This book was written with a vision of assisting children who struggle with adversity and are unable to embrace their emotions. An important part of living a healthy emotional life is the ability to feel and accept our feelings. If hardship has occurred, being able to tolerate, mindfully observe, and hold with compassion the feelings associated with such adverse events will be an essential aspect of healing.
The process of accepting emotions should be gradual and progressive. Many traumatized children present with trauma-related phobias and may have a strong fear and a phobia of the emotions associated with the experiences of adversity and hardship. This book is designed to help children and their helpers (parents, teachers, and therapists) have a friendly road for embracing emotions. As children become more comfortable with their own emotional states and we expand their window of affect tolerance, it is then that healing can take place. Children should learn that emotions are not their enemies; instead, they are their allies, guides, and messengers. I hope you and the children you read this book with find it enjoyable, fun, and helpful.


Dress-up Dinosaur Claws
Age: 18 Months - 5 Years (younger ones need more supervision)
Time: 10 min (+ Prep)
Books: Dinosaur vs the Library by Bob Shea, How do Dinosaurs Count to Ten by Jane Yolen & Mark Teague, Dinosaur Roar! By Paul & Henrietta Stickland
Materials:Heavy Paper (Something that feels about the weight of a manila office folder)
Adults get to use Scissors and an Exacto Knife
Prep: Fold heavy paper in half and cut out pairs of dinosaur claws. The claws should be roughly the size of a child’s mitten, fitting 2 pair per standard size sheet. Feel free to modify the design for each pair – Number of fingers, pointy or rounded tips etc. On the wrist portion of each, cut two parallel slits roughly ¾” long using the exacto knife. The cuffs will be threaded through here. To prep the cuffs, cut a TP roll lengthwise then into 4 ‘rings’. Take care that the cut pieces retain their round shape
Activity: After demonstrating their best dinosaur roars, each child gets a pre-cut pair of claws and crayons. Decorate, draw, scribble, make them colorful! When done, have an adult help weave the cuffs through the pre-cut holes. Fit them on wrists and Roar! (I bet it will be even louder than before).
Notes/Tips: TP roll cuffs will lose their ‘grip’ as they lose their shape. You can reshape them several times by coiling the cuff into a tight circle.


Petroglyphs, Graffiti, and the inscrutability of public art
|Petroglyph at Donner Pass (c) John Robison 2018|
A few hundred yards uphill you can see the tunnels that carried the first transcontinental railroad over the Sierra. The tunnels were cut in the 1860s, and augmented by wooden snow sheds to shelter the tracks from snow. The wooden sheds were vulnerable to fire and avalanche, and they were replaced by concrete structures in the 1950s.
|Donner Pass - petroglyphs on flat granite in foreground, tunnels and snow sheds above and behind|
Gangs over-write each other's symbols, but that is far from the only reason people write over existing art. Some simply want space for their creation. Others are jealous. Some of the notion of cleaning up "non-approved" art with something else. If we cannot understand the dynamics of graffiti now, how can we possibly understand the dynamics of 2,000BC?
John Elder Robison is an autistic adult and advocate for people with neurological differences. He's the author of Look Me in the Eye, Be Different, Raising Cubby, and Switched On. He serves on the Interagency Autism Coordinating Committee of the US Dept of Health and Human Services and many other autism-related boards. He's co-founder of the TCS Auto Program (A school for teens with developmental challenges) and he’s the Neurodiversity Scholar in Residence at the College of William and Mary in Williamsburg, Virginia and an advisor to the Neurodiversity Institute at Landmark College in Putney, Vermont.


Introduction: Why Nectar?
Nectar is a sweet, watery substance produced by some flowering plants. It is often considered the ultimate reward for pollinators, such as bees, hummingbirds, and bats, as it provides them with a source of energy while they go about their work of spreading pollen. But why do some flowers produce nectar while others do not? The answer lies in the complex relationship between plants and their pollinators.
The Purpose of Nectar
The primary purpose of nectar is to attract pollinators. Nectar is a valuable source of energy for insects and animals that visit flowers to feed on it. By providing nectar, flowers entice pollinators to visit and ensure that their pollen is transported from one flower to another, thereby facilitating reproduction. Nectar also serves as a reward for the pollinators, encouraging them to return to the same flower or plant to continue the cycle of pollination. In short, nectar is essential for the survival of both plants and pollinators.
Plants that Produce Nectar
Not all flowering plants produce nectar. The production of nectar is most common in plants that rely on insect or animal pollination, such as bees, butterflies, hummingbirds, and bats. Some of the most well-known nectar-producing plants include sunflowers, lavender, roses, and honeysuckle. However, there are also some plants that produce nectar but rely on wind pollination, such as corn and wheat.
How Nectar is Produced
Nectar is produced by specialised glands called nectaries that are located inside the flower. These glands secrete nectar, which is stored in structures called nectar spurs or tubes, and is released through tiny pores on the surface of the flower. The amount and composition of nectar produced by a plant can vary depending on factors such as the time of day, temperature, and humidity.
Nectar’s Nutritional Value
Nectar is a highly nutritious substance that provides pollinators with carbohydrates, amino acids, vitamins, and minerals. The exact composition of nectar can vary depending on the plant species, but it generally contains a mixture of sugars, such as sucrose, glucose, and fructose, as well as other compounds, such as amino acids and organic acids. The nutritional value of nectar is essential for the health and survival of pollinators, as it provides them with the energy they need to fly, forage, and reproduce.
Pollination: The Role of Nectar
Pollination is the process by which pollen is transferred from the male to the female reproductive structures of a flower, resulting in fertilisation and the production of seeds. Nectar plays a critical role in pollination by attracting pollinators to the flower and encouraging them to brush up against the anthers, where they pick up pollen. When the pollinator visits another flower of the same species, it inadvertently transfers the pollen to the stigma, allowing for fertilisation to occur.
Coevolution of Flowers and Pollinators
The relationship between flowers and pollinators is an example of coevolution, where two species evolve together in response to each other’s needs. Flowers have evolved a range of adaptations, such as colour, shape, and scent, to attract specific pollinators. In turn, pollinators have evolved traits, such as long proboscises or specialised mouthparts, to feed on the nectar of specific flowers. This coevolutionary arms race has resulted in an incredible diversity of flowers and pollinators, with each species perfectly adapted to the other.
Benefits of Nectar to Plants
Nectar not only benefits pollinators but also has a range of benefits for plants. For example, nectar can act as a defence mechanism against herbivores, as it attracts predators that feed on the herbivores. Nectar can also enhance the germination of pollen or improve the quality of seeds. Moreover, nectar can act as a signal to other pollinators, indicating that the flower has already been visited and reducing unnecessary visits.
Threats to Nectar Production
Nectar production can be affected by a range of factors, including climate change, habitat loss, pollution, and pesticide use. Climate change can affect the timing and duration of nectar production, which can affect the synchronisation between plants and pollinators. Habitat loss and fragmentation can limit the availability of suitable nectar sources, which can impact the health and diversity of pollinator communities. Pollution and pesticide use can also have negative effects on nectar quality and quantity, which can affect the health and survival of pollinators.
Conclusion: The Significance of Nectar
Nectar is a critical component of the relationship between plants and pollinators, providing valuable energy and nutrients to pollinators and ensuring the survival and reproduction of plants. The production of nectar is a complex process that has evolved over millions of years, resulting in an incredible diversity of flowers and pollinators. However, the production of nectar is also vulnerable to a range of threats, highlighting the need for conservation efforts to protect and restore habitats and reduce the negative impacts of human activities on these vital ecosystems.


