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Edisto Island SC Homes for Sale are brought to you by
Charleston Metro Homes-843-278-1600
Edisto Island SC Homes for Sale is the perfect place to start your homes search if you are seeking the benefits of a vacation lifestyle all year around. From the raised beach houses of Beach Walk homes for sale and Jeremy Cay real estate for sale to the charming water cottages of Middleton Plantation homes for sale, you will find that Edisto Island real estate for sale offers something for everyone to help you complete the mission of finding the right home for you!
The all-inclusive real estate professionals at Charleston Metro Homes offer thousands of houses for sale and luxury home listings in more than 300 markets throughout the United States and Canada. Each professional can provide extensive information on Edisto Island SC homes for sale in addition to virtual tours, photos and information on the local housing market. The information that is available extends well beyond the listings for the Edisto Island SC homes for sale. You will also find guides on Edisto Island SC homes for sale, rates on Edisto Island homes, moving guides, tips for Edisto Island homes and much more expert advice.
Edisto Island Homes
Their main goal is making it easy for you to find Edisto Island SC homes for sale that you are interested in. They can provide you with access to the most current data on single family homes for sale in South Carolina in addition to Edisto Island. Just visit Charleston Metro Homes to collect information on the new available Edisto Island SC homes for sale, recent MLS homes for sale and foreclosed homes. Your favorite searches can be saved and you can receive automatic real estate updates regarding Edisto Island SC homes for sale that meet your criteria.
If you are in the market for an elegant raised beach house check out Jungle Shores homes for sale, The Retreat at Edisto property for sale and Wyndham Ocean Beach homes for sale. Each of these communities
Edisto Island Real Estate
The quaint small beautiful island of Edisto Beach, SC is located right outside of Charleston, SC. According to some sources, Edisto was settled prior to Charleston, SC. However, there are no records that disprove or prove this statement. There are records that show that the Earl of Shaftsbury, who was an original Lord Proprietor, purchased Edisto from the Edisto Indian tribe in 1674 for some beads, hatchets, cloth and other goods. Among the first crops that were planted were indigo and rice. However, what really became world famous was Sea Island Cotton. It has been said by individuals calling this area home that the Pope in Rome was insistent that his clothes be made out of Edisto Island cotton.
Edisto Island is only seconds away from Edisto Beach, SC. Many homes for sale are offered on deep water in addition to lots for sale for building on, which makes this some very fine real estate located in a country setting. After the Civil War ended and the boll weevil invasion, the cotton industry died off. The islanders started fishing, shrimping and farming the land. Tourism today is one of Edisto Beach's largest industries. Compared to decades ago, Edisto Beach,
Edisto Island Homes for Sale
For other unique offerings, such as those listed above, with a similar feel take the time to check out amazing communities such as West Ashley homes for sale, Isle of Palms homes for sale and Johns Island homes for sale. Each of the communities are highly popular amongst
It is no secret that it can be difficult to find a home. It can be quite a complicated process to balance your price range and housing needs with the location as well as all of the things that you really would like to have. When you contact a realtor regarding Edisto Island homes for sale, it will be easy for you to find homes that will fall in your price range and meet your needs as well as your housing requirements, such as size and number of bedrooms, dining room, the size of
However, what good is it to have an endless amount of market information if you are unable to find your dream home? Realtors will provide you with basic information like property dimensions, price,
Since the neighborhood is a very important part of the house buying process, you will be able to find information on the neighborhood on a majority of the listings, including information about the neighborhood and schools. There are maps and statistics on the community's climate,
It doesn't need to be a big hassle to locate Edisto Island real estate. Get neighborhood and property information quickly through a realtor. This will allow you to get into your new house without having to go on a long, drawn out property search.
People wanting to relax in their second home or wanting a peaceful area to live in often look at Edisto Island homes. "A classic, traditional home located on a spacious corner lot and featuring a wide front porch; it is the ideal setting for getting to know your new neighborhood and meeting friends. The very first thing that your new friends will notice when they enter your home are the inlaid custom tile, stair treads winding up to the upstairs part of the house and the well-polished floors throughout your home. Well equipped and spacious bathrooms and kitchen, nice sized living room and exclusive bedrooms, this home's open floor plan
Edisto Island Subdivisions
MLS Listings
Link in Red has listings for the entire area
Edisto Island property for sale|Middleton Plantation homes for sale|Edisto Island real estate for sale|Edisto Beach property for sale|Wyndham Ocean Ridge homes for sale|Beach Walk homes for sale|The Retreat at Edisto property for sale|Jeremy Cay real estate for sale|Jungle Shores homes for sale|Ocean Ridge homes for sale


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Dust to dust – interring Abi's ashes
Following on from My Great Loves guest post about turning back into dust, I wanted to share our experience of interring Abi's ashes. Choosing a burial or cremation is a decision I really wasn't prepared for when Abi died. I knew she'd died and that we'd have to have a funeral, but I just didn't […]Read More

subset: commoncrawl


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Do you live, do you die, do you bleed
For the fantasy
In your mind, through your eyes, do you see
It's the fantasy
I'm not very big into the fairy tale/fantasy aspects of SL, but when I saw the Dyisi Satry Outfit from Evie's Closet at this round of Zodiac, I just had to have it. I have to admit, as well, I knew Autumn would be buying it...and that it would turn into a collaborative post for the two of us. We're just so damn cute, I think I'll let the pic speak for itself....muah ♥
What we're wearing:
Outfits: Evie's Closet - Dyisi Satyr Outfit - Aries Zodiac
Hair: D!va - Flora
Antlers: Half Deer
Skin: Glam Affair - Zara - Black Phoenix
Hooves: Epic - Basic Faun Legs - Dark Brown
Makeup - Half Deer - Faun spots
Pose: !bang - mini series - overcome 3 (Zodiac)
Skin: al vulo- Debbie* Ohh Deer chantilly (Group Gift no longer available)
Faun Legs: Titanias-Faun-Brown
Pose: !bang - mini series - overcome 5 (Zodiac)


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St Margaret's is going greener
We are a Fair Trade Church and hold the Eco Congregation Award. Our PCC has taken steps to tackle environmental issues and reduce our carbon footprint e.g. hall heating system.
Church history
The building now known as St Margaret's was built in the 1800's by Colonel Croll as a place of Baptist worship. It was subsequently used by the Presbyterian Church before being temporarily closed. The Granard Chapel, as it was called, was given to Putney Church Council by Seth Taylor, the then resident of Granard House, in 1912 to provide the now-extended parish with another church. It is believed that the name Margaret was chosen after one of Taylor's daughters.
In 1923, after considerable growth, St Margaret's was constituted as a separate parish and its vicar was instituted in 1924.
The community of St Margaret's has obviously changed over the years as has the building itself. However worship remains strong and, because of its varied denominational history St Margaret's has contributed greatly to Putney's religious community. St Margaret's is part of Churches Together in Putney and Roehampton
PLEASE NOTE: New Byelaws for Pleasure Grounds, Public Walks and Open Spaces come into force on 26th November 2018. Please see the links below for all the information:
How to find us
St Margaret's stands on Putney Park Lane which is not a made up road.
Drivers are asked to park on nearby streets and walk through to the church. Park either on the Dover House Estate, e.g. in Hawkesbury or Parkstead Roads or the other side of the church on St. Margaret's Crescent and come down Church Walk.
Access for disabled parking and deliveries is via gates at the ends of the Lane, from Upper Richmond Road or Putney Heath. Please close the gate after entering the lane and after leaving the lane. When driving in Putney Park Lane please drive slowly and carefully and within the recommended speed limit of 10 mph.
The nearest bus route is the 430 which goes along Dover House Road.


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Since merely listening to a great performer no longer seems good enough, the folks at Lincoln Center are now searching for alternatives. This season's novel approach is called "New Visions," a series designed to explore the classical repertoire "in bold new ways" by presenting music in theatrical contexts. There is actually nothing wildly avant-garde about that notion -- concert works never meant for dancing are regularly choreographed, directors have often staged narrative song cycles like Schubert's Winterreise, slide shows have been used to illustrate Berlioz's Symphonie Fantastique, etc. -- but the possibilities for real mischief, once this particular Pandora's box has been opened, are practically limitless.
Even so, I'd like to think that Lincoln Center will eventually come up with something more compelling than Robert Lepage's staging of Mahler's Kindertotenlieder, an unconvincing playlet that recently received three performances at the John Jay College Theater. It's hard to know what the director saw in such an interior expression of grief that he felt could be dramatized. In one of literature's great therapeutic outpourings, Friedrich Rückert wrote 425 poems in 1834, all dealing with the deaths of his two small children, and by 1904 Mahler had set five of them to music, much to his wife's superstitious horror (sure enough, the Mahlers' own eldest daughter died of scarlet fever three years later). Now a repertory piece, the cycle stands as one of the most moving musical statements of loss ever written.
In order to spin out a plotless twenty-minute song cycle into an hour-long music drama, Lepage and the writer Blake Morrison have devised a scenario involving a married couple preparing to separate, their mopey teenage daughter, and an enigmatic pianist who occasionally wanders in to accompany the woman in a Mahler song. Not much else happens to these inert characters, who seem strangely catatonic and speak mostly in barely audible whispers. To make matters worse, Rebecca Blankenship's unsteady singing lacks tonal allure and expressive nuance, the real fatal flaw in a "new vision" that ends up trivializing great music rather than illuminating it. By far the star of this feeble show is the glorious turn-of-the-century piano, a beautifully restored 1904 Bechstein Boudoir Grand, which proudly commands center stage.
It was a relief to encounter Mahler without stage trappings the next evening, as the New York Philharmonic, Kurt Masur conducting, performed the composer's heartbreaking symphony of songs, Das Lied von der Erde. More familiar for their work in opera than in concert, the two vocal soloists were cast against type: Jennifer Larmore, pegged hereabouts as a Rossini specialist, and Richard Leech, a tenor who tends mostly to the lyric French-Italian repertory. I can't say that the experiment worked -- Larmore's lightish mezzo-soprano has neither the dark coloration nor the necessary expressive weight for Mahler's melodic declamation, and Leech more or less just hurled his voice at the notes. Still, it was different, as was Masur's dry-eyed but sensitively inflected interpretation.


