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On two groundbreaking albums, Blue Train (1957) and Giant Steps (1960), John Coltrane presented a group of original tunes that stretched to breaking point the possibilities of functional harmony. Shortly after these albums he began increasingly to turn his back on the traditional use of chord changes.
Of the 11 tunes on these two albums there is only one standard: I'm Old Fashioned. I find that rather ironic. The rest are originals, including a large number of blues and blues-like numbers. The landmark tunes are Moment's Notice, Lazy Bird, Giant Steps, Countdown and Naima. The beautiful ballad Naima is an exercise in extended pedal-point, most probably much influenced by the modal approach of Miles' Kind of Blue session. The others are sometimes referred to collectively as Coltrane's "substitution tunes". It can be very tricky to understand precisely what's going on harmonically with them. This article is intended to help you understand what the hell's happening in these tunes.
These revolutionary compositions are the direct result of Coltrane's exhaustive exploration of harmonic theory. He had studied harmony at Granoff, but around this time he had also spent an extensive period studying and playing with Thelonius Monk (culminating in a marathon residency at New York's Five Spot cafe). Monk was an extremely detailed and advanced harmonic thinker and his influence on Coltrane during this period can't be discounted. Influence aside, though, the harmonic discoveries unleashed on these two albums surely belong to Coltrane alone.
All of these tunes are primarily concerned with harmony – that is to say, the chord changes are what's compositionally most important. It is notable that Coltrane's instinct as a composer directed him towards balance – since the chord changes are so unusual and distinctive it makes perfect sense for the melodies to be secondary to the harmony.
Anyway, we're not going to look at the melodies, just the harmony.
Disclaimer 1: There are many different ways of analysing harmony. What follows is how I have personally managed to make sense of these tunes. I'm not laying down holy writ and I certainly can't claim any insight into Coltrane's actual thought processes. I do, however, think that there are some interesting observations to be made by looking at these tunes as a group. There is a thread running through them – a continuity of purpose.
Disclaimer 2: I'm preoccupied here solely with the basic harmonic motion. I won't bother to note where a II chord might best be played as half-diminished or Lydian dominant, a V as altered or Lydian dominant, a I as Lydian, and so forth. The derivation of the basic progressions is the important thing.
MOMENT'S NOTICE (on Blue Train)
Apparently, trombonist Curtis Fuller commented on the Blue Train recording session that he couldn't be expected just to blow over these changes "at a moment's notice". A glance at the lead sheet makes this legend about how the tune got its name seem highly plausible.
The key to unlocking this harmony is to understand how cadences are extended and embellished. These techniques were all tried and tested harmonic resources, used by classical and popular-song composers long before Coltrane got his hands on them.
Extending Cadences
The common diatonic cadences in jazz are as follows (#IV qualifies as an honorary diatonic tone in this context):
We can extend a cadence by condensing chords into half the space and adding preceding II-Vs. For instance, to extend:
| Dm7 | G7 | CΔ | / |
we crunch up the II-V into the second bar and add the III-VI in the first:
| Em7 A7 | Dm7 G7 | CΔ | / |
Embellishing Cadences
We can also embellish a cadence by preceding the II-V with another II-V a semitone above or below it. Starting with:
| Dm7 | G7 | CΔ | / |
we crunch the II-V into the second bar and add the embellishment II-V in the first bar:
| Ebm7 Ab7 | Dm7 G7 | CΔ | / |
| Dbm7 Gb7 | Dm7 G7 | CΔ | / |
There are other options for the embellishment II-V (a tone below, a minor 3rd away, a tritone away) and we can also interrupt the II-V-I cadence by crunching the starting II-V into the first bar and putting the embellishment in the second bar.
In this case, the embellishment II-V acts as a temporary interruption in the movement from the real V to I. There are even possibilities for sandwiching the embellishment II-V in between the true II and V chords. Benny Golson's Stablemates makes very deliberate use of semitonal embellishment and is proposed by some people as a probable influence on this tune. I don't know whether this was ever directly acknowledged, but Stablemates is certainly a tune Coltrane knew. The influence may even have been subconscious.
Moment's Notice
Let's begin with what we can propose as the skeleton structure of Moment's Notice (we'll ignore the bars marked X for now):
||: Fm7 | Bb7 | EbΔ | X |
| Ebm7 | Ab7 | DbΔ | X |
| Bbm7 | Eb7 | AbΔ | X |
|1st) Gm7 | C7 | Fm7 | Bb7 :||
|2nd) Fm7 | Bb7 | EbΔ | X ||
I'm sure Curtis wouldn't have had any trouble blowing over these changes. We have two II-V-Is descending by tone, then there's a II-V-I to the IV of the key, then an extended turnaround on the first-time repeat and a final II-V-I coming home on the second repeat. Perfectly straightforward traditional harmonic motion. Could be the changes to a standard (a pretty ordinary one, at that).
The first thing we do is take the first two four-bar phrases and embellish the cadences by adding a chromatic II-V (a semitone below) in front of both:
||: Em7 A7 | Fm7 Bb7 | EbΔ | X |
| Dm7 G7 | Ebm7 Ab7 | DbΔ | X |
Then we take the third four-bar phrase and extend the cadence by adding a III-VI in front of the II-V:
| Cm7 F7 | Bbm7 Eb7 | AbΔ | X |
Things are starting to take shape. We now have two chromatic cadences followed by a diatonic cadence, which provides a bit of contrast (relief, if you like). At this stage, we're harmonically implying a miniature AAB structure in the way we treat the cadences.
What Coltrane does next is to extend this miniature structure to AABA by adapting the fourth four-bar phrase (the first-time repeat as I've notated it here) so that it resembles the first two phrases. He shunts the III-VI and the II-V to the beginning and end of the four-bar section, making room in the middle for the II-V-I necessary to mimic the semitonally embellished structure of the first two four-bar phrases. If we ignore the last bar, this is now the same structure as we saw in the first two phrases, just in a different key:
|1st) Gm7 C7 | Abm7 Db7 | GbΔ | Fm7 Bb7 :||
This fourth four-bar phrase has now become a (very) interrupted cadence. The second ending phrase he just extends by adding a III-VI in front:
|2nd) Gm7 C7 | Fm7 Bb7 | EbΔ | X ||
And we're almost there. All we need to do now is fill in the Xs:
||: Em7 A7 | Fm7 Bb7 | EbΔ | X |
| Dm7 G7 | Ebm7 Ab7 | DbΔ | X |
| Cm7 F7 | Bbm7 Eb7 | AbΔ | X |
|1st) Gm7 C7 | Abm7 Db7 | GbΔ | Fm7 Bb7 :||
|2nd) Gm7 C7 | Fm7 Bb7 | EbΔ | X ||
These points in the harmony are not functionally crucial and there are lots of different ways we could fill these spots. We could even just leave them blank, but this tune is all about elaborating cadences, so why waste these opportunities? Therefore:
- Putting Abm7 Db7 into bar 4 makes sense, because we are then preceding the following Dm7 G7 with its tritone substitution – a common embellishment.
- Putting Dm7 G7 into bar 8 is logical because it adds a II-V to the Cm7 that follows – in fact it extends the existing III-VI-II-V-I in Ab (bars 9-11) into the full #IV-VII-III-VI-II-V-I.
- Putting Abm7 Db7 into bar 12 is logical because it forms another chromatically embellished cadence – this time it's a II-V a semitone above the Gm7 C7 that follows. It also fits nicely by minorising the AbM chord that it follows.
(We'll look at the final X a bit later on.) We could provide further justification for these additions by noting that the real harmonic surprise of this tune comes in the interrupted cadence on line four. By using the II-V of that cadence (Abm7 Db7) twice in two different embellishment approaches before we get there, we're subtly hinting at what is to come at this surprise point. So now we have the full changes to Moment's Notice:
||: Em7 A7 | Fm7 Bb7 | EbΔ | Abm7 Db7 |
| Dm7 G7 | Ebm7 Ab7 | DbΔ | Dm7 G7 |
| Cm7 F7 | Bbm7 Eb7 | AbΔ | Abm7 Db7 |
|1st) Gm7 C7 | Abm7 Db7 | GbΔ | Fm7 Bb7 :||
|2nd) Gm7 C7 | Fm7 Bb7 | EbΔ | X ||
Almost there. After all that cadential leaping about, Coltrane delays the arrival of the final EbM using an extended pedal section on the dominant Bb7. This has the effect of clearly affirming the identity of the home key after all the foregoing chromatic motion. Moment's Notice, then, is an exhaustive exploration of just about every possibility for elaborating cadences in traditional II-V-I motion. In a single tune, which makes it one hell of an achievement.
LAZY BIRD (on Blue Train)
One giant step…
This tune takes its defining concept from Tadd Dameron's Lady Bird. The whole point of Lady Bird is that, both in the tune and the turnaround, there is an unexpected modulation down a major 3rd. This was an unusual harmonic twist at the time – although motion by major 3rds does occur in the bridge of the standard Have You Met Miss Jones.
Lady Bird
Let's start with this utterly unremarkable and harmless piece of Tin Pan Alley harmony:
|| CΔ | / | Dm7 | G7 |
| CΔ | / | Gm7 | C7 |
| FΔ | / | Am7 | D7 |
| Dm7 | G7 | CΔ A7 | Dm7 G7 ||
Again, could be a standard.
First, we change the II-V in bars 3-4 – we'll use a substitution known as a "backdoor" II-V, which is a bluesy cadence on IV-bVII going back to I:
|| CΔ | / | Fm7 | Bb7 |
Now we'll do the same thing (another "backdoor" II-V but this time going to the IV chord – F) in bars 7-8:
| CΔ | / | Bbm7 | Eb7 |
but instead of going to the expected F, we'll call the bluff, and go instead where Eb7 is "supposed to" go – and there we have it, the surprise modulation:
| AbΔ | / | Am7 | D7 |
Now let's twist the turnaround (bars 15-16) by using tritone subs on everything except the C chord:
| CΔ Eb7 | Abm7 Db7 ||
and switch the Ab chord quality to major.
There you have it – the same modulation that appears in the tune is now momentarily implied in the turnaround as well. This is known as a "Tadd Dameron turnaround", by the way, and these days it's often substituted in on any tune. Another common variation has all four chords changed to majors. Listen out for it.
So the full changes to Lady Bird are:
|| CΔ | / | Fm7 | Bb7 |
| CΔ | / | Bbm7 | Eb7 |
| AbΔ | / | Am7 | D7 |
| Dm7 | G7 | CΔ Eb7 | AbΔ Db7 ||
Lazy Bird
