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theBalm Batter Up Eye Shadow Stick, $17/£15/€18.50 from Nordstrom and ASOS.
Oh well, but the brand just brought out a collection of five new colognes, The Herb Garden, so maybe you and I can find a new love among these five scents. All of them were created by Anne Flipo.
base notes: violet root, patchouli and white musk.
base notes: lavender, sage and tonka bean.
Fans of Guerlain will be delighted to hear about the launch of the new La Petite Robe Noire inspired makeup range of lipsticks and nail polishes.
There will be 20 scented lipsticks (£21.50) and 10 nail polishes (£17).
The lipsticks come in black cases with a clear caps with a heart on top. They are promised to give “Lightness and richness. Sweetness and Shine.” Besides the classic nudes, pinks and reds, there is also a dark shade in the range.
That must be frustrating , just when you are getting used to another one.
My computer has lasted a number of years now, but getting slow with clutter.
Mine covers me, for that kind of mishap.
Glad I mentioned it, then.
I didn't when I bought mine from Argos a couple of years ago.......*sigh.
It's Quick. It's Easy. It's Free! Are You an Columbia Contractor?
Information Security Risk Awareness Programs in K-12: Is This the Right Approach?
Copyright © 1996-2017 TIIJ. All Rights Reserved.
The sign has arrived and I couldn’t be more thrilled! It’s PERFECT!!! Thanks a million!
Tech enthusiast. Graphic designer. Aspiring polymath. Operator of a sparkling mind.
12: Straight-Up "Silence of the Lambs"
Gelligaer: Gelligaer Urban District Council, 1959.
ISBN: NoISBN. First Edition. Hardcover (Original Cloth). Bottom edge of covers little stained, dust jacket rubbed, soiled, edges worn. Illustrated with numerous photographs. Size: 8vo. 115 pages. Quantity Available: 1. Shipped Weight: 1 pound or less. Category: History; Genealogy & Local History. Pictures of this item not already displayed here available upon request. Inventory No: 8107. Very Good Condition / Good.
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Swindon based live music promoters and band management specialists, Cereal Promotions & Management, recently instructed Netintent.co.uk Limited to design and develop their first ever website.
The site is driven by our own NetContent content management system, allowing Cereal Promotions the flexibility and power to update their show listings, Gallery and various other areas of their site whenever they need to. As the site features an ongoing, date related list of events, the ability to control this area was critical.
A mailing list facility was also another important area that we delivered within the site.
Working to a tight deadline, the site was designed, coded and fully live within two weeks of our initial meeting with Cereal Promotions.
Stefano Guzetti is a composer, producer and sound designer based in Sardina, Italy. He has an ensemble that has released three albums, Home Piano Book (Volume One), Ensemble, and Leaf. He was previously an ambient electronic musician as Waves on Canvas. While not touring Stefano produces soundtracks and sound design for film, documentaries and video games.
Innerversitysound: Stefano, a bit of background first. You had a recent earlier electronic outfit called Waves on Canvas that produced electronic music that was received well enough given the scene. But nothing in comparison to the reception that your three albums with your ensemble. Can you tell us a bit about the departure from electronic music to a form of modern classical ensemble? What was the impetus for you for this break?
Stefano: Basically I had a graduation in electronic music from the conservatory in my town. I was very into electronic music and I had studied it a lot. But also from childhood I had a background in classical music because I studied organ, or an instrument with a keyboard. Then I made this Waves on Canvas project and it was very great for me and also it was a way of mine to give a rendition, or a proper tribute to what I was into when I was younger, especially 4AD stuff in the Ivo (Watts-Russell) era. But in regarding electronic music I’ve got this mixed feeling. Especially nowadays when everyone can buy a computer, a laptop and record some seagulls or birds with their smartphone and then download a version of Ableton Live, add some effects, some tweaks and then claim himself an electronic musician or a drone music musician.
