text:
HANDEL's MANY TRIUMPHS
August 2018
Edward Higginbottom explores the historical context of Handel's The Triumph of Time and Truth in Early Music Review ahead of our three performances in October. Find out more here!
IT&T MaY 2018 NEWSLETTER
Corporate support for IT&T
For the last couple of years, IT&T has been fortunate enough to be amongst the many charities receiving support from Woodford Investments. As such, we have been afforded a glimpse into a very different environment from that of Baroque music and benefitted from the type of thinking that goes into building a successful business - until relatively recently, an approach quite alien to the Early Music world.
Developing IT&T
IT&T is now firmly established as a local community resource. Only last week I received enquiries for four concerts from a variety of local sources which is hugely gratifying and encouraging. But we don't want to be satisfied with that - we are still pursuing our ambition of establishing a regular concert series in Oxford and of becoming a regional presence. Last month, Woodford's way of thinking had me meeting a fundraising consultant in London, with a view to establishing a development strategy for IT&T. I find this business approach fascinating: with grandparents who ran a Gentleman's Outfitters in Rhyl I have always suspected that perhaps I am closer to a shopkeeper than a musician!
IT&T needs you!
Anyway, the good news is that we are actually doing a lot of the right things and that time and stamina will do much for IT&T's development. The even better news is that our instinct that you, our audience, is our greatest asset has been officially confirmed, which somehow makes me feel more courageous about involving you. Establish a significant following and a market for IT&T and the rest will follow.
IT&T has developed at an unprecented rate in the last four years, with the result that we now need your help- there is simply too much ground for Gay, Aliye and myself to cover. That help might come in many shapes and sizes - let me give you an example: the most recent addition to the IT&T 'office' is Jessica Osborne, a Friend with accounting experience who has taken over the day to day finances of IT&T and provided very welcome relief from this considerable responsibility. We are hugely grateful to Jessica and fortunate to benefit from the expertise she brings with her. We know the IT&T audience has talents in abundance - fundraising and marketing skills would be invaluable, but even if you don't possess these, you could still hold the key to increasing the number of our supporters and improving our resilience.
The Grapevine
Very early on we established that word of mouth was our most effective marketing tool and we have now been advised to capitalise on what is essentially an extension of this, by tapping into existing networks with a connection to our audience. Your network might be a Residents' or Neighbourhood association, a choir, or a company noticeboard, whether real or virtual. You might simply forward our 'Forthcoming concerts' to people who live in your road, or buy an extra ticket for a friend, or possibly you work for a company that could be persuaded to sponsor a local entreprise if we were to encourage them with a couple of complimentary tickets? Another possibility is arranging a fundraising concert in your home or that of someone you know, with suggestions of people we might invite as potential sponsors.
Getting involved
On a more practical level, we always need volunteers at concerts, so if you fancy 'playing shops' in the box-office or schmoozing potential donors at a drinks reception, do let us know! All of this support would help us and would nurture a genuine feeling of ownership in IT&T which is our ambition for Oxford.
The news bit
We are now in the final third of our 17/18 Season, but with many enticing events still to come. We very much hope to see you either performing with the Summertown Choral Society on May 19th (there's a network!) or at one of IT&T's exciting new collaborations in June and July. If you plan to attend our intriguing Friends' soirée at Worton Organic Garden on June 2nd, why not bring someone new to IT&T with you? Finally, do come and support us in the sumptuous surroundings of Longborough Opera and enjoy the quintessential musical experience of the English summer.
Judith Evans
Concerts Manager
March 2018 NEWSLETTER
Hayes disc released
Definitely the most exciting moment so far in the journey that is IT&T was hearing the opening bars of 'Ceremonial Oxford' for the first time - our own tiny claim on immortality! Details of the release later in this Newsletter - do order your copies online and support an Oxford choir and orchestra performing the music of an Oxford composer which, together, we made happen.
IT&T's progress
I remember, about this time last year, looking at the IT&T diary and marvelling at the orchestra's rate of development since 2014. I thought that, possibly, novelty was playing its part and the level of sustainable activity would settle after a couple of years. On the contrary, it continues to increase apace and I am literally in awe of IT&T's success. As I have said before, the feeling is less that we have carved out a niche and more that we have uncovered a pre-existing niche in this extraordinary city.
It was a great moment when Aliye produced our 2017/18 brochure - evidence of increased financial resilience bringing with it the potential for forward planning. I knew one or two dates would come in after publication, but in fact, the orchestra's season has increased beyond all expectations with a breadth of activity which has resulted in an inspiring and fulfilling work environment for the many musicians we have been able to employ. I hope our existence has also enhanced the lives of our audience, participants in our workshops, worshippers at evensong in various colleges and aspiring professionals who have played alongside us.
2018 so far...
Since our Season brochure has been overtaken by events, you will be updated in this Newsletter, but, before that, a quick recap of the last few weeks.
January and February are traditionally 'resting' months for freelance musicians following the flurry of Christmas concerts, but not so for IT&T. Early January saw a four-day project with the University baroque ensemble, 'The Bate Players', culminating with a side by-side concert in New College Chapel on January 12th. Led by IT&T's leader, Bojan Cicic, this was a fascinating exploration of seventeenth and eighteenth century string music - Bojan's area of expertise. As a double bass is not generally used in this repertoire, but the Bate Players include a double bass player, I was exposed to this music myself for the first time. I definitely learned as much as any of the students and felt there was a tangible exhilaration in the concluding performance. This is the sort of experience I would have loved to have had as a music student - to play alongside seasoned professionals on the same desk, but for me now, as that seasoned professional, the experience was equally valuable. It is a wonderful thing to perform beside a burgeoning musician. The professionals bring a well-honed instinct for timing, musical function and ensemble, which is combined with the students' youthful energy and passion. The result is always stimulating and at its best you even get a sense of that elusive elixir which is Creativity.
In contrast, The Bach Project part II: the Concerto, found us playing a very different role. IT&T's Dan Edgar performed alongside predominantly 'modern' violinist Alexander Janiczek in Bach's Concerto for two violins, we also accompanied James Boyd in what some think is a spurious concerto for viola and were then joined by Natalie Clein for a performance of the Sixth Brandenburg Concerto, featuring IT&T's Rachel Byrt alongside James Boyd as the two viola soloists. This idea of combining modern musicians and those dedicated to historically-informed performance is a controversial one, but again, as in the collaboration with the Bate Players, at its best both parties learn from and inspire the other.
On February 6th, Headington School hosted 'A Day with IT&T', for GCSE and A level students presented by Jeremy Summerly of St Peter's College. The initiative of Headington's new Head of Music, Aimee Bassett, students sang, played, listened and hopefully learned. Feedback from the day was extremely positive.
Then followed IT&T's two appearances at the Keble Early Music Festival: Edward Higginbottom's Abendmusik on February 22nd with a programme of his favoured French baroque music; and on the 24th a concert of Mozart's Jupiter symphony and Requiem. This was a real highlight for me. It is rare these days for an early music group to perform this repertoire except with a choral society because the cost of the brass instruments can be prohibitive. While accompanying amateur choirs is a valued part of IT&T's work, playing the Requiem with Keble College Choir again had the same appeal as playing alongside the Bate Players. To be immersed in the sound of those young voices, many of whom are performing the Requiem for the first time, is extremely moving.
That brings us to March and the busiest time in the baroque musician's diary: Easter. March 4th saw a trio of IT&T musicians performing in Buxtehude's Membra Jesu Nostri at evensong in St Edmund Hall, then the 6th was the first of IT&T's three performances of Bach's St John Passion, this one in Somerville College Chapel, conducted by William Dawes. This is followed by another performance of the St John on Saturday in Peterborough Cathedral conducted by Steven Grahl, who has just been appointed Director of Music at Christ Church. Our third St John Passion is on Sunday, with New College Choir under Robert Quinney (tickets available only to Friends of IT&T). We hope to see many of you there.
Our final concert in March is with the Merton College Choir under Ben Nicholas in Bach's B minor Mass on the 25th. Please see the website for booking information.
Following a break for Easter, IT&T will next be appearing in the Holywell Music Room on April 27th in the third instalment of the Bach Project. With eminent soloists Claire Booth and Ian Bostridge this promises to be a treat for both players and audience alike.
Looking ahead, another treat for Friends of IT&T is Jonathan Rees's performance at Worton Organic Garden on Saturday, June 2nd which forms the second part of our series, 'All Roads Lead to Bach'. This recital will be accompanied by a delicious meal of organic produce from the garden and I know it will be a very special evening.
IT&T is looking forward to our new collaboration with the Oxford Bach Choir in the Sheldonian on June 9th, followed by another new collaboration, this time with Magdalen College Choir on July 1st.
Perhaps I should apologise for this Newsletter being so long, but hopefully, even if you don't read it, you will enjoy with us this evidence of Oxford having taken IT&T to its heart.
Judith Evans
Spanish Tour, Dec 2017
The Spanish have a great affection for the Messiah. They are also proud custodians of some truly impressive concert halls not just in the major cities, but even in smaller towns- the UK really has nothing to compare! Added to this, Spanish banks have a long tradition of generous sponsorship and thanks to one such donor IT&T and Oxford Voices were delighted to be invited back to Spain following a one-off performance in Barcelona two years ago.
Our first port of call was Santander in Northern Spain in early December. A choir of 250 voices from various regional choirs had been rehearsing for several months in order to join forces with us for the concert. We arrived in time for an evening rehearsal where an interpreter was on hand for Edward, whose wit was clearly translated and nuanced appropriately judging by the laughter coming from the choir at the right moments. A huge amount of collective energy and good will helped create a very enjoyable concert.
On the second leg of the tour, following IT&T's Oxford Messiah on December 16th, we flew to Las Palmas in Gran Canaria. As a musician one regularly has to try to convince friends and family that concerts abroad are work, not a holiday. On this occasion however the trip did start off feeling remarkably like a very enjoyable winter break. Our first evening was spent strolling along the esplanade of Las Palmas beach, stopping for the occasional gin and tonic (large ones!) or tapas. The following morning a group of us took a bus up into the mountains and managed to fit in quite a serious hike, as well as lunch, before returning to rehearse in the evening. Once again we were collaborating with massed local choirs who seemed delighted to be working with Edward, and the concert was very well received.
Even when repeating one concert programme several times on tour there are always new challenges to do with changing acoustics in each venue as well as the problems encountered when musical instruments (particularly baroque string instruments) travel. The choir and orchestra took some time to adjust to Auditorio Alfredo Kraus in Las Palmas in particular: to begin with the orchestra seemed very small in such a huge space. In contrast, the Palau de la Musica in Barclona seemed relatively intimate with a much easier acoustic. This was the fifth performance of the Messiah the Palau had hosted in recent weeks, and national newspaper, El Periodico, summed it up: 'One of the most brilliant and faithful interpretations of this monumental piece that we have heard in recent years… the precision of this choir of extraordinary quality is astonishing as is the balance achieved between the different vocal parts. No less astonishing is the balance between the choir and the orchestra, made up of excellent baroque specialist musicians.'
