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Reproducing Traces of War: Listening to Gas Shell Bombardment, 1918
Welcome to World Listening Month 2014, our annual forum on listening in observation of World Listening Day on July 18th, 2014. World Listening Day is a time to think about the impacts we have on our auditory environments and, in turn, its affects on us [for the full deets, peep our recent SO! Amplifies post by Eric Leonardson, Executive Director of the World Listening Project]. We kick off our month of thinking critically about listening with a post by media historian Brian Hanrahan, who listens deeply to sonic traces of the past to prompt us to question our desires for contemporary media representations of "reality." It also marks the global 100 year anniversary of World War I this August 2014: a moment of silence. —J. Stoever, Editor-in-Chief
For some reason that I don't fully understand, I am very emotionally moved by the space around a sound. I almost think that sometimes I am recording space with a sound in it, rather than sound in a space. –Walter Murch
If you want to listen to the past, there's never been a time like the present. Every year, it seems, new old recordings are identified, new techniques developed to recover sounds thought irrecoverable. Here is Bismarck's voice, preserved on a cylinder in 1889. Here, older still, is Edison's. There is the astonishing recuperation of phonautograms – reverberation traced onto soot-blackened paper in the mid-nineteenth century, digitally processed and played back in our own. But as that processing underlines, no sound recording straightforwardly reproduces the real. An acoustic artifact is a compound of materiality, form and meaning, but also a place where technology meets desire. Old recordings meet the listener's longing halfway; they invoke a reality always out of reach. And not simply a longing to hear, but also to touch, and be moved by, the fact of an absent existence.
Take, for instance, HMV 09308. In October 1918, just before the end of the Great War, William Gaisberg, a sound recordist of the pre-electric era, took recording equipment to the Western Front in order to capture the sound of British artillery shelling German lines with poison gas. Gaisberg died not long after, probably from Spanish flu, although some say he was weakened by gas exposure during the recording. Nonetheless the "Gas Shell Bombardment" record – a 12-inch HMV shellac disc, just over 2 minutes at 78 rpm – was released a few weeks later, just as the war came to an end. Initially intended to promote War Bonds, ultimately the record was used to raise money for disabled veterans.
For decades, the HMV recording had a reputation as one of the very earliest "actuality" recordings – one documenting a real location and event beyond the performative space of the studio, imprinted with the audible material trace of an actual moment in space and time. Documents like this – no matter what the technology – usually come with additional symbolic authentication. Here, the record's label does some of that work. This "historic recording," says the subtitle, is an "actual record taken on the front line." Publicity pieces drove home the message. In the popular HMV magazine The Voice, Gaisberg – or probably his posthumous ghost-writer – described the expedition in detail, claiming the track to be a "true representation of the bombardment."
In the same issue, a Major C.J.C. Street compared the recording to his own experience on the Front. "Its realism," he wrote, "took my breath away… I played the record many times… finding at each attempt some well-remembered detail." He didn't say so in his article, but Street – an artillery officer, a novelist and a propaganda man for the intelligence agency MI7 – was in fact the impresario of the record. This was not the first time he had found astute uses for sound media. The previous year he had put together a record that set artillery drill commands to popular tunes – the recording was both a propaganda release and an army training tool for new recruits. With the Gas Shell record, Street knew he wasn't just selling recorded sound, but also an auratic sense of closeness to an overwhelming reality, the palpable proximity of war and death. Authenticating detail helped to underpin this sense of an absent real made present. Street cued the listener for those "well-remembered details." In particular, he singled out one indistinct rattly flap-whizz noise, hearing in it, he claimed, the sound of a round with a "loose driving-band."
The record stayed in the HMV catalog until 1945, but only in the early 1990s were its production history and authenticity claims seriously examined. In specialist journals, archivists, collectors and amateur historians undertook a collective forensic and critical analysis. A promising auditory witness was located: 95-year-old Lt.-Col. Montagu Cleeve another former artillery officer, in his time a developer of "Boche Buster" railway gun, later a music professor – was invited to critically assess the recording. Cleeve vouched unreservedly for its authenticity. He heard in it, he said, an unmistakable succession of sounds – the clang of the breech, the gigantic report of the firing explosion, the distinctive whiny whistle of a gas shell on its way across no-man's-land. Others looked to data rather than the memories of old soldiers. One expert on pre-electric recording noted the angles commanded in firing instructions, correlated them with known muzzle velocities for 4.5 and 6-inch howitzers, then used this and other information to "definitively" explain the counter-intuitive anti-Doppler sound of the shells' whistling. He also identified the audible echo effect – the curious "double report" of the guns heard here – as the sound of a brass recording horn violently resonating at a distance of exactly 26.5 meters from the guns.
Eventually, skepticism won out. Close listening at slow speeds – just careful attention and notation, nothing more elaborate – revealed inconsistencies and oddities in the firing noises. The bongs, plops and whistles seemed internally inconsistent. Some of the artillery sounds – ostensibly a battery of four, firing in quick succession – varied implausibly with each successive firing. Physical evidence from the record's groove, as well as extraneous noises – surface crackle and fizz, and, audible within the recording, the swish of a turntable – seemed to indicate at least two rudimentary overdubs, in which the output of one acoustic horn was relayed into a second, possibly using an auxetophone, an early compressed-air amplifier. All this resulted in a double- or triple-layered sonic artifact. Finally – the crucial evidence, although oddly it was hardly noticed at the time – an alternative take was located. In this take, according to its discoverer, the entire theatrics of gunnery command is simply absent, and there is no sound at all of whistling shells in motion. What was left was a skeleton sequence of clicks, thuds and cracks, supplemented with only a single closing insert, the portentous injunction "Feed the Guns with War Bonds!"
In short, it seems highly likely that any original field recording was, at the very least, post-dramatized with performed voices and percussive and whistling sound effects. So, it is tempting to say, that clears that up. The recording's inauthenticity is proven. File under Fake. But in fact, if we don't stop there, if we set aside narrow and absolutist ideas of authenticity, and instead explore the recording's ambiguity and hybridity, then Gas Shell Bombardment becomes all the more interesting as an historical artifact.
Let's assume, for the sake of argument, that some form of basic recording was done in France, very possibly a staged barrage specifically performed for Gaisberg's visit, and that this recording then had effects added back at HMV in London. The record might then be seen less as a straightforward documentary, and instead as an unusual version of the "descriptive speciality," a genre of miniature phonographic vignette dating back to the 1890s, far predating longer-form radio drama. Very little is known about these early media artworks, but it is a fair generalization to say that in America the genre was more slanted towards vaudeville comedy, whereas in Europe, imperial and military scenes predominated. As early as 1890, for example, there had been German phonographic representations of battles from the Franco-Prussian war. The Great War saw a flourishing of the genre. Scholars are just beginning to take an interest these old phonographs; here's one recent essay on the "Angel of Mons," for example, a British acoustic vignette of a famous incident on the Western Front.
Listen to a 1915 German descriptive speciality, depicting the attack on the fortress of Liège the previous year:
As a descriptive speciality, Gas Shell Bombardment is unusual because it incorporates an actual indexical trace. But such traces – as emphasized by Charles Sanders Pierce and many later media-theoreticians– do not resemble their referent, they are caused by it. The bullet hole does not look much like a bullet; thunder is lightning's trace, not its likeness. But for Street and Gaisberg, the trace's lack of resemblance caused problems: the original recording's lack of detail, cues and clues, but above all its lack of internal dimensionality, created a perceptual shortfall and a lack of credibility. Maybe they hoped that the guns, by sheer force of amplitude, would overcome the spatially impoverished, reverbless reproduction of pre-electric recording. If so, it didn't work. Without added effects, the guns' trace was as flat and "body-less" as a sequence of Morse. It was a sound without a scene. The producers' interventions aimed to thicken the primary artifact with referential-sounding detail, but also to heighten the sense of materiality and spatiality, and to strengthen the sense of diegetic presence, of worlded thereness. The soldiers' voices – louder and quieter, close-up and farther-out – and the fake-Doppler of the "shell whistling" lent the recording narrative direction (literally, some trajectory) and "authenticating" points of detail. But above all they gave a sense of internal space to the recording, a space into which the listener could direct her attention.
In this context, we can only admire the creativity and performative élan of the unknown production crew. We know little about effects production in early phonography. It is a safe bet that some techniques were adopted from theatre, and that there was overlap with silent film accompaniment. But whatever the method used, it would have called for the awkward orchestration of a limited number of iconic sounds to create an impression of a spatially coherent and materially detailed sonic environment. The recordist and his team would first have had to imagine how relative loudness – of voices, of material objects struck and sounded – might create a sense of spatial depth when transduced through the horn's crude interface. Then they would have had to perform this as a live overdub, keeping time with the base track of the gun recording played through another horn. And all this done with participants and equipment crowded tightly around the mouth of the huge horn, crammed into the tiny pick-up arc, a scene looking something like this image of Leopold Stokowski's pre-electric recording sessions or this photograph of the recording of a cello concerto.
As well as this hybrid of trace and live performance, there is another performance here – Gaisberg's journey itself. With twenty years of recording experience, Gaisberg was probably very well aware that the expedition would not yield a "realistic" recording of the guns. But the expedition had to be made, so that it could be said to have taken place. Expectations had to be primed and colored, so that, to use André Bazin's famous phrase about photographs, the recording could partake in an "irrational power to… bear the belief" of the listener. The journey, and the accounts of Gaisberg and Street are not a supplement to the "true representation" of the gas bombardment. They are part of that representation. Moreover, in subsequent writing it is noticeable that the manner of Gaisberg's death becomes a rhetorical amplification for the authenticity of the recording's trace, as if his fatal inhalation (of gas molecules or flu bacilli) were itself a deadly indexation, paralleling the recording's claim to capture the breath of the War, and even of History itself.
In media-historical terms, the Gas Shell Bombardment recording can be understood as a late, transitional artifact from phonography's pre-microphonic era. The desire for the sonic trace, for an ever more immersive proximity to events was there, but electro-acoustic technology was not yet in place. Two years later, in 1920, Horace Merriman and Lionel Guest made the first experimental electrical recording, arguably also the first true field recording. The event, appropriately enough, was an official war memorial service in London, where Merriman and Guest – working for Columbia Records – put microphones in Westminster Abbey, running cables to a remote recording van parked in the street outside, where they sat amidst heating ovens and cutting lathes. By the end of the 1920s, remote recording and broadcasting, while never straightforward, were well on the way to ubiquity.
Claims made on behalf of technologies of reproduction may seem simplistic, but there's a grain of truth to their simplicity. If there were nothing special – even magical – in the referentiality of the camera that captures the moment, the recording that's like being there, the liveness of the live broadcast, these things would not play the role they do in everyday life and in the ideological fabric of society. But there is falsehood too, in over-simplifying the nature and affective charge of old photographs, old footage, old recordings. These are made things, composed of different materials, media, signs and conventions; they are inseparable from the desires and expectations they induce and direct. They function in part by mimesis and verisimilitude, but also through the gaps, blank spots and false illusions of their trace. They can – rightly – intensify our feeling towards the past, but should also prompt us to think about our own desires and investments.
Image by Flickr User DrakeGoodman, "Horchposten im Spengtrichter vor Neuve-Chapelle 6km nördlich von La Bassée Nordfrankreich 1916," A trio of lightly equipped soldiers from an unidentified formation oblige the photographer by looking serious and pretending they're just metres from the enemy, listening for activity in his lines. The improvised "listening device" is actually a large funnel, probably liberated from a nearby farm.
Brían Hanrahan is a film, media and cultural historian, whose work focuses on the history of acoustic media, German and European cinema and the culture of the Weimar Republic.
Edited post-publication at 8:00 pm EST on July 7, 2014
REWIND!…If you liked this post, you may also dig:
SO! Reads: Susan Schmidt Horning's Chasing Sound: Technology, Culture and the Art of Studio Recording from Edison to the LP–Enongo Lumumba-Kasongo
A Brief History of Auto-Tune–Owen Marshall
DIY Histories: Podcasting the Past–Andrew Salvati
The Sounds of Selling Out?: Tom Zé, Coca-Cola, and the Soundtrack to FIFA Brazil 2014
Welcome back to our summer series on "Sound and Sport." In today's post, Kariann Goldschmitt discusses the gamechanging controversy over Brazilian musician Tom Ze's commercial for Coca-Cola's FIFA 2014. For an instant replay of July's post click Josh Ottum's "Sounding Boards and Sonic Styles: The Music of the Skatepark" or of June's post, click Tara Betts's "Pretty, Fast, and Loud: The Audible Ali." For May's post, click Melissa Helquist's "Goalball: Sport, Silence, and Spectatorship." This Thursday's grand finale will continue our discussion of Brazil, with a podcast by Andrea Medrado entitled "The Sounds of Rio's Favelas: Echoes of Social Inequality in an Olympic City" AND keep you on the edge of your seat with a bonus Olympic doubleheader post excerpted from David Hendy's recent Noise broadcasts for BBC Radio 4 on the sounds of Olympic crowds. And now. . .the sounds of FIFA's sponsors. —J. Stoever-Ackerman, Editor-in-Chief
Tensions in Brazil have been running high as the the country ramps up preparations for next year's FIFA World Cup. Brazil's economy is one of the world's strongest, but its middle class has suffered as economic growth has stagnated amid rapidly rising costs of living. Yet, FIFA demands that Brazil's government spend large amounts of money to renovate stadiums and further bolster tourism-based services at the expense of everything else. This last June, news of another hike in transit fees was the final straw for many citizens and they took to the streets to protest corruption and the routing of public funds to tournament preparations while basic services suffered. Protesters argue that the country is burnishing its international brand on the backs of its citizens. It is thus no surprise that much of the Brazilian public is fed up with FIFA and its multinational partners. As a consequence, musicians who participate in World Cup-related ad campaigns risk damaging their relationship with the public.
In Spring 2013, the Facebook page of one of Brazil's most eccentric musical iconoclasts, Tom Zé, was bombarded by negative comments. Unforgivably to some of his most ardent fans, Zé had lent his vocal talents to a Coca-Cola commercial that sought to connect Brazil's oft-mythologized cultural diversity to the universals of the World Cup and Coca-Cola's alleged populism. Zé inflected his delivery of the ad copy with an especially musical speaking cadence and rhythm. It was a peculiar take that drew on his signature vocal eclecticism.
The ad opens with Zé stating,
Muita gente se pergunta como vai ser a copa
A coca-cola vai falar como ela não vai ser
[Many people are asking themselves what this cup will be like
Coca-Cola is going to tell you what it won't be like]
