyways were overstuffed with garlands of malas with huge, course Bodhi seeds, and there was no evidence anywhere of our old quality. We spent the afternoon flitting from shop to shop with samples, until, until we found one shop with one, lone mala of the smallest, smoothest Bodhi seeds I had seen in years. The young man behind the counter wanted a ransom for it, and it took us a little while to put it together, but he was in fact the son of our former supplier – in a new location. Once we were reacquainted, he combed his displays and pulled out some beads of our old quality – the last in stock he had.
Fifteen years ago, we had to go through rooms of antique bowls to find the good ones. Now, I had to go through a warehouse of singing bowl reproductions – tens of thousands of them – just to find the real antiques, good or bad. All of our suppliers had tons of this material – all of which, they insisted was "old". Some of it was, but the great majority of it was new. It was remarkable how beautifully crafted so much of it was. Still, one supplier had been holding rare material for me for some months' time. When I got into the room with the material, a reverential feeling came over me. I had never seen so much rare material in one place. My only limitations were time and budget, although I pushed the envelope on both. Then, The next push was to get it out before the city shut down. I had so much competent help from my supplier's workers! I kept them working late until the Nepali equivalent of Christmas Eve.
On my one morning off, I paid a visit to Seejan in his village to see his Mother-in-law's house and to meet his family. Although his wife was doing Puja at their temple for Navaratri, I was able to connect with his daughter Ritisha, (9), and his son Yunish (6), and bring his mother-in-law a coconut from Pashupatinath. The countryside was rebuilding, but Seejan's mother-in-law's house was cobbled together by stacked bricks on a dirt floor. They are still trying to amass enough funds to rebuild. To rebuild a home in Nepal takes $3,000 – $5,000; they still have $2,500 to raise. If you would like to help Seejan and his family rebuild, please donate to firstname.lastname@example.com and write "Seejan" in your notes.
Although she seems like a longtime customer, in fact I have only had the pleasure of knowing Nancy since June of '12, when she made her first purchase of a few Master-quality bowls in quarter-tone tuning. She was on fire with enthusiasm for the bowls, and within a month, I had put together a Pentatonic Set for her based on the rim tones. Soon, she began exploring her set's diatonic fundamentals in a Chakra-tuned scale in the 3rd octave, and another Universe opened up for her. Before long, we had put together a Pentatonic set of 3rd octave fundamentals to match her 5th octave Pentatonic rim set, so she could play tri-tone intervals between the two sets. We are still working on a Cycle of Fifths set to round out her collection.
It was fun to work with Nancy because she followed her own road harmonically; expanding her set intuitively, guided by her inner ear. But perhaps most gratifying of all was hearing about her visits to the Long Term Care Facility at Providence Valdez, and knowing she would share her singing bowls with the patients there. I am grateful to her for sharing the gift of sacred vibration with her community, and I'm inspired by her generosity. ~Shakti
Every Tuesday, I take a collection of my singing bowls from the Bodhisattva Trading Company to the Valdez Providence Hospital Long-term Care Facility in Valdez. Each Tuesday is a new experience, just as the rich tones and harmonics bring out constantly changing tonal moments.
Some Tuesdays, residents stay in bed or lie in the recliners and just listen. A small smile and a briefly opening eye lets me know how much they enjoy the music. Often, I play slowly, letting the notes ring clearly then gradually fade as another replaces it forming overlapping harmonics, like gently falling snow flakes. My goal is to give them the joy of a special period of relaxation, dreams, comfort and a new experience.
Many of the residents suffer from various degrees of dementia. They hear the TV but they no longer can follow a story line. I think listening to the singing bowls eases their frustration. There is no melody or tune to remember from their childhoods, no words that have just slipped out of their minds — just the rich sounds to breathe in and release, over and over again.
Sometimes, I play a brief series of four to six notes then let them fade before repeating them again and again before introducing variations. My goal is to give the dreamers a short theme that they can recognize and follow.
One of the residents who participates almost every Tuesday has memory, visual and coordination problems. She wants to strike a bowl and hear it ring, but she has difficulty connecting with the bowl. When at last she does connect, her smile is priceless.
Other residents, when they are not in physical therapy or having their hair cut, enjoy coming and playing the bowls. They listen with amazement as they experiment with striking various bowls and absorbing the ever-changing harmonics. There is no "right" or "wrong" note, no rhythm to follow — only the curiosity of wondering what will happen when they strike a different bowl. Best of all are the smiles when they discover bowls that sound especially well together or the surprise of discovering a minor tone. Sometimes they will resolve the minor; other times they will just smile and let it fade.
If you have the opportunity to take some of your beautiful Bodhisattva Trading Company bowls to an extended care facility, I hope you will do so. For me, to see the residents' enjoyment is one of the highlights of my week. Thank you Rain for collecting the bowls and Shakti for helping me to select them.
Nancy Lethcoe
Valdez, Alaska
Spring has come to Bodhisattva. Our patio is a walking tour of intoxicating scents. Upon entering our gate, one is flanked on one side by a flowering Meyer Lemon tree and on the other, an out of control Pink Jasmine vine; across the patio, an exuberant, white-blossomed Pittisporum tree – all blooming at once. Outside my office window at the rear of the building, there is a small, potted Ficus tree whose sole function is to add some green to the view. In it, my gardener discovered a nest with two baby Hummingbirds.
Their Ruby-throated mother is a frequent visitor to the Hummingbird feeder outside the office entrance. She swoops in to have a meal, and then lights upon a furled palm frond and seems to watch us from that perch. She feeds every hour or so every day, often buzzing me as I walk from the office across the patio to my house. I have often wondered if she's the same Hummingbird that got caught in the peach tree net last Summer.
I have an old peach tree that despite its age, blesses us with quite a bit of fruit. We net it every Summer to keep the resident squirrels from plundering the lot. One afternoon, as I was leaving the house, I noticed that a hummingbird had penetrated the net but couldn't find her way out. So I folded up some flaps in the net, and placed a red hibiscus flower near the gap, hoping to attract the bird to the opening. I left for a couple of hours, and when I returned, I didn't see the her. Relieved, I assumed that she had found her way out – until on closer look about an hour later, I spotted her limp body laying motionless in the net. She had impaled her tiny head through one of the holes in the netting, the nylon tightly cutting into her neck. I took her in my hand, and she peeped piteously, barely moving. I could see her life ebbing from her quickly.
I had to free her from the net; then I could worry about how to free her head. She had exhausted all her energy trying to escape for those hours so she was dangerously depleted. I ran into the house and got scissors, and cut doing my best not to pull the netting tighter. It was awkward trying to hold the net steady, cutting, while still trying to support her. To my horror, as I cut the last strand of nylon, she slipped from my hand and fell to the ground. I was so disappointed and angry with my clumsiness. I scooped her up, resolving to save her if I could, and imagined myself a bird paramedic on one of those Animal Planet channel shows.
I would need an ultra-thin scissor to cut the netting from around her neck. I pulled my grandmother's antique, Swan shaped eyebrow scissors from the bathroom cabinet for the job. Next, I plucked the jar of hummingbird nectar from the fridge, and dug through the company silverware drawer to find a dropper. Finally, I grabbed the hummingbird feeder, in case I could entice her to eat without force feeding her. I chose Bodhisattva's shipping table to operate, rested her on some paper towels, and went to work.
By now, it was early evening. The Sun was dropping into the West behind the back house so the office was getting dark. I turned on the brightest lights I could, and strained to see if I could fit the base of the eyebrow scissors under the nylon strand. There was just enough room to coax the blade over her exposed, delicate skin where her feathers had shed from the abrasion of the net. It was surreal to see the Swan headed scissors cutting the Hummingbird's head free. But her new found freedom did not seem to register with her; her little chest was heaving, her eyes half open, her heart pounding. It would be a race against time to get some food into her. I spoke to her all the while, using the sound healing tool of a soft, calming voice to reassure her.
I rested her upon the peg of the feeder, which her feet instinctively clutched. Gently, I leaned her beak into the opening of the feeder. She was so weak she just rested there, unable to move. I would have to force feed her.