With only 60 years of harvests left, how do we transform our food systems?
In relation to food and farming, it is becoming increasingly apparent that working within our existing economic and social systems will not result in the changes that we need. The title alone of the ‘Extinction and Livestock’ conference this week is testament to the fact that our ‘food and farming policies need a total rethink’.
Despite efforts to change things, our soils only have an estimated 60 years of harvests left if we continue as we are now. More than a hundred wildlife species are currently facing extinction in the UK due to farming practices. The number of people living in food poverty is growing and obesity and diabetes are on the rise. We literally cannot continue in this direction and thrive as a human species.
Organic for the 1%?
Yet many efforts to make food production more ecologically sustainable tend to exacerbate, or at least reproduce, social inequalities. Organic certification is a prime example – while the number of organic farms is growing, the organic market still only represents 1.4% of the food market in the UK, and the people buying organic food tend to be middle classes – the educated and the relatively wealthy. Organic is, in effect, food for the 1%. Similarly unhelpful dynamics exist for local food.
This is not to say that organic food is bad or that we shouldn’t try to eat local. Despite calculations to the contrary, recent research on small farms in the UK found that small-scale agroecological farms can produce equivalent yields of vegetables compared to national averages for non-ecological horticulture. They also generate 100 times more employment per acre than the average farm – quite a stunning statistic that must be considered if ‘job creation’ is of any interest. Further, agroecological farms tend to rebuild – rather than deplete – soils (pdf). They manage watersheds in ways that reduce flooding. So we’re talking about regeneration, not sustainability. Which is not just preferable, it’s indispensable.
So when we see ecological and local farming as niche and inaccessible, the answer is not to throw up our hands and revert to industrially produced food at the expense of our health, our communities and our biosphere. Rather, it is to look at the contradictions and what underlies them. This is exactly what the Transitions to Agroecological Food Systems project – based at the Institute of Development Studies, has been doing for the last two years with farmers in the UK, Senegal and Nicaragua.
Contradictions as openings
Ecological and local food movements – and the farmers supporting them – are not trying to be elitist. They are trying to survive. In our current socioeconomic system, which ‘externalises’ the social and ecological costs of production, farmers tend to have two main choices – quality or quantity. They either produce for luxury niche markets (e.g. organic salad leaves, fancy preserves and veg boxes) or produce as much as possible through increasing their farm size (a strategy largely influenced by land area-based subsidies) and using industrial practices that destroy the soil, wildlife and water.
In fact, with an average income of less than the minimum wage (given they tend to be self-employed), small-scale and agroecological farmers themselves tend to rely on low cost non-organic food from supermarkets, despite the fact that industrially produced food goes against their values and ethics.
While agroecological farmers want more people to access local, ecologically produced and healthy food, the thought of another organic vegetable producer setting up shop next door is not particularly settling. These farmers are concerned about losing their precarious livelihoods which they have built up through big investments in their knowledge base, soils, infrastructure and their connections to consumers. So how can we spread agroecological farming without compromising the viability of these committed farmers?
Considering the ‘value’ of food
Feeling rather underpaid and marginalised, the farmers inquired into the ‘value’ of food and farming, including, ‘who determines value’? And, ‘how do we know when something is valued?’
Farmers concluded that while we do need to measures some things in financial terms, not everything can be commodified. Food and land in particular are quite special exceptions. Which is where issues of the public goods fit in.
Currently, the economic system supposedly ‘externalises’ the social and ecological costs of food. While we do not pay for them at the checkout till – unless we are buying organic – we still pay for them. One way we pay is through our taxes, in order to clean up or respond to the problems of the industrial food system. To name a few of these costs, this includes nitrogen-related damage from fertilisers (which is estimated to range from £440 to £1,320 per person per year across the EU), the costs of obesity (which have a global economic impact of $2 trillion per year (based on the Sustainable Food Trust’s True Cost estimates), the costs of unsustainable soil management (e.g. through maize cultivation) which causes flooding – estimated to be at least £5 billion in the 2015 UK floods alone. Conservative estimates of just those three ‘externality costs’ alone amount to an extra £2,000 per person per year in the UK.
Given the average food budget is estimated at £1,300 per person per year, surely ‘cheap food’ does not pay off.
We also pay with our health – and the health of our children. The Expert Committee on Pesticide Residues in Food (PRiF) found that residues of 123 different pesticides were found in the Department of Health’s School Fruit and Vegetable Scheme (SFVS). Feeding your children organic whilst the remaining 99% of farming uses chemicals won’t cut it either. Residues of the glyphosate have been found in 75% of air and rain samples in the US.
It is clear that the existing food and farming system is not serving the public interest. It is also clear that efforts to change our food system through existing socioeconomic models have not worked. The problem isn’t organic. It’s capitalism.
Practical alternatives – Land, Markets and Finance
While we started very broadly in the spirit of participatory research, our inquiry into how to transition towards regenerative food systems has led to a focus on increasing access to land, developing alternative markets, and reshaping financial systems to support a transition of our food and farming.
While proposed changes in these areas represent alternatives to core aspects of capitalism, the potential strategies themselves are not radical, rebellious or pie in the sky dreams. Suggested strategies have been practical and draw on existing examples – both within the UK and in countries such as France – of people and institutions are already doing things differently.
This week, our panel of farmers will be sharing their findings to a group of individuals and organisations interested in breaking down this status quo. The objective will be not to scream and shout about the need for change, but to develop alliances and co-design strategies to help usher in a transition. We know it is possible because we have already undertaken this process in Senegal, with overwhelming success.
This is the first in a series of blog posts that will share evolving strategies for transforming our food systems, focusing on markets, land and finance. All the blog posts will be shared on Transitions to Agroecological Food Systems


Below you can find a complete list of Saudi Arabian animals. We currently track 147 animals in Saudi Arabia and are adding more every day!
Saudi Arabia is a large country located on the Arabian Peninsula in the Middle East. It has such diverse habitats as mountains, deserts, hills, valleys, volcanoes, lakes, and islands. Each area has its own unique selection of animals.
Keep reading to explore Saudi Arabia’s wildlife.
The Official National Animal of Saudi Arabia
The camel is the national animal of Saudi Arabia. Why was the camel selected as the national animal? Called the “ship of the desert,” the camel has been used for transportation and as a working animal for centuries. Specifically, the Arabian or Dromedary camel – the one-humped camel – is the national animal.
Where To Find The Top Wild Animals in Saudi Arabia
Saudi Arabia’s most sought-after wildlife can be very elusive. If you want to see Hamadryas baboons, they can be found in the Hijaz Mountains. One region of these mountains, the Asir Mountains, is the stronghold of the rare and elusive Arabian leopard.
Arabian oryx, once locally extinct, were released in a fenced-in reserve called the Mahazat as-Sayd Protected Area. Along with the mountain gazelle and goitered gazelle, they can also be found in the ‘Uruq Bani Ma’arid protected area.
The cute sand cat, no large than your average housecat, can only be seen in the western deserts.
A unique wading bird called a hamerkop nest in the Wadi Turabah Nature Reserve. This is the only place in the Arabian Peninsula that this bird can be found.
The Most Dangerous Animals in Saudi Arabia Today
A number of dangerous venomous snakes live in Saudi Arabia. The most dangerous snakes are in the viper family. These include the carpet viper, sawscale viper, horned viper, adder or common viper, and false-horned viper. Some emit a rattling sound as a warning when you get too close. The best thing to do if you hear this is to stop moving and back away.
Although these snakes can be harmful to humans, they do not want to bite you. There have been only around 5 reported viper bites in the country during the past 20 years.
Endangered Animals in Saudi Arabia
Saudi Arabia has a fragile ecosystem with many endangered species. The Arabian leopard, for example, has been considered critically endangered since 1996. In 2006, it was estimated that there were only around 200 of these leopards surviving in the wild.
The Arabian wolf is also an endangered species. Farmers have hunted the wolf because it may stalk their livestock. Only about 2,000 to 3,000 Arabian wolves exist in the wild.
Hunting and other human activities have caused the local extinction of some of Saudi Arabia’s animals. These include the striped hyena, honey badger, and golden jackal. The Arabian oryx was also hunted to extinction in the wild, but conservation efforts and breeding programs allowed it to be reintroduced in a fenced reserve.
Saudi Arabian Animals
Saudi Arabian Animals List
- Barn Owl
- Black Widow Spider
- Camel Cricket
- Common Buzzard
- Crab Spider
- Desert Locust
- Fennec Fox
- Fire-Bellied Toad
- Flying Squirrel
- Glass Lizard
- Glow Worm
- Golden Oriole
- Green Bee-Eater
- Honey Badger
- Honey Bee
- Long-Eared Owl
- Marsh Frog
- Monitor Lizard
- No See Ums
- Peregrine Falcon
- Pond Skater
- River Turtle
- Rock Hyrax
- Skink Lizard
- Slow Worm
- Stick Insect
- Striped Hyena
- Tree Frog
- Water Buffalo
- Water Dragon
- White Tiger
- Wild Boar
- Wolf Spider
Animals in Saudi Arabia FAQs (Frequently Asked Questions)
What Kinds of Animals Live in Saudi Arabia?
Saudi Arabia is home to mammals, birds, reptiles, and insects.
The largest mammals include the Dromedary camel, the Arabian tahr (a type of mountain goat), the golden jackal, and the Arabian wolf. Smaller carnivores include the caracal (a medium-sized cat), the sand cat, red and fennec foxes, and the striped hyena.
There are plenty of other small mammals as well, including the rock hyrax, honey badger, and Cape hare.
Bird species common to Saudi Arabia include buzzards, eagles, quail, sandgrouse, larks, seabirds, pelicans, and gulls. Other birds migrate through Saudi Arabia and are found there only part of the year. These include swallows, storks, and flamingos.
Are There Tigers in Saudi Arabia?
According to a report from 2011, two known specimens of the rare Arabian tiger had been observed in Saudi Arabia. A small population is held in captivity; the goal is to breed more of these tigers and release them into the wild. About 200 Arabian tigers are thought to exist in Saudi Arabia and its surrounding nations.
Which is the Most Important Animal in Saudi Arabia?
It could be argued that the camel is the most important animal in Saudi Arabia – the most important to humans, that is. Though not originally from the Middle East, the camel adapted well to desert life. It is used as a working animal. At times and in certain cultures, the number of camels a person owned was equated to his wealth and social status.
Keep in mind, however, that every animal is important in its own right. All species play a role in the food web and in keeping the natural balance of the ecosystem. When one animal becomes extinct, it affects the other animals living in the same habitat.
Do Lions Live in Saudi Arabia?
Until about 100 years ago, African lions lived in Saudi Arabia. Today, these big cats are extinct in the wild and can only be found in zoos.
There is, however a tiny lion living in Saudi Arabia – a ferocious insect known as the ant-lion. This small predator hides in the sand, which it also throws at its prey – typically ants – to make them fall into its waiting jaws.
What Animals Migrate to Saudi Arabia?
A number of unique birds, including flamingoes, swallows, and storks, migrate in and out of Saudi Arabia.
What Animals Live in the Empty Quarter in Saudi Arabia?
The Rub’ al Khali or Empty Quarter is a sandy desert that covers a large part of the country. It is home to few animals as it is a dry and hostile environment. Arachnids such as scorpions as well as rodents can be found there. The Asiatic cheetah once lived there, but it is regionally extinct.


