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Free-Range Berkshire Freezer Pork

 Purchasing a Whole, Half, or Quarter Berkshire Hog From Blue Rooster Farm

Fill your freezer with free-range, humanely-raised, delicious Berkshire pork from farmers you trust at Blue Rooster Farm!

We eat the meat we raise. We only use antibiotics if breeding stock require it and we do not use synthetic hormones. Our pigs have plenty of space to roam and root, they stay in peer groups because pigs are social and curious animals. We source non-GMO oats, corn (when available), alfalfa, and minerals to mix our own feed. We also give our pigs access to pasture and vegetable compost. Compare our pork with what you find in the grocery store and we are convinced you’ll appreciate the difference.

Buying bulk saves you money and gives you control over how your hog is processed. It is a great way to try a variety of cuts available and it will not overwhelm you or your freezer.

We Do Not Ship Orders.  Customers are expected to pick up directly from the butcher shop or make arrangements to pick up at the farm.

Whole and Half Hog 3.75/lb. Hanging weight plus processing

We use several different butchers for our custom processing.

Processing costs are based on weight and average around $175 - $215 / hog and, obviously, half that for a half a hog. We make this a separate charge because there are several value-added options that you may want to take advantage of such as sausage or cured bacon and ham. These options incur an extra cost per pound, but if you like the convenience and flavor of these cuts, the extra cost is well worth it. Your Hog will be cut to your specifications, vacuum packed, labeled, weighed, and frozen.

Approximately how much do I pay for a Hog?

Let’s assume your hog’s hanging weight is 225 lbs. Most of our hogs weigh between 200 - 250 lbs. hanging weight.

225  x $3.75 $ 843.75

Plus processing fee $130 + $843.75 = $973.75 - for a whole hog

                                                           $487 – half a hog

A fuel surcharge based on mileage will be applied if we transport your order to a distribution siteYou may also pick up your order at the farm, however if we are asked to hold your order for more than a week, a freezer rental charge will be applied.

Quarter Hog

  • $3.90 / lb. Hanging wt. plus processing
  • Cuts for a quarter hog are pre-determined - see below
  • Final cost for a quarter hog is determined by hanging weight, however generally range between  $200 - $250
  • Cuts from a Quarter Hog - Weights are approximate
  • 2 butt / picnic shoulder roasts – 3lbs each
  • 5 – 6 lbs cured bacon
  • 2 – 3 lbs spareribs
  • 5 -6 bs Pork Chops
  • 6 – 7 lbs cured Ham steaks / end roasts
  • 6 -8 lbs  Country-Style Sausage

How much meat is on a Hog?

Hanging Weight– also known as dressed weight or carcass weight – is what you get when you remove the parts that are inedible like the hide, feet, head, some of the bones and most of the innards.

The dressing percentage for most hogs is about 72%. A 200 lb. hog will have a hanging weight or dressed weight of 144 lbs.

Is that how much I take home?

No. You take home the finished cuts or “yield”. The percentage of the hanging weight that remains is called the “yield” and is generally between 70 - 75% of hanging weight.

This percentage varies based on a number of factors including:

  • Bone-in vs. boneless cuts – This will dramatically affect yield; the more boneless cuts that are made, the lower the yield.
  • The amount of fat remaining on the meat cuts – The yield will vary based on how much surface fat the cutter leaves on the cuts. A hog that dresses at 144 lbs. will usually yield between 100 – 115 lbs. of take home meat.
  • A whole hog costs you around $8.38 per pound of take-home meat.

What sort of cuts will I get?

If you buy a whole or half hog, you decide how it is cut and packaged, according to your tastes and needs. We are happy to walk you through the process and help you determine which cuts will be most useful and give you the most yield for your money.

How much freezer space will I need for my pork?

Plan on approximately one cubic foot of freezer space for every 15-20 pounds of meat. The interior of a milk crate is slightly more than a cubic foot. For a hog, you will need 5-6 cu. Ft of freezer space.

How do I place an order?

Call or email us and we will discuss availability and options.

We require a $100 non-refundable deposit to place an order. It will be deducted from your final balance.

Email address: royjulie@pa.net

phone # - 717-808-8020 (Julie's cell) or 717-734-2082 (farm phone)

Make checks payable to: Blue Rooster Farm LLC

Send to: Blue Rooster Farm

           1499 Rt. 35 S.

            East Waterford, PA 17021


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Showing posts from July, 2011

Nemesis 2: Nebula (1995)

REVIEW BY: Jeffrey Long

COMPANY: Imperial Entertainment

RUNTIME: 87 mins

PLOT: 76 years after the first movie, cyborgs have taken over the world and enslaved the human race. The human freedom fighters' scientists create a genetically-engineered superhuman as a secret weapon against the cyborgs, but during an ambush they must instead send her back in time to hide her, but she's soon followed by a cyborg bounty hunter.

REVIEW: I know everyone warned me to stay away from Nemesis 2: Nebula and the other Nemesis sequels, but I wanted to check them out for myself anyway. 1, Bad movies are my forte' so if you tell me to stay way from something because it's a bad movie – that just sparks my interest even more. 2, the original director/writer did all four Nemesis movies so that has me interested. 3, I'm a completest. When I sit down to watch a movie, no matter how bad the others are, if there are more in the series I have to watch them.

And to be honest? I didn't…

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Connecting you with the perfect property
Call Us: 519-438-2222

Beautiful Byron

  • Listing type: Sold
  • Bedrooms 4
  • Bathrooms 3
  • Property type: Residential

Property Description

1423 Helena Montague Ave. Originally built in 1953 for the present family. This 4 bedroom, 3 bathroom home is located on a large 83 x 150 foot lot. For the man cave a separate 20 x 20 gas heated garage with hydro is located at the rear of the property. All appliances are included. Large oak eat in kitchen with oversized windows. Hardwood under carpet in living room and dining room. Gas fireplace in the recreation room in the lower level. The home features, central vac, crown mouldings, hardwood, some freshly painted rooms, covered large patio, single car garage, cement driveway. This is a rare find. Offers to be considered August 13th at 6 pm.

Tours at:

Additional Features

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Monthly Archives: April 2013

April Newsletter

You may know of the Nicholas Chamberlaine Almshouses in Bedworth. As one of our neighbouring Almshouses we have a very happy relationship with their Trustees. In fact our recently retired clerk, Richard Dyott, also served their charity for many years. The Bedworth Almshouses were founded in 1715 by the then Rector of Bedworth, Nicholas Chamberlaine, who was concerned by the poverty brought about by the decline of the weaving industry. The present beautiful building was built in the 1830s and stands in All Saints Square adding very much to the character of the town. The Trust also manages the Nicholas Chamberlaine Technology College which was founded at the same time as two separate schools for boys and girls.

Our Almshouses were founded by Thomas Bond and William Ford out of similar concerns for Coventry citizens who had fallen on hard times. How thankful we are for their generosity and foresight!

The Trustees had a very interesting visit to Lench’s Trust in Birmingham the other week. They have just completed building the kind of ‘extra care’ facility which- we are hoping to establish on the Hill Street car park. It is a fine building which includes a bistro type restaurant and a small shop run by the residents. We were very impressed by their IT and Library room which prompted us to install bookshelves in our IT room and to establish our own library. Annette is in the throes of gathering a collection of books together – all contributions welcome!


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Professional NoSQL | eBooks for Techies
Monday, September 28, 2015

NoSQL databases are efficient, powerful tools for storing and manipulatingvast quantities of data. Most NoSQL databases scale well as data grows and often are flexible enough to accommodate semi-structured and sparse data sets. This comprehensive hands-on guide presents fundamental concepts and practical solutions for using NoSQL databases. Expert author Shashank Tiwari begins with a helpful introduction to NoSQL, explaining its characteristics and typical uses. He then looks at where it fits in the application stack. His unique insights help you choose which NoSQL solutions are best for solving your specific data storage needs.

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Join the Conversation

February 25, 2014

This monthly blog began in June, 2009 following the Forensic Scriptures Conference in New York City which commissioned the book, Three Testaments: Torah, Gospel and Quran. For 36 months during the research and writing of the book, the purpose of the blog was to facilitate discussion and input from an online community of students, scholars and friends. Then for 20 months more we worked together to promote the 3T brand as the main book came out in 2012, the 3T Companion in 2013, the 3T paperback in 2014 and to introduce the play, Three Testaments: Shalom, Peace, Salam, now scheduled for publication in 2015 prior to its Off Broadway opening.

Posted by: Brian Arthur Brown


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Hiking in Britain

Walk #765: Buttington Bridge to Carreg-y-Big

P20074060464	Heading north along the Montgomery Canal towards South Pool.
P20074060467	Heading north along the Montgomery Canal towards South Pool.
P20074060464 Heading north along the Montgomery Canal towards South Pool.
P20074060467 Heading north along the Montgomery Canal towards South Pool.

General Data

Date Walked 06/04/2007
County Powys, Shropshire
Start Location Buttington Bridge
End Location Carreg-y-Big
Start time 08.45
End time 18.56
Distance 21.0 miles
Description This was a walk of two halves; a flat section following the Montgomery Canal and the River Severn was followed by a hilly section with some superb views to the north of Llanymynech.
Pack Today I carried my 80-litre Macpac Glissade rucksack, containing a North Face Blue Kazoo sleeping bag, my North Face Westwind tent, clothes, waterproofs and other camping items, including cooking gear.
Condition I am very tired after this walk, but I have no significant problems aside from stiff legs, which is to be expected after three days of more than twenty miles over tough terrain.
Weather Today was a sunny day with not much cloud in the sky, and only a little wind to help cool me down as I walked.
OS map Landranger number 126 (Shrewsbury & Oswestry)

P20074060487	Gary crossing a stile across nowhere.
P20074060503	Following the canal towards the Vyrnwy Aqueduct.
P20074060487 Gary crossing a stile across nowhere.
P20074060503 Following the canal towards the Vyrnwy Aqueduct.