It's hard to overstate how tiny a humming bird beak is, and hers' was shut tight. With her little feet still gripping the peg of the feeder, I steadied her body with one hand and lightly tapped the dropper against her beak. She looked up at me dazed; it seemed as that was the first time we really made eye contact. I tapped again and squeezed a single drop of the fluid so that it balled up at the tip of her beak.
My joy that she had started to suck down the fluid was short lived, because with the first drop, she disappeared, zooming straight up so fast I couldn't even tell whether she had flown into a recessed lighting panel, or into the loft above the office. Outside, the long shadows had given way to twilight. This was not good.
Cursing, I dusted the pine needles, spiders and accumulated dirt off the ladder outside and hauled it into the office to investigate the lighting panel. She wasn't there. That would mean she would be in the loft, where there were hundreds of places a bird the size of my index finger could hide. I had to find her before it got dark. She didn't have enough calories to last the night.
Our loft is a small space- not more than 50 cubic feet maybe, but it's used for storage so it was packed with stuff. I rifled between tubs of zafus and stacked Himalayan crates stocked with singing bowl cushions. No Hummingbird. The space is lined with double-paned windows, and there is one open window in which a square, exhaust fan sits. I peered through the blades of the fan. Of course – there she was, clinging to the screen of the open window in a ¾" space between the screen and the fan. There was so little room – how was I going to get her out of there? If I removed the fan, she would just fly out the other side of the loft, which opened into my office crammed with even more places for her to hide. So I couldn't let her escape. I grabbed a roll of blue tape and sealed all the openings between the fan and the screen, except the one which would give me access to her.
The fan was to my left and it was such a tight space, there was nowhere to fit my right shoulder so I was unable reach my right hand into it. I would have to flatten my body against the wall and grasp her with my less dexterous, left hand. The light was quickly fading, and I knew I only had one shot at this. I gave her my game plan:
Ok, little hummingbird. You can't spend the night in here, you won't make it. You have to be free. I'm going to reach my hand in here. You need to let me take you. I won't hurt you, OK?
With a deep, even breath, I reached in and simply closed my hand around her. Extricating her little claws from the screen, I pulled her free. Tumbling down the loft ladder, I bounded for the patio door and opened my hand. She swooped up and perched on tops of the Temple bamboo, swaying in the Western glow of the summer evening. She was going to be fine. I made a note to myself; if you ever have to rescue a Hummingbird again, work outdoors.
So of course, when we discovered our Hummingbird had babies, it made me all the more sure that our resident Hummingbird was the same one from last summer; as if she had felt safe to build her nest here. We were only aware of the babies for a few days. I would watch them out my office window with binoculars so as not to disturb them. Luckily, the tree was wrapped in netting so the cats couldn't scale it; and it was such a quiet space that it was naturally sheltered from larger, winged predators. The nest was only the size of a Japanese tea cup; just enough room for the diminutive bodies of the two chicks; their heads and tips of their tails sticking out the top of the nest. They stayed so still, only animating when their Mom came to feed them. We figured that remaining motionless must be a defense mechanism, their black eyes staring like itty-bitty, jet beads.
And as is the way of nature, one morning they were gone. I kept staring at the nest with the binoculars; thinking perhaps that somehow, they'd reappear. They did not. I don't know where they went. I did see what looked like a new, full grown hummingbird at the feeder. I read that that by the time they fledge they are actually bigger than their Mom, so I don't know that I would recognize them if I did see them. A glum, empty nest syndrome settled on our office.
But the mother seems to be in great spirits. She's eating up a storm. She sits on her perch, watching us, chirping and whooshing across the patio, her home. We'll leave the nest in the Ficus for next year, as apparently they reuse them. Life is unfolding in its perfect rhythm and in its time. It's only the mind that is rushing by, while wanting time to stand still.
Recently, while reading about the immolations that have been spreading through Tibet, I came across a video on YouTube of the Tibetan National Anthem. Even though I have been in the Dharma community since coming to Southern California in 1994, I had never knowingly heard it played or sung. Of all of the Sutras I have heard and all of the Tibetan gatherings I have attended, no one had ever identified any piece of music as the anthem of Tibet. I didn't know they had one. So when I found it on YouTube, I was surprised; when I heard it, I was captivated.
Known as Gyallu, the lyrics are based on the teachings of the Buddha. They are attributed to Trijang Rinpoche, who was a spiritual guide to the 14th Dalai Lama for some 40 years. Apparently, the lyrics were set to an ancient piece of sacred music; I would love to know the Sutra it comes from. The melody was sinuous and elevating, and seemed to exude hope. It had a hook in it, too. The first version I ran across was Camerata of St. John's version, a brilliant performance with a soulful lead cello accompanied by intervals of violent string arrangements. It sounded like it was in the key of F#. I listened to it over and over.
For the past few years at Bodhisattva, it has been my pleasure to play Christmas carols on a set of Tibetan singing bowls and shoot a little video of it. So every year as the Christmas season approaches, I start mulling which Christmas carol I'd like to play. But by now it was late November, and Gyallu was staying with me. I was headed to The Rubin Museum in New York for their Serai event right after Thanksgiving. The more I thought about it, visualizing myself spending a week there, cocooned in its spiraling galleries of Himalayan Sacred Art, the less likely I was going to feel like playing "I heard the Bells on Christmas Day" on Tibetan bowls. As the immolations quickened, it seemed all the more important that this hymn should be heard.
So, Gyallu it was. The only trouble was going to be learning the melody in less than 7 days time, while flying to New York, setting up a booth at The Rubin Museum of Art, doing a five-day trunk show and giving some singing bowl workshops. I realized that as haunting as Gyallu was in the key Camerata had played it in, it was too hard a key for me. To begin with, I'm not at all gifted with the kind of ear where I can hear something once or twice and pick up on it. Learning Christmas carols on the bowls is easy: I've heard those melodies since I was in the womb. Although this melody had very simple scales in it, it seemed labyrinthian to me.
We know that music is a mnemonic device. What I didn't realize is how handy it is to have words to find our way around a piece of music. There wasn't time to learn both. Finally, I found the music in a G major key which simplified learning the tune. I hadn't had the occasion to read music since I was around 14, and this music was charted by a Westerner. Although I heard wide variations in the recordings by Tibetan artists, I used it as a guide. It goes something like this:
The short time frame meant that would mean I had to practice it at night. As I had to commute out to my friend's house in Staten Island every evening, that meant lugging about 15 pounds of bronze bowls on the subway and the ferry each night. Which I did, plugging into a Tibetan version on YouTube while steaming past the Statue of Liberty. It was an emotional juxtaposition for me, these nightly sightings of our national symbol of freedom, listening to this song of spiritual liberation sung by a people who are not free to sing it in their own homeland. I contemplated our own violent path to independence, and wondered what path Tibet can take to spiritual and cultural freedom. It seems that the quest for Tibetan autonomy is perennially pushed off the front page, with no artillery or rockets to attract headlines. It is a quiet struggle, where monks as well as laypeople feel the imperative to be free is more important than life itself. I stared at Lady Liberty's face. She is steadfast, resolute, fearless. She inspired me to never give up hope for Tibet.
Halfway through the Serai trunk show, I approached Dawn Eshelman, programming manager at The Rubin, and asked if it would be possible to shoot our video at The Rubin. Graciously, she and the Rubin management allowed us to use the theater Sunday, at the end of the workshop. Theo Dorian, a friend from numerous film classes in our college days, generously gave us his time to shoot. Susan Lamoureaux supported us with access to lighting and the Rubin's remarkable sound system, and let us keep shooting til the Museum's doors were closed. Prisanee Suwanwatana, manager of the Rubin Shop, very kindly made sure our booth was covered, and stayed late that night so we could pack up our bowls and our gear. The staff at the Rubin were so amazingly supportive. My thanks to Tashi Choedron, the beautiful Tibetan museum tour guide, for her encouragement.