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Exciting Bike Events from our Associates
Mach Motorcycle & Music Festival
We're thrilled to announce that we've just launched our brand new website www.themotorbikefestival.co.uk.
We'll be adding more as the routes, bands and entertainment are confirmed, so watch this space and we'll see you at #MACHFest3
BMF Dambuster Rally
August 17-19th 2018
For more information click here and the Facebook group here
Fat Skeleton Blues and Bikes Weekend
Click here for more information
Holbeach Music and Beer Festival
Click here to visit their website.
Click here to visit their facebook page.
Spirit of the Marsh
Celebrate Beltane with three days of camping in the beautiful Lincolnshire countryside. Spirit of the Marsh is a family gathering that aims to keep ancient traditions alive.
2018's event will be packed with talks, workshops, music, meditations, plenty of Pagan and spiritual ceremonies, childrens entertainment and of course, the Beltane fire.
Dates for 2018 festival are 4th May 2018 to the 7th May 2018.
Withfest Weekend 2018
East Yorkshire's BIGGEST and BEST FREE Music and Motorbike Festival. Over 100+ Live bands, musicians and performers appearing on our Live n Loud Stage and Acoustic Chill Out Zone! Funfair, stalls, craft market, entertainment and much much more
Click here for more info
Great Yarmouth Motorcycle Takeover 2018
The Great Yarmouth Motorcycle Takeover returns for its 3rd year!!
After the ENORMOUS sucess of the 2017 takeover, we've been asked to do it all again, but bigger!
Whats to look forward to? Well, you guys came in your thousands! Great Yarmouth has recognised how much the takeover brings to the town, and because this years was so sucessful, we have alot more freedom and flexibity for trade stands, entertainment, displays, bands etc. All the stuff you've been asking for!!
Theres alot we need to do for next year, but follow the event and the page to stay up to date with all the latest information as we get it. (Dont book hotels just yet, were 99% on the date but just incase!) As always, we will be raising money for the East Anglian Air Ambulance.
More information to follow!!
Click here for more info
Ride to the Dunes
6th May 2018, Nottingham to Mablethorpe


text: Cops Destroy Almost $2 Billion Worth of Weed in California 4.36K Jeff Neumann 07/30/10 04:20AM Filed to: Drugs Drugs California weed Police Marijuana Police in California over the last three weeks have arrested 100 people and destroyed 432,000 marijuana plants worth $1.7 billion in the Sierra Nevada Mountains. Perhaps they should have put it toward the state's $19 billion budget deficit. [BBC]


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- Home
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- Sales and Promotions
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July 15, 2009
Simple Special with Simply Scrappin'
I've decided that as I showcase some of the new products from the catty that I will offer my own little specials. These specials will have time limits and will only be available while ordering through me directly. My online shopping site is unable to process these discounts. My first special will be on any of the Simply Scrappin' kits in the new catty. These kits are $26.95 +s/h and taxes. From July 15th until midnight on the 17th I will be offering these Simply Scrappin' kits for $25 including taxes and s/h. You can order as many of the kits as you'd like and these are available to be shipped anywhere in Canada. If you would like to have these kits shipped directly to you contact me for the additional cost of shipping. If you purchase 4 or more kits, there is no additional cost per kit no matter where in Canada it is being shipped.
Surprisingly enough, before I even created the card that I posted a few days ago, I did this two page 12x12 scrapbook layout. When it comes to scrapbook pages, I can often have a bit of a brain block and not be able to come up with an effective layout. For that reason, I've bookmarked the Page Maps website. It provided me with a sketch and I completed it with the supplies in my kit. If you click on the photo to enlarge it, you'll see that the top third of the photo actually has a polka dot DSP that coordinates.
TIP: When using a Simply Scrappin' Kit, cut your sticker pages into the individual embellishments while leaving the backing on. That way you can move your layout around the way you want it before committing to anything. Use a temporary adhesive like Dotto to get your DSP and Cardstock where you want it before finally adhering it with a permanent adhesive.
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Basics Diet UPB Recipes Free Foods for your parrot Cages Homemade Toys for Your Parrot Holistic Myths & Facts Plucking Avian Vets Supplements Other Pets UPB Recommends UPB Nursery How We Hand Rear Testimonials
UPB mission statement
We strive to provide you, the client, with the best quality hand-reared pet parrot available. We do this by providing the parent birds with the best environment possible to live in, the best fresh foods and pellets to eat and the most stress free life possible. All our baby birds are raised with their siblings, fully socialised with adults, children and animals. We stay in touch with clients for as long as they deem fit. We offer 24/7, lifetime support by email and telephone, as well as our exclusive web based forum. All our babies are bred by us, raised by us, and sold by us. We do not supply pet shops or other hand rearers
(requires java)
Click here to sign our guestbook
Click here to add your location to our Frapper site
UPB Recommends
A beautiful tropical bird garden, located in the heart of rural Leicestershire.
Buy your pet supplies online or in store from Clipsley Pets & Aquatics. Whatever your pet and wild bird requirements, you will satisfy them at Clipsley Pets & Aquatics, a family business with over 25 years experience in pet retail.
Possibly the biggest, most comprehensive and informative Bird-keeping/Bird-breeding website on the Internet inc. Adverts Birds Wanted/For Sale etc. Solway Parrot & Foreign Bird Club, based in Cumbria. 180+ Members, monthly Meetings with Avian Speakers.
An excellent article on Congo's
An excellent article on Timneh's
An excellent article on Senegals
An excellent article on Hahns Macaws
An excellent article on Black Headed Caiques
Premier Cages offer, Parrot cages, bird cages and Accessories. High quality product against the best prices you can find in the UK
One of the only pet retailers we recommend
Pennine Vets Our recommended Avian Vet in the Manchester area
Link to Versele-Laga bird food products
Parrot-safe wood (for info only. no email contact)
Cavyland Jewellery (parrot related jewellery of the finest quality)
UPB Owners click here to access your own exclusive forum and content
WebJester webdesign ©
| Site Map | Privacy Policy | Contact Us | ©2006 unitedparrotbreeders.co.uk


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University Chorale
The Chorale is a mixed chorus of 60 men and women dedicated to the performance of a wide variety of a cappella classics, as well as hymn arrangements and spirituals.
If God has blessed you with the incredible gift of talent for creative expression, you'll find a vibrant, thriving musical community at Malone.
For music majors and non-majors alike, our musical ensembles provide opportunities for musical growth, relationship-building, and
Whether you sing or play the piano or a symphonic instrument, we encourage you to participate in our choirs, bands, and other small ensembles. You will grow as a musician and gain other skills which can be used long into your professional life.
Scholarships are also available for participation in our musical ensembles.
The Chorale is a mixed chorus of 60 men and women dedicated to the performance of a wide variety of a cappella classics, as well as hymn arrangements and spirituals.
The Pioneer Spirit Marching Band is one of the most visible organizations on campus, performing for campus events, home football games at Tom Benson Hall of Fame Stadium, parades, and band shows.
The Malone University Symphonic Band meets during the spring semester and performs concerts in February and April. The ensemble consists of music and non-music majors, and performs standard and contemporary literature of the wind band, orchestral transcriptions, and popular music from radio and television. Membership is gained through audition; scholarships are also available through audition.
Malone Opera Theatre (MOT) is a small mixed group of voices selected by audition. The group performs once per semester with a recital of excerpts of beloved opera classics. This course is offered each semester.
The Malone University Jazz Ensemble, is a big band consisting of saxophones, trumpets, trombones, and rhythm section. They rehearse year-round and perform concerts on campus and throughout the community. Their repertoire includes swing, Latin, funk, rhythm & blues, rock, fusion, and contemporary Christian.
The Malone University Chamber Choir is an advanced choral ensemble of 24 mixed voices, selected by audition. This highly selective choir performs several styles of music, from a cappella classics to contemporary small-group works. Past performances include joining the Tuscarawas Philharmonic and Chorus, a tour through Italy, and a service-learning trip to the Republic of Kenya.
The Men's Glee Club rehearses weekly using repertoire written specifically for men's voices, including traditional glee repertoire and a cappella arrangements of pop and contemporary praise and worship music. Directed by Darius McBride '16, this ensemble is open to all Malone men without an audition requirement.
Established in 1989, this ensemble is comprised of women representing a variety of majors. They rehearse weekly using repertoire written specifically for women's voices, from traditional literature to a cappella arrangements of pop and contemporary praise and worship music. Directed by Brian Kieffer, this ensemble is open to all Malone ladies without an audition requirement.
Offered each semester, the Commercial Recording and Performing Ensemble is a flexible ensemble consisting of electronic and acoustic instruments. Performances will be created using computer and/or hardware based sequencing in conjunction with live performances. A variety of styles will be performed with an emphasis on popular music.
Brass Ensemble has flexible instrumentation, and rehearses literature in a variety of styles. They perform on campus, and at church and community events in the Canton area. Students who wish to participate in the Brass Ensemble are also required to participate in the Symphonic Band.
This chamber ensemble performs without a conductor, giving students a true chamber music experience. It utilizes four different instruments in the flute family, including the piccolo, alto flute and bass flute. The repertoire includes a variety of musical styles, from classical arrangements to popular tunes and holiday music. Students who wish to participate in the Flute Ensemble are also required to take Applied Flute lessons.
Percussion Ensemble is a flexible ensemble of instruments performing a variety of works from the literature, chosen based on the proficiency of the participants. The group performs one concert per semester and is directed by Scott Thomas. Offered at departmental discretion.
The Piano Ensemble studies and performs music written for piano duet (four hands at one piano) and music written for piano duo (two pianos with one performer at each piano). The repertoire is chosen from a wide variety of styles including music from the classical, pop and sacred genres. Students rehearse in the piano lab as well as in the piano studios. Members of the Piano Ensemble perform at departmental recitals.


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Definition of Sithens
1. since [adv] - See also: since
Lexicographical Neighbors of
Literary usage of
Below you will find example usage of this term as found in modern and/or classical literature:
1. The Complaynt of Scotlande Wyth Ane Exortatione to the Thre Estaits to be by Henry, James Harrison, Edward Seymour Somerset, Nicholas Bodrugan (1872)
"Wherfore beinge now passed sithens the last homage made by the kinges of Scottis to oure ... being all the other tymes sithens the homage dono by James ..."
2. The Manuscripts of Rye and Hereford Corporations by John Dovaston, Rye (England), Thomas Barrett-Lennard, Frederick Cleave Loder Symonds, Hereford (England), William Dunn Macray, Edmond Robert Wodehouse, William Walter Legge Dartmouth, William John Hardy, William Page, Robert Lloyd Kenyon, William Oxenh (1892)
"... but Jorden said he liad your Lordships letters and answer should be made the next passage, which yet is not done though Use passage longe sithens come. ..."
3. Journal by Royal Society of Antiquaries of Ireland (1859)
"... coming unto me he gave no signe of any such purpose, as sithens fell out, but to give color (as semes) to his intent, and to draw me y* further from ..."
4. State Papers: Relating to Henry VIII. by Great Britain Record Commission (1849)
"... why (sithens it was afore this tyme made overture of, and nothing said to it) that it shuld nowe be sett in purpose, sithens all this assemble, ..."