Deviant behaviours have always been identified all through history and efforts to understand their root led to the emergence of numerous theories from the medieval era to date. In the long past biology was an explanation for such behaviours; for example, in the ancient criminal justice system, during a dispute, the uglier suspect would be found guilty (Wilson & Hernstein 1985). This approach differs from a modern approach where genetics, psychology and social factors are more acceptable explanations to deviant behaviours.
Lambroso (1876) came up with a theory while working in prisons that criminals possess certain physical features such as low foreheads, protruding jaws and cheekbones, hairy bodies, and usually long arms. In addition, he argued that compulsive, primitive, and organic abnormalities were explanations for criminal behaviour. In other words, Lambroso believed that the biological make up of an individual was responsible for their criminal behaviour. This theory suggests that people with certain biological features would always become deviant. Lambroso's theory was based on his personal beliefs in interpreting his observation of prisoners in Italian prisons. Additionally, his findings were not a result of scientific research study. In support for Lambroso (1912), Taylor et al., (1973) argued that biology was an explanation for criminal behaviour. They further argued that criminals are primitive and inferior animals. Taylor et al. (1973) actually believed that criminals were inferior animals who have for some reason not fully evolved from their primate forms. Hooten, (1939) also laid support for biological explanation for deviancy, and argued that criminals are deteriorated inferior human organism, and that criminal propensities were based on the shapes of their bodies such as height, weight, nose, as well as narrow foreheads and elongated and pinched noses for sexual criminals.
In genetics the X is known as the female chromosome while the Y is the male chromosome. A female would carry an XX set of chromosomes one from each donating parent, while a male would carry XY chromosomes, again, one from each donating parent. In rare cases there are individuals who have inherited an extra male chromosome which experts claim are responsible for aggressive behaviours that result to violent crimes. In the sixties, genetics known as XYY was claimed to have link with violence and aggressive behaviour, and was used to explain deviant behaviour. Jarvik (1972) argued that the extra Y chromosome had a characteristic of forcefulness and aggressive predispositions due to rareness in tallness and masculinity. Guo, Cai, Guo, Wang, & Harris (2010) claimed that numerous genes linked with the transmission and reception of the neurotransmitter dopamine such as the DATI, DRD2, and SRD4 are linked to a number of antisocial behaviour.
However, biological explanations to deviant behaviour becomes problematic as facial, body, and physical features are used to explain such behaviour, whereas numerous law abiding people can possess these features. According to Hooten's (1939) explanation, people with narrow foreheads, elongated and pinched nose are sexual criminal. This could be true by chance and may not have any generalization effect. This biological concept of criminality can be a tool for discrimination, racism, unlawful labeling, and more if not well managed.
In the past biology was a tool for racism and discrimination. Historically, a number of these theories had racial undertones; for example, the biological and genetic tools were used to justify and support diverse actions such as aggression, violence, oppressive policies, or even hate behaviour carried out against people of certain race, ethnicity, and background by some governments, groups, or organisations. Looking at the descriptions of dangerous criminals according to many of the previous theorists, it is evident that their concept of criminality was ethnocentric as their description of criminality were in most cases based on feature of races and ethnicity different from themselves.
If the biology of an individual is responsible for their aggressive and criminal behaviour, it then sends a negative message to criminals that they are not responsible for their behaviour as they have no control of their biological makeup. It can be argued that the biology of a person is not what is responsible for criminality, however, biology can play a part in facilitating aggressive behaviour. It is necessary to understand that aggression, violence, and criminality can be exerted by all shapes and sizes, any race or ethnic group. It is unscientific, biased, and naive to sign post certain group as criminals based on their biological make up alone . More specifically, if all human traits are determined by their biology and genes, then there appears to be little or no room for free will.
Deviant behaviour According to Durkheim (1960) is the failure to conform or comply with given rules or norms of the group in question. In other words, the group’s norms, and moral code in judging the behaviour must be recognized in order to consider the behaviour as normal or deviant. Ellwood (1912) argued that crime is a matter of habit, and that people’s habits are adjusted to fit in with one another for the welfare of their group, and that deviance occurs when a person’s habit becomes maladjusted compared to that of the group. Sutherland (1934) claimed that people acquire various elements critical to deviance via group association and that the norms and values of deviant culture, techniques and ways of legitimizing their deviant behaviours. In support for social explanations for deviant behaviour, Gottfredson and Hirschi (1990) argued that deviant people have low self-control, which is a result of poor childhood socialization. They further claimed that the behaviour endures through life regardless of factors such as criminal justice system.
This explanation to criminality argues that people are deviant or criminals not because they are criminal by nature but because they fail to comply to the norms of the group or society. In other words, in the case where a member of the group genuinely believes that the group's norms are for example immoral, oppressive, or not representing the interest of members or society, and as a result deviates from the norms, the individual will be tagged a criminal or deviant. How would the person's behaviour be explained in terms of deviancy or criminality? In other words, the group can sometimes get it wrong. That does not mean that the individual who gets it right is a deviant or a criminal.
It is true that what is considered a criminal behaviour in one society or culture is not always necessarily deviant across society and cultures. This sort of theory can be a tool for social control where people are expected to follow the rules placed by the group, society, or country. The original idea is obedience and conformity to the group. It can be argued from the perspective of 'failure to conform' that what is right or wrong is based on the group's belief system as opposed to that of the individual. When members of the group or society begins to deviate from those beliefs, they become classed as deviants. Therefore, explaining deviancy from this angle would mean that the societal system is ultimate, making challengers of authorities and the system to be deviants or criminals. This includes protesters, opposition groups as well as pressure groups.


|I hear these guys, called alternately a Brazilian, South American, or red-crested cardinal, outside my window every morning. Their song sounds like an ornamented descending mi-re-do. From Mike's Birds under a CC license.|
As I've written about on this blog before, I personally love birdsong and often try and identify birds by the sounds they make (though I am not anywhere near as good as this guy). If you are also interested in birdsong and its connection with music, I recommend listening to this 30-minute radio program recently produced by the BBC and part of the series “The Listening Service”:
Although the title of the program (or should I write “programme”?) is “is birdsong music?”, BBC reporter Tom Service instead spends most of his time answering the question: “how has birdsong been used in Western classical music throughout the years?” Though it is not the stated question, it is also a good question, and of course Service does an excellent review on the music of Messiaen, a 20th-century French composer who spent much of his career translating birdsong in to concert music.
Personally, I’ve found Messiaen’s birdsong-inspired music difficult to listen to, somewhat because it was an attempt to take something we don’t understand and try to create some order on it without changing it too much, resulting in very static-sounding music. Birdsong, though, is something that humans often feel like we should understand, because it is all around us and has influenced the way we write music ourselves. But, as this program makes clear, we don’t know birdsong's purpose, and what’s more, we don’t actually hear it very well: “Birdsong is too fast, too high, for us to understand.” While I disagree slightly with the reasoning the program presents as to why this is the case (size or heartbeat really doesn’t make a difference; the speed of audio wave sampling is much more important), it is true that besides not understanding what birdsong means, we can’t even hear it or reproduce it very well.
Instead, birdsong “becomes translated by us” into music. I think this is why I, like Service, enjoy Vaughan Williams’ “The Lark Ascending,” even if it has very little to do with the actual sounds a lark makes—he uses bird-inspired sounds and creates a symbol of the peace and freedom of nature, but doesn’t try to re-create it.
When Service finally get the to the question (“is birdsong music?”) in minute 25, he hasn’t really analyzed the issue, or even defined the terms in the question, but just dismisses it as “false”, even when no proof has been made against at least some birdsong being music to birds (why wouldn’t attracting a mate be artistic?). Still, it is an interesting listen and I would recommend it, especially to anyone fascinated by birdsong.
One more caveat: While I don’t particularly like author Bernie Krause’s metaphor of the great animal orchestra, especially the comparison with taking the strings out of Beethoven 5th, I do understand what he’s saying about birds filling communication niches—animals using sounds to communicate have to differentiate from other animals, so that their message can get across. Which is kind of like orchestration, except formed by competition and instead of consonance. So, kind of the opposite, actually. (I don't think Service really likes the idea, either.)


Please get into pairs for a listening your eyes warm up.
The players work together form a rhythm repeating earth-orbit-earth-orbit back and forth. Once the rhythm is nicely established player orbit starts to move. They will move slowly adding a new movement each beat, instead of saying orbit. Player earth will then repeat the movement that player had just made. The theory is that someone watching will see two simultaneous image streams that are the same but slightly delayed. Visual data delay is a phenomena of satellite communications.
The warm up is difficult for both players. Player orbit must not be distracted by player earth’s movements may struggle to keep a sensical series of actions. Player earth must watch with her eyes while moving at the same time. Once they decay into a jumbled mess of gesticulations (usually due to a solar flare) the players swap roles.
- Player orbit moves fast.
- Combine with Satellite Radio.
- Satellite TV – the same warm up except player orbit is offering a series of movements that are copied with appropriate delay.
Any help would be out of this world.