Although The Dalai Lama himself makes no call for Tibet's independence from China in any way, he tireless asks of us to support Tibetans in their quest to win the basic human right to practice their religion in peace and to preserve their culture for future generations. If you would like learn more about what you can do to help, please visit International Campaign for Tibet.
Om Mani Padme Hum.
Bodhisattva Recording Project
Part of Bodhisattva's mission is to archive the sound files of the thousands of antique singing bowls that have passed through our business in the past 16 years.
One of the ways we seek to preserve this legacy is to develop and maintain strict standards on the quality of the recordings we produce, recording both the struck and rim tones of each singing bowl and Master Healing Set that we sell on our site. In our Large Singing Bowl Galleries, we also record the fundamental (deeper) tones as well. These recordings have improved as technology and bandwidth have evolved, but improvement is a never ending quest. We try to give our customers the most faithful experience of the bowls possible. Our recording artist Son Vo (pictured left) has a wonderful hand on the bowls and scrubs the recordings clean of rim noise, sirens, aircraft, traffic, dogs, crows, and other sounds of West Los Angeles daily life.
But the real impetus for this project is more personal – a desire for the bowls to be heard as broadly as possible, and for their sound to endure beyond their lifetimes. So we're creating an archive of this treasure trove of sound files, which will require a great deal of time to organize (we're always looking for intern help with this project!). I'm driven by the awareness of how relatively rare it is that this cross current of antique singing bowls should all flow through this time and place; and a sense of responsibility to document them all. Especially the sets, as to our knowledge, there have never been recordings of singing bowl sets before. And as we craft these handmade, very individual pieces together to form intervals and scales, I'm struck with the reality that these sets will not stay together forever. So we seek to preserve the relationships of these bowls. And the basic fabric of our recording will be woven with these sounds.
The Bodhisattva recording will also feature live sessions as well. For the past two years, Son and I have been recording sessions with the bowls in the studios of Lotus Post, in Santa Monica, California. We did our first session with the inspiration to interweave one of our best diatonic sets together with one of our best pentatonic sets, utilizing not just striking tones, but all of the fundamental and rim tones as well. Lotus Post's founder, Michael Perricone, a bowl master himself, has been a driving force in helping us with the project as producer, engineer and at the onset of the project, a co-musician as well.
In our last antique collection, we received a flurry of concert-pitch Highwalls, four tuned to concert pitch on the fundamentals (C, A & two matching Fs) and two tuned concert pitch on the rims (E & G). It was an anomaly that so many Highwalls tuned to whole tones should all come together in the same collection. I have only completed one antique Highwall set and it took about four or five years to complete. That set was matched on the rims, from a fifth octave C to a B (featured in our Crown Chakra Meditation video). However, we had no recording of anything with whole tones mixed between the rims and fundamentals. So, on a beautiful, late summer evening, we took the bowls to Lotus Post to capture their resonance together, before they parted ways forever.
What I loved about this collection is that they all had something to say to each other, and I felt as though I was sitting in on a conversation conducted in a universal tongue. Despite their varying densities, their timbres were well matched and I loved the interplay of the whole tones referencing each other across the octaves, with their flatted fifth harmonies dancing in between. I felt so blessed to have been in the room when they all came together.
Son and I have a rough layout of the sequencing, but our "day jobs" come first! So the project is slowly getting done as soon as the flow of work allows. Please stay tuned!
Initiated in 1999 by Jem Finer, this project is a composition of Tibetan singing bowls designed to play until 2999. Click on the link below to listen.
Longplayer's first live performance, The Roundhouse, 2009. [Atherton-Chiellino] [ENLARGE]
What is Longplayer?
Longplayer is a one thousand year long musical composition. It began playing at midnight on the 31st of December 1999, and will continue to play without repetition until the last moment of 2999, at which point it will complete its cycle and begin again. Conceived and composed by Jem Finer, it was originally produced as an Artangel commission, and is now in the care of the Longplayer Trust.
Longplayer can be heard in the lighthouse at Trinity Buoy Wharf, London, where it has been playing since it began. It can also be heard at several other listening posts around the world, and globally via a live stream on the Internet. Longplayer started playing at three separate listening posts in London and Sydney at 00:00 hours (IDLE) on the 1st of January 2000 (i.e. midnight on the International Date Line – midday on the 31st of December 1999 in London).
Longplayer is composed for singing bowls – an ancient type of standing bell – which can be played by both humans and machines, and whose resonances can be very accurately reproduced in recorded form. It is designed to be adaptable to unforeseeable changes in its technological and social environments, and to endure in the long-term as a self-sustaining institution.
The listening post at the Lighthouse, Trinity Buoy Wharf, 2000. [Steve Pyke]
The Long Term
Longplayer grew out of a conceptual concern with problems of representing and understanding the fluidity and expansiveness of time. While it found form as a musical composition, it can also be understood as a living, 1000-year-long process – an artificial life form programmed to seek its own survival strategies. More than a piece of music, Longplayer is a social organism, depending on people – and the communication between people – for its continuation, and existing as a community of listeners across centuries.
An important stage in the development of the project was the establishment of the Longplayer Trust, a lineage of present and future custodians invested with the responsibility to research and implement strategies for Longplayer's survival, to ask questions as to how it might keep playing, and to seek solutions for an unknown future.
Composition in Time
Longplayer is composed in such a way that the character of its music changes from day to day and – though it is beyond the reach of any one person's experience – from century to century. It works in a way somewhat akin to a system of planets, which are aligned only once every thousand years, and whose orbits meanwhile move in and out of phase with each other in constantly shifting configurations. In a similar way, Longplayer is predetermined from beginning to end – its movements are calculable, but are occurring on a scale so vast as to be all but unknowable.
Longplayer's composition uses a minimum amount of information and material to create the maximum amount of variety, in terms of both sound and form. While it is a system-based composition, it is made out of very expansive and resonant musical material, which in itself is not 'systematic' sounding. This material (the 'source music') is played on Tibetan singing bowls, which possess a simple but harmonically rich sound, and a quality which is at once both physical and ethereal. A simple form of synthesis arises from the interactions of these instruments' waveforms, with the consequence that while Longplayer's score is deterministic, its music at any given time is unpredictable.
At present, Longplayer is being performed mostly by computers. However, it was created with a full awareness of the inevitable obsolescence of this technology, and is not in itself bound to the computer or any other technological form.
Although the computer is a cheap and accurate device on which Longplayer can play, it is important – in order to legislate for its survival – that a medium outside the digital realm be found. To this end, one objective from the earliest stages of its development has been to research alternative methods of performance, including mechanical, non-electrical and human-operated versions.
Among these is a graphical score for six players and 234 singing bowls. The first performance based on this score took place over 1,000 minutes on 12 – 13 September, 2009, at the Roundhouse, London. Longplayer Live is performed on a vast, specially-constructed instrument by an orchestra of players working in shifts. A series of further performances are in planning for various venues around the world – see the Live page for more information.
The first Longplayer leaflet, 1999. [Artangel]
Who Created Longplayer?
Longplayer was developed and composed by Jem Finer between October 1995 and December 1999, with the support and collaboration of Artangel. It was managed by Candida Blaker, with a think tank comprising artist Brian Eno, British Council Director of Music John Keiffer, landscape architect Georgina Livingston, Artangel co-director Michael Morris, digital sound artist Joel Ryan, architect and writer Paul Shepheard and writer and composer David Toop. A full account of Longplayer's development can be found in the 2003 book Longplayer, published by Artangel, London.
Jem Finer is a UK-based artist, musician and composer. Since studying computer science in the 1970s, he has worked in a variety of fields, including photography, film, music and installation. Longplayer represents a convergence of many of his concerns, particularly those relating to systems, long-durational processes and extremes of scale in both time and space. Among his other works is Score For a Hole In the Ground (2005), a permanent musical installation in a forest in Kent. Self-sustaining and relying only on gravity and the elements to be audible, the project continues Finer's interest in long-term sustainability and the reconfiguring of older technologies.