One of the reasons for the change was I wanted to take a distance from all of this because now a lot of people, a lot really, are making electronic music. If you take an example of the 90’s when buying music gear was really expensive and it wasn’t something that was ready at hand for everyone, which wasn’t a good thing anyway, because in my opinion everyone should have the opportunity to say something musically. It was different, now everyone is making electronic music and to my personal subjective perception most of them sound the same. Because they are done with the same environment, the same software, a laptop and so forth. This was one of the reasons but I also just wanted to get back to simple things and try to say something musically, just for me. Interested in just a few things, natural acoustic sounds for instance, and I wanted to get back to my roots, because when I was younger I was just playing an instrument as well. So this is something that really made me decide to be just me, myself, and just work with simple natural sounds. From time to time I had some electronicia, some simple sine waves and simple elements, like little noises, but these are just things that in electronic music are considered a simple thing, a sine wave. These are things you can also find in the works of Stockhausen or Xenakis, basically in the pioneers of electronic music. So we are not talking about synthesisers or computers but more about tapes. So I just decided to change and I’m ok with this decision really.
Innerversitysound:In interviews you have mentioned a wide range of influences from industrial, indie pop, German electronic music, drum and bass, ambient, and the ethereal electronic pop of your teenage years. The early band of yours Antennah, what was the ideas that drove you and your friend Valentinno Murru?
Stefano: When I was a child I was playing the organ and when I was a teenager I discovered New Wave bands, Joy Division and that kind of stuff from about 1986. So my decision was to buy a bass, I was a bass player and we just formed this band. We just wanted to make something new, quite naïve. It was great but after about five years I just wanted to make something else and this electronic music thing in me started when I was very young I had this computer in my house and I started programming this computer to make simple sounds and to play by pressing the keys of the keyboard while I was playing the organ. So I was tweaking a home computer to make some sounds and noises and this was my very first approach to electronic music. So after I was in a band for five years, playing the bass, I felt a real need, an urgency to widen my palette of sounds so I decided to leave them and start making electronic music. From 1992 until 2006 I was making electronic music.
The last thing I did, apart from the Waves on Canvas project was a collection of remixes for Kirsten Hersch, the singer for Throwing Muses, because in a period around 2006-7 she was recording the tracks of her new album and releasing the tracks of the songs on the web. So I was just taking the vocal parts and doing the rest, a brand new arrangement with new chords, new tonal centre. Just then I was just starting to think differently about electronic music. So this is just my background, I was taught classical music, I played bass in a band but in the meantime I was still tweaking my computer at home, I embraced electronic music, but now it is like being back home again. Just being what I was when I started making music when I was a child.
Innerversitysound: So the immediate reception of At Home Piano Book (Volume One) on Home Normal was decisive in its endorsement of your new approach to music. Can you tell us a bit about this album and how the collaboration with Ian Hawgood came about?
Stefano: Basically I started making these little compositions on the piano, they were just little ideas. I sat at the piano when I had ideas and if I felt they were interesting I just recorded the scratch idea on the iPad. So then I started to compose them properly with a kind of structure and my idea was to make a collection of piano impressions, like little water colours, something like that. Nothing too serious. I sent a few of those tracks to Ian, about 5 years back and he was really into those tracks. Then we started emailing and I felt quite lucky, because when you have a label like Home Normal, which is kind of busy, there are a lot of people sending stuff, I felt lucky anyway. And then we became friends. Of course there is a mutual friendship now between the artist and the label as well. I wanted to keep that feeling of playing in a room, a very simple thing.
Innerversitysound: You are incorporating minimal electronic touches and processing. Has it receded so far into the background that it may eventually disappear? Or has the impression of the knowledge gained by exposure to these forms indelibly informed your composition of classic forms?
Stefano: There is a future release that will be out in September that is based on a work of a friend of mine who makes paintings and cartoons as well. He was living in Japan for about 9 years, he worked with Sakamoto, designed a Swatch and he made this last book about his memories in Japan. I was really inspired by his latest work because I love Japanese culture as well and then I wrote and produced this new album called Japanese Notebooks. It features some electronicia, but very subtle, there is also some in Leaf. It is just a little colour and nothing that characterises too much the overall sound. What I still like about elements that come from electronic are the sub-basses and that round warm feeling. And that is just from a simple sine wave, a regular oscillation of a wave. Yes there is still electronic music but very few and just in a very delicate measure. I am planning to use some electronic elements like arpeggios of simple waves to be a part of an arrangement in the future. I am thinking about this idea but mostly it is just acoustic music. I don’t want to be a second hand Max Richter or things like that because mostly I am still exploring and looking for a language of mine of course for otherwise it would not be very useful to be out there and be a clone of someone.
