I’d like to introduce you to a very good friend and mentor of mine. I consider him to be one of the last living masters of this music that we call jazz. He plays drums and I place him in the same category of a Tony Williams or Roy Haynes (he actually knows both of them and would go over to Tony’s house and play drum duets with him when he was younger). Chick Corea considers him to be one of the world’s greatest drummers. I saw that quote in a magazine a few years ago. He taught at Berklee College of Music and he continues to educate and inspire many musicians worldwide via his vast collection of instructional/inspirational drumming videos.

His name is Lenny “The 25th” Nelson. He’s one of the nicest, humble, down-to-earth individuals that you probably have never met. I’ve known him for about eleven or twelve years. He frequents Wally’s Café on the weekends and every time he visits, we talk and I always asked him to play. He kindly refused up until about 3 or 4 months ago. We played Just One of Those Things and it was FAST!! Lenny’s a master at the uptempos. Here’s a video of one of his earlier videos, he has over 1,000 of these in his library:

Why is Lenny known as Lenny “The 25th”? I’ll tell but it’s a long story! I’ll give it to you.

Let’s go back to the opening of Spike Lee’s The 25th Hour in the theatres. So my wife (then girlfriend) Colleen are standing in line waiting to buy tickets. I look over my back and see Lenny with his wife and I asked him what they were going to see. He said they were going to see The 25th Hour. He was excited because he calls himself the 25th. I was a bit confused so I asked him why. He then gives me his business card. It has his name “Lenny the 25th”Nelson on it and nothing else. I chuckled a bit because I think that’s the first and only time I’d received a card with no number on it!

Now fast forward several years to this past Friday night. Lenny came down to Wally’s and I hung out with him on our set break. We started a conversation that somehow got to the subject of his childhood. He then tells me that he is the 25th BORN OF 26!!! The 26th child passed away at 1 year so Lenny got all of the attention. When he was born it was headline news here in Boston. President Roosevelt contacted Lenny’s parents because he wanted to send a TV crew to their home and document their home life. This would have essentially been the first reality tv show (forget John and Kate plus 8, lol). But Lenny’s mother declined. He then described living in a household of this size. Imagine sitting at a dinner table 20 yards wide every meal!!

Lenny was a celebrity here in Boston. He was recognized everywhere he went and a social magnet to all creeds and colors. Needless to say that after all of those years of living in the public eye, Lenny now enjoys a little solitude, but when he gets on the set, he brings everyone together.

Here’s a big CHEERS to Lenny “The 25th” Nelson!!

Jason Palmer

Aqui les traigo a este gran ilustrador gringo que hizo las ilustraciones de la campaña de nike 6.0 para skate, surf, bmx y snowboarding, la verdad, me llega demasiado la mano de este muchacho, sus ilustradores parecen hechas en ilustrator a puro path, pero son hechas con acrilico en madera, muy buenas.

Les recomiendo que se metan a su pagina o a su behance

Home decor is not typically my forte; but I am totally stoked over a recent find. The folks at Surface View, in the UK, have developed a new line of wall coverings based on the drawings for Haynes workshop manuals. You can choose from their pre-made selection, or you can spec out a custom. They can be murals, prints, or even blinds!

Haynes, publisher of the famous Haynes Owners Workshop Manuals for cars and motorcycles, and leading publisher of general practical books has released the first Haynes iPhone App under a licensing agreement us, Gourmet Pixel.

The Haynes App will be as intuitive and simple to use as the classic Haynes repair manual, featuring step-by-step guides with images and text, 30 easy-to-access automotive categories and an overview to learn the basics of how a car works and operates. It will also include videos so users can watch exactly how each task is completed by a Haynes engineer.

In addition there will be a ‘My Garage’ section to help with all those annoying tasks, including: service reminders, MOT, Insurance and tax renewal dates. The Haynes App will also include the ultimate ‘To Do List’, so the user can easily prioritise jobs. From weekly checks, to winter driving, the Haynes App will be full of comprehensive Haynes information and more topics will be added in the future.

Under the Agreement, Gourmet Pixel will work closely with Haynes to exploit various opportunities for the full range of Haynes content, both Gourmet Pixel and Haynes will be looking for significant sales on this evolving platform.

Iain Wakefield, Haynes Brand Licensing Manger said, “We were tremendously impressed by the approach and conceptual work from Gourmet Pixel and we are delighted to be working with them. Haynes is a very strong brand with unparalleled, authoritative content. We are excited at the prospect of Gourmet Pixel making Haynes available on the iPhone.”

The new app is available on iTunes and the AppStore now!

When I was a small child, I absolutely loved Thomas the Tank Engine. It was my favouritest programme in the world ever. It wasn’t what got me interested in railways – that had more to do with the three or four generations of railwaymen in the family. But it certainly helped. I learnt to read through the books. Much later, I even wrote my dissertation on the original Railway Series books. So I still have a considerable nostalgic attachment to that little blue dock shunter.

Which is why I was intrigued by a new book in the popular Haynes manual series. The Thomas the Tank Engine Owners’ Workshop Manual (1945 onwards). The book promises to be a technical guide to how Thomas and his friends work and how the railways of Sodor operate (probably at a loss).

This is far from being the first technical guide to Thomas and friends, but it’s the first one to tie in with the television series (as opposed to the original books) and the first one to be aimed specifically at young children. The television series has long been criticised for moving further and further away from railway realism, so this would seem to be a return to the good old days.

The book features cutaway drawings of Thomas, Gordon, Percy and Mavis (illustrating a side tank engine, a tender engine, a saddle tank and a diesel-mechanical shunter respectively) plus Trevor the Traction Engine and Harold the Helicopter. There’s also a diagram of how steam engines work and an explanation of how an engine is built, driven and maintained, including a section on the time Henry was rebuilt. An article called ‘The Tracks of Sodor’ explains the basics of railway operation and ‘Old and New Engines’ gives a history of locomotive design (The First Steam Engines, Narrow-Gauge Engines, The First Express Trains, Newer Steam Engines and Diesel Engines) using characters from Sodor as reference points. One niggle here is that Fergus is used to illustrate the first steam engines when he is in fact an Aveling Porter traction engine locomotive – not the pinnacle of modernity, but hardly a pioneer of steam. Given that Rocket has appeared in the books, it would surely make more sense to use him/her/it for this section.

There are a few factual hiccups – for one thing, I’d seriously dispute the article on how an engine is built (the cab before the firebox?). From the point of view of the fictional Thomas universe, the manual includes a number of sometimes quite obscure factoids from the books hitherto ignored by the TV series (Henry was built as an experiment, Sodor has a bridge to the Mainland, there’s a rack-and-pinion railway up Culdee Fell), but ignores others (the existence of the little-seen electric railway to Peel Godred is denied). Rather than going with the idea that Henry was entirely rebuilt into a Black 5 following the story ‘The Flying Kipper’, this book states that he was simply given a larger firebox. This, I suppose, explains why the Henry in the TV series looks nothing like a Black 5.