Based in London and working both in the UK and internationally, Artangel has been commissioning and producing ambitious projects by contemporary artists for the last two decades. Often surprising in both conception and scale, each project begins with an invitation to an artist to develop a new work, inspired and given shape by a particular place. Artangel works closely with the artist to realise the full potential of the work in whatever form, medium and context seems best. Since the early 1990s, Artangel has produced over fifty major new commissions including Rachel Whiteread's House (1992), Michael Landy's Breakdown (2001), Francis Alys' Seven Walks (2005) and Heiner Goebbel's Stifters Dinge (2008). Artangel is supported by the Arts Council of England and The Company of Angels. Visit www.artangel.org.uk for more information.
All content © 2012 The Longplayer Trust. Contact: firstname.lastname@example.com . Designed and built by Moneymouth.
William Ward, a former New Yorker who resides now in Pensacola, FL was a Chef for 13 years. To relieve his job related stress, he discovered meditation. He now has a full time sound healing practice and has been a Bodhisattva customer since 2009. William will be playing his collection of Bodhisattva singing bowls on the program shifthappensradio.com on 6/21/12. We are in the process of building William a two-octave Master Healing set.
How did you get involved with bowls?
That's one of the most important questions. It started with a meditation. In a meditation, there was a sound that I can't even begin to describe with words – it brought a knowing of an unconditional love that was there – just the deepest experience of peace I'd ever had. What it taught me was that God was real within us, which was what I was looking for and was the reason I was meditating. A few months later, I walked into a conscious living store, heard a CD playing and heard the bowls. Tears of remembrance of the sound I experienced flooded me, and I knew I had to look into it. And that's how it all started.
You started with Crystal bowls?
The Crystal bowls and Tibetan bowls came at the same time.
What were you looking for?
I was looking for what I had experienced in that sound and I wasn't finding it everywhere. That's why I stuck with you guys. I've done a lot of research and looked around and you guys connected very well with everything I was looking for.
Did you study with any one?
I read some books, Mitchell Gaynor, "The Healing Power of Sound", and Jonathan Goldman "Healing Sounds". They were both very helpful, as they expressed my experience in ways I couldn't yet grasp with my own words. Reading up on it helped me to find my own words, for which I am eternally grateful.
So you never studied with anybody, but you read the books and got started from there?
Yes. It was more an intuition that just brought everything together – the more I worked with them and shared them, the more intuition expanded from the experience. The experience was the knowing. I just followed that.
Please talk to me about how you integrate the Crystal and the Tibetan Bowls. Usually people resonate with one or the other.
What I was looking for was to recreate that sound in the experience I had – it is my wish for everyone to experience that for themselves. I found that to re-create that sound, I had to use more bowls, I had to fill in certain spaces. And it opened my eyes to see how chords were playing while I was filling in the spaces, and it expanded from there. I loved the harmonies and the timbres and the higher frequencies when I brought in the Tibetans.
Tell me how you work with the Chakras.
I was very skeptical about the Chakras and didn't understand them in the beginning. So I really put some time into understanding them for myself. It's psychosomatic, because our Chakras lie along our Central Nervous System. I realized what effects our nervous system the most is our thoughts about reality. Who I think I am affects every way in which I will express myself.
We're all spirit having a human experience; however, if I'm too connected to the human experience it limits that awareness. Where our blocks happen is when we forget this reality. Reality is itself the seen and the unseen working hand in hand. I started seeing everything as vibration – whether you can see it or not, it is in vibrating form like an orchestra playing its song. So when I say reality, everything in existence has its song that it's singing, each component or instrument is vital for the whole composition. And we as humans have that awareness of observation. So where and who we think we are, we are. But we don't have to stay there. And that's the correlation I was making with the Chakras being psychosomatic – reality is limitless, it always has been.
Usually when we hear the word psychosomatic, it refers to someone manifesting a physical condition simply by believing they have it. Is that what you mean be psychosomatic?
Not manifesting, but knowing it to be true. For example, our Root Chakra is connected with physicality. And we can stop there, which most of us do, or we can look to see energetic origins of physicality, which would raise our awareness of that Chakra more.
How did you choose working with the diatonic scale system as the basis of the Chakras as opposed to any other system?
I never put any thought to it, I just went where I was guided, which isn't as simple as it sounds. I just went with my intuition. But I do love to learn how other people use their styles and techniques.
When you do your sessions, you just put the Tibetans on the body?
Almost always. Sometimes I'll also place the crystal bowls on the body.
How do you decide that?
Each session is different. There's a knowing in the moment. What I love about the bowls is that it's not imparting a verbal knowledge to them, it's sharing the experience with them, which is priceless.
Why do you do what you do?
It was important for me when I experienced that peace within, that became my new passion. And I know that when everyone can find that place that is within them, we will all know, so naturally, how we can move forward together, in a sustainable way for the environment, our children and their children.
Tell me about the show you're doing.
El – the host of Shift Happens radio – called me and said that she'd heard from quite a few people about me, and she wanted me to come on for a two hour segment. It will be airing 10 PM EST 6/21 and will be available on podcast afterward. www.shifthappensradio.com.
Tell me about the collection from BTC you will be using tomorrow.
I'll definitely be using my C# Highwall and the Pentatonic set, and then I'll use Pentatonic cup set if I have the spacing. I have one E that was gifted to me that's a 10 or a 12", so I don't know if I'll have the space for it or not. For the crystal bowls, I have an Alchemy set.
So you will be giving us that experience tomorrow. We're really looking forward to hearing it!
Marie Bergman, a musician and singer from Stockholm, Sweden, visited Bodhisattva on a quest to find a bowl. With great ease, she selected a 10 7/8″ with a slightly sharp G fundamental on the second octave – a perfect choice for a singer. As she bonded with her bowl, she began to sing – almost as if her process of getting to know the bowl was to sing with it. Ever ready with my trusty iphone, I captured the moment in video. Marie was also kind enough to give her an interview and talk about her work:
Can you tell us about your background in music?
I am a professional musician and singer/songwriter for some thirty years. I have made twenty recordings with my own compositions and three CDs with jazz music. I have been touring in Scandinavia for many years and have also represented Sweden in a European Song contest three times. My voice has a pretty wide range and I have always all the time been searching for more ways of expressing myself through the wonders of the voice. I find the voice has endless possibilities!
Your singing felt like a lullaby to me. Were you at all influenced by the folk music of Sweden?
Well, folk music is running in my blood but it is not the core of my expression. When I sing with the bowls it often shines through like an archetypal depth of the voice. But my toning comes out differently each time.
How did you come to explore harmonics?
In the mid-80's I had a lot of problems with my voice. I was performing rock n roll and raw soul, and I was hard on the voice. I was also in pain from too much tension. This all together created a (very much needed…) breakdown. I silenced myself for a long time and when I returned to the sound again, I learned to sing and express myself differently. I also during this time experienced the healing power of the voice and learned to breathe much deeper. I started to meditate and take care of myself. I became fascinated of the voice´s capability to adjust and how it helped me mature my singing and through this I started to experience toning as a training method. It became my freedom. And that helped me keep the singing voice even more fresh and vital. I discovered there was a lot of power and life force in the harmonics. I started to listen to them very carefully.
How do you use harmonics in your music?
I differ my singing voice from the toning voice. My singing voice is a storyteller, where the words are important but also the sounds of the words. Songs are form. Harmonics makes my singing voice more clear and lifts the flow, making the singing physical and powerful without pressure. When I tone, I stay more purposely with the harmonics, letting them vibrate and resonate in their own frequency and time. Together with the bowls, the expression gets strong and spiritual. I use the mouth and the body resonators differently when I tone. I become like a wind instrument.
What attracted you to singing bowls?
The beautiful archetypal sound, the physical resonance, the timeless vibration, the beauty and the wisdom!
How do you use their vibration in sound healing?