P20074060510	The River Vyrnwy viewed from the Aqueduct.
P20074060511	The Vyrnwy Aqueduct.
P20074060510 The River Vyrnwy viewed from the Aqueduct.
P20074060511 The Vyrnwy Aqueduct.

Map of the walk

Maps courtesy of Google Maps. Route for indicative purposes only, and may have been plotted after the walk. Please let me have comments on what you think of this new format. For a detailed table of timings for this walk, please see the table file.

P20074060520	Swans by the canal.
P20074060529	Llanymynech Hill.
P20074060520 Swans by the canal.
P20074060529 Llanymynech Hill.

P20074060548	The summit of Moelydd.
P20074060566	The old grandstand at Oswestry Racecourse.
P20074060548 The summit of Moelydd.
P20074060566 The old grandstand at Oswestry Racecourse.

I had a great night's sleep in the B&B, and after watching some television and having another shower I went down for a large and filling breakfast, buffet style that allowed me to grab a little fruit to eat later in the day. For the second day in a row I was unsure how far I wanted to walk, and whilst I waited for Gary to come down I studied the map, looking at all of the alternatives. I said goodbye to the owner of the B&B, whom had been extremely kind in driving us into town the previous night, and set off. The initial stretch of the walk took me northeastwards along the towpath of the Montgomery Canal, a pleasant walk on what looked as though it would be a sunny afternoon, although the noise of the nearby A483 road intruded at times. Gary caught up with me after about a mile, and we walked together towards the lock at Pool Quay.

After the extreme climbs of yesterday, the morning's flat walk seemed exceptionally easy and we made good time as we followed the banks of the River Severn, crossing the course of an old railway line before slowly turning to take a more northerly course. Driftwood piled up against fences showed how high the river could get when in flood, although the level was far down the banks today, the difference in height being remarkable. The walk was fairly boring, and we chatted as we walked, including some tomfoolery, including Gary clambering over a stile that stood on the flood bank with no fences or hedges attached to it.

At Upper House I started to walk a little faster, and I agreed to meet up with Gary in the village of Llanymynech for lunch. I accelerated off, soon crossing some large floodgates that were not actually over any water - I assume that they are there to allow floodwaters leave the floodplains in a controlled manner. At Derwas Bridge the trail crossed the New Cut, and afterwards crossed a recently-ploughed field that proved to be quite hard on my legs. The walk after this was a little more varied than it had been along the Severn but there was still little of note; immediately to the south of Four Crosses there were notices for a footpath diversion, but as it was not yet in force I continued along the old route, crossing a series of stiles past a farm.

At the other end of the diversion in Four Crosses I went slightly wrong, taking the wrong road and having to walk back along another one to reach the main road through the village. I plodded on northwards along the busy road, which fortunately had a pavement, before diverting off along a quiet lane to rejoin the towpath of the Montgomery Canal. A very pleasant couple of miles followed as the canal wound around to the spectacular aqueduct over the River Vyrnwy, a stone structure that gave some good views down the valley. A little further on were the restored Carreghofa Locks, although they looked fairly decrepit at this point. The reason for this was visible below the bottom lock - a road bridge had been flattened and the canal filled in, and therefore no significant craft can actually reach the locks.

There were a couple of swans nesting along the canal, and in the sunshine it was a highly pleasant walk. Eventually the scene became more urban as back gardens and new housing encroached onto the canal near Llanymynech, and I diverted off the towpath to find a suitable pub. The first had music blaring out, and so I walked on for a few yards and crossed the main road to reach another one that was far quieter. I sat down with my customary two pints, sculling most of the pint of orange and lemonade down in one go - I had been hotter than I had expected during the day. There was no mobile reception in the pub, so I went outside and phoned up a place at Carreg-y-Big, about ten miles and a hard walk away. I also sent a text message to Gary to tell him which pub I was in, and I settled down to continue drinking.

Gary soon arrived, and I bought him a pint as we chatted away. It turned out the place that I had just booked was the same place that he had booked into, although I had been planning to camp for the night. We set off together, and soon we were starting a tough climb up onto Llanymynech Hill. The top of this has been extensively quarried, and the landscape and views are spectacular, with a broad vista available below. The walk through the old quarry seemed to take a long time, but segments of the dyke were visible as we walked along. Eventually the path reached a golf course, and followed the dyke along the edge of this as I reveled in the sunshine.

A steep descent led down to Pen-y-coed, and the gradient leveled off as the trail headed across footpaths to reach a mineral railway, the Tanat Valley line, which still has tracks down despite being last used in 1988, although the rails were still well overgrown. Shortly beyond this we reached a road in Porth-y-waen, and this started to climb uphill, reaching a level crossing at White Gates. The tracks were still down on this line as well, and there were several men walking around clearing the line. They were from the Cambrian Railway Society, and were clearing the stretch of line ready for an eventual reopening. We chatted to the workmen for a few minutes, before continuing our plod along the road as it climbed uphill.

The ascent was gradual but long., but the slight gradient meant that I could keep up with Gary on the ascent, which was followed by a steep descent down to meet a road in a valley. The road headed up for a couple of hundred yards through Nantmawr, after which the path started another steep ascent up onto the hill of Moelydd. It was a stiff climb, initially through trees, but occasional glimpses to my left showed that it could be worth it. A short stretch of open ground followed, and before we knew it we were at the top of the hill, where there was a signpost and superb views in nearly all directions. It was definitely a place to stop and look, and I let the views sink in for a few minutes.

I set off first, following (or so I thought) the fingerpost at the top of the hill whilst Gary stayed at the top. Once I had descended a short distance I could not see the way down, and I started walking around the southwestern flank of the hill for the path down. Gary started looking for the path and could not find it either, and eventually we met up at the northern side of the hill. Neither of us had any idea where the path went, and as I was loathe to climb up to the summit once again we cut across a field northeastwards to reach a track that led us back the short distance to a farm and the trail. This mistake was all my fault, and I was annoyed myself for having made such a silly navigational mistake. No real harm had been caused, however, and as we descended along a road towards Trefonen we stopped to chat for a few minutes to a couple of sectional walkers.

A path led us eastwards into Trefonen, and I walked slightly ahead of Gary, who was strangely delayed, and I waited for him when the path ended at a road. He eventually emerged, and explained that the cows in the field had been crowding around him and preventing him from going where he had wanted to - something that I have had happen to me and can be very annoying. We had planned to stop at the pub in the village, but as we followed the waymarkers along a road a local explained that we had passed it; it was only a short distance away down the hill, but neither of us could face turning back, especially if it would involve yet another climb. Instead we walked on together as the trail headed northwards alongside the dyke.

At one point there was an electric fence blocking the path; this was easy for Gary to clamber under, but proved difficult for me as I had a much larger pack on. A steep descent followed down to Tyn-y-coed, where there was a pub marked in my (old) edition of the guidebook, Naturally this had been converted into a private residence some time ago, and so we walked on. A few yards later there was a cottage with food and drink for sale on a table outside it, and as Gary pressed on up the hill I bought myself a Lion Bar and started on after him.

This promised to be the final ascent of the day, but it was steep nonetheless and Gary soon accelerated away from me. The surrounding trees kept the sun off me, and at least I was nice and cool during the long climb. Once the gradient slackened I could look around myself more and examine the stretch of dyke beside the path as I walked, although it continued to climb before eventually flattening out and leaving the trees behind. A short stretch of open land was followed by a broad track through trees, the ground underfoot being covered by wood chippings that felt wonderful under my tired feet. On the other side of this was another clearing, and on the other side of this was a topograph based on the remains of the old Oswestry racecourse grandstand. It was a pleasant spot and was consequently quite busy with people, so we asked people around where the accommodation was, and discovered it was where we expected, about a mile further on.

A long walk followed, initially along a path past the old racecourse before joining a road that headed along Baker's Hill; the dyke itself is a few hundred metres away to the west, but there is no right of way along it; it would certainly make for a better walk than the road. Eventually the stables at Carreg-y-Big became visible, and we both staggered in and booked ourselves in; I had decided to take a room instead of camping, and I was soon having a nice, warm shower. Gary had asked for an evening meal and I decided to join him; this was a delicious green curry, and we were given a complimentary beer with it. We were both shattered and we had finished the walk quite late, so by the time we had finished the meal it had been dark for some time, and so we went upstairs and watched a film - "Austin Powers, the Spy who shagged me". Gary went to bed before the end, but I stayed up for the end, switched off the television and went to my room and immediately fell asleep.

The walk is covered in detail in the Offa's Dyke National Trail Guide North (Knighton to Prestatyn), by Ernie and Kathy Kay, and Mark Richards, ISBN 1-84510-976-6 published by Aurum Press Ltd. Click on the image to the right to go to the Amazon page for the book.

From To Distance (m)Ascent (ft) Descent (ft)
Buttington Bridge Four Crosses 7.6 128 138
Four Crosses Llanymynech 3.0 66 33
Llanymynech Trefonen 6.5 1545 1175
Trefonen Carreg-y-Big 3.9 873 482

This makes a total distance of 21.0 miles, with 2612 feet of ascent and 1828 feet of descent.

  Profile of walk #765
For more information on profiles, ascents and descents, see this page

I spent the night at Careg y Big, Selattyn, Oswestry, Shropshire SY10 7HX. They can be contacted on ((01691) 654754, or on the web at http://www.carreg-y-big.co.uk. This was a mixture of hostel and B&B, with reasonable rooms that smelt a little horsey (which is to be expected, as there are stables at the farm). Camping is also allowed at the farm. However, it was rather pricey for what we got, and it would probably have been better if I had just camped.