The A section of Coltrane's Lazy Bird is really just one big massive tease. The whole thing is a great big cadence in G, extended and altered in order to detour at Eb along the way – giving the same downward major 3rd modulation as in Lady Bird. Starting with this:
|| X | X | Fm7 | Bb7 |
| EbΔ | X | GΔ | X ||
We're in the key of G. Bars 3-4 are a "backdoor" II-V to the IV chord of the key, C – but they go instead where they're "supposed to", to Eb, giving the surprise modulation. But remember that Coltrane is very concerned with cadences at this point in his development. He goes further – he decides to sandwich the whole trick inside a great big cadence. The stages of development might have gone something like this.
Put in a II-V up at the front:
|| Am7 | D7 | Fm7 | Bb7 |
| EbΔ | X | GΔ | X ||
Since "backdoor" II-Vs are a theme, why not embellish the cadence in bars 1-2 by adding the "backdoor" II-V of G (this will flow nicely into the Fm7 Bb7 that follows):
|| Am7 D7 | Cm7 F7 | Fm7 | Bb7 |
| EbΔ | X | GΔ | X ||
Then "overrun" the II-V-I in Eb (bars 3-5) to its IV – Ab7 – (a very common motion) in bar 6:
|| Am7 D7 | Cm7 F7 | Fm7 | Bb7 |
| EbΔ | Ab7 | GΔ | X ||
and use a full II-V tritone substitution on that bar (oh, and add a little turnaround to the top chord in the final bar):
|| Am7 D7 | Cm7 F7 | Fm7 | Bb7 |
| EbΔ | Am7 D7 | GΔ | Bm7 E7 ||
There is nothing very remarkable about the bridge of Lazy Bird – two II-V-Is descending by tone, landing on the home key. Again, this is a bit of simplicity to contrast with all the previous hopping about. By the way, this is the same as the bridge to Lover Man.
Note though, that Coltrane's preoccupation with cadential expansions is still at work. The final bar of each four-bar phrase contains a semitonal embellishment of the II-V that follows:
|| Bm7 | E7 | AΔ | Bbm7 Eb7 |
| Am7 | D7 | GΔ | Abm7 Db7 ||
|| Am7 D7 |
The full changes to Lazy Bird, then, are:
||: Am7 D7 | Cm7 F7 | Fm7 | Bb7 |
| EbΔ | Am7 D7 | GΔ | Bm7 E7 :||
|| Bm7 | E7 | AΔ | Bbm7 Eb7 |
| Am7 | D7 | GΔ | Abm7 Db7 ||
|| Am7 D7 | Cm7 F7 | Fm7 | Bb7 |
| EbΔ | Am7 D7 | GΔ | Bm7 E7 ||
So in this tune, Coltrane has explored Tadd Dameron's way of modulating down a major 3rd by use of the "backdoor" II-V. Just as significantly, he's found a way of getting back up again via tritone substitution… He's found a way of including major 3rd motion within a cadence. Remember bars 5-7 of this tune. We'll see them again shortly.
Incidentally – always stop and clarify when someone calls Ladybird or Lazybird. It's not unheard of for half the band to start off playing one while the other half plays the other…
GIANT STEPS (on Giant Steps)
Splitting the octave
There are lots of different ways of analysing Giant Steps. No method is any more right than any other. Here's one way of looking at the tune.
From his Lazy Bird experience, Coltrane has arrived at the notion of modulating by a major 3rd. If we can do it once, why not do it several times? Actually, you can only do it three times in sequence then you repeat yourself, because you're splitting the octave into three equal parts by moving in major 3rds. A repeating structure – and if you hadn't already guessed it, Coltrane was really quite taken with structure…
Remember how the Tadd Dameron turnaround implies a temporary modulation down a major 3rd? Let's see how this type of turnaround looks in G, Eb and B:
| GΔ Bb7 | EbΔ Ab7 |
| EbΔ F#7 | BΔ E7 |
We can interrupt these turnarounds and combine them, by treating the first chord of each second bar as the first chord of a brand new turnaround – in practice, this just amounts to reading down the columns instead of across:
| GΔ Bb7 | EbΔ F#7 | BΔ D7 | GΔ etc
A sort of "Tadd Dame-Tadd Dame-Tadd Dame…" turnaround, if you like.
Coltrane took this repeating sequence and ordered it in such a way that it pauses momentarily on bar 3, then in bar 4 backtracks upwards (by using the same structure we'll find in the second half of the tune):
| BΔ D7 | GΔ Bb7 | EbΔ | Am7 D7 |
He then resumes the sequence from this different point and does the same pause and backtrack manoeuvre on bars 7-8 to lead into the final eight bars (which we'll look at next):
| GΔ Bb7 | EbΔ F#7 | BΔ | Fm7 Bb7 |
| EbΔ |
(of course, this means that bars 5-8 are the same as bars-1-4, transposed down a major 3rd.) So the first half of the tune moves key centres down by major 3rds. The second half creatively balances this by moving up by major 3rds. So how are we going to do that?
There's a classic chord progression of II-V-Is that descends by whole step – many popular tunes are based on it. Coltrane himself made use of it in the first and second eight bars of Moment's Notice, as well as the bridge of Lazy Bird:
Fm7 Bb7 EbΔ
Ebm7 Ab7 DbΔ
C#m7 F#7 BΔ
Bm7 E7 AΔ etc
(don't be thrown by the fact that we cross the flat-sharp "dateline")
Let's perform a complete tritone substitution on every other II-V-I:
Fm7 Bb7 EbΔ
Am7 D7 GΔ
C#m7 F#7 BΔ
Fm7 Bb7 EbΔ etc
We're now moving keys upwards by major 3rds, and we repeat ourselves every three times. Treat the II-Vs as pickups to the start of a line, and this is the structure of the final 8 bars of Giant Steps (this produces the same result as bars 5-7 of Lazy Bird sequentially in three different keys):
| Fm7 Bb7 |
| EbΔ | Am7 D7 | GΔ | C#m7 F#7 |
| BΔ | Fm7 Bb7 | EbΔ | X |
To finish up the picture, Coltrane adds a turnaround in the final bar of the whole tune to lead back to the top. And there you have the whole of Giant Steps:
|| BΔ D7 | GΔ Bb7 | EbΔ | Am7 D7 |
| GΔ Bb7 | EbΔ F#7 | BΔ | Fm7 Bb7 |
| EbΔ | Am7 D7 | GΔ | C#m7 F#7 |
| BΔ | Fm7 Bb7 | EbΔ | C#m7 F#7 ||
Note how the key centres move:
|| B down to… | G down to… | Eb | back up to… |
| G down to… | Eb down to… | B | back up to… |
| Eb | up … to … | G | up… to… |
| B | up … to … | Eb | turnaround to… ||
Note also how the general direction of the melody line cleverly mimics the way the key centres are descending and ascending throughout the tune. It may seem silly, but it's a useful exercise to sing the melody along to these words… Incidentally, don't be fooled by the fact that the tune starts with and turns around to a B chord. If it's in any key at all, Giant Steps is actually in Eb – the chord that falls on the second-to-last bar (although, granted, it doesn't spend much time in its "home" key).
By the way, I don't think Coltrane chose his three keys out of any sadistic desire to punish musicians with the nightmare of playing in B. The whole tune is composed of II-V-Is and V-Is in just three keys. If you think about the possibilities for choosing three equidistant keys, the combination of G, Eb and B is quite possibly the most friendly set… Oh, and did you notice that Moment's Notice is in Eb, Lazy Bird goes through G and Eb, and Giant Steps goes through B, G and Eb?
Now, here's a bit of light relief. Put your feet up and check out Michal Levy's amazing animation of Giant Steps:
COUNTDOWN (on Giant Steps)
Coltrane's killer cadence
Once we're past the analysis stage, the simplest way of looking at Giant Steps changes is just to decide that we want to divide the octave into three equal parts:
| CΔ | AbΔ | EΔ | CΔ |
and simply approach each major chord with its V chord (we do this in the second half of the preceding bar):
| CΔ Eb7 | AbΔ B7 | EΔ G7 | CΔ |
(Some people find it convenient to think of this root motion as "up a minor 3rd, down a 5th")
If we make the first chord a Dm7, we get a structure which has the look and feel of an elaborated II-V-I cadence and can be played as a substitute for a straight II-V-I in C. Think of it as a II-V-I with the II, V and I chords shoved to either side to make way for the elaboration chords:
| Dm7 | G7 | CΔ | / |
| Dm7 X | X X | X G7 | CΔ |
| Dm7 Eb7 | AbΔ B7 | EΔ G7 | CΔ |
Miles Davis wrote a tune called Tune Up in the mid-1950s (it's on the Quintet album, Cookin', which Coltrane played on). Oh, and some sources credit the tune to Eddie Vinson – wouldn't be the first or last time Miles's name found its way onto someone else's tune… Anyway, this is a straightforward blowing vehicle comprising II-V-Is descending by tone, with the final one repeated (with variation):
| Em7 | A7 | DΔ | / |
| Dm7 | G7 | CΔ | / |
| Cm7 | F7 | BbΔ | / |
| Em7 | F7 | BbΔ | E7 |
(Don't worry about the Em7 and E7 in the final line – structurally speaking, these chords aren't hugely important. In fact, they're RealBook chords…)
Coltrane reharmonised this tune using the above principle – as for the title, well, Miles "tuned up", so Trane "counted down":
| Em7 F7 | BbΔ Db7 | GbΔ A7 | DΔ |
| Dm7 Eb7 | AbΔ B7 | EΔ G7 | CΔ |
| Cm7 Db7 | GbΔ A7 | DΔ F7 | BbΔ |
| Em7 | F7 | BbΔ | Eb7+9 |
If you think about it, this tune is a natural candidate for Coltrane-style reharmonisation – recall that the upward motion of Giant Steps is derived from a tritone-substituted version of exactly this kind of tune structure.
Note how Coltrane chose to leave the final four bars unaltered (if you discount the chord on the final bar, which isn't structurally terribly significant). He continued to apply his Giant Steps principles to lots of different standards, sometimes writing new melodies on the reharmonised changes – the two most well-known examples are 26-2 (based on Confirmation) and Satellite (based on How High the Moon). But he usually allowed a bit of harmonic relief by leaving part of the original harmony unchanged.
He also used these reharmonisation principles on the fly, when soloing over standards and as a basis for interesting motion when playing modally. Many of today's most accomplished players still follow his lead. Incidentally, on the rarely played coda to Countdown, Coltrane moves the harmony boldly and plainly by major 3rds, between D, Gb and Bb. These are exactly the key centres you'd get if you took the first three four-bar phrases of Tune Up and performed a complete tritone sub on the whole of the second phrase. Just in case you were in any doubt as to what the harmonic order of the day was…
SPIRAL (on Giant Steps)
Chromatics and minor
Just a brief note on this one. The structure of this tune is not nearly so clear-cut as the others we've looked at. However, it warrants a minor mention, since the A section harmony is governed by major 3rd motion. We begin in G and descend chromatically to Eb (albeit with a D in the bass – shades of Green Dolphin Street), then move into B minor, via the V chord F#7. The second section of the tune plays around with the duality of B minor and D major. I may add a more detailed analysis of this tune at a later point.
A lot of this stuff is contentious, and I'm happy to throw things open to debate. Feel free to join in below.