I work with voice and Ssinging bowls in different settings. Sometimes more performance-like when the purpose is to gather people. When I do sound healing on the bodymind, I direct the sounds from the bowl and my voice to the body (my own or another's) with a special intention. I also put the different bowls on different parts of the body of a client when I do "singing bowl-massage". I am trained in sound healing as well as in the "Peter Hess method" of singing bowl-massage. I often combine sound healing and singing bowl-massage and train others as well. Peter Hess singing bowl-massage is a wonderful, deep relaxation method for regaining spiritual and physical health, to refresh and vitalize your cells as well as your muscles, tissues and organs. In the massage, I place different sizes of bowls on different specific parts of the body. I strike them gently and let the beautiful matching frequencies of the bowls do their magic wave work with elegance and grace.
Tell us of how you are using the bowls in your community.
My own voice school BERGMAN VOICE and the use of singing bowls has developed as an extension from my singing seminars and teaching at the Music Conservatories in Sweden, Norway and Denmark. I run seminars in toning and voice workshops all year round. I offer singing bowl-massage. Sometimes I perform with the bowls and let them illustrate a poem or resonate beautifully and sensually with a song. I always have them with me even when I give singer/songwriter performances solo or with the band. I use them in the concerts in at least one or two songs.
I use the bowls when I do my gatherings in one of the biggest churches in Stockholm, the Katarina church. I call it "Come Together-Ceremonies". Everyone is welcome. I always open this ceremony with the singing bowl and my voice, an improvisation where the resonance is flying freely under the heights in the cathedral. It always gives me and everybody goose bumps. Then I teach the audience how to tone and they gather in a circle with their voices and I also let them walk around in the church, singing freely. They are happy! It's very beautiful. See the You Tube link.
How did you discover the language?
I was training a lot with the voice, also did a quite heavy sound therapy and sound healing to clean blockages and resistances in the beginning to allow myself to get out of the box. When I started to play the bowls it kind of powered up the voice by itself. I guess the voice was very happy about the good vibrations! I learned to keep out of pressure as much as possible and another language was discovered and created.
Do you find yourself at home in a certain key?
I try to widen the voice range as much as possible. I find that all the frequencies has its own fascination. I also find that harmonics has helped my voice to expand and move freely among the different keys as much as possible. Voice is the mirror of the life force!
Do you believe specific notes are associated with the Chakras?
Yes. But I found they differ a bit from person to person. But of course they range from low to higher and the other way around.
How can one purchase your recordings?
Spotify on my name: Marie Bergman. But I haven't yet recorded my toning with the singing bowls. Maybe sooner than later hopefully…
We hope sooner, Marie!
As part of our Guest Series, I'm delighted to share my conversation with Rona C, a psychiatrist from Feasterville, PA and a recent customer of Bodhisattva. She was kind enough to discuss how she uses a Tibetan singing bowl in her work.
Tell us about your practice.
I am an outpatient psychiatrist in private practice in Feasterville, PA. I graduated from Duke Medical School in North Carolina and did my residency at Hahnemann University in Philadelphia PA. I am board certified in psychiatry with added certification in geriatric psychiatry. I have been in private practice for 24 years and see many patients suffering with anxiety and depression.
Do you think there has been an increase in the amount of cases you're seeing for these disorders?
There seems to be an increase in the number of people suffering from these disorders. I believe this is partly due to the increasing stress and distortion in our world. Technology, which is so rapidly evolving, and while offering so many benefits has contributed greatly to this stress. Our daily lives and the expectations placed on us are straining our biology which has taken millenia to evolve. Our bodies evolved in synchrony with the rhythms of nature, the yearly, seasonal, and circadian to name a few. Technology has made honoring these rhythms more irrelevant to our lives. This puts a strain on our bodies, minds and spirits and diseases such as depression and anxiety are triggered.
Humans evolved as social animals who are influenced by and benefit from human contact on a physical and chemical (ie pheromone) level. For instance, it is well documented that women living in close quarters become synchronized in their menstrual cycles. We are deprived of this with the increase of long distance and virtual interactions. It has been stated that thoughts and emotions have electromagnetic properties which can not be communicated as completely with this type of interaction. This attenuation in the intensity of the biological and electromagnetic communication contribute to a loss of grounding, a disconnection, a sense of isolation all which contribute to the rise of depression and anxiety.
It has been stated that abnormal reactions are normal in abnormal circumstances so perhaps this epidemic of anxiety and depression is in fact a normal result of the present world.
How are you using the bowl in your practice?
The bowls have a calming soothing effect on my patients. Their beautiful song seems to resonate with and calm the nervous system in a sweet, non intrusive and nonthreatening way. This morning I saw a woman with dental pain radiating to her face and neck. When I played the bowl for her, she said that it seemed to quiet the nerves. People who are so anxious that even relaxation techniques escalate their stress can experience relief with the bowl.
Do you think this is a result of brainwave entrainment, or are there other factors?
Modern physics is teaches us that all matter in our bodies is composed of vibrating waves. I believe that the singing bowl helps to entrain the vibrations into a cohesive concordant as opposed to discordant pattern. I believe the brainwaves are also entrained and this then further enhances the entrainment of the rest of the body.
How do you use the bowl in a session?
I am still learning about the many ways to use the bowl in a therapeutic manner. I will never use it without first asking the patient's permission. I'll tell a patient "I'd like to play this bowl for you, I think it's going to be very calming. So sit back, try to relax, close your eyes and let it envelop you." I instruct them to tell me if they need me to stop playing the bowl at any point. That has not happened yet though. I also play the bowl between sessions to refuel and relax.
And what reactions are you getting?
People generally become more relaxed, sometimes they tap in to deep emotions. I played it for someone who was telling me about her 16 year old dog who was dying. I played while she was talking, it seemed to help her connect more powerfully with the deep wells of emotion in her heart.
Do you feel that there is a potential for a lasting effect?
I do. The two minutes that I am able to play for my patients in my current practice format produces a temporary reprieve. It's like changing the channel from stress to contentment. But I feel a paradigm in which I have a set of healing bowls which could be played for a prolonged period could cause lasting healing.
Do you sense a potential for vibrational therapy to be used as an adjunct therapy in a clinical setting? Would you consider prescribing a patient vibrational therapy as opposed to medication in certain circumstances?
I do feel there is great potential for adjunct use of vibrational therapy in a clinical setting and I hope to incorporate this into my own practice. For certain patients such as those who cannot tolerate, have had a poor response to or prefer a holistic approach to that of a pharmaceutical approach, vibrational therapy is an intriguing alternative.
If you lived through the 60's, the term "Wah-Wah" conjures memories of Jimi Hendrix's Voodoo Child, or the theme from the 70's movie Shaft, but probably not an image of a Tibetan Singing Bowl. While all singing bowls naturally produce oscillating frequencies, the Hand Wah-Wah is added oscillation capability in certain, specially constructed singing bowls which can be manipulated to modulate its sound waves by gently squeezing the base of the bowl with the holding hand.
The first bowl that actually "spoke" to me – that clearly communicated (as if it were speaking English) that it was my bowl – was a Hand Wah-Wah bowl. It was awkward. Our bed & breakfast suite was open for a trunk show in Sedona, Arizona, and a couple of ladies were hovering over a kitchen table crammed with bowls. I struck one bowl randomly (ha!) out of the crowd, and immediately heard the "bend" in the struck tone. I'd never heard anything like that and I wanted to hear more! But I didn't want to draw my customer's attention to it, cause I was afraid they'd notice how cool it was. So I waited til they picked up another bowl and when they were completely focused on it, I snatched my bowl and stowed it under the table! It was love at first sound: that bowl sat by my altar for the next 11 years. I spent hours losing myself in its kaleidoscopic harmonies.
How is the Hand Wah-Wah different from the other modulations that singing bowls make? When heard binaurally, singing bowls naturally produce beat frequencies that sound like an oscillation of the bowls' harmonics. All singing bowls produce these beats: they are the bowl's pulse which kinetically entrains our brainwaves and calm the mind for meditation. They've worked this way for thousands of years. Often, two separate pulses can be perceived: usually a slower pulse in the fundamental tone and a faster one in the female overtone. But this is not the "wah-wah" effect; these oscillations are just "standard equipment" in a singing bowl.