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IHG Laundry Holiday Inn San Antonio Riverwalk in San Antonio, Texas
Laundry Holiday Inn San Antonio Riverwalk
Job Number R150604
Hotel Brand: Holiday Inn
Americas - United States - Texas - San Antonio
About us
Do you see yourself as a Laundry Attendant? What's your passion? Whether you're into gardening, shopping or karaoke, at IHG we're interested in YOU. At IHG we employ people who apply the same amount of care and passion to their jobs as they do their hobbies - people who put our guests at the heart of everything they do. And we're looking for more people like this to join our friendly and professional team. The Holiday Inn San Antonio Riverwalk is located in the center of downtown San Antonio. Our hotel is nestled along the beautiful banks of the San Antonio Riverwalk, as well as steps away from beautiful historical landmarks in the downtown area. Your role is to provide a clean and comfortable room while providing our guest any additional supplies upon request. This position has overall responsibility for cleaning and storing linens/uniforms in a timely, organized manner to ensure that hotel's laundry and linen needs are met. You will o perate washers and dryers according to recommended capacity and other manufacturers's guidelines and fold clean linens and store as appropriate. You may operate linen feeder, sheet folder, towel folder and table linen ironer machines. He/She will r eport to supervisor needed repairs or unsafe conditions while you monitor and control supplies, and minimize waste within laundry facility. You will s ort and record discarded linen into categories and report damages or loss of linen to supervisor.
Your day to day
Requirements include basic reading, writing and math skills with some laundry experience preferred. You may be required to work nights, weekends, and/or holidays. This job requires ability to perform the following:carrying or lifting items weighing up to 75 pounds and pushing and/or pulling approximately 400 pounds, frequently standing up and moving about the work area, frequently handling objects and equipment to maintain the facility, frequently bending, stooping and kneeling, frequently working in areas of high temperatures around heavy equipment In return we'll give you a competitive financial and benefits package which may include healthcare support, dental, vision, disability and life insurance support, and a matching 401k plan. Hotel discounts worldwide are available as well as access to a wide variety of discount programs and the chance to work with a great team of people. Most importantly, we'll give you the room to be yourself. So what's your passion? Please get in touch and tell us how you could bring your individual skills to IHG. IHG is an equal opportunity employer: Minorities / Females / Disabled / Veterans.


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On December 4, 2004, AIDLA (nee Sznajderman); beloved wife of Santiago Rain; beloved mother of Ignacio (Maria) Rain, Sara (Steve) Gulin, and Richard (Sue) Rain; beloved sister of Amalia Zeitune, Marcos Norma Sznajderman; loving sister-in-law of Sara Migdal. Loving grandmother of Pat and Bobby Minter, Michele and Chris Knorr, Brian and Kelley Gulin, Jamie Gulin, Stefanie and Victoria Rain; loving great-grandmother of Elizabeth, Amanda, Alex, Brooke and Brandon. Also survived by neices and nephews. Services at Sol Levinson & Bros, Inc., 8900 Reisterstown Road at Mt. Wilson Lane on Sunday, December 5 at 12 noon. Interment Oheb Shalom Memorial Park, Berrymans Lane. Please omit flowers. In Mourning at 5503 Northgreen Road (21244), Sunday evening only.
Copyright © 2019, The Baltimore Sun, a Baltimore Sun Media Group publication | Place an Ad


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Princess Babsi is a sexy blonde mistress with long hair that is busy chocking her slave out as he lays on the couch. She is on her knees on top of his chest with her knees into her chest as she presses her full weight over his lungs as she continues choking him out with both hands until his face turns red and he stops fighting her complete and absolute domination.
Mistress Sibilla and Mistress Alexandra are two sexy mistresses wearing sexy black outfit and stockings as they get ready to have some fun with their skinny loser slave. The take turns sitting on his face with their sexy black asses covered in black and they make sure that his mouth and nose are completely covered so that he can barely breathe and what little of air he gets smells like ass.
Mistress Emely and Mistress Saskia decide that they are going to give their slave some training in breathe control. They take him and tie him up so that he can not get away and they start having their fun with him so they can play their game with him. They take him and put their hands over his mouth and nose so he can not breathe at all with out their permission.
The huge titted redhead Goldie finishes her male slave off on the wrestling mat as she smothers his face with her hot ass and pussy covered by her thong underwear. She shoves her big tits in his face and shoves his head between her ass crack so that he is not able to breathe any fresh air. Finally she knocks him out with a nice face sitting on his face


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3412 FIDDLERS RIDGE PKWYWilliamsburg, VA 23185P: 2026568790F:
Chaka MarketBridge is the fair trade market for high-quality, unique gifts, home décor and personal accessories handmade by the world's best undiscovered artisans. We discover the most unique, eco-chic handmade pottery, handbags, bowls and other décor accessories, and we bring them straight to you from developing world artisans. Our commitment to real social responsibility drives us to find the artisans left behind by traditional channels and bridge them to you, creating a connection in relationship and trade.
Copyright © 2008 FairgreentradeSM. All rights reservedWeb Site Designed & Powered by The Intersoft Group, Inc.


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Cufon text, a way to display different, stylish typos on to your web page/ website. Because, in Web design, also in User Interface design fonts play a major role in beautification of the whole design layout. In the Web 2.0 almost every website is rendered with nice fonts so that the whole website looks beautiful and seductive to its visitor. Hence, in this post we will discuss how to create and use different fonts on web pages using Cufon.
Basically, Cufon Yui generates 'canvas' & 'cufontext' tag. Where 'canvas' tag contains the size and other setting of your text to be displayed and 'cufontext' tag contains the text itself. But, as of this simple tutorial we need not to understand this.
Well, we start…
Step 1
Get Cufon YUI file from here. From this link we'll get the Cufon Yui JS file displayed directly on the browser window. We need this file, so, File > Save As > 'cufon-yui.js' (by default); name of the file can be as per our wish, but in this tutorial be keep the default name.
Step 2
Now, its time for our desired font for converting into cufon supporting. For this, we generate cufon font from here. After our font file upload, we will call our font by 'bauhausmd'. This will be in help while calling the font using 'font-face' or 'font-family' CSS property.
Remember two most important points:
- upload only those font files (regular/ italic/ bold) which you're going to use
- to support special characters (in european or any other language), specify them in the text box for inclusion.
Regarding language support we can select from the options given under glyphs inclusion section. Continuing, select or enter your options that fits your need and click 'Let's do it!'. This will give us JS file. Download it.
Step 3
On to our HTML file.
Between 'head' tag, type the following,

That's it! Its complete and we get our successful super styled font on our web page, of our choice.
Web is generous and mostly free, so try using Cufon font JS from Cufonfonts [beta]
Using Cufon will be an advantage in making a web page more readable, eye soothing and attractive. But it is always recommended to stylize only those text which are single word and not a collection of words (a rough example is 'About Us'). The reason behind the single word is because implementation of Cufon fonts will split words by spaces by this way a single meaningful 'About Us' phrase becomes 'About' and 'Us'; has no mean. And if you're very particular about SEO (Search Engine Optimization) then, you can understand that how search engines are going to read your titles & texts. But for shorter single word usage, Cufon gets a thumbs up! 🙂
Thanks for reading this post and as usual, I'm open to suggestion and critics (positive of course).
Do comment on!
P.S.: Thanks to Harwen for the featured image