All in all, despite a few nitpicks, I’d say this was a perfect present for a young Thomas fan. Older children might find it a little basic, but for the young ‘uns it’s a simple introduction to a complex subject, easy to understand and clearly illustrated and just generally Really Useful.

Further Reading

http://www.pegnsean.net/~railwayseries/ - Martin Clutterbuck’s site on the technical side of Thomas, with some contributions by Yours Truly.

Um zu verstehen, wo jemand hingeht und vor allem warum, muß man meistens auch darauf schauen, wo er herkommt. Im Falle von Ludwigsburg geht der Blick deshalb etwas weiter zurück, als üblicherweise in einer Saisonvorschau.

Kader

Hinzu kommen noch die 2 20jährigen deutschen Kooperationsspieler Tim Koch (SF), der in den abgelaufenen 2 BBL-Jahren schon einige wenige Kurzeinsätze hatte, und David Michalczyk (PG).

Im März 2004 kam in Ludwigsburg Silvano Poropat für den glücklosen Trainer Bruno Soce. Poropat paßte prompt. Er, sozusagen ein “Ehren-Ludwigsburger” und “Eigengewächs”, kannte die Strukturen, das Umfeld, die Sponsoren und das Publikum. Schnell entwickelte er eine klar identifizierbare Handschrift für guten Ludwigsburger Basketball. In den darauffolgenden 3 vollen Saisons (2004/05 bis 2006/07) wurden jedes Mal die Playoffs erreicht, 2005 und 2007 stand man auch im Final Four des Pokalwettbewerbs.

Höhepunkt dieser Erfolgsgeschichte war sicher die Traumsaison 2006/2007, die Silvano Poropat mit seinen “Gelb-Schwarzen” überraschend sogar auf dem 2. Hauptrundenplatz abschließen konnte. Es folgte der Einzug ins Halbfinale um die Deutsche Meisterschaft (1-3 gegen Bamberg) und der Titel “Trainer des Jahres” für Poropat, neben dem schon erwähnten Pokalerfolg. Most valuable player (MVP) dieser Saison wurde ebenfalls ein Ludwigsburger: Guard und Antreiber Jerry Green. Ludwigsburg war mit seinem begeisternden Offensivbasketball, der einfach Spaß machte, die punktestärkste Mannschaft der Saison (82.2Punkte/Spiel) und ganz eindeutig auf dem aufsteigenden Ast. Denn publikumswirksamer, attraktiver und erfolgreicher Basketball waren auch sehr gute Argumente in der jahr(zehnt)elangen Diskussion um den Ludwigsburger Hallenneubau. Nach ungeliebten Ausflügen (ULEB-Cup/Sindelfingen, Stuttgart) und unfruchtbaren Diskussionen um Baubeteiligungsmodelle mit zwei anderen Nachbarstädten, sowie letztlich erfolglosen, “sportimperialistischen” Umwerbungen aus Stuttgart (neue Porsche-Arena), stand der Spatenstich für Ludwigsburgs ureigene Arena mit Januar 2008 endlich fest (http://www.arena-ludwigsburg.de). Tolle Saison und Arena in greifbarer Nähe – aus Sicht der Macher bei den EnBW-Basketballern lief also alles optimal und perfekt nach Plan. Dann aber kam die völlig vermurkste Saison 2007/2008. Die endete für Ludwigsburg auf Platz 13 und war gar nicht gut für das Timing mit der neuen Halle, da half auch der Titel des Vizepokalsiegers nicht mehr – Poropat mußte unerwartet gehen. Für die so werbewichtige letzte Saison 1AA (ante Arena) sollte in der vergangenen Saison 2008/2009 also ein kompletter Neuanfang gewagt werden. Was dann geschah, ist wohl im Nachhinein nur noch unter “Mißverständnis” einzuordnen.

Es mußte die Blaupause, das Abbild, für Poropats Stil und Erfolg gesucht werden, aber mit anderem Foto auf dem Bewerberdeckblatt. Irgend jemand griff jedoch versehentlich in die Schublade “Negative”, denn statt Kontinuität in der flotten EnBW-Spielanlage folgte das genaue Gegenteil davon. Mit Rick Stafford holte man einen erfolgreichen, beinharten Ex-BBL-Spieler, aber auch einen BBL-Headcoachnovizen, der seinem Lebenslauf treu blieb und Defense predigte wie praktizieren ließ. Das Personal passte aber nicht zur Philosophie und zeigte sich irritiert, besonders Teamleader und Kapitän Woudstra hat seine Stärken im Organisieren einer kultivierten Spielweise und nicht im Umsetzen eines Basketballcatenaccio. Defense wins zwar Championships, aber nur, wenn man auch ab und an mal selber punktet und die baden-württembergischen Herzen gewann die solide Maurerarbeit (Platz 11 am Ende) schon mal gar nicht.

Den “Basketball zum Abgewöhnen” wollten sich zunächst immer weniger Fans ansehen, dann auch der Vereinsvorstand nicht mehr und so kam die fast erwartete, aber zeitlich ungewöhnliche, Vertragsauflösung mit Stafford, nur 1 Spieltag vor Saisonende und 1 Jahr vor regulärem Ablauf.

Die stadteigene Arena hatte unterdessen Gestalt angenommen, der Startschuß zur Einweihungssaison 2009/2010 stand beinahe schon bevor und die gegebenenfalls 5315 Plätze (bei voller Steh-/Sitzplatzauslastung) müßen an den Fan gebracht werden. BBL-Urgestein Tyron McCoy (Gießen, Lich, Frankfurt, Oldenburg, Leverkusen) ist und bleibt Cotrainer (seit August 2008 im Verein) und übernahm für das letzte Spiel der Seuchensaison 2007/2008 den Job an der Seitenlinie.

Letzter Gegner in der seit 1972 bespielten Rundsporthalle war passenderweise und ausgerechnet Tübingen.  Zur Abschiedsparty hatten die südlichen Rivalen im Bus auf der B27 offensichtlich gleich das optimale Geschenk mitgebracht, denn Dank tatkräftiger Nachbarschaftshilfe aus Tübingen konnte man Tolga Öngören in Ludwigsburg als neuen Headcoach gewinnen, sicherlich ein Glücksfall für die EnBW. Und Pech für Tübingens Fans, die den charismatischen, zugänglichen, medienkompatiblen Trainer nur zu gern behalten hätten. Mal schauen, wie viele der Tübinger Getreuen (“Ohne Tolga – ohne uns!”) in der neuen Saison ihren alten Coach besuchen werden.