Hand Wah-Wah bowls are different. In 16 years I've been working with singing bowls, I honestly have no idea what is different about their physical structure that enables us to produce these modulations. I've studied the bases of these bowls. They are both thick and thin; their bases are rounded as well as flat; I have found no physical common denominator between them. All I know is that Hand Wah-Wah bowls are rare; usually only a handful of bowls in any collection will have that capability. They look like ordinary, Thadobati style, antique singing bowls.
So to get the effect, you first need to know your bowl has a Hand Wah-Wah capability. We will usually notate this capability in our description of our singing bowls; they turn up most often on the Medium bowl section in our Singing Bowl Galleries. Wherever you find it, once you know you have one, here's how you get the technique:
1) Start by looking at the position of the bowl on your holding hand. It should be positioned so that just your fingertips are slightly extended beyond the base of the bowl. In most instances, you want to avoid wrapping your fingertips around the curve in the bowl's base, as that can dampen a bowl's sound. However, with this technique, slightly wrapping your fingertips around the bowl's base can sometimes enhance the Wah-Wah effect.
2) Strike your bowl with the covered end of your mallet. Whether it's covered with leather or wool doesn't really doesn't matter, but bear in mind that the suede mallet will emphasize the mid and female overtones in a bowl, and those are the tones that lend themselves to the Hand Wah-wah effect the best.
3) Once struck, very gently squeeze the base of the bowl with your holding hand. It's important to note that you are contracting your hand with every squeeze and as you do, a space opens up between your hand and the base of the bowl. This is where the sound is being modulated. On some bowls, the hand wah-wah is positional: they will have a "sweet spot" where it jumps out at you. So if you don't find the wah-wah at first, rotate the bowl around until you find it. Another technique that works is to rock the bowl from your fingertips to the heel of your hand.
You can also see videos on You Tube of people making a "wah-wah" sound by modulating the bowl's sound waves with the aperture of their mouths. Except for certain really dense and thick singing bowls, almost any singing bowl will respond to this technique. Strike your bowl and place your mouth about an inch away from the upper wall near the rim. Then, purse your lips in a fish-like motion. You don't have to vocalize at all, just play with shaping the sound waves in your mouth by the dilating aperture of your lips. This too is positional: if you don't hear anything at first, rotate the bowl around until you find its "sweet spot". The richer the harmonics of the bowl, the more bend you can get out of the wah-wah. The larger and more sloped the bowl's wall, the tones there you can isolate and bend. What's great is to actually "taste" the tingly sensation of the sound waves in your mouth – delicious!
To see a quick video demo on both techniques, please check the video page on our Website. Have fun!


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Mexico ex-president arrested on genocide charges
[JURIST] Former Mexican president Luis Echeverria [Wikipedia profile; JURIST news archive] was under house arrest Saturday after a Mexican appeals court ruled Friday that it had enough evidence to charge him with genocide in connection with his role in putting down a 1968 student revolt [backgrounder] in which dozens, perhaps even hundreds [backgrounder, documents], of protesters were killed by police and military officers. Echeverria was Interior Minister at the time. He served as president of Mexico [JURIST news archive] between 1970 and 1976, and became notorious for fighting a "dirty war" against Mexican leftists. He is now 84.
Rights groups say that as many as 300 protestors may have been killed when government forces fired on the students. Echeverria has long denied any wrongdoing in the incident. The arrest warrant came two days before Mexicans elect a new president [press release; electoral commission website] to replace retiring Vicente Fox [official profile]. Fox, candidate of the opposition PANA party that beat Echeverria's PNI in 2000, has made the Echeverria prosecution a cause celebre of his presidency but had to this point failed to secure an arrest. In June 2005 the Mexican Supreme Court [official website] ruled 3-2 that Echeverria could be prosecuted, but judges refused to issue arrest warrants on two previous occasions, most recently in September 2005 [JURIST reports], when a court rejected a prosecutor's bid [JURIST report] claiming that the statute of limitations for genocide had run out and that the 1968 killings did not qualify as genocide. Reuters has more. From Mexico City, El Universal has local coverage [in Spanish].


text: Ann Louise Gittleman, PhD, CNS June 15, 2015 Comments Off on She is the one I trust the most! I have followed her for years, and she is the one I trust the most. If I see a "new" thing, I look to see what Ann Louise says about it. I love that she will answer my questions personally and that she really does her research before recommending a supplement or a diet.


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Strahan Exits With Autograph
The smile stretched ear to ear, and the gap between his teeth looked larger than ever. Former New York Giants defensive end Michael Strahan decided to ride off into the sunset just after gripping the Vince Lombardi Super Bowl trophy in his hands. With perhaps the biggest upset ever in his biggest game, Strahan decided to hang up the pads and call it a career, at least as far as his playing days were concerned. Two weeks later, he was hired by Fox and will join Howie Long, Jimmie Johnson and Terry Bradshaw on the NFL pre-game show this fall.
One of the best defensive players ever, Strahan put an exclamation mark on his seven-time Pro Bowl career with the unlikely victory over the previously undefeated Patriots in January. After the Super Bowl, I mailed a request to Strahan in care of the Giants, having no idea that he was going to retire. He signed both the card and picture in about four months. I'm guessing he's going to be even tougher via the mail now that he's retired. As far as the other three analysts on the Fox show, forget about it. Bradshaw's through-the-mail autographs are ghost-signed, and Jimmy and Howie don't answer their fan mail.
Former Bears Kicker Thomas Headlines Charity Auction
For the last three months, I helped out with my former high school's first hall of fame induction dinner and auction. McQuaid Jesuit High School, in Rochester, N.Y., recently built a spacious new fieldhouse which sports three basketball courts. With the opening of the facility, it was decided that now would be a good time to launch an athletic hall of fame. Headlining the event was former Notre Dame and Chicago Bears kicker Bob Thomas, now an Illinois Supreme Court judge. Back in the 1960s, Thomas played soccer and football for McQuaid, which were both in the same season. He would finish one game and strap on the helmet for the next game, many times in the same day. He was a walk-on at Notre Dame, where he kicked the game-winning field goal for the Fighting Irish's National Championship in 1973.
In his speech, Thomas spoke of how coach Mike Ditka let him go prior to the '85 season and went with a rookie kicker instead. Thomas knew the Bears were destined for greatness that year and was disappointed to say the least. When Iron Mike delivered the news, Thomas wanted to wait until all his teammates were in team meetings before cleaning out his locker. When he finally made it to his locker, someone was sitting inside waiting for him. That someone was none other than Walter Payton, who spent the next two hours consoling his friend.
In the cocktail hour before the dinner, I had the chance to meet Thomas. I told him I read his book in which he tells the story of going into a card store with his kids some years ago. One of his boys spotted his dad's rookie card and remarked "Dad, they have your rookie card marked $1. It only books for 50 cents." He remembered the story and said he was going to use it in his speech. I brought along a football and an old Sports Illustrated with a picture of Ditka congratulating Thomas on one of his successful field goals. He signed both in silver, and it will go on my local legends wall down in my man room.
With only two months to pull together the auction for the event, I sent out approximately 75 letters to guys I knew had high success rates and quick turnaround times. I received numerous items back in response to the letter, many of the athletes sending multiple autographs for the auction.
Stan Musial sent back a signed black-and-white photo, along with a certificate of authenticity from his company, Stan the Man Inc. It brought $130 at auction. New York Giants coach Tom Coughlin, another local guy, sent back a signed New York Giants hat. We received signed books (horror writer Dean Koontz), signed cards (Rob Ray, Ben Roethlisberger) and many signed photos. We had 61 silent auctions and four live auction items and raised more than $2,000 for the school. Not bad for two months' work. We also had quite a few alumni and friends of the school donate items such as two, $150 tickets to former major league umpire Ken Kaiser's Don Mattingly tribute dinner, a signed golf flag of Jay Haas and Yankees tickets. It was the first charity auction I ran but not the last.


