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The Adventures Of A Street Musician
Part One
by Mickie Zekley © 1995 (revised 2013)
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"Mickie's Adventures"
Excerpts from a work in progress. Some parts are completed, some mere sketches. All taken from life. Enjoy the madness of it all!
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In 1961 when I was 15 years old I was visiting my friend Harry. He recently got a guitar but could not figure out how to play it. I picked it up and plucked a few of the strings and it made music! I was very excited and thought I could learn to make music on the guitar. We had a Sears & Roebucks catalog. There was a Silvertone Special guitar in the catalog. It had a sunburst finish, steel strings and the catalog said that it had a great sound. I thought it was the most beautiful thing I had ever seen. I convinced my mom into taking me to Sears Roebucks to buy my first guitar, the Silvertone Special for $14.99. My parents were not musicians and didn't listen to music. This was a great departure from my previous experiences. I grew up in a small town in southern California called Tujunga (my hometown). There was only one music store with one teacher, Mr Myron. I was very excited about learning guitar and signed up for guitar lessons. I got to the lesson and I was very disappointment to find out that Mr. Myron the teacher couldn't play guitar. He expected me to learn to play the guitar by propping a beginning Mel Bay guitar book on a music stand in front of me and telling me to follow the instructions then banging chords out on the piano for me to follow along with. After 2 lessons I quit and started studying on my own by listening to records and trying to imitate the guitar parts that I heard on the recording that I liked.
When I was 16 I started teaching guitar. Mr Myron wasn't very happy because I ended up with all his guitar students, because unlike him I could play the guitar. By the time I turned 18 I had 48 students a week, some were in classes and some individual lessons and I was making great money for a teenager still in high school. I spent many nights every week, andy chance that I would get at the folk clubs in the Los Angeles area, the Ashgrove, the Garrett, the Ice House and The Fifth Estate were all wonderful places that you could listen or jam with many great musicians. I was very lucky to have had the experience of studying with David Cohen, Frank Hamilton & Bernie Pearl. In the front room of the Ashgrove there was as session space and I got to play with people like Taj Mahal, Ry Cooder, David Lindley and more. Any chance I got I would go to the concerts there and got to experience many great musicians including, Elizabeth Cotton, Mississippi John Hurt, Frank Hamilton, Lightening Hopkins, Sonny & Terry, Bernie Pearl, Doc Watson, Mance Lipscomb, David Lindley, S'amus Ennis, Jack Elliott, Canned Heat and many others. Some nights I would go 7 nights in a row to experience as much music as I could soak in, to quite the detriment of my high school work.
I discovered Irish music when I went to see Rambling Jack Elliott at the Ash Grove. The first act was someone I had never heard of S'amus Ennis and he was the opening act for Ramblin' Jack. S'amus was supposed to play the Irish Uilleann bagpipes but had a bit to much to drink and could only manage to play a few tunes on the tinwhistle and sing a wonderful songs. I thought that was amusing but the Irish music didn't truly win my heart till I heard Joe Cooley and Kevin Keegan many years later in the early 1970s.
Mc Cabes Guitar Shop was located in the front room of the Ashgrove in those days. I always admired the fine old instruments that they had hanging on the wall. One night I noticed a long necked strange looking instrument with a gourd at the base. It turned out to be a Sitar. I thought that it was the greatest thing that I had ever seen. It had lots of strings, these metal frets that bowed up from the body and beads on the strings for tuning. It was amazing.
After much searching around trying to find a sitar teacher I found Jan Steward who was instrumental in bringing Ravi Shanker to the United States for the first time. Besides playing the sitar and veena she was an amazing artist and did album covers for Ravi. She started giving me some basic instruction on the Sitar that I had just acquired. pretty much camped out in her house meeting many amazing people. I learned a lot about the sitar, music and life from her and the other musicians that came through her house. A great Sitar player Hari Har Rao moved to the States and I studied with him. Finally when I was 19 Ravi Shanker opened his school Kinnara and I became an avid student. I developed a holy admiration for my musical guru. We played at the Hollywood Bowl once with the whole school.
I was finally invited to Ravi Shanker's home for a reception, I was very nervous about this. Going to my heros home for an intimate gathering. A friend sewed me a beautiful Indian style shirt a Kurta made of the finest unbleached handwoven cloth with intricate appliquŽed designs in hand dyed colors to wear this very important event of my life. I had many great expectations. The reception was held at the masters home in a fancy section of Los Angeles. I walked in to my masters living room only to find him watching baseball and eating and drinking appropriately for this activity with Alla Rahaka and Nodu Mullakh by his side on the couch. Alla Rahaka was Ravi's table player and Nodu made his sitars as well as teaching sitar at the school. At that moment my fantasies were shattered, that my guru was human also. So much for incense and false idols but Ravi's music was always transcendent playing the most be beautiful music I had ever heard.
The 1960's were quite eventful. Not the least of the first Love-Ins
I started going to Love-Ins and playing my guitar or sitar. The Elysian Park Love-In was quite an event. I climbed up on stage and played my sitar wearing my bejeweled velvet magicians robe just before Jim Morrison and the Doors did their most infamous performance. Parachuting hippies, half naked barbarian women in leather, patchouli, incense, peace symbols, beards, long hair, the dusky odor of pot. I was playing guitar and sitar at another Love-In wearing my velvet robe once again and was photographed by a newspaper reporter. The next day I found myself on the front page of the morning paper with the caption "King Of The Hippies". All of a sudden many of the mothers of of my 40 plus guitar students called with one excuse or another quitting lessons. Obviously they did not want the "King Of The Hippies" teaching their kids guitar. My thoughts started turning to the stories I had heard about what was going in northern California. The first seed of moving north got planted.
I had a small cabin in Sunland, California up a dusty dirt road across the wash and river in Doan Canyon adjoining the Angeles National Forest right next door to Claude Doty's hog farm (yes he actually raised hogs).
A group of interesting musicians, artists and wackos rented the mountain top farm from Claude and started the infamous Hog Farm Commune. The royal couple of this marvelous land were Hugh Romney (now Wavy Gravy) and his consort Bonnie (Jahanara).
I would go the Farm when ever I could to play music with the diverse and interesting inhabitants. Almost every rock and roller of the late 60s was there one time or another. From the Electric Flag to Mike Bloomfield to Tiny Tim wandering around the hills singing to his gramophone, nestled in his arms. There was always a musical adventure to be had. One morning I slept out on the top of the mountain with a beautiful lady friend that enchanted me the night before. It was dawn and I was stretching and looking down the hill at the farm house and was amazed to see Paul Foster wearing a top hat and tails with ice skates, literally flying through the screen door and into space, taking screen and all with him, sailing off what used to be the back porch before the porch was removed. Ah! one of the many interesting sights at the Hog Farm.
When I was 18 years of age my friend Charley Chapman and I took to haunting the pawn shops of Old Town Pasadena trying to find old musical instruments. On one of our old banjo safaris I found a new shop. The sign read "The Catacombs" with an arrow pointing down a flight of stairs going to a basement. We walked down only to be greeted by the walls moving in undulating colors. My friend wanted to leave but I wanted to see what this weirdness was all about. He went to the car and waited.
I found Dr. Henry Hill who had just invented the light show that morning at this unusual shop. I met the proprietor Robert Donovan Thomas who was to be my mentor for many years to come.
I had been playing folk music on the guitar for a few years but my knowledge of music was very limited. In Bob's office at the Catacombs were all manner of antique flutes, strange stringed instruments, bagpipes, unusual ethnic drums and much more. Bob had taken on the project of researching and restoring all of these and even more amazing learning to play them all in their traditional style.
I had recently found an interest in making stained glass windows and smaller stained glass items. I took my art work into the Catacombs and Bob would sell them for me. I wool d find any excuse to go to the Catacombs and visit Bob.
Bob would take some of his antique instruments to the newly formed Renaissance Faire which was a benefit for the non-profit radio station KPFK. Bob would take an ancient set of bagpipes or a lute out to the Faire, dress up in Elizabethan costume and charm everyone.
I started taking my guitar to the Faire and playing for a few coins in the hat or a plate of fried chicken from a food booth. Bob and I started getting together and playing music and I started to learn some of his wonderful music. A young couple, Ernest & Deborah Fischbach were making music at the Faire also with their friend Charles Ewing. They called themselves the A Cid Symphony.
Lonnie Smith was a great singer. I adored the rich quality of her hearty voice. We spent many months writing songs together. She would write the lyrics and I would fit a folk/jazz melody and guitar accompaniment to it.
We decided that we were good enough to "make it" and found a bass player Peter and drummer Russ and formed a band. Lonnie and I wrote 10 great songs and it was time for our big audition at the Troubadour for Metromedia Records. We looked good and sounded great we were sure that we were just what they wanted. The producer loved us and we felt that we were on our way to the bigtime.
Lonnie and I were called to a meeting with the record company big boys. They told us that they loved our music and wanted to promote us. The only problem was that they wanted us to dress us in silly outfits, change the lyrics and the music of our songs, get rid of the drummer and bass player and whitewash the band and sign a contract of indentured servitude. I turned 20 years of age and it was good-bye, slimy recording deals, good-bye rock band and good bye LA forever. Go North young man to the green fields, forests and adventures of your dreams.
To become a musician one of course has to go to music school. I rented a shack in the beautiful Valley Of The Moon and prepared for the start of classes at Sonoma State University. I was delighted to find Ethnomusicology classes on Asian music being offered. As it turned out the instructor was not that familiar with Asian music. I ended up giving many of the lectures and helped him prepare most of the curriculum for the course. I became bored quickly and wanted a new experience. It became quite clear that being a music student had nothing to do with playing music. I made a deal to be a full time street musician for a semesters worth of credit if I would write a paper about my experiences. My new career was launched.
(The Ancient Art Of Street Entertainment)
The common practice in older times of entertaining in a public place with the hope of donations from the impromptu and hopefully generous audience.
Joe Moir went on his first busking expedition with the Golden Toad. We decided to haunt the street corners of North Beach with our bagpipes, drums and a belly dancer for a little color. After many hard hours of busking for large crowds of tourists and convincing them that it would give them "Good Karma" if only they would fill our hat with money, we ended up at the Cafe Trieste, a safe harbor of culture, espresso and pastries.