as the shot features a group of people smoothing out a giant kite with the Brazilian flag. There is a strong syncopated rhythm to Zé's voice that matches the carnival samba drums (especially the caixa) that accompany the ad throughout. As it continues, the imagery matches what Zé describes, in either stills or brief shots, often recalling the frenzy surrounding world cups of the past. In a rapid cadence, he says:
não vai ser só a copa de vuvuzela, do vidente, da celebridade
da menina bonita, do jogadores com cabelo da moda…"
[it won't be the Cup of the vuvuzela, the psychic, nor of celebrity
of beautiful women, nor of players with fashionable hair]
The synchronization of Zé's rapidly rhythmic delivery over archetypal images of Brazil's tournament excitement is crucial to the ad's message. This passage mentions two icons of the 2010 tournament, the vuvuzela and the psychic (vidente) octopus, with accompanying images. In under four seconds, the camera jumps from a man holding a celebrity magazine (celebridade), a woman cheering (menina bonita), some player figurines (jogadores) and a boy with an elaborate buzz cut. By aligning himself with an official sponsor of the upcoming tournament through ad copy that valorizes Brazil's present, Zé also lent the sound of his voice to the sports-industrial complex, thereby opening himself up to accusations that he was a "sell-out" (vendido).
Zé is famous for taking part in the tropicália of the late 1960s – a cultural movement that was most effective through popular music. Tropicália musicians bucked Brazilian musical conventions by blending imported rock 'n' roll with national music protest songs during a period when musical taste often indicated one's support or disapproval of the military dictatorship. While most involved in tropicália eventually became Brazilian musical mega-stars (Caetano Veloso, Gilberto Gil, Gal Costa, Os Mutantes, and Mara Bethânia), Zé drifted to obscurity by rejecting many of the machinations of the record industry. He only found an international audience when David Byrne's Luaka Bop Records released some of his music in the 1990s, the most successful of which was Fabrication Defect [Com Defeito de Fabricação] (1998). Due to his peculiar status, Zé disrupted fan expectations and threatened his brand when he embraced a corporate power so intricately connected to an increasingly unpopular athletic tournament.
The controversy surrounding the Coca-Cola ad took a turn towards farce when, on April 22nd, 2013, Zé released a free 5-song EP on his website titled Tribunal do Feicebuque – a clear play on the way that Brazilians tend to pronounce "Facebook." Accompanying the songs was a parody of tribunal orders listing the performing and collaboration credits along with lyrics to the songs. Zé's actions exposed how the incident was a different kind of sonically-driven sports spectacle – this time it was played out over social media, in Brazil's most influential newspaper, in Tribunal references and fights with fans during his shows at Rio's famed Circo Voador, and in the ensuing blog reviews of his shows.
The chaotic structure of the EP's title track, while typical of Zé catalog, disrupts his fans' claims of "selling out." He employs a variety of sonically disjunct approaches, opening with the startup sound for Microsoft's Vista OS before jumping into a psychedelic samba-rock tune with a staccato guitar and a brass section. Zé recorded his vocals over multiple tracks, at times simultaneously sung/spoken at a low pitch and sung at a high pitch. The first half is familiar – the voices trade between Zé and a female companion in something sounding like a duet over a samba-rock beat. The lyrics directly reference infamous moments when Brazilian audiences have turned on their musical icons thought to be too involved in international business influences.
Vendido, vendido, vendido!
A preço de banana
Já não olha mais pro samba
Tá estudando propaganda
[Sell-out, sell-out, sell-out!
The price of a banana
He no longer looks to samba
He's studying advertising]
At the mid-point, rock gives way to a serious march and more voices enter (including famed São Paulo hip-hop artist Emicida) making the song's structure more like a trial, complete with competing arguments, before returning to samba-rock under Emicida's rapping. The song is creative and fun, but it is far from Brazil's top-40 fare which often favors smoother genre blends and urban pop hits.
Given all of the attention paid to musicians' efforts to supplement their meager income from digital sales and streaming royalties by forging partnerships with a variety of multinational corporations, it is a little surprising that Tom Zé's participation in a Coca-Cola commercial would be this controversial. It is difficult to find a musician in Brazil that hasn't benefitted from some kind of corporate sponsorship. Most artists accept funding from a granting arm of a national corporation (oil company Petrobras, major bank Itaú), license music to national ad campaigns, or embark on a more direct co-branding effort from the likes of mobile phone providers and skin care companies.
One of the hallmarks of the recent changes that have affected the music industry is that musicians rarely refuse opportunities for their music to be used as the soundtrack for mainstream audio/visual entertainment and advertisements. The practice is so common that one of the best-regarded music industry survival books explains possible changes to a musician's brand when they participate in the advertising of other products. Instead of "don't license your music," musicians should license their music in a way that will benefit their brand. It is rare for a song's success among World Cup spectators to harm musicians; anthems that reflect well on the host nation(s) and express the energy of cheering crowds are a central feature of the tournament. Shakira's "Waka Waka" actually bolstered her credibility among music fans across the African continent because it sampled Golden Sounds' hit "Zamina Mina," a popular song among hip-hop artists in Camaroon and Senegal. In Zé's case, he misjudged how the tournament and its corporate sponsors were being read by the Brazilian public just weeks before tensions exploded in protest. Indeed, as compared to other Brazilian artists who have recorded potential 2014 World Cup anthems, the reaction to Zé is unique.
As others have noted, television advertising played an important role in the June protest soundtrack. Protesters appropriated the song from a Fiat commercial (released just weeks after Zé's Facebook episode) that explicitly connects cheering soccer crowds in the street to a new car.
The meaning of "torcer," a common expression for "cheer" in both advertisements' copy, is transformed back to its original meaning to wrench or twist thereby exposing the conflicts that have been exacerbated by Brazil's preparations for the tournament and the sports industrial complex.
These crowds twisted an ad's soundtrack to challenge the role of multinational agencies and corporations in Brazil's skewed socio-economic priorities. Indeed, as Leo Cardoso wrote in Sounding Out! a year ago, some of these priorities include regulating sound in Brazil's largest cities.
For both of these cases involving sonic responses to advertisements that explicitly seek to capitalize on excitement for the soccer tournament, their original intended meaning was twisted and wrenched, forcing musicians to re-evaluate their publics. In the current political climate, Zé found that musical sounds can be aligned with the FIFA World Cup, so long as they are about celebrating sport rather than its multinational sponsors.
Featured Image: Tom Zé in 2008 performing in front of a Petrobras sign, photo used by CC license, Neto Silveira
Kariann Goldschmitt is an Adjunct Assistant Professor at New College of Florida and Ringling College of Art and Design. She holds a Ph.D. in Musicology from UCLA (2009) and was the 2009-2011 Mellon Fellow of Non-Western Music at Colby College in Maine. Her scholarly work focuses on Brazilian music, modes of listening, and sonic branding in the global cultural industries. She has published in The Journal of Popular Music Studies, American Music, Yearbook for Traditional Music, and Luso-Brazilian Review and contributes to the South American cultural magazine, Sounds and Colours.
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"Sound-politics in São Paulo, Brazil"–Leonardo Cardoso
Quebec's #casseroles: on participation, percussion and protest–Jonathan Sterne
Hello, Americans: Orson Welles, Latin America, and the Sounds of the "Good Neighbor"–Tom McEnaney
Listening to #Occupy in the Classroom