A delightful five hour train journey, much of which was along the coast, took us to our final destination, Alicante. We were a particularly harmonious group, many of us having worked together over the years in different ensembles as well as IT&T. Unusually there were four family pairings amongst us: two of brother and sister, and two of parent and child. In many ways IT&T feels like a family, and the close links with Oxford Voices added another layer of cohesion to the concerts as well as during the 'down time'. It was lovely to return to the hotel after our last and very enjoyable concert to find opened bottles of Cava awaiting us. For the next couple of hours the bar staff were run off their feet while IT&T celebrated the end of a busy year and a very happy collaboration with Oxford Voices and Edward Higginbottom. 'It's rare to have the opportunity to attend such a brilliant interpretation of Handel's Messiah as this…The orchestra shone throughout, stimulated by the conducting of Edward Higginbottom.'… (El Mundo)
Many thanks to Caroline Higginbottom who worked tirelessly to organize this tour. She has many years of experience taking New College Choir abroad, and although she was not responsible for young children there were perhaps similarities in behaviour - a forgotten passport here, an intrument there...!
We look forward to returning to Spain soon, as El Periodico remarked, 'this performance is worth repeating'.
Gabriel Amherst
For many of you, a report on our Messiah in University Church on December 16th will not be news, because you were there. However, I can't embark on news about our 2018 activities without first describing something of this day from an IT&T perspective.
Since our very first concert in the Holywell Music Room back in September 2014, when I found myself still in the box office in my lucent blue get up while the rest of the orchestra was already on stage, I have found wearing the two hats of Management and Player a difficult juggling act (a bit like that mixed metaphor). As a player of more than 20 years in the Academy of Ancient Music I am as casual as the next person about getting back to my seat after a 17 minute (not the prescribed 15 minute) coffee break and no longer suffer heart palpitations as I sit in gridlock on the M40 less than an hour before the start of a rehearsal in Waterloo. Not so at IT&T! I find myself morphing into a Miss Trunchbull-style character at the slightest sign of a laissez-faire attitude or a concert dress of the wrong hue. It's not a side of myself I like, yet the conflict in roles has my head spinning and I seem unable to resolve this ongoing identity crisis while continuing to 'work' and 'play'. I therefore decided that since I was unable to undertake the Spanish trips because of family commitments, I would step down from participating in the concert and concentrate my energies on rolling out the day like a seamless red carpet for musicians and audience alike.
In the event, that decision proved more stressful than anticipated and the carpet was decidedly rucked in places (not least when we discovered in November, that a carol service had been scheduled in University Church during our one and only rehearsal!). I discovered that one definite advantage to playing in the concert is that it effectively removes you from the melee at the door. It's a weird experience, as an adult, suddenly finding yourself in an unfamiliar role, but one you have observed many times and thought simple, only to discover not only is it more difficult than it looked, but also that you're not very good at it: faced with an advancing mass of audience members I couldn't work out how to get the Returns list to work; I couldn't remember what the person I had just sold a ticket for looked like; I couldn't find space for everyone because despite having shuffled along the pews several times in order to work out seating capacity, people don't come in a standard size, especially when it's cold and their coat has come too.
The worst of it was the concert. I had never heard the Messiah before except from within an orchestra and I was looking forward to the passive luxury of being a punter. But from the second it started my ear was glued to the bassline, experiencing all the niggles of the technical aspects of playing the part with none of the highs of performing. It wasn't that I felt critical of the performance, more of Handel. Perhaps not the fully-fledged audience version of Miss Trunchbull, but a backseat driver nonetheless. I adjourned to the Old Library in order to escape myself.
About two hours twenty minutes later I stood in the doorway to hear the Dona Nobis Pacem and the Amen. At the end of a long work, the final page always brings a sense of release - you can stop worrying how sore you're bottom is from sitting on the edge of a bass stool for two and a half hours, soon you will no longer be shivering/sweating (it is so rare to be the right temperature in a concert) and there is a long, thirst-quenching alcoholic drink awaiting you. But without all the physical discomforts of performing, in that last five minutes there was just that sense of transcendence that Handel both intended, musically and emotionally and in which he had faith and which was greeted by a standing ovation. A standing ovation is a very moving thing: a rare demonstration of unanimity in modern life and a collective, wordless expression of something inexpressible. A fitting response to Handel's music.
Last year, IT&T's Messiah was the first ever concert to sell out in University Church. This year, the audience's response has had repercusions for health and safety and may prompt the introduction of a numbering system in the church (hurray! I won't be dragging chairs into the front row at 5.02pm). Not only this, but the concert sold out two weeks sooner than last year and we have already had booking enquiries for next year.
This phenomenon that is the Messiah happens annually and is universal. It reminds me of that tv advert I used to see urging us that 'A dog is for life, not just for Christmas' - I want to say that about music. People will tell me openly they don't like classical music, but will religiously sit through two and a half hours of the Messiah without ever considering coming to another concert; like the audiences in Kenwood stoically enduring an open-air concert in the pouring rain, but who wouldn't dream of coming into a concert hall. It must be the same for vicars at Christmas.
But the two IT&T tours to Spain have inspired us to undertake something more inclusive in 2018. We will, of course, maintain our annual performance in University Church (December 22nd at 5pm, booking opens Sept 1st), but in addition we are planning a 'Community Messiah' earlier in December in the Sheldonian to which we will invite the choirs with whom we collaborate, to sing alongside Oxford Voices in the 'big' choruses and include players from Oxybaroxy (the Oxford County Music Service's baroque youth orchestra) alongside IT&T. It is one of the great roles we at IT&T are privileged to occupy in Oxford - that of uniting diverse elements from within the city and university and establishing something truly communal. If you sing in a choir and would like to share the discomforts of performing a piece that lasts two and a half hours, on a hard seat, please get in touch! You will undoubtedly also get to experience the thrill of being part of a large-scale musical enterprise, which is unforgettable.
IT&T's 2018 Season has expanded considerably since we went to print in September, so please keep an eye on email updates or check the concerts page on our website. This Friday, January 12th at 8pm in New College Chapel, Chris Bucknall, Director of Music at St Edmund Hall and Associate Director of IT&T, will direct a side-by-side concert with the Bate Players and members of IT&T. Programme and booking information is available on our website. This collaboration promises to be an enriching experience for all parties, where the freshness and enthusiasm of the Bate Players meets the experience and deeply crafted approach of IT&T.
This is followed by the next instalment of Natalie Clein's 'Bach Project' presented through the University Music Faculty with booking via Ticketsoxford. The concert, in the Holywell Music Room , on Saturday January 27th is an exciting collaboration between ancient and modern, with IT&T accompanying 'modern' soloists Alexander Janiczek and James Boyd, alongside our own Daniel Edgar. The concert is preceded by a discussion led by distinguished Bach scholar, John Butt.
February sees Matthew Martin's second annual Keble Early Music Festival. As last year, this features IT&T in two concerts: the first, on Thursday February 22nd, an intimate Abendmusik directed by Edward Higginbottom with a programme for soprano and small ensemble; the second a much larger scale concert, featuring two of Mozart's greatest compositions - his Requiem and Jupiter Symphony - the former conducted by Matthew Martin and the latter, by Edward Higginbottom. I'm particularly looking forward to this, because it will be fascinating to work with two such profound musicians, one trained by the other, who nonetheless have very different conducting styles. There can't be many cities in the world with this concentration of musical excellence.
Earlier in February, on Saturday 3rd, the Summertown Choral Society and IT&T will appear in the first of two collaborative concerts this year. This concert in St Andrew's, Linton Rd features Handel's wonderful 'Israel in Egypt' - perhaps the most dramatic of Handel's oratorios and definitely my favourite.
March, of course, brings with it Passion season and Aliye will shortly be in touch with a booking invitation for Friends to IT&T's St John Passion with New College Choir, conducted by Robert Quinney on Sunday March 11th. To avoid last year's confusion, please note the start time is definitely 3pm!
We very much hope to see you at some or all of these varied concerts. It is nice to feel that, as an orchestra, we are starting to get to know our audience.
Happy 2018.
Judith Evans, Concerts Manager.
Since my last newsletter, 'The Road to Romanticism' launched IT&T's 2017/18 Season on October 6th in the Sheldonian Theatre. As IT&T's first sortie into nineteenth century repertoire, this concert was a bit of a leap in the dark: would we be able to uphold standards with more technically demanding repertoire, given extremely limited rehearsal time? Would our audience even be interested in hearing later repertoire on period instruments and what would they make of a well-known violin concerto played on gut strings? Despite a nail-biting few weeks when it looked as if IT&T was facing financial ruin, all came good at the eleventh hour and from a personal and professional point of view, the concert was a huge success. Which means a loss of only £8,000!
On the day, Gay was elsewhere and both Aliye and I were playing, so there was more than the usual amount of extraneous pressure, including a photo shoot outside the Sheldonian and a period of about half an hour when no one knew where Bojan had got to! But during the Hebrides overture I found myself marvelling at the colours conjured by the period winds and experiencing something of the awe the nineteenth century audience must have felt towards what was new and extraordinary music of its time. I love those moments that validate what we do - Wordsworth's 'spots of time', or Joyce's 'epiphanies'- a moment of intense focus in which you simultaneously participate but also observe yourself and understand that this is what life is about.
The one aspect of that evening I was most proud of was creating the opportunity for Bojan to play the Mendelssohn. As we all know, our society is intrigued by 'celebrity' and orchestras rely heavily on 'names' to sell tickets. But what makes a name and how do you get one? The most obvious way would seem to be by exposing the most talented performers to audiences. But this is more easily said than done, as I recently had underlined in an exchange I had with an orchestral manager. Both Bojan and I play in the Academy of Ancient Music. Following 'The Road to Romanticism', I suggested they should programme the Mendelssohn, but the reply was that the financial loss would be too great: to get the equation of musicians' fees and ticket sales to balance, given the overheads of an established orchestra, you need a huge hall and a 'name' to fill it. This is the bottom line, literally, and it governs so much of modern life.
But if established groups won't risk inviting an emerging soloist, then how is a soloist to emerge? At IT&T, our mission is a bit different. Because we manage the group voluntarily in order to create excellent regional work and a genuine community resource, it means we can be a bit more adventurous and actually increase the profile of emerging soloists. Bojan often describes himself as 'a musician's musician', by which he means he thinks his performing lacks showmanship and is esoteric. But I think Bojan underestimates himself. There is something tremendously compelling about his performing, his sense of rhythm is irrepressible and the thoroughgoing nature of his musicianship gives a sense of rightness to his every nuance of phrasing. The Mendelssohn with minimal vibrato obviously sounds very different from the flamboyance and overt passion of some modern interpretations, but reports of the first performance indicate that it was, in fact, given without vibrato. Bojan's performing is like a Jane Austen novel: the passion is implicit and, to my mind, more intense for being so. Indeed, one member of the audience at the Sheldonian was overheard to say Bojan's was the most beautiful rendition of the concerto she had ever experienced. So it is not only musicians who think Bojan worthy of being celebrated.
But this catch 22 situation of a soloist having to be known to an audience before he or she can become a soloist interests me, because it means you, the members of our audience, have a great deal of power and influence.
I recently attended a conference on 'Charity Futures' in London, at the invitation of Jonathan Smith of Woodford Investment Management, one of IT&T's corporate sponsors. There were three compelling speakers who presented possible versions of the world in the near future. The first, Mark Stevenson, provided a mind-boggling glimpse at the current technological advances that will become familiar to us all within the next 15 years: driverless cars; 3-d printers;energy extracted from thin air. But whatever the specifics, one thing is certain: artificial intelligence will govern much of everyday life. And that will bring fundamental change, because it will no longer be Logic that is most prized (because it will be everywhere), but Creativity, or, to put it another way, that uniquely human attribute - the Imagination.