Joe is one of the slowest and inattentive eaters that was ever born. It's amazing that he doesn't starve to death while eating dinner. We were all sitting around and enjoying our meal. Joe was very excited and barely touched his food and was excitedly talking to everyone. Bob Thomas was seated on his left and Elliott Gould on his right. Joe was steeped in a deep and lengthily conversation about the virtues of Bulgarian bagpipes with Bob. Finally he went to take a bite and brought his fork down to an empty plate. While he was gabbing Elliott ate all the food off his plate.
When Joe would come on further Golden Toad adventures he would still eat slowly and not pay attention to his meal but would always sit with both arms wrapped around his plate to fend off the carnivorous hordes.
Grace Cathedral is a noble structure residing high atop Nob Hill. Some how Bill Gilkerson convinced the Bishop to allow our raggle taggle band of street Gypsies to do a performance using the Cathedral as our forum. This was my first performance with the Golden Toad. The show was a costumed extravaganza of music, dance, story and magic from many exotic places. Our mottoes were "We perform the music of your ancestors no matter where they were from." and "Style not quality".
The only limits that were given by the church in the use of the facility were that no one was allowed to pee on the alter. As a publicity stunt Bill put up his hot air balloon in the parking lot of the church and unsuccessfully tried to get the Bishop to go up in it.
The show was magnificent! The lights went out and twelve robed and hooded monks carrying large racks of elk horns materialized to the throbbing boom of Deborah's bass drum and the ancient sound of the Abbot Bromley's Horn Dance being played by Cathie Whitesides on the fiddle with light provided by eight hooded torch bearers.
Torchy our fire eater and magician after putting flaming torches in his mouth would fill his mouth with white gas and blow it out across a lighted torch. This would send a fireball out into space. He managed to mildly set the first 4 rows of audience on fire when blowing this giant fire ball.
The whole troop of 42 Toads gathered together to close the evening with our Tibetan ritual orchestra. Joe and Bob Playing the 6' long Tibetan Horn (Dong) and Bob changing to the eerie Tibetan shawm to the accompaniment of drums, bells, Kangling horns
It was my first Dickensian Christmas. Cait and I signed on at the brand new "Charles Dickens Christmas Faire" to exhibit (and hopefully sell) the stained glass trinkets that we made. We were also hired to play music with the Golden Toad now in the form of "The New Bristol Ceili Band". Bob Thomas saw a picture in an old book c1880 of the original "Bristol Ceili Band" so we outfitted ourselves with costumes and instruments to match. Top hats and tails were the order of the day. Bagpipes, clarinets, fiddles, fife and of course drummers made for a raucous sound.
Our first objective was to find lodging in San Francisco for one month. The logical place for a cheap room in those days was Haight Ashbury. We walked South up Clayton street from Panhandle Park and found a sign, "Room for rent. No dog, No crow, No Horn". We figured that the bagpipes weren't a horn and rented it. We didn't realize that the room came with built in roommates until we turned the kitchen light on the middle of the night to see the new cockroach wallpaper disappear back into the wall.
The Dickens Faire provided more great adventures than business. It was as if there was a quarantine sign on the front door of the event because no one came. We all had a great time selling to the other craftsman and playing music for ourselves.
Cait's clothes had reached the stage of being rags. She desperately needed some new warm clothes. About a year earlier we found a Turkish import store and had purchased many Turkish drums (dumbeks) at a very good price. When people from our audiences would ask "where did you get those beautiful drums" we would say "I would be glad to sell you this one". They were a good seller and we made a good profit. It was time for another drum so off to the import store we went.
The shop owner was unpacking a new shipment direct from Turkey including some beautiful white sherling sheepskin coats. Cait instantly fell in love with the coats. I asked Myra how much she would sell a coat to one of her " very good customers". She said that business had been slow and that she would be delighted to sell us a coat for $40. What a great deal!
Next stop North Beach to buy Cait a warm blouse. While she was looking at clothes I noticed the store keeper admiring her new coat. I struck up a conversation and asked him if he wanted to buy a coat. I quoted him $80 and he said that he wanted to buy three. One quick trip across town for some more coats and we made $120 (a blessing because we were broke). We went back to the import store and bought more coats with our profits and made even more money selling them to our friends at the Faire. It was just before Christmas and we started selling coats on the street in the morning before the Faire opened.
Then disaster struck, our importer friend ran out of coats. We were very disappointed because we were making (in our minds) a fortune. She showed us some beautiful handloomed, hand embroidered clothes that she also had brought back from Turkey. So we took some around to the stores that bought our coats and to the Faire and back to the good old street. The clothing turned out to be more popular than the coats. Through this chance event we finally had plenty of money and a new career to boot.
A few months prior to the Faire we had Elliott (the Golden Toad's drummer who Will Spires once said in frustration to "Is a barnacle a ship. Is a drummer a musician." and his dancer wife Leslie over for dinner. Cait had baked a beautiful chocolate cake for a party the next day. Elliott sat next to the cake and kept running his finger through the frosting and licking his fingers. I asked him to stop many times because he was ruining the cake. Eventually my patience ran out and I picked up the cake and smashed it into Elliott's face. Elliott said "Zekley I'll get you someday when you least expect it".
We were still performing at "Dickinsian Madness" and I was in my usual attire of top hat and tails. We had just finished a tune when someone in the band asked if they could see my fife when the world went chocolate creme. There I was dressed in my best, on stage and covered with (quite good) chocolate creme pie.
years after the first "Dick" we were having a Golden Toad concert at the beautiful Presbyterian church in Mendocino. We were all encamped at Bill Gilkerson and Kerstin's "Swedish Paradise" an idyllic hideaway in the primeval northwestern redwood rainforest. Lory Stark (Gilkerson's delightful ex-wife) our combination Belly Dancer and Opera Singer got up very early the morning of the show and set to work giggling and making the 2 most beautiful pies ever created. Both Bill and John Patterson (our ballet dancer) had been a bit hard to deal with miserable company for a few days, we all felt like burying them in an anthill.
It was getting near showtime and we were next-door to the church getting ready when Lory let Bill and John each have a pie in the face. The rest of us got secondary fallout when they threw the pie scraps at us.
Joe Moir a rather (we thought) straight woodwind and brass repairman from Santa Rosa had been recruited to play clarinet with the band. Joe lived in a 1930's bungalow with his wife and 2 children and assorted broken antique cars and tubas. Joe had halfway run off with the "Gypsies" (us) and was devoting more energy to learning the Bulgarian Gaida (bagpipe) and playing with the Golden Toad than his normal existence of playing oboe and clarinet with the Santa Rosa Symphony and fixing instruments. Joe got a beautiful Gaida but the goatskin bag had worn out and was leaky. He decided to make his own new bag in the traditional manner. He cured a goat hide in rock salt in his garage. This Gaida had a beautiful carving of a goat's head on the chanter stock. Joe tied the bag on with the hair on the outside. He didn't do a good job of curing the hide and when he played it, it really looked and stank like a rancid billy goat under his arm. We all called it Hairy Gaida made by "The Park Your Carcass Bagpipe Works".
Every year Joe would go with his wife and kids to Christmas dinner at his in-laws. Inevitably his father in-law would ask him to play some Christmas music. Joe would take out his beautiful 18th century boxwood clarinet and play some Mozart or some old Christmas favorites. The whole family was seated around the table for dinner and the patriarch asked Joe for the traditional music but this year Joe took out the love of his life Hairy Gaida, blew it up and held forth. Joe's sister in-law smelled the stench of the dead goat and realized that Joe was blowing into it complete with its carved head and bleating sound and impromptly threw up all over the Christmas turkey. When I heard this story I thought that Joe's domestic life might be on shaky ground
Marcia was staying with us in Cockroach Heaven for a few days when out of the blue she said that she wanted to call Joe (who she just met) and ask if she could be his apprentice instrument repair person and if she could use our telephone to call him. She told him that she really wanted to learn his trade and would cook for him in exchange. After the phone call Marcia said that Joe sounded interested. She said jokingly that she they would have to get bunk beds.To everyone's surprise (including Marcia's) Joe arrived in 2 hours with suitcase in hand and talked Marcia into running off with him. Joe never went back to his family.
Many years later Cait, I, Bob Thomas, Jody Levy and the Notorious Joe and Marcia took a trip to Jody's father's vacation trailer at Lake Havasu. We stopped for breakfast at Sambo's. Bob asked if he could have his eggs poached but to make sure that they were not over or under done. Joe turned to us complaining how picky we were. Then he ordered telling the waitress that he wanted his pancakes teddy bear brown.
On arriving at Jody's dad's sheet metal chalet we found 3 bedrooms 2 with double beds one with bunkbeds. Remembering Marcia's statement years prior we made Joe and Marcia take the bunkbeds.
San Francisco's Christmas shopping season was in full swing and I was trying to make a living by playing the bagpipes on the street. The Charles Dickens Xmas Faire was being held at the Cannery and I got a hired as a piper. The gig consisted of playing bagpipe duets with George Dawson, accompanied by Cait Reed on the field drum, while standing on an old horse drawn dray wagon in front of the Faire to attract a crowd (the pipe music could be heard for at least 2 city blocks even with lots of traffic noise) and then to try to get the audience to come into the Faire.
We approached our performances a little differently than our employers intended. It was a fantastic opportunity for busking. Having our very own stage on Fisherman's wharf and being paid to panhandle the crowd was a miracle.
About the third day of the Faire the Proprietor, Ron Patterson came out front to see how his musical shills were doing, at the same moment that I was trying to convince the crowd to fill our hat with money. I glanced over to my right and saw Ron in his burgundy, Dickensian velvet suit and top hat rushing towards us. I instantly realized that "the jig was up".
The only thing I could think of was to quickly hand Ron the hat before he could say anything to stop us and loudly announce to the crowd of about 100 people that our friend was going to come around to collect donations. He looked at me in horror then looked at the crowd watching him, shrugged his shoulders and walked around passing our hat. It was obvious that he was very frustrated because we were emptying the crowds pockets before he got a chance to and worst of all that he was helping us.