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Archive for the 'Editorial' Category
Music Therapy for Planet Earth
Chicagoan Alfonso Ponticelli, 50, is an accomplished master of a wide variety of music played on the acoustic guitar–Flamenco, Gypsy swing, Brazilian samba and bossa nova, Mexican love songs, folk music from Hungary, Serbia, Turkey, Italy, etc. This past weekend I played in his band, called "Swing Gitan," at the Suncoast Classic Jazz festival at Clearwater Beach, FL.
Alfonso claims Italian and Lebanese extraction. He became interested in various European musical forms while attending an annual Gypsy jazz music festival held during the last week of June at Samois-sur-Seine, France. At this large, unique outdoor gathering devoted to the music and hosted by Gypsies, he jammed with "Manouche" players and enthusiasts from widely diverse regions of the world, from Chicago to Australia.
The Suncoast, in its 25th year, is one of the last surviving large multi-day festivals originally focused on pre-WWII "hot" jazz. For the last 30 years, the biggest yearly events were in Sacramento, Los Angeles (now defunct), Monterey CA, Elkhart IN, Chandler, AZ (near Phoenix), New Orleans, and a dwindling number of other smaller events, many in California. "Dixieland" was used in the festival titles at first, but due to the relentless aging and attrition of the attendees, during the last 20 years or so many had to drop this descriptor in order to broaden their appeal to a younger, more diverse mix of "nostalgia" and current musical tastes: 30s Swing Dancing, Cajun/Zydeco, New Orleans brass band "Bounce," Big Band, Rockabilly, etc.
A kind of identity crisis ensued for these festivals. Some tried more modern forms of jazz or wound up featuring the (thankfully) now-declining "Smooth Jazz" format. Some promoters saw the contradiction and dropped "jazz" from the event title entirely, but one can still attend a "jazz festival" and have to search very diligently for any music even distantly related to any recognizable style of jazz. A very hopeful trend for fans of old jazz is the advent of the New York (City) Hot Jazz Festival, founded in 2013, which attracts a healthy cohort of 20-30-somethings and features, among many other styles, "Jazz Manouche," otherwise known as "Gypsy Jazz" inspired by the 1930s-40s French Gypsy guitarist Django Reinhardt.
The Suncoast has managed to keep a large cohort of bands playing in a variety of traditional New Orleans or Chicago styles from the '20s and '30s as well as the '40s-'70s San Francisco revivalists Lu Watters and Turk Murphy. The audiences I played for were overwhelmingly white and over 70, not a surprising demographic for the Central Gulf Coast of Florida in November.
This year was the first appearance for Alfonso and his Chicago-based quintet consisting of acoustic guitar, bass, violin, drums and Cimbalom, a hammered dulcimer commonly found in the Eastern European region formerly known as the Austro-Hungarian Empire and used in the traditional music of Gypsies, Slavs, Jews, Hungarians, Turks, etc. I'm pretty sure this was the first-ever appearance of a Cimbalom at the Suncoast.
As with the Chicago-Miami jazz legend Ira Sullivan, Alfonso's performances evolve organically from one groove or song to another without any pre-determined program or tune list. He improvises not only the musical elements of the tunes but also the narrative of the medleys and the flow of the set itself. A D-minor vamp with an Eastern European rhythm feel would morph into a series of Gypsy folk songs, which would become "Puttin' on the Ritz" by Irving Berlin, which would be followed by "Minor Swing" by Django Reinhardt. After a masterful classic Flamenco guitar solo Alfonso launched the band into the familiar Brahms "Hungarian Dance No. 5." He opened another medley with the standard "Lover Come Back to Me" in an Appalachian finger-picking style reminiscent of Chet Atkins, followed by the bop classic "Oleo" by Sonny Rollins.
The authenticity of all of the players' stylistic diversity was very convincing. The Cimbalom player, Alex Udvari, a Chicagoan of Hungarian extraction who plays with the Chicago Symphony, is capable of blowing swinging choruses on American Songbook standards. The other band members, violinist Steve Gibons and drummer Bob Rummage, are similarly widely-diversified and masterful.
The band's performances are remarkable amalgams of music from the Americas and Europe. The audiences were intrigued, as was I. There were standing ovations for all of the 6 sets we performed. A personal epiphany: since this was my first significant exposure to Gypsy music, I noticed how similar it is to the Klezmer/Yiddish forms and tonality I had grown up with, not surprising given the geographic proximity of the two cultures in Eastern Europe.
The arts often lead the general culture. One trend of the world's music from the 20th century up to recent years has been toward ever greater inclusiveness in an ever shrinking globe. Jazz is often cited as an analog of America itself: polyglot, inclusive, amalgamated, an alloy of many ingredients forged into an instrument that teaches the the world a way toward a greater good.
Many of us who play for a living are well aware of the healing power of music for individuals. Formal music therapy is routinely used to treat stroke, dementia, etc. We know that a good groove can "tune up" an audience to a remarkable degree.
It occurred to me while performing with Alfonso that his healing gift goes one step beyond. He melds together all the music he's absorbed. Each performance is a musical journey that leaps effortlessly over borders and continents. One could think of Alfonso and his band as planet-healers in the Age of Xenophobia, on the march in Europe for decades and at the present moment posing a clear and present threat to our most deeply foundational American idea–E pluribus unum, the melting pot.
My Debt to Mousey and the Jazz Club of Sarasota
By 1986 I had already been in Florida for 9 years. I was graduated from the Manhattan School of Music in May, 1977 and immediately moved down to Ft. Myers to take a steady 6-night-a -week music job there. By 1983 I made the move to the Orlando area and soon thereafter landed a staff job at Disney World.
In those days Orlando had a wealth of accomplished jazz players, a few of them holding down full-time positions at one of the Disney theme parks. The biggest jazz star in Orlando was the great drummer Mousey Alexander. A teeny bit of a guy, Mousey had toured and recorded with Benny Goodman for over 15 years, played a long New York residency at the Half Note with Al Cohn and Zoot Sims, and was often hired by such leaders as Clark Terry, Sauter/Finegan and Doc Severinsen to provide his happy, swinging propulsion to their big bands.
Mousey was a member of a very rarefied elite of top swinging jazz drummers, but in 1980 he suffered a stroke and heart attack that left him paralyzed on one side. He decided to slow down, rehabilitate and move to Longwood, FL near Olrando. He continued to play drums. He organized a Monday night jam session at a series of night clubs and restaurants in the area. Mousey's Monday nights became the epicenter of the jazz scene in Orlando, where players could get known, network, and sit in with Mousey and the best players in town.
After I got to town Mousey invited me to play some of the Monday jams. I became a regular and got to play other gigs, concerts and jazz cruises with Mousey. Then one day in 1986 he invited me to go down to Sarasota to play a concert with him for the Jazz Club of Sarasota. Mousey's friend Hal Davis had founded the club in 1980. Hal had been Benny Goodman's publicist, and the two men had a long professional and personal association and friendship. Hal was then executing his plan of greatly expanding the club's membership by presenting quality concerts featuring the great swinging players he had known in New York, among them many Goodman Band alumni.
Hal was a master of promotion–he had been the president of a major New York advertising and PR firm. Right on his concert program notes Hal would include a short paragraph introducing the featured artist for the next concert, along with a short explanation: "These artists are new (to you)," but nonetheless the member would be rewarded for discovering them. In this way Hal educated his membership and provided the artistic leadership that built the brand of the Jazz Club of Sarasota into what it eventually became by the time of his passing in 1990: one of the largest and most active jazz societies in the US.
After my first JCofS concert with Mousey, Hal hired me for many more. He was very encouraging to me. He told me, "All of the guys I've brought down from New York have told me how much they enjoyed your playing." The feeling was mutual. Clearly I had found a home. Before my eventual move to San Antonio in 1991 I was privileged to appear at Sarasota Middle School and Van Wezel Hall, almost on a monthly basis, it seemed, with some of the true greats of swinging jazz: Don Lamond, Don Goldie, Spanky Davis, Dick Meldonian, Bob Rosengarden, Warren Vaché Jr., Scott Hamilton, Joe Wilder, John Bunch, Ira Sullivan, Ken Peplowski, and the late clarinetist Kenny Davern.
The Jim Cullum Jazz Band began auditioning bass fiddle players after the death in 1990 of Jack Wyatt, who had held the position for decades. For ideas on replacements, Cullum called his friend Kenny Davern, with whom I had by this time played at the JCofS. Davern recommended me for the job. On New Years Day 1991 my wife Rosie and I and our dog headed out for the long drive to San Antonio with all our possessions. For over 18 years I played nightly with Cullum's band at the Landing Jazz Club on the Riverwalk in San Antonio and toured the US and abroad with them. I recorded many hours of radio shows with them and their guests, many of whom I already knew from the JCofS dates. I also got to work with and know Dick Hyman and Bob Haggart, both of whom settled in the Sarasota area.
Rosie and I made the return trip in 2010 to resettle in Cape Coral. Since then I have become reacquainted with the JCofS and some of its leaders who have taken over for Hal. One notable concert was in 2011 with the young swinging jazz violinist Aaron Weinstein at Holley Hall. Another memorable appearance for me was introducing to the JCofS (at a "Fridays at Two") the quintet with which I work in Naples and Fort Myers during the season, co-led by trumpeter Dan Miller and saxophonist Lew DelGatto. Coming up next October 16 and 17 I will be representing the JCofS leading a group of my favorite players from North Port and St. Petersburg, comprised of pianist Billy Marcus, drummer/vocalist Patricia Dean and trombone champion Herb Bruce, for the Ringling International Arts Festival "Jazz Sunsets on the Bay."
Landing Anecdotes
The following are samples of actual comments made to the members of the Jim Cullum Jazz Band at the Landing in San Antonio, TX or on the road. I couldn't possibly make this stuff up. I was inspired to collect these by the very entertaining book, Jazz Anecdotes by jazz bassist Bill Crow.
* * * *
Drummer Kevin Dorn was approached one night by a man wanting to know which of our CDs he should buy that "has the most tunes featuring Neil Armstrong."
* * * *
Guests would often make tune requests. The Jim Cullum Jazz Band specializes in jazz as it was played before WWII, but many people, unaware of this, requested tunes by modern jazz artists with which they are familiar. One such customer asked me, "Do you know anything by John Coltrane?" I explained that no, we don't play any modern jazz. "You're kidding, right?" was his incredulous reply.
One night, a young woman, after asking if it was OK to request a tune, said, "Um…let's see, you're jazz…" She turned to her companion for help. "What should I request?" He said, "Um…anything by Grover…." There was a brief pause while he searched his brain for the name. Finally, it came to him: "Cleveland!"
* * * *
One night, a large group of high school kids was seated in front of the bandstand. Jim announced the title of one of the Bix Beiderbecke tunes, "Since My Best Gal Turned Me Down." One of the girls in the group shouted out, "That bitch!"
* * * *
The single most frequently asked question by Landing patrons is "Do you guys have day jobs, or do you do this full-time?" This is actually a fair question, because the majority of musicians currently appearing at Traditional Jazz festivals indeed have some career other music. I usually replied quickly that we're all life-long full-time musicians, some of us have advanced degrees from music conservatories, have held down other prestigious music jobs, etc.
But occasionally I encountered a doubter. "Nahh, that can't be right. You must all be lawyers or doctors or something. You're too well-dressed to be musicians." Or, "You're having too much fun up there to be professionals."
So, to humor such a person, Jim would ask him to guess what he thought each band member's "real job" might be based on his appearance. The interesting thing about the responses is that they tended to conform to what the person himself was engaged in. If there was a doctors' convention in town, then we were all dermatologists, cardiologists, etc. If there was a convention of educators, then we turned into high school principals, college professors, etc.
* * * *
Old-school jazz, when played authentically, sometimes provokes some rather weird reactions. Every once in a while, we encountered a customer who, upon first hearing the band, had trouble dealing with long-entrenched musical and racial stereotypes.
One night, a rather tall, thin, well-dressed middle-aged white woman introduced herself to me as a member of the board of the Arts Council of a large state. "Let me ask you a question," she began, "You guys are way too good to really be into this traditional jazz stuff. Come on, aren't you all beboppers at heart just putting this on?"
I assured her that the members of the Jim Cullum Jazz Band have made the study of historical jazz a life-long passion. "Well," she continued, "do you have any minorities in the band?" "Yes," I replied, "I'm Jewish." "That's not what I mean," she said. "You don't have any minorities in the band, so it's much harder for me to sell you to my Arts Council."
I had no answer to this. I had the feeling there was nothing anyone could ever do to make that particular sale.
* * * *
On another occasion, after a spirited rendition of a Louis Armstrong Hot 5 tune, a fairly large, balding and inebriated white man of about 60 started walking toward the bandstand shouting "White men playing the black man's music, this is bullshit!" To which Jim replied, "I think you must be a racist." The man, on his way out the door, shouted "No, you're the racist! Why don't you play some Dizzy Gillespie or something?" Then he quickly ducked out the door.
There was a moment of bewildered silence while we all struggled to get our minds around what the man had said. We're still trying to figure that one out.
* * * *
The Landing in San Antonio was designed by an acoustic engineer to enhance the natural sounds of the instruments so the band could play without the use of amplifiers and only one microphone for vocals and the guitar.
For road gigs, however, sound reinforcement becomes a necessary evil, and we were too often at the mercy of sound technicians. The degree of skill and experience among these folks varies from seasoned professional to rank amateur.
On one concert date, an eager young sound man had beforehand set up an impressive array of microphones, monitor speakers, amplifiers and other gear on stage. This happens quite often—the technicians are merely going with what they know as the requirements of a typical modern performing group.
Jim asked him to please remove everything except for one mic for the vocals and guitar, explaining that the group tried to get as close to an acoustic sound as possible. Not comprehending, the young man said, "Just tell me what I need to do to make it sound acoustic, and I'll give it to you!"
* * * *
Pianist John Sheridan was with the band for 23 years. Toward the beginning of his tenure, John tipped the scales at over 300 lbs. He decided to do something about this, so he went on a diet and lost 115 lbs. in 4 months (and has managed to keep the weight off, in fact, to this day). Afterward, as is common with people who drastically change their size, he found it necessary to buy a completely new wardrobe.
A few years after he lost the weight, a customer came up to John on a break. "Say," he said, "you really play great! In fact, I like your playing a whole lot better than that other piano player they had here before you. What was his name again, John Sheridan?"
* * * *
The Landing has an outdoor patio area on the San Antonio Riverwalk. It's a very pleasant, shady outdoor café where patrons can sit under umbrellas, listen to a live jazz duo, and watch the people and boats passing by while sipping a tasty frozen Margarita.
For several years, I played some of the afternoon 4-hour duo shifts on the patio with pianist John Sheridan. One cloudy fall day, the Riverwalk was deserted and desolate. The sounds of our instruments bounced unheard off the buildings nearby. John and I decided that it was a good time to run through some of the tunes that we don't normally play so we could get more familiar with them. We stumbled through a few of them, not caring about the occasional "clam" or missed note or chord change.
After about the third tune, we saw the familiar figure of guitarist Bucky Pizzarelli bounding toward us. We knew Bucky well from many encounters at jazz parties and concerts but didn't know he was in town.
"Hey, you guys," he said, smiling, "I'm in town with [famed jazz violinist] Stéphane Grappelli. We're sitting over there at the next restaurant having lunch and we heard every note you played!"
John and I were, of course, mortified. "We were just messing around…." John began. But Bucky was his usual nice self and said, "Nahh, you guys sounded great!"
* * * *
This one was told at Summit Jazz in Colorado by bassist Paul Keller and brought a smile to the face of everyone who heard it.
The revered jazz bassist Milt Hinton died in 2000 at the age of 90. In his later years, and on Riverwalk Jazz, he was fond of performing a song composed for him called "Mona, Take Me Home." One line of the lyrics was "Now I'm the oldest bass player standing, I've got shoes as old as you."
One year, a jazz festival featured Milt, Paul Keller, and another outstanding bassist–Jay Leonhart. Unfortunately, Jay's bass fiddle had suffered a serious accident at the hands of one of the airline baggage handlers who dropped it from a baggage cart, breaking the neck of the instrument.
The three bassists were discussing this incident. Jay asked Milt, "Have you ever had your bass dropped from a baggage cart?"
"Baggage cart?" replied Milt, "Hell, they dropped mine from a stagecoach!"
* * * *
In the normal course of performing, instrument malfunctions occur: guitar or banjo strings break, drum heads are punctured, clarinet reeds go bad, etc. While waiting for the broken part to be replaced, Jim Cullum came up with an entertaining time-filler: he would auction off the broken part to the audience members. The bidding would usually start off at a dollar, and the winning bid would typically wind up at about $5, the guest would go home happy with an authentic Landing souvenir and everyone would be entertained, by which time the problem would be fixed and the performance could then resume.
One night, Jim was auctioning off a broken drum head. "What am I bid for this genuine drum head, played by our drummer Ed Torres?" Spirited bidding ensued. After about 3 minutes of escalating bids, a woman's voice rang out, "A blow job, I'll give a blow job!"
All eyes turned toward the door where a couple was standing. They both quickly ducked out the door and escaped to the anonymity of the crowded Riverwalk.
There was a moment of stunned silence, then wild laughter for a good 5 minutes. The auction was over.
Swingin' Unplugged
Electric instruments—especially the electric guitar—have become so universal and ubiquitous in the post-WWII rock-dominated world of pop music that a word had to be invented to denote the old-school way: "unplugged."
Decades ago, an ad agency for 7-Up came up with the ingenious and successful "un-cola" campaign, and proved that defining things by what they are not can appeal to the impulse to stand out from the crowd, go your own way, and march to the beat of a different drummer.
As a mid-Boomer, I saw my first electric instruments at age 12 when my big brother Mike came home with a Fender Stratocaster guitar and a Precision bass guitar. Both of these instruments are solid-bodied, meaning that they have no acoustic sound of their own—they must be plugged into an amplifier to be heard. Mike let me fool around with the P-bass. In the quiet of our living room, without using the amp I could hear the tiny, plinky sounds the P-bass made well enough to learn how to get around on it.
I also played the trumpet in the junior high school Band, two hours per week during the school day, but after school I played bass guitar in a rock and roll "garage band" with its heady promise of raw sexual power. In theory at least, plugging in an electric guitar converted one's testosterone into electrons, which were then broadcast directly into the brains of nearby females via an irresistible magnetic beam.
It turned out that we were the first generation of musicians steeped in the dual worlds of loud, electrified rock 'n roll and softer, subtler unplugged jazz, folk, and classical music.
Jazz had discovered the electric guitar in the late 1930s with Charlie Christian, and Miles Davis embraced rock rhythms and all-electric combinations with his seminal 1971 albums Bitches Brew and In a Silent Way. Since then, electrified rock elements have been important contributors to whatever commercial success jazz has had in recent years. These days, the average listener is likely to encounter a live "jazz" performance not quite up to the volume of a heavy metal band, but very loud nonetheless.
As a young adult professional musician, I went through what I thought of then as reinventing myself as a "jazz bassist." In my work I used both the solid-body electric bass guitar and the bass fiddle. According to the fashion of the time, I explored every known method of amplifying the fiddle. My aim was to produce a sound at least loud enough to compete with the other players who would show up to the job with their amps and gear. I didn't know it at the time, but I was contributing to an endless "arms race" of upwardly spiraling volume levels.
The results were rarely satisfying. In all of my experimenting, I never found a pickup or amp that sounded as good to me as the unplugged bass fiddle did in my practice room at home. The more gear I bought, the more frustrated and disappointed I became. In 1990 Jim Cullum called to offer me an audition with his band in San Antonio with the stipulation that the bass position involved playing strictly unplugged. That immediately got my attention. Then, a phone conversation with bass legend Bob Haggart convinced me that this was the way to go.
Our friend Marty Grosz, acoustic guitarist, singer, raconteur and guest on Riverwalk Jazz, has a lot to say about how electrifying stringed instruments changes the way they function in a jazz setting. "With an amplifier, your sound is not coming out of you, it's coming from behind you out of a box." Furthermore, he says, the string height of electric instruments is usually so low that the player feels very little resistance under his fingers. Marty says, you've got to have that "fight" or a certain amount of stiffness, to create a pulse that swings.
During 14 happy unplugged, amp-less years with the Cullum band, I've come to learn that creating swinging rhythm involves some physical as well as mental effort. I realized why jazz performances captured on old 78-rpm disks often swing more and sound more alive than on more modern ones: The pre-electric player had to learn how to draw a living sound and swinging pulse out of a hollow wooden instrument by moving and controlling a resonating air column with sheer muscle power and musicality.
Now we're getting somewhere!
Today my music room closet is full of pickups, cables, amps, pre-amps, equalizers, etc., gathering dust. I should probably get rid of all of it on eBay, but it's nice to know it's all there in case I have to "go electric" again. But by then it will all probably be way obsolete, and I'll have to start over from scratch.
Here I am 6 years after I wrote this, living in Southwest Florida and free-lancing. Yup, my gear turned out to be way obsolete. After 19 unplugged years I awoke Rip Van Winkle-like to the world of amplified jazz. I'm using a Gage Realist pickup and an Acoustic Image amp. Sometimes plugging in is unavoidable, especially in those "special" situations where the crowd has been drinking and, their hearing slightly alcohol- impaired, they start barking at each other, even before the band starts playing. Other times it works better if I play unplugged so guests don't have to shout to have a conversation. That way the rest of the guests who want to hear the music can do so. I'm lucky that I have a nice Mittenwald round-back bass from about 1920 that has a robust sound of its own, especially strung the way it is with high action and gut strings. I bought an electric bass but have not yet used it on a gig down here. And I'm working 7 nights a week. Not every gig situation (or drummer) is suitable for unplugged playing, but those that are are the ones I want.
Bix and Miles
Bix's influence extended well beyond the '20s and early '30s.
[Note: this item was published November 21, 2008 for Jazz Me News.]
Here is a statement I included in our JazzNotes article for the recently broadcast Riverwalk Jazz show, Davenport Blues: The Bix Beiderbecke Letters:
The list of trumpeters/cornetists directly influenced by Bix's playing is a long one and includes such diverse figures as Jimmy McPartland, Bobby Hackett, Red Nichols, Rex Stewart, Tom Pletcher, Jim Cullum, Jr., and Miles Davis.
Richard Miller, Paris, wrote:
I'm sorry, but to associate Miles Davis' name in any way with Bix's is demeaning.
I replied:
Please explain why.
Richard replied:
Aside from playing over 50 years I could probably qualify for a degree in jazz history and had never heard anything even close to the statement of Davis' being influenced by Bix. I thought the statement—without substantiation—was apocryphal.