Der Stempel des türkischen Ex-Spielers und neuen Headcoachs Öngören ist bei der Teamzusammenstellung der EnBW Ludwigsburg sofort zu erkennen. Bei den deutschen Spielern wurde auf Kontinuität gesetzt, nur PG David Michalczyk ist neuer Kooperationsspieler.  David McCray, Ziyed Chennoufi, Marco Sanders, Philipp Heyden und Tim Koch blieben. Und fast logisch, dass Forward und Topspieler Michael Haynes (14.4pts, 4.8rbs)* mit seinem Coach zusammen aus Tübingen umzog. Auffallend ist, dass alle regulären Neuverpflichtungen mit mehrjährigen (Options)Verträgen ausgestattet wurden. Kontinuität ist ein wichtiges Stichwort für den Teamballer Öngören, ebenso wie Variabilität und Flexibilität. Verpflichtet wurden nur Spieler, die ( außer Visser) alle mehrere Postionen spielen können und auch werden. Weder gibt es eine hierarchische Zuordnung von fünf festen Starterplätzen, noch eine sture Festlegung auf einzelne Positionen. PG, Ex-Veilchendünger und neuer Teamkapitän Kyle Bailey (27), der aus Göttingen (14.2pts, 4.4rbs, 3.3ass, 1.3stls) wechselte, wird mit dem erfahrenen Scorer SG Michael King (31) auf dem Feld stehen, aber sicher auch mit Co-Kapitän PG/SG Domonic Jones (28, 2.Jahr LB, 11.5pts, 2.4rbs ) oder gar in der ganz kleinen schnellen Formation mit der deutschen Pointguardhoffnung David McCray.

King, ein echter “Knipser” und überdurchschnittlich guter Verteidiger, der auch mal die 3 spielen kann, wechselte aus Griechenland (Larissa, 15.1pts, 3.9rbs). A2-Nationalspieler und Wadenbeißer par excellence, David McCray, geht ein wenig unter bei den ganzen namhaften Neuverpflichtungen. Wenn er Minuten bekommt, ist er ein Typ, der ganze Spiele kippen kann und würde er in den Siebzigern ballen, trüge er bei seiner intensiven floor-burn-Terrierdefense sicherlich ein paar schmucke Knieschützer mit Steppnaht. Immer voller Einsatz, immer gute Laune, ein pass-first PG, mit durchaus lauten Ansagen, der seine Mitspieler mitreißt und antreibt. Ob er die Rolle schon in dieser Form und so extrovertiert in der BBL zeigen darf, kann getrost bezweifelt werden, zu wünschen wäre es ihm und den Zuschauern aber auf jeden Fall.

Verhaftet dem Öngörenschen Eurostyle wurden zwar sieben US-Amerikaner verpflichtet, alle aber mit Europa- und/oder BBL-Erfahrung, größtenteils ältere, respektive reifere, Spieler. Aus der Vorsaison einzig verbliebener US-Spieler ist Comboguard Domonic Jones. Alles Teamplayer ohne allzu große Egos, alles gestandene Profis mit bereits minimal 2 Jahren Auslandsliga auf dem Buckel. Ein nicht zu unterschätzender Vorteil gegenüber den BBL-Teams mit vielen Frischlingen an Bord. Ebenfalls augenfällig: alle Verpflichtungen sind mit einem guten Offensivarsenal ausgestattet, gleichzeitig aber auch gute bis überdurchschnittliche Verteidiger. Die große Herausforderung für Trainer Öngören ist, hier klare Hierarchien zu schaffen, Aufgaben präzise zu verteilen und so Hahnenkämpfe zu vermeiden.

Gestandenster aller Männer ist natürlich Ex-Albaspieler, Powerforward und auch mal Notcenter Quadre Lollis (36), der zunächst bis Dezember aus der italienischen 2. Liga (Soresina, 13.0pts, 6.3rbs) nachverpflichtet wurde, nachdem der etatmäßige Starter auf der 4, Rashaun Freeman,  sich in der Vorbereitung verletzt hatte (Mittelfußbruch mit OP). Der explosive Freeman ist Jahrgang 1984 (und damit 1 Jahr jünger als auf den Webseiten von BBL und Lubu notiert) und könnte der Steal für EnBW werden, falls er schnell wieder ganz fit wird. Trotz beeindruckender Collegekarriere bei UMass und Einladung zum Predraftcamp 2007 von Orlando, gelang es dem reboundstarken Freeman nicht, auf sich aufmerksam zu machen, erst über die französische 2. Liga (ProB) kam er letztes Jahr dort in die ProA (Gravelines, 9.3pts, 5.4rbs) und Ludwigsburg dürfte wahrscheinlich noch viel Freude an dem Mann aus dem Staate New York haben, der übrigens aus dem selben Ort wie Coachinglegende Pat Riley stammt.

Kyle Visser, ein Wake Forest Produkt und einer der besten Center der heimischen Liga, wechselt aus Braunschweig (11.2pts, 5.8rbs) nach Ludwigsburg und tauscht seine gewohnten schwarzgoldenen Demon-Deacon-Farben gegen das lokale Gelb mit Schwarz. Dies war der erste Coup von Coach Ö., der richtig aufhorchen lies. Nicht nur Braunschweig hätte das rare Exemplar eines spielstarken und beweglichen Brettspielers gern gehalten, sondern die halbe Liga war in der Offseason an ihm interessiert.

Letzte der sieben Ludwigsburger Neuverpflichtungen ist noch ein Ex-Tübinger: SF Richard Chaney, der erst vor wenigen Tagen verpflichtet werden konnte. Vergangene Saison legte er grundsolide 8pts und 5rbs im Schnitt auf und ist ebenfalls ein guter Verteidiger. Die neue Ludwigsburger Vorzeigeposition 3/4 , mit diesem Extübingen-Duo, Talent Chennoufi, ggf. Michael King und Lollois/Freeman, braucht sich definitiv vor keinem anderen Club der Liga zu verstecken.

Zurück zum eigentlichen Fokus in Ludwigsburg. Die Arena ist hier dieses Jahr der Star. Und eben wegen des neuen Basketballtempels ist es dieses Jahr besonders wichtig, gut in die Saison zu starten, die schönen neuen, dunkelroten Sitze wollen schließlich belegt werden und vor allem sind 5 der ersten 7 Saisonspiele gleich Heimspiele. Eine ungewöhnlich hohe Zahl an offiziellen Vorbereitungsspielen belegt, daß man auf jeden Fall optimal vorbereitet sein will. Man will auch unbedingt in die Playoffs, am liebsten sogar in den Pokal, das hieße dann Platz 6 nach der Hinrunde – mindestens.

Offizielle Saisoneröffnung und Einweihung der wunderschönen neuen Halle “Arena Ludwigsburg”, deren Namensrechte noch für 3 Millionen Euro und 10 Jahre zum Verkauf stehen, war letzten Samstag gegen Galatasaray Istanbul. Das schicke Juwel wurde standesgemäß gegen den türkischen Traditionsclub mit einem 69:58 (35:29)-Sieg vor knapp 4000 Zuschauern in Betrieb genommen. Die Arena ist optisch ein echter Volltreffer und katapultiert Ludwigsburg in die Hallenelite der BBL. Die Stimmung am Eröffnungstag war gut, die Vorfreude auf die neue Saison ist riesig. Die Verantwortlichen sind, nach 2 holprigen Jahren, wieder voll im Plan. Jetzt muß Coach Öngören für seine Hochkarätermannschaft “nur noch” den richtigen Schliff finden und für den spielerischen Glanz im neuen Schmuckkästchen sorgen.

