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For the first half of senior year her GPA is 4. 3. Eidt Chapter of the NHS National Honor Society and President of the French National Honor Society. She was a member of the State Championship Team in 2017 and 2018. Emilia was also Manager for the combined Norwalk-McMahon Boys swim team for the past three years. Emilia was recognized by th e Connecticut Interscholastic Athletic Conference as the Norwalk High School 2019 Female Scholar Athlete. Emilia has been a member of the Zeus Swim Team since 4 th grade. As part of Global Leadership Adventures, she has taken trips to Belize, where she taught English at a middle school, and the Dominican Republic, to work on public health initiatives. At Norwalk High School she has participated in Best Buddies, was President in 2018-2019, and organized fundraisers, club meetings and club events. Best Buddies is designed to develop friendships between typical high school students and those with special needs. She is also a member of the school’s Link Crew to assist incoming freshman transition to high school. The Youth Group pairs buddies with those with special needs. Enable JavaScript in your browser and then reload this website. This website uses resources that are being blocked by your network. To apply: 1. Apply for admission to Centre College by January 15.

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Your abilities at knowing at a glance what a symbol means will increase with continuing practice and development of the important skill discussed next. Gazing into Darkness Working with the unseen energies of night is a recurring theme in our nocturnal tradition. Again, night is the ultimate physical manifestation of all things dark—the time when most of the powers and rites in this book will work best. It is tangible. The darkness of night is something you can immerse yourself in. Almost fluid, nocturnal ether is what helps your magickal circle maintain its form, and is the very stuff you'll be molding to create miracles later on. Night is also something you can look to when searching for visions and inspiration. Now you'll continue, learning how to actively peer into the blackness to see vibrant images and light. The technique for mastering skrying that is revealed here can be done with either your nocturnal portal or a natural manifestation of darkness. We've covered the portal—now let's tarry for a moment, exploring the natural skrying option. First, consider that you can't always have a nocturnal portal with you. But even if you do have a portable device, you won't always have it with you. Second—and perhaps more important—there may come times when you want to connect with the night in its purest form. Outdoor Witchcraft rituals are powerful; outdoor nocturnal ones are hauntingly so. W h e n you're outdoors, is it best to focus your attention on a bit of glass or stone. For one of these reasons, there will be times when you want to try skrying the night itself.

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'These covers come from Bookcover Design in Japan 1910s-40s (ISBN 4-89444-426-7) edited by Masayo Matsubara. Published in 2005 by PIE Books, this incredible book is already out-of-print and becoming hard to find (it was actually hard for me to find and I spend hours per day searching for rare books). This book is in Japanese only, but of course you need it for the 650 illustrations. Book Cover Design in India 1964-1984. Slang and the Great Depression. 'Much slang from the era comes out as a response to the Great Depression: from words referring to President Herbert Hoover, to Okies fleeing the Dust Bowl, to Apple Annies trying to make ends meet. When Franklin D. Roosevelt became president in 1932, Americans talked of a New Deal and its slew of programs, known by their initials. 'Those who wanted to get away from it all could hit the road. Dore's Engravings for the Old Testament. 'Woodcuts by Gustave Dore (1832-1883)'. Roadside America: Tiny Churches. 'Tiny churches are adorable symbols of understated Christianity. For the small communities that built them, they are perfect for small weddings or quiet contemplation. For frazzled travelers, fending off road rage or interstate ennui, wee houses of worship poke up suddenly from the asphalt firmament like little miracles. Historical Photos of Central Asia.

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While hardly anyone with a decent jazz collection would call it their favourite jazz album (everyone seems to have a different favourite), almost everyone will agree that it is one of the best jazz albums. While only very few people can get really excited about it, there seems to be a universal agreement, even among non-jazz aficionados, that it's extremely good. This is perhaps because as far as jazz goes, Kind of Blue is both understated and not really all that representative. It is a strangely subdued, low key album in a persistently slow or mid tempo. The solos are deceptively simple throughout, no acrobatics whatsoever. With the solos based on modes rather than scales, it's an impressionist rather than expressionist album, one that creates a persistent mood rather than showing off in terms of virtuosity. It makes sense that Davis picked Bill Evans, one of the most impressionist pianists in jazz, for this date, and that it features Jimmy Cobb, one of the straightest drummers he ever had in his ensemble. Together they recorded one of the most consistent albums in jazz, consistently good, but also not very varied. It takes the album a while and a few listens to catch on; it will probably never excite, but it creates an atmosphere of warmth, of familiarity, of expert low-key craftsmanship. It would be very wrong to judge Miles Davis' work on the strength of this album because as far as his musical evolution goes, this is his most unrepresentative album, sounding like none of his earlier or later works, and yet it's good because it totally captures a certain mood consistently over 42 minutes, without a moment of slack, which is remarkable for an album as slow and thoughtful as this. The 1997 remaster (Columbia CK 64935) provides a very crisp, clear sound. This version also corrects a problem with the master tape, restoring the first three tracks to the correct speed and pitch. This drifts along amiably until somebody decides it's time to kick the rhythm into a higher gear, at which point the track promptly fades away. It was cut around the time of On the Corner and bears some of the hallmarks of that record - unidentifiable and distorted sounds floating around the mix (another Teo touch), the aforementioned bass line - but without the monumental drive that carries that work through. First segment of the song starts with a brief solo by Steve Grossman followed by an energetic Miles solo before Macero begins cutting together and collaging several John McLaughlin solos (available in unedited form on the Jack Johnson box set, if memory serves) with heavy effects drawing attention to the whole process rather than the seamless edits of other albums of the era. Listen and decide for yourself because it's worth hearing for Johnny Mac's raw tone alone.