A few days later George showed up late for a performance with yet another one of his incredible "you wouldn't believe what happened to me" tales. This time he supposedly was busking in full Highland regalia near the cable car turnaround at Powell & Market when his pipes stopped working. His only choice was to head to the local Scottish import store to get some new reeds. Before he could get through the front door of the shop a fellow in a fancy dress suit grabbed him by the arm and demanded that George play the pipes for him. George said that he couldn't play right now because his reed was broken. The fellow reached into his pocket and came out with a $100 bill, tore it in two, gave half to George, told him to blow up his pipes in the lobby of the Fairmont hotel at 10:00am the next morning and play the "Cock Of The North". The fellow then turned around and walked away before George could say a word.
George arrived at the Fairmont promptly at 10:00am and looking for the man that accosted him yesterday but he was no where in sight. Quite afraid of what might happen to him, George pulled out his pipes and blew them up. Within 10 seconds he was descended on by numerous bell captains and desk clerks trying to stop him from playing. Before they could silence the piper the mysterious gentleman arrived, and waved off the hotel staff who disappeared instantly. George played for an hour then was treated to 2 orders of Eggs Benedict and handed the other half of the $100 bill. Shortly thereafter George showed up late at the Faire with this (yet another) unbelievable story.
By the next day I forgot about George's story, which I felt was yet another figment of Georges fertile and amazing imagination. We were once again standing on the wagon trying to convince the crowd to pay the piper then maybe come into the Faire when a Chauffeured limousine pulled up in front of us. Out stepped George's mythical character with a package wrapped in beautiful Highland tartan material. He walked directly up to the wagon and handed it to George. Wrapped in the material was a beautiful "Brian Boru" keyed bagpipe chanter. Evidently George's benefactor went to the Scottish shop and asked what the piper wanted for Christmas. The man got back in his Limousine and drove off leaving Cait and I staring at each other in disbelief and George smirking.
"STREET WARS" A wealth of experiences can become yours by playing bagpipes on the street. It was a perfect day for Busking (the ancient art of turning music into gold) at the cable car turn around by the Cannery. A large crowd had gathered around me and a waterfall of coins were filling my hat. I noticed an orange robed, shaven-headed follower of Hare Krishna on the edge of my audience trying to sell incense and otherwise annoy my benefactors. My patience ended after he chased away half of the crowd. I decided that it was time for action. I blew up the pipes and marched straight at him. When I got close he ran down the street and the crowd started to cheer. I chased him for two blocks while playing old war marches.
My friend Smoke Dawson was playing pipes in downtown San Francisco and thought that he had finally reached a new peak in his playing. The music was great. He played with his eyes closed and was sure that people were filling his hat with vast sums of money. When he ended his tune he opened his eyes just in time to see a gang of children running down the street and dropping coins that they liberated from his hat. He never played on the street with eyes closed again.
Bob Thomas and Don Brown were regulars on Telegraph avenue in Berkeley playing some type of bagpipe and Don's gigantic bass drum. One day they noticed a large crowd gathering and thought they could do very well busking the crowd. Bob tuned his pipes and they proceeded towards the crowd only to be tear-gassed during this free speech movement rally. Don made quite a sight running down the street with his bass drum.
I was busking at the Cannery in San Francisco as a bagpipe duo with Lisa Emmons, alias "Delicia Toad Feathers" the delightful and diminuitive 4'8" lady bagpiper. An annoying young man started to try and get Lisa's attention and flirt with her while she was playing. When she wouldn't stop and acknowledge him he kept on hassling her and eventually reached out and grabbed her.
Lisa and I were playing a sprightly duet of the Rakes Of Mallow at that moment and without missing a beat she kicked him squarely in the shins and layed him flat out rolling on the ground without missing a beat and went on playing. She is one of my life heros.
Another of my heros was Robert Shields the mime. I would play the bagpipes at Union Square in San Francisco. My favorite spot was Union & Stockton street across the street from the square. I would play and watch that antics of Robert across the street. He would sometimes hide when a police man showed up that sneak up behind him and mime what the cop was doing. I saw a cop turn around and see Robert there, the cop took a swing at him which made even better material for Robert. Sometimes during heavy traffic a cop would start directing to get things moving around the square. I saw a police man doing this but he got called away to do something else. Robert jumped right into the street and started directing the traffic and got it snarled up for blocks in every direction before the cop returned and chased him off.
One of may favorite place to busk with my bagpipes was Chinatown. The bagpipes sound a lot like the traditional Chinese shawm the suona. No one would ever give very much money but almost everyone that walked by put money in my hat. I was playing in front of my favorite dim sum shop and having a great time. Across the street from me was a bank. It was incredible to watch this old Chinese man laying a curse on the bank while I played across the street. Chinatown was fascinating. I found a number of Chinese music clubs and would sit on their steps and listen to the incredible music coming out of their basement practices. Edsel Ford Fong was known as the rudest and meanest waiter in the world. He was famous for it. I would go to Sam Wo's restaurant where the food was OK just to experience his antics late at night. People would try to order something off the menu from him and he would start screaming at them that could not have it and told them he would bring what he wanted them to eat. When people would come in the would tell them to sit down and shut up. He would slam the food down on the table and tell people that they were stupid or fat. He was the best show in Chinatown by far. Watching peoples reactions was great late night entertainment.
Us Toadies were the first real Buskers on the streets of San Francisco in modern times. One of my favorite places to busk with the bagpipes was across the street from Ghiradelli Square. It was great fun! Large crowds would gather, fill my hat and dance all along the sidewalk. It felt good to bring a little magic into their lives (and mine too).
Some months after I had been using this area as my stage various craftspeople started to bring their trinkets around and tried to sell them to my crowd and did very well.
Many years later I went back to play on the same street on a sunny Saturday afternoon. The sidewalk was covered with a solid row of crafts booths. It was hard to find a place to play. I finally found my spot and blew up the pipes for "old times sake" but was immediately descended upon by an irate "craftsperson" (he was selling plastic earrings direct from Korea) and told me to stop playing because I was ruining his business. So much for sentimentality.
"Read Adventures Of A Street Musician Part 2"
Lark Camp
A Celebration Of World Music And Dance
Mickie & Elizabeth
Performance Webpage
Lark In The Morning
World Musical Instruments
Mendocino English Country Dance
© 1995 Mickie Zekley


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Tribal Consultation
The United States has a unique legal and political relationship with Indian tribes and a special relationship with Alaska Native entities as provided in the Constitution of the United States, treaties, and federal statutes. These relationships extend to the federal government's historic preservation activities, mandating that federal consultation with Native American tribes be meaningful, in good faith, and entered into on a government-to-government basis.
Federal Policy
On September 23, 2004, President George W. Bush issued Executive Memorandum Government-to-Government Relationship with Tribal Governments recommitting the federal government to work with federally-recognized Native American tribal governments on a government-to-government basis and strongly supporting and respecting tribal sovereignty and self-determination.
Mandates for the federal government's unique policies and relationship with Native American tribal governments are also codified in several Executive Orders:
Executive Order 13007 Indian Sacred Sites, issued by President Clinton in 1996, directed federal agencies to accommodate access to and ceremonial use of Native American sacred sites by Native American religious practitioners, as well as avoid adversely affecting the physical integrity of such sacred sites.
Executive Order 13175 Consultation and Coordination with Indian Tribal Governments, issued by President Clinton in 2000, recognized tribal rights of self-government and tribal sovereignty, and affirmed and committed the federal government to a work with Native American tribal governments on a government-to-government basis.
Tribes and Historic Preservation Law
Preservation and protection of Native American historic resources, at least archeological resources, dates back to at least the Antiquities Act of 1906, usually seen as the first federal historic preservation law in the United States.
More recent federal historic preservation laws mandate Native American tribal government involvement and consultation. These include:
- The Native American Graves Protection and Repatriation Act (NAGPRA), passed in 1990, provides a process for museums and federal agencies to return certain Native American cultural items –-- human remains, funerary objects, sacred objects, and objects of cultural patrimony –-- to lineal descendants, culturally-affiliated Native American tribes, and Native Hawaiian organizations. Under Section 3 of the law, repatriation is mandated for Native American cultural items excavated or discovered on federal land after November 16, 1990.
- The Archeological Resources Protection Act (ARPA) , passed in 1979, requires federal agencies to consult with tribal authorities before permitting archeological excavations on tribal lands. It also mandates the confidentially of information concerning the nature and location of archeological resources, including tribal archeological resources.
- The American Indian Religious Freedom Act (AIRFA) [PDF], passed in 1978, affirms a national policy to protect and preserve for Native Americans their inherent right of freedom to believe, express, and exercise the traditional religions of indigenous America, including protecting and preserving access to sacred sites.
- The National Environmental Policy Act (NEPA) , passed in 1969, calls for the federal government to invite the participation of any affected Native American tribe in the environmental review process.
- The National Historic Preservation Act (NHPA) of 1996 of 1966, as amended in 1992, enhanced Native American tribal roles in historic preservation and created the Tribal Historic Preservation Officer (THPO) program. Federal agency obligation to consult with Native American tribal governments under Section 106 of NHPA.

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These items can be very helpful during an emergency and should be considered when preparing a 72 hour kit. Money or Phone Cards. You may have an unusual situation where you might be forced to evacuate your home in the middle of the night or leave with just a few minutes notice. You may not have time to gather everything you may need, including money. The amount of money you include in your 72 hour kit is up to you. As little as 35 cents for a phone call could be enough, or you might need as much as $100. When deciding how much money you should add, take into consideration your surroundings, your family members and what type of disasters are possible in your area. We recommend at least $20.
If you include a phone card, remember to check the expiration date. Some phone cards do not have expiration dates. Important Documents and Irreplaceable Items. After a disaster such as a flood, an earthquake, a fire, or a hurricane there are certain documents or valuables you will want. Insurance papers, wills, birth certificates, wedding certificates, phone numbers and credit card cancellation information could be very valuable afterwards. Other items such as family history papers, photographs, family heirlooms, etc. are also important and you might consider putting copies in your 72 hour kit. Babies and Small Children. Babies and small children require different preparation than adults. If you have a baby, you might consider adding a bottle, diapers, formula, an extra blanket or warm clothes, a pacifier, small toys, or other items to your 72 hour kit. These items may not seem important now, but if you are forced to leave your home with a baby for more than a few hours, you will soon be grateful they are included in your 72 hour kit.