Please note that I take no responsibility for anything that may happen when following these directions. If you intend to follow this route, then please use the relevant maps and check the route out before you go out. As always when walking, use common sense and you should be fine.

If you find any information on any of these routes that is inaccurate, or you wish to add anything, then please email me.

All images on this site are © of the author. Any reproduction, retransmissions, or republication of all or part of any document found on this site is expressly prohibited, unless the author has explicitly granted its prior written consent to so reproduce, retransmit, or republish the material. All other rights reserved.

Although this site includes links providing convenient direct access to other Internet sites, I do not endorse, approve, certify or make warranties or representations as to the accuracy of the information on these sites.

And finally, enjoy your walking!

This walk was mentioned in the following routes:

Offa's Dyke

Nearby walks

#TitleWalk length (miles)
745Glyndwr's Way: Dolanog to Welshpool19.7
746Welshpool to Newtown14.7
764Spoad Hill to Buttington Bridge21.7

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1928 Wolsley 16/45

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Manual handling and Fire Awareness Driver CPC Training

This course is ideal if you want to ensure that you are carrying out a safety lift each time you manually handle materials and packages.

Candidates will participate in theory lessons and practical demonstrations / exercise, all of which are highlighted by the use of PowerPoint & Videos covering: -

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The 2nd half of the day contains the fire awareness section and this unit covers;

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This course is CITB approved, for more information or to make a course booking please contact us on 0289263949 or

Emergency 1st Aid | Tachograph and Drivers Hours | Professional Truck Driver | Advanced Professional Truck Driver


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Dark Mode coming to Microsoft Outlook on Android and iOS as part of broader rollout of popular feature – 10minmail

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Temple Design Submissions

Temple Design Submissions

Interested in submitting a design for The Temple at Burning Seed 2019? We want to see your imagination come to life on the Paddock - be creative, have a go! Please review the following information and submit an Expression of Interest (E.O.I.).

  • Your concept designs can be as weird, wacky and wonderful as you like - but to be considered for shortlisting they have to be WORKABLE! Also - any incomplete submissions will be rejected.
  • Concept E.O.I. designs for the 2019 Burning Seed TEMPLE are invited from 05-Mar-19 to 24-Mar-19
  • THREE designs will be selected from the E.O.I. round to submit detailed Final Submissions
  • ONE design will be selected to create the TEMPLE, the spiritual heart of the Burn!!
  • The runner-up design submissions may apply for large grant funding.

All the information you need to apply is below, but if you still have questions please email: temple@burningseed.com and if you need a reminder of the deadline, join our Facebook event.

The Temple is one of our iconic Burn structures, standing until Sunday when it is burned. You are invited to present a concept design which reflects the theme, Zoophemism and which is consistent with the Ten Principles and with the tone of the Temple - a place for quiet reflection which allows participants personally and communally to engage with the release and renewal of the Burn. View the full 2019 Temple Design FAQ.

  • STAGE ONE Expressions of Interest (E.O.I): 05-Mar-19 to 24-Mar-19 ‘Concept’ design submissions accepted
  • STAGE TWO Shortlist & Full Proposal: 3 submissions are shortlisted and invited to submit FULL design proposals, candidates informed by 02-Apr-19 and must submit the full proposal by 23-Apr-19
  • STAGE THREE Final Decision: Final Design chosen and applicants notified of decisions by 30-Apr-19

STAGE ONE: Specifications for Concept Designs: deadline 24-Mar-19 - Read These Carefully!

ALL Concept design submissions must include the following elements submitted via a Google Form

View the full form here

  • A short bio on the artist and a list of previous works, relevant experience and contact details;
  • A description of your concept and how it relates to this yearʼs theme;
  • A physical description of the installation, including approximate dimensions & materials used;
  • Approximate budget (please note MAXIMUM budget available in 2019 is $15,000);
  • Concept drawings in a digital format (pdf or jpg) hosted on Google Docs (preferred) or emailed to temple@burningseed.com;
  • Multiple perspectives on your design, with ground views from the front, side and back

As a further guide, you might find it useful to take a look at the concept designs for the 2018 Temple - Temple of Aether

STAGE TWO: Specifications for Full Design Proposals 02-Apr-19 to 23-Apr-19
This is where you turn your concept into a set of detailed plans, with full costings. Submissions must include:

  • Full design proposals in either CAD or SketchUp files or professional-quality architect drawings;
  • Full project costings – this must include an itemised budget, the project manager is responsible for all orders and managing the budget and receipts during the build;
  • Project Timeline: The ARTery will provide timeline benchmarks including, final design, LNT and burn plan submission, site access dates etc. The project timeline must include key prep work, supply delivery dates, and other stages as required for the project;;
  • A Burn plan - how do you intend to burn your installation?
  • A Leave No Trace (LNT) Plan - the project lead is responsible for leading clean-up ensuring that the site passes the LNT inspection  after the Temple Burn.
  • Crew details – what crew will you bring to build? Include crew numbers and levels of experience. Note that there is a crew of Temple Guardians you can work with to provide on site monitoring of The Temple.

If you need help with any of your STAGE TWO plans, you’re welcome to draw on Seed’s knowledge and resources. If you’ve got this far, we like your idea and we want to give you the best chance of making it work! Seed’s Art Grant Selection Committee (AGSC), Fire Art Response Team (FART), Leave No Trace Team and Build Team together have many years of experience and can help -  from setting the right budget to delivering a safe and spectacular Burn.

STAGE THREE: Final Selection and Offer to Artist (30-Apr-19)

The Burning Seed Facilitators/Town Council will vote and select a final design and approve the timeline, design and budget for that project. The selected artist will be presented with a contract have ONE WEEK to accept the commission. On acceptance, the artist will enter into a legal contract with Burning Seed regarding copyright, ownership and construction compliance. The second and third runner-up projects will have the opportunity to adjust their project plan and budget in order to apply for a large art grant, applications close 05-May-19.


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March Animal Hospital

Pet CareVeterinarian

About Us

March Animal Hospital provides compassionate high quality medical care for the family pet. We are a full service hospital offering puppy and kitten care, vaccinations, laboratory services, surgery, x-ray, dental care, geriatric care as well as all other aspects of veterinary medicine. Visit us at our new location.


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Upcoming Events

Member Directory

Lee Frush, Certified Financial Planner ™ Professional - Cornerstone Financial LLC

275 14th ST NW STE 200
Atlanta, GA 30318
404-874-3111 X2
8:30 AM - 6:00 PM
  • About

    Utilizing my more than 30 years of experience in the investment and insurance arena as a fully independent private wealth manager and planner.

  • Directions

    Just WEST of the 1-75/85 connector on 14th St in West Midtown directly across from GA Public Broadcasting. 14th at Holly Street.


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Pacifica Writers' Forum

  • Share:
Name: Pacifica Writers' Forum
Date: November 21, 2019
Time: 7:30 PM - 9:00 PM PST
Event Description:
Pacifica Writers' Forum
Meets the 3rd Thursday of each month at Florey's Bookstore.

Come and share the joy of writing, reading, and poetry!
Florey’s Book Co
2120 Palmetto Ave
Pacifica, CA 94044

Date/Time Information:
 The 3rd Thursday of each month at 7:30 pm
Contact Information:
Set a Reminder:
Enter your email address below to receive a reminder message.


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Business For Sale

Business for Sale UK

Selling Online Business

Coming to an arrangement requires cautious readiness. There are times when you simply don’t have time to come up with a unique idea of your own. This is when you can look for an internet business for sale by the owner. Numerous individuals set up a business with a definitive objective of selling it at the most extreme conceivable cost and moving to ground new. There are websites which serve as an online business broker as well. These help you in finding the perfect match for your needs and demands. Here are a few tips to accomplishing a fruitful deal for the internet business opportunity of your interest.

Selling Online Business
Selling Online Business UK

You will have a timetable at the top of the priority list for a deal, yet timing is for the most part directed by economic situations. The best pointers of when to sell are the budgetary atmosphere, potential purchaser profiles and business sector patterns. Early arranging will guarantee that you have the right structures and procedures set up to expand achievement when conditions are correct. Start with your definitive objectives including the value you wish to accomplish and when you need to sell – and afterward work in reverse to how you are going to arrive. Your point is to make a profitable, reasonable business that is charming to potential purchase.

Sell my business

Getting the essentials right is obviously vital, including deals and clients, brand and notoriety, procedures and base, and benefits and income. You ought to likewise setup administration group, who can both increase the value of a business and help with planning available to be purchased. They can create particular ranges, for instance, a business executive will concentrate on building customer connections and enhancing deals, while an account chief will put set up strong money related procedure, enhance income and administer consumption. This will give you more opportunity to take a shot at the deal and it keeps the business from being harmed because of an absence of consideration. They additionally furnish the new proprietor with congruity after the deal, which ought to empower you to exit all the more rapidly, and could even turn into a potential buyer by means of an administration purchase out with investment financing.

Remember that your business is just worth what the most astounding bidder will pay. Your perspective of this may be altogether different from the perspective of a planned purchaser, and a business that is intensely reliant on one individual, item or client may be hard to sell. In the event that the business is seen to spin around you as the business proprietor, it makes the business less alluring and less important. An particular administration group upheld by a brand and notoriety demonstrates a quality and profundity which is alluring to potential purchasers.

Holding great people obliges a considered incentive bundle both pre-and post-deal. This will rely on upon the business part, the measure of the business and the people themselves. Some will favor money rewards, which can be extravagant. A less costly option is an offer choice arrangement, which is just accessible to constrained organizations. The most widely recognized is the Enterprise Management Incentive Scheme (EMI), a profoundly adaptable and charge effective plan outlined particularly for littler organizations, with beneficiaries chosen at the superintendent’s caution.