Yes, it's that time again, readers. You are going to have to stop pretending the "Back to School" aisles haven't been appearing in stores for the past few weeks. We at SO! are here to ease your transition from summer work schedules to the business of teaching and student-ing with our fall forum on "Sound and Pedagogy." Developed to explore the relationship between sound and learning, this forum blends the thinking of our editors (Liana Silva), recruited guests (D. Travers Scott), and one of the winners of our recent Call For Posts (Jentery Sayers) to explore how listening impacts the writing process, the teachable moment, and the syllabus (and vice versa). We hope to inspire your fall planning–whether or not you teach a course on "sound studies"–and encourage teachers and students of any subjects to reconsider the classroom as a sensory space. We also encourage you to share your feedback, tips, and experiences in comments to these posts and on our Twitter, Facebook, and Reddit sites. As I said in the Call for Posts for this Forum: "because teaching is so crucial—yet so frequently ignored at conferences and on campus—Sounding Out! wants to wants to provide a virtual space for this vital discussion." This conversation will be ongoing: we will also bring you a "Spring Break Brush-Up" edition in 2013 featuring several more excellent posts by writers selected from our open call. Right now, the bell's about to ring–so take a seat, open those ears, and enjoy this shiny auditory apple of an offering from D. Travers Scott in which he discusses how the sounds of #Occupy invigorated his classroom. And, yes, it will be on the test. —JSA, Editor-in-Chief
In the late fall of 2011, I was teaching a class on cultural studies of advertising. I presented the Occupy Student Debt campaign, a subcategory or spinoff of the larger Occupy movement, while we were examining ways people challenged consumer culture. We discussed education as a commodity and students as consumers. Unsurprisingly, my seniors were dissatisfied consumers. They expressed that what had been advertised to them was a product that guaranteed or at least would strongly increase their chances for quality employment (of course, it was also a product they had worked for years in creating, and one they couldn't return.) If higher education really did land you the lucrative job it had been advertised as guaranteeing, in theory, then, you would be able to more easily pay off student loan debt. To address this dissatisfaction, I showed them two artifacts: a video from the launch in New York City on November 12, 2011, and the OSD debtors' pledge*.
In the video, OSD founder Pamela Brown reads the pledge one line at a time, with each line chanted back by others. I played the video in a dark classroom. I also projected it on the room's main screen, but I didn't use the room's amplification system because it sounds too much like an authoritarian public address and disperses the audio in a dominating way. External speakers connected to my laptop made the sound feel, to me, more localized and objectified, something we could focus on rather than an institutional part of the room. The students' first reaction was, not to the words, but the sound: the verbal relay used at the public demonstration. Brows furrowed and heads cocked quizzically, they asked, "Why are they all repeating the speaker like that?" I explained how this provides additional amplification, but the students' listening experience was instructive to me. Their unfamiliarity with a sonic practice of vocalization indicated their unfamiliarity with larger practices of collective, public social action.
Listening to OSD, and paying attention to how my students listened to it, informed me of larger contexts they needed to understand and discuss it, in ways that the object of the text did not suggest to me. It made me think about the experience and process of my students' encountering OSD. I immediately noticed its ambient sounds of city life, which I no longer hear. These sounds of traffic, the acoustics of being surrounded by buildings, etc. gave several urban dimensions to the movement the pledge text did not. From the perspective of Upstate South Carolina, "urban" is not a simple thing, an identity or geography category, but intersectional: our largest city, Greenville, has a population under 60,000. City noises feel not merely urban, but un-Southern, and thereby alien. (I say un-Southern rather than Northern or Yankee because another thing I've learned here is the inadequacy of that binary: Los Angeles, for example, is not a Northern city but most certainly is as un-Southern as New York. Cities also carry a class dimension.) Even though my school is one of the elite institutions in this area, this region is still worse off economically than the rest of the country and has a generally lower cost of living. Cities require money to live in. In spatial, class, and urban dimensions, OSD felt alien.
The experience of listening to the ODS rally illustrates how a sound studies perspective foregrounds experiential processes over exclusive categories of things and ideas. For example, when I read the OSD Debtors' Pledge aloud to my students—vocalizing the text and sounds and listening to them— it brought the text into my body, making it an action. It also made students uncomfortable. Even just a round-robin reading of theory seems to make then anxious and fidgety. While I try to understand and accommodate anxieties around public speaking, I think the way sound makes a text enter the body can be a powerful affective experience. And no one ever said the classroom always had to be comfortable. For me, reading the text aloud personalized the OSD pledge. It evoked sensory memories: "Pledge of" evoked saying the pledge of allegiance in public school; saying "We believe" took me to attending Lutheran church services with my husband at the time where they collectively recite the Apostles' Creed. These associations evoked emotional disidentifications from organized religion and mandatory collective professions of patriotism. It also temporalized and spatialized OSD for me, positioning it in relations to Dallas, Texas in the 1970s and Greenville, SC today.
Overall, the reading aloud of the pledge staged a tension or dialectic of identification and disidentifications. Although I agreed and identified with the sentiments of the movement, several alienating and unsettling aspects of the pledge came through as I read aloud: the blithe collapsings of "we" and "as members of the most indebted generations" made me wary (collectives always do, but so do easy historical assertions. Really? Are we more indebted than indentured servants who came to America, or people born into slavery?), and the sudden shift to first person singular at the very end seemed jarring: (After saying "we" six times, suddenly it's 'I' now – what happened?). Lastly, the numerous alliterations also had an alienating effect, making the text seem sophistic and manipulative, artificial, composed.
The auditory experience of OSD can also provide insight into how we create texts. A video of Andrew Ross shows him presenting the first, "very rough draft" weeks earlier at an OWS event. Listening to him read this different, earlier version underscores the text as process. The pledge is something that developed. While his flat tone and straight male voice do not appeal to me, they do complexify and dimensionalize Brown's reading, giving it depth. They also show that some things that bothered me in the final version – the collectivity and alliterations – were not there. This intertextual, diachronic listening does not erase troublesome aspects of the 'final' text, but it mediates them. I am moved closer to it by listening to its different origin.
Arguably, any of these points could have been arrived at by good ole' textual analysis. My point is not that listening always should supplant visual modes; sound studies tries to break that false dichotomy by not denigrating or replacing the visual but by elevating the sonic to complementary – not superseding – status. I argue that reading aloud should be a fundamental, basic component of sound studies methodology, as it allows anyone to hear, voice, embody, and experience a text. I not only noticed these aspects sooner through listening – my first time speaking it aloud, despite having read it at least a dozen times before. Moreover, I didn't just notice them: I felt them on a personal, emotional, level, which spurs thinking and analysis that is, if not completely new and unique, definitely qualitatively different in its potency and urgency.
Listening to OWS, and the OSD in particular, brings insights affective and personal. Yes, I can read a statistic from a survey stating that a certain percentage of participants in OWS feel angry or betrayed. That doesn't mean anything to me in a specific, personal, and empathetic way – and empathy is crucial for a social movement to garner support. Listening to both Ross and Brown, I am reflective and conflicted over my professional role – no longer a grad student, but certainly not an established scholar like Ross. I feel connected to OSD in ways beyond the literal facts of my debt. Listening draws me into a contemplative, reflexive space beyond a sticky note on my office desk saying "OWS: teachable moment." I can see a map with big, red OWS circles over Washington D.C. and New York, but I don't feel the distance from myself and my students in the same way—and this is crucial for my teaching and engaging them in dialogue about what could be the most significant social movements of their lifetimes.