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First Person: Amyn Kaderali-Chokora
Recently, CineStory's Co-Executive Director Carlo Martinelli caught up with the 2016 CineStory Feature Fellow, Amyn Kaderali-Chokora. In 2017, Amyn directed two episodes of the CW's "Supernatural" and just wrapped his third episode in February, 2018. He will return for additional episodes of the show in the fall. In addition, Amyn's screenplay "The Christmas Calendar" is going into production with Kat Graham starring for a winter premiere on Netflix.
In his conversation with Carlo, Amyn reflected on what he took from his experience as a CineStory Fellow and how that experience impacted his developing career.
Q: Tell us when you attended a CineStory retreat.
I attended the 2016 retreat.
Q: How was your experience in Idyllwild?
I had a truly great time at the retreat getting to know not only the mentors but also my fellow writers and hearing about their passion projects and unique backgrounds. The days were full from morning until night as there was always an interesting panel or discussion going on and the mentors really challenged the participants to get out of their comfort zones and to think deeply about their projects and the underlying themes we were working through in our own lives. There were plenty of laughs and a few tears but it really felt like a "safe space" where everyone's opinions were valid. The mentors really seemed to care and were sincere in their efforts to help us make the best script possible. All in all it was a really memorable and rewarding time – I wish it could've been longer!
Q: Did the retreat have an impact on your writing, your view of the business, your career, etc.?
Absolutely. The script I brought to the retreat really benefited from the honest and constructive feedback I got, particularly from Meg Lefauve who was able to dive deep into the story's themes and, in turn, help me focus the plot and explore new moments that illuminated the character's psyche in ways I had not thought of. As for the retreat impacting my view of the business, I think my experience there made me a little less cynical about the "industry." While some of my peers were from far away places, I had spent over a decade navigating the Hollywood maze, taking meetings and getting excited about possibilities only to see them die on the vine. Years of talk and very little action, in other words. So I came in a bit jaded and wary of the mentors, who could've just been patronizing and phony. Instead, I found them to be really genuine in their feedback and their encouragement because, at the core, we all love a great story. They are just hard to find and even harder to make. There were so many cool projects that the other attendees presented and the whole weekend was very inspiring. I definitely came home energized and eager to develop my scripts further but also to delve deeper into my own psyche about why I want to tell these particular stories.
Q: Your directing career has really taken off recently. Have you carried the knowledge you gained as a writer into your skillset as a director?
That's an easy one. YES. The most valuable skill I gained that weekend (and continue to use every day) is to think about each particular story in a deeper way, in terms of what the screenplay is REALLY about and I apply that same approach to episodic TV. We read a 45 page script and we can see what happens. But what is really going on between these characters on a deeper level that will inform the performances, where the camera is placed, and what is driving the dramatic tension from start to finish? Is this scene about "trust," "brotherhood" or "greed?" And also: where is the conflict? Forcing myself to question every moment in a script (of my own or one that has been handed to me to direct) leads to a deeper understanding of the story which can be internalized in the way I am thinking about how to execute this story on screen. That's proven to be so incredibly valuable to me these past two years.
Q: What was your experience with the CineStory mentors like, and how did their feedback impact your work?
I had a really positive experience with my mentors. As the "Fellow" for that year, I was able to meet several times with my two mentors in LA- one is an executive at a production company and the other is an indie producer. I also was able to meet a few times with another producer I met at Cinestory. All three were not only encouraging but were interested and open to hearing (and sharing) projects and ideas. I'm still talking with them and hopefully we'll collaborate on something concrete sometime soon. We'll see. As for their feedback, strangely I didn't really get much advice or suggestions on the project I brought to Cinestory (it is a pretty tough project to pull off that will require an international co-producer, most likely) but I was able to pitch other ideas and also get their advice on my career.
Q: As an Indian-American with parents from Tanzania and Scotland, your upbringing in the Bay Area was richly diverse, and this openness to a variety of cultural perspectives is a hallmark of your work. Have you seen an increased desire for stories from underrepresented voices in the marketplace?
I think each year we are chipping away at the severe underrepresentation of diverse voices in Hollywood. It's a very slow process despite the fact that each year another movie or two shows everyone you can be diverse and successful ("Get Out" and "Black Panther" for example!) But there is still a severe lack of Asian and Latino stories finding success in the mainstream so we will continue to have to find ways to prove them wrong on both the big screen and on TV. Nevertheless, I am confident that the marketplace demands great stories no matter where they come from so hopefully the positive changes of the last couple years will begin to snowball.
Q: What advice would you give to emerging writers or filmmakers who are looking for a platform to get their work read, seen, and recognized?
That's a hard question (which I get a lot). I think some competitions and retreats like Cinestory are great in terms of getting some opening exposure and starting relationships but ultimately, it's about the work. Either you are presenting ideas that are irresistibly commercial or you are showing the reader a very original and compelling new voice or point of view that gets people excited. I do think good writing will get read even if it takes a lot of time and hustle. I also think we are living in a DIY moment and there is still merit to making your own short film or even a low budget feature that can play in festivals and open some doors. Also, you can't be too results-oriented with your writing. Tell a story because it matters to you, not because you think it's what the marketplace wants or because you think it'll get into Sundance. These scripts take years to make so you need to be passionate about the stories you are telling because that is infectious and your script will hopefully find others who feel the same way.
Nothing in this industry is easy (unless you are Seth Rogen and can sell every silly idea you come up with while stoned with your friends). One last thing: I decided a long time ago that because being a writer (or director) is a hard road that can take many years, you have to have tremendous perseverance. If you really believe in yourself, you can never even think of giving up. Just keep on keeping on!