Planning for a deal

Memorable bookkeeping certainties are critical however the keys to the deal cost are present gainfulness, future profit and potential dangers emerging from change of possession, for instance loss of clients. A business that depends on a couple of clients can be viewed as high hazard and subsequently less profitable. Invest energy enhancing benefit, minimizing hazard and taking a shot at future profit estimates.

As the proposed deal window methodologies, survey each feature of the business and address any issues that could happen amid the deal procedure or could debase the business, whether lawful, bookkeeping, expense or natural issues. Nobody will need to obtain a business with an extraordinary VAT enquiry or vocation tribunal issue, in any event without a value diminishment. Do an internal due creativity activity to see what skeletons a potential purchaser’s expected steadiness would find, and after that resolve them.

At the point when planning available to be purchased, recall to take a gander at business possession. Numerous individuals expect that they will just need to pay a rate of capital additions assessment of 10 for every penny, as business visionary’s help will apply. Remember that partakes in exchanging organizations can be polluted for business visionary’s alleviation purposes by generous non-exchanging exercises, for example, owning speculation properties or movement administration of surplus money. As a feature of the survey, watch out for non-exchanging exercises that may should be stripped out of the business before promoting. For instance, a shareholding life partner who does not work in the business won’t be qualified for business person’s alleviation.

Have tolerance

The most vital piece of selling a business is persistence. Selling requires significant investment. It is vital for the proprietor to keep on working the business as though it was not available to be purchased, and additionally to comprehend that businesses don’t sell overnight and numerous arrangements fail to work out. The more arranged your business is available to be purchased, for the most part, the speedier it will sell.

Numerous proprietors put in many years of diligent work fabricating their business, just to discard a percentage of the prizes by neglecting to consider the deal process appropriately. Utilize these three stages as an aide and you ought to understand the best esteem for your diligent work.

Selling your business: your obligations

  • Self-utilized sole dealer
  • Business association
  • Limited organization
  • Independently employed sole dealer

When you sell your business, you have lawful obligations to staff you utilize. You should likewise settle your business’ expense issues.

On the off chance that you have anybody working for you, you must let them know:

  • when and why you’re selling the business
  • bout repetition terms or migration bundles

Verify you don’t break representatives’ rights when a business changes possession.

Telling HMRC

You can utilize the online structure to tell HM Revenue and Customs (HMRC) that you’ve sold your business. It covers both Self Assessment and National Insurance. You can likewise call HMRC’s National Insurance helpline to wipe out your Class 2 National Insurance commitments.

VAT enlistment

In case you’re enlisted for VAT, you may have the capacity to exchange the VAT enrollment number to the new proprietor.

Government forms

You must send a Self Assessment government form by the due date. You’ll have to put the date you quit exchanging on the arrival.

Capital Gains Tax

You may have made a capital addition when selling your business (for instance the cash you get from the deal, or resources from the business that you keep). In the event that this implies you have to pay Capital Gains Tax, you may have the capacity to lessen the sum by guaranteeing Entrepreneurs’ Relief. You might likewise have the capacity to claim other reliefs.

 Business organization

Your obligations when selling an organization rely on upon whether you’re selling:

  • your offer of the organization
  • the whole organization

Check your business’ association assertion – it may have limitations and conditions on the deal.

On the off chance that you have anybody working for you, you must let them know about the deal, including:

  • when and why you’re selling the organization
  • details about the repetition terms or migration bundles you will offer, if needed
  • Verify you don’t break representatives’ rights when a business changes proprietorship.

In case you’re halting independent work when you sell the organization, call HM Revenue and Customs (HMRC) to cross out your Class 2 National Insurance commitments.

VAT enlistment

In the event that the organization is enlisted for VAT, you may have the capacity to exchange the VAT enrollment number to the new proprietor.

Expense forms

In case you’re selling your offer in the organization you must round out an individual Self Assessment government form by the due date.

In case you’re selling the entire organization you should:

Constrained organization

Your obligations will be diverse, contingent upon whether:

  • you’re selling the whole shareholding in your constrained organization
  • the organization is selling piece of its business

 Selling the whole shareholding

  • Select new chiefs or organization secretaries
  • You ought to select new chiefs before you leave as an executive yourself.
  • Advise Companies House to roll out these improvements.

Further reading:

Business Lawyers at

Buying or selling a business at

Selling your business your responsibilities at

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School Board

Boards of Independent Public Schools

One of the exciting things the principal of an Independent Public School can do is establish a school board whose elected members work with the principal and community to achieve the best outcomes for students.

While members of the school council may be re-elected to the new board, establishing the board of an Independent Public School is an opportunity to attract a broader cross-section of people with a range of experience and expertise. Strong community and industry representation ensures the board can make an even more significant contribution to the development of the school.

One of the most important things the board does is to establish a vision for the school that reflects the aspirations and needs of the community. The board can have an important influence on the direction of the school, with members bringing ideas and lending their expertise to strategic planning, and community partnerships. Professional skills in areas such as management, finance, procurement, marketing and cultural knowledge support the principal and strengthen the school’s capacity to meet the needs of its students.

Elected members include parents, staff and members of the community. Students 15 years and over can be members. The principal is a member of the board. A comprehensive induction is provided for all board members.

The Independent Public School board is a signatory to the Delivery and Performance Agreement with the principal and Director General. There is also an expectation that the board participates in the external review of the school that is undertaken by the Department of Education Services in the final year of the Delivery and Performance Agreement.

Download the School Board Terms of Reference.

Download the policy documents for School Boards and Councils

School Boards Minutes 2019

General Meeting Minutes – 22 October 2019

General Meeting Minutes – 30 July 2019

General Meeting Minutes – 30 April 2019

General Meeting Minutes – 12 March 2019


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31 May 2014

Young guns

They were some decent musos. I was expecting a band with Mike Price, but we got a series of young players, mostly in the first year course at ANU, and they were good. They ran through a series of jazz tunes and standards. They got the lines and complexities. Several drummers and guitarists, one bass and one sax. I knew Calum from previous gigs and he played really well. I enjoyed all the guitarists, and interestingly, preferred different guitarists on different tunes. They featured on the styles that they obviously preferred, or maybe practiced. Bass was impressive with some very melodic solos and drums were solid. It all bodes well for the future. Not sure I got all the names right, though. I didn't stay for the jam session, but this part was worth the visit.

Mike Price (guitar) gathered a series of young players and sat in for some tunes. Players included Calum Builder (alto), Stephen Read (guitar), Pat Quin-Quirke (guitar), Tyson Jones (guitar), Brendan Keller-Tuberg (bass), Hayden Fritzlaff (drums), Kaitlin Ashley-Thomas (drums). Perhaps others.

30 May 2014

Strange disjunction

There's a strange disjunction at the moment between public policy and science. I hear scientists and there's no doubt about climate change (outside normal scientific skepticism, of course) but you could think there's doubt if you followed the media or the recent actions by our new government. I know people who have that doubt and I, for one, can't understand it. As someone involved in risk management, I can't understand it, let alone as a citizen and as a parent. Scientists are talking death-ray-emergency and government is dismantling anything we may do about it. Strange and scary. I tend to take the generous view of people, that they believe what they are saying, and I understand that people read what they trust and believe it. But even this requires someone to start all the misinformation off (and the giveaway, to pay for it) and people who will sell their souls and the future of civilisation for the sake of a few bucks. What is happening?

So what's today's presentation. This was a forum, chaired by Genevieve Jacobs of ABC666 with Tony McMichael AO, Prof Barbara Norman and Dr Peter Tait. Admittedly, these are all anthropomorphic climate change recognisers. You can look up their roles (below); they were an impressive trio. The topic was Making us sick! : understanding the health effects of climate change. The session was sponsored by the Dept of Industry as an Science & Technology Australia (STA) Topical Science Forum. This was mostly questions to three speakers, so no one particular line of reasoning, but lots of factoids and quotes of note. Here are some. "Potentially catastrophic threat". There's an interdependency of health, society and environment. Human health features little in climate change discourse, and when it does, at a "trivial " level (eg, heatwaves) but the environment is essential for human physical survival. We can't expect the "white coated" view of climate scientists (this is a complex multidisciplinary topic with uncertainties) but "many of our poorly informed parliamentarians hold this image". We can quantify some issues (eg, 1deg rise = 7% rise in diarrhoeal diseases) but the biggie is food and less easily predicted. The requirement of certainly before action is a "red herring"; we need "adaptive governance". The least advantaged and more peripheral are the most vulnerable. The pathways to solutions are through cities (Ban Ki-Moon). Canberra has an opportunity to be a leader, given one government and intelligent, often expert, population (Canberra can seem like a town of "300,000 planners"). There's anecdotal evidence only in GP practice, not at epidemiological level. "Moderation in all things" must include the ruminants, thus meat and dairy. Weather influences discussions on climate change [just watch as the next El Niño sets in]. We must change systems [yes, we are all products of our social environment]. Cuts in Foreign aid display a "barricade mentality developing in this country" and it's stupid, given the implications for security and defence ("not only mean but also totally stupid"). Climate refugees will come to our doorstep and "they won't not come in because we've removed [climate change] from our budget". I liked this one: talking of not having to live in caves if we move to renewables, "in fact, if we don't reduce use of resources, we're more likely to return to living in caves". "Working in this field you can get depressed" but the best antidote is activity. This budget shows a government can do anything it wants to do [but I wondered if it can without the Senate in tow]. Surprisingly and carelessly, mud brick houses fail the environmental star system, so changes are required. Panelists desired measurements "beyond GDP" and broader news on TV replacing Alan Kohler and the share market. And following a discussion of words like sustainable, "whatever word we use, it will be misused". And some despair: "I feel we're living in mediaeval times". Thoughts on mental health and youth: "mental health is the great Cinderella problem". There was more, but this was a taste.