Nevertheless, not wanting to be flippant with my answer, I reached out to three sources. Two had never heard anything either. But my longtime friend and fellow musician Brad Kay—besides being a marvelous pianist is a collector with over 10,000 78rpm records in his Venice home—confirmed your statement.
Thus, I sit corrected. See below. Give Jim my best when you see him.
Miles and Bix, Again
by Brad Kay
Did anyone notice that practically every word spoken about Miles Davis in part 8 of [the Ken Burns film] Jazz is applicable to Bix?:
Narrator: "…Dr. Davis raised his son in the kind of cushioned isolation that few jazz musicians ever knew. A handsome house in a white neighborhood—a cook—a maid…"
Gary Giddins: "He was different…most of the serious people, the musicians, recognized right away that he had a wonderful lyricism that was quite unusual, and he didn't sound like anybody else. But he had to invent a style because he didn't have the virtuosity of a Dizzy Gillespie. So he started to create a style that was based more on timbre and melody. Play very few notes, but make them the right notes…create a sense of mood."
Narrator: "…he was eager to find a showcase for the distinctive introspective style he was developing…"
Wynton Marsalis: "Miles has the finer sound and a style that has the more delicate side of his nature. Now, he still has that toughness and that blade up in there, so his sound is not weepy or weak. It has another type of delicacy. It has a sentiment that draws the romance out of the music and presents it to people. His sound is very tender to come out of a man. Lester Young was like that before him. Miles has a vulnerability that he's not afraid of sharing with people that are listening to him. Once he allowed that vulnerability to come into his sound, well, then his sound became irresistible."
Also, in 2002, in a long interview with British jazz researcher Jim Godbolt, cornet player Ruby Braff said this:
JG: We haven't mentioned Bix Beiderbecke.
RB: A genius. Y'know, Miles Davis was a great admirer of Bix. He would seek out people who knew him and asked questions about him. You can hear a lot of Bix in Miles.
JG: I've never heard that opinion before.
RB: You ask me questions and you'll find out a lot, believe me. Miles was a very interesting guy. Played like no-one else.
I responded to Mr. Miller's email this way:
It's not only the opinion of the commentators you cite in your email. In listening to Miles, I for one hear the same approach to sound and economy of vibrato and notes that Bix pioneered. Also, there is a direct descendance through Bobby Hackett, who was very explicit in his acknowledgement of Bix as a major influence, as was Miles in his acknowledgement of Hackett's influence on his.
Jim Cullum had not heard much Miles when I first played for him Miles' Porgy and Bess collaboration with Gil Evans. His first comment was how much Miles seemed to have the same approach to the sound as Bix did.
Lester Young was another one who explicitly mentions both Bix and Frank Trumbauer as major influences. Through Lester, a cooler, more limited-vibrato approach was passed down to Paul Desmond, Stan Getz, Zoot Sims, Al Cohn, and a host of other instrumentalists and vocalists of the 1950s through to the present day.
The truth is that Bix's influence was much more widespread and general throughout the fabric of jazz than has been acknowledged by historians of jazz of any era.
Thanks very much for the quotes.
Don Mopsick
Then I received the following response via email:
Hello Don,
I read with great interest the piece about Bix and Miles. May I express my disagreement with the assertion that Miles was influenced by Bix?
Ruby Braff hears a lot of Bix in Miles. I cannot argue with what Braff hears. I certainly do not hear any Bix in Miles' music. You and Jim Cullum state that Bix and Miles display the same approach to their sound (economy of notes and vibrato), and you conclude that Bix was an influence on Miles.
Perhaps, economy of notes was a common characteristic of Bix's and Miles' styles. However, in my opinion, a lot more is necessary to infer that Bix had an influence on Miles. For me, the factors necessary to establish the influence of one musician over another are structural and emotional. On the structural side, I would list stylistic commonalities, similar melodic constructions, common characteristics in their harmonic inventions. None of these commonalities do I detect in the music of Bix and Miles. Bix constructed his solos by progressive building of phrases of increasing length (the correlated chorus). Miles used phrases in series, one following the other. Melodic invention was of essence in Bix's improvisations, not so in Miles' music. On the emotional side, I would assert that the musical sensibilities of Bix and Miles were totally different. Bix's music was bitter-sweet and complex: as aptly described by Richard Sudhalter, emotionally layered. I view Miles' music as cerebral, cool.
Ruby Braff tells us that Davis was an admirer of Bix. I do not doubt it. But admiration does not necessarily result in influence. Perhaps Miles was inspired by Bix, but, I reiterate, not influenced. Let me hasten to add that I agree with your more general statement, "The truth is that Bix's influence was much more widespread and general throughout the fabric of jazz than has been acknowledged by historians of jazz of any era."
In this context, I want to point out that influence and inspiration must be distinguished clearly from each other. Let me expand on this.
Jimmy McPartland, Red Nichols, Chelsea Quealey, Sterling Bose, Norman Payne, Philippe Brun were influenced by Bix. Their styles, not just economy of notes and introspective feeling, but also the structural aspects of the music they improvised was derived from Bix's music.
But there is something more subtle which I will refer to as inspiration. Bix was a catalyst for other musicians performing at their best. Pee Wee Russell said, "The thing about Bix's music is that he drove a band. If you had any talent at all he made you play better. It had to do for one thing with the way he played lead. It had to do with his whole feeling for ensemble playing." This an example of what I call inspiration: Bix inspired his fellow musicians to do their best. But inspiration also means that musicians thought about Bix's music after they had played with him, or listened to him live or in records during their careers. I hear Bix's style explicitly in early Goodman (in particular, Benny's sax solo in "Blue"), but not in later Goodman. Does this mean that Bix's effect on Goodman ceased? I don't think so. I would guess that Bix continued being an inspiration for Benny throughout his life.
In the same manner, Bix was an inspiration to most musicians who came into contact with him—Hoagy Carmichael, Eddie Condon, the Dorseys, Miff Mole, Bing Crosby, Adrian Rollini, Danny Polo, Rex Stewart, Pee Wee Russell, etc. Through the musicians he interacted with and inspired, Bix had a long-lasting effect and a far-reaching influence on jazz. Jimmy McPartland says it well in an article in the January 1954 issue of Down Beat: "I think almost any jazz musician besides all the brass men have one way or another been influenced by Bix."
The Face of the Bass
The great Milt Hinton often said that the bass is the "Atlas of jazz" because its role in the jazz band is to carry the other instruments on its shoulders.
The bass provides a steady beat and the root notes of the chords of the tunes upon which the soloists construct their inventions, melding together rhythm and harmony in one function. "Bass" is often misspelled as "base" but the meaning is very similar in music, that of "foundation."
In early jazz bands, bassists played the bass fiddle, the tuba, or the bass saxophone. The typical bassist of the 1920s, if he played tuba or bass sax, was expected to "double" on the bass fiddle as well. The wind instruments provided a louder, more directional sound that was able to cut through the noisy, boisterous crowds in large dance halls and night clubs where jazz was first played. The problem of bass projection was "solved" in the 1950s by amplifying bass fiddles and then with specially-built electronic basses, culminating in guitar-like solid-body instruments manufactured by Fender, Gibson, and other guitar makers.
I am amazed by the skills of contemporary electric bass players (since I no longer own an electric bass, I can't be considered one of them). "Tapping and slapping" has grown into a whole new art form for the instrument. I first heard the thumb-slap electric style as developed by Larry Graham of Sly and the Family Stone. I have been told by electric bassists steeped in this style that the wrist action involved goes much further back to the traditional Gospel tambourine technique.
I remember that when I first started in the 1970s experimenting with this on electric bass guitar, it seemed so natural for the instrument.
Like so many other aspects of American music and jazz, the roots of this style go back to early 20th century New Orleans.
There was a New Orleans bass style, by which I mean that there seems to have been a collection of bass players born before 1910 in New Orleans who went forth into the rest of the country acting as little spark plugs in the developing jazz bands in which they found themselves. All of them played in a manner very similar to one another.
The first to appear nationally was Bill Johnson (1872-1972), considered the father of jazz bass. He led one of the first jazz bands (The Original Creole Orchestra) out of New Orleans to tour the country on the Orpheum circuit around 1914. Bill used a syncopated single-stroke hook. This means "hooking" the right index finger under the string and letting it snap against the fingerboard (sound familiar to electric players?). Since he did not use the return-stroke slap, I call it a single-stroke style punctuated by notes syncopated in the ragtime manner. Other later New Orleans bass players who used the single-stroke were Pops Foster (played with Louis Armstrong and others), John Lindsey (with Jelly Roll Morton, 1926), and Wellman Braud (of the Ellington band in the '20s-'30s).
The hallmark of this sound on the bass is its percussive quality. The audible "snap" of the string against the fingerboard allows the bass to function in fact as another drum in the rhythm section of the band. Like my experience with the electric bass, when I started in the '90s with the hook-slap style on the bass fiddle, it seemed a very natural, relaxed, and swinging way to play time, because the power of the entire right arm and wrist is involved.
Other early New Orleans players such as Steve Brown (with Jean Goldkette, Paul Whiteman) and Al Morgan (Cab Calloway) used a double- and triple-stroke slap style. In this, the player slaps one, two, or three percussion notes after the initial hook pull, yielding a lot of possible rhythmic combinations, some of the same ones used by today's electric thumb-slapping maniacs.
The finest exponent of the New Orleans style in the modern era was Milt Hinton. Born in Mississippi in 1910, he knew and befriended Bill Johnson in Chicago in the late '20s. Milt says that Bill taught him the hook style as the only way of getting a big sound out of the bass to be heard above the band. Milt replaced Al Morgan in the Cab Calloway band in '37 and developed the multiple-slap style to new heights. He told me that the way he thought of what he did on bass was similar rhythmically to what a tap dancer does with his feet.
Hooking and slapping was considered passé by the late '40s and most bass players abandoned it in favor of the warmer, "sideways-pull" sound of Jimmy Blanton, Oscar Pettiford, and Israel Crosby (and later, spectacularly by Ray Brown). Milt himself continued to use both styles. As the single most-recorded jazz musician in history, Milt found himself in almost every conceivable kind of recording session and band, including many "hi-fi" "Dixieland" albums that were made during that period to cash in on the new popularity of the Dukes of Dixieland and the Louis Armstrong All-Stars. You can hear Milt on these records slapping away during his solos, but on other recordings of the era such as the famous ones he did with Frank Sinatra and Nat Cole, he is using the more modern side-pull technique that is dominant today among the vast majority of bass fiddle players.
On the Riverwalk Jazz radio series, you can sometimes catch a reprise performance of Milt's 1991 solo version of "Joshua Fit De Battle of Jericho," a truly awe-inspiring tour-de-force of double and triple slapping.
In late 1990, when I first considered joining the Jim Cullum Jazz Band, I had a revealing phone conversation with Bob Haggart, the bassist and composer who was the guiding light behind the Bob Crosby Bobcats and the World's Greatest Jazzband. Bob had been filling in at the Landing and on the road for bassist Jack Wyatt, who was ailing. As one of the only bands left that still performs Haggart classics like "Dog Town Blues" and "Smoky Mary," Bob always felt very strongly about the importance of the Jim Cullum Jazz Band's role in preserving classic jazz.
On the phone, Bob suggested to me that if I were to go to work for Jim, who preferred the old-school acoustic way of playing the bass, I should consider re-stringing my bass with gut strings and high action. "That's what I would do if I were going to take the job," he said. It was the way the vast majority of bassists set up their instruments before the advent of amplifiers and pickups, because it afforded the biggest possible sound to cut through even a big band swinging at full tilt.
I decided to follow that path and have never once looked back.
Play the Melody!
At the age of 23, I began to work weekends at resort hotels in the Catskill Mountains of New York. By that time, I had already been earning money playing the trumpet and bass guitar for seven years. Eventually, I took up playing the bass full time, but during that period my only real interest was to become the next Clifford Brown, and Bebop was my creed.
Bebop, or Bop, was a jazz movement created in the 1940s by Charlie Parker, Dizzy Gillespie, and others. Based at first on earlier jazz, the style explored new harmonic possibilities for familiar standard tunes and 12-bar blues by using substitute chord changes. The soloist improvised on new chords (often of his own invention) using many, many notes, sometimes quite abstracted and far removed from the original tune, often played at double-time or nutty, fast tempos.
Most of the musicians I knew in the early 1970s who were my age and worked the Catskill hotels were similarly infected with the Bop bug. Our duties consisted of playing ("faking," or playing without written music) standard tunes for dance sets followed by a floor show. When called upon to stand up and solo, the temptation was to wail forth with our most righteous, fiery licks.
The hotel guests, over 50 and of course hopelessly square to us hipsters, were not shy about complaining to the bandleader if such an outburst occurred. What they wanted to hear was what Gershwin, Porter or Berlin wrote, not some far-out, bad jazz.
The bandleaders were acutely aware of the problem. Very often, right before the job began, the leader would admonish: "When it's your turn to play a solo, I want to hear the melody. This ain't no jam session. Just play the tune for them, okay?" It was okay, we all understood that it was a matter of job survival.
Sometimes there was a late dance set, by the end of which most of the guests had gone off to bed. That's when the lid came off, and what we thought of as the "real music" began.
It was okay for a few years of summers and weekends, but then I moved on. My jazz sensibilities evolved as I became aware of a much wider world, in fact, an ocean of jazz. I became interested in playing the tuba and found myself in traditional jazz bands, learning "Jazz Me Blues," "Milenberg Joys," and discovering Armstrong, Jelly, Oliver, Bechet, and many others. I learned to value simplicity, purity, and above all the heartfelt truth of hard-swinging blues and stomping rhythm.
Finally settling on the bass fiddle as my instrument of choice, I got calls to play many different kinds of jazz, blues, pit bands, and generic jobs which are known in the music trade as "general business." I never lost my interest in older, hot jazz and tried to seek out as many of those jobs as I could. Then, in the fall of 1990 I got a call from Jim Cullum in Texas. His bass player Jack Wyatt had just died after a long illness, and would I be interested in coming to San Antonio to audition for the job?
I went, Jim hired me, I stayed for 19 years. Last year we moved back to SW Florida.
From 1992-2005 I had a unique opportunity, along with the rest of the Jim Cullum Jazz Band, to serve on the faculty of the annual Stanford Summer Jazz Camp at Stanford University in Northern California. The Stanford Camp is a week-long immersion in the basics for instrumental and vocal students between the ages of 12 and 17. The umbrella organization, The Stanford Jazz Workshop, has been presenting a variety of education and concert programs at Stanford since 1972.
Our teaching duties at Jazz Camp included the entire band performing a few classics of pre-war jazz made famous by Armstrong, Jelly Roll Morton, etc., along with a talk by Jim Cullum. This presentation was given to the entire student body as part of a class called "Jazz Tradition." Also, individual JCJB members conducted classes in ear training and master classes for each instrument, as well as private individual lessons.
As far as I know, Stanford is the only jazz camp in existence that offers faculty proficient in both pre- and post-war jazz styles. The majority of the faculty is Bop or Post-Bop oriented. A typical student ensemble will perform tunes made famous by Miles Davis, Charlie Parker, Chick Corea, or Herbie Hancock such as "Milestones," "So What?" "Blue Bossa," etc. Our band coached two student combos in simpler, more traditional fare. One year our "advanced" student combo also prepared a separate program that included, among other Bop tunes, "Tadd's Delight" by Tadd Dameron.
Jazz Camp was a rare opportunity for two cultures of jazz which are too often worlds apart to rub up against each other. For me, the annual experience helped to crystallize my thoughts about what I believe to be the most important elements—universal to all jazz—to impart to the next generation.
When we first started at Stanford in 1992, I felt as a stranger in a strange land, as if the JCJB was a hermetically-sealed time capsule pushing its way upstream against a torrent of modes, complex chord-scale relationships, polyrhythmic explorations, and reverence for a spurious teaching device called the "blues scale."
By 2003 I felt that the seal had eroded considerably, and the message was finally diffusing out into the general camp population: good jazz doesn't have to be complicated, some of the best jazz ever played is based on simple three-chord tunes, and great jazz solos can be constructed on a series of simple melodies played in hot rhythm. In a word, jazz is fun.
In my bass master class, I had the pleasure of witnessing the musical growth of a few returning students over a period of several years. One of the returnees had made a leap from the previous year when he was an average bass guitar student, to the next year, when he showed up playing some formidable bass fiddle and the promise of great things to come.
The camp lunch hour is given over to faculty concerts outdoors at the student center. Featured at one of these was an accomplished group of faculty players performing original music in a modal modern jazz style. A very energetic drummer played in the style of Jack DeJohnette, along with electric Fender Rhodes piano and amplified bass fiddle, with trumpet and saxophones playing directly into microphones in the pentatonic/modal style of Wayne Shorter, John Coltrane, Freddie Hubbard, etc. A satisfying, though loud performance worthy of respect.
My bass prodigy sat with me listening to the hour-long concert. Afterwards, he asked me, "How can I learn to like this kind of jazz?" I said, "A lot of people really go for this, but some never really learn to like it." "How about you?" he asked. "I understand it," I said, "but I prefer the kind of jazz where you can hear melodies."
It was time to get back to class. His question was way too good and my answer was way too short. So, here's the rest of it.
Modal modern jazz is a very rhythmic form of Impressionism. In the European art-music world, the analogous composers were Debussy, Ravel, and Satie. Their composing is characterized by constantly shifting tonal (harmonic) centers, and, except in the case of Satie, the melody takes a secondary role. The aim seems to be to bring the listener along on a journey of evolving palettes of colors and emotions. This compositional model is ideal for motion picture soundtrack scores, where the music serves to emotionally underpin the unfolding of the narrative.
In the jazz world, modal compositions also feature this constantly shifting tonality, for example, in tunes like Miles Davis' "So What" (a slow rate of shifting), John Coltrane's "Giant Steps" (very rapid shifting), or Joe Henderson's "Inner Urge" (a moderate rate). Since a large part of a jazz player's compositional art lies in the solo, the soloist in this style seeks to state or outline each tonality and then in subsequent choruses explore every possible permutation of it (some use the term "deconstruction" to describe this process, others use the term "vertical" to describe the mostly arpeggiated explorations of tonality).
One can think of the opposite of this harmonic compositional model as a melodic one (some use the contrasting term "horizontal" to describe a predominantly step-wise motion). Bach, Mozart, Beethoven, Mahler, etc., come to mind as examples. The melody suggests the harmony, not the other way around. Variations and developments suggest and refer back to the melody. The best melodies unfold logically and can stand up by themselves as music without lyrics or as an accompaniment to a movie.
If we extend this concept to include hot rhythm, then most of the vast output of jazz created before 1940 can be characterized as melodic. Necessarily so, since early jazz players favored popular tunes as vehicles for their improvisations.
Melodies are popular, that is, easily accessed by most people, because they have the power of narrative—a capacity for which I believe is hard-wired into human brains. Like stories, melodies unfold, revealing themselves over time. This is the real challenge for the jazz soloist: to hold the listener's interest solely by the narrative power of his melodic invention.
This is precisely the quality lacking in so many "modern jazz" soloists, and this lack goes a long way toward explaining why so many people avoid modern jazz entirely: they think of it as a mysteriously dense and impenetrable music that one has to study to understand. Jazz for jazz musicians.
Here's a test: if you walk in on the middle of someone's jazz solo performance, how long should it take you to recognize what song they're playing? If the soloist has not cultivated a sense of melodic narrative, and makes no reference whatever to the song itself, it may take all the way until the end of the tune when the whole band states the melody explicitly.
If the soloist adopts the same pentatonic/modal approach for every tune, his solo will sound the same no matter what song he's playing, usually a sort of generic 8th-note Coltrane. The real interest in such a solo performance then comes from the rhythm section, especially the drummer, who now assumes co-equal solo roles with the horn player throughout the performance. The line between soloist and accompanist blurs and disappears.
In my lessons and master classes, after suggesting how to practice scales and chords (which are the ABCs of jazz), I spend considerable time with my students on how to cultivate the improvisational mind. A large part of this comes into play in the process of inventing melodies that are spontaneous, playful, but coherent, logical and tell a story. This is especially helpful to budding bassists, who rarely if ever get a chance to play "tunefully" and are in fact often unaware that this is an option for them.
I ask them to think of a jazz solo as conversational speech. To get your point across while speaking to someone, several short sentences get the job done better than one long run-on sentence. The silences and their placement are almost as important as the notes. Modern soloists who understood this were Miles Davis, Chet Baker, Ahmad Jamal, etc.
The student should ask himself, "What am I saying with this solo, and can I say it more elegantly, with fewer notes and in fewer choruses?" and, "how is my solo different from the one I played on the last tune?"
The work of tenor saxophonist Eddie Barefield comes to mind as an example of this approach. In a career spanning 60 years, he worked with Fletcher Henderson, Ella Fitzgerald, and Duke Ellington. Watching him work was an epiphany for me. He constructed his masterful, long solos out of simple little riffs, setting them out and developing them gradually and patiently, at first leaving plenty of space between them, then building on sparse simplicity to a climax of grooving romp.
I've heard it said that almost anyone can learn to write a book, but telling a good story is a gift that few possess. Next to Barefield, my favorite jazz storyteller is Louis Armstrong. Each of his classic recorded solos unfolds in a startlingly creative yet melodically inevitable way, as if it were somehow out there just waiting to be discovered and played.
And what about those old "squares" at the Catskill hotels? Well, they don't call them the Greatest Generation for nothing. Their ranks have thinned since the 1970s, but their immediate successors (those that came of age during the Korean War) still go out to restaurants and nightclubs in Southwest Florida, seeking out the swinging, pre-Rock music of their youth.
But, unlike my presumptuous attitude of forty years ago, I now feel inspired and privileged to play the melodies they knew, in the style in which they were created. The payoff for me is the look on their faces when, as Ralph Sutton was fond of quoting Fats Waller, "You get that right tickin' rhythm and man, its' on!"