Elderly. Just as babies and small children have special needs, so might elderly men and women. Items such as special medication, extra warm clothes, special dietary foods, dentures, an extra pair of glasses, extra batteries for hearing aids etc. should be considered when building your kit. Special Medical Needs. Special medical needs are very important to remember when building your 72 hour kit. If you or one of your family members is diabetic, you may want to include the insulin and other accessories needed. Other items such as extra asthma inhalers or prescribed medication should be included if you or one of your family members requires it. Also consider your family members who are physically handicapped. They might need extra assistance or special accessories. Stress Relievers. Emergencies can be very stressful situations. Games, books and toys will help relieve some of this stress. Consider your family, their ages, and the kinds of things they like to do. Ideas to include: card games, jacks, small puzzles, harmonicas, yo-yos, hard candy, small toys, picture books and easy to read books, travel size games, paper and pencils or coloring book and crayons. Be creative; your family will appreciate it during that stressful time when they want something to do. Stress relievers benefit everyone in an emergency.
Everyone is unique and has different needs. Having insulin for a diabetic in your 72 hour kit can be as lifesaving as having the basic food and water. When you assemble your 72 hour kit, think about who you are making it for and be resourceful and creative.


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Names of God in Judaism
Lua error in package.lua at line 80: module 'strict' not found. The name of God used most often in the Hebrew Bible is the Tetragrammaton YHWH (Hebrew: יהוה). It is frequently anglicized as Jehovah and Yahweh and written in most editions of the Bible as "the Lord" owing to the Jewish tradition of reading it as Adonai ("My Lords") out of respect.
Rabbinic Judaism describes seven names which are so holy that, once written, should not be erased: YHWH, El ("God"), Elohim ("Gods"), Eloah ("God"), El Shaddai, and Tzevaot or Sabaoth ("Of Hosts"). Other names are considered mere epithets or titles reflecting different aspects of God,[1] but chumrah sometimes dictates especial care such as the writing of "G-d" instead of "God" in English or saying Ṭēt-Vav (טו, lit. "9-6") instead of Yōd-Hē (יה, lit. "10-5" but also "Jah") for the number fifteen in Hebrew.[2]
The documentary hypothesis proposes that the Torah was compiled from various original sources, two of which (the Jahwist and the Elohist) are named for their usual names for God (YHWH and Elohim respectively).
- 1 Seven Names of God
- 2 Other names and titles
- 3 Uncommon or esoteric names
- 4 Writing divine names
- 5 Kabbalistic use
- 6 English names
- 7 See also
- 8 Notes
- 9 References
- 10 External links
Seven Names of God
The seven names of God that, once written, cannot be erased because of their holiness are the Tetragrammaton, El, Elohim, Eloah, Elohai, El Shaddai, and Tzevaot.[3] In addition, the name Jah—because it forms part of the Tetragrammaton—is similarly protected.[3] Rabbi Jose considered "Tzevaot" a common name[4] and Rabbi Ishmael that "Elohim" was.[5] All other names, such as "Merciful", "Gracious" and "Faithful", merely represent attributes that are also common to human beings.[6]
The name of God used most often in the Hebrew Bible is YHWH[n 1] (יהוה), also known as the Tetragrammaton (Greek for "Four-Letter Word"). Hebrew is a right-to-left abjad, so the word's letters Yōd, Hē, Vav, Hē are usually taken for consonants and expanded to Yahweh or Jehovah in English. Josephus, however, includes a passage in his c. AD 75 Jewish War that describes the name as consisting of four vowels.[n 2]
The exact pronunciation is uncertain because—although there is nothing in the Torah to prohibit the saying of the name[9] and Ruth shows it was being pronounced as late as the 5th century BC[10][n 3]—it had ceased to be spoken aloud by at least the 3rd century BC during Second Temple Judaism[12] and vowel points were not written until the early medieval period. The Masoretic Text uses vowel points marking the pronunciation as Yəhōwāh (יְהֹוָה, [jăhowɔh] ( listen)): whether this represents the original pronunciation, the period pronunciation, or the pronunciation of Adonai remains an unresolved matter of scholarly debate.[13] (For a discussion of subtle pronunciation changes between what is preserved in the Hebrew Scriptures and what is read, see Qere and Ketiv.)
The Tetragrammaton first appears in Genesis[14] and occurs 6828 times in total in the Stuttgart edition of the Masoretic Text. It is thought to be an archaic third-person singular imperfect tense of the verb "to be" (i.e., "[He] was being"). This agrees with the passage in Exodus where God names Himself as "I Am that I Am"[15] using the first-person singular imperfect tense.
Rabbinical Judaism teaches that the name is forbidden to all except the High Priest, who should only speak it in the Holy of Holies of the Temple in Jerusalem on Yom Kippur. He then pronounces the name "just as it is written".[16] As each blessing was made, the people in the courtyard were to prostrate themselves completely as they heard it spoken aloud. As the Temple has been destroyed since AD 70, most modern Jews never pronounce YHWH but instead read Adonai ("My Lord") during prayer and while reading the Torah and as HaShem ("The Name") at other times.[17][18] Similarly, the Vulgate used Dominus ("The Lord") and most English translations of the Bible write "the Lord" for YHWH and "the Lord God" for Adonai YHWH instead of transcribing the name. (The Septuagint apparently originally used the Hebrew letters themselves amid its Greek text[19][20] but all surviving editions instead write either Kyrios [Κυριος, "Lord") or Theos [Θεος, "God"] for occurrences of the name.)
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El appears in Ugaritic, Phoenician and other 2nd and 1st millennium BC texts both as generic "god" and as the head of the divine pantheon.[21] In the Hebrew Bible El (Hebrew: אל) appears very occasionally alone (e.g. Genesis 33:20, el elohe yisrael, "God the God of Israel",[22] and Genesis 46:3, ha'el elohe abika, "God the God of thy father"),[23] but usually with some epithet or attribute attached (e.g. El Elyon, "Most High El", El Shaddai, "El of Shaddai", El `Olam "Everlasting El", El Hai, "Living El", El Ro'i "El my Shepherd", and El Gibbor "El of Strength"), in which cases it can be understood as the generic "god". In theophoric names such as Gabriel ("Strength of God"), Michael ("Who is like God?"), Raphael ("God's medicine"), Ariel ("God's lion"), Daniel ("God's Judgment"), Israel ("one who has struggled with God"), Immanuel ("God is with us"), and Ishmael ("God Hears"/"God Listens") it usually interpreted and translated as "God", but it is not clear whether these "el"s refer to deity in general or to the god El in particular.[24]
A common name of God in the Hebrew Bible is Elohim (Hebrew: אלהים (help·info)). Despite the -im ending common to many plural nouns in Hebrew, the word Elohim when referring to God is grammatically singular, and takes a singular verb in the Hebrew Bible. The word is identical to the usual plural of el meaning gods or magistrates, and is cognate to the 'lhm found in Ugaritic, where it is used for the pantheon of Canaanite gods, the children of El and conventionally vocalized as "Elohim" although the original Ugaritic vowels are unknown. When the Hebrew Bible uses elohim not in reference to God, it is plural (for example, Exodus 20:3). There are a few other such uses in Hebrew, for example Behemoth. In Modern Hebrew, the singular word ba'alim ("owner", "lord", or "husband") looks plural, but likewise takes a singular verb.
A number of scholars have traced the etymology to the Semitic root *yl, "to be first, powerful", despite some difficulties with this view.[25] Elohim is thus the plural construct "powers". Hebrew grammar allows for this form to mean "He is the Power (singular) over powers (plural)", just as the word Ba'alim means "owner" (see above). "He is lord (singular) even over any of those things that he owns that are lordly (plural)."
Other scholars interpret the -im ending as an expression of majesty (pluralis majestatis) or excellence (pluralis excellentiae), expressing high dignity or greatness: compare with the similar use of plurals of ba`al (master) and adon (lord). For these reasons many Christians cite the apparent plurality of elohim as evidence for the basic Trinitarian doctrine of the Trinity. This was a traditional position but there are some modern Christian theologians who consider this to be an exegetical fallacy.[who?]
Theologians who dispute this claim cite the hypothesis that plurals of majesty came about in more modern times. Richard Toporoski, a classics scholar, asserts that plurals of majesty first appeared in the reign of Diocletian (AD 284–305).[26] Indeed, Gesenius states in his book Hebrew Grammar the following:[27]
The Jewish grammarians call such plurals … plur. virium or virtutum; later grammarians call them plur. excellentiae, magnitudinis, or plur. maiestaticus. This last name may have been suggested by the we used by kings when speaking of themselves (compare 1 Maccabees 10:19 and 11:31); and the plural used by God in Genesis 1:26 and 11:7; Isaiah 6:8 has been incorrectly explained in this way). It is, however, either communicative (including the attendant angels: so at all events in Isaiah 6:8 and Genesis 3:22), or according to others, an indication of the fullness of power and might implied. It is best explained as a plural of self-deliberation. The use of the plural as a form of respectful address is quite foreign to Hebrew.
Mark S. Smith has cited the use of plural as possible evidence to suggest an evolution in the formation of early Jewish conceptions of monotheism, wherein references to "the gods" (plural) in earlier accounts of verbal tradition became either interpreted as multiple aspects of a single monotheistic God at the time of writing, or subsumed under a form of monolatry, wherein the god(s) of a certain city would be accepted after the fact as a reference to the God of Israel and the plural deliberately dropped.[28]
The plural form ending in -im can also be understood as denoting abstraction, as in the Hebrew words chayyim ("life") or betulim ("virginity"). If understood this way, Elohim means "divinity" or "deity". The word chayyim is similarly syntactically singular when used as a name but syntactically plural otherwise.