Innerversitysound: You formed an ensemble which is a change from the solitary electronic musician. It involves a good deal more interpersonal communication. How did forming this ensemble come about and can you tell us a bit about the dynamics of working with 3 other people in an ensemble has changed your practice?
Stefano: If you make electronic music for instance, you have a very immediate response to what you are doing because you are just playing sounds with a machine. You have got those sounds, just suddenly. When you score, when you write music on a score, yes you can make sounds to make a sort of pre-production of what you have in mind. But then again when you play with real players it will sound different again. So it’s really exciting and interesting because a player is not a machine and he will play differently every time and it will depend on how tired he is from his feeling of the day; a lot of variations can happen and anyway real instruments forever change. Yes the real feeling is in the score but the overall feeling of the track can change of course. This is something that fascinates me a lot because we are humans, we are faulty humans by nature so it’s great to transpose this aspect into music. We are not talking about recorded music that will sound the same every time you play it to your friends but music that will change every time and it’s great. I love this, I really need this aspect from music to be alive, in a way.
Innerversitysound: In Quiet Fracture on the Leaf album is the most sound designed piece of the recent few albums. Is this interlude kind of thing going to happen more often or was it something that just occurred in the making of the album.
Stefano: Yes, Leaf, it’s an album of that started when my father started being ill. And my father now has a very serious illness. And this illness was showing by some very strange events like from time to time he was falling but we underestimated what was happening. Quiet Fracture is about something that is very slowly starts to go, in this case it was my father, and then shows in itself completely. So there are some steps and some laughter from a few women. This is quite symbolistic about something that starts to show inside and then grows as a big laughter. Yes that album it is written, ‘from my father, to my father’ and it was a very bad time and for some reasons it still is. It’s quite personal to be honest.
Innerversitysound: In reading background material about what you do I stopped at you commenting that you had adopted a very simple attitude towards life and music generally. If you could elaborate on this turn to simplicity and its effects on the whole of what you do in life.
Stefano: Simplicity, simple things, it is a value that I make mine a lot. For instance my decision to move on from electronic music to apparently more simple music. Like the title Leaf, it is just a small green element that we see on the side of the road, in the trees, but if you move your attention to the inner structure of the leaf, in this structure you see a lot of little path roads and this is a clear symptom that simplicity shows us a different world if you take the right pathways and if you approach simplicity with the right attitude. I have been doing Zen meditation for about 10 years in my life so I am really attached to a simple approach to life which is not a basic approach. It is just simple because then by embracing simplicity you can embrace the complexity of life as well. So it is something very connected. Like for instance when I was making electronic music I had complexity at hand very easy because of sounds, because of all those electronic elaborations on sounds as well. But to me it wasn’t that interesting anymore. But if you use just simple sounds and you give them the proper attention to the inner structure of a simple acoustic sound, it has a lot of things that change every time. Like if you struck a note on the piano and every time it will resonate differently and this is apparently a simple sound which it definitely is not. This is an example of simplicity not being simple at all. Simplicity being a great and a good example of the complexity of life itself. Because simple things to me are just the first side of the real complexity of life.
Innerversitysound: Your album Japanese Notebooks is slated for later this year. Is it completed yet, or is it still in production or in Ian Hawgood’s very long cue for mastering?
Stefano: The album is just finished, mixed and mastered. I finished it in January and I am leaving it to ‘take the dust’ for 4 to 5 months and then I will listen to it again to fix a few things with fresh ears and a fresh mind because you have to take the distance from things at a certain point. Possibly, I don’t know yet, I will ask someone to master it. I still have to decide. I usually master things myself, I am very much of a DIY person, and I really love this attitude. I do almost everything about my job; like promoting, producing, I have my own label as well, Stella Recordings, for my stuff, so it’s really important for me to have most of the things under my control. I rarely work with people, one of these ones is Ian because I really trust him, we are friends, but I really trust Ian and his approach to music. So this album is basically finished, I just have to fix a few things here and there. But that’s it really.