Harassment is discrimination based on race, religion, sex, age, or disability. It can also refer to unwelcome physical contact. Harassment is defined by the Canadian Human Rights Commission as: "a form of discrimination. It involves any unwanted physical or verbal behaviour that offends or humiliates you. Generally, harassment is a behaviour that persists over time. Serious one-time incidents can also sometimes be considered harassment."
The Regroupement québécois de la danse (RQD) created a graphic story to raise awareness about harassment in the dance community. It features ten problematic situations experienced in the context of training and professional practice, presented by illustrator Sarah Arnal. The story helps facilitate the identification of abusive behaviours in this field, where the body workload, the overcoming of physical and mental limits and precariousness are important risk factors for psychological and sexual violence. It can be viewed in English or French - links below:
These pages list emergency services, 24-Hour help lines, resource centres, programs, and legal support for folks in crisis and survivors of trauma. If you find yourself in crisis and need someone to talk to, please take a look at our emergency resources for:
A Harassment Policy is a written policy specifically stating that harassment will not be tolerated at work. As an independent producer or independent theatre company, you are required by law to have a Harassment Policy and a Health and Safety Policy. Click here for information on how to create your company’s own harassment and human rights policy.
An accountability process occurs when members of a community organize to respond to harm that has occurred. Click here to learn more about the different types of accountability processes, and why they are relevant to your artistic producing practice.
Everyone has the ability to further their education on preventing and responding to harassment. Our resource pages for Toronto, Ontario, and Canada offer online programs and information about harassment prevention. You may also wish to expand your training and knowledge as a space-maker and artist producer. Here is a list of relevant courses and tool kits:
- Mental Health First Aid (~$175)
- Cultural Human Resources Council HR Management Toolkit: developed especially for the Cultural Sector with a free PDF download of the Workplace Harassment and Violence section ($199.99)
- Canada Safety Council Course on Workplace Violence & Harassment ($29)
- Hollaback Bystander Intervention Training ($5-$50)
- It's Your Shift eLearning Course - about stopping harassment in the service industry ($9.04)
- Psychological Health and Safety in the Workplace is a voluntary standard that specifies requirements for a documented and systematic approach to develop and sustain a psychologically healthy and safe workplace. It can be accessed via free PDF download (FREE)
- TransformHarm.org is a resource hub about ending violence. It offers an introduction to transformative justice. Created by Mariame Kaba and designed by Lu Design Studio, the site includes selected articles, audio-visual resources, curricula, and more (FREE)
- Creative Interventions Toolkit: A Practical Guide to Stop Interpersonal Violence a free, downloadable toolkit containing a basic model for violence intervention, useful information, worksheets, and stories based upon the experiences of Creative Interventions during its development and pilot stages (FREE)
- The Dandelion Initiative is led by survivors of sexual violence for survivors of sexual violence. They prioritize the voices of women, 2SLGBTQ+ survivors, racialized and marginalized survivors and believe in the power of education as a form of resistance to violence. They offer a series of workshops like "Safer Artistic Spaces", "Empowered Bystander Intervention", "Anti-Harassment Lead Training", and "Community Accountability & Safety". Prices vary by workshop topic and group size.
- Dealing with Harassment in Cultural Workplaces Report from Respectful Workplaces in the Arts which explores current existing reporting, investigates mechanisms, and studies other solutions to be implemented to assist cultural sector workers and employers.
- Me Too
- After Me Too (Symposium and Report)
- #metoo March Toronto Facebook Page
- White Ribbon Campaign
- Moose Hide Campaign
- UNiTE – United Nations Women
- Heart Mob
- Draw the Line
- Time’s Up
- Stop Street Harassment
- Not Surprised - campaign website no longer active, but you can read about it here
- Alberta Bullying Resource Centre - Workplace Bullying Support
Roundtables, townhalls, statements, talks, magazines and blogs
- Generator's #UrgentExchange: Who is a Monster? What is a Monster? Am I a Monster? #metoo what next? - listen to a range of speakers discuss different topics in relation to workplace safety, sexual harassment and more.
- PACT Anti-Harrassment Roundtable Statement
- Red Gate Arts Society Townhall on Consent & Accountability
Looking for legal support or mediation services? Here are a few resources for residents of Toronto and Ontario:
- Barbra Schilfer Commemorative Clinic
- Brook Thorndycraft Conflict Mediation Services
- Competence Consultants
- Ontario Women’s Justice Network
- Meditation Services
- Human Rights Legal Support Centre
A full list of legal support organizations for artists can be found on our resource page.


How heavy do I journey on the way,
When what I seek, my weary travel's end,
Doth teach that ease and that repose to say
'Thus far the miles are measured from thy friend!'
The beast that bears me, tired with my woe,
Plods dully on, to bear that weight in me,
As if by some instinct the wretch did know
His rider lov'd not speed, being made from thee:
The bloody spur cannot provoke him on
That sometimes anger thrusts into his hide,
Which heavily he answers with a groan,
More sharp to me than spurring to his side;
For that same groan doth put this in my mind,
My grief lies onward, and my joy behind.
L. The poet finds the journey which he is taking tedious and wearisome. The ease and repose looked for at the end of each day's travel are lost in the thought that every stage marks so many miles farther away from his friend. The very beast on which he rides sympathises with his rider, as if by instinct, and plods heavily on, answering, when spurred, with a groan, a groan which reminds his rider of his own sorrow.
3. That ease and that repose to say, &c. A bold metaphor, to make the
halting-station, or the rest obtained there, speak.
6. Dully. Q. "duly."
How to cite this article:
Shakespeare, William. Sonnets. Ed. Thomas Tyler. London: D. Nutt, 1890. Shakespeare Online. 10 Jan. 2014. < http://www.shakespeare-online.com/sonnets/50.html >.
Stratford School Days: What Did Shakespeare Read?
Games in Shakespeare's England [A-L]
Games in Shakespeare's England [M-Z]
An Elizabethan Christmas
Clothing in Elizabethan England
Queen Elizabeth: Shakespeare's Patron
King James I of England: Shakespeare's Patron
The Earl of Southampton: Shakespeare's Patron
Going to a Play in Elizabethan London
Ben Jonson and the Decline of the Drama
Publishing in Elizabethan England
Religion in Shakespeare's England
Alchemy and Astrology in Shakespeare's Day
Entertainment in Elizabethan England
London's First Public Playhouse
Shakespeare Hits the Big Time
More to Explore
How to Analyze a Shakespearean Sonnet
The Rules of Shakespearean Sonnets
The Contents of the Sonnets in Brief
Shakespeare's Sonnets: Q & A
Theories Regarding the Sonnets
Are Shakespeare's Sonnets Autobiographical?
Petrarch's Influence on Shakespeare
Theme Organization in the Sonnets
Shakespeare's Greatest Love Poem
Shakespeare and the Earl of Southampton
The Order of the Sonnets
The Date of the Sonnets
Who was Mr. W. H.?
Are all the Sonnets addressed to two Persons?
Who was The Rival Poet?
What Shakespeare Didn't Say
Granted, Shakespeare gave us more memorable quotes than any other writer, but often he gets credit for the clever quips of other greats, like Ben Franklin and John Milton. Here are some of the most common words of wisdom mistakenly attributed to the Bard.
Shakespeare's Treatment of Love in the Plays
Shakespeare's Dramatic Use of Songs
Shakespeare Quotations on Love
Shakespeare Wedding Readings
Shakespeare on Sleep


Facts about Mary Wollstonecraft present the information about an English writer. She was born on April 27th, 1759 and died in September 1797. People also recognize her due to her struggle for women’s rights. She was also known as a philosopher. She had written a children’s book, a conduct book, a travel narrative, novels, a history of French revolution and treaties in her brief career. Let us find out other unique facts about Mary Wollstonecraft below:
Facts about Mary Wollstonecraft 1: the best-known work of Mary
The best-known work of Mary presents the idea that women were not naturally inferior to men. Her idea was explained in A Vindication of the Rights of Woman (1792). She believed that the lack of education was the primary cause of the inferiority of women.
Facts about Mary Wollstonecraft 2: the personal relationship
The personal relationship of Wollstonecraft earned attention from public until the end of 20th century. Her writing started to get more attention in the later years.
Facts about Mary Wollstonecraft 3: affairs
Wollstonecraft was involved with two affairs. Both were Gilbert Imlay and Henry Fuseli. Wollstonecraft gave birth to a daughter Fanny Imlay.
Facts about Mary Wollstonecraft 4: marriage
Her husband was William Godwin known as a pioneer in anarchist movement.
Read Also: 10 Facts about Mary Downing Hahn
Facts about Mary Wollstonecraft 5: the death of Wollstonecraft
11 days after her second daughter was born, Wollstonecraft passed away at the age of 38. Some of her manuscripts were not finished.
Facts about Mary Wollstonecraft 6: Mary Wollstonecraft Godwin
Mary Wollstonecraft Godwin was the daughter of Mary Wollstonecraft who became a famous writer. Her daughter wrote the popular story of Frankenstein. She was known as Mary Shelley.
See Also: 10 Facts about Mary Pope Osborne
Facts about Mary Wollstonecraft 7: Memoir (1798)
Memoir (1798) was published by her widower after the death of Wollstonecraft. This book exposed her unorthodox lifestyle, which damaged her status for almost 100 years.
Facts about Mary Wollstonecraft 8: a recovered status
Her status was recovered due to the rise of feminism in 20th century. She became a prominent feminist figure.
Facts about Mary Wollstonecraft 9: the burial
The burial of Wollstonecraft was located in Old Saint Pancras Churchyard. She died on September 10th, 1797. The remains of hers were relocated to the family tomb in St Peter’s Church by Percy Florence Shelley, her grandson in 1851.
Check Also: 10 Facts about Mary Shelley
Facts about Mary Wollstonecraft 10: portrayal of her husband
Wollstonecraft’s suicide attempts, love affairs and illegitimate children were exposed by her husband after her death.
Do you have any opinion on facts about Mary Wollstonecraft?