subset: commoncrawl


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The Marquess And His Bride
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DescriptionAileen Connell has always been the belle of every ball. Beautiful and wealthy, she is the charming daughter of a duke, an accomplished flirt with a rather shocking reputation. A reputation that infuriates her father so much he puts a stop to it by arranging her betrothal to his friend's eldest son, Manuel Foster, the future Marquess of West Yorkshire.
Confident in her ability to bring her new fiancé to heel with her dazzling beauty and storied wiles, Aileen obeys her father and travels to the Foster's manor house. She is shocked to discover that her betrothed is blind. Bound to marry him, Aileen wonders what charms could she have, what power could she hold over a man who could not see her. She speaks her vows, hopeless at the prospect of a dull, loveless marriage, a husband to whom she can


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+254(0)722 615625 email@example.com
Quality materials for quality structures
SEL manufactures high quality machined timber mouldings in for Kenya's broad market. With a wide variety of moulding profiles, we guarantee our customers value for their money, what's more, our prices are the most favorable in the market.
What some clients have to say about us
We really love the wooden furniture from Sarma Enterprises! Percectly blends with our restaurant's interior design
Everytime we want timber supply for our manufacturing plant, we look no further than Sarma. High quality and professional service


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Rita Ora has scored her third official UK Number One single with 'How We Do (Party)'.
The 21-year-old singer, who is signed to Jay-Z's Roc Nation label, made her chart debut Number 1 in February on DJ Fresh's 'Hot Right Now', 'RIP' with Tinie Tempah was Number One in May. All three tracks have broken the 100,000 sales barriers in their first week of sale, according to the Official Charts Company.
Last week's chart topper, Wiley, slips to Number Two this week with 'Heatwave', while Emeli Sande leads a wave of London 2012 Olympics-related tracks in the Official Charts Top 20 with 'Read All About It Part 3' at Number Three.
Elbow also reaped the rewards from playing the Olympics closing ceremony as their track, 'One Day Like This', climbs an impressive 121 places to Number Four. Calvin Harris completes the Top Five with 'We'll Be Coming Back', his collaboration with Example.
Elsewhere in the UK Singles Chart, George Michael's 'White Light', the track the singer performed at last Sunday's closing ceremony, is at Number 15 while Ed Sheeran's cover of Pink Floyd's 'Wish You Were Here' is new at Number 34.
In the UK Album Chart, following on from her Olympics closing ceremony performance, Emeli Sande has returned to the top of the Official UK Album Chart with 'Our Version Of Events'.
Paloma Faith jumps three places to Number Two with 'Fall To Grace', Ed Sheeran is up five places to Number Three, Amy Macdonald re-enters the Top 5 with 'Life In Beautiful Light' at Number Four while Maroon 5 is down two places to Number Five.
Elsewhere in the UK Album Chart, Spector debut at Number 12 with 'Enjoy It While It Lasts', and The Kinks' new Best Of collection, 'Waterloo Sunset', enters at Number 14.
This week's highest climbers are all Olympics-related with The Spice Girls' 'Greatest Hits' climbing 146 places to Number 18, Elbow's 'The Seldom Seen Kid' up 133 places to Number Six, and Kate Bush's 'The Whole Story' up 71 to Number 21.


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Did you know that most of the cleaning and pest control supplies that are offered commercially come from other countries, traveling thousands of miles?
Where do Biofarm products come from?
Simply, Biofarm products are made using organic plant oils from the farm.
Biofarm products are made in the Southeastern United States from ingredients sourced largely from sustainable farms in the Southeast. The mileage that these ingredients travel to reach our NC manufacturing facility is thousands of miles less than if they had been shipped form overseas.
Why use ingredients from the farm?
- The ingredients in many conventional cleaning and pest control products come from hazardous industrial byproducts.
- The use of hazardous compounds leaves a huge ecological footprint and reduces the dollars being circulated within the U.S.A.
- All ingredients used in Biofarm products are organic or Non-GMO and all natural.
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My Blog
Yesterday's Arrivals from the US
Posted on 27 February 2015 11:59
The boys from
Summa Love Surfing & Yoga
Long Branch, NJ, USA have arrived for 10 days of cold water surfing ! Already in trouble for not giving a time for breakfast, lol, but l think we will all get along just fine :-)
1 Comment
First Celeb !
Posted on 23 August 2014 17:51
English actor Struan Rodgers just left The Marine this morning after a 2 night visit with his friend Paul to do some golfing ! Great excitement having our first celeb, sorry l gave you into trouble for checking in so late ! Lol
0 Comments
Another happy customer !
Posted on 11 September 2013 15:04
'Just wanted to let you know how much we enjoyed our stay with you, The Marine is really in a class of its own!' Thank you Mike & Mel, it was our pleasure to take care of you :-)
0 Comments
Relax !!
Posted on 01 September 2013 20:39
Now available at The Marine, book an appointment with www.ldreflexology.co.uk and enjoy a massage, indian head massage or reflexology during your stay
2 Comments
Bedding !!
Posted on 27 June 2013 06:44
To all of our lovely guests who are 'craving' some of our bedding for home, go to Musbury Fabrics, online/telephone and ask for same luxury products we bought.
We can supply the codes if necessary.
1 Comment
May Blog
Posted on 10 June 2013 20:21
Thanks to our many international visitors, and many not so far from home, for their great words/comments. Too many to repeat and so good we do not want to boast ! Guests from India, Australia, Sweden, Germany, Belgium, USA have all been here, two or three different 'lots' in some cases. We had first time B and B'ers Allan and Myra, from Fife, who we have 'converted' and more who loved Richie's cooking, and my puds, phew ! This month's blog is late because we have been so busy and next month's may never happen........but we may have news from Belgium so watch this space, just in case :-)
1 Comment
Tales from the Visitor's Book April 2013
Posted on 02 May 2013 15:53
Mr B, Middlesborough - 'Simply perfect. great staff, food and accommodation'
Msr & Msr Perret, France - 'Une étape délicieuse far from home'
Mr & Mrs Main Tasmania - 'Brilliant place. Best B&B in 5 weeks travelling in UK'
Thank you everyone, you have been a pleasure to look after.
Karen & Richie
8 Comments
Comments from the Visitor's Book
Posted on 31 March 2013 09:40
Great stay, rooms have the
wow factor.
I'll be back. Great food -Mr Oliver, Alloa
We've lived and travelled in the UK for over a year now, definitely one of the best B&B's we've experienced - Nash Family, Derby
Thank you, makes it all worthwhile
1 Comment
First Blog
Posted on 25 March 2013 22:20
Welcome to The Marine Blog, titbits of information that may help you enjoy our wonderful county before OR after your trip.
See us in the May edition of The Scottish Field, under Destination Orkney. We are very honoured to be sharing it with the Castle of Mey :-)
Also for fabulous aerial views of the Caithness landscape go to Youtube and check out
for a birds eye view from Stewart Smith's plane, impressive......but he does love to show off :-D
0 Comments
Recent Posts
Yesterday's Arrivals from the US
First Celeb !
Another happy customer !
Relax !!
Bedding !!
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Shit n' Bake You A Batch of Poop Brownies LoveRachelle2 Poop Videos Scat
Making a whole batch of deliciously shit-chunky poop brownies just for you! You don't have to share these with anyone, baby 😉 And you get a perfect view of the THICK and rich turd pushing out of my ass, and shown off to you in some hot close-ups. I tease you in my hot heels, naughty panties and crop top, pushed up to show off my pert tits, as I walk you through the magic-makin bakin' process! I make sure to also bend over and blow a few farts into the batter when the urge hits me… whew, stinky!
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Coin Values Moving with Precious Metals: Up-Dated 6/1/2020: Gold $1743 | Silver $18.29
From Half Cents to Large Cents to Indian and Lincoln penny values, all are rising. For example, wheat pennies 1909-1958 are worth 2 cents each for common dates in the 40s and 50s.
Circulated and worn Indian pennies sell easily between $1 to $3. If any of your coins are in better than "Good" condition, collectors and dealers become very interested and your penny values increase rapidly.
How much are some of these old coins worth? One of the famous rarities, the 1909-S VDB Lincoln cent is a $356 coin and always in demand. Seldom found, it is a true rarity, although a box of old pennies with coins dated earlier than 1940, contains many valued at a dollar or more.
All your old penny values from Half Cents to Lincoln Cents are indexed here. Follow the links to value charts listing all dates, mintmarks and varieties.
Note: To arrive at an accurate value, each series includes grading images to help determine the condition of your coins. See more about the importance of proper grading below.
Half Cent Values | All Half Cents are Rare
The many collectors that specialize in Half Cents continually seek additions to their collections. Find any in your box and the value is $39 or more. The better condition coins demand even higher prices. All dates are covered on the Half Cent values chart.
Another great American coin that specialists study intensely and avidly collect. Large cents are worth from $17 to many thousands. Carefully examine your coins for condition. Check the value list for rare dates and varieties. Many large cents in nice condition with abundant detail remaining, are easily a $52 find.
Flying Eagle Pennies | Discover Their Worth
Valuable because they are so popular. Flying Eagle penny values are quickly approaching $17 each and rise depending on date and condition. 1856 through 1858 cents stand out as sought after collector coins because of the bold flying eagle design. And they represent the introduction of the modern small cent size.
The Value of an Indian Penny | Very Solid
A very popular coin, everyone understands and has heard of an Indian Head penny. Common dates are now worth $1 to $2 each. Many collectors are building collections and putting a heavy demand on the rare dates and better condition coins. Compare your coins to the values chart.
Lincoln Penny Value | On the Rise
The early dates and higher condition coins are on the move. Some are not as common as once believed. Their prices are climbing to reflect the demand. A quick look at the value chart shows a big change in how much your box of old pennies is worth. Condition is also playing an increasing role.
The 2 cent coin value is steadily increasing over the long term. Admittedly not the most popular coin, however those collecting the series are very serious. When the right coin is available and is needed for their collection, none hesitate to pay.
Of all your coins, the one in the nicest condition is probably the most valuable. Dealers and collectors are always looking for a more desirable coin and this usually means one in a better "Grade."
"Grade" is a rating measure assigned to the different stages of wear a coin experiences as it circulates.
Coin values are listed by Grade. Ranging from a heavily worn coin in the "Good" grade, to an "Uncirculated" coin, one in brand new condition showing no signs of wear.
Let's follow the changing condition and value of a 1919-S penny. Note: The "S" located under the date, indicates it was produced at the San Francisco Mint.
Like all "S" mints from the teens its value increases exponentially as the condition improves.
The first coin pictured, a rather worn example graded "Good" condition is worth 18 cents.
Next is a pleasing, although still worn "Extremely Fine" penny valued a $4.45 However...
The coin and the condition, collectors truly want? And they make no secret about it. The "Uncirculated" 1919-S, elusive to find this nice. Easily worth over $29.
From 18 cents to $4 to $29, 1919-S penny values advance strongly depending upon condition.
Each different series contain images to help define condition and grades for each of your coins.
Selling Wheat Pennies and Receiving the Highest Price
Separate your old wheat pennies into the main value groups - different decades, mintmarks, rare dates and importantly condition. Preparing and selling wheat pennies for the best value is possible.
Discover the rare pennies in your box of old coins. The search is both interesting and exciting. From rare dates to rare very small details, if they are in your box you will find the rare pennies.
Old US Penny Values are Rising
Coin values are determined by using the grading images to judge condition then checking the date and values on the charts provided. Discover all the rare varieties, dates and mintmarks.
The Coin Value Guide covers US coin series from Half Cents to $20 gold coins. For more background information showing how values listed in the guide are determined and getting the most value from the guide, here is a quick, behind the scene look.
Safe Coin Storage | Recommendations
Recommendations on basic supplies that greatly improve coin storage. Providing for safe handling, preserving of value and organizing your box of old coins.
★Coin Values Discovery finds...
All old US coin values. The home page is an excellent index, quickly leading to the major coin series. From Cents to Gold. Easily sort and value your coins, an important step in preparing for selling and finding coin buyers.