Innerversitysound: In terms of ambitions, or strategies when this simplicity gets a bit tricky and demanding. Have you an escape plan lined up?
Stefano: My escape plan is that I will always have to be honest with myself and correct about what I am doing at the moment. And when all of this won’t work anymore I will ask myself what is happening and if I won’t have any reply for myself, I always tell myself and to my future wife as well, maybe I will stop making music as well. I hate the idea of riding the wave of what is going on at the moment because I wouldn’t be honest to myself and mostly I would be wasting my time. Because it is not written anywhere in the sky that I have to make music. Maybe there will be a time when I just have to stop, or maybe not. I don’ know. But what I know is that my only escape is just to be honest with myself and ask myself directly what’s happening and add a proper reply, never be negative or positive. I hope positive.
Leaf is out now on Stella Recordings and digitally on Home Normal.
The Graduate Law degree is a graduate entry course in law, completion of which forms the basis for admission to legal practice in New South Wales and Western Australia. The program is designed to recognise the capacities of high quality graduates and the relevance of their existing qualifications to the commencement of studies in law.
This degree includes core curriculum courses (units), compulsory law courses, and elective law courses. Contact hours in this degree average 16 hours per week when studied full-time.
Applications for the 2019 Fellowship are now closed. Applications for a 2020 Fellowship will open on August 1, 2019.
In 2020, the HARPO Fellowship residency can take place either January 6-31, February 3-28, March 2-27, August 31-September 25, October 5-30, or November 2-27.
The HARPO Emerging Artist Fellow is integrated into SFAI’s International Thematic Residency Program and may also share space with a variety of local and international Fellows sponsored by government agencies including the Taiwan Ministry or Culture and Greece Fulbright Commission. HARPO Fellows are not required to engage the 2020 residency theme, but may do so at their discretion. Ultimately, the semi-structured programming and unique environment at SFAI allows the Artist Fellow to be as interactive or private as they wish with other residents. For details about our International Thematic Residency Program, please visit our Residency Information and Residency FAQ.
For more information about past recipients of the Emerging Artist Fellowship Residency, please visit this site and/or www.harpofoundation.org.
Annual Call for Applications opens August 1st.
Annual Application Deadline is October 1st, 11:59pm.
Letters of Recommendation Deadline: October 8, 11:59pm.
In addition to the $35 application fee, SFAI requires a refundable $150 security deposit to be paid upon acceptance. All other expenses, materials, and equipment are the responsibility of the fellow.
I met with Secretary of the Air Force Heather Wilson to discuss the Administration’s ongoing reforms to the national security space enterprise. The 5th Congressional District of Colorado is the epicenter of national defense space, and I had a productive conversation on everything Colorado Springs has to offer, including coming decisions on topics such as where U.S. Space Command will be located.
I was honored to have met the brave Navy Seal who killed Osama Bin Laden. I’m thankful for his service and sacrifice to our country.
On March 23rd I had the privilege of presenting awards to the winners of the Congressional Art Competition here in the Fifth District. I've been amazed at the great artistic talents of the young people in the Colorado Fifth Congressional District over the years of judging the competition. This gives me the chance to meet the best and brightest young men and women of the District. This year we recognized the teachers of the students, as they're the primary shapers of our young people's artistic talent. The art competition provides us with a wonderful opportunity to showcase the abilities of our District's brilliant young artists to the rest of the nation. Once the winners have been selected by a local panel of professional artists, the Grand Prize winner's art displayed in the United States Capitol Building for one year. It's always a joy to walk by the artwork of our young students and admire their hard work and artistic ability I look forward to seeing the work of this year's winner displayed alongside that of other brilliant young artists from across America.
I was honored to receive the True Blue Award from the Family Research Council. Consistently voting pro-life and pro-family is important to me.