text:
The Heart of England Way is 100 miles of recreational walking, between Milford (on the northern tip of Cannock Chase) in the north, and Bourton on the Water in the Cotswolds.
We also promote and maintain The Arden Way, a 26 mile circular walk in the Forest of Arden area of Warwickshire.
Our walks programme is currently suspended during the Coronavirus lockdown.
Details of any rerouted sections (most recent, outskirts of Dorsington village) can be found here.
It is with great sadness to report the loss of our Chairman, Michael Norman
Our thoughts and prayers are sent to his family and close friends. We are all proud to have known Michael and grateful for his tireless work and enthusiasm for all things related to the Association.
The route is recognised by three County Councils and one Borough Council through whose areas it passes: Staffordshire, Warwickshire, Gloucestershire and Solihull MBC. An illustrated guide is available, describing the route in both directions, and now includes circular walks as well.
Apart from checking the route for problems, and discussing issues with both landowners and local authorities, we also lead regular walks on weekdays and weekends.
Browse through the pages of our website, or contact us here.

subset: commoncrawl


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Subject to exceptions, Debenhams is happy to exchange or refund your purchase within 28 days of delivery. Please check here for more details on our returns policy and exceptions.See more information
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Most health plans will require a referral from a primary care specialist before seeing another specialist such as a cardiologist or neurologist. However, some plans do not require a referral. It is best to check with your health plan before seeing another specialist to see if a referral is required. If one is required and you do not have one, you could end up paying the entire bill.
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Continue Learning about Managing Your Health Care
Important: This content reflects information from various individuals and organizations and may offer alternative or opposing points of view. It should not be used for medical advice, diagnosis or treatment. As always, you should consult with your healthcare provider about your specific health needs.


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Tuesday, December 20, 2011
Beijing, China –December 20, 2011 – Dialogic Inc. (NASDAQ: DLGC), a leading provider of communications technologies that power advanced networks, today announced that it received two 2011 Editor's Choice Awards from China's CTI Forum. Dialogic is recognized for its innovative communications products and solutions in the categories of Telecom Value-Added Service Platform Products and Mobile Video Solutions.
CTI Forum is China's leading online media and information services portal, with a focus on call center solutions, corporate communications and mobile value-added services. This is the first year that CTI Forum is recognizing outstanding companies with Editor's Choice Awards. Award-winning companies are given a CTI Forum medal of distinction and are featured on the CTI Forum website.
"The Asia Pacific region has long been a leader in wireless network innovation, particularly in the areas of value-added services and mobile video," said Eamonn Kearns, vice president of sales, Asia Pacific at Dialogic. "We are honored that CTI Forum's editors have chosen to award Dialogic in these two categories. As voice and video markets are becoming increasingly sophisticated, solution and service providers can look to Dialogic's multimedia processing and deployment options to provide efficiency and innovation."
About Dialogic
For more than 25 years, Dialogic (NASDAQ: DLGC) and its subsidiaries have been providing communications platforms and technology to enterprise and service provider markets. Our portfolio of multimedia processing and call control technologies enables developers and service providers to build and deploy innovative applications without concern for the complexities of the communications medium or network. This empowers our customers to unleash the profit from video, voice and data for advanced networks.
For more information on Dialogic and the communications solutions built on Dialogic® technology, visit www.dialogic.com and www.dialogic.com/en/showcase. Also, find us on the following social networking sites:
This press release may contain forward-looking statements regarding future events that involve risks and uncertainties. Readers are cautioned that these forward-looking statements are only predictions and may differ materially from actual future events or results. These forward-looking statements involve risks and uncertainties, as well as assumptions that if they do not fully materialize or prove incorrect, could cause our results to differ materially from those expressed or implied by such forward-looking statements. The risks and uncertainties that could cause our results to differ materially from those expressed or implied by such forward-looking statements include but are not limited to the potential sales of Dialogic products in India, the performance of those products and solutions that incorporate those products, the growth of our business as a result of the these sales, and other uncertainties described more fully in our documents filed with or furnished to the Securities and Exchange Commission. More information about these and other risks that may impact Dialogic's business is set forth the "Risk Factors" section in our 10-K for the year ended December 31, 2010 and our 10-Q for the quarter ended September 30, 2011 as filed with the Securities and Exchange Commission. These filings are available on a website maintained by the Securities and Exchange Commission at http://www.sec.gov. All forward-looking statements in this press release are based on information available to us as of the date hereof, and we assume no obligation to update these forward-looking statements
Press Contacts:
Kristen Seely
+1 973.967.6665
Brianna Swales
Vantage Communications
+ 1 352.224.5086