Tony McMichael AO is Professor Emeritus of Population Health at ANU, an elected member of the US National Academies of Science, Honorary Professor of Climate Change and Health at the University of Copenhagen and a Director of The Climate Institute.

Professor Barbara Norman is Foundation Chair of Urban and Regional Planning in the Faculty of Business, Government and Law, Univ of Canberra, Director of Canberra Urban and Regional Futures (CURF), an Adjunct Professor at ANU, Chair of the ACT Climate Change Council, Deputy Chair of Regional Development Australia (ACT), Life Fellow and past national president of the Planning Institute of Australia and Life Honorary Fellow of the Royal Town Planning Institute (UK).

Dr Peter Tait is a General Practitioner for 32 years, 29 in Aboriginal health in Central Australia. He was the 2007 Royal Australian College of General Practitioners GP of the Year, is Adjunct Senior Lecturer at ANU Medical School and involved in climate change research at the UNSW and ANU.

29 May 2014

Why worry

Andrew Glikson gave us a perfectly good reason to worry. Andrew is an Earth and paleo-climate scientist. He spoke at a public lecture at ANU entitled From the dinosaurs to sapiens : The origin of mass extinctions of species . Now this isn't necessarily happy talk; it's talk of extinctions. I thought there had been 5 mass extinctions (given the book I borrowed called The sixth extinction), but it seems there have been more. Maybe some were mini-mass extinctions. As I explained to Andrew, I am no geologist and some of the earlier talk was reasonably (although not very) concerned with chemistry and geology and the rest and the questions were more so. But I got enough to realise we should worry. Basically he argued this. Following Catastropthism (Couvier) and Uniformitarianism (Hutton, Lyell) we had another paradigm shift, in 1980, when the KT (Cretaceous–Tertiary) Boundary was discovered by father and son team, Luis and Walter Alvarez in rocks near Gubbio in the Apennines. Basically, they found a layer with a high level of iridium (6ppb vs normal 1ppb) but with no plutonium. This means the layer is of extraterrestrial origin but not from a supernova (given no plutonium), thus from an asteroid strike. Subsequent work discovered various craters, mostly hidden by Earth's weathering, especially Chicxulub crater in the Yucatan Peninsula in Mexico. Suffice to say, changed fossil record, 200 finds of the iridium anomalies around the world and a string of other evidence led to this new paradigm being accepted in 2010. Interestingly, Andrew spoke of various impact craters around Australia, including one we've seen, Gosse Bluff, a 24 km diameter crater formed by an asteroid of 5km diameter. He talked of shock morphism and various stony finds, but the essential discussion that followed was on the resulting carbon emissions, interestingly called the carbon winter and subsequent (very lengthy) carbon summer. Think indications of climate change, global warming. The KT impact released ~4,600Gt of carbon, raising atmospheric carbon from ~500ppm to 2,300ppm. Our little experiment in anthropomorphic carbon emissions has released ~560Gt of carbon in the 250 years since the industrial revolution and has raised atmospheric carbon from 280ppm to 401pp. [It's going up ~2.5ppm pa]. Interestingly, it's not primarily the level of carbon but the speed of change that really worried Andrew. The problem is that biology can't compensate; life doesn't evolve so quickly. But the real killer was this diagram above. The X-axis is time: from 20,000BCE through 0 and present to 4,000CE. The Y-axis is temperature, from -4deg to +6deg. Look at this. At 20,000BCE, the temperature is -3deg. Agriculture begins ~8,000BCE, part way along the comfy period when the temperature is 0deg. Average temperature starts cooling, but then the Industrial Revolution comes and the temperature spikes. It's currently ~+0.9deg. For all intents and purposed, the temperature rise is vertical at this scale. A very, very good reason to be worried. Andrew mentioned civilisation collapse in paleo-climatic studies and how they were associated with changes to rivers. He mentioned the IPCC projections of 3-6deg warming by 2100 (yes, Virginia, during the lives of our grandchildren). He highlighted the danger of sudden change and displayed a table of atmospheric carbon and temperature rises in previous mass extinctions (the other graph). Nothing approached 0.9deg in 250 years. His last words were that it's "far more serious than the public has been led to believe". Why worry? Too true, it's probably too late to bother.

Dr Andrew Glikson gave a public lecture at ANU.

28 May 2014

Sunday interlude

Quick visit to Smith's on a Sunday afternoon. The hot locals were playing. This was the Wayne Kelly trio with James Luke and Mark Sutton and they were ripping it and they should have had a bigger audience. I had to leave, too, but I heard several of Wayne's - Mr Hank Jones, King of Kings, Empathy (?) - one by James - Q2 Bass - dedicated to one of his basses, presumably the new one and presumably the one he was playing, and one standard, I'm old fashioned. They were all cutting it although Mark had a smirk, obviously noticing errors that I didn't pick up. I took note of Wayne's blues-solid touch (not classical, this) and readiness to do the simplest melodic expositions amongst some rich harmonies, chromatics and sequences and easy inventiveness. James was a force, too, woody toned and lyrically fluent, playing across the strings and right up into the thumb positions; but primarily, so lyrical. Mark was all polyrhythms and angular fills and sharp articulation, even sitting back with the snare leaning between his legs. Never seen such laid-back sharpness before. A pleasure, as always. Not for nothing that these guys are busy. Wayne Kelly (piano) played with James Luke (bass) and Mark Sutton (drums).

27 May 2014

Jubilate SCUNA

This was one big gig and the best that I've heard from SCUNA. A big choir; lots of music; a fascinating series of takes on common themes. We heard two versions of Psalm 100, Jauchzet dem Herrn by Schütz and Jubilate Deo by Gabrieli. We heard a pair of Magnificats from Anerio and Anon and four Cantate Dominos from Monteverdi, Pitoni, Croce and Hassler. Two masses, Symphoniae Sacrae a 12 and Missa Brevis in F, both by Gabrieli and a Renaissance bracket with four songs of des Pres, Arcadelt, di Lasso and Parsons. To top it off, we heard an original piece by a member of the choir, in the style of all this, Domine, quid est homo? by Mark Chapman. I was speaking to a few of the choir before the performance and they were insistent on this. So they should be. What a link of past to present, that we have early music written today at ANU.

This was the best I've seen SCUNA, the most confident and the most hard working. The space was big and wet and the sound was full and rounded with voices merged to one. Just as the choristers like it (although too wet for many other styles). I thought I could identify the difference of Italian and northern - the Italian as more exultant and gregarious and the German as less ornate, more respectful, but I didn't convince myself from this collection, mainly because he balance was too Italian so statistically unreliable. Also one piece (the Cantate Domino of Giovanni Croce?) seemed to change in national character, firstly slow and devout, then more independent and outgoing, so what value that judgement? A Monteverdi Cantate Domino had me thinking of pop embellishments and how nothing is new. I enjoyed following a few sounds. The Allen organ was dramatic when it let go those low notes, deep and space filling and persistent, and it was ever present, more so than a little baroque pipe organ. The voice of Paul Eldon, visiting tenor, stood out a mile. The majesty of the baroque trumpets that sounded for several tunes. There was variation, too. Full choir or small choir, or full choir with semi-chorus, two small orchestras and that organ. St Christopher's doesn't have the presence of a mediaeval stone buttressed cathedral, but it's an apt place for all this religious joy and exultation. So this was a wonderful concert, much enjoyed and very extensive and intellectually challenging with its revisitations of common works.

The ANU Choral Society (SCUNA) was conducted by Andrew Koll (musical director) with cantor Paul Eldon (tenor), Anthony Smith (organ) and Charis Messalina (concert director, soprano). Too many others to mention, but suffice to say about 70 singers in two choirs and 17 instrumentalists in two orchestras.

26 May 2014

Martin Taylor didn't play much, but what he played was revelatory. We tend to just accept great skills workaday. We hear them all the time; if we don't actually do it, we don't realise the level of skills; we don't conceive of the alternative. I often think of how rich is a modern Western life, with the best orchestras on CD and radio and education to promote excellence. The life of a mediaeval villager would have seen a troubadour visit every so often and this would be a memorable event. Our life is nothing like this. I was taken by Martin's playing of Like something in love. I noted that the melody was clear, the bass was there and chordal accompaniment, that he played with his hands in chordal shapes, occasionally dropping into scales for fills. He was playing solo fingerpicked guitar, and he was portraying the whole of the tune. But it was later when he demonstrated the detail within, after he'd been talking of different sounds available up and down the string, and the use of soft fingerpads then missing with fairly short nails, that I really heard this. He played straight, even, and the tune was there but the life wasn't. Then with the full articulation and the song came alive, giving prominence to melody or bass and living the tune. Not surprising, really, but a great demonstration.

Martin has played with Stephanne Grappelli and Chet Atkins and played on 100 albums and he's Visiting Professor at the Royal Conservatoire of Scotland. He mostly chatted for an hour and took a few questions. He played ukelele in 1959 and put it down for guitar. Guitar was a game for him in his childhood. his father was a jazz bassist. The guitar is "complete instrument". He used to daydream at school, but it was thinking through tunes on guitar; he'd then go home and play virtually perfectly first time. Thus, he spoke of thinking first, playing later, "internalise music". he's never had a guitar lesson, but he had an aptitude. The guitar is ultimately just a piece of wood; the music is in the player. Practice scales, whatever; start slow and build up; get "beyond thinking". "Do it slowly and over and over again". "What are the three secrets of playing the guitar? Repetition, repetition, repetition". The difference between music as a hobby and as a life or job. 'The life of a professional musician is actually a very, very hard life". Musicality and instrumental ability must go hand in hand. You must know theory: it's the framework, language, vocabulary. Sight reading? Perhaps not required, but you must be able to read. Find who you are and this is not always a shredder. Tone and flesh and nails. Rhythm can be stated (walking) or suggested (using silence). There are two sides to music: sound and silence. You'll never go wrong if you accompany with just playing chord tones 3 and 7 in the middle register.