Prognose: wenn von schweren Verletzungen verschont, könnte mit dieser cleveren türkischen Mischung Platz 6-9 drin sein.

[* = aufgeführt sind, soweit möglich, immer die Hauptrunden-Stats aus der Saison 2008/2009 der jeweiligen Liga]

This cemetery is located in the Dilton Quadrangle.  E. on US 70, right on Mt. Herman Road.  Just north of Prosperity Church off Mt. Herman Road and down a dirt road beside a house.  Photographed by:  Patsy Paterson   2pats2cats@comcast.net

The cemetery as it appeared on May 24, 2009

Willie Akins   July 18, 1980

Carl L. Alexander   World War II

April 28, 1923 – July 31, 1970

Jesse J. Alexander   June 9, 1887 – July 9, 1975

Mary S. Alexander   May 18, 1902 – Nov. 9, 1987

Odie Alexander   US Army   Vietnam

Oct. 28, 1938 – Dec. 23, 1984

Thomas A. Alexander   SSgt   US Army   World War II

June 4, 1921 – March 19, 1976

Fred Almond   1931 – 1957

Roscoe Almond   1887 – 1955

Mattie B. Avent   Dec. 26, 1890 – May 6, 1971

Samuel K. Avent, Sr.   July 12, 1886 – Dec. 9, 1984

Lizzie Biard   1864 – 1923

James Bass   1883 – 1973

Sallie E. Bass   1883 – 1949

Juanita Lyons Bass   June 12, 1944 – Oct. 19, 2002

Alonzo Beard   1889 – 1967

Clara J. Beard   1913 – 2008

Donald Beard    June  2006 – June 2002  ???

Emma Beard   April 18, 1917 – July 23, 1982

James Beard   Sept. 8, 1908 – Nov. 8, 1977

Marjorie L. Beard   Jan. 10, 1916 – March 13, 1983

Ora W. Beard   1891 – 1956

Sim Beard   March 2, 1929 – Jan. 23, 1954

Tennie S. Beard   1893 – 1976

Hattie Mae Brown   1895 – 1953

Ora Mae Brown   Jan. 3, 1930 – May 29, 2002

Willie Brown   1875 – 1948

Ella Bryson   March 7, 1917 – April 6, 1944

Java Bryson   Aug. 8, 1905 – June 18, 1980

Mary Etta Bryson   May 30, 1908 – March 29, 1968

William Bryson   April 23, 1876 – Dec. 29, 1951

Willie E. Camp

Jesse Carney   World War I

June 29, 1889 – Sept. 9, 1947

Beatrice Ward Fleming   Jan. 24, 1900 – Sept. 11, 1943

Birdie Fleming   1874 – 1944

Evie H. Franklin   1888 – 1948

Lewis Franklin   1874 – 1949

Lewis Franklin, Jr.   July 3, 1913 – Jan. 24, 1988

Ella Mae Garrett   June 17, 1926 – Aug. 30, 1950

George Garrett   Sept. 15, 1887 – Feb. 21, 1931

Viola Garrett   Feb. 25, 1i892 – Jan. 13, 1952

James Goodman   May 25, 1911 – Sept. 10, 1983

Ruthie Goodman   Aug. 21, 1912 – Oct. 27, 1990

W. M. Goodman   March 16, 1895 – Oct. 24, 1951

Channie Grissom   1889 – 1947

Earlean Rucker Grissom   June 30, 1904 – Feb. 21, 1949

Joe F. Grissom   Jan. 22, 1993

Ella Mae G. Guthrie   June 12, 1912 – June 6, 1969

Annie Beard Haynes   Dec. 16, 1932 – April 3, 1977

J. D. Haynes   World War II

March 3, 1925 – Dec. 24, 1956

Mary F. Haynes   Nov. 1, 1938 – Aug. 8, 1995

Thomas Haynes  Jan. 17, 1997

Walter Haynes   World War II

Fannie Henderson   1870 – 1958

William Henderson   1862 – 1954

Samuel Jarmon   Aug. 16, 1882 – July 28, 1926

Ella S. Jones   March 29, 1874 – Nov. 13, 1960

Georgia Mai Jones   June 6, 1924 – Sept. 15, 2002

Willie C. Jones   April 5, 1917 – April 3, 1992

L. Viola Jones   1904 – 1979

Mollie Leigh Jones   Sept. 5, 1884 – July 14, 1977

Salina Jones   1877 – 1965

Susie M. Avent Jones   Feb. 24, 1920 – Dec. 21, 1993

Louvenia Jordan   1913 – 1965

Vera Kimbro   Jan. 30, 1982

Acie Lee James   Sept. 23, 1918 – May 11, 1954 

Catherine Leigh   1880 – 1944

Henry Leigh   Aug. 27, 1893 – Dec. 29, 1922 

Sarah Leigh   July 18, 1863 – no death date

Simon Leigh   Oct. 16, 1859 – March 6, 1927

William Leigh   1902 – 1943

Arizona Lyons   May 29, 1903 – Nov. 25, 1968

Sarah Lyons   March 26, 1907 – Feb. 25, 1982

Burnice Lyons   March 9, 1941 – Dec. 2, 1979

Dora Mae Lyons   March 31, 1923 – Jan. 5, 1969

Samuel M. Lyons   March 24, 1934 – Oct. 18, 1990

Twin Boys of Sam & Pam Lyons   May 31, 1977

Prince A. Majors   April 18, 1844 – July 23, 1924

Sarah Martin   Nov. 15, 1904 – June 12, 1986

James McAdoo   1966 – 2005

Nathaniel P. McAdoo   June 15, 1965 – March 11, 1992

Corine Person Almond McCroskey   Sept. 7, 1915 – June 18, 1993

Elizabeth McCroskey   1930 – 1978

Jesse Patton   1908 – 1962

Larry Cordell Peebles   Dec. 5, 1952 – Dec. 25, 2006

Martha Price   1875 – 1975

Rev. Robert Lee Price   1905 – 1996

Angie R. Rankins   1938 – 2007 

Jessie B. Scales   Dec. 16, 1910 – June 5, 1946

Etter Sims   Feb. 23, 1875 – Dec. 5, 1938

James K. Sims   World War II

Jan. 15, 1913 – June 8, 1953

Robert Sims   Jan. 9, 1904 – Sept. 13, 1932

Roy Sims   Nov. 18, 1918 – Dec. 9, 1938

Alford Smith   World War II

Dec. 11, 1921 – Dec. 21, 19??