Biologists define commensalism as an inter-specific relationship, that takes place between two different species where one of them obtains some profit without affecting the other one.
|Dust Mites, by Jacopo Werther|
One typical example of commensalism is the relationship between human beings and those myriads of acari, also called dust mite, that live in our pillows, sheets or mattresses. Some of these small arthropoda are adapted to live close to humans and feed on our dead epithelial cells that are permanently being removed from our skin. The animal obtains its food without affecting us, unless we are allergic to them. But, even in that case, we must talk about commensalism because the dust mites are not responsible for the damage, it is our defensive system which is working incorrectly. Summing up, the bug causes indirect damage and after all, it is not to blame.
Dust mites are one of the smallest known animals, they measure around 250 microns so they are hardly visible to the naked eye. They belong to the phylum arthropoda, and the class arachnida, like spiders or scorpions and just like them, they have eight legs and their body has two main parts, the cephalothorax and the abdomen. As they feed on dead organic matter, we can say that they are scavengers.
Evolution has transformed some of these animals into our ordinary neighbours. They dwell in places where dust and organic matter are especially abundant. And we lose lots of dead epithelial cells when we are sleeping in our beds. Due to this, they are glad to combine our rest and their meal.
The fact of being surrounded by animals capable to live eating dead parts of our body is, in my opinion, slightly overwhelming. Superficial cells of our skin are shed constantly. Indeed, a fraction of the dust that it is built up in our house is made up of these cells we have released. This is the reason why we talk about dust allergy; we should talk about allergy to dust mites, because the animals that live in the dust are the real allergen.
Our skin is a complex organ with three parallel layers. The lower one, in contact with other inner tissues, above all bones and muscles, is called hypodermis. This is a connective tissue, rich in adipocytes (also called fat cells) and fibrillar proteins. Just above this layer we can find the dermis, a thick layer made also of connective tissue, although this one is richer in water, elastic fibers and fibroblasts, the cells that produce and support the fibrilar system.
Finally, the upper layer is called epidermis and it is made of epithelial tissue. The lowest level of this layer is called basal layer and it is made of epithelial cells that are dividing constantly. They produce new epithelial cells that move to upper levels. New cells push older cells, so that the longer the time a cell has been produced, the higher the level it can be found.
The cells move through the epidermis towards the surface and at the same time, they carry out a maturative process, they build up a fibrilar protein called keratin that make them harder. They also lose all their inner organelles and, step by step, they are transformed into a block of keratin. After finishing the process, after arriving in the surface, they are dead. To sum up, all our exterior is a sort of sheet, a tissue of keratin and dead cells (called squamous cells). The older cells are removed and other cells take their place. This is the way our body keeps our exterior in optimum condition.
From the dust mites point of view, these lost cells are a sort of manna released by those enormous animals that God created in order to provide them their food.


By Marie Miguel. Used with permission.
You’re driving to work, and everything is fine. You’re listening to your favorite morning show on the radio, and you already had breakfast so you won’t have to multitask while driving. The traffic around you seems to be moving at a steady and safe pace, but then, you become lodged in the middle of two semis who appear to enter your lane more than their own.
Then, it hits: the all-too-familiar, overwhelming fear that settles in random (and not so random) moments of your life. You’re sweating, your heart is beating rapidly. You don’t know how you’re going to make it to work, much less survive this moment. You’re immersed in fear and don’t know what to do. Your mind is racing, and it won’t stop telling you that a catastrophe is about to occur.
This is a panic attack. The important thing to remember while having a panic attack is that you will get through it and be able to get through the rest of your day. No matter the cause, you can manage the following symptoms of a panic attack:
- Intense feelings of impending danger;
- Fears of the loss of control or even death;
- Sweating episodes;
- Chills, trembling and shaking;
- Rapid heart rate and/or chest pain;
- Abdominal cramps;
- Headache or general dizziness;
- Numbness or tingling;
- Feeling what you’re experiencing in the moment isn’t real; and
- Other symptoms.
What can you do to manage a panic attack?
If you are driving or doing another activity in which you have to concentrate, try your best to focus on the task at hand. Drive until you can pull over. If you can, try to not suppress the panic attack. It could lead to a more intense one later in the day or at another time. Let yourself have the panic attack, despite your momentary fears.
After the onset of the current panic attack, here are some things you can do to manage your panic attacks:
Learn all you can about them.
Read books and online articles to learn more about panic attacks and how they affect you and your life. Once you have the knowledge you need, you can learn about your individual triggers and how to manage them. If you have agoraphobia and avoid certain situations or places where you could have a potential or actual panic attack, then learn where those places are. Slowly integrate them into your daily drive.
Breathe and relax your muscles.
When we have panic attacks, it could be challenging to take deep breaths. Practice taking deep breaths while you’re having a panic attack. It could ease a lot of your symptoms, such as your racing heart, and will help you focus on getting through the attack. Relax your muscles, as they tend to get tense during a panic attack. Start relaxing your feet muscles and work your way up to your head.
Get the help you need.
Practicing mindfulness and cognitive behavior therapy with a licensed medical professional can help you immensely as you work through your panic attacks, as well as their causes and symptoms. Focus on your catastrophic fears and learn to work through them.
- “Things will never go my way” – A panic attack does not have the power to ruin the rest of your life. No one thing can ever do that. Tomorrow is a new day and you can make choices to help yourself.
- “I will never be the same” – Remember, this is a temporary, short-lived event. You may not be in control of your emotions, but you are in control of many other things. You can choose your breathing rate, you can slow your thinking down, you can improve yourself a little each day.
- “I am worthless” – One event does not change who you are. Taking time to consider your other positive qualities will help you to feel more grateful and may help to improve your mood.
Prepare for a panic attack.
While we may not always know when we will have our next panic attack, be sure to keep things in your car, office, home, etc., to have on hand when you do have an attack. Always keep water near you to keep yourself cool and hydrated. If you have cold chills during a panic attack, then keep a jacket near you to put on. Turn on some music or your favorite podcast to help ease your mind. Find what works best for you. Handle the present moment.
In addition, exercising and eating a well-balanced diet can help you ease your panic attacks and their overall symptoms.
Remember: This article is no replacement for seeing your healthcare professional and getting the medical help that you require.
If this piece resonated with you, you will want to read some of smswaby’s writing:
Invitation: If you would like to be a future guest contributor to Getting High on Recovery, please email email@example.com.
About Marie Miguel: Marie is an avid internet researcher. She is fueled by her determination to answer the many questions she hasn’t been able to find the answer to anywhere else. When she finds these answers she likes to spread the knowledge to others seeking help. She is always looking for outlets to share her information, therefore she occasionally has her content published on different websites and blogs. Even though she doesn’t run one for herself she loves contributing to others.
Photo by Noemí Galera


- Understanding variables in Python (different form what we mean with TouchDesigner variables)
- Referencing by using variables in a script
- simple scripting
- simple preset recall
There are lots of resources on the web that describe variables better than I might:
The essential idea here, however, is that you have something that you want to reference by name. That something might be a sentence, it might be a quantity, it could be anything really. Again, it’s more important for us in this moment to consider that our something (whatever it is) happens to be a piece of information that we want re-use.
Let’s look at a dead simple example, to help us get started. If variables aren’t new to you feel free to skip ahead.
Let’s imagine you own a toy store. That toy store happens to sell marbles. That’s great, good for you – you’re a marvelous little capitalist. Now, let’s imagine that you want to do an inventory of all of your marbles. You have several different varieties of marbles, and you’d like to be able to think of them as different, while also having a total count. In this situation we might keep track of your marbles by using some variables:
red_marbles = 10 blue_marbles = 5 green_cat_eyes = 6 blue_cat_eyes = 12
Nice work. Now, we can print out each one of those, and get back our stored quantity. We could also do something like this:
total_marbles = red_marbles + blue_marbles + green_cat_eyes + blue_cat_eyes
Now we also know the total quantity of marbles. Super. Finally, we might want to see all of that. Let’s look at what that might look like:
print( "Currently in your inventory you have:" ) print( "%d red marbles" % red_marbles ) print( "%d blue marbles" % blue_marbles ) print( "%d green cat eye marbles" % green_cat_eyes ) print( "%d blue cat eye marbles" % blue_cat_eyes ) print( "-" * 10 ) print( "That makes for %d total marbles" % total_marbles )
That’s great, and hopefully you’re a careful shop keeper and you don’t loose any of your marbles… it was a long set-up for that bad joke.
What does this do for us here in TouchDesigner? When we’re scripting in Touch it’s often useful to be able to assign variables for all sorts of things. This especially useful when referencing operators.
Let’s quickly consider one example. We might, have a level TOP that we want to make changes to. Starting with a simple task, lets imagine we want to use a script to change the opacity of a level TOP to 0. We could easily write something like this to solve this need:
op( 'level1' ).par.opacity = 0
That’s short and simple and gets the job done. Love it. Now, let’s imagine a slightly more complicated world where I want to change lots of parameters for this operator. I want to change the invert, black level, brightness 1, gamma 1, contrast, and opacity. That’s great. Let’s write all of that out and see what we end up with:
op( 'level1' ).par.invert = 0.31 op( 'level1' ).par.blacklevel = 0.27 op( 'level1' ).par.brightness1 = 1.45 op( 'level1' ).par.gamma1 = 0.5 op( 'level1' ).par.contrast = 1.76 op( 'level1' ).par.opacity = 0.782
That’s not too bad, but we could make that a little less error prone if we were to simplify some of our script:
level = op( 'level1' ) level.par.invert = 0.31 level.par.blacklevel = 0.27 level.par.brightness1 = 1.45 level.par.gamma1 = 0.5 level.par.contrast = 1.76 level.par.opacity = 0.782
That’s pretty swanky, but let’s imagine a situation where I’ve made a table full of presets that I want to be able to reference. Let’s look at how we might tackle something like that:
# define our variables: presets = op( 'table_presets' ) level = op( 'level1' ) row_ref = 'preset1' # change some parameters level.par.invert = presets[ row_ref , 'invert' ] level.par.blacklevel = presets[ row_ref , 'blacklevel' ] level.par.brightness1 = presets[ row_ref , 'brightness1' ] level.par.gamma1 = presets[ row_ref , 'gamma1' ] level.par.contrast = presets[ row_ref , 'contrast' ] level.par.opacity = presets[ row_ref , 'opacity' ]
Okay… so what happened here? First we defined created a variable called “presets” that stands in for op( ‘table_presets’ ). We also made one called “level” and one called “row_ref”.
Next we wrote a generalized set of instructions to change some parameters using our variables. For the sake of seeing it all written out let’s look write it out long-form:
op( 'level1' ).par.invert = op( 'table_presets' )[ 'preset1' , 'invert' ] op( 'level1' ).par.blacklevel = op( 'table_presets' )[ 'preset1' , 'blacklevel' ] op( 'level1' ).par.brightness1 = op( 'table_presets' )[ 'preset1' , 'brightness1' ] op( 'level1' ).par.gamma1 = op( 'table_presets' )[ 'preset1' , 'gamma1' ] op( 'level1' ).par.contrast = op( 'table_presets' )[ 'preset1' , 'contrast' ] op( 'level1' ).par.opacity = op( 'table_presets' )[ 'preset1' , 'opacity' ]
This works just the same… so why use variables. Well, in this case I used variables to keep my code a little more tidy. I also did this because it means I’m less likely to make an error if I’m using shorter names. Most importantly, we did this because we’ve now created a variable called row_ref. This means we can change how this script works, just by altering this single variable. Let’s say that we have two different presets. It would be far less fun to write the same set of scripts all over again just to reference a different preset. Instead, we can just change our variable to indicate which preset to use. That means that by making this single change:
row_ref = 'preset2'
We’ve actually made this change:
op( 'level1' ).par.invert = op( 'table_presets' )[ 'preset2' , 'invert' ] op( 'level1' ).par.blacklevel = op( 'table_presets' )[ 'preset2' , 'blacklevel' ] op( 'level1' ).par.brightness1 = op( 'table_presets' )[ 'preset2' , 'brightness1' ] op( 'level1' ).par.gamma1 = op( 'table_presets' )[ 'preset2' , 'gamma1' ] op( 'level1' ).par.contrast = op( 'table_presets' )[ 'preset2' , 'contrast' ] op( 'level1' ).par.opacity = op( 'table_presets' )[ 'preset2' , 'opacity' ]
This is only the tip of the iceberg, but helps us see how useful using variables in Python can be.