And suddenly, our work at IT&T seemed more profound - less of a personal passion and more of a legacy for the future. We have always sought to provide for the future, with our GCSE projects, free tickets for schools, side-by-sides with undergraduates and, more recently with school-aged children, but at that conference in London, the future appeared knowable and very close and I felt optimistic that we, at IT&T, are doing exactly what we should be doing as musicians and ensuring that the future world is based on the very best of human capabilities and not on the worst.
And you, members of IT&T's audience, have the power to make this happen. As the second speaker at 'Charity Futures' argued, Economics is nothing more than human nature: we are social animals and when we see our neighbour buy something, our instinct is to follow. That's how clothes become fashionable, how kitchens all start to look the same, how recycling has become accepted and how Bojan becomes a name and IT&T endures. All you have to do is be the social animals you are: come to concerts, bring your family and friends and tell your acquaintances. If you prefer the modern version of gossip, then apply that most powerful of tools: social media. Human nature will do the rest, but if you're lucky enough to be wealthy, then a donation would be great too.
My mother complained that the last IT&T Newsletter wasn't personal enough, so I'm just doing what I'm told. If you are similarly biddable, there are going to be a lot of exciting concerts in the future. Thank you for your support.
Judith Evans, Concerts Manager
September 2017 Newsletter
I think the education system engenders in us a deep-seated feeling of renewal or reinvention indelibly associated with the month of September. As I write this, I glance up, periodically, at the Dorset coastline, the day before me a blank canvas of choice and potential, but increasingly aware that next week will bring with it a sea-change: days where obligations are measured by the minute hands on my watch and link together precisely like a well-constructed jigsaw with no missing pieces. In short, my children go back to school, I go back to work and we resume 'real life'!
As ever, writing the IT&T newsletter provides the opportunity to take stock and never more so, therefore, than the September newsletter: in it we can review our progress so far; establish an idea of where we are, where we want to be and how to get there. Instruments of Time and Truth is now three years old and about to enter its fourth season. Crucially we have weathered the two year period within which most new enterprises fail - the time when novelty no longer acts as a turbo prop coinciding with a decline in energy as you raise your eyes and understand it was not one mountain you had to climb but an endless range of mountains extending to the horizon and beyond.
I think we reached that point somewhere in our second year. I remember saying to Gay, 'I've got one more year in me and then I've got to shed this burden of responsibility'. Yet here I am still and despite my stressful commuting as a freelance musician, my neglected house and overgrown garden my faith in what IT&T is doing is stronger than ever and my determination to see it survive and flourish, intact.
Instruments of Time and Truth has in many ways achieved its own momentum - proof of a pre-existing niche into which we have settled in this unique city and testament to its high artistic standard. In fact I find this the most gratifying part of my role - responding to unprompted enquiries about the orchestra which tells me we have a following and an increasing reputation. Chief amongst these this season are exciting new collaborations with the Oxford Bach Choir (June 9th) and Magdalen College Choir (Nov 4th and dates in March tbc), our concert at The Grange on September 15th and our increasing touring activity which will subsidise our ambition of establishing a regular concert series in Oxford. Alongside this novelty we have the satisfaction of recurring associations: our annual St John Passion open to Friends at New College on March 11th; our second appearance in two concerts of the Keble Early Music Festival in February; collaborating with the Summertown Choral Society in February and in May; and returning to the Wotton Concert Series in November.
On the education side, Headington School is looking into hosting a repeat of theGCSE workshop we presented to Oxfordshire students at St Edward's School in February this year and IT&T will appear on the next two phases of Natalie Clein's Bach Project at the University (January and April). In addition we are launching our first baroque orchestral course for school-aged children in October half-term.
The area in which IT&T still has most ground to cover is in establishing an Oxford concert series. This is to be expected. A self-promoted orchestral concert will routinely sustain a loss of five thousand pounds at the box office even with good ticket sales, so fund-raising is a significant element of our activity. We have recently had considerable success in this direction with donations from Dustscan, Woodford Investments and the Pye Charitable Foundation, but there is always more to do as we face each new ascent in that endless mountain range. I am convinced that a large number of small donors is achievable and would secure our future and I hope everyone reading this will feel inspired to spread the word and help us towards that goal. For just £60 a year a donor becomes part of our ever-increasing group of Friends, is invited to drinks receptions at self-promoted concerts and to special Friends' events (this year the St John Passion and a magical evening of lute music and convivial dining at Worton Organic Garden). The financial resilience resulting from having a large number of supporters would enable us to do the necessary planning to establish an annual series and also to sell these programmes to other venues which would bring in further revenue. If we could achieve a regular concert series that to me would be the fulfilment of our mission to become a community resource, supported and enjoyed by the community in which we all live.
Having said that, it is already a tremendous achievement that our 17/18 season opens with the impressive 'Road to Romanticism' on Friday, October 6th in the Sheldonian Theatre. I am so looking forward to working with Bojan in his capacity as soloist in the Mendelssohn violin concerto (a new departure for both him and IT&T) and to being conducted by Edward Higginbottom, a musician who justifies our choice in struggling to be musicians with his profound understanding and interpretation of whatever music he undertakes to perform.
This inspiration, to me, is nowhere more evident than in what has become our annual performance of the Messiah in University Church, this year on Saturday, December 16th at 5pm. Edward brings this music to life as no other conductor in my experience - swift, fresh and uplifting, his interpretation is a million miles away from stodgy renditions of the past. Booking opens imminently and last year we sold out a month before, so don't put it off or you risk being disappointed.
Administratively, Instruments of Time and Truth is also evolving! For the first time, Aliye is producing a pamphlet of the entire season which will be available at all concerts to enable you to plan your own concert-going and I hope, to reinforce your commitment to supporting us.
It never goes without saying how grateful we are for your support - there is nothing formulaic or cliched about it - no orchestra would exist without its audience. Please be involved to whatever extent you like, whether simply as a concert-goer, by requesting programmes or suggesting improvements, or even by volunteering your skills - fundraising help particularly welcomed!
We very much hope to see you on October 6th and throughout our 17/18 season, highlights of which will appear in conjunction with this newsletter and on our website www.timeandtruth.co.uk since our activities have become almost too numerous to mention here!
A period of consolidation
We are currently enjoying a lull in musical activities at IT&T since the larger scale of our performances next season has effectively prevented our putting on our usual May concert in the Sheldonian. This has provided a much-needed opportunity to concentrate on fundraising and we are delighted to have received significant contributions from Woodford Investments and the Pye Charitable Settlement. Alongside this, of course, we are constantly working to expand the number of Friends and smaller donors who are invaluable in oiling the daily cogs of the orchestra and to whom we owe our very existence. If you enjoy our concerts, do introduce us to your friends and help us put our unique stamp on Oxford musical life.
Music at Oxford debut
Instead of agonising over a self-promotion, May provided us with the much less stressful experience of making our debut for Music at Oxford with Merton College Choir and Ben Nicholas. I enjoy these concerts the most, where another organisation bears financial responsibility and my role is merely to book the players and enjoy the music, without having to worry about ticket sales. The concert, on May 6th, was a sell-out (no ticket worries after all) and featured some of my favourite choral music - Handel's Dixit Dominus and Bach's Cantata no 4 'Christ lag in todesbanden'. As ever, it was great to see our regular Friends and supporters and to be exposed to another concert-going public in Oxford - those who subscribe to MAO - and who will now know who we are.
CD recordings
A tremendous boost will be given to our profile by our forthcoming recordings; a collection of works by William Hayes with Keble College Choir under Matthew Martin in June and vocal music by Pelham Humfrey with Edward, in France, in July. The Keble disc particularly, with its Oxford college choir and period-instrument orchestra and composer feels like a real statement of what we are hoping to achieve in and for Oxford. Obviously it will be some time before the discs become commercially available, but we will definitely keep you posted. (I am rereading this having just completed this recording. What a discovery William Hayes turned out to be! A devotee of Handel, Hayes was the man who persuaded Handel to visit Oxford. The keyboard concerto we recorded, interestingly, was an improvement on many of the concertos Handel himself churned out at times. We also recorded extracts from 'The Passions' and 'The Fall of Jericho': exciting stuff!)
A musical soirée at magical Worton Organic Garden
I am thrilled to announce there will be another Friends' evening at Worton Organic Garden this summer, on Saturday July 15th at 6pm. This year IT&T will be presenting David Miller in a programme entitled 'Masters of the Lute and Guitar'. David will perform on an assortment of instruments in this ravishing setting and the evening will include organic pizza, salad and wine, all produced from the garden itself. (Maybe not the wine!) IT&T has exclusive access to a small number of tickets for Friends only at a cost of £35 per head. Please see the website for details.
Sheldonian concert opens 17/18 Season
IT&T's next big promotion will be our Sheldonian concert on Friday, October 6th at 7.30pm. This concert will be a new departure for both the orchestra and the soloist, with IT&T taking 'The Road to Romanticism' and Bojan Čičič performing Mendelssohn's Violin Concerto for the first time with an orchestra. For those of us familiar with Bojan as a great exponent of seventeenth and eighteenth century music, it will be fascinating to hear his unique take on this well-known piece, especially in combination with Edward Higginbottom's fluidity and originality as a conductor.
Bojan Cicic: solo CD
I'd also like to take this opportunity to plug Bojan's own newly-released CD. It is a recording of 6 wonderful Sonate da Camera by the little-known composer Giovanni Stefano Carbonelli. I am a huge fan of Bojan's and can only say this disc is a joy, both in discovering the composer and in Bojan's exhuberant interpretation. The recording is on the Delphian label, to find out more, please visit www.bojancicic.com .
Annual events: Wotton Concert Series and Messiah at University Church
Autumn once more sees IT&T in Wotton-under-Edge on November 18th as part of their concert series and we are very pleased to say we have secured a date for our candlelit Messiah in the University Church again this year. It will take place on Saturday, December 16th, at 5pm. Tickets will go on sale in early Autumn and we highly recommend early booking. Last year we sold out a month before the date, even after having created extra seating, which we won't be doing this year since the experience was rather less than satisfactory for those sitting near the church's generator! As usual, there will be an advance booking period for Friends.
European profile
This performance of the Messiah is sandwiched between two trips to Spain, the first to Santander and the second to Las Palmas, Barcelona and Alicante. It is a heartening affirmation of our work at IT&T to receive this return invitation.
Ongoing collaborations
Collaborations in 17/18 continue to develop: IT&T will appear in the next two instalments of Natalie Clein's Bach Project through the University's Music Faculty on January 27th and April 27th; we are reunited with the Summertown Choral Society on February 3rd; Instruments of Time and Truth will once again occupy a prominent role in the Keble Early Music Festival February 20 -24 2018; Friends can attend our St John Passion in New College on March 11th at 3pm (no confusion re the start time in 2018!) ; and we begin a new collaboration with the Oxford Bach Choir at the Sheldonian on June 9th 2018.
As you can see, Instruments of Time and Truth goes from strength to strength and I relish the opportunity for reflection these newsletters provide. I look forward to seeing you in the Sheldonian on October 6th.