In many of the passages in which elohim occurs in the Bible it refers to non-Israelite deities, or in some instances to powerful men or judges, and even angels (Exodus 21:6, Psalms 8:5) as a simple plural in those instances.
Elohai or Elohei ("My God") is a form of Elohim along with the first-person singular pronoun enclitic. It appears in the names "God of Abraham" (Elohai Avraham); "God of Abraham, Isaac, and Jacob" (Elohai Avraham, Elohai Yitzchak ve Elohai Yaʿaqov); and "God of Sarah, Rebecca, Leah, and Rachel" (Elohai Sara, Elohai Rivka, Elohai Leah ve Elohai Rakhel).
El Shaddai
El Shaddai (Hebrew: אל שדי (help·info), pronounced [ʃaˈda.i]) is one of the names of God in Judaism, with its etymology coming from the influence of the Ugaritic religion on modern Judaism. El Shaddai is conventionally translated as "God Almighty". While the translation of El as "god" in Ugarit/Canaanite language is straightforward, the literal meaning of Shaddai is the subject of debate.
Tzevaot or Sabaoth (Hebrew: צבאות, [tsvaot] ( listen), lit. "Armies") appears in reference to armies or armed hosts of men in Exodus[29] but is not used as a divine epithet in the Torah, Joshua, or Judges. In the First Book of Samuel, David uses the name YHWH Tzavaot and immediately glosses it as "the God of the armies of Israel".[30] The same name appears in the prophets along with YHWH Elohe Tzevaot, Elohey Tzevaot, and Adonai YHWH Tzevaot. These are usually translated in the King James Version as the "Lord of Hosts" or "Lord God of Hosts". In its later uses, however, it often denotes God in His role as leader of the heavenly hosts.[citation needed]
The abbreviated form Jah (/dʒɑː/)[31] or Yah (i/jɑː/; יהּ, Yahu) appears in the Psalms[32] and Isaiah.[33] It is a common element in Hebrew theophoric names such as Elijah and also appears in the forms yahu ("Jeremiah"), yeho ("Joshua"), and yo ("John", ultimately from the biblical "Yohanan"). It also appears 24 times in the Psalms as a part of Hallelujah ("Praise Jah").[34]
Other names and titles
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Adonai (אֲדֹנָי, lit. "My Lords") is the plural form of adon ("lord") along with the first-person singular pronoun enclitic.[n 4] As with Elohim, Adonai's grammatical form is usually explained as a plural of majesty. In the Hebrew Scriptures, it is only used to refer to God. As the pronunciation of the Tetragrammaton came to be avoided in the Hellenistic period, Jews began to read "Adonai" at its appearances in scripture and to say "Adonai" in its place in prayer. Owing to the expansion of chumra (the idea of "building a fence around the Torah"), Adonai itself has come to seem too holy to say for some, leading to its replacement by HaShem ("The Name").
The singular forms adon and adoni ("my lord") are used in scripture as royal titles,[35][36] as in the First Book of Samuel,[37] and for distinguished persons. The Phoenicians used it as a title of Tammuz, the origin of the Greek Adonis, but it is never used in scripture to refer to God.
Lua error in package.lua at line 80: module 'strict' not found. Up until the mid-twentieth century, the use of the word Adoshem, combining the first two syllables of "Adonai" with the last syllable of "Hashem"', was quite common. This was discouraged by Rabbi David HaLevi Segal in his commentary to the Shulchan Aruch. His rationale was that it is disrespectful to combine a Name of God with another word. It took a few centuries for the word to fall into almost complete disuse. Despite being obsolete in most circles, it is used occasionally in conversation in place of Adonai by Jews who do not wish to say Adonai but need to specify the substitution of that particular word. It is also used when quoting from the liturgy in a non-liturgical context. For example, Shlomo Carlebach performed his prayer "Shema Yisrael" with the words Shema Yisrael Adoshem Elokeinu Adoshem Eḥad instead of Shema Yisrael Adonai Eloheinu Adonai Eḥad.
Baal (/ˈbeɪəl/),[38][n 5] properly Baʿal,[n 6] meant "owner" and, by extension, "lord",[43] "master", and "husband" in Hebrew and the other Northwest Semitic languages.[44][45] In some early contexts and theophoric names, it and Baali (/ˈbeɪəlaɪ/; "My Lord") were treated as synonyms of Adon and Adonai.[46] After the time of Solomon[47] and particularly after Jezebel's attempt to promote the worship of the Lord of Tyre Melqart,[46] however, the name became particularly associated with the Canaanite storm god Baʿal Haddu and was gradually avoided as a title for Yahweh.[47] Several names that included it were rewritten as bosheth ("shame").[48] The prophet Hosea in particular reproached the Israelites for continuing to use the term:[49]
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"It will come about in that day," declares the Lord, "That you will call Me Ishi[n 7] And will no longer call Me Baali."[51]
Ehyeh asher ehyeh
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Ehyeh asher ehyeh (Hebrew: <templatestyles src="Script/styles_hebrew.css" />אהיה אשר אהיה) is the first of three responses given to Moses when he asks for God's name in the Book of Exodus.[15] The King James version of the Bible translates the Hebrew as "I Am that I Am" and uses it as a proper name for God. The Aramaic Targum Onkelos leaves the phrase untranslated and is so quoted in the Talmud (B. B. 73a.[clarification needed])
Ehyeh is the first-person singular imperfect form of hayah, "to be". Ehyeh is usually translated "I will be", since the imperfect tense in Hebrew denotes actions that are not yet completed (e.g. Exodus 3:12, "Certainly I will be [ehyeh] with thee.").[52] Asher is an ambiguous pronoun which can mean, depending on context, "that", "who", "which", or "where".[52]
Although Ehyeh asher ehyeh is generally rendered in English "I am that I am", better renderings might be "I will be what I will be" or "I will be who I will be", or "I shall prove to be whatsoever I shall prove to be" or even "I will be because I will be".[53] Other renderings include: Leeser, "I WILL BE THAT I WILL BE"; Rotherham, "I Will Become whatsoever I please", New World Translation (2013 Edition): "I Will Become What I Choose to Become."[54] [55] Greek, Ego eimi ho on (ἐγώ εἰμι ὁ ὤν), "I am The Being" in the Septuagint,[56] and Philo,[57][58] and Revelation[59] or, "I am The Existing One"; Lat., ego sum qui sum, "I am Who I am."
Elah (Aramaic: אֱלָה; pl. "elim") is the Aramaic word for God. The origin of the word is uncertain and it may be related to a root word, meaning "reverence". Elah is found in the Tanakh in the books of Ezra, Daniel, and Jeremiah (Jer 10:11, the only verse in the entire book written in Aramaic.)[60] Elah is used to describe both pagan gods and the Jews' God. The name is etymologically related to Allah comes from 'Elah - إله', used by Muslims.
- Elah-avahati, God of my fathers, (Daniel 2:23)
- Elah Elahin, God of gods (Daniel 2:47)
- Elah Yerushelem, God of Jerusalem (Ezra 7:19)
- Elah Yisrael, God of Israel (Ezra 5:1)
- Elah Shemaya, God of Heaven (Ezra 7:23)
El Roi
In the Book of Genesis, Hagar is said to call the name of Yahweh who spoke to her through his angel. In Hebrew, her phrase "El Roi" is taken as an epithet of God ("God of Seeing")[61] although the King James Version translates it as a statement: "Thou God seest me."[62]
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The name Elyon (Hebrew: עליון) occurs in combination with El, YHWH, Elohim and alone. It appears chiefly in poetic and later Biblical passages. The modern Hebrew adjective "`Elyon" means "supreme" (as in "Supreme Court") or "Most High". El Elyon has been traditionally translated into English as 'God Most High'. The Phoenicians used what appears to be a similar name for God, Έλιον. It is cognate to the Arabic `Aliyy.
Eternal One
"The Eternal One" is increasingly used, particularly in Reform and Reconstructionist communities seeking to use gender-neutral language.[63]
It is common Jewish practice to restrict the use of the names of God to a liturgical context. In casual conversation some Jews, even when not speaking Hebrew, will call God HaShem (<templatestyles src="Script/styles_hebrew.css" />השם), which is Hebrew for "the Name" (cf. Leviticus 24:11 and Deuteronomy 28:58). Likewise, when quoting from the Tanakh or prayers, some pious Jews will replace Adonai with HaShem. For example, when making audio recordings of prayer services, HaShem[64] will generally be substituted for Adonai.
A popular expression containing this phrase is Baruch HaShem, meaning "Thank God" (literally, "Blessed be God").[65]
Talmudic authors,[66] ruling on the basis of Gideon's name for an altar ("YHVH-Shalom", according to Judges 6:24), write that "the name of God is 'Peace'" (Pereq ha-Shalom, Shab. 10b); consequently, a Talmudic opinion (Shabbat, 10b) asserts that one would greet another with the word shalom (help·info) in order for the word to not be forgotten in the exile. But one is not permitted to greet another with the word shalom (help·info) in unholy places such as a bathroom, because of holiness of the name. Furthermore in Arabic same thing "Shalam- Salam -سَلام" which means 'Peace".
Shekhinah (Hebrew: שכינה (help·info)) is the presence or manifestation of God which has descended to "dwell" among humanity. The term never appears in the Hebrew Bible; later rabbis used the word when speaking of God dwelling either in the Tabernacle or amongst the people of Israel. The root of the word means "dwelling". Of the principal names of God, it is the only one that is of the feminine gender in Hebrew grammar. Some believe that this was the name of a female counterpart of God, but this is unlikely as the name is always mentioned in conjunction with an article (e.g.: "the Shekhina descended and dwelt among them" or "He removed Himself and His Shekhina from their midst"). This kind of usage does not occur in Semitic languages in conjunction with proper names.
The Arabic form of the word "Sakīnah سكينة" is also mentioned in the Quran. This mention is in the middle of the narrative of the choice of Saul to be king and is mentioned as descending with the ark of the covenant, here the word is used to mean "security" and is derived from the root sa-ka-na which means dwell:
- And (further) their Prophet said to them: "A Sign of his authority is that there shall come to you the Ark of the Covenant, with (an assurance) therein of security from your Lord, and the relics left by the family of Moses and the family of Aaron, carried by angels. In this is a Symbol for you if ye indeed have faith."