David R. Smith  US Army  Korea

April 3, 1926 – June 28, 1972

George Smith  March 1, 1894 – March 3, 1944

Emma L. Smith   Feb. 12, 1921 – April 9, 1994

Fannie Smith   Dec. 18, 1888 – Jan. 21, 1989

Hendricks W. Smith   Dec. 24, 1900 – July 6, 1932

Lockie M. Smith   Nov. 13, 1901 – Aug. 30, 1958

William Stansley

Charles Todd  1862 – 1918

Hattie Todd   1865 – 1942

Dana L. Veals   1884 – 1946

Marion D. Veals   1879 – 1946

Dennie Veals, Jr.   PFC  US Army   Korea

Jan. 12, 1928 – Oct. 2, 1993

Janice Lenore Veals   Sept. 24, 1956 – March 30, 1970

Mary Jane Veals   June 12, 1931 – Aug. 26, 2001

James H. Watkins   April 6, 1994

Hattie Watkins   May 15, 1996

Howard Willie Webb   Feb. 2, 1939 – May 29, 1984

Willie Beatrice Wellington   May 5, 1911 – April 29, 1984

Lillian Dell Woods   May 29, 1933 – Nov. 19, 1975

Listed in the Rutherford County Cemetery Book but not seen:

Roxy Alexander   Aug. 15, 1965

Mammie L. Bass   July 31, 1971

Fezzie Beard   June 3, 1956

Pete Beard   Sept. 22, 1957

Tommie Lee Beard   April 10, 1904 – Sept. 22, 1944

Pattie Mae Brown   1893 – 1963

Henry Davis   Nov. 20, 1972

Helen Garrett   April 22, 1962

Catherine Glanton   1880 – 1944

C. H. Glanton   no dates

David Glanton   1904 – 1904

L. G. Glanton   no dates

R. G. Glanton   no dates

W. G. Glanton   no dates

George Goodman   June 17, 1974

Roberta Goodman   Sept. 21, 1973

Joe Grissom   Sept. 2, 1952

Beatrice Haynes   March 20, 1974

Dave Haynes   1867 – 1963

Henry Haynes   Sept. 20, 1974

Irene Haynes   Oct. 9, 1964

Jerome Haynes   Aug. 25, 1968

Virgil Haynes   May 29, 1958

Josie R. Hathaway   July 10, 1973

Jesse Lyons   Aug. 6, 1970

Baby Boy McAdoo   Sept. 5, 1968

Charlie Price   May 4, 1954

George W. Price   Sept. 27, 1896 – Sept. 29, 1974

Ollie Price   Jan. 24, 1972

Fred Randolph   June 4, 1959

Baby Sherita Rucker   1971 – 1971

Ethel Strickland   Feb. 21, 1954

Sally S. Strickland   June 7, 1961

George Smith   March 1, 1894 – March 3, 1944

Robert L. Smith   Nov. 27, 1974

Willie Smith   1923 – 1962

Alzena E. Veals   March 11, 1957

Dennis Veals, Sr.   Aug. 23, 1971

E. R. Lane Veals   Sept. 8, 1961

has just updated his website, check che che che check it out

A trip to Haynes International Motor Museum ended with Alex eating steering wheel.

The museum itself is by far the best motor museum I have been to. It’s far better than Beaulieu – many many more cars and in my opinion a far greater coverage and range of vehicles than Beaulieu.

It started with the Red Room, and just got better every step – See HERE for my photo’s.

The Red Room

Although he took a blow to the face, he was not put off of cars or racing – but he is a bit tender at the moment.

The £1 a go electric kiddie cars were calling us, so after seeing other parents go around in these slow cars with their toddlers on their laps, I decided to do the same.

I was impressed as Alex picked up throttle control and steering pretty quickly. Once the £1 had run out, he got into another car and I perched on the back as he seemed pretty happy with the controls. As he pulled away I went to hover my hands over the wheel just in case… but he beat me by hitting the tyre wall before I had a chance to do anything.

Now as you can see, these cars really don’t go very quickly, so the little bump really shouldn’t have caused any problem, but Alex just wasn’t ready.

I launched over the top of him – catching ‘myself’ on the top of the car as I cleared him. I just caught a glimpse of him face planting the padded steering wheel.

It was a softened impact, but still enough to split his top and bottom lip, and the skin on his chin just below his bottom lip. Moments later and he had a runny bloody nose too. There were tears and blood – lots of blood… I must admit to feeling pretty disturbed to have a handful of Alex’s claret in my hands.

I stemmed the bleeding and after a while (and a few toy cars from the museum shop) Alex was over the shock and initial pain. I felt pretty bad, but these things happen, and I know you can’t wrap kids up in cotton wool to protect them – you just have to be there when they get an ouchy. It’s part of the learning curve (show me a kid who hasn’t had cuts and bruises and I’ll show you a kid who has spent their life in a padded box).

His lips became quite swollen and it took a while for his chin to properly stop bleeding, but he’s in great shape. He had to drink through a straw for a few hours, but that soon got better.

He looks at the video and tells me it hurt, but it was fun. He’s not been put off cars one bit – It would take a lot more than that, and lets face it, he now has a story to tell reporters when he is a Formula One Champion about his first time driving and hitting a tyre wall!

This cemetery is located in the Readyville Quadrangle in Cannon County.  East on US 70S, right on Bradyville Pike, left on Burt Burgen Road, left on Burt Road.  Photographed by:  Patsy Paterson  2pats2cats@comcast.net

The cemetery as it appeared on July 3, 2009

John J. Davis   1839 – 1912

Mary H. Davis   1848 – 1929

Annie Davis   Dec. 8, 1878 – April 21, 1976

O. T. Davis   Dec. 26, 1868 – April 29, 1932

T. Lester Davis   1902 – 1920

Tina L. Davis   1909 – 1909

E

Ernest Tobe Davis   Jan. 24, 1900 – Jan. 26, 1979

The following are listed in the Rutherford County Cemetery book as having tombstones in this cemetery.  I did not see them.  I did not look beyond the trees shown in the picture.  Perhaps there is another cemetery attached.

N. A. Haynes   June 9, 1837 Nov. 27, 1895

Rufus Newton Haynes   Sept. 19, 1878 – July 4, 1887

Roxanna Haynes   Aug. 7, 1850 – Feb. 16, 1937

Jonathan Jones   1775 – 1848

E. M. C. Arness McBroom    Oct. 12, 1850 – no death date, married Thomas M. C. McBroom Aug. 10, 1876

S. J. Roach   died Dec. 5, 1882  age 46

C. I. Roach   March 5, 1860 – March 22, 1895

James B. Smith,  Pvt. Co. A. 18th Regt. Tenn. Inf.   C.S.A. Feb. 6, 1837 – Dec. 15, 1892

J. W. Thomas   Dec. 23, 1840 – April 2, 1909 and his wife Mary E. Thomas   Sept. 17, 1850 – Nov. 24, 1919

Infant son of J. W. & M. E. Thomas   B & D April 10, 1882

Eliza, Thomas, infant daughter of J. W. & M. E. Thomas   November 9, 1889 – Dec. 12, 1889

Jessie Thomas   June 23, 1881 – Sept. 26, 1882

T/ Hubbard Thomas, son of J. W. and M. E. Thomas   September 1, 1876 – Dec. 24, 1896

William Thomas   1838 – 1897

Roxie Thomas   1845 – 1892

Myrtlea Thomas   May 6, 1871 – Oct. 15, 1874

James C. B. Thomas   Feb. 15, 1873 – July 30, 1874

Lester Todd  Tenn. Pvt.  US Army  Sept. 7, 1938

Godínez intenta impresionar al departamento de fotocopiado asegurándoles que no sabe quien es Brad Pitt ya que él ve puras de Kieslowski y tiene un tatuaje de Tetsuo en la espalada baja.