text:
BACKSTAGE BASH Fundraiser at the Theatre Centre
Price: $75 - $125
This event has already happened.
•Studio 400 Disco – Enjoy your moment in the spotlight at this rocking dance party on the MainStage with DJ Paul Hughes
•Photo Op Costume Shop – Choose a costume that suits your fancy and strike a pose! •Unplugged and Unhinged Coffee Shop – Featuring Jim Palmour and guest artist. Groovy folk music in Rehearsal Room #3 • Stage Door Canteen – Featuring the Chattanooga Big Band. Dance to big band sounds and swing dance like it's 1942 in the Dance Studio •Singalong Piano Bar – Featuring singer/pianist Andrew Chauncey. You can take center stage in the Circle and sing or enjoy the talents of those who do.•Make-and-Take a creative and fun mask in this hands-on project room •Throughout the CTC - Street Performers perform feats to dazzle and entertain •And everywhere you turn – great food and drink!
CHATTANOOGA THEATRE CENTRE400 River Street - Chattanooga, TN 37405
**The above event(s) information is user submitted. Although this site will do everything in its control to maintain the most current information, those dates, times, locations, etc. may change. Please refer to venue website or contact them to ensure correct information.

subset: commoncrawl


text:
Beaman Cole
A Simple Way to Paint
Beaman Cole will be teaching "A Simple Way to Paint" painting great art with a limited palette, a couple of brushes and limited time. Cole will show students how less is more. Fewer options can be a catalyst that enhances a painter's knowledge. As usual Cole will teach alla prima methods to paint direct, fast paintings.
This will run similar to his past classes where advanced students may work separately with help and critiques by Cole.
Red paint (warm or cool)
Blue paint – Ultramarine or Prussian
Yellow Paint – any
A brown – Burnt Umber or Burnt Sienna
Titanium White
size 2 or 4 Flat, Bright or Filbert
size 10 Round, Bright or Filbert
4 week class - no set date at present
Wednesdays 9 a.m. - 12 noon
Fee: $130.
Beaman Cole >


text:
Words containing animity
Found 6 words containing animity. Browse our Scrabble Word Finder, Words With Friends cheat dictionary, and WordHub word solver to find words that contain animity. Or use our Unscramble word solver to find your best possible play! Related: Words that end in animity
- Scrabble
- Words With Friends
- WordHub
- Crossword


text:
Chris Beardshaw wants everyone to plant herbaceous borders in their gardens. On his revival he visits a garden which is a true labour of love, originally designed by one of our most celebrated garden designers, Gertrude Jekyll. He meets a mother and daughter who are championing the must-have plant for any herbaceous border - the aster. Plus Chris tries to teach two non-gardening students the key design elements of this truly iconic British garden feature. Throughout the show he gives his ultimate design tips, shows how to get the best from borders and offers advice on how to deal with the gardeners' enemy, the weed.
Alys Fowler celebrates the glories of the kitchen garden. More than an allotment or a neglected veg patch at the bottom of the garden, she thinks the kitchen garden should be a place of great ornamental beauty that provides food all year round. As well as sharing her top tips and growing advice, she reveals the secrets of one of Britain's oldest kitchen gardens, gets a taste for unusual edible plants that take your breath away, and finds out about the communities up and down the country who are turning unused spaces into super productive kitchen gardens.
Hotfile link no longer valid.


text:
Now, I told you this was click bait and yet, here you are 😂. Disclosure the picture is a dessert Erin made earlier this week and is not discussed here but I'd be more than happy to post if anyone wants it ☺.
Today, is something different from most days. Usually, SFP gives you a piece of equipment, technology, or some other type of "hack" that can add value to your day. But today, I wanted to give you a quick word of advise wherever, you may be on your journey.
I'm a part of many different groups from basic group chats on my phone to facebook groups, and yes, even a mastermind or two. They all have a different purpose and no, not all is specific to fitness. Some are for confidence boosters, others are "think tanks" to get your mind going for your business, and finally yes, a good majority are health and fitness related.
With everyone having an opinion on health and fitness these days it's more important than ever, to find qualified people to seek your answers from. Yes, anyone can help motivate you but not everyone understands the science behind certain things.
I am by no means saying you must have a degree or certification to mean qualified but I am saying, you should seek experience and qualifications first vs. what someone does or just looks like.
Just scroll through your feed and see all the incredibly shredded, jacked, or ripped humans throughout the social world.
Take a quick look at his/her bio and BAM! GET JACKED or RIPPED like me NOW!!!!!
and in 12 HOURS YOU CAN BE TOO!!!!!!!!! SUBSCRIBE NOW!!!!!!!!
🙄Give me a break. If anyone of these persons is a real fitness expert they will tell you right off the bat, 21 days is garbage when it comes to BIG GOALS.
Hey, I'm all for whatever gets you 🏃moving and taking a step in the right direction but no that a quick challenge is just that, a small step to your larger goals. I get pretty upset when I see tons of people being taken advantage of this way because the sellers know you'd give anything to look just like them.
But like most of the people 🏆showcasing their bods on social media, if you want something like that, you have to work for it. In the kitchen, in the lab, and everywhere else around you. Your movement is your opportunity to reshape your body and image.
So, stop scrolling and wishing and instead, start moving!
The whole point of this article is to get you from the mindset of searching for the perfect diet, workout plan, detox, or whatever else everyone is trying to sell you on.
Pick something!
Literally, just pick one thing as in a type of diet or workout and try it out for 30 days with no exceptions to see how you feel. If you feel great, awesome, stay with that. If you feel ok then change-up a few things. If you feel like poop, then try something else. We (myself included) get into this mindset where we see someone else doing something or looking amazing and think oh hey! they must have the secrete.
You want to know the actual secrete?
The perfect plan is completely dependent on the individual, his/her goals, current biological status, and more! What works for you in your 20s may not even come close to work whats for you in your 40s. If you once ate pizza and never gained a pound but now look at a twix and gain 12lbs, well somethings going on now that needs to be addressed which was present before.
Instead of drooling over others, why not become the ultimate detective for yourself. And of course share your experience but again know, just because it worked for you doesn't mean it will work for the next person or anyone else in the world, for that matter.
Instead of working in absolutes like paleo = good/bad, high carbs = good/bad, sugar = good/bad, I believe we should be accepting of all and understand not everyone has the same goals or the same biology driven their fundamental processes. Also, youR body doesn't really work that way so why should you.
Biologically speaking, if you ingest a substance, the substance is broken down or not broken down which typically sets off a chain of events. Your body doesn't go, oh hey! everyone, sugar's back, let's close the doors on it because sugar is a bad substance.
Your body sees sugar as fuel and if you don't need that fuel right away, the body wants to store that fuel for later use.
Problems then arise when all we keep doing is giving our body fuel we don't need. This is why most diet plans end up working. They all usually have the same specs: eat more veggies, limit either cars or fats and then the opposite macro will be higher while your protein goal may vary depending on your exercise level and type.
What my colleagues don't want you to know is they don't have secrete workouts, secrete diets, or anything else you can't easily access from the internet these days. In general, grab a simple workout plan to follow for 12 weeks.
Institute healthier eating or pick one of the many diets out there to try for 30 days. I usually suggest starting on the diet for 1-2 weeks then starting a 12-week protocol but that's ultimately, your call.
Lastly, I will, however, suggest if you are at an elite level, an athlete, very serious about your workouts, health, etc. hands on coaching is where you need to be. And the difference between a good and a great coach can make or break your peak performance.
*If you'd like more information, check out our programs EQ-37 Athena for the ladies and EQ-Hercules for the fellas.