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Tue, 8/14: 6th International Conference & Exhibition on Physiotherapy & Physical Rehabilitation (Park Inn by Radisson London...)Tue, 8/14: Les Miserables (Queen's)Tue, 8/14: The Phantom of the Opera (Her Majesty's Theatre...)Tue, 8/14: The 39 Steps (Criterion Theatre)Tue, 8/14: Billy Elliot The Musical (Victoria Palace Theatre...)Tue, 8/14: The Cutting Edge (The Comedy Store)Tue, 8/14: Tuesday's Feel the Funk (Metra Bar & Club)Tue, 8/14: London Dungeon (The London Dungeons)Tue, 8/14: Atmosphere: Exploring Climate Science (The Science Museum)Tue, 8/14: Singer/Songwriter Showcase (The Lock Tavern)Tue, 8/14: Changing of the Guard (Buckingham Palace)Tue, 8/14: Jazz (Sticklebackpink)Tue, 8/14: The Camden Pub Crawl (Wheelbarrow)
|Tweets about London Events
Welcome to MetroGuide.Network's Arts and Events calendar for London, serving both residents and visitors from near and far. The EventGuide service's goal is to provide you with definitive answers to the perpetual quandry of "What Do You Want To Do Today?" ... or to provide inspiration for what to do on all the days that follow.
Apart from renowned West End theater, London teems with outdoor Shakespeare performances, and horticultural events such as the London Garden Show and Chelsea Flower Show. Also popular are London's Book Fair, Dollhouse Festival, Film Festival and Trafalgar Square Festival, plus Wimbledon's fortnight of grand slam tennis action.
Whether it's an artistic affair, a culinary, musical or dance extravaganza, or a world-class sports spectacular, MetroGuide's Arts & Events Calendar is your home base for what's happening -- whether you're on home turf or on the road for business or pleasure.
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Sainsbury's has cut its loan rate to 7.70% for a limited period. more
20% of Sainsbury's loan customers are using the money to pay for home improvements. more
Point of sale PPI has been banned, the Competition Commission has said today. more
Loan rates have continued to rise, even as the base rate has remained at a record low. more
Barclays has announced it is making a further £88million available in business loans for small and medium enterprises through the Enterprise Finance Guarantee (EFG).
The EFG is a Government initiative, introduced to help SMEs through the financial downturn, improving the availability of capital while encouraging business growth and development.
Through the scheme, viable businesses with a sales turnover of up to £25million are offered a lifeline through access to business loans which they may otherwise be unable to get due to having insufficient security.
A proportion of the debt is guaranteed by the Government if the customer is unable to repay the loan.
The additional funding for Barclays business loans will join the £150million of EFG loans it has already made in the last year.
Commenting on the success of the scheme, Steve Cooper, managing director of Barclays Local Business, said: "Time and again over the last year EFG has proven to be a superb way to support worthy businesses.
"We're a big believer in EFG - through it we've been able to assist over 1,650 businesses with loans."
Of the extra funding which Barclays loans has added, Mr Cooper said: "The new funding we're announcing is going to continue that good work, to help more businesses become successful and help pull the UK out of recession."
The EFG covers a "key gap in the market," he said, to which Trade, Investment and Small Business Minister Lord Davies added:
"The Enterprise Finance Guarantee has helped thousands of viable businesses access the finance they need to withstand the recession and prepare for recovery. Following its recent extension, it will continue to play a vital role in encouraging enterprise and investment and driving productivity and growth throughout the UK economy."
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Wednesday, April 30, 2014
Tonight I made a build your wild self. I chose this because I thought it would be fun. I mixed the animals because then it would be a normal animal. I loved making it. It is a mixture of animals so it would be able to live everywhere.
Tuesday, April 29, 2014
Rylee's Real World
I love my sheep and family your pets even farm animals can be in your family. Opie and Lor and Snowflake and Capton and my sheep are in my family even my cats. I love them I take care of them everyone takes care of there pets even if you are alergect to them. I know that they love me. My papa and dad try to save sheep but you can't always do it keep trying you will succeed just keep trying you will get it right. I know that everyone has something they love I know that you have a heart.
Today I am a 2nd grader and it teaches me that you have to keep trying and that the hole earth is filled with learning I watch people I know to learn to do things I watch the world to learn and do things. I watch my brother to learn how to play angry birds go. I watch my friends to see what the can do. All because of the world you can learn. I watch dad and he levels up higher and higher on Hay Day. This is my world and I love it. I know my world it knows me. Today I see the perfect world. I don't care if it's Monday or Friday what matters is that I have fun. Now the world is full of excitement all because of the people who changed the world. I have the best world because of my family and friends and pets and everything I love the world100% and my family 100% or even more. Everything has a place even in space. The world has bully's but my teacher said you have to learn to deal with them. I watch my brother to learn new games. I do gymnastics to get stronger. I love my world and you know it. Now the world has hundreds of heros and the first presedent Goerge Washington is one for making Amarica free. I learned every Holiday is special for how you celebrate it. I know you can't always get what you want when you are a kid but when you start to grow up you can. The best thing of all is making my baby brother laugh. The best part of my life is playing with my family. Crackers had her baby's a girl 2 boys one boy died 2 lambs left. The names are Cutie and Little lamb.
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HOUSTON --Authorities have reopened I-610 South Loop at Telephone Road after a fatal accident involving a child forced crews to shut it down.
The wreck happened around 2pm on the westbound lanes of I-610 South Loop at Telephone Road.
Authorities had shut down all main lanes and the entrance ramp to the highway and expected the closure to last through rush hour as they tended to the scene.
But crews managed to get it cleared sooner and the higwhay was reopened shortly before 5:30pm.
SkyEye HD aerials show an overturned vehicle on the highway. We're told a little girl around the age of 3 was ejected from the vehicle and died, but no details were immediately available about the wreck.


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President-elect Donald Trump is causing mental health problems for young people in California. That's according to claims by "advocates, educators and mental health providers" who say Californian youth are troubled by Trump's policies towards illegal immigration, and that they feel targeted by "hate crimes" attributed — rightly or wrongly — to Trump's supporters.
Jocelyn Wiener of Kaiser Health News, via the East Bay Times, reports: "Around the country, children and adolescents who are undocumented immigrants or who have undocumented family members, are experiencing a surge in stress, depression and anxiety, according to advocates, educators and mental health providers. The same is true for young people belonging to other groups targeted by threats or hate crimes, including Muslim and transgender youth."
No actual proof is offered, however, either by the "advocates" or Wiener herself.
"Reports of these mental health concerns remain mostly anecdotal so far," she admits. But she quotes a professor at Stanford University — an avowedly anti-Trump academic named Keith Humphreys, whose political sentiments she declines to mention — who tells readers that "Muslims, Jews, Latinos, African-Americans and women and victims of sexual assault" are now, thanks to Trump's victory and the "hateful rhetoric" attributed thereto, "uncertain whom they can trust."
Wiener also prints the "fake news" claim that "During his campaign, Donald Trump announced plans to create a Muslim registry." As Breitbart News noted at the time, and again today, Trump never made that suggestion, which was entirely created by the mainstream media out of its own totalitarian fantasies in an effort to help Trump's political rivals.
If such nightmares torment the youth of California, the fault lies with Hillary Clinton and the mainstream media, which spread doomsday scenarios about what might happen if Trump won, and only amplified the hysteria after Election Day.
Responsible "advocates, educators and mental health providers" ought to explain to young people — immigrants in particular — the importance of elections, the virtue of political tolerance, and the legitimacy of democratic opposition.
Joel B. Pollak is Senior Editor-at-Large at Breitbart News. He was named one of the "most influential" people in news media in 2016. His new book, See No Evil: 19 Hard Truths the Left Can't Handle, is available from Regnery through Amazon. Follow him on Twitter at @joelpollak.


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The sixty-three days from Halloween to New Year's Day marks the season of dread for those trying to watch their weight. Studies vary on the amount of weight gained during this period of time – anywhere from five to ten pounds seems to be the average.