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Office N323
School of Chemistry,
Cantock's Close, Bristol BS8 1TS
(See a map)
+44 (0) 117 954 6314
I joined the School of Chemistry in February 2002 and have been working for the EPSRC Centre for Doctoral Training in Chemical Synthesis since October 2010. I am responsible for managing all aspects of administration at the Centre and I act as the first point of contact for queries from current and potential students, academic and faculty staff as well as external collaborators and funding bodies.
Edit this profile If you are Ms Mar Ruiz Molina, you can edit this page. Login required.


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Market Street Kitchen
Scottsdale, AZ 85255
- Sun.-Thu., 11 a.m.-9 p.m.; Fri.-Sat., 11 a.m.-10 p.m.
- Lunch, Dinner
- Full bar
- Patio/Sidewalk Dining, Takeout
- Reservations Accepted
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From fresh pasta to live music, treat mom right without heating up your kitchen.
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On page 169 of Kyle Cassidy's Armed America, a photography book filled with Americans proudly displaying firearms, Paul and Beth—no last name given—sit with their two children and three guns on a living room sofa. Smiling, they appear to be a picturesque family, and the deadliness of Paul's Bersa .380, held only inches away from his infant son Gavin, fazes no one. In the photo's caption, Beth responds to the photographer's question, "Why do you own a gun?" stating that she "was raised to never rely on anyone else to protect [her] or watch [her] back." It is obvious that Paul and Beth's guns give them a feeling of security.
Like many Americans, Paul and Beth's firearms are essentially members of their family, protecting their vulnerable children from outside forces much like guard dogs. It is no wonder, then, that so many citizens become immediately defensive upon mention of gun control. Terrified of what others may do to them, they clamor for protection. Americans certainly have a problem with firearms, but it is clear that the true problem is the fear that necessitates those weapons…
As followers of Christ, what are we to do in a world that fears instead of loves? The road to recovering from this social disease will be long, but it must start with the renewal of trust from person to person. Our actions do not have to be revolutionary: instead of locking our doors and keeping others out, we can take time to learn about our neighbors and invite people from our communities into our homes. We can choose to believe that trusting others is not naïve, but necessary to our collective social health.
– Excerpted from "The deadliest American family member" by Lea Graber, Freeman Academy (Freeman, South Dakota), Grade 12.


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Bhajan Hunjan
This duality of self and other, of private and public, of image and icon, of traditional and modernity is central to Bhajan's artistic project and finds further expression in her ability of move easily between different modes of artistic expression, sometimes representational, sometimes abstract. She defines this fluidity of approach as the urge not to draw strict boundaries, a vital assertion of freedom for a British woman artist ….
From working with people, Bhajan has slipped with the greatest of ease into shaping the spaces in which people can move and create. There is a prevailing humanism at the centre of her project.
Deanna Petherbridge (Colour Dialogues)
Artist, Writer and Curator
Solo exhibitions
2007 Wallingford School of Art and Art History, Wallingford
2000 The Art Exchange Gallery, Nottingham
1999 Recent Prints, Modern Artists Gallery, Whitchurch, Berkshire
1995 Colour Dialogues, South Hill Park, Bracknell
1994 Colour Dialogues, Cartwright Hall, Bradford
1993 Gateway Art and Education Centre, Shrewsbury
1989 Horizon Gallery, London & Aspex Gallery, Portsmouth
1983 Reading University Gallery

Selected Group Exhibitions

2008 Art2day Gallery, Pune, India
2001 Meeting Point, with Said Adrus, The City Gallery, Leicester
1998 Transforming the Crown, curated by Mora J. Beauchamp - Byrd, Bronx Museum
1993 Stars, curated by Southern Arts Touring Service…….. Rich curated by Ikon Gallery Touring Exhibition, Birmingham
1992 Crossing Black Waters, touring exhibition curated by Panchayat & City Gallery Leicester
1991 Table for Four, Bluecoat Art Gallery, Liverpool
1990 In Focus, Horizon Gallery, London
1990 Let the Canvas come to Life with Dark Faces, curated by Eddie Chambers
1989 Vadehra Art Gallery, New Delhi, India
1987 Eight Artists in Southern Region, John Hansard Gallery, Southampton
1986 Black Artists Group, Reading Museum and Art Gallery
1986 Surveying the Scene, Aspex Gallery, South Hill Park, Bracknell
1986 Jagrati, New Citizens Gallery, Greenwich, London
1983 Reading University Printmakers, Reading Museum and Art Gallery
1982 Between two Cultures, Concourse Gallery, Barbican, London
1981 4 Indian Women Artists, IA(UK) Gallery, London
1981 Stowells Trophy, Royal Academy of Art

Residencies/Studios

1983 - 1991 Open Hand Studios, Reading
1992 - 1995 South Hill Park Art Centre, Bracknell
1996 - 1998 Theale Green Community School, Berkshire
2003 - 2008 Highdown School & Sixth Form College
2008 - now Work live space with Bow Arts Trust, London
Cartwright Hall, Reading Museum & Art Galleries, Reading University Collection,University College London Collection, Peter Palumbo Collection, other Private collections in Canada, Europe, India, U.S.A & U.K
Board Member for SALIDAA RIFCO ARTSART POINT WALLINGFORD SCHOOL OF ART AND ART HISTORY


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Most masjid websites are terrible. This is how you make them better.
1. Story
No one cares that your organization was started in 1973 and services 500 families from XYZ counties. It also doesn't really matter how big your Sunday school is, or how you have a "vibrant" youth presence.
Tell the story of your community. Talk about how back in 1982, 5 uncles got together and needed a place to pray Juma so they used some guy's living room. Chronicle how that slowly grew into the congregation you have now. Tell the stories about the people who have come through your masjid – Imams who helped work with the kids, how a random brother or sister one time donated $10k to keep the masjid from being shut down.
Communities must create a sense of belonging. Draw people in with the history and story of your community.
2. Have important information
In no particular order, the following bits of information should be easily accessible:
- Directions. Actual directions. Anyone can look up your address on Google Maps. Your website should tell us "The GPS will get you to the Exxon gas station, but we're actually on the 2nd floor of the brown building behind the gas station."
- Updated iqamah times.
- Updated juma times (what time khutbah starts, what time salah is).
- Who the Khateeb is every Friday (why is this so hard? Asking a masjid to put this on their website is like asking a 5 year old not to leave toys on the floor).
- Office/visitation hours.
3. Photographs.
This is not an excuse to further publicize those 7-year-away expansion plan blueprints and architectural mock-ups. Put actual photographs of your facility. A few smiling people might help as well.
4. Social Media Integration / Contact
Don't have it for the sake of having it. Don't have a Facebook page if no one responds to messages. Don't tell people to follow you on Twitter if your last update was 900 days ago and no one checks it.
Create a way for people to contact you easily with questions. You don't need to leave a phone number – no one is going to call you anyways. Have an email that you actually check and respond in a timely manner.
5. Imam Info
Who is your imam? Let us know a little bit about him. Also introduce us to the rest of the staff. Who are they, what do they do?
6. Multimedia
Have some audio or video recordings from programs that take place at your masjid if possible.
7. Donate
Have a link to let people donate money to your masjid. Yes, some people actually want to give without having their arm twisted – make it easy for them.
8. Email List
Let people sign up for an email list to get announcements. Make sure to actually post announcements on your site – they're much more effective here than on the microphone after Juma.
9. Give the people what they want
If your masjid regularly handles funerals – have the pertinent information there.
If no one registers their kids for Sunday school on the website, then take the forms down.
Information about upcoming classes and programs? Put it on there (and keep it current).
Don't use your website to pontificate about sister's activities and youth programs – especially if you don't really have any. Even if you do, don't post a pretentious write up about them.
This is not rocket science.
10. Get rid of everything else.
Seriously. If something on your site does not fulfill a need, get rid of it.
If you'd like a minimal out of the box solution to having a masjid newsletter for weekly announcements, managing your email list, and putting a donate button on your website – email me at omar (at) 1ayah.com for a quote.