text:
Clacker Rattle
This natural wooden rattle makes a clacking sound when turned or shaken. Handmade from birch, cherry, walnut, and maple, this developmental toy is as eye-catching as it is wholesome.
All of the Summer Afternoon toys are finished with a combination of non-toxic, kid-safe linseed oil and natural food-safe beeswax.


text:
I love using real things for teaching English. By "real things" I mean something from real life – and not something specially developed for learning or teaching. That's why I prefer usual movies (and not educational ones – they are hardly very exiting, most of the times, usual radio and not "special English" stations, and usual newspapers (not the ones for ESL learners).
Talking about the newspapers, their use in class (and outside too) is limitless. Actually, if you have a newspaper with you, you might never have enough time to even open your coursebook – that black&white double-pages provide tons of material. And not only for reading.
Newspapers can be used for:
jigsaw reading (in a group, assign each student a small extract, then ask them to report on their part and put all the parts into the right order/ for one-to-one putting the parts into the right…
View original post 609 more words


text:
Can a website help strengthen a community?
We think so. And that was our goal working with Cuyahoga Arts & Culture on a responsive website redesign.
Cuyahoga Arts & Culture (CAC) is the public funder for arts and culture in Cuyahoga County, Ohio. Each year CAC invests more than $15 million in organizations that bring art and culture to local Cleveland communities. That translates into tens of thousands of programs and events that enhance education, enrich the quality of life, and support the local economy.
So what was the problem?
The old website didn't have event filtering options, so it was hard to find information about the variety of events in the area. CAC also had to enter all of the information for thousands of events and programs on their own.
Collaborative and filterable events calendar
We helped CAC develop a dynamic event calendar that would shows the variety of events and programming gives visitors more search options for events and allows cultural partners to submit their own event information into the system.
Visitors can now sort events by
- Date
- Price
- Category
- Area/Location
Goals for the project supported by CAC's mission and vision
- Increasing attendance at arts and cultural events, by making event information easier to find and filter.
- Making it easy for partners to provide event information, reducing the administrative burden on CAC team.
- Being transparent to the public by communicating how and where tax dollars are being used, making board meeting minutes available for download, and communicating the grant process.
project components
Every project is different and requires a range of components to accomplish the goals. Here's what went into this one.
Responsive Web Design
Microsoft .NET
SQL Server
Full Custom CMS
the results
To be considered successful, every project must meet or exceed its goals. Here's how this one is performing.
"After reviewing proposals for our new website from many firms around town, Aztek was the clear choice to build value for our users and meet our unconventional website needs. Throughout our work together, the Aztek team was professional, responsive and attentive to our requests for a user-friendly website and custom content management system to streamline our work. The finished product is fresh, engaging, and easy to use on any platform. As a result, our web traffic and engagement continue to increase. We're better positioned today to serve our stakeholders and our community."


text:
Westwood Ground Maintenance is proud to be Burton on Trent's finest landscaping company. With a lasting commitment to designing and building top-quality gardens, public parks and grounds, our team of skilled experts will create the outdoor space you've always wanted. We're a small, family-run company, committed to maintaining our reputation. That said, there's no project we're not able to manage, no matter how large!
First Impressions Count – At Home and in Business
Your business premises are the first thing prospective clients and customers see about your company, so why not make a great first impression by having your premises surrounded by a lush and welcoming landscape? Doing so suggest care, attention to detail, presentability and professionalism.


text:
Employee Volunteers for Co-Training "Refugee-Employees"
An asylum seeker, once recognized as a refugee, is able to be employed. However, access to the employment market often depends on the refugee's knowledge of professional, cultural and network codes, etc.
As a responsible company, Sanofi offers employee volunteers an opportunity to participate in mentoring refugees.
In France, for example, through a partnership with Kodiko, an association specializing in this approach, employees work in tandem: "1 refugee – 1 employee volunteer" are trained on the basis of proximate professional skills or interests.
The tandem is constituted for a six-month period and can be renewed once.
The refugee and employee meet once every two weeks at the employee's place of work. The employee volunteer helps the refugee to better understand the organization of the labor market, recruitment rules and the codes and practices within the company…
In Denmark, Sanofi's subsidiary has undertaken an identical initiative in partnership with the municipality of Hørsholm and the Red Cross.
Beyond the refugee's interest, it provides an opportunity for the employee volunteer to engage in a meaningful action and contributes to social inclusion through listening, supporting and flourishing differently at work.
For Sanofi, it provides an opportunity to unite employees around strong commitments.


text:
I was barely born when XTC's fame was at its highest, that is likely why I've never heard of them till today. Their song titled "Dear God" has some really awesome Atheism inspired lyrics and I wanted to share it. In the song, XTC question if God made disease and "did you make mankind after we made you?"
Listen to the other version samples below. Let me know what you think in the comments. Does XTC offer any value to other Atheists?
Sarah McLachlan has a different but still powerful take on the song.


text:
Although most of Greenland is covered in ice, Erik the Red named it Greenland to attract potential settlers. more...
August 18 , 2005 : The BTK killer was sentenced to 175 years in prison. more...
Learn something new every day
More Info... by email
The Reformation, sometimes known as the Protestant Reformation, was an event that split 16th century Western Christianity, markedly altering the nature of Christianity. Prior to this event, Christians in the West viewed the Pope as their spiritual leader, following the tenets of Roman Christianity. Afterwards, an assortment of Protestant churches rose in opposition to Rome, allowing Christians a greater number of choices that continue to proliferate to this day.
While many people generally agree that the reformation started in 1517, when Martin Luther nailed his famous 95 Theses to a church door, its roots date back to the 1300s, when Christians first began to be concerned about what they viewed as major problems with the Roman Church. Dissidents were few in number, but vocal, and Luther's incendiary act proved to be the catalyst which sparked a change.
This event was primarily driven by fundamental disagreements about the nature of Christianity and the role of the church. Protestants rejected the authority of the Church when it came to salvation, pushing a personal role in salvation and restricting the role of the church. Roman Catholics, however, believed in the Church as the ultimate authority, with the Pope as its leader. Both sides had access to the printing press, which helped advance their ideas far more quickly than would have been possible before.
Many Protestants accused the Roman Church of being deeply corrupt, arguing that it had departed far from the original intent of Christianity. They pointed to widespread corruption as evidence of this, as well as the immense wealth that the Church had accumulated. Upstarts like Martin Luther, John Calvin, Ulrich Zwingli, John Knox, and others began to preach their own version of Christianity, arguing for a return to earlier Christian belief and for greater simplicity, with less interference from the Church in religious life.
The Roman Church retaliated with the Counter Reformation in 1560, as it saw the movement gaining ground and growing steadily more popular with European Christians. The result was decades of war, religious strife, and chaos in Europe as Christians tried to hold their ground on one side or the other. Ultimately, the Peace of Westphalia in 1648 put an end to the religious battling and supported the rights of Christians to worship in peace, although many Protestant sects continued to experience problems.
Today, many branches of the Protestant church are flourishing all over the world, as is the Roman Catholic church. Leaders from Protestant and Roman religious organizations often express mutual respect and admiration, stressing that they share common ideals, goals, and beliefs, even if they disagree about the precise nature of worship.
Post 14
@clintflint - Yeah, I remember when I was doing religious studies at university, we went on a field trip to both a Catholic and a Protestant church and the priest and the pastor were both very respectful about their counterpart. Respectful, but also joking about it, which was cool. The Catholic reformation pretty much took care of the corruption that sparked off the Protestant reformation.
I guess if you really believe in your religion though, all the little details really matter. I do agree, though, that it's strange that many Christians seem more disgusted by different forms of Christianity than by other religious types.
Post 13
It's always struck me as funny how vehemently many Protestants seem to want to condemn the Catholic church as being "completely heathen" and "not genuine Christians" when they as essentially the exact same as the average Protestant church. Sure, the Catholics were extremely corrupt around the time of the reformation, but now I'd say the two kinds of church are about as corrupt as each other and, frankly, you hear about Protestant-style corruption much more often these days.
I guess it comes from a basic misunderstanding of what both denominations actually stand for. Most people are simply happy to have a "them" so they can feel like it's "them vs. us". They make religion into a football game.
Post 7
Denominationalism has followed Rome, hence the "Great Apostasy'!
The reformers were the actual teachers of the Christian faith, but as anon50942 says, the ones who did not follow the 'Pope'(Rome) and this is a rarity today to find those who do not follow Rome and I am one of those Christians.
Post 3
this is amazing.
Post 1
This article is only partly true. There were always Christians outside the Catholic church who did not follow the pope nor the church of Rome. These Christians would be considered today by Bible believing Christians to have been the genuine Christians throughout history.
One of our editors will review your suggestion and make changes if warranted. Note that depending on the number of suggestions we receive, this can take anywhere from a few hours to a few days. Thank you for helping to improve wiseGEEK!


text:
"The Mat" Fondant Application System
This 2-mat system is a revolutionary way to roll out and cover a cake with fondant. It's powder-free method keeps workspace clean and maintains freshness of fondant. THE MAT produces a professional porcelain-like finish with every application.
Measuring 30 X 30", THE MAT is large enough to cover up to a 20" cake (4" high) with ease.