Rep. Lamborn rallied for Jack Phillips today while the Supreme Court heard oral arguments in the Masterpiece Cakeshop v. Colorado Civil Rights Commission case. Jack doesn’t violate any proper understanding of nondiscrimination laws. He serves all people, but declines some requests for custom cakes that conflict with his faith. That is not a form of unlawful discrimination, but a legitimate exercise of his artistic and religious freedom.
Rep. Lamborn and Rep. Lee Zeldin (NY-01) join Stuart and Robbi Force, the parents of Taylor Force, whom H.R. 1165 was named for after his murder by Palestinian Authority funded terrorism. The Palestinian Authority allocates hundreds of millions of dollars annually to pay terrorists to murder innocent Israelis and Americans. The bill is an important first step in ending U.S. tax dollars from supporting terrorists who kill innocents like Taylor.
After nearly two years, the Mueller report is now available to the public, and it shows NO collusion between the Trump Campaign and Russia. It is time to move away from the false collusion allegations that stem from the Democrats and the media. I voted to make the report public because I believe the government should be transparent, and my constituents deserve to read the findings of the report. I hope this will finally end all of the partisan games so we may focus on our jobs, and continue with the legislative agenda to better our country.
I applaud the Senate for confirming Colorado native David Bernhardt as the next Secretary of the Interior. I believe Bernhardt will continue to use his vast experience to remove burdensome federal regulations and advance policies that will benefit Colorado.
This makes an excellent wedding Gift!
1 Oblong Casserole dish measuring 14 1/2" from handle to handle, width 8 1/4", depth 2".
1 Large Oval Serving Platter ~Measuring 12” x 9” ..
All are free of cracks and chips. There are no noticeable utensil markings.
RSS Feed for keyword: "Orca Whales"
Orca whale watching off Northern Vancouver Island in British Columbia, Canada by kayak.
Two cute northern resident orca whales poke their heads out of the water in Johnstone Strait, BC - a typical trait called spyhopping.
A mystic animal, an orca whale lives in a matriarchal family group which exhibits their own unique dialect and social behaviors.
Orca whale watching tour off Vancouver Island from the tiny community of Telegraph Cove in British Columbia.
The power and beauty of an orca whale is seen as it breaks the water in a breach off Vancouver Island.
An unique historic tour boat keeps its distance from a small pod of killer whales off the coast of Northern Vancouver Island while passengers onboard get a good look from the deck.
A social species of dolphin, the northern resident killer whales often interact with boats in some way during a whale watching tour off Vancouver Island.
The graceful Killer Whale, also known as Orca, is the largest member of the Dolphin family.
One of the best places in Canada for killer whale watching is on Northern Vancouver Island in British Columbia.
A serene evening and sunset with a pod of orca whales backdropped by the coast mountains of British Columbia, Canada.
The territory of the Northern Resident Killer Whales ranges between Campbell River to Port Hardy off Northern Vancouver Island and beyond.
An orca whale cruises the waters of Northern Vancouvern Island during sunset.
An Orca Whale male in Weynton Passage during sunset, Killer Whales off Northern Vancouver Island, British Columbia, Canada. Check out more pictures of whale watching on Northern Vancouver Island here.
Becoming a professional coach is one of the most rewarding jobs I’ve ever had. It’s such an honor to be able to help people grow in their personal leadership skills and pursue their true purpose and passions to make a huge impact in the world. I love facilitating “a-ha moments” for people and guiding them towards success. I never thought I would become a coach because I didn’t even know that the coaching industry existed until about 3 years ago. Since then, I learned more about it, volunteered and practiced it as much as I could, and took steps to call this my career. Today, I wanted to answer some FAQs for people who are interested in becoming a coach or adding coaching skills to their repertoire. As you read this, imagine us chatting together at a coffee shop with the freedom for you to pick my brain. My hope is that this gives you more insight to the industry and provides a little bit of direction of your next steps.