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Category Archives: Yoga
Some of the Best Yoga Retreats in Thailand
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The Foremost Yoga Retreat Holidays of Bali
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3 Things To Expect From Yoga in Perth
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Weight Specific Yoga Practices
A lot of people today spend their time trying to learn as much as they can about yoga, perhaps because of the incredible results that they can get from the same. When
Yoga Breathing Exercises For Depression
Yoga is a great way to relieve from depression. I tis for everyone who are suffering with depression to let off some steam and find their inner relaxation. Yoga not only focuses
Find Something You Love to Stay Engaged and Healthy
If you are spending time at work, coming home and doing nothing to keep yourself during your down time you are not enjoying life as well as you could. It is very
The benefits of coffee and why you should buy online
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Find Iherb Coupon Online
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Why Become An Egg Donor
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Post Pregnancy Breast Surgery
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Linus Galleries, LA, USA August 2014
Blog on artists that they represent.
Exhibit at Belle Fiore Winery, August 2014
Crater Lake National Park fb
My residency is mentioned along with Radiance.
Addicted to Glass -- New Art Review
I made it into this book on glass art.
Articulate Exhibit at the Ciel Gallery and Mosaic Studio
Back to The Garden at the Ciel Gallery + Mosaic Studio
Mosaic Art Now
Ciel Gallery Contemporary Mosaic Art exhibit awards
Mosaic Art Now: ArtPrize 2010
Mosaic Art International 2011
Lexington, KY
Mosaic Art Today, by Jeffrey Snyder
Book, 2012
Carolina Arts Feature Article
ASTIR described.
Northwest Mosaic Today
Three of my works will be exhibited in Tacoma in March-April, 2013.
How to enter artist contests
Radiance was used in this informational video by The Artists' Network.
Particulate Matter video by Lilian Sizemore
A super close up of Of Eden is shown at 1.58 min.
Snowfell in Ravenna, Italy
Mused impressions of Ravenna Mosaico 2013
Contemporary Mosaic Artists
Great networking site.
Art Exhibeo
An eMagazine that digs deeper than most.
Review of my work and techniques
The Human Figure, Art Exhibeo 2014
3rd place in "The Human Figure"
John Sollinger: On Forest Fires, Promethean Gnosis and Human Nature
An indepth look at the my inspiration and intent behind my works.
Winners of Delphi Glass' Annual Contest
Art Glass Festival is an annual event hosted by Delphi Glass to celebrate National Art Glass Month each April and honor the creativity of our customers.
Ravenna Mosaico 2017
Society of American Mosaic Artists
Two of my works displayed.
Workshop in Listowel, Ireland, June 2017
Workshop at Stained Glass Garden
Workshop at Cascadia Center for Arts & Crafts,
September 23-24, 2017
Solo Artist Series
Online art gallery
"God is in the mosaics of Ravenna" by Marguerite Yourcenar
Light, Space & Time Solo Gallery
Voyage au festival international de mosaïques contemporaines
10 Mosaic Designs That Will Take You From Winter to Spring Read more: http://blog.mozaico.com/10-mosaic-designs-that-will-take-you-from-winter-to-spring/#ixzz4jlbjHzUA
Living Mosaics Moaico by Chantal Menhem
Teaching Yourself Mosaics – Part II
by Helen Miles
Use Branding To Sell Your Mosiacs - A Blog Written By Skeew September 14, 2016