text:
In life there is always compromise with sacrifice. The way your ride your motorcycle shouldn't have to be one of them. Uni-Go Trailers provides one of the safest motorcycle trailers that you wont even notice you're towing. With styles to match any bike you will not have to compromise anything.
Superb Handling
Regardless of the load weight, the Uni-Go suspension system eliminates bounce to create an exceptionally smooth and stable ride. Even when the motorcycle trailer is fully loaded, Uni-Go has minimal effect on your bike's cornering and braking abilities.
Ride like you do!
Uni-Go tracks perfectly inline with your bike.
Ride the best lines – Uni-Go leans with you into the corners. It has minimal effect on fuel consumption by towing in the bike's slipstream.
It's no wider than the bike – wherever it fits, so does the trailer.
*Uni-Go and Uni-Go Motorcycle Trailers is a registered trademark of Schoolhouse Motorcycle Accessories, Inc.
Showing all 3 results


text:
2018 Hyundai Santa Fe
SE 4dr SUV AWD (3.3L 6cyl 6A)
$616/mo est.
Price Analysis
306 Days on Lot
Selling slowly, this dealer is motivated to sell soon
Vehicle Details
Ext. Color:
Circuit Silver
Int. Color:
Gray cloth
Drive Type:
all wheel drive
All Features and Specs
Rear air conditioning with separate controls
50-50 Third Row Seat
Manual Folding Third Row Seat
Rear spoiler: Lip
Bluetooth wireless phone connectivity
Digital Audio Input
In-Dash single CD player
Audio system memory card slot
MP3 player
SiriusXM AM/FM/HD/Satellite Radio
Speed Sensitive Audio Volume Control
Total Number of Speakers: 6
Braking Assist
ABS and Driveline Traction Control
Stability control
Privacy glass: Deep
Silver aluminum rims
Wheel Diameter: 18
Wheel Width: 7.5
Driver knee airbags
Urethane steering wheel trim
Urethane shift knob trim
Simulated wood dash trim
Metal-look door trim
Roof rails
Video Monitor Location: Front
Trip computer
External temperature display
Manufacturer's 0-60mph acceleration time (seconds): 6.1 s
Auxilliary transmission cooler
Power remote driver mirror adjustment
Heated driver mirror
Heated passenger mirror
Power remote passenger mirror adjustment
Dual illuminated vanity mirrors
Daytime running lights
Heated windshield washer jets, Wiper park
Rear heat ducts with separate controls
Audio controls on steering wheel
Blue Link
Front reading lights
Anti-theft alarm system
Premium cloth seat upholstery
Bucket front seats
Split rear bench
Fold forward seatback rear seats
Rear seats center armrest
Tilt and telescopic steering wheel
Speed-proportional electric power steering
Suspension class: Regular
Interior air filtration
Automatic front air conditioning
Dual front air conditioning zones
Tire Pressure Monitoring System: Tire specific
Cargo area light
Max cargo capacity: 80 cu.ft.
Vehicle Emissions: ULEV II
Fuel Type: Regular unleaded
Fuel Capacity: 18.8 gal.
Instrumentation: Low fuel level
Clock: In-radio display
Headlights off auto delay
Dusk sensing headlights
Coil front spring
Regular front stabilizer bar
Independent front suspension classification
Strut front suspension
Four-wheel Independent Suspension
Coil rear spring
Rear Stabilizer Bar: Regular
Independent rear suspension
Multi-link rear suspension
Front and rear suspension stabilizer bars
Variable intermittent front wipers
Steel spare wheel rim
Spare Tire Mount Location: Underbody w/crankdown
Chrome grille
Center Console: Full with covered storage
Overhead console: Mini with storage
Permanent locking hubs
Curb weight: 4,178 lbs.
Gross vehicle weight: 5,622 lbs.
Overall Length: 193.1"
Overall Width: 74.2"
Overall height: 66.5"
Wheelbase: 110.2"
Front Head Room: 39.9"
Rear Head Room: 39.4"
Front Leg Room: 41.3"
Rear Leg Room: 40.4"
Front Shoulder Room: 59.4"
Rear Shoulder Room: 58.3"
Front Hip Room: 56.7"
Rear Hip Room: 55.4"
3rd Row Head Room: 35.7"
3rd Row Leg Room: 30.9"
3rd Row Shoulder Room: 53.9"
3rd Row Hip Room: 44.1"
Four 12V DC power outlets
Transmission hill holder
Seatbelt pretensioners: Front
Rear center seatbelt: 3-point belt
Door reinforcement: Side-impact door beam
Cargo tie downs
Rear quarter windows: Wiper park
Cupholders: Front and rear
Door pockets: Driver, passenger and rear
Seatback storage: 2
Tires: Width: 235 mm
Tires: Profile: 60
Tires: Speed Rating: T
Diameter of tires: 18.0"
Type of tires: AS
Tires: Prefix: P
Left rear passenger door type: Conventional
Rear door type: Liftgate
Right rear passenger door type: Conventional
Body-colored bumpers
Integrated roof antenna
4 Door
Selective service internet access
Driver airbag
Manual child safety locks
Rear View Camera
1 USB port
Apple CarPlay & Android Auto mirroring
Halogen projector beam headlights
SiriusXM Satellite Radio
Dealer Information
Contact Information
Garvey Hyundai North
271 Tom Miller Rd, Plattsburgh, NY 12901
More inventory from this dealer
* MSRP is the Manufacturer's Suggested Retail Price for this vehicle as provided to Edmunds.com by the dealer for reference purposes. Prices are always subject to direct negotiation between the buyer and the dealer. This price may or may not include this vehicle's destination charge or applicable taxes or fees.
This listing is displayed subject to the Edmunds.com Visitor's Agreement.
related vehicle information
More 2018 Hyundai Santa Fe Vehicles For Sale by City
- 2018 Hyundai Santa Fe for Sale in Arlington, TX
- 2018 Hyundai Santa Fe for Sale in Denver, CO
- 2018 Hyundai Santa Fe for Sale in Fresno, CA
- 2018 Hyundai Santa Fe for Sale in Baltimore, MD
- 2018 Hyundai Santa Fe for Sale in Washington, DC
- 2018 Hyundai Santa Fe for Sale in Charlotte, NC
- 2018 Hyundai Santa Fe for Sale in San Diego, CA
- 2018 Hyundai Santa Fe for Sale in Fort Worth, TX
- 2018 Hyundai Santa Fe for Sale in Mesa, AZ
- 2018 Hyundai Santa Fe for Sale in San Antonio, TX
- 2018 Hyundai Santa Fe for Sale in Colorado Springs, CO
- 2018 Hyundai Santa Fe for Sale in Louisville, KY
- 2018 Hyundai Santa Fe for Sale in Kansas City, MO
- 2018 Hyundai Santa Fe for Sale in Las Vegas, NV
- 2018 Hyundai Santa Fe for Sale in San Francisco, CA


text:
Tampa-area Verizon Communications Professionals
Tampa-area Verizon Communications Professionals Benefit from TSOD's Team Building Workshop
January 26, 2011
Tampa, Florida) Training Services On Demand provided a half-day Team Building workshop for Verizon employees in Temple Terrace, near Tampa, Florida. Participants gained a heightened awareness of themselves and their colleagues: How they naturally communicate (or fail to communicate), make decisions (or fail to do so), and form relationships (or not). During the workshop, team members participated in activities that clarified team dynamics and challenges.
Verizon Communications Inc. is a global broadband and telecommunications company and a component of the Dow Jones Industrial Average. It started in 1983 as Bell Atlantic (based in Philadelphia) with a footprint covering New Jersey to Virginia and NYNEX (based in New York City) with a footprint spanning from New York to Maine that emerged as part of the 1984 AT&T breakup into seven "Baby Bells." As of 2010, the company listed revenue of US$ 106.565 billion, net income of US$ 10.217 billion, and nearly 200,000 employees.
Training Services On Demand (TSOD) is a top-tier provider of training and employee development solutions. TSOD provides onsite training at customer locations for complete teams, ensuring that its programs leverage team insights and produce team-oriented results. The company's seminars and workshops are available nationwide at fully bundled tuition rates. Combining proven curricula, expert facilitators, and modest tuition schedules, TSOD ensures the availability of high-quality employee learning experiences to a growing, blue-clip client portfolio.


text: Amazon is offering Cottonelle Ultra Comfort Care Toilet Paper, Bath Tissue, 24 Mega Toilet Paper Rolls for $15.99 shipped when you subscribe and save and clip the 20% off coupon. And if you have 5 subscriptions in the same month you'll get 15% off ALL of your subscriptions. You can unsubscribe at any time. And Amazon will email you with plenty of time to cancel before your next shipment in case you forget.