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Dear brothers,
This is not the letter I wanted to write; if I it were down to me I'd write to you words of encouragement, words that would tell of Christ and his salvation, words that would paint pictures of the abounding love, grace and peace of God. But I can't, there's a greater burden on my heart, a burden that can no longer be ignored. This letter needs to be written and as no one seems to be writing it would seem that I must despite my lack of qualifications, my young age or that I write this letter to myself as much as anyone else.
More than anything I write to you as children because that is who we are. I do not like this knowledge but I find it to be undeniable: we are children, mere infants, because we have fallen so far short of the biblical call to manhood. We are children because our lives are marked by a distinct lack of responsibility, an abundance of apathy, an absence of discipline and a mindset of cowardice and fear. We call ourselves men but this is but a fiction for if we were men we would shake the world. Make no mistake, I will not mince my words or seek to hide behind pleasantries, I will be blunt, honest and hard because I will address you as the men you are not. This letter, if written correctly, will hurt you for I intend to strip you of everything and then lead you to Christ. In doing so brothers I strip myself of everything and lead myself to Christ, so come, if you are brave enough, let us face our faults, find them to be true, fall on our knees before God and so stand tall as men.
Though we are children and this is to our shame; it is not to our discouragement. Open your Bible and read and you will soon see that for every mighty deed performed by a godly man for his Father God there is a tragic act of sin and rebellion as well. Most of the men we see in the Word of God are no different to ourselves today: weak, confused, easily led astray, undisciplined, ungrateful, cowardly, foolish and childish. We are, brothers, in excellent company. This does not provide us with an excuse for there are other men who show us what it like to walk blameless before God, remember Job, Elisha, Daniel, Paul and of course in a category slightly higher than them all: our Saviour Jesus Christ. And if that weren't enough there is the history of the great men of the church who did deeds that show our own paltry efforts to be feeble indeed. Shall I tell you of Martin Luther, George Whitefield, William Wilberforce, Charles Spurgeon, John Paton, William Carey, Martin Lloyd Jones, Jonathan Edwards or a whole host of other saints who bare witness to what a godly man can achieve? Are their lives not to our shame?
My friends, you cannot deceive me, I know how you feel and who causes your heart to soar. I know that when I talk about strength and courage you prick up your ears, I know that when I say the words 'Warrior of Christ' your heart skips a beat, I know that you long to do mighty deeds in the name of your Mighty God because that is how I feel, indeed, that is how all men of God feel. For us is the thrill in fighting, for us is the heat of the battle, for us is the battle cry of Christ Jesus our victorious head. Strength brothers, strength and courage, these words stir you, do not deny it, they stir wild emotions within, a longing to step up and be counted and a shame, a shame that all godly men suffer because we so often fail in this calling. When we should fight we run away, when we should speak we remain silent, when the glory of our Father God demands battle we flee with our tails between our legs.
Do you not yearn to be that man who has the courage and strength to stand up for his God, to step up to the mark and be counted as Christ's? Once again, though you hide it from yourselves you cannot hide it from me: your hearts are enslaved to Christ, you are his and you cannot help but know this. Does this surprise you? It surprised me to learn that Jesus Christ meant more to me than I could possibly imagine, it surprised me to learn that though Christ slay me yet will I trust him, it surprised me to learn that I would do anything for my Saviour and King. But I do nothing. Now this is a strange thing. I hope you will forgive me for being presumptuous but you too are like me. I'm sure you would admit truthfully that you are prepared to do anything for the sake of Jesus and yet find yourself doing nothing or very little. We are the boys who do not want to grow up. We are children suppressing the very urge that would make us men.
Our diagnosis is this: "For I know that good itself does not dwell in me, that is, in my sinful nature.For I have the desire to do what is good, but I cannot carry it out. For I do not do the good I want to do, but the evil I do not want to do—this I keep on doing." (Romans 7v18-19) We know this to be true; our problem is that we know only this to be. You are aware of your weakness, yes, your weakness: your temper, your lusts, your impatience, your laziness, your fear, your sin. At least I hope you are aware of your sin if not then it will not be so long before you become aware for the Holy Spirit cannot be silenced forever.
Please, learn from my mistakes, I was proud, convinced of my own self importance, satisfied with my walk with God, I was a Christian far and above my brothers around me. I would read Paul saying that he was the worst of all sinners and disagree for Paul was more holy than I ever thought I was yet there was no way that I was the worst of all sinners. And so God broke me. The details are largely irrelevant, suffice to say I spent seven months living in his silence, I spent seven months with a cloud across my Father God's shining countenance, I spent seven months in darkness of the soul. There came a time when all was black, to pray was more anguish than not to because in praying I would reach out for my Father and I won't be able to find him, and I felt the urge to throw it all in and give up on Christianity. Immediately barriers came down in my mind and a verse sprung to mind: "My Father, who has given them to me, is greater than all; no one can snatch them out of my Father's hand." (John 10v29) I couldn't help but notice the contrast: I was angry at God for not being there, resentful of the silence I lived under, in despair at the darkness of my soul and in return he kept me close. Christ gathered me, his lamb, in his arms and carried me close to his heart (Isaiah 40v11).
Brokenness was now a reality I had to live with. My own sin is often before me as time and time again the good I want to do I do not do and the evil I don't want to do I do. Truthfully now I would admit to being the worst of sinners because I turned aside from God and followed an idol, I reject him a hundred time by not speaking when I should, I defy his commands a thousand times more and take his exceedingly abundant grace for granted. My stubborn and cold heart is so slow to be warmed by the love of Christ. Willingly I nailed my Saviour to his cross. All too often I return and hammer them home a few more times. Yet still I stand, clothed in a righteousness not my own, washed by a blood from another's veins, chosen by a will not my own and saved by a faith not of me but given.
As I was saying, we know of our brokenness, it is not hard to see. The more I think about this the more I am convinced that this is not our problem, indeed, it is our hope. The only way to stand is on our knees before God; yet we must face the reality that we are liable to be satisfied with crawling. Confronted with our own weakness we confront life with cowardice and fear. We see the sin in our life, we see the challenges of living for Christ, we see a hundred possible failures and so we fear and do nothing. Brothers, you know of what I speak of, your conscience betrays you, have you not known of a time when it was right to speak but you remained silent? Have you not thought of taking a risk but bowed out under fear of failure? What new paths have you forged recently? What leadership have you shown? What stand have you made for the glory of your God? Friends, when did you last dare to be a man?
Already I argue myself: it is too much this burden. I am so weak, why is Christian life so hard? Why does the battle have to be so tough? Why is fighting sin such a bitter struggle? The world lies before us in all its might, scorn, hatred and strength. The Evil One prowls around us penetrating our every weakness, hitting us hardest when we're down and tempting us most with the sins we find hardest to put to death. This is the reality of the Christian walk. It is through much trail and tribulation that we will enter heaven. Knowing our weakness then should we not despair? Are we not fully justified in being so afraid? What's the point in even trying or striving to holiness? With everything to die for and only brokenness to live for why do we go on?
Where is our faith? Where is our trust? Have we really forgotten the very gospel that saved us? Coward, I call you, and I would be right. You fearful boy, have you yet to grasp that whilst you are empty there is fullness to be found in Christ? Remember when Peter walked on water, saw the wind and waves and was afraid? Jesus rebuked him for his lack of faith. Brothers, that is a lesson all too pertinent for us today. We have no courage, we have no strength, we are so prone to silence because we have not the faith to shout. Yet the command to fear not is always followed by a promise that God is with us. Write Joshua 1v9 on your heart: "Be strong and courageous. Do not be afraid, do not be discouraged; for the Lord your God will be with you wherever you go." With God with us all fear is heresy, with God with us all cowardice is folly, with God with us then we have a rock, a shield, a refuge and a mother hen to hide us under her wing (Psalm 91). If we truly believed God to be all he says he is then fear would be banished and we would stand tall in the strength of the one who is called the Almighty.
My fellow children, I sit here and dream of being a man, I dream of showing strength and courage, of standing tall and proud, boasting in the Lord, on my knees before God. My earnest desire is for a lion hearted meekness, a humble and indomitable courage, a full appreciation of my weakness and the strength to wrestle all the forces of darkness. These desires can only be fulfilled through Christ. It is a good thing to know of your weakness. It is a better thing to know of your Christ. I quoted earlier from Romans 7, allow me to finish it: "What a wretched man I am! Who will rescue me from this body that is subject to death? 25Thanks be to God, who delivers me through Jesus Christ our Lord!" (Romans 7v24-25) All too often we reach verse 24 and then forget verse 25. We know all too well our wretchedness; what we have yet to grasp is our Christfulness.
"I can do all things through Christ who strengths me." (Philippians 4v13) All too often our thoughts end with our weakness, it is too much for us to live distinctively, we are too weak, ask others Lord, we plead and to our shame we forget that God asks us nothing that he will not give us the strength to do. God does not call the qualified; he qualifies the called. He does not call the strong but makes his power perfect in our weakness (2 Corinthians 12v9). His grace is an ocean that cannot be measured; his love is vast, expansive and ever on his children and his mercy is abundant, shown forever in the cross. If we focus on our weakness and forget our God then we will be what we are this day. If we see our weakness then look further and see Christ is all his glory we will become more of the men we should be.
As I close this letter I urge you to pray, pray for courage, pray for strength, pray for manliness, pray that you would have the faith to see beyond your weakness and to the infinite love, power and grace of God. Ask that God would teach you to be a man after his own heart. This will be no easy path. But for the glory of Jesus Christ is it not worth it? Relying on ourselves has got us nowhere. Let us turn and seek out Christ and find in him everything we need to be godly men. Victory is certain, our future glory guaranteed, our souls are secure, so what is there to fear?
Yours in him,
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November 2013


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A blend of Malagousia and Assyrtiko, two indigenous grape varieties. This wine has a distinctive nose of exotic fruit and notes of green pepper, jasmine, orange, melon and lemon. On the palate it's rich, round and citrussy. Serve with fresh shellfish, salad dishes with tomato and Greek feta.
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Celebrations are taking place in Switzerland today to mark the 20th anniversary of the birth of the world wide web.
In March 1989, Sir Tim Berners-Lee, then a scientist at CERN, the European Organisation for Nuclear Research, published a paper, entitled Information Management: A Proposal, which aimed to provide a framework for academic institutions to organise and share electronic documents across the internet, and were crucial in the creation of the world wide web.
"Tim pulled together ideas of a markup language, getting files on the internet and hypertext," said Wendy Hall, a professor in the computer science department at the University of Southampton. "The things that made it work were open standards and protocols so anyone could set up their own web server and HTML documents, the fact that it was completely distributed and scalable, and that it worked over the network."
Sir Tim will mark the occasion with a speech to scientists and technologists in Geneva, exploring the history of the web, and future applications of internet technology.
Earlier this week, Sir Tim warned a parliamentary round-table that allowing advertisers to target internet users by tracking their browsing habits was akin to putting a "spy camera" in people's homes.