Uncommon or esoteric names
- Adir – "Strong One"
- Adon Olam – "Master of the World"
- Aibishter – "The Most High" (Yiddish)
- Aleim – sometimes seen as an alternative transliteration of Elohim
- Aravat – "Father of Creation"; mentioned once in 2 Enoch, "On the tenth heaven is God, in the Hebrew tongue he is called Aravat".
- Avinu Malkeinu (help·info) – "Our Father, Our King"
- Bore (help·info) – "The Creator"
- Ehiyeh sh'Ehiyeh – "I Am That I Am": a modern Hebrew version of "Ehyeh asher Ehyeh"
- El ha-Gibbor – "God the Hero" or "God the Strong" or "God the Warrior"
- Emet – "Truth"
- Ein Sof – "Endless, Infinite", Kabbalistic name of God
- HaKadosh, Barukh Hu (Hebrew); Kudsha, Brikh Hu (Aramaic); تبارک القدوس (Arabic) – "The Holy One, Blessed Be He"
- HaRachaman – "The Merciful One"; "Rahman - رحمن" In (Arabic)
- Kadosh Israel – "Holy One of Israel"
- Melech HaMelachim–"The King of Kings" or Melech Malchei HaMelachim "The King, King of Kings", to express superiority to the earthly rulers title.
- Melech HaOlam–"The King of the World"
- Makom or HaMakom – literally "The Place", perhaps meaning "The Omnipresent" (see Tzimtzum)
- Magen Avraham – "Shield of Abraham"
- Ribono shel `Olam – "Master of the World"
- Ro'eh Yisra'el – "Shepherd of Israel"
- Tzur Israel – "Rock of Israel"
- Uri Gol – "The New LORD for a New Era" (Judges 5:14)
- YHWH-Yireh (Adonai-jireh) – "The LORD Will Provide" (Genesis 22:13–14)
- YHWH-Rapha – "The LORD that Healeth" (Exodus 15:26)
- YHWH-Niss"i (Adonai-Nissi) – "The LORD Our Banner" (Exodus 17:8–15)
- YHWH-Shalom – "The LORD Our Peace" (Judges 6:24)
- YHWH-Ro'i – "The LORD My Shepherd"
- YHWH-Tsidkenu – "The LORD Our Righteousness"[67] (Jeremiah 23:6)
- YHWH-Shammah (Adonai-shammah) – "The LORD Is Present" (Ezekiel 48:35)
- Rofeh Cholim – "Healer of the Sick"
- Matir Asurim – "Freer of the Captives"
- Malbish Arumim – "Clother of the Naked"
- Pokeach Ivrim – "Opener of Blind Eyes"
- Somech Noflim – "Supporter of the Fallen"
- Zokef kefufim – "Straightener of the Bent"
- Yotsehr `Or – "Fashioner of Light"
- Oseh Shalom – "Maker of Peace"
- Mechayeh Metim – "Life giver to the Dead"
- Mechayeh HaKol In Arabic "Mohye AlKol - محيي الكل" – "Life giver to All" (Reform version of Mechayeh Metim)
Writing divine names
In Jewish tradition the sacredness of the divine name or titles must be recognized by the professional sofer (scribe) who writes Torah scrolls, or tefillin and mezuzah. Before transcribing any of the divine titles or name he prepares mentally to sanctify them. Once he begins a name he does not stop until it is finished, and he must not be interrupted while writing it, even to greet a king. If an error is made in writing it may not be erased, but a line must be drawn round it to show that it is canceled, and the whole page must be put in a genizah (burial place for scripture) and a new page begun.
Kabbalistic use
One of the most important names is that of the Ein Sof (אין סוף "Endless"), which first came into use after AD 1300.[68] The forty-two-lettered name contains the combined names אהיה יהוה אדוני הויה, that when spelled out contains 42 letters. The equivalent in value of YHWH (spelled הא יוד הא וו = 45) is the forty-five-lettered name.[clarification needed]
The seventy-two-lettered name is derived from three verses in Exodus (14:19–21) beginning with "Vayyissa", "Vayyabo" and "Vayyet" respectively. Each of the verses contains 72 letters, and when combined they form 72 names, known collectively as the Shemhamphorasch. The kabbalistic book Sefer Yetzirah explains that the creation of the world was achieved by the manipulation of these sacred letters that form the names of God.
English names
The words "God" and "Lord" are written by some Jews as "G-d" and "L-rd" as a way of avoiding writing any name of God in full. Deuteronomy 12:3–4 reads, "And ye shall overthrow their altars, and break their pillars, and burn their groves with fire; and ye shall hew down the graven images of their gods, and destroy the names of them out of that place. Ye shall not do so unto the Lord your God." From this it is understood that one should not erase or blot out the name of God. The general halachic opinion is that this only applies to the sacred Hebrew names of God, but not to other euphemistic references; there is a dispute whether the word "God" in English or other languages may be erased.[69]
See also
- Baal Shem
- Besiyata Dishmaya
- Names of God
- Names of God in Christianity
- Names of God in Islam
- Sacred Name Bibles
- Ten Commandments
- Vishnu Sahasranama
- ↑ The Tetragrammaton is also sometimes transcribed as YHVH or JHVH.[citation needed]
- ↑ Greek: τὴν δὲ κεφαλὴν βυσσίνη μὲν ἔσκεπεν τιάρα, κατέστεπτο δ ̓ ὑακίνθῳ, περὶ ἣν χρυσοῦς ἄλλος ἦν στέφανος ἔκτυπα φέρων τὰ ἱερὰ γράμματα· ταῦτα δ ̓ ἐστὶ φωνήεντα τέσσαρα.
...tòn dè kephalḕn byssínē mèn éskepen tiára, katéstepto d'hyakínthōi, perì ḕn khrysoûs állos ē̂n stéphanos éktypa phérōn tà hierà grámmata taûta d'estì phōnḗenta téssara.
And a tiara of fine linen encompassed the head, and it was crowned with hyacinth, around which there was another golden crown, bearing the engraved holy letters. And these are four vowels.[8]
- ↑ The World English Bible translation: "Behold, Boaz came from Bethlehem, and said to the reapers, "Yahweh be with you." They answered him, "Yahweh bless you."[11] The book is traditionally ascribed to the prophet Samuel who lived in the 11th & 10th centuries BC. A date of the 6th or 5th century BC for the passage is, however, more common among subscribers to the Documentary Hypothesis regarding the development of the biblical canon.
- ↑ Gesenius: "124i Further, אֲדֹנִים, as well as the singular אָדוֹן, (lordship) lord, e.g. אֲדֹנִים קָשֶׁה a cruel lord, Is 194; אֲדֹנֵי הָאָ֫רֶץ the lord of the land, Gn 4230, cf. Gn 3219; so especially with the suffixes of the 2nd and 3rd persons אֲדֹנֶ֫יךָ, אֲדֹנַ֫יִךְ ψ 4512, אֲדֹנָיו, &c., also אֲדֹנֵ֫ינוּ (except 1 S 1616); but in 1st sing. always אֲדֹנִי.[7] So also בְּעָלִים (with suffixes) lord, master (of slaves, cattle, or inanimate things; but in the sense of maritus, always in the singular), e.g. בְּעָלָיו Ex 2129, Is 13, &c."
- ↑ The American pronunciation is usually the same[39][40] but some speakers prefer variants closer to the original sound, such as /bɑːˈɑːl/ or /ˈbɑːl/.[40][41]
- ↑ The half ring ⟨ ʿ ⟩ or apostrophe ⟨ ' ⟩ in the name Baʿal marks the original words' glottal stop, a vocalization which appears in the middle of the English word "uh-oh".[42]
- ↑ Literally, "my husband".[50]
- ↑ EJ (2005), p. 179.
- ↑ Lua error in package.lua at line 80: module 'strict' not found..
- ↑ 3.0 3.1 Lua error in package.lua at line 80: module 'strict' not found.
- ↑ Rabbi Jose, Soferim, 4:1, Yer. R.H., 1:1; Ab. R.N., 34.[clarification needed]
- ↑ Rabbi Ishmael, Sanh., 66a.
- ↑ Sheb. 35a.[clarification needed]
- ↑ Num. 6:23–27.
- ↑ Josephus, Jewish War, Bk. V, l. 235.
- ↑ Lua error in package.lua at line 80: module 'strict' not found..
- ↑ Ruth 2:4.
- ↑ Ruth 2:4 (WEB).
- ↑ Lua error in package.lua at line 80: module 'strict' not found..
- ↑ Lua error in package.lua at line 80: module 'strict' not found..
- ↑ Gen. 2:4.
- ↑ 15.0 15.1 Exod. 3:14.
- ↑ Lua error in package.lua at line 80: module 'strict' not found..
- ↑ Lua error in package.lua at line 80: module 'strict' not found..
- ↑ Lua error in package.lua at line 80: module 'strict' not found..
- ↑ Origen, Commentary on Psalms 2:2.
- ↑ Jerome, Prologus Galeatus.
- ↑ Lua error in package.lua at line 80: module 'strict' not found.
- ↑ KJV margin at Gen.33:20
- ↑ Genesis 46:3
- ↑ Lua error in package.lua at line 80: module 'strict' not found.
- ↑ Lua error in package.lua at line 80: module 'strict' not found.
- ↑ R. Toporoski, "What was the origin of the royal "we" and why is it no longer used?", (The Times, May 29, 2002. Ed. F1, p. 32)
- ↑ Gesenius' Hebrew Grammar (A. E. Cowley, ed., Oxford, 1976, p.398)
- ↑ Mark S. Smith, God in Translation: Deities in Cross-Cultural Discourse in the Biblical World, vol. 57 of Forschungen zum Alten Testament, Mohr Siebeck, 2008, ISBN 978-3-16-149543-4, p. 19.; Smith, Mark S. (2002), "The Early History of God: Yahweh and the Other Deities in Ancient Israel" (Biblical Resource Series)
- ↑ Exod. 6:26, 7:4, 12:41.
- ↑ 1 Sam. 17:45.