text: The Fantasie in C major, Op. 17, was written by Robert Schumann in 1836. It was revised prior to publication in 1839, when it was dedicated to Franz Liszt. It is generally described as one of Schumann's greatest works for solo piano, and is one of the central works of the early Romantic period. It is often called by the Italian version, Fantasia; the word "Fantasie" is the German spelling. The piece has its origin in early 1836, when Schumann composed a piece entitled Ruines expressing his distress at being parted from his beloved Clara Wieck (later to become his wife). This later became the first movement of the Fantasy.


text: Cats / silly / VIDEOPlayful Cat Repeatedly Cat-Attacks An Old Computer 03/22/201803/22/2018 CutesyCatPlayful Cat Repeatedly Cat-Attacks An Old Computer – A very curious and curious tabby named Tobias enjoys playing with his human old computer, particularly the CD ROM drive. The audible motion always captures Tobias' attention and prompts him to put a striped paw strategically into place and impede the drive's closure one way or another. Related Facebook Comments


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Top 4 Reasons To Say 'Yes' To Seedbox
If you have been suffering from the slow torrent download or worried about being targeted by trackers then there is an apt solution for all these torrent issues. You can forever say goodbye to these recurring torrent problems by bringing home one simple solution.
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Red Sand - Crush the seed (LP Splatter White/Red) Pre-order
Limited and numbered. Only 100 copies.
Band name: Red Sand
Album title: Crush the seed
Genre: Rock
Styles: Prog Rock
Media format: LP Colored
Album year: 2020
Released: 2020
Band country: Canada
Released: Poland
Label: Oskar
Format filtry: LP
No customer reviews for the moment.


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Ref #: EWATC07248
Octa Automatique Lune Platinum
Pre-owned F.P. Journe Octa Automatique Lune, featuring the Caliber 1300.3 mechanical automatic movement with an approximate 160-hour power reserve when fully wound; silver dial with guilloché center, painted black Arabic numerals and blued steel hands; small seconds subdial between 4 & 5 o'clock; moon phase display at 7 o'clock; power reserve indicator at 9 o'clock; date aperture between 11 & 12 o'clock; sapphire-crystal, exhibition case back; and, 40mm, platinum case on a black alligator strap secured by the FP Journe platinum ardillon buckle.
- Guaranteed authentic- with the case, dial and movement signed F.P. Journe
- Accompanied by the original F.P. Journe watch box and papers, dated 2020
- Watchmaker's Condition Report: Like new
This item is currently out of stock


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Let me explain.
Do you ever feel like your life has reached the point where you don't know why things are happening the way that they are? You don't want to live, but you don't want to die either.
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I know there's someone out there who knows exactly what this feels like.
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I'm not an important figurehead of modern society. I don't turn heads when I walk into a room. I won't be graduating at the top of my class. Besides my close friends, which is like a small group of about three people, no one is interested in what I have to say. I know a lot of people, but a lot of people don't know me.
Most days anxiety holds me back and makes it hard for me to put myself out there and find other people who could understand me. I envy the girls who can so effortlessly walk into a room and demand respect and attention. I wish I could assert myself like that, but I've become so accustomed to being ignored and talked over that I clam up into a corner. I've just never fit in.
If I'm not the most attractive, the top of my class, or the most outgoing, if I'm not making friends, and if I'm not using my voice to spark movements, then why am I even alive? What exactly is my purpose?
Finding my purpose here on this earth has been a struggle. Especially recently. Every day feels like I am stuck in a television series that you throw onto your TV as background noise when you're busy doing other tasks. Anti-climactic, repetitive, an endless cycle of punchlines that continually become less and less funny. But instead of the Netflix box popping up and asking, "are you still watching?" I keep rolling through the anti-climactic episodes of my life that bring no joy, fulfillment, or satisfaction.
I feel like an old sweater. You know the one in the back of your closet that you haven't worn in three years, but that will continue to stay there because it brings your life a sense of security and normalcy. It remains there in the back corner of your closet as an ode to happier times. I am that sweater. I am a shell of a person once filled with motivation, happiness, a sense of purpose, and a drive to change the world.
I don't want to waste the little life that I have been given. I am only 19, almost 20, and I have so many more years left to appreciate the time I've been given and to make memories out of it. I know I will be something someday, however, the journey to becoming that something is exhausting.
I've learned over the past few years that it's quite common to feel this way when trying to navigate the trials of early adulthood. A good friend told me the other day, "some seasons of your life bring more rain, but that doesn't mean there won't be sunny days in the future." There is more to my life than these feelings of worthlessness.
So here I am, continually having to remind myself that while this journey of life is mentally and physically draining, it is worth it. I am learning to accept the fact that I may not have all the answers to what my future holds — accepting that it's okay not to be okay. Permitting myself not to be okay and understanding that I won't always have it together.
Just because I don't know what my future holds doesn't mean that this life is worthless. Just because I may not understand what my purpose here on Earth is now, doesn't mean that I don't have one.
To those who have felt or are feeling like they are stuck without purpose in a scene that never seems to end: It will get better.
You're not alone in how you feel. Trust me; I'm right there with you.
You are beautiful and worthy of life.
If you or someone you know is thinking about hurting themselves, please call the National Suicide Prevention Lifeline at 1-800-273-8255 or visit suicidepreventionhotline.org to live chat with someone. Help is out there. You are not alone.