text:
I was an orphan, a child of the streets. Well, at least the corners of those streets.
Ok, before you start to think this is the beginning of some Stephen Sondheim musical spectacular, I'm not talking about my "real" life. I have a fabulous mother; some of you may have seen her at a show, when I've brought her onstage to embarrass her after explicitly promising before the show that I won't. (This time, I swear, I won't.) Of course I bring her up on stage and make her part of the show. Even though I tease and I poke at my audiences, everything I do is out of love. So when you love someone, you include them and you show them off. You make them feel special. That's what families do.
No, I'm talking about my lack of a drag mother.
When I was first getting started, I had to find my own way. I didn't really know very many performers and there weren't any drag shows happening locally. So as I started to play around with drag, I found another outlet: I became a party girl. Not a hooker, you perverts. A party girl. I would get all dressed up in whatever tragic ensemble I'd found on clearance at Sears (remember when Sears used to be in the Kmart "dirt" mall? Oh yeah, bitches – I'm old school!), my latest cheap plastic, neon-colored pageboy wig from Spencer's and go find a party. Back in the day, I knew a lot of the downtown, art-slash-punk, indie band kind of crowd, and even if I was a little tragic, they'd invite me to their parties because they knew I'd get rip-roaring drunk, make people laugh, try to kiss someone's husband, and eventually end up gracefully passed out on a stranger's kitchen floor (assuming I wasn't passing out in bed with the aforementioned husband!).
I had to sort of make it up as I went along. I didn't have a lot of cash, so much of my early wardrobe stank of Walmart sweatshops or the softer side of Sears, with occasional splurges to buy mini-dresses from Frederick's of Hollywood that were some sort of strange-smelling synthetic fabric that sparkled nicely but made me slightly terrified of open flames. I learned about makeup by trying to find whatever resources were available on the internet (and this was the late 90s, way before YouTube and blogging were glimmers in a proud programmer's eye) and just diving in – going to the drug store to buy what I could on the cheap and slapping it on my face until it look not too tragic. And a little less tragic after that. And a little less after that. I don't regret any of my experiences. Even the times where I looked…ummm…"less than flawless" was a learning experience that helped me grow as a performer and as a person, but it also helped me realize how important the role of the drag mother can be.
For some people, drag mothers are just the people who get them ready to go for the first time or the queen who paints their face for them. And that's fine. Just like there are all different kinds of families, there are all different kinds of drag families, and they all structure themselves and define themselves a little bit differently. For me, I like to think of drag family as something different. For me, I don't think a mother needs to get her daughters ready or even be the one to launch them out into the performing world. Both of my current drag daughters, Sally Bowles and Kelly Coxsyn, were performers before I dug my talons into them and dragged them into my crowded yet well-accessorized nest. It wasn't that I thought I was a better performer or that I had so much to teach them; I chose them because I enjoyed their personalities, their performances, and their spirit. I felt that we connected around the idea of what drag could be, about what it meant to be a performer. Even if we don't always agree, we can talk about things we've seen or things we want to try and these discussions are tremendously engaging. Sometimes I'm able to push them and help them grow, but they do the same for me. What I have to teach them is largely the result of ridiculous mistakes I've made that once seemed terrible, and now make us laugh.
For me, drag is all about community. I don't dress up at home to look at myself in a pretty dress or to feel the luxurious feel of soft fabrics. That's all great too, but I'm in it for the performing, for the crowd. Drag is about sharing something with a group of people in a room, about connecting with people no matter where they are at in their lives, or how different you think you might be. Drag is empowering: it allows us to play with gender, the press against those strict boundaries that hold us in, and see where we can create some wiggle room. And no matter what those Minneapolis-airport-dick-sucking-closeted-khaki-wearing-Log-Cabin-queers might tell you, drag has been an absolutely essential part of the queer community for about as long as there has been a queer community. Drag queens were at the Stonewall riots throwing bricks, and drag shows have raised countless dollars for queer causes at all level, from small fund-raisers for community members who are fighting AIDS or breast cancer to large events benefiting national activism for marriage equality and employment protections, and all of this while being told that our voices are not mainstream enough, our issues not "really" queer issues, and our faces – at least our painted faces – not welcome at the table.
That is why we need strong drag mothers. To remind us that we are an important part of our communities, even when our communities themselves forget it. We need to encourage each other to keep going, to work on our performances and to always strive to be better, because there is nothing, and I do mean nothing, in the world that can compare to the feeling of really connecting with a crowd and feeling that exchange of energy. We need strong drag mothers to ground us – in this world where every single word you hear about drag lately seems to be about pageants and competitions, it's easy to lose your head and think that the only way to be a better performer is to do better and be better than those around us. And oftentimes, we try to do that by belittling and demeaning those other performers. But just as that tragic trainwreck of teen angst, Lindsay Lohan, learned in the math-induced climax of Mean Girls, tearing somebody else down doesn't boost you up at all; it just brings everyone down.
Who you are and how you develop as a performer doesn't depend on how many titles you have or how much shade you can throw at the other girls around. It depends on how you carry yourself, the effort you put into your performances and the way you chose to evolve. It depends on how you decide to be (or to not be) a positive force in the communities in which you live. More than makeup tips or styling choices, that is what I've tried to model for my drag daughters and that's what I hope they pass on if they decide to have "children" of their own. It's important because I really do believe that drag can be a powerful type of performance that can give the audience something to think about while also being tremendously entertaining. And the only way we as performers are going to raise drag to this level is by working together and building each other up instead of tearing each other down.
After all, that's what families do.
Tags: communities, drag family, drag houses, drag mother, drag performance, Flawless, Janessa, Janessa J, Janessa J Champagne, Janessa Jaye, Janessa Jaye Champagne, Lindsay Lohan, Log Cabin Republicans, Mean Girls, performance art, queer activism, queer communities


text:
FOXBOROUGH, Mass. – Joe Flacco threw a 5-yard scoring pass to Dennis Pitta with just over 6 minutes left in the third quarter and the Baltimore Ravens led the New England Patriots 14-13 in the AFC championship game Sunday.
The throw capped the Ravens' best drive of the game, covering 87 yards in 10 plays. It started with a 15-yard defensive pass interference penalty. Then, Flacco completed six of his other nine passes on the series. Three of them went for first downs – 22 yards to Pitta, 15 to Ray Rice and 12 to Anquan Bolden that gave the Ravens a first-and-goal at the Patriots 10-yard line.
Flacco then connected with Pitta for a 5-yard pass and finished the drive with another 5-yarder to Pitta, who easily beat single coverage by safety Steve Gregory.
Stephen Gostkowski had given the Patriots a 3-0 lead with a 31-yard kick with 6:21 left in the first quarter. But the Ravens went ahead on Rice's 2-yard touchdown run with 9:28 to go in the second.
Wes Welker then scored with just over 4 minutes remaining in the half on a 1-yard pass from Tom Brady and the Patriots increased their lead on Gostkowski's 25-yard field goal on the final play before intermission.
But New England suffered three injuries in the first half. Cornerback Aqib Talib hurt his thigh and defensive tackle Kyle Love injured his knee. The return of both starters was questionable. Backup safety Patrick Chung was helped off the field after one play.
A win Sunday would send the Ravens (12-6) to the Super Bowl for the second time and extend the 17-year career of linebacker Ray Lewis, who has said he will retire after the season.
A victory would put the Patriots (13-4) in their eighth Super Bowl, tying the Dallas Cowboys and Pittsburgh Steelers for the most all time, and Brady in his sixth.
The winner of the game plays the San Francisco 49ers in the Super Bowl on Feb. 3.
The Patriots played without tight end Rob Gronkowski, who broke his left arm a week earlier in their 41-28 divisional win over the Houston Texans.
New England outgained Baltimore 214 yards to 130 in the half. Brady completed 14 of 24 passes for 139 yards, while Flacco went 6 for 12 for 81 yards. Neither team committed a turnover.
The Patriots began the scoring on Gostkowski's kick, ending a 13-play, 67-yard drive during which Brady completed five of seven passes for 55 yards.
Rice's touchdown ended a 13-play, 90-yard drive that lasted 5:51. Flacco threw completions for first downs of 17 yards to Pitta, 11 yards to Rice, 8 yards to Bernard Pierce and 25 yards to Torrey Smith. With a first down at the Patriots 15-yard line, Rice ran for 8 and 5 yards, giving the Ravens a first down at the 2.
After Flacco threw an incompletion out of bounds, Rice took a handoff, ran to the left and scored easily.
Welker's touchdown came 4:18 before intermission and capped an 11-play, 79-yard drive. He scored on a pass to the right as cornerbacks Corey Graham and Chykie Brown appeared to get crossed up on their assignments.
On the first play of the series, Baltimore's Dannell Ellerbe was penalized 15 yards for a blow to the head. Then a 24-yard completion from Brady to Welker gave the Patriots a first down at the Ravens 16-yard line.
Both teams punted on their first possession before the Patriots began their scoring drive at their 21-yard line after a 50-yard punt by Sam Koch.
The Patriots began the series with Brady's 8-yard completion to Brandon Lloyd. The pair teamed up for three completions, gaining 37 yards, on the drive.
The Ravens punted on their first three possessions in the first quarter. The Patriots punted on three of their four series, forcing Baltimore to start deep in its territory.


text:
The Gabby Lainey Swivel Chair is a unique custom swivel club chair with a soft rolled arm. It was inspired by Gabby's popular Theo Chair with columnar upholstered front and grounded with Antique Brass nailhead trim. Customize it with any of Gabby's Tailored Collection of custom leathers, fabrics or COM.
Available in leather or fabric. For COM Orders, please see link below for base yardages.


text:
School counselors, teachers, principals and community agency staff are all coming together to make a difference.
Denver, Colorado (PRWEB) August 18, 2015
Over 40 workshops featuring experts in the field include: Cyber Bullying, Trends in Bullying Prevention, Why and How We Change to Improve School Climate, Strategies to Reduce Bullying, Interviewing Techniques and Restorative Practices. Details on each workshop can be found at http://www.ibpaworld.org.
This year's theme: Reaching New Heights in Bullying Prevention through Empathy and Kindness.
The IBPA Conference features exhibits from veteran and emerging companies providing services and products in the field. Participants come to learn the latest research findings about effective programs and share successful strategies they are using in the communities they work and live in.
Facebook has generously provided $100 off scholarships to a limited number of participants that work in or with rural school districts. These scholarships are available on a first come, first serve basis by entering FB15 in the discount code box of the online registration form.
With presentations available on topics to help implement evidence-based prevention programs, it's a great time to consider how you can help raise awareness about bullying and take action to stop it. Tell us what you are going to do by engaging on Twitter: ibpaworld and visiting http://www.ibpaworld.org to reserve your seat at this important event.
Organizations that are making bullying prevention a priority and that supported this conference include: Facebook, Cartoon Network, Hazelden, Committee for Children – Second Step, Colorado Department of Education and the Colorado Education Initiative.
Twitter: ibpaworld
International Bullying Prevention Association is a 501 (3)(C) Non-Profit Organization.
PO Box 99217, Troy, MI 48099 800-929-0397 http://www.ibpaworld.org
The mission of the International Bullying Prevention Association is advancing bullying prevention best practices.