Matthew Fagan opened with hand exercised and some examples of Spanish style strumming. And again, talk of the uke: "The revolution will not pass you by".

Martin Taylor (guitar) gave a workshop at Street 3 and Matthew Fagan (guitar) introduced.

25 May 2014

Good for the gander

... Tate was running off to play with Victor Rufus Reverberation at Smiths. It's a common run these Thursdays: Thursday is performance day School of Music and jazz night at Smiths. I came in to a decent crowd and a band playing Dave Holland Conference of the birds. I enjoyed hearing that. It's well know but not too often played. This was a medley that ran into Nirvana Teen Spirit then Kurt Rosenwinkel's Next step. Difficult electric jazz. Then Brian Blade Fellowship Evinrude-fifty and Donny McCaslin Casting for gravity. Nothing like the preceding ballads. This was outright boys' blowing and skilled reading adn chops on hot stuff heads with no thought of love and life. Boys and girls: long last the difference. I enjoyed this hot flashy stuff, especially the contorted heads, some considered and structured and very controlled solos, including one that let go of diatonism and the planet, from Tate, a fluent and fast bass solo form Barnaby, an impressive drum solo from Rhys that was based on a very jumpy, stop-start groove, intelligent tenor and Victor's generous presence and guitar. It was only a few tunes (they had started before I arrived and Tate moved faster than I did, having to farewell some friends on the way) and it seemed short. An encore that was unplanned, on a Bb blues (Victor chose Bird's Relaxing at Camarillo) and the end. I was recording, and I had almost one hour. I was surprised. It didn't feel so long. Lively and choppy; the other side of Tate's interests. Nice one.

Victor Rufus Reverberation comprised Victor Rufus (guitar), Doug Hall (tenor), Tate Sheridan (piano), Barnaby Briggs (bass) and Rhys Lintern (drums).

24 May 2014

Balladic icons

It was called Icons and the songs certainly were. This was a group of singers from the ANU School of Music performing pop songs: five women and one man. Tate Sheridan was the man, and at one stage he argued for the depth of the popular song, being about love and life. I can easily agree, at least with this set of songs, but then they are the cream of the cream: Elton John, Dylan, Leonard Cohen, Beatles, Joni Mitchell, Stevie Wonder, Kate Bush (who is more visible again recently, and must have been a challenge and fascination for these women). They sang 19 songs over two sets in Biginelli's Cafe, upstairs in the School of Music. This was civilised with cafe tables and provided with antipasto, and it was generous. I was not surprised by the age of the attendees (the performers were younger) and the music fitted. These were great songs, no doubt, but also none too recent. No grunge here, let alone hip-hop. These were also overwhelmingly ballads with overt seriousness. Perhaps too serious rather than entertaining. I'm more worried about climate change and the recent budget than love stories, but then I'm a bloke and past a time of hormones. There were some wonderful harmonies to such special songs. There were arrangements, some digging deeper into introversion. I loved the Kate Bush by both Rachael Thoms and Bec Taylor. Rachael especially had me poring over every controlled note and liquid vibrato and precise embellishment in Wuthering Heights. It shows that she's the teacher here, opera trained and an older (but not old) woman with a mature voice. They tell me that singers' voices improve with age and it's not just a matter of technique and experience. Not just that, though. She's jazz trained and was playful and daring when she performed a version of Come together with loops for bass and drums and harmonies and used effects for an authentic guitar solo. Fun and astonishing and obviously new for many in the crowd. [Hint: TC Helicon]. I loved Tate's commitment and unexpectedly decent voice and his dissonances and flexibility on piano. Seriously good. When he was playing Your song, I was reminded how the best musicians can just play the tune with all the right lines and chords and feels. Weaker musicians twist tunes because that's what they know. Tate was just spot on. Ben Taylor is a local star of the Canberra Musicians Club but I've heard her too little. I enjoyed her professionalism and presence and some decent piano and voice, and particularly admired her take on Babooshka. She did Joni Mitchell's Woodstock, too, and this was apt. Kirrah Amosa, Jacqui Douglas and Amy Jenkins perform as a trio called Kaleid (pronounced as in collide) and it was obvious that they'd played together a bit. These are quite different voices. Kirrah's is deep and powered, Jacqui higher and Amy in the stars and it works nicely together. Kirrah also accompanies on guitar and Jacqui on piano. As Kaleid they performed Carole King's Natural woman, but they also supported each other otherwise. The final song was Let it be, and everyone was up and we could sing along and wave electronic candles and that was fun. It was pretty serious stuff for an older bloke, but it certainly was a wonderful collection of songs which most of the audience remembered from their first releases and there were some great performances to convey them. Much enjoyed and would gladly do this over. Then it ended and Tate ran off, with me in hot pursuit...

Icons was a celebration of the great singer / songwriters of our time, performed by Tate Sheridan (piano, vocals), Jacqui Douglas (piano, vocals), Amy Jenkins (piano, vocals), Kirrah Amosa (guitar, vocals), Bec Taylor (piano, vocals) and Rachael Thoms (piano, vocals). Kirrah, Jacqui and Amy also performed as Kaleid.

23 May 2014

More Budget

There wasn't too much new when the Australia Institute ran its commentary on the recent Budget. The Budget has been all over the papers and media for days, and it's a first budget for a new government and this is always controversial. This one is more controversial than others, given the direction of its cuts. For all the hysteria of budget emergency, there were not really great changes in the overall budget position. One speaker said the cut was only 0.1% of GDP in FY2014/2015. But the cuts are real for some poorer parts of society. See NATSEM and ANU Crawford School for some figures. Three speakers appeared at this session. David Richardson spoke of debt. Australia's is 14% of GDP (read, small, esp vs other countries; small vs BHP-Billiton which was said to have profit of $19b pa and debt of $66b). Australia had debt of over 100% in the 1950s after WW2, and also after WW1. He also queried that we are living beyond our means, given GDP is $1.5t and our consumption (excludes education, hospitals, infrastructure, etc, which he seemed to treat as investment) spending is $1.1t. So Budget emergency is "unquestioned rhetoric". Matt Grudnoff spoke of the Worst and Best of the budget. He gave the Medicare co-payment, indexing of school and hospital payments to CPI (the missing $80b), the Newstart 6 month cuts for under 30s and the $6b cut in Foreign aid as his worst (and the Newstart cut as "nasty"). Then the Goods: reindexing of fuel and means testing for Family Tax Benefit B. He also gave an honorary mention for the Deficit levy despite the high marginal rate and its short duration. He also talked of the "rhetoric" around "unsustainable" and "Labor's reckless spending". Then Ben Oquist spoke of the political aspects, especially in the Senate, the "muddled messaging" as well as the "savage cuts". He made the interesting observation that the Right wishes to reduce taxes because "Government is [essentially] redistributive" and observed that we are a very rich country in the richest period of our existence [maybe excepting the gold rushes?]. He suggested the strategy is for a bad budget then to get through to the next election with some tax cuts on a GST promise. But the reception is worse than expected, partly due partly to poor messaging. He considered the Senate's role and the positions of Greens and Palmer and stated it's the "toughest Senate [for a Government] since 1975". And he mused over Labor and their response and whether they can present a real challenge with real policies. Questions were on the reduction company tax and the involvement of the BCA. The rough figures are: company tax is 30% and raises $60b, thus the 1.5% reduction is a $4.5b cost to the budget. [But then, on forward estimates, getting rid of Mining tax costs $5.3b and Carbon tax costs $12.7b]. They considered electricity pricing (where carbon tax made up 9% of rises, widely agreed) noting that rollout of updated infrastructure is largely done now so electricity prices will return to CPI increases. I found it interesting when a speaker noted that it's "harder to lie in Government than in Opposition". Someone spoke of a son and friends at College who were starting a letter-writing campaign, and this was welcomed by one speaker. Someone asked about Royal Commissions and failed infrastructure, with rhetorical implications. There was talk of research on the likely health costs of a Medicare surcharge. (Hawke introduced a Medicare copayment and it became an issue in the leadership tussle with Keating and was removed, so there are interesting resonances with Labor). Martin Parkinson even got a run with his recent statement on the budget. David said it reminded him of Keynes' response to Treasury officials who worried about the post-war while bombs dropped in WW2: "The future can look after itself". Matt observed that it's strange that we are now living longer, and we find this a problem [such is economics]. There was a clarification of the "structural budget deficit" created by tax cuts (permanent) during a boom (temporary) and also the distribution of these changes. There was an interesting observation that Old Business dominates in influence now, and that New Business is yet to find its voice; also that they don't always have common interests. [I heard a solar business leader commented negatively on changes related to climate policy the other day. That's not the lines from the coal industry]. There were some comments on Rural/Regional and how the budget has a disproportionate effect on them, and how they continue to support the Nationals. David finished by saying why Australia can't end like Greece and Spain, as we are an independent economy with our own central bank: evidence is Greece debt 160% > crisis; Japan debt 250% > no crisis. Interesting, but nothing particularly new. And I wonder how much influence this can have. We live in interesting times, damn it!

Three researchers from the Australia Institute, David Richardson, Matt Grudnoff and Ben Oquist, spoke at Politics in the Pub.

20 May 2014

A German-Australian synthesis ... despite wars

I admire Chris Latham's CIMF and this was his last. Unfortunately, we had clashes and couldn't be so involved this year. Chris gathers some fascinating batches of musicians to play varied music around festival themes. It's the discovery that's most interesting about this festival - new music, composers, musicians - and it suits the educated nature of Canberra. Journalists take care here; as Jack Waterford says, there's always someone who's an expert in Canberra to provide corrections. This week was busy for us so we only managed 3 concerts (and one workshop) and they were the blockbusters: not quite the adventure of CIMF but a treat none-the-less.