That may not seem like much until considering the fact that the weight gained over the holidays is generally never taken off. Even if someone gained just one pound a year, by the time they attend their 40th class reunion they've easily put on 40 pounds or more.
If you'd like to enjoy the holidays without compromising your health, the answer is to make your game plan right now.
Here are some helpful tips to get the ball rolling.
Ask the Lord to bless your plans, and you will be successful in carrying them out.
(Proverbs 16:3, GNT)


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The constant smile and the cheery costumes never gave away the fact that Pope was sick, and that's exactly the way she wanted it.
"She would always say, 'I choose joy, cancer doesn't define me,'" friend and trainer Shana Ross said.
We first met Pope in August 2011 when she and six other women were training to climb Mount Kilimanjaro. It was Pope's brain-child.
In 2011, Pope told Eyewitness News, "I want to give hope," even though she had just been diagnosed with her third recurrence of ovarian cancer. She and Deb Sanders reached the summit ridge together.
"It was exhilarating and a moment I'll never forget," Sanders said.
Today it's one of Sanders' many memories of her.
"She was just an inspiring person in and of herself and every positive, a person with a warm heart," she said.
Sanders succumbed to the disease on Sunday, leaving behind hundreds who now cherish their time with her.
"She was like an angel," friend Judy Hayes said.
Hayes met Pope during her first chemotherapy treatment four years ago. Her costumes and treat bags lightened the mood.
"You got the feeling well maybe if she can do it, maybe there's hope, maybe I can do it," Hayes said.
Today, Hayes' ovarian cancer is in remission.
And on the days when it was hot and humid and the workout for the climb was hard, Ross says Pope never complained. Her message was clear to all who knew her.
"She could have just stood at the bottom of that mountain and said I wish I could get up there. But she never did that, she just went," Ross said.
It's her legacy.
"To say you can face a mountain, whatever that is in your life, and not only face it but we can overcome it," Pope told Eyewitness News in 2011.
Pope's wish was to have her ashes spread at Mount Kilimanjaro. Her partner and friends plan to do it in September of next year. And they are all walking in her memory in the ovarian cancer Sprint for Life on May 4.


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Column, pilaster, Gibbs surround, etc., in which projecting blocks interrupt and project from the column, pilaster, or architrave. See band and drawings for band and gibbs surround.
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You Can't Detect What You Can't See: Illuminating the Entire Kill Chain
On-Demand Webinar
Okay, So Hes Not Fond of Java
One of the most ill-considered steps that universities took was to adopt Java as the most widely used language in introductory programming courses, Dewar says. Driving this change was a desire to make CS programs more popular.
He recalls a discussion among the NYU faculty several years ago when they decided to switch the introductory language from Pascal to Java. Pascal had never been that successful in industry, yet this lack of market acceptance didnt matter; learning Pascal tended to promote solid programming practices.
They taught Pascal because it seemed to be pedagogically the best choice, Dewar says.
Yet the switch to Java was made purely on the basis of perceived student demand. To be sure, its a popular code for Web applications and is relatively easy for novices to navigate. Yet it is exactly this ease that goes to the core of whats wrong with todays CS curriculums.
Robert Dewar Professor emeritus, NYU
If you go into a store and buy a Java book, its 1,200 pages; 300 pages are the language and 900 pages are miscellaneous libraries. And it is true that you can sort of cobble things together in Java very easily so you can sort of throw things together with minimal knowledge, he says. But to me, thats not software engineering, thats some kind of consuming-level programming.
In Dewars view, todays young Java jockey is not so much a programmer as a Programmer Wanna-Be. For example, Many Java developers have no idea what storage management is about. So consequently theyre quite surprised if they have a storage leak which results from them not being careful about purging junk from their accumulating data structures.
Furthermore, The trouble with Java is that it hides a lot of stuff it hides the issue of compiling what is a compiler doing? I think if I was to talk to a Java student coming out, they might not even know the word compiler. If they do, Im sure I wont get a clear picture if I asked, What does a compiler do?
The most pressing problem, in Dewars view: If people come out of school and they know Java and web programming, and they know how to put things together from libraries, thats just the kind of skills that are not going to be demand. Jobs requiring nothing more than these low-level skills set can easily be shipped off to low wage countries.
In short, todays Java library cobbler is tomorrows pizza delivery man.
Who should (and Shouldnt) be in Computer Science?
It takes a person with a very specific set of inclinations and talents to be a computer programmer, Dewar notes. Its these specific people who colleges should gear their CS programs for not the mass of semi-interested people who use pre-built libraries to create uninspired apps.
Most of us who got into programming really did it because we find it fun. We find the intellectual challenge fun. We find being faced with tricky problems, then figuring out interesting algorithmic solutions, fun. We find clever data structures that solve some interesting problem fun.
Maybe its not fun to a bigger audience, but computer science education should be more about finding those people who like that kind of fun, and catering to them, rather than [making it all easy].
If people find it boring to compute some interesting value, then run that program and get a value of 42 when it should be 83, and figure out why theyve gotten 42 instead of 83, if they find that tedious and boring, they really arent the kind of people we need.
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LONDON (AP) - January 8, 2013 --Kate Winslet's new husband has won an injunction in a British court to stop a tabloid newspaper publishing photos of him at a costume party.
The High Court ruled Tuesday in favor of Ned Rocknroll, issuing an order preventing The Sun from running the images pending the outcome of his invasion of privacy claim. Lawyers for The Sun say the photos show Rocknroll partly naked.
The nephew of Virgin media tycoon Richard Branson says there is no public interest in running the 2010 photos. His lawyers argue Winslet's children could be bullied as a result of publication.Rocknroll says he had been a "relative nobody" prior to his marriage to Winslet last month.
Judge Michael Briggs says he'll offer his reasoning for the decision later.


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There seems to be a lot of misinformation out there with regards to strength training for children. Not many parents are aware of the benefits of strength or weight resistance training for a growing child. Most parents are also not aware of the countless prestigious organizations such as the NSCA and ACSM that support and promote strength training for a growing child.
Most parents are weary about staring a child on resistance training. One of the main concerns is the effect of weight resistance training on a child's growth. Does strength training stunt growth in children?
Table of Contents for Article
Does Strength Training Stunt Growth
The American Academy of Pediatrics (AAP)promotes weight resistance training for a growing child and has even published its position stand on the matter.
In their position stand, AAP states that "Strength training programs do not seem to adversely affect linear growth and do not seem to have any long-term detrimental effect on cardiovascular health."
Not many parents are aware of this position stand. The AAP advocates weight resistance training for children. It also authoritatively puts to rest the question of whether strength training stunts growth in a child.
Avoid Maximal Lifts
The only limitation the AAP suggests in an earlier position stand is to avoid maximal lifts. Maximal lifts involves carrying weights which are within the one repetition maximum lift. The one repetition maximum is the maximum amount of weight one can lift in a single repetition for a given exercise
AAP suggests that maximal lifts should be avoided until a child has reached Tanner Stage 5 of developmental maturity. Tanner Stage 5 is the level in which visible secondary sex characteristics have been developed. Usually, in this stage adolescents will also have grown to their maximum height.
The AAP's concern that children wait until this stage to do maximal lifts is that the epiphyses, commonly called "growth plates", are still very vulnerable to injury before this developmental stage. It is repeated injury to these growth plates that may stunt a child's growth.
Fleck and Kraemer are two of the leading researchers in the field of children's fitness. They authored an authoritative book entitled "Strength Training for Young Athletes." Fleck and Kraemer agree that maximal lifts should indeed be avoided.
Fleck, Kraemer and the AAP however agree that a weight resistance training program that doesn't include maximal lifting is beneficial for prepubescent and pubescent youth.
Moderate Intensity Weight Resistance Training
Parents should encourage moderate intensity weight resistance training for children. The key is to make sure that the child is doing the exercises correctly. As such, the exercises have to be done under supervision. Under correct supervision, a child can expect to derive all the benefits stated by the AAP in its position stand paper.