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Situate reliable make more money on sports toto site
You do not need to leave home to make a sporting activities wager. All you require to do is to simply sign-in to online gaming websites. Keep reading for more information.
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text:
Paul Revere Raises $85,000 Through Annual Auction and Gala
By SARAH SHMERLING | Editor-in-Chief
Hundreds of parents, community members and supporters gathered at the Pacific Palisades Woman's Club Saturday evening, February 22, to support the Paul Revere Charter Middle School annual fundraising auction and gala.
The event, which was attended by nearly 300 people, raised close to $85,000 for the school through live and silent auctions.
"That's not even including the paddle raise," Jamee Natella, one of this year's organizers, explained to the Palisadian-Post after the event.
Raise the paddle, a separate auction that raises funds for a specific program within the school, garnered about $5,000, which will go toward re-doing the campus' auditorium, including a sound system and lightboard.
Some of the more-than-300 items auctioned off this year were a home in Deer Valley for a week, passes to Disneyland with a VIP tour attached, a homestay in Balboa Park and courtside tickets to Lakers and Clippers games.
During the dinner portion, Jerry Lafolette and Paul Foxson, PE faculty at Paul Revere, hosted a live auction, which included a walk-on role in a new HBO television series.
"We wanted to involve the kids in things," Natella explained, adding that some of the items were geared toward students, like a chance to be a part of a robocall from the school and reading the announcements over the loud speaker.
Big ticket items included a stay at the Four Seasons in Maui.
This year's event was chaired by Natella, Paul Lewis, Sabrina IsHak and Karen Hamilton.
"It was fabulous to have so many parents, our amazing teachers and Principal Iannucci at the gala," said IsHak, chair of the auction committee and a parent at Paul Revere. "This was more than a fundraiser, it was a celebration of our school."
Natella, a first-year Paul Revere parent, was motivated to get involved with planning the auction after her experience so far at the school.
"We love it," Natella shared of her son's first semester. "He's in all the honors classes there, which is a fabulous program."
She added that the administration is really lovely as well and shared high praises.
Natella, after shadowing the planning process for this year's auction, will be taking over the reins from IsHak, who has led the auction in the past.
"I'll be continuing it on for the next two years," Natella shared. "I'm really excited."
The Natella family actually lives in Beverly Hills, but commutes to Paul Revere because they believe in the programming.
She encouraged community members to give back to the school because the Palisades is a tight-knit area.
"This is a public school," Natella explained, "but it feels like I'm at a private school."
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text: Many people believe that the idea of evolution is simply a theory. They are arguing that there is no scientific backing to this idea. However, anyone who believes that hasn't took the time to analyze the abundance of evidence supporting this theory. This is the only reason why this misconception exists. Charles Darwin formulated this hypothesis in his book On the Origin of Species in 1859 (Than, 2015). He argued that "All life on earth is connected and related to each other," and that the population size was regulated when "…some traits were favored in and environment over others" (Than, 2015). This is the basis of the theory of evolution. Today, from the evidence compiled from different sources, it is one of the strongest theories in science. Sources include areas such as anatomy, molecular biology, biogeography, fossils, and direct observation (Khan Academy, 2017). The first piece of evidence mentioned was anatomy. In the bone patterns of whales, humans, birds, and dogs are all very similar even though they are in different species. Since this is unlikely that these patterns would have developed independently, it shows that there was a basic layout of bones that existed prior in 1 common ancestor (Khan Academy, 2017). The next piece of evidence is undeniable: the make-up of an organism. All living things share the make up of DNA, the processes of transcription and translation, and building blocks such as amino acids (Khan Academy, 2017). All organisms must make proteins to carry out functions in their body; hence they must have DNA. By having these similarities, it is clear that similarities between organisms exist beyond the surface. Another clear piece of evidence is biogeography. It is clear that pangea existed (the supercontinent that began to break apart 200 million years ago). This was when groups of organisms were distributed world wide into small regions of earth. There are also organisms that can be traced back to the split between Laurasia (north) and Gondwana (south) (Khan Academy, 2017). Furthermore, a piece of evidence that is literally set in stone is the fossil record. In the fossils, one of the best studied organisms are horses. By using fossils, scientists have been able to discover the lineage from extinct horses to modern day horses. Details include the reduction of toed feet to hooves. This change could reflected an adaptation of the horse due to environmental stimuli (Khan Academy, 2017). The last piece of evidence is direct observation. An example was when DDT (a pesticide) was sprayed world-wide to kill mosquitos. At first it was working well; overtime mosquitos evolved resistance to the pesticide (Khan Academy, 2017). When those mosquitos reproduce, the next generation had DDT-resistance mosquitoes as well- making DDT an ineffective method to rid them now. This proves how an organism evolves to changes in its environment, proving population regulation through their surroundings. Overall, it is clear that the theory of evolution is supported very well from substantial evidence in structures of different organisms, similarities in biological molecules, geographical patterns relating to biology, the fossil record, and direct observation of adaptation.