The final concert was Brahms Australian Requiem. Actually, it's his German Requiem, but sung in English as it was first performed in full in Australia in 1898. This was the biggest concert of the three we attended this year, with perhaps 200 performers including choir, orchestra and two soloists. It's a grand work, classical in conception, in seven movements, deep with cellos and basses and variously mournful and recovering. The choir was big in the wet environment of the Fitters' workshop with all the voices nicely merged into one. We were up front, on the aisle but nearer the cellos and basses, and we strained to hear the violins and various woodwinds and organ, although I heard gentle harp later when the chart was sparser. It's a feeling of being involved but perhaps not the best balance. This is a great space for choirs and power and passion if less so for clarity. But what a passion and volume this work has. The two soloist, bass-baritone and soprano, were big voices. This was in English but I didn't catch more than a phrase or two, from chorus or male soloist. There was a transcript (good on CIMF!) but I chose to listen. This was a big and passionate work in a big-sounding space.

To finish was a simpler composition, a song arranged by local Calvin Bowman, To Gratiana by W Denis Browne, a composer-soldier who died in WW1. It was a fitting, simple and touching ending for the festival called The Fire and the Rose, with twin themes of the 100th anniversary of WW1 and the 75th anniversary of the start of WW2. Then some short speeches and introductions and a last post, minute of silence and reveille. Mmmm. You can't fault the music in this festival. The little we heard this year were just the big works and they were revelatory. I hope we can be more involved and more adventurous next year, under the new CIMF musical director, Roland Peelman.

Brahms German Requiem was performed in English by the Wallfisch Band, ACO2, Canberra Festival Chorus, Simone Riksman (soprano), Alexander Knight (bass-baritone) under Roland Peelman (conductor). W Denis Browne To Gratiano was arranged for voice and orchestra by Calvin Bowman (arranger), with Christopher Saunders (tenor) and the others above.

18 May 2014

Lesson for an amateur

It's not just the music that fascinates. The piano is a complex and beautiful thing and it was honoured when Ara Vartoukian gave a workshop for the CIMF Fringe yesterday. Ara is a piano technician based in Sydney; he looks after the pianos in the Angel Place Recital Hall amongst others; the session was called the Piano whisperer. He was talking of pianos, especially Steinways, and tuning. It was the tuning that particularly interested me, being myself a very amateur tuner of an old piano. Ara spoke of equal temperament; how it's necessary but scientifically incorrect; how it has a human element (we hear high notes as flat and low notes as sharp); how he uses thirds and cycles and intervals; how he tunes not just for pitch but for maintenance of that pitch (releasing stress with fortissimo staccatos then, unlike guitar, tuning down to a note); how often he tunes and registers instruments; how he stretches the tuning and how different stretches serve different purposes; how to make a piano sound honkytonk. If I got it right, tuning is built on overtones and the beats between intervals: around 0.7 sec for a major third. It all happened quickly with his experience. Firstly the strings are damped with felt, so only the middle of three strings plays; he tunes the middle octave, then spreads over the piano, then removes the felt string-by-string and adjusts the partner strings. It's quick, although I noticed even on an ANU Steinway grand there were a few notes that demanded extra tweaks. He removed the keyboard and the mechanism was laid bare. It's a strange sight: an open mouth on a grand piano and the complex, repetitive mechanism of the keys laying on a table. This is all a mix of craft and art and even some science on the most essential of instruments and the product of a year's training and subsequent experience. Fascinating and aurally challenging.

Ara Vartoukian (piano tuner) talked pianos and tuning at the ANU School of Music for the Canberra International Music Festival Fringe.

15 May 2014

Music for my funeral

People have music at their funerals and I've often thought what I might wish to have at mine. We heard Mozart's Requiem tonight at the Albert Hall for the CIMF and it's profoundly melancholy and touching, but who would have the self-regard to think they justified it? Who could deserve it? We've heard a performance before. Everyone knows it. It was played here on period instruments (A430Mhz). It's tragic; it's truthful; it's redemptive and ecstatic. How can you respond to the choir singing ever-rising sequences? With tears or with unhinged laughter? It's just too profound. It's mostly choral, but there are passages of four solo voices: soprano, mezzo-soprano, tenor and bass. They sometimes sing individually, but mostly with entwined voices, perhaps the tenor appearing through, or the soprano soaring, or the two women in harmony. This version was shortened from the commonly performed one. It was a version by Richard Maunder that's missing three passages (Sanctus, Hosanna and Benedictus) that appear to be Süssmayr not Mozart. Süssmayr was the student of Mozart who was supposed to have completed the work when Mozart died. I'll check our CD later to hear the missing passages, but there were more than enough renowned and deeply affecting passages here. This is music that you wish won't end. I heard it as a little rough in the orchestra at times but very nicely performed by both choir and soloists. The string sections were led by seasoned performers, but these were young players and they were apparently playing on gut strings for the first time. I know gut on a double bass and it is a very different experience so I feel for them; a baptism of fire. Mozart's Requiem was performed by Simone Riksman (soprano), Hannah Fraser (mezzo-soprano), Christopher Saunders (tenor), Andrew Fysh (bass), the Wallfisch Band with ACO2, Elisabeth LeGuin (cello), Albert-Jan Roelofs (organ), Song company with the Sprogis Woods Smith Young Artists and Roland Peelman (conductor).

Preceding the Requiem was another work of death and immense sadness, a Stabat Mater. Stabat Mater is a 13th Century Catholic hymn of Maria dolorosa standing under the Cross of Jesus. You can only imagine the depth of sorrow in this image. Stabat Maters have been written by many composers. Pergolesi's is the famous one; this was by Luigi Boccherini of Lucca. This version was a new edition by Elisabeth Le Guin for three voices. Elisabeth ventured from the US to play cello for this performance. I enjoyed this performance but was a little non-plussed by Boccherini's work. The first notes are appropriately mournful, but then the music becomes merely dignified, then perhaps dramatic, sometimes almost light and danceable and not sufficiently pathetic to my ears. None-the-less it's a worthy work, Elisabeth's work is admirable and I loved the three voices, tenor and two sopranos. I particularly enjoyed the tenor, although intertwined sopranos were also luxurious. Boccherini Stabat Mater was performed by Susannah Lawergren and Anna Fraser (sopranos), Christopher Saunders (tenor), the Wallfisch Band with ACO2 and Roland Peelman (conductor).

  • The painting is Pietro Perugino, Mary at the Cross (1482) National Gallery, Washington DC, USA. Click on pic to view larger
  • 12 May 2014

    Just perfect music

    There's so much that goes through your head after a decent concert. This was the Canberra International Music Festival and the concert was Bach (with some ring-ins) and we could only leave with beaming smiles and a rollicking gait. Firstly, we were talking of the Albert Hall as a concert venue, and how it's so good for chamber work of this size with an audience to sop up the reverb: live but not soppy; clear voices and ringing baroque trumpets; perhaps a little bass heavy (Max McBride was alone but filled the bottom end). And the experience is so European concert hall with an architectural experience that is so out of place in our new metropolis, with the large windows and suggested columns with Ionian scrolls and hinted flowers. Then the music. A jazzer said to me in passing that "he sure can write", meaning Bach can compose. It's an ironic throwaway line, of course.

    I'd read that the Magnificat was originally written in Eb (the current version is D major). It was first performed at Christmas 1723 with two other new works. Bach had arrived in Leipzig in May that year and had already written 30 cantatas by Christmas. Genius. Magnificat (D major, BWV243) is ~27 mins in 11 movements for 5 voices and 5 instrumental parts. It starts with a joyous, vibrant canon on "Magnificat anima mea Dominum" (My soul magnifies the Lord), through various solo sung parts; two very different sopranos, perhaps over oboes or strings; bass over a ponderous but amusing accompaniment of cellos and double bass; countertenor and tenor with lyrical melody over violins with pizz bass and short cello. Always the lanky but sinuous Roland Peelman conducting by feeling every nuance. I can understand the value of a conductor when I see this man. Through more choir with a sudden stop (on 1+?) and an end with baroque trumpets and timpani; a 3/4 introduced with violins and cello responses, and again that neat, square and brisk bass; then countertenor with pure flute tones; three females singing over one cello and organ; a vocal canon starting elephantine and rising through male to male to female to female, dignified, then into an exultant final Gloria with trumpets and timp. This is not all, but an impression. Half an hour of the most perfect of music. I'd first thought this is the most perfect music during the final movement of the previous work, Bach Concerto for violin and oboe in Cmin BWV1060. This is three movements, instrumental with two solo melody instruments, with a middle movement in 3/4. It is fabulous and beautiful and unrelenting and sequenced, but it's also a piece I've heard a billion times on ABC RN LNL so it has the advantage of being ridiculously familiar. Elizabeth Wallfisch was to solo, but had fallen off a bike so was replaced by Matthew Greco at short notice. He did a great job, although he was often a bit quiet for the oboe. A fabulous work and very well done. I'm thinking European familiarity with this music, now. Albert Hall suited the baroque with intimacy and acoustics, but also the informality, reminding me of unexpectedly casual canteens at the Amsterdam Concertgebouw and the Berlin Concerthouse.