Monday, August 25, 2014
Friday, August 8, 2014
With the adoption of Common Core nationwide, we are already starting to see increased demand at our library for nonfiction resources for children, particularly for books suitable for kindergarten and first grade. Animal reports are particularly popular with these early grades, and Cathryn Sill's new book, About Parrots, a new release from Peachtree Press, is ideally suited for that purpose.
The large format book features beautiful full-page paintings of different colorful parrots from around the world by wildlife artist John Sill, along with very brief and simple text that is targeted toward young children (see example below). Catherine Sill is a former elementary school teacher, and it is clear that she knows her audience well and what will interest young children as well as information they will require for school. The simple text covers diverse topics such as the parrots' diet, habitat, communication, predators, and nests. The main part of the book talks only about wild parrots, and does not cover their long history as pets, or their skills at imitating sounds such as human speech.
An afterword features additional information about each illustration, providing further details that would enhance the book for older children who are interested in going beyond the very basic information covered in the text. The afterword does touch briefly on how many parrot species are endangered because of both habitat destruction and being captured as pets.
In addition to the afterword, other back matter includes a glossary, suggestions for further reading, helpful websites for children on parrots, and a brief bibliography. About Parrots is part of the "About...Series," which includes volumes on various animal groups (i.e. mammals and amphibians) as well as particular species, such as penguins and raptors.
At a recent professional meeting for children's librarians, we were advised that with Common Core, we should be incorporating nonfiction books regularly into storytimes for preschoolers and even toddlers. This is a wonderful example of a nonfiction book that could be easily incorporated into a storytime for young children about birds, since the minimal text and large illustrations make it well suited to reading aloud to young children as well as for school reports.
For more on About Parrots, please see blog tour stops from earlier in the week:
Kid Lit Reviews, Jean Little Library, Geo Librarian, Chat with Vera, Kid Lit Frenzy, and Blue Owl.
Note: An advance copy of this book was furnished by the publisher.
Monday, August 4, 2014
Wednesday, July 30, 2014
My Country ‘Tis of Thee: Matching Subject to Style
|Author Claire Rudolf Murphy|
Writing my new book My Country ‘Tis of Thee: How One Song Tells the Story of Civil Rights taught me a craft lesson that I am working to replicate again in other nonfiction projects, matching subject to style. When writing for young readers, it is a great challenge how to share one’s research in a style that connects with their lives and brings clarity and enjoyment to new, complex subjects. Stephen J. Pyne’s wonderful nonfiction craft book Voice and Vision: A Guide to Writing History and Other Serious Nonfiction discusses the importance of identifying a vision for one’s book and that finding the right style and structure to carry it out.
For many years I had been conducting research on civil rights activists throughout American history. I wanted to tell this larger story that began when the colonists first began protesting against the English taxes and continues today in areas like immigration and gay rights. But that is a great deal of material to cover in one book. As Pyne says, “If you’re lucky you have an epiphany (on what structure to use.) But if unlucky, your manuscript crawls and sprawls and never comes together.”
For many years I had been researching people of color and women who had fought for equal rights throughout our country’s history. I wanted to write a collection of stories about them. But editors kept saying the profiles were too dense, not riveting enough and wouldn’t connect enough with younger readers. For several years my project sprawled every which way, growing more unwieldy every week, with new activists and events I had uncovered, but no structure to carry the load.
Until I was knee deep into research on the women’s suffrage movement for my 2011 book Marching With Aunt Susan: Susan B. Anthony and the Fight for Women’s Suffrage. I ran across suffrage verses set to the song “My Country ‘Tis of Thee.” Like many protest movements, the suffragists had written verses to well known tunes to support their cause and sing at meetings and rallies. I’ve long known that music can convince and connect with people in a way that words alone cannot.
When I found their verse (that ended up in Marching With Aunt Susan,) something clicked in me. I had that epiphany Pyne talks about. I wondered - did other movements use this same song to promote their cause? Some quick research uncovered several examples. I found more and more, until I found my climax with Martin Luther King, Jr. quoting the song in his “I Have a Dream” speech and the resolution of Aretha Franklin singing the song at President Obama’s first inauguration.
I knew immediately that all my years of research had brought me to this place where I could put this history together for young readers in a format that would connect with them in an inventive way because they already knew the melody. Everybody does. I knew immediately that I had finally discovered the structure I needed, possibly the best structure I’ve ever used in a nonfiction book. And it brought double pleasure because it also tied into my love of music. Because I had done all that research for so many years it allowed me to realize how this song truly did represent the history of civil rights in our country. I wouldn’t have realized how important these verses were if I didn’t already understand the power and depth and breadth of protest throughout our country’s two hundred plus years. Most of my research doesn’t appear in the book, but it holds up, gives gravitas to the verses I feature, even if the reader doesn’t fully understand it. They get it. And Bryan Collier’s stunning illustrations bring these protest verses to life in a new way, too, for readers to pore over.
I am delighted that I end the book with the line: “Now it’s your turn. Write a verse for a cause you believe in.” Because this invitation to young readers has become the focus of my promotion as I help launch this book. With the support of my publisher, I have started a contest, inviting students across the country to submit new verses. I have books and posters to send to the winners.
Second graders in Spokane wrote this verse:
Schools should be bully-free,
Full of our honesty,
Friends should be kind.
Include us in your game,
Please treat us all the same,
Stop calling us those names,
Friends should be kind.
A 5th/6th grade class wrote this one:
My country ‘tis of thee
So sad the poverty
God keep them in your sight
Help us relieve their plight
Shelter them for the night
New hope is found
My hope is that teachers will grab onto this way to teach history and music and use it as a writing activity in class. New verses can be submitted on my web site and musical recordings of the verses can be found there too.
Let freedom ring!
Thanks so much, Claire, for writing this insightful and inspirational post for The Fourth Musketeer's readers.
Monday, July 28, 2014
Book Review: My Country 'Tis of Thee: How One Song Reveals the History of Civil Rights, by Claire Rudolf Murphy (Henry Holt, 2014)
NOTE: A guest post from author Claire Rudolf Murphy will appear in this blog on Wednesday!
Most of us don't really think much about the "patriotic" songs we are taught back in elementary school. Before reading this fascinating account, all I knew about the song "America," more commonly known by its first line "My Country, 'Tis of Thee," was that it was sung to the same tune as "God Save the Queen."
In a stunning new picture book by Claire Rudolf Murphy, we are able to follow the history of this iconic American song, which has morphed over the years with new lyrics and versions sung in different times, as our country struggled with different issues of freedom and civil rights.
The book traces the song from its earliest version in 1740's England, when it was sung by supporters of the British monarch George II, to the inauguration of President Obama. Murphy paints the history of the United States in broad strokes; in an interesting layout choice, the information about the song is in a smaller font, while the outlines of the historical context, written in a terse one sentence format, are in a much larger, old-fashioned font that recalls the look of early printed books and newspapers. From a special version of the song for Washington's inauguration, to versions that call for liberty for women, slaves, and Native Americans, the song evolved to address the continual quest for freedom and justice in America.
The book is greatly enhanced by striking two-page illustrations from award-winning illustrator Bryan Collier, featuring his signature style, a mix of vibrant watercolor and collage.
Extensive back matter includes the music and lyrics for the song America, source notes, a bibliography, and further resources, including musical links.
Inspired by the book, Murphy has created the My Country Tis of Thee Music Project, which offers a play list with all the different versions of the song mentioned in the book. In addition, choirs "of all ages and abilities" are invited to upload their own versions of the song, including new lyrics.
With the advent of Common Core around the country, teachers, parents and librarians will be looking for more outstanding nonfiction books to integrate into the curriculum. My Country 'Tis of Thee is an outstanding book to recommend to teachers and families, particularly of children in elementary school.