Acepta la invitación de Godínez para que te meta mano en lo oscurito de la cineteca; cortesía de su abono que no incluye palomitas.

Duración: 75 minutos 13 segundos / 34.4 MB

Canciones:

• The Jam / A Town called Malice [Billy Elliot]
• Michael Jackson / Ease on down the road [The Wiz]
• Gavin Friday / Wig Wam Bam [Breakfast on Pluto]
• Goran Bregovic / Mesecina [Underground]
• Antonio Banderas / Bella María de mi alma [The Mambo Kings]
• Marc Anthony / Mi Gente [El Cantante]
• Richard Berry / Louie, Louie [Animal House]
• The George Baker Selection / Little Green Bag [Resorvoir dogs]
• Bob Dylan / The man in me [The Big Lebowski]
• Underworld / Born Slippy [Trainspotting]
• Roxy Music / Virginia Plain [Velvet Goldmine]
• M.I.A. / Paper Planes [Slumdog Millionaire]
• Curtis Mayfield / P.S. I love You [Superbad]
• Elton John / Tiny Dancer [Almost Famous]
• Louis Armstrong / La vie en Rose [WALL*E]
• Slim Whitman / Indian Love Call [Mars Attacks!]
• La que debes ver antes de morir. El luchador.

Arte: Folder para tu Pc / imprime, recorta y arma el empaque.

Descarga: Godínez va al cine. 16 canciones remezcladas en el rancho de George Lucas que se recomienda escuchar en sonido Surround envolvente.

Escucha en línea:

Recently I bought a car. An old used Mercedes with nice blue color. It runs on gas and jumps very nice. But as it’s a second hand car it did not come with any guides or car manuals or information booklet so I can not take a full use of it. Some of the buttons are unknown to me so I don’t push them.

So I searched on the internet if there is any pdf manual for my car but nope. Mercedes only has online manuals for the latest model. They don’t want you to have information about your car. They want you to go to a MB dealer and buy the nice printed car manual for their MB price.
The other option is to buy a Haynes Car Manual. Haynes has manuals for almost every brand and model BUT not for mine. Huh!!! Bad luck.
I bet I am not the only one left without a car manual, who is searching for the needed information. Good luck! I am still searching

Lemuel Haynes (d. 1833) stands out in the African-American Christian tradition as a powerful gospel preacher in the 19th century.  He was sort of adopted as a very young child by solid Calvinist Congregationalists in Massachusetts.  He was schooled a bit and self-taught for the most part.  He served in the Continental Army until he became quite ill in 1776.  To make a long post shorter, he began to teach the Scriptures to his friends and family and they realized he had a gift of preaching the gospel. The rest is church history, so to speak: “He was licensed to preach November 29, 1780, and five years later became the first African-American ordained by any religious body in America,” writes Thabiti Anyabwile in the book he edited on Haynes (May We Meet in the Heavenly World [Grand Rapids: Reformation Heritage Books, 2009], 6).  Furthermore, he was awarded an honorary master’s degree by Middlebury College in 1084, another first for an African-American.

Here’s a great window into the piety of Hanyes.  On his tombstone is written (by his wish): “Here lies the dust of a poor hell-deserving sinner, who ventured into eternity trusting wholly on the merits of Christ for salvation.  In the full belief of the great doctrines he preached while on earth, he invites his children, and all who reads this, to trust their eternal interest on the same foundation” (19).

Many thanks go out to Reformation Heritage Books and Thabiti Anyabwile for this great little jewel.  It not only contains a bio, but also a few excerpts from Haynes’ pen.  May We Meet in the Heavenly World is part of the series, “Profiles in Reformed Spirituality” that RHB is in the middle of publishing (note: I posted on the John Calvin profile here).

One more note: RHB has Turretin’s Institutes on sale for 80.00!

shane lems

sunnyside wa

IWONA PILCH

Iwona Pilch (Middlesex University)
“My collection was mainly inspired by ritual scarring and the cultlike practises of so called modern primitives. I was interested in recreating the surface of fabric in the way the skin in certain cultures is being altered by needles, tribal body art and decorative cuts. To create this ‘second skin’ I was experimenting with stretching fabric over different types of embellished and constructed undergarments or pressing beads into it. The overall concept was to transfer the manipulation of skin onto wearable clothes and show a new personalised sophistication which is created by this instinctive interaction of body and fashion.”

Iwona Pilch, 24, has used African tribal body art as inspiration for her collection of outfits. 

She said: “It is called tribal scarification. The body is burned or scarred as decoration and sometimes beads are sewn into the body. I think our clothes are like a second skin. I am transferring the skin decoration onto clothes and playing with the surface of the fabric. 

“I made tubes and then pushed the beads into the fabric. I don’t really follow my drawings that closely because I prefer working and experimenting with fabric in three dimensions. Things change once you see them in 3-D.” 

Iwona, who is originally from Berlin, added: “The tutors have contacts who will be at the show and will see our work at the exhibition, so it is a chance to get noticed. Getting ready for the show has been quite stressful. This is the first time that we have taken part in a really big show with professional models, and it is professionally run.” 

After graduating, Iwona hopes to begin a masters degree in fashion design in Antwerp, Belgium, next year. 

“Eventually I would like to own my own fashion house in Berlin,” she added. “Although studying in London is great because there is so much opportunity to do work experience here – much more so than in my hometown, believe it or not.” 

I wish Iwona the best for the future… Personal i am intreged by her work as i too am studying anomaly within the body, and body sacrification is such an interested topic. Kee-loyed scaring is also common which i feel she has shown in her work. LOOK OUT FOR HER IN THE FUTURE…

Check DAZED & CONFUSED… www.dazeddigital.com for further information on the Graduate Fashion Week 2009.

I Also found some videos from a Few of the Catwalk’s on the first day including clothes from:

• MINKA HALSTEAD
• DARYL PHELPS
• VITA WOODS

Haha in this video i spotted mr. Charles Rare… at the end Catwalking (Modeling…) Looking FLy may i just add.. do what you do best… Woop Woop… Too happy that people from north london are doing well.. Mwah

Here we have:

• JUDY ZHANG
• DAISY COPE
• JAIME RUSSON
• ROXANNA SKEATES-LODGE
• STACEY HAYNES
• SARAH WARNER
• MARIOS ANTONIO (look at Mr Rare Modeling this one)

For just $26, you can pick up the Haynes Apollo 11 manual and have almost everything at your fingertips that the Apollo 11 astronauts had in the summer of ‘69. The manual includes all vehicles and equipment used during the Apollo 11 mission, so you don’t have to go searching for instructions when your moon rover breaks down.Product: NASA Apollo 11 Manual

Yup, you read that right. Haynes, that faithful bunch who have been publishing workshop manuals since 1960 or so, on hundreds of makes and models of cars (and other things such as appliances, model railways, and women), have released a commemorative edition Owners’ Workshop Manual, for the Apollo 11 moon lander (amongst other related hardware).