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In my on-going quest for good gluten-free crackers I have made many disappointing batches of dry, chalky, unpalatable ones.
But not these! These are delicious! With the added sesame and poppy seeds they have a lovely crunch!
Light, crispy, salty, herby…perfect!
I used a mixture of chickpea (gram) flour and a gluten free bread flour. The dough is brought together with olive oil and warm water and I flavoured these with oregano and a little parmesan, but I think many flavour combinations would work well and for a dairy free recipe just omit the parmesan.
I made them go with the Smoked Makerel and Sweet Potato Pate I made and they were so moreish I had to put them away lest I ate the whole lot!
Sesame and poppy seed Crackers (Gluten, Diary and Sugar free)
- 100g gluten free bread flour
- 100g chickpea(garbanzo or gram) flour
- 1/2 tsp salt
- 1 tsp baking powder
- 100mls warm water
- 2 tbs light olive oil
- 5 tbs sesame seeds
- 1 tbs poppy seeds
- 1 tbs oregano (or dried herbs, spices, seeds of choice)
- Freshly ground black pepper
- 30g shredded Parmesan (omit for a dairy free recipe)
- Preheat oven to 200C
- In a large bowl, combine all the dry ingredients
- Sir in warm water and olive oil, mixing to a smooth dough forms.
- Put some parchment paper on a flat surface and spray lightly with oil.
- Place the dough in the middle of it. Place another piece of parchment paper on top.
- Roll out the dough between the two pieces of parchment paper as thinly as possible (It will puff up slightly as it cooks)
- Remove the top layer of parchment paper and with a sharp knife, cut the rolled dough. Using a fork pierce all over
- Bake for 15-20 minutes, until crackers are crispy and golden
- Once baked, turn off the oven, remove the crackers and break them apart. Return to the cooling oven if they need to crisp up further.