    What else? Before the interval was a short fanfare, Handel Battaglia from his opera Rinaldo, all trumpets and timpani and suggestions of battle (I missed this) and agitation and ferment. Then a change to the program due to Elizabeth's bike accident. Another Bach was replaced with an oddly unexpected but fascinating duo playing 900yo Armenian music of Gurdjieff and the Silk Road. These were two tunes played on duduk and organ: Grigor Naretski Fowl of the air was a mutating scale over a single note organ drone; Khatchatur Taronetsi Mystery profound had a more complex duduk melody over small organ chords. I heard lots of long notes; (I guessed) flat 3s and 6s but the scales changed; slithering legato and strangely Mid-Eastern vibrato. Lovely, diverse and meditative. Then one more Bach, his Cantata Es erhub sich ein steit (There arose a war) BWV19. It's magnificent but I don't hear the war reference without reading the German. As for performers, I couldn't help but love the baroque trumpets and timpanis when they let fly. I admired all manner of instruments - strings, oboes who had several featured passages, the lovely baroque organ, the cellos and bass that also had their features. But most of all I loved the voices. This was the Song Company presumably with a friend or two and they were glorious, as solo voices or intertwined in a canon. Precise and beautiful voices, both men and women. So, this was a huge pleasure and more coming.

    The various Bach and Handel were performed by the Song Company with guests Sonya Holowell (soprano), Susannah Bishop (soprano), Tobias Cole (counter tenor) and Richard Butler (tenor). Musicians included Elizabeth Wallfisch (violin, unexpectedly not soloing) and the Wallfisch Band, Elizabeth's replacement Matthew Greco (violin) and Leo Duarte (baroque oboe). All around Roland Peelman (conductor). The Armenian players were from the Gurdjieff Folk Instruments Ensemble: Emmanuel Hovhannisyan (duduk) and Levan Eskenian (?) (baroque organ).


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Real Becomes Not-real Where the Unreal’s Real: Legal Analysis of Ghostauthorship for Jingdezhen Ceramic Art Works
Pages: 35-38
Year: Issue:  1
Journal: China Ceramic Industry

Keyword:  ceramic art workghost-authorshiplegal analysis;
Abstract: Collector’s works are demanded during a prosperous age while gold is needed over troubled times. Collector’s ceramics include both contemporaries and ancients. Because of the difficulty in distinguishing between the real and the unreal, ancient forgeries are so common that collectors refrain from investing in ancient pieces. However, with the help of those clear-sighted, the market demand for contemporary collector’s ceramics is on the rise. The prices for contemporaries spiral up dramatically because the increasing demand exceeds supply. In order to make more profit from their identity, some artists begin to mass produce poor quality works; others even hire ghost artists or subcontract their work to others. This paper is to look upon the ghost authorship of collector’s ceramics from the view of law in order to legalize the art ceramic market in Jingdezhen.
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Source: Telegraph

With spectacular beaches, idyllic spas and tranquil eco-tours, the Dominican Republic is the ultimate destination for a relaxing escape

With 1,000 miles of coastline and 250 miles of palm-shaded silky sand beaches, the Dominican Republic has an easy-going rhythm of life dictated by the sea. This second-largest Caribbean nation also encompasses explorable mountains, dunes, jungle canopy, coffee plantations and mangrove lagoons, making it a spectacular playground to indulge in adventure, relaxation and pampering self-care.

Life’s a beach

Wellbeing aficionados describe the Caribbean as “the largest spa in the world”, thanks to the warm waters that surround the islands, lapping white-sand beaches with a heavenly sea breeze. Add in a super-relaxed cultural vibe and it’s hard to resist the simple appeal of relaxing on a beach with a book and coco loco cocktail.

The Dominican Republic’s blissful beaches have a long tradition in providing restorative winter sun, from the crystal waves of Punta Cana and the mesmerising azure waters at Bahía de las Águilas to the deep blues of the Atlantic nudging the golden sands on Samaná Peninsula. However engrossing your book or delicious your cocktail, you’ll be tempted to snorkel, sail, take a dip or a boat trip. For al fresco relaxation of mind, body and soul, think yoga on the beach and massage in a waterfront cabana.

Spectacular beaches play a big part of a Caribbean escape. For exciting water sports and outdoor spa therapies, speedboat experiences and tranquil eco-tours, there’s always a beach to provide an idyllic backdrop. Playa Rincón, in a sheltered location at the tip of the Samaná Peninsula, is considered one of the most beautiful beaches in the Dominican Republic courtesy of its soft sand, turquoise sea and a freshwater stream emerging from a mangrove forest (great for a dip at the end of your beach visit). Stalls serve seafood and rent beach chairs, making this a great place to spend a day snorkelling, sunbathing and strolling among coconut and almond trees.

Punta Cana, where the Atlantic Ocean meets the Caribbean Sea from the northern tip at Uvero Alto to the southern at Cap Cana, is the go-to place to seek tropical seaside vitality. Bavaro Beach ranks as one of the best unspoilt strips in the entire Caribbean. Stay in the family-friendly, all-inclusive Iberostar resorts and enjoy direct access to this iconic beach; spa treatments include a lulling panorama of blue sky, palm fronds and sparkling sea. Uvero Alto, probably the least known beach of the Punta Cana region, is a delightfully peaceful retreat. The golden sandy beach is largely undeveloped bar a few souvenir shops and a well-hidden surf school, and it has a coral reef close to the shoreline.

The calmer Caribbean seas of La Romana make it a magnet for families. Great beaches include Playa El Caleton, which provides umbrellas, sun loungers, fresh food and chill drinks; Playa Caleta, an off-the-beaten-track haven; and the water-sports paradise of Playa La Minitas.

Where the sea is the focus, beaches are the key to healthy activity in many forms. There are so many ways to enjoy this sand-between-the-toes paradise: scuba diving, windsurfing, banana boats and catamaran cruises. The contemplative can head out towards the horizon to try deep-sea fishing, thrill-seekers can go shark-spotting while nature lovers can swim with dolphins or snorkel among stingrays.

Wish upon a spa

A spa experience is the cornerstone of a relaxing holiday whether you simply appreciate a de-stressing massage on arrival or crave a more immersive programme of rejuvenating treatments. The Iberostar group of five-star Punta Cana resorts boasts a host of destination spas each with a relaxing indoor-seashore dynamic that makes them truly natural wellness oases. On this stretch of the Costa del Coco, on the Dominican Republic’s eastern side, you find coconut palms, warm waters, exotic flora and fauna, and tasty Creole cuisine. For some, a spa is all about the pursuit of beauty; for others, it’s about boosting fitness in the gym or the pool, on the golf course or tennis court. What you find here is stimulation in the art of living well – easy to practise in such an idyllic setting.

The Greco-Roman-inspired architecture of the adult-only Iberostar Grand Bávaro Spa Sensations wellness centre calls to mind the historic origins of bath rituals and water cures. In its serene environs you can choose from a lavish treatment menu to relieve tension, release stress, detox your body and revive your skin with the latest cell-renewal expertise. On the pampering front, there’s nothing like a body wrap, scrub and soak to help you unwind or a facial to leave you radiant.

Nestled in a fertile subtropical garden complex, also right on the beachfront, the Iberostar Punta Cana is another all-inclusive hotel complex within walking distance from Playa Bávaro, and one that welcomes families. The combination of beach, pool, magnificent spa and excellent gym adds up to a holistic provision of relaxation facilities. With a variety of fine and fun dining options, as well as entertainment facilities, it ticks all the boxes marked indulgent and revivifying.

Iberostar Selection Bavaro welcomes guests in traditional Caribbean style. You will want to soak in as much sun as possible, and this family-friendly resort hosts plenty of beach activities. The seemingly endless Playa Bávaro is surrounded by coral reefs, which you can explore by snorkelling and diving with the Padi-certificated Scuba Centre. With year-round sunshine, kayaking, windsurfing, and volleyball are always an option. And the spa? From hot stone massages that alleviate tense muscles to citrus-based masks for energising, all you are required to do is relax.

Back to nature

Away from oceanside attractions, the Dominican Republic has an interior of mountains and mangrove networks which are rewarding to explore. A generation before eco-tourism gained mainstream status, this Caribbean nation was offering visitors glimpses of its fascinating ecology and cultural history. Navigable only by boat, Los Haitises National Park in the remote northeast is a showcase of geological phenomena – caverns, conical hills, stalagmites and sinkholes – dotted with colonies of pelicans and herons. On a tour of the myriad jagged islets eroded by salt, wind and rain, you can jump ashore to see the carvings and pictographs left inside ceremonial caves by the Taíno people.

There are plenty of land-based excursions to capture the imagination: dune-buggy safaris, equestrian trail rides and intrepid waterfall climbs. On the Samaná Peninsula, you can travel inland by quad bike or on horseback to reach the Cascada El Limón, a picturesque waterfall with an exceptional swimming hole. To the northwest, local guides can take you to the 27 waterfalls at Damajagua, where you slide down rushing waters into amazing blue-green natural pools. High up in the central highlands, stop off at Jarabacoa and Constanza for stunning views of green hills and flower farms or book to go whitewater rafting or canyoning down the Río Yaque del Norte.

The green hills are also prime tobacco growing terrain. Cigar tours in the areas around Santiago de los Caballeros take visitor to factories to see how the hand-rolled cigar has become an art form. More traditional arts are celebrated in Altos de Chavón, a remarkable replica 16th century Mediterranean village in the heart of the countryside designed by Dominican architect Jose Antonio Caro and Italian cinematographer Roberto Coppa. Studios for potters, weavers and silk-screen printers line cobblestone streets alongside craft boutiques. Other sites include an archaeological museum, the St Stanislaus Church and a 5,000-seat amphitheatre.

And golf? The Dominican Republic is famous for excellent golf courses in beautiful surroundings. The 18-hole Championship “Teeth of the Dog” course at the Hard Rock Hotel Punta Cana is ranked number one in the Caribbean and provides a challenge for every skill level. Its name, of course, is inspired by its glorious natural setting: the signature hole, a par three, is nestled in a rock cove on the ocean’s edge shaped like the snapping jaws of a dog.