On this page are described a few features of the Soyuz spaceship that are too brief to have their own dedicated pages.
From ESA’s News From Moscow newsletter, Issue 7, 2005:
The cost of Soyuz manned ships for NASA, in case the United States decides to buy them from Russia for safety insurance of the ISS crews, may come up to 400 million rubles (~14.5 million at $1=R27.7 rate), the Russian Space Agency chief Anatoly Perminov said in the RIA Novosti interview.
In Russia a Soyuz costs about 400 million rubles plus the same price of its launch vehicle, which totals 800 million rubles. “For the United States the price will be about that,” Perminov noted.
From the Mir Hardware Heritage PDF document by David Portree (in NASA’s Shuttle-Mir history):
Soyuz internal transfer docking unit. This system [was used] for docking spacecraft to Mir. The active craft inserts its probe into the space station receiving cone. The probe tip catches on latches in the socket at the apex of the cone. Motors then draw the two spacecraft together. Latches in the docking collars catch, and motors close them. Fluid, gas, and electrical connections are established through the collars. After the cosmonauts are certain the seal is airtight, they remove the probe and drogue units, forming a tunnel between spacecraft and station. At undocking, four spring push rods drive the spacecraft apart. If the latches fail to retract, the spacecraft can fire pyrotechnic bolts to detach from the station.
The Soyuz TMA uses the same system for ISS dockings.
Kazbek-U seat fittings
Each cosmonaut has their own moulded seat liner fitted and made for them before the mission. These need to be swapped over with the returning crew’s during a crew changeover mission. Expedition crews on long missions also need to do periodic fit checks (as there is no gravity to compress their intervertebral disks, these expand, also stretching the muscles in their backs and increasing their height by a few centimeters). From the 7 July 2004 On-Orbit Report:
The two crewmembers conducted the standard fit check of the “Kazbeks,” the contoured shock absorbing seats in the Soyuz 8S descent capsule (SA). This required them to don their Sokol pressure suits, get in their seats and use a ruler to measure the gap between the top of the head and the top edge of the structure facing the head. The results were reported to TsUP. Kazbek-U couches are designed to withstand g-loads during launch and orbital insertion as well as during reentry and brake-rocket-assisted landing. Each seat has two positions: cocked (armed) and non-cocked. In the cocked position, they are raised to allow the shock absorbers to function during touchdown. The fit check assures that the crewmember whose body gains in length during longer-term stay in zero-G, will still be adequately protected by the seat liners for their touchdown in Kazakhstan.
As listed in Simulators of manned spacecrafts at GCTC at NASASpaceflight.com, the simulators are:
The TDK-7ST Simulator is intended for preparation of crewmen for Soyuz control at all stages of flight in regular modes and emergencies with imitation of work of all onboard systems.
- TDK-7ST No. 3 (for old Soyuz-TMA with old Neptune-ME panel)
- TDK-7ST No. 4 (for old Soyuz-TMA with new Neptune-ME panel)
- TDK-7ST No. 5 (for new Soyuz-TMA with new Neptune-ME panel)
The Don-Soyuz Simulator is intended for training of hand control of Soyuz in following modes: rendezvous, approach and docking with ISS and its modules; approach without Kurs radio engineering system of rendezvous with radar.
- Don-Soyuz No. 1 (Descent Module of Soyuz TMA)
- Don-Soyuz No. 2 (Descent Module and Orbital Module of Soyuz TMA)
The Teleoperator Simulator is intended for preparation of cosmonauts on manual remote piloting mode TORU of approach and docking of Progress cargo ships and modules with ISS, and monitoring of ESA’s ATV docking.
Each day on orbit, a “Form 14” is radiogrammed up to the crew with the Ugly Posadky, угли посадкы, landing angles, for that day’s Soyuz de-orbit opportunities, in case the crew have to make an emergency evacuation and thus need the co-ordinates for re-entry. The times are printed in six-figure groups of hours, minutes and seconds. During these times the Soyuz can safely re-enter the atmosphere at a predetermined angle; too steep an angle and the capsule will burn up; too shallow and it will bounce off the atmosphere and head off into the void.
Padalka and Fincke had three hours set aside to conduct the Soyuz emergency descent (срочный спуск, srochnyi spusk) training exercise, standard procedure for each crew depending on the Soyuz as a CRV (crew rescue vehicle). The exercise, which strictly forbids any command activation (except for switching the Soyuz InPU display), was supported by a tagup with ground experts at TsUP/Moscow via U.S. S-band. [The training session included a review of the pertinent ODF (operational data files), specifically the books on Soyuz Insertion & Descent Procedures, Emergency (Rapid) Descents, and Off-Nominal Situation Procedures.]


But what can be done? What course should we pursue? Let us consider a few possible solutions and the reasons which bear upon them.
There is one cardinal fact which dominates everything. It is that any change must be for the better. Under their old savage régime as Stanley found them the tribes were infinitely happier, richer and more advanced than they are to-day. If they should return undisturbed to such an existence, the situation would, at least, be free from all that lowering of the ideals of the white race which is implied by a Belgian occupation. We may start with a good heart, therefore, since whatever happens must be for the better.
Can a solution be found through Belgium?
No, it is impossible, and that should be recognized from the outset. The Belgians have been given their chance. They have had nearly twenty-five years of undisturbed possession, and they have made it a hell upon earth. They cannot disassociate themselves from this work or pretend that it was done by a separate State. It was done by a Belgian King, Belgian soldiers, Belgian financiers, Belgian lawyers, Belgian capital, and was endorsed and defended by Belgian governments. It is out of the question that Belgium should remain on the Congo.
Nor, in face of reform, would Belgium wish to be there. She could not carry the burden. When the country is restored to its inhabitants together with their freedom, it will be in the same position as those German and English colonies which entail heavy annual expenditure from the mother country. It is a proof of the honesty of German colonial policy, and the fitness of Germany to be a great land-owning Power, that nearly all her tropical colonies, like our own, show, or have shown, a deficit. It is easy to show a profit if a land be exploited as Spain exploited Central America, or Belgium the Congo. It would always be more profitable to sack a business than to run it. Now, if the forced revenue of the Congo State disappeared, it would, at a moderate estimate, take a minimum of a million a year for twenty years to bring the demoralized State back to the normal condition of a tropical colony. Would Belgium pay this £20,000,000? It is certain that she would not. Reform, then, is an absolute impossibility so long as Belgium holds the Congo.
What, then, should be done?
That is for the statesmen of Europe and America to determine. America hastened before all the rest of the world in 1884 to recognize this new State, and her recognition caused the rest of the world to follow suit. But since then she has done nothing to control what she created. American citizens have suffered as much as British, and American commerce has met with the same impediments, in spite of the shrewd attempt of King Leopold to bribe American complicity by allowing some of her citizens to form a Concessionnaire Company and so to share in the unholy spoils. But America has a high moral sense, and when the true facts are known to her, and when she learns to distinguish the outcome of King Leopold’s dollars from the work of honest publicists, she will surely be ready to move in the matter. It was in crushing pirates that America made her first international appearance upon the world’s stage. May it be a precedent.
But to bring the matter to a head the British Government should surely act with no further delay. The obvious course would appear to be that having prepared the ground by sounding each of the Great Powers, they should then lay before each of them the whole evidence, and ask that a European Congress should meet to discuss the situation. Such a Congress would surely result in the partition of the Congo lands—a partition in which Great Britain, whose responsibilities of empire are already too vast, might well play the most self-denying part. If France, having given a pledge to rule her Congo lands in the same excellent fashion as she does the rest of her African Empire, were to extend her borders to the northern bank of the river along its whole course until it turns to the south, then an orderly government might be hoped for in those regions. Germany, too, might well extend her East African Protectorate, so as to bring it up to the eastern bank of the Congo, where it runs to the south. With these large sections removed it would not be difficult to arrange some great native reservation in the centre, which should be under some international guarantee which would be less of a fiasco than the last one. The Lower Congo and the Boma railway would, no doubt, present difficulties, but surely they are not above solution. And always one may repeat that any change is a change for good.
Such a partition would form one solution. Another, less permanent and stable—and to that extent, as it seems to me, less good—is that which is advanced by Mr. Morel and others. It is an international control of the river, some provision for which is, as I understand, already in existence. The trouble is that what belongs to all nations belongs to no nation, and that when the native risings and general turmoil come, which will surely succeed the withdrawal of Belgian pressure, something stronger and richer than an International Riverine Board will be needed to meet them. I am convinced that partition affords the only chance of solid, lasting amendment.
Let us suppose, however, that the Powers refuse to convene a meeting, and that we are deserted even by America. Then it is our duty, as it has often been in the world’s history, to grapple single-handed with that which should be a common task. We have often done so before, and if we are worthy of our fathers, we will do it again. A warning and a date must be fixed, and then we must decide our course of action.
And what shall that action be? War with Belgium? On them must rest the responsibility for that. Our measures must be directed against the Congo State, which has not yet been recognized by us as being a possession of Belgium. If Belgium take up the quarrel then so be it. There are many ways in which we can bring the Congo State to her knees. A blockade of the Congo is one, but it has the objection of the international complications which might ensue. An easier way would be to proclaim this guilty land as an outlaw State. Such a proclamation means that to no British subject does the law of that land apply. If British traders enter it, they shall be stopped at the peril of those who stop them. If British subjects are indicted, they shall be tried in our own Consular Courts. If complications ensue, as is likely, then Boma shall be occupied. This would surely lead to that European Conference which we are supposing to have been denied us.
Yet another solution. Let a large trading caravan start into the Congoland from Northern Rhodesia. We claim that we have a right to free trade by the Berlin Treaty. We will enforce our claim. To do so would cut at the very roots of the Congo system. If the caravan be opposed, then again Boma and a conference.
Many solutions could be devised, but there is one which will come of itself, and may bring about a very sudden end of the Congo Power. Northern Rhodesia is slowly filling up. The railhead is advancing. The nomad South African population, half Boers, half English, adventurers and lion hunters, are trekking toward the Katanga border. They are not men who will take less than those rights of free entry and free commerce which are, in fact, guaranteed them. Only last year twelve Boer wagons appeared upon the Katanga border and were, contrary to all international law, warned off. They are the pioneers of many more. No one has the right, and no one, save their own Government, has the force to keep them out. Let the Powers of Europe hasten to regulate the situation, or some day they may find themselves in the presence of a fait accompli. Better an orderly partition conducted from Paris or Berlin, than the intrusion of some Piet Joubert, with his swarthy followers, who will see no favour in taking that which they believe to be their right.
But whichever solution is adopted, the conscience of Europe should not be content merely with the safeguarding of the future. Surely there should be some punishment for those who by their injustice and violence have dragged Christianity and civilization in the dirt. Surely, also, there should be compulsory compensation out of the swollen moneybags of the three hundred per cent. concessionnaires for the widows and the orphans, the maimed and the incapacitated. Justice cannot be satisfied with less. An International Commission, with punitive powers, may be exceptional, but the whole circumstances are exceptional, and Europe must rise to them. The fear is, however, that it is the wretched agents on the spot, the poor driven bonus-hunters who will be offered up as victims, whereas the real criminals will escape. The curse of blood and the scorn of every honest man rest upon them already. Would that they were within the reach of human justice also! They have been guilty of the sack of a country, the spoliation of a nation, the greatest crime in all history, the greater for having been carried out under an odious pretence of philanthropy. Surely somehow, somewhere, they will have their reward!