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Andie Huber joins Mom.me as Lifestyle Editor after 14 years of producing, writing and styling home decor stories for magazines such as Real Simple, Vanity Fair, Garden Design, HGTV Magazine, Brides and Country Living. An expert in home decorating with experience in antique, vintage and new marketplace products, Andie has traveled across the country offering home styling and organizing tips and has appeared on Fox, CBS and NBC morning shows as a decorating expert. She moved to Los Angeles in 2012 with her family after living in NYC for 14 years.
What was your favorite childhood toy?
My Strawberry Shortcake doll and carrying case.


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Insurance 101: What is Umbrella Insurance
An umbrella can also be called excess liability coverage. An umbrella is additional liability coverage over and above the current liability coverage you hold on your car and home. This is something used very rarely which makes it affordable for everyone. The typical umbrella is for $1,000,000 in liability coverage. We have seen this coverage for as low as $150 a year. So if you have a $500,000 liability coverage on your home you would have a total of $1,500,000 in liability coverage to help cover you if you were found liable for a loss. The cost for an umbrella is extremely low considering the coverage it provides.
You never know what can happen and if you were to be found liable for a loss of over your liability limits you could lose your assets or have to pay damages out of your own paycheck. You can never possibly be covered for every potential loss but having an Umbrella would greatly increase your chances of being able to protect your assets in the event of a lawsuit.
With all the new technology in cars these days it can be overwhelming and individuals may not be as focused as they need to be while driving. Things happen….. Doesn't the low cost of an umbrella seem worth it?
*The statements above are for reference and are written by a licensed insurance agent as a quick reference guide to make understanding insurance easier. If you have questions please don't hesitate to reach out to any one of our licensed agents here at Corwin or refer to your policy documents.


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One is as though nothing is a miracle. The other is as though everything is a miracle. -Albert Einstein
Monday, August 8, 2011
Feeding a Pre-Toddler
7 comments:
Try hamburger meat. I gave Jason hamburger meat and he liked.ReplyDelete
I'm not a mom, but I do some feeding therapy with some of my families. I'm SO glad that you figured out that he was trying to assert independence! A lot of my families force-feed, and that causes all KINDS of issues... not a road you want to start down!ReplyDelete
As far as suggestions/advice, think about what foods you could eat without teeth - if you can smash it against the roof of your mouth with your tongue, it's probably safe for a little one with few teeth! Soft fruits and veggies, ground meat, rice & beans, and so on. You can also try those gerber graduates snacks if you're looking for more finger foods. Is Ryan getting much food off his spoon? Yogurt, purees, etc, are easier than foods that don't stick to the spoon as well.
A lot of foods WILL be hard for Ryan to pick up right now... but think of all the great fine motor practice he'll be getting as he tries! If he's really motivated to feed himself (and it sounds like he is), he'll find a way to get that food to his mouth!
I LOVE this picture of all of us! I still need to get a ton of photos from you since I can't save any of them from your blog in a file size that will print well. Maybe I should just come over and burn a cd at some point since I think they go back into January :)ReplyDelete
Even without teeth, our little men can eat most foods. They chew in the back of their mouths, not the front, and they won't have rear teeth until past a year. So anything that can be "gummed". A trick someone told me is to wet your fingers and press an item between them. If it breaks apart, they can eat it (for example, chicken will break apart, an apple slice won't!).ReplyDelete
@Paola- Thanks... I will have to try giving some to Ryan!ReplyDelete
@Erica- I agree that we definitely wouldn't want to force feed him. I'm just glad that I finally figured out what he wanted! Ryan doesn't really understand how to use a spoon yet. Thanks for all of your suggestions! I will give them a try.
@Karen- Yes, we can definitely copy some pictures onto a cd next time you come over! =)
@Heather- I will keep that helpful trick in mind! Thanks!
I know you asked for the advice over a month ago, so not sure if you still need it, but here are some more suggestions:ReplyDelete
Shredded cheese (no prep required :), shredded chicken deli slices, hummus or smooth peanut butter spread on mum mums (Milo's favorite), diced fruit, diced sauteed zucchini, acini de pepe or blocks of couscous or tofu, diced Arnold's high protein bread. Also, I know these are recommended for 2 and up, but Milo likes YoKids Yoghurt Squeezers- http://www.stonyfield.com/products/yobaby-yokids/yokids/2oz-8-pack-squeezers/cherry-berry.
@Sasha- All great ideas.. thank you! I especially like the idea of spreading hummus on mum mums!ReplyDelete


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A couple of weeks ago we were at the Gutter with our friends the McLeods, Jacksons and Vorhees. Link was there with is super-duper camera and keen photographic eye and snapped off these pics of the boys that I really liked. The colors in the shot of Ethan and Troy are really vivid.
Tyler squirting & CJ taking a break / Ethan & Troy figure -8s