- ↑ Oxford English Dictionary, 1st ed. "Jah, n." Oxford University Press (Oxford), 1900.
- ↑ Ps. 68:4.
- ↑ Is. 12:2, 26:4, & 38:11.
- ↑ E.g., Ps. 150:1.
- ↑ Lua error in package.lua at line 80: module 'strict' not found..
- ↑ Lua error in package.lua at line 80: module 'strict' not found..
- ↑ 1 Sam. 29:8.
- ↑ Oxford English Dictionary (1885), "Baal, n."
- ↑ Oxford Dictionaries (2015), "Baal"
- ↑ 40.0 40.1 Merriam-Webster Online (2015), "baal".
- ↑ Webb's Easy Bible Names Pronunciation Guide (2012), "Baal".
- ↑ Cleghorn & al. (2011), p. 87.
- ↑ Herrmann (1999), p. 132.
- ↑ Pope (2006).
- ↑ DULAT (2015), "bʕl (II)".
- ↑ 46.0 46.1 BEWR (2006), "Baal".
- ↑ 47.0 47.1 Lua error in package.lua at line 80: module 'strict' not found..
- ↑ Hos. 2:16.
- ↑ Lua error in package.lua at line 80: module 'strict' not found..
- ↑ Hos. 2:16 (NASB).
- ↑ 52.0 52.1 Seidner, 4.
- ↑ Seidner, 5.
- ↑ New World Translation of the Holy Scriptures, Watchtower Bible and Tract Society of New York, Inc. Exodus 3:14 footnote, Lua error in package.lua at line 80: module 'strict' not found.
- ↑ The Divine Name in the Hebrew Scriptures Lua error in package.lua at line 80: module 'strict' not found.
- ↑ Lua error in package.lua at line 80: module 'strict' not found.
- ↑ Yonge. Philo Life Of Moses Vol.1 :75
- ↑ Life of Moses I 75, Life of Moses II 67,99,132,161 in F.H. Colson Philo Works Vol. VI, Loeb Classics, Harvard 1941
- ↑ Rev.1:4,1:8.4:8 UBS Greek Text Ed.4
- ↑ Torrey 1945, 64; Metzger 1957, 96; Moore 1992, 704,
- ↑ Gen. 16:13.
- ↑ Gen. 16:13 KJV.
- ↑ Matthew Berke, GOD AND GENDER IN JUDAISM, First Things, June 1995; Mel Scult, The Radical American Judaism of Mordecai M. Kaplan, Indiana University Press, 2013. p. 195.
- ↑ A name for God that simply means "the Name."
- ↑ Lua error in package.lua at line 80: module 'strict' not found.
- ↑ Rabbi Adah ben Ahabah and Rabbi Haninuna (possibly citing "'Ulla")
- ↑ Names of God
- ↑ Lua error in package.lua at line 80: module 'strict' not found..
- ↑ Lua error in package.lua at line 80: module 'strict' not found.
- Lua error in package.lua at line 80: module 'strict' not found..
- Lua error in package.lua at line 80: module 'strict' not found..
- Lua error in package.lua at line 80: module 'strict' not found..
- Lua error in package.lua at line 80: module 'strict' not found..
- Lua error in package.lua at line 80: module 'strict' not found..
- Lua error in package.lua at line 80: module 'strict' not found..
- Lua error in package.lua at line 80: module 'strict' not found..
External links
- A Christian Discussion of the pronunciation of YHWH, including a new theory that explains all theophoric elements
- God's names in Jewish thought and in the light of Kabbalah
- The Name of God as Revealed in Exodus 3:14—an explanation of its meaning.
- Bibliography on Divine Names in the Dead Sea Scrolls
- Jewish Encyclopedia: Names of God
- "Ehyeh Asher Ehyeh" - Song and Video of Ancient Yemenite Prayer From the Diwan
- Lua error in package.lua at line 80: module 'strict' not found.
- Articles with unsourced statements from September 2015
- Articles containing Ancient Greek-language text
- Wikipedia articles needing clarification from September 2015
- Pages with numeric Bible version references
- Articles containing Hebrew-language text
- Articles containing Latin-language text
- All articles with specifically marked weasel-worded phrases
- Articles with specifically marked weasel-worded phrases from March 2012
- Wikipedia articles needing clarification from May 2012
- Articles containing Arabic-language text
- Wikipedia articles needing clarification from January 2012
- Names of God in Judaism
- Deities in the Hebrew Bible


text:
Sencha has introduced Architect 2, a cross-platform development tool for HTML5-based mobile and desktop apps that aims to make it easier to create applications with the help of a new graphical user interface, the company said on Tuesday.
Architect 2 is an upgrade of Sencha's Ext Designer. But early on, the company decided it didn't want to develop just another interface designer, but a complete application builder, where the architecture and the interface of an app could be created and properly structured for development.
"Using Architect, a developer can assemble a complete application using the tool's drag-and-drop capabilities. It will enable a whole new class of developers to take advantage of HTML5, including developers who are not experts and are new to HTML5," said Aditya Bansod, senior director of product management at Sencha.
However, Sencha didn't want to make a purely visual tool, according to Bansod. Developers who want to write code should be able to do that as easy as possible, as well, he said.
"If you really want to take full advantage of the Sencha products, and not put any handcuffs on developer creativity, you have to let them write code," said Bansod.
If a developer wants to see how the application is turning out, Architect has been integrated with Apple's iOS simulator. The tool allows a developer to run an iOS app on a Mac, and spot any major problems during the design and early testing phase.
"You can get into a really comfortable pattern of developing and testing," said Bansod.
Developers will, for example, use Architect to build mobile-friendly versions of existing enterprise applications and full-fledged desktop applications, according to Bansod. With Architect, developers get a very easy way to connect the app to a variety of data sources, which they can take advantage of when developing enterprise applications, he said.
The tool is powered by Ext JS 4 and Sencha Touch 2, which are Sencha's HTML5 frameworks for desktop and mobile applications.
Architect is also designed to make it easier to work on projects where several developers are involved. The single file archive that was available in Ext Designer has been replaced by a file for each view, model and store, according to Sencha. Another improvement lets developers package hybrid applications that run natively on iOS and Android directly from Architect.
A single copy of Sencha Architect 2 costs US$399, with discounts for five- and 20-packs. Developers who are upgrading from Ext Designer and purchased their copy this year will get Architect free, otherwise upgrades are priced at $279.
Architect is available for Mac, Windows and Linux, and can be downloaded from Sencha's website.
Send news tips and comments to firstname.lastname@example.com


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By Jon Kelly
Vancouver, BC – Ongoing research into the "Manitowoc Incident" video archive produced evidence this past weekend that smartphone camera recordings of lights in the sky submitted to NewsInsideOut.com in support of U.S. Marine Corps veteran Myles Panosh's March 24, 2019, UFO sighting report were most likely images of street lights and cars on the ground. Wisconsin videographer Jeff Lavicka worked closely with NewsInsideOut.com to decipher strange artifacts discovered in the footage and has withdrawn his claim of having taped a UFO that night. These findings downgrade status of the incident depicted in the short film from potentially the biggest story in today's UFO news to a record of testimony from a trained observer whose sighting of an unknown remains supported in the film by video-based dramatic visual recreations and 8-bit granular audio processing.
To show readers how these conclusions were reached we are presenting a series of images. This series reveals how one previously-unpublished video frame from the "Manitowoc Incident" video archive rotated 180 degrees and transparently overlaid with a daylight photo of a neighboring house adjacent to Jeff Lavicka's location offers a satisfactory visual match. A geometric artifact on the far left side of the frame suggests there was a building in the image foreground. The composite result accompanying this update reveals the camera's attitude at the time of recording was apparently pitched downwards, not upwards facing towards the sky.
This reporter received access to "Manitowoc Incident" footage two weeks after it was recorded and discussed among the witnesses. How it then took an additional six part and full-time days for this discovery to arise relates to various challenges that surround attempts to provide pro bono lab services as a crowdsourced amateur video clearinghouse while also providing reportage, non-commercial short film production and news distribution services on a deadline.
Upon his review of these facts witness Myles Panosh told NewsInsideOut.com he stands firmly behind his UFO sighting testimony where he clearly stated in the film how both videographer and witness were at two different locations at the time of taping and that the recordings were made after his initial sighting that same evening. It is our hope that this important update to NewsInsideOut.com's "Manitowoc Incident" reporting will satisfy the curiosity of readers and viewers alike whose appetites for the UFO Truth and Disclosure we continue to support.
Running at under 15 minutes the "Manitowoc Incident" short film on YouTube has gathered more than 5,000 views at the time of this update's publication and is the subject of articles and threads on top-ranking websites including Mysterious Universe and Above Top Secret.
Recommended Reading
EXCLUSIVE: U.S. Veteran Witnesses 'Massive' UFO over Lake Michigan in 'Manitowoc Incident' Short Film
Decrypt the Matrix like an Expert with 'Cyberpunk 101: The Series'
Pilot's Irish UFO ET Crash Recovery Secret Messages Anticipated Four Years Earlier during BC Wilderness Night Vision Contact Event
Precognitive UFO dreams and ET psi near Vancouver City Hall
Summer videographers blew the whistle on UFO denial redux


text:
GLOVERSVILLE – City police said two men were arrested Friday after stealing and then selling a transmission to a local scrap yard.
Donald E. Morehouse, 21, of 9 Chestnut St. and Matthew E. Poyfair, 21, of 189 Lily Lake Road, were both charged with third-degree burglary, a felony and petit larceny, a misdemeanor.
Police said Morehouse and Poyfair entered part of the Chris Rizzo Trucking Inc. business at 97 Second St. and stole a transmission and transfer case from inside the premises.
The two then sold the stolen parts at a local scrap yard, police said.
The scrap yard assisted the business and the officers with obtaining descriptions of the suspects and the vehicle they used, police said.
Capt. John Sira said the two stole a transmission and transfer case that were sitting around and not in a vehicle.
Morehouse and Poyfair were arrested on City Court arrest warrants after the investigation, police said.
Both were arraigned before City Court Judge Traci DiMezza and sent to the Fulton County Correctional Facility on $10,000 bail.