SCIENCE GUIDING EDUCATION, POLICY AND OUTREACH.
Childhood nutrition is essential for human health. Poor nutrition in early years can lead to or compound numerous debilitating conditions. And yet, too many children are eating unhealthy foods, and too many families are left confused about nutrition or unable to access a wholesome diet.
Research at the Lawson Centre provides the evidence and focus we need improve child nutrition, in Canada and around the world.


Suzanne Little has developed our Ed-Media 2011 paper, which she presented in Lisbon in June last year, into a full-scale journal article. The article focuses on visual similarity search, which uses features of images in order to find material that is visually related, thus supporting navigation of educational materials in a variety of ways, including identifying the source of an image, finding items that offer different ways of understanding a concept, or finding other content in which a given image or video frame is used
Little, Suzanne; Ferguson, Rebecca and Rüger, Stefan (2012). Finding and reusing learning materials with multimedia similarity search and social networks. Technology, Pedagogy and Education, 21(2), pp. 255–271.
The authors describe how content-based multimedia search technologies can be used to help learners find new materials and learning pathways by identifying semantic relationships between educational resources in a social learning network. This helps users – both learners and educators – to explore and find material to support their learning aims. Exciting new technologies are emerging for designing and deploying multi-modal, interactive educational tools such as video, 3D models, games, remote sensors or collaborative community-created resources (e.g. wikis). With the increasing availability of open educational resources in online, semantically marked-up and socially connected spaces, users are building their own learning pathways by exploring and remixing content. In this article the authors look at how the integration of multimedia search into the SocialLearn platform for shared learning spaces can contribute to this vision.


Python Code To Find The Length Of String In A List With Code Examples
In this session, we’ll try our hand at solving the Python Code To Find The Length Of String In A List puzzle by using the computer language. The code that follows serves to illustrate this point.
def func(list): return[*map(len, list)] list = ['enjoy','bad','fill','encyclopedia'] print("Original String") print(list) print("length of the sting in a list") print(func(list))
We were able to comprehend how to correct the Python Code To Find The Length Of String In A List issue thanks to the many examples.
How do you find the length of a string in a list Python?
Python has got in-built method – len() to find the size of the list i.e. the length of the list. The len() method accepts an iterable as an argument and it counts and returns the number of elements present in the list.03-Aug-2022
How do you find the length of a word in a list in Python?
First split the given string using the split() function and then iterate the words of a string using for loop. Calculate the length of each word using the len() function.27-Aug-2022
Can you use LEN () on a list?
The function len() is one of Python's built-in functions. It returns the length of an object. For example, it can return the number of items in a list. You can use the function with many different data types.20-Oct-2021
How does LEN () work in Python?
Definition and Usage The len() function returns the number of items in an object. When the object is a string, the len() function returns the number of characters in the string.
How do I find the length of a string in a list?
You can use the len() to get the length of the given string, array, list, tuple, dictionary, etc. You can use len function to optimize the performance of the program. The number of elements stored in the object is never calculated, so len helps provide the number of elements.17-Sept-2022
How do you find the length of each word in a list?
The len() function for getting the length of a list. Python has a built-in function len() for getting the total number of items in a list, tuple, arrays, dictionary etc.
What are the ways to find the length of a list?
There is a built-in function called len() for getting the total number of items in a list, tuple, arrays, dictionary, etc. The len() method takes an argument where you may provide a list and it returns the length of the given list.13-Jul-2022
How do you find the length of a list without using Len in Python?
How to implement without using len():
- Take input and pass the string/list into a function which return its length.
- Initialize a count variable to 0, this count variable count character in the string.
- Run a loop till length if the string and increment count by 1.
What does range () do in Python?
Python range() Function The range() function returns a sequence of numbers, starting from 0 by default, and increments by 1 (by default), and stops before a specified number.
What is __ len __ in Python?
Python __len__() magic method Python __len__ is one of the various magic methods in Python programming language, it is basically used to implement the len() function in Python because whenever we call the len() function then internally __len__ magic method is called.26-Sept-2022


2. Don’t bother #2. Let the sub fend for him- or herself.
3. Don’t bother #3. Put a kid in charge. Your students can tell the sub where to find all the “worksheets,” the tempera paints, the science chemicals.
4. Stay up late the night before to get all those sub notes written out. Why not? You’re gonna sleep all day tomorrow, right?
5. Go in early. You’ll probably already be up vomiting at 4 a.m. anyway.
6. Leave a collection of Disney movies and Bill Nye videos on your desk.
7. Leave the same sub plans your neighboring teacher used last week and hope the sub can adjust.
8. Hope for a snow day.
9. Or, download EZSubPlans. It’s the easiest and most professional way to prepare for a sub. We all know preparing for a sub is tedious and time consuming, but it doesn’t have to be. Just click, print, and relax! Rather than staying up late, showing up sick, or throwing your sub under the bus, give our emergency lesson plans a try. Because they provide your students with quality, standards-based lessons that don’t interfere with your regular instruction, EZSubPlans represent good practice. And they’re just a click away. Download your EZSubPlans today so you’re prepared tomorrow!
Whether a classroom teacher, substitute, or administrator, EZSubPlans will provide you with inexpensive, kid-tested plans at the touch of a button. Each EZSubPlans package includes at least seven hours of grade-specific lessons designed to make your next absence easy and worry-free. Classroom teachers wanting to avoid the frustrating and time-consuming process of preparing for an absence and substitute teachers needing back-up material will find everything they need with EZSubPlans. And what better time to prepare than before the school year begins! Days are labeled by grade level, but each can be easily adapted to suit one grade level up or down. A fifth grade teacher, for example, could use the lesson plans for grades 4, 5, and 6–that’s six days in all. Teachers need only to download, print, and photocopy–the sub does everything else.
Imagine, your first six absences of the school year already prepared. On each of those mornings, you merely set the EZSubPlans file on your desk and walk away! Click here for more information about EZSubPlans or click here to preview or purchase at TeachersPayTeachers. How much is a stress-free sub day worth? Who can say? How much does a stress-free sub day cost? Just $5 a day with EZSubPlans. Don’t wait for that first cough, download your EZSubsPlans now and have them ready to go come the first day of school!


Let’s Sing About… Christmas!
By Andrew Oxspring and Ian Faraday
Songbook for KS1 and KS2 (ages 4-11).
15 fantastically festive songs for the whole school!
Santa, snowballs, crackers, cards, baubles, Bethlehem….this collection of 15 fantastically-festive songs, compiled from our popular seasonal musicals, will help you celebrate every aspect of Christmas! All those familiar and much-loved characters and events are brought to life in catchy, entertaining and often reflective songs, which explore everything we treasure about this special time of year!
Listen below to the songs from Let’s Sing About… Christmas!
What do you get?
This collection of songs is ideal for assemblies, to complement your themed topic work in the classroom, or to simply enjoy during singing and music lessons.
The songbook package contains:
- printed lyrics & piano score with vocal melody & guitar chords.
- an ‘enhanced’ CD – this contains songs (backing tracks & vocal versions) which can be played on a standard CD player, and also data files (MP3s of all tracks, plus lyric sheets as PDFs) for use on your computer, interactive whiteboard or digital display device.
- interesting discussion points about the topic and suggested actions for your children to perform whilst singing.*
UK schools can order this title with an invoice to be paid within 30 days.
Non-UK schools and private individuals (not ordering on behalf of a school) are required to pay for this title at the point of ordering.
* Only available in selected titles from the ‘Let’s Sing About…’ range.