Specifically, it is commemorative of the upcoming 40th anniversary of Neil Armstrong’s famous moon walk. The product blurb from the site:

On 20 July 1969, US astronaut Neil Armstrong became the first man to walk on the moon. This is the story of the Apollo 11 mission and the ’space hardware’ that made it all possible. This manual looks at the evolution and design of the mighty Saturn V rocket, the Command and Service Modules, and the Lunar Module. It describes the space suits worn by the crew and their special life support and communications systems. We learn about how the Apollo 11 mission was flown – from launch procedures to ‘flying’ the Saturn V and the ‘LEM’, and from moon walking to the earth re-entry procedure.

Isn’t that so cool?

And yes, the moon landing really did take place. Otherwise, how could they publish a manual about it? Huh? Got you now, you annoying little conspiracy theorists! Hah!!

Here’s an amusing story that took place on the gig at Wally’s about a year back:

If you have ever been to Wally’s you know that it’s essentially a big closet in term of the architectural layout. You walk in the front door and the stage is about 25 feet directly ahead of you with a width of about 7 or 8 feet. So when I’m playing I can see everyone that comes in pretty clearly.

On one particular night Roy Hayes visits (whenever he’s in town he makes it a point to come down if he’s able). I see him as he walks in and he’s wearing his trademark sunglasses, cowboy hat, and white pants that were probably leather. No one else that I know dresses with such fashion first of all. So I see him but I don’t think that he sees me as I am on stage and it’s pretty packed. I think that he was trying to keep a low profile this night. So we finish up a tune and I announce the band members and I also acknowledge Roy’s presence, much to his surprise. So we continue to play until the break. When the break rolls around, I Roy comes up to me and tells me that he was surprised that I saw him come in and that I announced him to the audience. I then told him that he can’t walk into a jazz club and not have anyone recognize him. If that ever happens to him, then that’s a real scary sign…

In the spirit of swing,
J.P.

AÑO 2007
DURACIÓN 135 min.
PAÍS [Estados Unidos]
DIRECTOR Todd Haynes
GUIÓN Todd Haynes, Oren Moverman
MÚSICA Bob Dylan
FOTOGRAFÍA Edward Lachman
REPARTO Christian Bale, Cate Blanchett, Charlotte Gainsbourg, Richard Gere, Heath Ledger, Julianne Moore, Michelle Williams, Bruce Greenwood, Ben Whishaw, Marcus Carl Franklin, Kris Kristofferson, Kyle Switzer
PRODUCTORA John Wells Productions / The Weinstein Company

2007: Nominación al Oscar a mejor actriz de reparto (Cate Blanchett).
2007: Venecia: Mejor actriz (Cate Blanchett) / Drama. Musical

SINOPSIS: Un perfil del legendario músico Bob Dylan en el que siete personajes distintos (encarnados por conocidos actores y actrices) personifican diferentes aspectos de la vida personal y profesional del mítico cantante norteamericano. Bob Dylan cambió la música popular en los años 60 y, desde entonces y hasta hoy, nunca ha dejado de influenciar a músicos, escritores, poetas… en definitiva a la cultura en general. Tomando como inspiración su carrera en constante cambio, “I’m Not There” es un entretejido de una serie de historias en la América de los años 60 y 70. Cada historia expresa un aspecto de la mercúrica carrera de Dylan, y han sido filmadas de manera diferente a través de también muy diferentes intérpretes: Woody (Marcus Carl Franklin), un niño negro de 11 años siempre huyendo; Robbie (Heath Ledger), un artista mujeriego siempre en la carretera; Jude (Cate Blanchett), un joven andrógino estrella del rock; John / Jack (Christian Bale), un ídolo folk que se reinventa como evangelista; Billy (Richard Gere), un famoso fugitivo milagrosamente vivo pero ya haciéndose viejo. Seis diferentes actores interpretando a seis personajes “dylanescos”, acompañados cómo no por la irrepetible música del artista. (FILMAFFINITY)
—————————————-
“Un festín para la vista y para los oídos. (…) La interpretación de Blanchett, que entrará en los anales, no es una imitación, es una especie de milagro. (…) Puntuación: ***1/2 (sobre 4).” (Peter Travers: Rolling Stone)
—————————————-
“El resultado es una película o un lienzo tan extraño como genial, tan abstracto como concreto, tan disperso como elocuente, tan entretenido como a veces incomprensible o soporífero.” (Oti Rodríguez Marchante: Diario ABC)
—————————————-
“Haynes analiza siete facetas del músico y construye un puzzle único. (…) un ejercicio semiótico disfrazado de cine de época. (…) Puntuación: ****1/2 (sobre 5).” (Nando Salvá: Cinemanía)

Idioma: Ingles con subtitulos en español incorporados.
Tamaño: 416 MB aprox
Formato: RMVB

Ahora la peli:
http://www.megaupload.com/?d=SYMZVOFW
Subtitulos:
http://www.megaupload.com/?d=8J1U41FR

First, we are going to start with head joint. The head joint is the first part of the flute that flute players tend to upgrade. You can upgrade the head joint of your flute only and it can drastically change the sound that you are able to get from your flute. Although the rest of the flute does matter and change the tone and sound of the flute, nothing changes it nearly as much as a change to a head joint. The parts that we are going to discuss in this post are the following:

1. Head Joint Materials
2. Crowns/Corks
3. Risers
4. Lip Plates/Engraving
5. Embouchure Hole Cutting
6. Maker Logo
7. Uncommon Head Joints
8. Things to Consider When Buying a Head Joint.
9. Links to head joint makers

1. Head Joint Materials -

Flute head joints can be made from the following:

• Nickel -
  Nickel head joints are common on student flutes. Often they are on flutes that are cheap to produce. Students have to be careful about flutes with Nickel head joints because Nickel allergic reactions seem to be fairly common within the flute community. They tend to have the weakest response time, and the tone produced is often very ‘fuzzy’ and unclear. This all depends on the player, but I can’t say that I have ever had a positive experience with nickel head joints over the years of playing. Choose if funds are limited, or if you get given a flute with a nickel head joint, I suggest moving up to a silver plated head joint, or even better a silver head joint.
• Silver plated Nickel -
  Silver plated nickel is a step up from nickel, but because the sound still resonates primarily from the base metal, it will still have many of the acoustical properties of a regular nickel head joint. The biggest improvement is that if you have an allergy it will reduce reaction, at least until the plating starts to ware, which is common on cheaply made flutes.
• Silver (Various silver levels) – (Picture 1a)
  Silver heads tend to have a very clear and bright sound. Before professional level flutes became a common thing for flute players to own once they reach a certain playing level (which now-a-days, is college or before), they were only found on the best instruments. Now, you can get a solid silver head for rather cheap ($1,000+) and you can attach it to a lower level body and greatly improve your sound. These are standard now on intermediate flutes, and professional flutes.
• Gold plated Silver -
  This is something that was recently developed by hand made flute makers, and it is starting to ripple down into cheaper instruments. When hand made, they tend to be very high quality, and can have a very similar sound to silver heads, but it is often a little more responsive and has a slightly ‘warmer/softer’ sound. One of the reasons this has become very popular is because of the beautiful aesthetic of the gold.
• Gold (Various Karats) – (See picture 1b)
  Gold is known for being warm, and clean. It can range from karat level, but overall gold flute head joints are warm. They are the only metal head joint that are often compared to wood head joints because of the sound that you can get out of them. That said, some players prefer the sound and feel of a silver head joint. Hand made gold head joints tend to range from $3,000-$9,000 depending on maker and options.
• Platinum -
  Platinum is known primarily for it’s dynamics range and projection. It is not known for being a subtle metal, and because it is so expensive they are rare to see on a flute.
• Wood (Various) – (See picture 1c)
  Wood head joints are primarily used in baroque music. They are very harder to produce a clear tone with, but some people prefer to sound of a wood head joint over anything else. Many flute players are starting to have a wood and a metal head joint and use the wood head joint for chamber music or baroque music and then use the metal head joint for other performance venues. Wood head joints tend to start around $1000.
• Glass (uncommon)
  See Part 7.
• Composites
  See Part 7.
• Vertical
  See Part 7.
• “Other”
  There are always new flute head joints being made by makers who are trying to change the flute. It isn’t possible for me to know all of them, so if you find something that I did not mention, please let me know and I will add it!! For the ones that I found, please refer to part 7!

2. Crowns/Corks -
The crown is often made of the same material that the head joint is made of, however some players decide to buy crowns that have stones in them, and they are used as a piece of decoration. The cork that connects to the crown is often unchanged. However, there have been cork ‘alternatives’ made that don’t warp over time like corks do. Here are a few pictures of decorative crowns:
Here are three crowns that are made made for decoration:

3. Risers -
The riser is an upgrade that isn’t able to be seen from looking at the flute. Risers are typically made out of the same material that the flute head joint is made out of, and with hand made head joints you are able to have it be a different material . The riser is the piece that holds the lip plate to the flute. The acoustical properties of the riser is typically the same as the way the metals are listed for the head joint options. A lot of players mix and match, and will sometimes have gold head joints with a platinum riser, or a silver head joint with a gold riser. It all depends on the player and what they like more.

4. Lip plates / Engraving -
The lip plate can, like the rest of the head joint, be made from the same materials that the head joint is made out of. Some head joints have ‘winged’ tips around the hole and drillinger head joints are often made with special modifications to the lip plate. Engraving is done often as a symbol of beauty but on a technical level it helps reduce the lip from sliding when the flute is lubricated from playing.
(post some pics)

5. Embouchure Hole Cutting -
The way that the embouchure hole is cut changes the sound of the head joint dramatically. Each hand made flute maker has it’s own different standards and options for the cutting and this is where trying different types of head joints can really benefit you. They can give you vague descriptions of their perception of what the embouchure cutting will do for the sound, but until you play it and see how it personally responds to your personal type of playing you can never know for sure. Play as many flute head joints with different cuts as you can, and if you are comfortable with it and it responds the best to your playing, that should help determine the head joint and style you want.

6. Maker/Brand Logo -
The maker or brand of head joint is always stamped or engraved on the head joint towards the side of the barrel. This is where information such as serial number and material are often engraved.

7. Uncommon Head Joints:

Glass head joints – Although uncommon, they are made from crystal glass. I have no idea what the acoustical properties of it are.

Composite Head Joints – Head joints made out of ‘plastic’ materials, are often considered composite head joints. The sound can vary greatly depending on quality and composite materials. Because they are made from materials that can easily be mass produced, they tend to be cheaper than metal head joints.

Upright Head joints – Uprights are used often to prevent fatigue and allow the flute to be a little more natural feeling when playing. Many people consider an upright head joint when they have some medical issues that need to relieve finger and/or body tension. They are hand made to order, and because of that they tend to cost a lot.  The pictured head joint is made by Maarten Visser, and can by found at FluteLab.

Robert Dick Glissando Head joint – This is considered an experimental head joint. It is only made by Brannen flutes, and sales are done directly through Robert Dick. They cost around $2,000 each and are hand made and fitted to your flute. The Glissando head joint allows you to made the note ’slide’ like a trombone…You can head Robert Dick play it on his site!

Picture 1a) Silver Flute Head joint

Picture 1b) Gold Flute Head Joint

Picture 1c) Wood Flute Head Joint

8. Things to consider when buying a head joint:

• When testing a head joint, make sure that your flute is in good working order and that there are no pad leaks and that there are no mechanical issues with the flute. These issues can get in the way of finding your perfect head joint.
• When you are testing head joints, make sure that you are in an isolated room and completely able to hear yourself and the differences when playing.
• Test the head joint by testing and playing in all dynamic ranges.
• Play in each register to see how it responds to low, middle, and high ranges. Make sure to test the dynamics in each range too.
• Close your eyes and try to hear as pure as a tone as you can and if you are having an ‘off’ playing day where you aren’t pleased with your sound overall, considering going back another day.
• Play each head joint for about 20 minutes, until you are able to get comfortable with it. This will make a difference when you compare, because you need some time to adjust to each head joint.
• Play on as many as you can, by as many different makers. You never know what you will find, and when.
• Don’t let material decide: Let what gives you the sound that you want be the right one. Just because people have ‘common’ experiences with certain metals doesn’t mean that it will work that way for you. The sound of the flute changes depending on each player and how they play.
• Go to a flute fair when possible to easily try many types of head joints, or contact your local seller and see if they have any trial program arrangements made with the common flute makers.
• It is okay to have more than one head joint. Consider having one for various types of music, just don’t get so many that you don’t have a ‘regular’ head joint that you use for your daily practice. It will hurt you if you don’t have a regular head joint to play on and if you are ALWAYS switching. It is like switching from piccolo to flute and back, over and over again. You have to allow your mouth and body time to adjust to the head joint that you are playing on.
• If you fall in love with a head joint, don’t let money be the factor. Many head joint makers offer credit programs, and if you want it bad enough and you are truly in love with the head joint you will make it work. There is nothing wrong with saving and putting money away for something that you want to have and hold onto for a long time.
• If you decided to get an expensive head joint, in my opinion, anything over $2,000 for the head joint ALONE, I suggest you get it insured. You insure the body and the head joint separately if they are made by different people and didn’t come part as a ‘whole package’.
• Have fun when testing head joints and take any opportunity you can to try a new one!

9. Head joint makers links:

Brannen
Haynes
Burkart
Drelinger
Guo
Robert Dick
Miyazawa
Muramatsu
Powell
Pearl

This is a list of recommend head joint makers to check out. This is not a completely comprehensive list, but it is a good place to start. Also, check out Flute World for more!!!

If you made it though this entire posting, thank you for reading! Please comment!!!!

-Kyle
@musicytechgeek on twitter!