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Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. – Henry Jenkins
This blog post has taken me a while to write because there was a lot of grey area with what I thought about the topic, so I had to try and find a good understanding of what is and what is not in the grey area. A main point in my confusion with what Transmedia storytelling is, is the intention of creating a multichannel production to begin with and if the production is an on-going series over multiple channels/platforms then can you count it as Transmedia?
My example is the Pokémon franchise. Since it was first created in 1996 in Japan, the intention of Pokémon became to create a television show to sell the games. While the intent of story is told mainly through the television show, there are individual aspects that are separated for each channel Pokémon has been established on.
The games give a unique perspective of what is around the towns that the anime brings up, also the hands-on involvement of being a Pokémon Trainer and setting out for your own quest. The manga involves stories that occur in the Pokémon World that do not act as one consecutive story – just small parts. The Pokémon Trading Card Game uses the intent of creating physical objects (cards) that were meant to be played along with the video game series. Over the past 15 years Pokémon has been transformed over multiple channels, games, T.V series, manga and movies – each being relevant to another.
Considering the 10 different points outlined by Henry Jenkins (hyperlink above) on what makes something Transmedia, I would guess it would seem that a production would need to tick a point explained. Pokémon being around for 15 years, having an impact on a majority of channels/mediums – so to target a majority of people, has successfully utilized the idea of transmedia production.
Transmedia projects have become an impressive and interesting way to utilize multiple markets and therefore a larger audience. The intent to carefully play a movie off a game, off a book, off cards, to create one main story has become a powerful tool reflecting on what technology has become, and also reflecting on the intent for a wider consumer range over multiple channels, cashing in on the different interests of people.


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JBL AC15-WH Ultra Compact 5" 2-Way Installation Speaker (White)
The JBL AC18/26 White is a compact full-range loudspeaker system designed to provide maximum bandwidth and SPL in a single system package and yet be visually unobtrusive. The enclosure design allows for installation very close to walls and ceilings making it an ideal choice for under balcony, column, or wall mounting. The high frequency device is a 1" exit compression driver integrated into a newly designed 120 x 60 degree rotatable PT (Progressive Transition) waveguide providing even coverage throughout the intended listening area. The combination exhibits smooth power response resulting in extremely natural voicing. The AC18/26 utilizes an 8" Symmetrical Field Geometry (SFG") LF Transducer with a copper-clad aluminum edge wound 2.5" voice coil and a copper-clad pole piece that improves performance by reducing voice coil inductance and distortion. The rugged multi-ply hardwood enclosure is designed to work in the vertical plane as well as in the horizontal plane. Mounting points are provided for an optional U-bracket and for an OmniMount type bracket. The AC18/26 is also equipped with attachment points located on the bottom of the enclosure for a stand mount accessory. The JBL AC18/26 White is constructed of rugged plywood and features JBLs textured DuraFlex finish and is equipped with a heavy duty powder coated steel, foam-backed grille.
Features of the JBL AC18/26-WH Compact Installation Speaker:


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Time was when I was pretty accepting of a greater number of Christian traditions and denominations. These days, I am less and less likely to accept the patterns of many Christian groups (including "my own"), but I'm not always sure I'm assessing things rightly.
What standards shall we use to determine what's acceptable and what's not? The thoughtful, grace- and truth-infused Christian must not be as interested in drawing lines of fellowship as in being a disciple himself, and yet there are some lines to be drawn, in terms of spiritual "family." . . .
Some groups really do stand in opposition to Christianity. The mentally unbalanced, blind practices of Fred Phelps's group in Topeka come to mind, along with many other groups that don't profess Christianity at all. How far do we extend "the right hand of fellowship"?
[Aside: the meaning of "fellowship" in the majority of New Covenant passages goes far beyond a simple recognition of some degree of unity. Nor does it really have anything to do with potluck meals. Most often, "fellowship" appears to speak of partnership in a task.]
Although we may not see eye to eye on many things, there will be some projects that we can do together with other individuals and groups — those with whom we don't share key doctrinal positions. Service projects such as cleaning up roadways, feeding and clothing needy people, and taking care of orphans in the name of Jesus come to mind. Recently, I came across the benevolence program of a church with which I would have only a modicum of spiritual camaraderie, but I was impressed with their list of charitable projects, and my family plans to join in one or two. Partnership in a good cause that helps others (despite some important differences)!
As in the island party game "limbo," there will ultimately come a time that we simply can't bend any further. How low can we go without breaking our consciences?
For me, the Jehovah's Witness, Mormon, Unity Church and Unitarian Universalist entities are examples of (non-Christian) groups with which I have no spiritual fellowship. The Roman Catholic institution, which is of course Christian in a broad sense, sits a couple levels closer to me . . . but here, as I type these words, part of me is loathe to think in terms of levels and lines that purport to keep others at bay. Many other Christian groups seem much closer.
Does it constitute actual, spiritual back-bending for me to accept those who darken the door of the X Christian Congregation building down the street? Is my back going to break, or will I embarrass myself by falling over backwards in this not-so-fun Christian "who's one of us?" party game?
In retrospect, I don't mind so much that, without thinking, I said "boo-hiss" aloud to myself when that vehicle turned into the Jehovah's Witness parking lot (see beginning of last post for reference). But I may need to stand up straight and extend my hand a little further in this vast sphere of denomination limbo.
Coming soon: an extended treatment of Calvinism, largely thanks to the late Dr. Clark Pinnock's very significant, helpful paper "From Augustine to Arminius: A Pilgrimage in Theology." Spoiler alert: Calvinism needs no more positive attention; Pinnock's transparency and cogent scholarship help to enable other, thinking Christians to feel better about moving past the great reformer's overstatements and overzealousness.


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Yet another memorable dinner session
Swami had just arrived after calling upon the former prime minister of India, Sri Atal Behari Vajpayee. It was quite late by daily standards. So, at 8:45 pm we were all told to go and sit for dinner. I went in and stood behind the second chair facing Swami. Swami told us to sit and then we chanted the food prayer, Brahmaarpanam. Satyajit was serving Swami and there was a lot of "Vadhoo" ('Don't want') from Him today. Inspite of multiple such refusals, Satyajit went about serving food into His plate; Swami delivered a really loud "Vadhoo!" I could not help smiling and immediately, Swami too looked at all of us and smiled. Then all of us started eating.
The session started with Swami asking,
"A youngster keeps waiting outside to have Swami's darshan. Who is he?"
Nobody seemed to know the answer and everyone kept silent. I thought that maybe he was referring to Vibhu but did not say anything. Swami called Ravi bhaiya and asked him,
"Why did you not sing Kausalyatmaja bhajan?"
Bhaiya gave his sweet smile and Swami too responded with the same. Yet another instance of God being reaction, reflection and resound! A pleasant conversation followed. Swami seemed to be in a very happy state of mind, having visited Vajpayee. Given below is the conversation, not necessarily in the order presented.
Swami asked GV sir as to when he had come to Simla. He, as always, gave a detailed and elaborate answer. Then Swami was speaking about His trip to Delhi when He inaugurated the international centre. Vajpayee had been present then. GV sir added that Vajpayee was present with Swami even during the inauguration of the Summer course in 1987 at Brindavan. He had addressed all the students then. He summed up that topic by adding - "We have that picture with us at Radiosai!"
{This is the 9 th part of an ongoing series. You can read the previous part at this link:
Or you can read from the beginning of the serial where each part is linked to the next. The link to Part 1 is here:
The reference to Vajpayee spurred Swami to narrate the conversation the two had during His visit today.
Vajpayee had told Swami,
"Your voice seems changed and is quite feeble and low in volume."
Swami had answered,
"I was healthy in Parthi My voice too was in good condition. Now, here due to the ACs being everywhere, it has got spoilt!"
Vajpayee had agreed wholeheartedly adding,
"Even my voice has suffered due to the AC.When I go out, am active but the moment I come home, the body becomes weak!"
Then Swami added to all of us,
"I keep telling boys to switch off the AC but they don't do it."
Swami seemed to have got into a "pulling the leg" mode now as He saw the AIP.
"Srinivasan will not agree with me. He will find my view wrong!"
The AIP was just smiling and before he could say anything, Swami asked Prof. Anil Kumar,
"What do you think about air conditioners?"
Anil Kumar sir was strong in his criticism. He said,
"Swami, I don't like ACs at all. People use it everywhere - in all places of work. That is why they die when the power cut comes into force! They are addicted to modern technology and not to the natural climate!"
Swami was laughing heartily at his 'angry' outburst. Sensing that Swami was enjoying it, the professor went on.


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He won't stop asking me to marry him!Aisha
Aisha is a non-player character in Final Fantasy VI. She is a citizen of Maranda and thus of the Gestahlian Empire. Her palette was altered for the Game Boy Advance release. Much like Arylon from the original Final Fantasy game, she has no name in the Japanese version of Final Fantasy VI, the localization team gave her a name for unspecific reasons, therefore she is only named in the English version.
Aisha is being chase around by an unnamed Imperial soldier in the town of Maranda. Stating that he won't stop asking her to marry him. The soldier exclaim that she is his love. Once the Imperial troops pull out of town after the banquet, she mentions that she misses the soldier. In the World of Ruin, she tells the party that Lola's been receiving letters from someone, wondering if its from her boyfriend in Mobliz.
Aisha is a variant of "A'isha". A'isha is an Arabic female given name which means "She who lives" or "womanly".