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You can download CD Label Designer 8.1.3 from our software library for free. The current setup file available for download occupies 6.9 MB on disk. This software is an intellectual property of Dataland Software. Our built-in antivirus scanned this download and rated it as virus free.
The most popular versions among CD Label Designer users are 5.4, 5.3 and 5.2. Commonly, this program's installer has the following filenames: CDLabDesigner.exe, Cdboxpro.exe, CDLabDesign.exe, CDLabelDesigner.exe and cdlc.exe etc. The program lies within Photo & Graphics Tools, more precisely Viewers & Editors. This PC tool can work with the following extensions: ".cld" and ".clt". You can launch this PC program on Windows XP/Vista/7/8/10 32-bit.
From the developer:
CD Label Designer lets you design images for CDs, CD/DVD sleeves, DVD box covers, jewel-case covers and inserts, and other rectangular formats or envelopes. After editing, you can print the design onto plain paper, pre-cut labels, or directly to disc printers and LightScribe devices. It comes with a variety of predefined label types; you can also make your own formats and use them later.
You may want to check out more software, such as Label Design Studio, NETira Label Designer or SureThing CD Labeler Deluxe, which might be similar to CD Label Designer.
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PwC's Strategic Modelling team has extensive experience in modelling complex scenarios for multi-modal urban, regional and national transportation projects. We utilise state-of-the-art software to simulate the existing transport network and we work closely with other disciplines and stakeholders to establish well-grounded assumptions to evaluate future transport scenarios, leading to informed decisions.
The PwC team brings significant experience across the full spectrum of transport modelling projects. We have undertaken the transport network modelling and forecasting that underpins many major infrastructure projects including Cross River Rail, Parramatta Light Rail and Gold Coast Light Rail. We also develop models of all types from strategic models through to microsimulation and intersection models. Our teams differentiator is our ability to integrate with other disciplines to solve large-scale, and complex transport problems
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NKSD approves superintendent contract
Following some minor debate, the North Kitsap School District (NKSD) approved the contract for Superintendent Dr. Laurynn Evans at its June 13 meeting. Dr. Evans… Continue reading
Poulsbo Police Department releases results of complaint analysis
Back in April the Poulsbo Police Department released its analysis of complaints the department has received over the course of 2018 and how those complaints… Continue reading
Update | One dead after officer-involved shooting in downtown Poulsbo
One individual is dead following a police shooting around 9:30 p.m. on Wednesday in downtown Poulsbo's Muriel Iverson Williams Waterfront Park, where a crowd had… Continue reading
Poulsbo to benefit from $126 million of statewide grant funding for outdoor recreation
On Tuesday, the Washington State Recreation and Conservation Funding Board awarded more than $126 million in grants to fund over 300 projects across the state… Continue reading
Vehicle catches fire on SR 305 near Poulsbo
At approximately 12:24 p.m. on Monday, Poulsbo Fire responded to a vehicle fire near the highway 305 and SR 3 ramp. An RV had been… Continue reading
City of Poulsbo cancels July 3 council meeting due to holiday
City of Poulsbo announced on Monday July 1, that is has cancelled its July 3 meeting due to the holiday celebration. City Council meetings are… Continue reading
Fish Park's colorful guests gone missing
The last edition of the North Kitsap Herald published an article about the Poulsbo Middle School Leo's Club art project in Fish Park. The project… Continue reading
Poulsbo Police Department provides traffic and parking information for July 3
As the Poulsbo Police Department finalizes it's plans for the downtown fireworks spectacle, the department would like to provide the community with the following information… Continue reading
Bus stops along Front Street to be closed during 3rd of July fireworks
For those thinking of using Kitsap Transit to head to Poulsbo's Muriel Iverson William's Waterfront Park to take in some Independence Day fireworks on July… Continue reading
Local parents work to bring splash pad fun to Poulsbo
Local moms are hard at work, in hopes of bringing a splash pad to Poulsbo. A splash pad or spray park is a recreation area… Continue reading
Poulsbo City Council workshops new downtown zoning changes
At its June 19 meeting the Poulsbo City Council held a workshop to discuss converting some of the zoning in downtown Poulsbo from strictly commercial… Continue reading
Poulsbo PetsWALK! exceeds goal, raises nearly $60,000
Cool and cloudy weather couldn't keep hundreds of dogs, cats, guinea pigs and their families from Liberty Bay Waterfront Park on Saturday, June 22 for… Continue reading
Poulsbo City Council approves members for Lodging Tax Advisory Committee
As of June 19, all members of the City of Poulsbo's Lodging Tax Advisory Committee have been approved. In 1997 the City of Poulsbo adopted… Continue reading
Poulsbo's Fish Park becomes home to some colorful guests
Inspired by her grandchildren, who visit each summer, Mrs. Sherri Burch embarked on a fun summer project at Fish Park. "I am continually looking for… Continue reading
Poulsbo Lions offers eye exams for children
Poulsbo Lions offers eye exams for children
Boating Safety Day and PetsWALK! come to downtown Poulsbo Saturday
There will be plenty going on in downtown Poulsbo this Saturday, June 22. For dog lovers, the Poulsbo Animal Clinic is sponsoring PetsWALK! A fun… Continue reading
Despite recent rain, fire officials still concerned with dry weather
Rain may have been in the forecast this week but the risk of fire danger is still out there according to Kitsap County Fire officials.… Continue reading
NKHS graduation: themes of luck, support and criticism fill grad speeches
Most high school graduations follow a similar ceremonial formula, with the stand out moments coming from the speeches given by select students and faculty. In… Continue reading
City of Poulsbo wants its fair share from Urbanized County agreement
City seeking to have grant funds set aside
Jewel Box Theater kicks off wedding season with a comedy
Kicking off the summer season with a laugh, the Jewel Box Theater presents "Always A Bridesmaid," a comedic play by Jones Hope Wooten. The production… Continue reading


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Crafts for a Cause
*The event has already taken place on this date: Sat, 12/07/2019
Each year our craft fair, Crafts for a Cause, features 90+ vendors, each unique in their own way. All products sold at this event are handmade locally. This event is free and open to the community! Door prizes, raffles, and concessions are available throughout the day. Crafter's booth fees benefit the YMCA's Annual Campaign, which provides a Y experience to families who otherwise wouldn't be able to afford services such as summer camp, swimming lessons, preschool programs, and membership.
*Times, dates, and prices of any activity posted to our calendars are subject to change. Please be sure to click through directly to the organization's website to verify.
Organization:Eastside Family YMCA
1835 Fairport Nine-Mile Point RoadPenfield, NY, 14526
United States
See map: Google Maps
Contact name:
Eastside Family YMCA
Email address:
The event has already taken place on this date:
9 am-3 pm
AgesAll Ages Adults & kids together Adults without kids
Web Service


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A seven-round quiz in one easy PDF download. Your download will be immediately available in your browser and also sent to your email address.
Each round has ten questions except for the picture round which has twenty images.
Round 1 – Picture Round – Twenty religious buildings from around the world.
Round 2 – Children's Literature – Who invented these famous characters?
Round 3 – Only Fools and Horses – General questions about the popular sitcom.
Round 4 – Football – Which UK football teams have these nicknames?
Round 5 – Music – General Questions.
Round 6 – History – In which decade of the 20th century did these UK events take place?
Round 7 – General Knowledge – General Questions
This quiz was originally published on 7th January 2020.


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Retirement planning is an important part of every working American's present and future. You must plan now if you want to have money to pay your bills when you are no longer working. There are four … [Read more...] about Retirement Planning Hazards to Avoid
Picking Life Insurance
Choosing life insurance policy is a great way to get your family on the road to financial stability. If you pass away, a life insurance policy can provide your family with funds for your final … [Read more...] about Picking Life Insurance
Beneficiaries versus Heirs-at-Law: What's the Difference?
In the estate inheritance process there are beneficiaries and there are heirs-at-law. At times the two may be the same, but often this is not the case. Whether beneficiaries or heirs-at-law inherit … [Read more...] about Beneficiaries versus Heirs-at-Law: What's the Difference?


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