text: From: "Amtoine Grant" <email@example.com> writes: > On that, has it been proven that the hind legs were held in a > horizontal plane as Microraptor is often pictured? On this very list, some have claimed such a position would dislocate the legs, while others have written that _Microraptor_ had unusually flexible hip joints (though not necessarily sufficient to support both legs in a horizontal plane), and others are withholding judgement until further studies and specimens provide more information. The archives are endless -- profit by their wisdom, or ignore them at your peril. > Or perhaps even > which direction the feathers pointed? The orientation reportedly differs somewhat between specimens. Whether this reflects the variety of positions the living animal assumed or taphonomic mischief is a good question. Probably a mix of the two. > > It _would_ be nice to get full fluff, complete with tail fans and > > wings on the JP 'raptors. Hear! Hear! But rather late in the series unless they are presented as a "new, improved" generation of raptors. Or maybe we can hope for "special editions" of all of the films, with integument and every other gaffe fixed. As if! > Hold on, goats can climb trees?! Mountain edges & cliffs are one thing, > but trees? Yes. Goats can climb trees. See http://www.davidhaberlah.de/galleries/redsea/pages/rs_04.html. C'mon, folks, do a "google images" search before you assume that it's impossible! > Has anyone done any comparisons between dromaeosaur hindlimbs & > kangaroos, the quintessential 'hoppers' of our day? I seriously doubt that this is an apt comparison. On the other hand, my understanding (and please correct me if I am wrong)is that dromaeosaur hindlimbs and tails would be well suited for leaping and kicking, though not in the style of bounding kangaroos. > Besides launching > from trees or a running start, hopping/leaping is the next logical > precursor to wanting to increase hangtime. Which brings me back to my > first point on spring-loaded toe claws. Given that they're pretty round > in cross section and less made for slicing, it may be a possibility > that may have used them to sort of anchor, then using the spring loaded > action(lol, G.I. Joe) used them to slingshot themselves forward. Only > they couldn't do this on rocks. They could off a branch though. . . Oh, my. We do seem to be conflating our functional morphology speculations with cartoon actions. And no, sickle claws (known to us by their bony cores, I hasten to add) are not round in cross-section. For the most part they resemble nothing so much as cat claws, and they may have been much sharper in living dromaeosaurs with the keratin sheaths intact. And wouldn't the claws hook into a branch just when the dromaeosaurs attempted to launch themselves forward? Sounds like a Wile E. Coyote move to me! Not that I'd put it past the capabilities of "smarter than chimps" "fast as cheetahs" movie raptors. Those guys can do anything the scriptwriter tells them. -------- "Dino Guy" Ralph W. Miller III Docent at the California Academy of Sciences proud member of the Society of Vertebrate Paleontology


text:
Our goal is to provide a safe and spiritually stimulating environment for our most precious gifts from God — our children. We are committed to providing a loving, nurturing atmosphere in our nursery.
(FUMCLV is a Safe Sanctuaries Church and all Kids Zone nursery employees and volunteers are required to have a background check. Your children may be photographed or video recorded for Church purposes.)
Class Schedule
Care is available on Wednesday evenings for ages 6 weeks through 5th grade in Rooms 216.
Nurseries are provided on Sunday mornings for 9:30 & 11:00 adult worship services for 6 weeks to Kindergarten (see below).
|Mustard Seed A
|Room 215
|Mustard Seed B
|2's and 3's
|Room 213
|Children's Church
|Age 3 or 4 by Sept. 1
|Room 214
Our Staff
Our staff is CPR and first aid certified. We strive to ensure that our nurseries are efficient, safe and sanitary.
- Our nursery staff arrives early to prepare their classrooms.
- Children can be checked-in 10 minutes prior to Sunday worship and other scheduled activities.
- Check your child(ren) at their room(s). (If it is your first time visit, please check-in with a staff member.)
- Parents, please hand children over the half door, or for older children, open the door and close it immediately. (One child at a time please.)
- Your child will only be released to authorized adults in your online profile. (brightwheel app)
- Adults may be asked for an id at pick-up.
Security is of the highest priority for our nursery.
On your first visit, your child will be entered into brightwheel. You are encouraged to download the brightwheel app to complete your child's profile for secure pick up and communication.
Please keep your phone on vibrate at all times while your child is with us in the nursery.
What To Bring
Here are a few things we recommend you bring with your children when they visit the nursery:
- Bottle/Cup, disposable diapers (Children who are not fully potty trained must be in a diaper or pull-up), pacifier, etc.
- If your child uses a pacifier, we require that you bring the clip-on type.
- A spill proof cup with clear liquid for snack time clearly labeled with your child's name.
- Complete change of clothes.
*Please be sure all personal items are labeled including diaper bag or backpack.
*If you are in the early stages of potty training, please let your child's teacher know, so we may support you in your efforts.
Behavior and Discipline
We utilize positive reinforcement methods, such as speaking to the child about what was done, refocusing his or her attention and, if needed, providing short periods of time away from the group until the child can act appropriately.
Good behavior is always expected of children in the nursery. If a child's behavior becomes disruptive to other children, parents will be called for a conference or for discussion of possible solutions.
Please do not bring sick or contagious children to the nursery. If a child is showing signs of fever or infection, we reserve the right to return the child to the parent. Signs of illness include, but are not limited to:
- Severe or persistent cough
- Unexplained rash or spots
- Yellow or green discharge (from nose, eyes or ears)
- Earache
- Sore throat
- Temperature over 100 degrees
- Vomiting
- Diarrhea
- Any skin infection
Children may return to the nursery after they have been symptom free or on antibiotics for a full 24 hours. We cannot administer any medication to children. Please do not place any medication in a child's bottle or cup. If your child has a diaper rash, please advise the nursery staff.
We will administer a topical ointment if the ointment is provided in the child's diaper bag with written parental permission.
The nursery staff have the final responsibility of determining whether or not a child may stay in the nursery. We have the authority to refuse to take a child who appears to be ill, and also notify parents if a child becomes ill during attendance and needs to be taken home.
General Guidelines
We require that parents remain at the church while children are in the nursery. Our weekday and evening nurseries are not equipped to provide care to children whom a church member is sitting or providing home daycare. During the week, nursery is provided for approved church related functions through pre-planning and scheduling by the event leader.
Children are not allowed to bring food into the classrooms. Parents are more than welcome to use the Spotlight Cafe to feed their children before bringing them to the nursery. Generally, a light snack is served during each scheduled nursery.
Please make the nursery staff aware of any food allergies your child may have. Please see that we are advised in a detailed, written format explaining all specific allergies and reactions.
Due to State of Georgia guidelines on non-licensed childcare facilities, children under the age of 2 may not be in nursery care for more than 8 hours per week.
Older Childcare
For your child's safety, we request that you not leave your children unattended at any time in any area of the church facilities. If a parent chooses not to use our older childcare program, the child or children must remain with their parent.
We recommend that your children bring one of the following for their use during the program:
- Homework
- Games
- Reading material
- "G" rated movies
Nursery staff reserve the right to set aside any materials that are not appropriate or are disruptive to the group. All policies previously stated for younger children regarding behavior, sickness, security and food are the same for older children.


text:
How we play
- Details
- Last Updated on 13 January 2016
Scheduled Games
During the first couple of hours, the games are made by the club's committee members to ensure everyone has their share of court time and a mixture of games. We may at times delegate the task to other members if the committee members are unavailable.
At the commencement of each round of games:
- Please check your name on the whiteboard for the court that you are on, along with the name of your partner. Should the game be one-sided, you may swap partners after the game ends.
- All selected players then take to the court at the same time and play until the bell rings (about 15 minutes).
- The next set of games then follow from the first step.
Try not to complain about the games you have or have not been given. We are all volunteers and have to take care of many players at any one night and mistakes can be made. If you think there may be a mistake (like sitting out twice on a quiet night), you may kindly bring it to the attention of the committee member who is making the next round of games.
As we are a social badminton club, we also expect players to be open to playing games with players of all levels. If you find this unreasonable, then it is likely the club will not suit your needs.
Scoring System
Either the old or new rules can be used, as long as there is a consensus amongst all players on the court.
In the old scoring system, points are only won on serve and the game is played up to 15. A 3 point tie break is played if needed (at 14 all). Each side also receives a second serve.
In the newer Rally Point Scoring system, points are won after each rally and the game is played up to a minimum of 21 points with a winning margin of at least 2 points. There is no second serve.
If the game finishes prior to the bell going off, players can continue with the current game or start a new one.
We have a shuttlecock allocation system designed to ensure the smooth running of games and prevent unnecessary confusion and wastage.
- We have a tray with slots numbered from 1 to 4 where shuttlecocks are allocated to each of the 4 courts.
- If you are on a game, take the shuttlecock allocated to your court ONLY. For example, do not take court 4's shuttlecock if you are on court 1.
- If you are on a game and you do not see a shuttlecock for your court in the tray, this means the shuttlecock has already been taken by a player on your court.
- Along with the allocated shuttlecock, you are free to take any of the used shuttlecocks for warm-up.
- Upon completion of your game, bring back ALL shuttlecocks regardless of condition back to the front desk.
- If you need a new shuttlecock during a game, return the used shuttlecock to a committee member.


text:
A risk is not a risk until you have something to lose.
How do you feel when you gamble? Do you get a cool rush at the thought of winning? Do you feel empowered and confident when you're handed a few cards? How does it feel when you've taken your last shot and you lose? How does it feel after you've thrown all your money in the slots and you're force to leave empty-handed? Are you upset? Mad? Do you feel
that it was a fair game? Do you feel the risk was worth the potential reward?
If you've been following my journey from the beginning (or welcome if you're jumping in now), you'll understand how I was left with those thoughts after my brief romance with long-time friend, S*. I found myself not only sad for us, but I was disappointed that these were the people we grew up to be after spending so many of our most pinnacle years together. Was this really who we were now? Is this what happens when best friends try to be more? How do I escape from this complex place of mourning for what we had and didn't have? How do I accept that fact that we had our chance at being more?…The chance for a real "us" that I always wondered if we would have….The chance that ended up being the thread that kept us together for all those years. It was gone. But what really kept me up at night was the fact that this person, this ghost, who was such an integral part of my past was not going to be anywhere near my future.
But was it worth it? Was the risk that we took worth the reward?
Please share your thoughts in the comment section.