City police also are investigating a separate theft of a cast iron IP valve from 97 Second St., reported to police Jan. 2. The cast iron valve was described as gray in color with a long handle and said to resemble a fire hydrant, police said.
Police do not have enough evidence at this time to suggest these incidents are related, a news release said.
Police advise people to call 773-4505 with any information.


text:
When it comes to cheese some people know exactly what they want, and others haven't the slightest clue of where to begin. There are countless varieties that appeal to a variety of tastes, and personalities for that matter. Each type of cheese can bring out new flavors and experiences with all sorts of other foods. The most popular cheese matchmaking is done with wine, but did you know that there is a perfect cheese to go with your Thanksgiving Turkey?
To help maximize your cheese enjoyment, FoodyDirect has put together the pairing chart. Follow it to continue your noble journey into Foody-hood!
[Click image for full size version]


text:
When Is It Important To Hire A General Contractor?
When you're planning a medium to large-scale home improvement, you may hear that you should hire a general contractor ... in addition to the plumber, painter, drywaller, etc., etc. you already had in mind. If that leaves you wondering, "What is a general contractor and why should I hire one?" wonder no more. Here's a guide to all you need to know about general contractors, including why – and how – to pick one.
What Is a General Contractor?
A general contractor is an important figure in large residential and commercial renovation or remodeling projects. He or she is there to hire and coordinate all the home improvement professionals needed. A great comparison is likening your general contractor to an event planner: both are there to oversee all aspects of transforming your plans into a successful reality
When Should I Hire a General Contractor?
Hire a general contractor when:
- You need someone to provide and coordinate several types of pros (like carpenters, plumbers, electricians, and flooring specialists for a kitchen remodel)
- Your home improvement project will take a week or more to complete (such as a room addition or basement finishing)
- You require multiple permits to cover all the work that needs to be done (for instance, hardscape that includes a deck, a fence over 6 feet, excavation, etc.)
Why Should I Hire a General Contractor?
"What is a general contractor actually necessary for?" you may ask. "Couldn't I just find sub-contractors myself?" Well, yes, you could … in theory. However, here are 3 excellent reasons to hire a general contractor:
- A general contractor knows the best people to use for your job, whether his own in-house crew or trusted subcontractors.
- He's familiar with large projects and knows how to schedule tasks. Example: painting must be scheduled AFTER drywall installation, which in turn, comes AFTER plumbing.
- Your lending institution may actually require you to hire a general contractor to qualify for a home improvement loan.
Does a General Contractor Need a License?
Each state has its own laws regarding the qualifications for a general contractor. In some states, all general contractors must be licensed. In others, licensing may be necessary for certain types of home improvement or projects above a specific dollar value. The National Association of Home Builders provides detailed state-by-state general contractor licensing information.
How do I Choose a Reliable General Contractor?
You and your general contractor will be working together for the long haul -- while subcontractors come, complete their task, and go -- so make sure you choose a good one. Look for:
Up-to-date license. In states where general contractor licensing is the law, the license must be regularly renewed (usually annually or every 2 years).
Recommendations and reviews. Check for verifiable customer testimonials to the quality of the general contractor's work, and no history of unresolved complaints with the Better Business Bureau or state licensing board. Search court records for any past litigation.
Financial references. Request references from the GC's bank and/or suppliers, to ensure that he's in sound financial shape and unlikely to file for bankruptcy before your project is done.
Insurance. Check for comprehensive, valid insurance coverage. Confirm what will be covered by his business insurance and what by your homeowner policy.
Multiple bids. Get 3 to 4 general contractors to bid on the work so that you can compare prices, materials, and timelines. (And be wary of anyone who is too cheap!)
Comprehensive contract. Hire only a general contractor who's willing to sign a contract detailing the work to be done, products to be used, and timeline for payments linked to specific goals. The contractor should also sign a lien waiver when you make each payment, confirming that he and his subs have no grounds to take out a lien on your house for unpaid work.
What is the Cost to Hire a General Contractor?
The cost to hire your general contractor may be either:
- A flat fee for the project OR
- A percentage (usually 10-20 percent) of all project costs, including subcontractor fees, materials, permits, etc.
Make sure this is clearly spelled out in your contract.
Laura Firszt writes for networx.com.
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First-Class Support for .NET Repositories
Join us tomorrow for 30 minutes, to learn how Nexus can help you streamline .NET development. In this session Brian Fox will give you the information you need to get started, including how to:
- Publish and share internally developed .NET components
- Proxy NuGet gallery, a central collection of .NET OSS components
- Set up your environment, including Visual Studio and Nexus
All registrants receive access to the recording after the event. So if something comes up and you can't make it, you won't miss out.
Two sessions are available on Thursday, March 29. Choose the best time for you:
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text:
Kelly Clarkson's new record is getting critically hammered. Off the success of her last effort, the expectation was that she'd take the same formula and churn out another list of 4 or 5 hits. Instead, Kelly decided to write her own stuff, even if it meant staying off the charts and pissing off Clive Davis. The result will likely not be commercially viable, especially not with the negative press.
But here's the thing: Avril Lavigne's new album (as unoriginal and obnoxious as she is) is considered "listenable" music – getting radio play, selling healthy numbers…and still, Avril Lavigne sucks ass. Avril Lavigne is a tool. Avril Lavigne is miles from real.
So perhaps then it's ok if someone real puts out something sh-tty? Especially since Kelly arrived at sh-tty by actually being authentic? I think I just might buy her CD on the basis of that alone…
Kelly in next month's Elle - refreshingly insightful comments and a slightly f&ck you attitude without resorting to the dreaded middle finger characteristic of Avril and her one trick pony.
How she deals with fame and success:
"It is weird when a 12-year-old tells me I am their favorite artist. I'm always like, It's just because you're young and you haven't heard everybody yet. In time, I'll be weeded out. And that's cool. I know I'm a good singer, but I know who I am, too."
Professional ethics, unlike Lindsay Lohan:
"I tend to be early. I'm not patient. I have no tolerance for stupidity. I work too much. All my conversations revolve around my job. So I'm boring."
Her non-Hollywood body and how it feels to have it photographed for public consumption and criticism:
"I'm fine with it. I just don't care. I don't wear makeup in public. I don't worry about what I'm wearing. Hell, I wore pajamas in high school."
Fighting for her music because it's HER music:
"I've sold more than 15 million records worldwide, and still nobody listens to what I have to say. Because I'm 25 and a woman."
Turning down a $10 million offer from Clive Davis to ditch her own songs in favour of the poppy ones:
"I am a good singer, so I can't possibly be a good writer. Women can't possibly be good at two things. I haven't lost my temper about it. It only drives me more. If your thing is to bring me down, cool. I'll just work harder."
That's the kicker, isn't it? How many of us would turn down $10 million? I know I wouldn't. I'd say bring on the bullsh-t and give me my cheque. But Kelly didn't. So you see why I'm buying her CD? In this day and age of rehab and prison and divorce and hair extensions, why not more love for Kelly Clarkson, if for no other reason than to only to back up our own criticism?
Because if we hate Paris and if Britney is beyond, shouldn"t Kelly Clarkson be Plan A?


text:
Dog days of winter: Keeping pets safe, warm
(HealthDay)—With the arrival of winter, dog owners need to be aware of how to keep their canine friends comfortable and safe, an expert says.
"A general rule of thumb is if it is too cold for you outside, it is too cold for your dog," Susan Nelson, a clinical associate professor and veterinarian at the Kansas State University College of Veterinary Medicine's Pet Health Center, said in a university news release.
Several factors, such as size, help some dogs tolerate the cold better than others.
"Small stature and short coats, such as with a Chihuahua, make dogs less tolerant of cold weather. Some of these dogs may not even tolerate cooler temperatures that are still above freezing for very long," Nelson said.
"Larger body mass and longer, plusher coats allow dogs to tolerate lower temperatures for a longer duration—think Siberian husky," she added.
Giving your dog enough time to get used to colder temperatures is a good idea. Being exposed to a gradual reduction in temperature allows your dog to develop a protective winter coat and adjust to the colder conditions.
While coats, sweaters and boots can give dogs added protection, they also have some disadvantages, Nelson said.
"Watch for choking hazards, such as buttons, on coats and sweaters," she advised. "Ensure they are made of breathable fabrics and that the fabric doesn't irritate the dog. They should only be worn when supervised as the dog could get caught up in them. Also, if the apparel gets wet, it can promote hypothermia that results from chilling caused from the body being in contact with the cold, wet fabric."
Boots can keep snow and ice away from paws, but owners need to make sure they fit correctly, can be put on easily and stay on, and have good traction, Nelson said.
More information: The American Kennel Club has more about winter care for dogs.
Copyright © 2013 HealthDay. All rights reserved.


text:
Peppa Pig Toddler Bed
Product Description
- Official Peppa Pig merchandise
- A simple way to make the transition from a cot to a single bed
- Perfect size for toddlers, low to the ground with protective and sturdy side guards to prevent night time tumbles
- Has a colourful printed head and footboard featuring Peppa and George Pig
- Solid and strong construction; sturdy steel frame with fabric sling base
- Tested to the most stringent safety standards
- Quick to put up with easy step by step instructions
- Dimensions approx: 143cm x 77cm x 59cm (56in x 30in x 23in)
- For use with mattress size 70cm x 140cm (27.5 x 55in)
- Mattress, bedding, and accessories not included - Please select mattress option from above
- Suitable for ages 18 months +
- Main colour: Pink
- Coordinating items available
- This item can be delivered to UK and most European addresses
Peppa Pig Toddler Bed
Make the move from cot to a 'big' bed easy with this Peppa Pig Toddler Bed. Big on imagination but easy on the pocket, this toddler bed will have your little one right on track for a brilliant bedtime routine. Perfect for toddlers, the low to the ground bed features protective side panels to prevent bedtime tumbles so they get a good nights sleep and you get peace of mind. The colourful design features great images of Peppa and George Pig on the head and footboards and coordinating bedding and bedroom accessories are also available to purchase from our Peppa Pig section.
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- For more info on all shipping methods and rates, including International Delivery, please see our Delivery section.
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