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Bass Players Wanted!
We need bass players for all of our groups. If you have previous experience or if you have never played the bass before, we want to help you become a fantastic bassist!
Bass Scholarships
For the 2018-19 academic year, the MWAA Orchestras will offer three, tuition-free scholarships for students to play the double bass (upright bass). Students will need to obtain an instrument and all other class supplies, but their orchestra fees will be waived for the entire 2018-19 academic year. Basses can be rented for a very reasonable monthly price (between $50-60 per month to rent) and they come in all different sizes allowing smaller students the opportunity to learn to play.
In the picture here, I am holding a 1/4 size bass, which is the perfect size for younger students. Basses also come in 1/2 and 3/4 sizes. If you need help obtaining an instrument, please contact Dr. Sexton.


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LOST IN THE CLOUD: The U.S. is under there somewhere. (Photo: NOAA/NASA GOES Project)
As a giant snowstorm plowed across the U.S. this week, the GOES-13 weather satellite drifted 22,000 miles overhead, capturing all the snowy chaos in a single dramatic frame. The resulting image, pictured above, reveals just how big the storm became.
Operated by the National Oceanic and Atmospheric Administration and NASA, GOES-13 regularly photographs weather in the Eastern Hemisphere, often producing impressive shots of tropical cyclones and hurricanes. But few storms match the size of this wintry behemoth, which dumped more than a foot of snow in several major U.S. cities on Feb. 1 and 2, including Chicago, Milwaukee and Oklahoma City.
The Groundhog Day blizzard was the seventh major snowstorm to hit North America during the winter of 2010-'11, just the latest in recent trend of so-called "Snowmageddons" or "Snowpocalypses." Many scientists blame the string of big storms on a negative phase of the Arctic Oscillation, a climate pattern that unleashes frigid Arctic air southward while warming the Arctic itself.
The February megastorm wasn't all bad news, though: Since it blocked out the sun on Groundhog Day, Punxsutawney Phil and other weather-predicting groundhogs didn't see their shadows, thus forecasting an early spring.
Also on MNN:
- Monster storm carves path across U.S.
- Blizzard rips off part of Wrigley Field roof in Chicago
- Whopper winter storm can't compare to '93 superstorm
- 7 biggest snowstorms of all time


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Train the Trainer
goVirtualOffice provides tailored training programs to get your users up and running fast. Our training goes beyond just the NetSuite application to include best business practices. Our tailored programs are specifically centered around your requirements, your team and your business. We provide specific work flow training programs to match your data, your processes and your procedures. End user training can be conducted either on site or remotely in process based training sessions.
Try It Out
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What is doctorDB™?
doctorDB™ is a community-based healthcare platform that is committed to providing consumers with trusted ratings and reviews on Doctors, Dentists, Clinics and Hospitals. These ratings are compiled from feedback by your friends and the community and allows you to make informed decisions on the choice of your Healthcare provider.
What can you do on doctorDB?
Today's consumers are smart and like to be well informed prior to purchasing a product or service. Consumers research information online, look at reviews and ask friends, family and community for more information. This is even more true of people looking for a healthcare provider. doctorDB helps you find the right healthcare provider. Here are some of the things you can do on the doctorDB platform:
Is this platform free?
Yes, the doctorDB platform is absolutely free for patients to use and is available on iOS and Android.
Note: Accessing the doctorDB platform requires an internet connection. If you make phone calls to healthcare providers via the doctorDB app, carrier charges may apply. Please check with your telecommunications provider.
How do I use the platform?
The platform is very easy to use. Type your query in the search bar and the platform will display appropriate results
based on your search query. You can also narrow your search based on:
a) Location
b) Top doctors, dentists, clinics, hospitals or popular specialties
c) Names of healthcare professionals
Is doctorDB available in other countries?
doctorDB is only available in Malaysia & Singapore for now. We are working hard to bring the platform to consumers in other Asian countries.
Where do you get your information from and are they up to date?
Our database is compiled from various data sources including information available in public records, information available in public domain, yellow and white page directories and other sources. While every effort has been made to provide accurate information, doctorDB cannot be held accountable for errors and omissions.
Are the healthcare practitioners listed genuine healthcare practitioners?
We have attempted to ensure that all listed Healthcare providers are licensed to practice by the respective regulator/Ministry/Medical Council in the country. While every effort has been made to provide accurate information, doctorDB cannot be held accountable for errors and omissions.
Do healthcare professionals need to apply to be listed on the platform?
We have taken great care to include all healthcare providers. If you are a healthcare provider and your details are not appearing in our listings or wish to update/enrich your information on our platform, please email us at email@example.com.
What if the healthcare professional that I'm searching for is not listed in the database?
If you know of healthcare providers that are not listed on doctorDB, you can email us with their details to email@example.com. Please note that information we receive will have to be verified before we list them on our platform.
Is doctorDB endorsed by any healthcare providers, insurance or pharmaceutical companies?
doctorDB is not a referral service and does not recommend or endorse any particular Healthcare Provider. Rather, doctorDB is only an intermediary that provides selected information about Healthcare Providers. We do not offer advice regarding the quality or suitability of any particular Healthcare Provider for specific treatments or health conditions, and no information on this healthcare platform should be construed as health or medical advice. Please review our Terms of Use for more details.
How do I write a review?
Writing a review is simple and easy:
1. Select a healthcare provider. Example: ABCDE Medical Centre, Kuala Lumpur.
2. Click on the Add/Write a Review button in the Reviews section.
3. Rate your healthcare provider by tapping or clicking on the hearts. If applicable, please select the location of the consultation when writing a review for a Doctor.
4. If you wish to view the detailed ratings for a healthcare provider, please click on Reviews section.
Why do I need to have an account to write a review?
We want to make sure that only verified members (and not bots) become a part of our trusted community. We want our users to view trustworthy and reliable reviews in order to make informed decisions on their choice of healthcare provider. To ensure this, users have to sign up to write a review.
Is my review anonymous?
doctorDB respects your privacy. Your name or email address won't be shown on the website/app. However, if you connect doctorDB to your Social Media account, family and friends who are also on doctorDB can view your recommendations. Likewise, you can see their recommendations.
How do I recommend a healthcare provider to friends or family members?
Click the Add/Recommend button in the profile of the healthcare provider. You can then select your friends and/or family members that have connected their doctorDB account to their Facebook account.
What's the Shortlist?
Shortlist is a quick listing of all your favourite and potential healthcare providers.
Web – Under your profile name (top right hand corner when you're signed in)
App – Click the Me tab in the App
How do I shortlist healthcare providers?
Web – Click on the Shortlist button on the profile of the healthcare provider you want to shortlist
App – Click the "Pin" on the top right corner on the profile of the healthcare providers. The pin turns red.
How do I delete healthcare providers from my shortlist?
Web – View your Shortlist and choose either to Remove or Remove All from the Shortlist
App – Click the Red pin to remove the healthcare provider from the shortlist. It turns white.
Where is a healthcare provider located?
You can find the best healthcare providers near you by turning on your location services. To search for a healthcare provider in another location, please click on 'Change location'.
How do I get directions to the location of the healthcare provider?
Go to a healthcare provider's profile and click on Map/Map & Directions to see where the healthcare provider is located
Why should I connect my doctorDB account to my social network account(s) like Facebook?
Connecting your social network account(s) allows users to display trusted reviews from your family and friends. In the same way, they can view your recommendations.
What information will be used from my social network account?
We use information from your social network account in order to determine which of your friends has provided ratings and reviews. Only you & your friends can see each other's' ratings & recommendations on doctorDB. Please review our Terms of Use for more details.
How do I register on doctorDB?
Creating a doctorDB account is simple, fast and completely free. Go to www.doctordb.com or on the app you will be
referred to the Sign In page. Click on 'New User?' to register for an account.
1. Fill in your email address, password, date of birth and a mobile number. A valid mobile number is required.
2. Agree to doctorDB's Terms of Use and Privacy Policy.
3. Click on the Sign Up button.
4. An email will be sent to your inbox and a SMS code will be sent to your mobile number.
5. Click on the Activate Now button in your email. If you have not received the email, please check your spam folder. The email might have been identified as spam mail. Add us to your address book.
6. Enter the SMS code you have received on your mobile number and your account will be activated.
Why must I be above 16 years of age?
doctorDB is only accessible for those above the age of 16. This is to protect minors from seeking and obtaining healthcare information without the supervision of a parent or guardian.
I cannot log in and it says that my account has not been verified, what does it mean?
Please check your inbox with the email account you've registered with. Upon opening the email, click on the "Activate Now" button. You will be re-directed to our platform and key in the code that was sent to your mobile number.
Why do you need to verify my email address and mobile number?
Verifying your email address and mobile number is part of our secure 2-layer process to ensure genuine users and no bots are part of our healthcare platform.
I forgot my password, what should I do?
If you're having issues signing in with your doctorDB password, click on Forgot Password. You will be prompted to provide the email address that you used to register on doctorDB. You will receive an email to reset your password.
How do I change my password?
To change your password, go to your profile page and click on Change password. You will be prompted to key in your current password and a new password.
How do I change other information on My Profile page?
To change your information, please go to your profile page. Add or change your information and click on Submit/Update My Profile
Is my information protected?
doctorDB does not sell, share or trade your personal information collected online with unknown third parties. Personal information collected online will only be disclosed within our corporate group and to third parties we partner with. Please review our Terms of Use policy for more details.
For more information about our Privacy Policy, Terms of Use and/or general enquiries, please email us at email@example.com