Q: I love helping people. I’ve always enjoyed mentoring and guiding younger people. Is coaching right for me? A: Yes! The heart of coaching is helping people to figure out what they want, why they want it, and provide the support and accountability for them to be successful. When you get down to it, a coach sees someone for their potential and equips them with the skills and resources for them to be the best version of themselves. A coach is someone who wants to facilitate change, growth, and get people from where they are now to where they want to be. It’s definitely considered to be a “helping profession.” It doesn’t necessarily have to be with someone younger than you, but people tend to work with coaches that they can relate to. The question to ask yourself is, “WHY do you want to become a coach?” Get clear on your definition of success. If it’s genuinely to help people get better in a motivating way, then coaching may be a good fit for you.
Q: What are my options as a coach? // What can I do as a coach? A: There are many paths you can take, or make yourself! Typically you could: be to go-to coach for your current company, be a coach that consults for other companies, or start your own private coaching business/practice. There are many different niches as well: including health/wellness, business, life, executive, leadership and success, and career. Or, you could get coach training for basic coach skills (communication, listening, asking questions, goal-setting/accountability) that could equip you to be a better leader in your current job.
Q: How can I get started with coaching? A: Start Where You Are! First, if you’ve never experienced working with a coach yourself, I highly encouraged you to do it. That way, you know first-hand what it’s all about. You can go to local workshops and seminars hosted by a coach, or invest in working with one yourself. Then, the best way to see if coaching is right for you as a career is to engage in opportunities to learn and practice coaching. Find people and opportunities where you can offer your listening ear and expertise. If you're working 9-5, what are some ways you can add value to your company by helping others grow? For example, it could be a book club, speaking in a professional development series, or creating an accountability group. The key is to find practical ways to practice (even if it’s on your friends!) Think of it as an experiment: Who do I love to help? What kind of problems are they dealing with? What value am I providing them? Do I even like this?
Something you can try to practice with people one-on-one: create a survey asking questions about people’s needs and desires, send it out to friends and people in your network, and offer a mini-coaching session to those who have filled it out. This gives you a better idea of what people need and are looking for, and also real-world experience in coaching people.
Q: Do I need training or certification? A: Getting training is like the difference between between street smart and and school smart. You may naturally have great coaching skills, but training hones them to take to the next level. I like to think of it like the difference between a street basketball player and a professional one. A street basketball player is naturally skilled and may have fun playing the game, but when you’re ready to go pro, training helps provide structure and expertise, and confidence in helping you know what you’re doing. Coach training is an investment and can range from $500-$2000 per module (and even up to $10,000 for the whole shebang), so carefully consider it before going all in. I went to Erickson International, and have heard good things about Co-Active Coach Training, and Lifeforming.
Certification is getting officially registered by the International Coach Federation. You need to have at coach training and at least 100 hours in order to apply. It’s a great route to consider if you value professional development, and a must-have if you want to work for corporate companies for executive/leadership coaching. A lot of corporate companies will only hire coaches with those credentials. But if you worked with clients one-on-one in your own private practice, it’s not necessary. Keep in mind that clients buy for results. As long as you provide value and results, clients will be happy to work with you.
Building a business takes a lot of time and persistence. It’s one thing to be a great coach but it’s another thing to be a great business owner. It takes a lot of focused intention and attention, and it doesn’t happen overnight. I always say that building a business is the BEST personal development because you’re always learning new things (that constantly keep changing) and pushing yourself to grow.
People don’t buy coaching, they buy results. This is a marketing thing. To more clear you are about who you help and how you help them, they better chance you’ll find the people you’re meant to serve and get paying clients. I naively thought that saying “I can coach!” would attract people to me. Instead, I had to learn some savvy marketing skills and get clear on my audience, message, and services.
Things are constantly changing. Things within the industry are constantly changing. The coach I was one year ago is way different than the coach I am today (for the better!) Business is the same way. Things that worked before may not worked now. So I’m constantly experimenting with new marketing channels and offerings. I like the challenge of trying new things, but I’m also balancing it with trying to remain consistent in things like my voice and helpful habits.
Invest in things that matter. Some people may think the only expenses needed for an online coaching business is a laptop, internet, and a phone (which you already have). But realistically, start-up costs could be education, training, web site/marketing materials/branding, office supplies, legal fees, etc. Those things add up. It’s good to have a budget to set aside money to invest in things to matter to you. For me, that was education, branding, and working with a coach.