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Teen Missions International

Teen Missions International or TMI is an interdenominational Christian mission organization specializing in running mission trips exclusively for teenager participation. The organization was started in 1970 in Ohio and was later moved to Florida where it is still headquartered today.

History

Teen Missions International was conceived on May 6, 1970 by founders Robert and Bernie Bland, Gayle "Widder" Will, and Jim Person in Ohio. The first mission team was sent in 1971.

A few years later Teen Missions moved its headquarters to Merritt Island, Florida, first running from a garage then relocating to a remote swamp property off Hall Road where it is still headquartered today.

Over it's 36 years in operation, Teen Missions has grown into an International mission organization, running mission programs for teens around the world. Teen Missions has also expanded to operating Bible schools and orphanages. Teen Missions has a staff of aproximately 50-100 individuals who raise support and serve in the many different Teen Missions's properties around the world.

Annually Teen Missions has a touring troup of international young adults called the Missionaries to America. They tour the United States with a song and dance presentation that highlights the different nationalities represented along with a promotion of the Christian faith and Teen Missions's work.

Teen Missions has recently constructed a life size replica of the Old Testament tabernacle, which can be toured by the general public. The display was originally housed on the Teen Missions's property in Florida and later displayed in Ohio and presently Arizona.

Teen Missions states that it has throughout its existence sent over 40,000 North American youth on evangelistic and building projects to over 110 countries.

Sources

Teen Missions International's Website

Teen Missions's News

141.110.152.90 00:24, 30 June 2006 (UTC) DLV

3AC

3AC ,formerely threesacroud, are a melodic pop/rock quartet from the conwy area in North wales. The band consists of guitarist/vocalist Craig Pheasey, lead guitarist David Podbury, bassist/vocalist Craig Hughes, and drummer Geraint Roberts. Taking their influences from bands such as blink 182, new found glory, yellowcard, and anti-flag. As the band have stated on numerous occasions the name has nothing to do with the amount of members.

3AC started in september 2004, with geraint filling in temporarily before eventually agreeing to join full time, as four friends from local secondary school Ysgol Aberconwy joined together to create something different. From 2004/2005 the band travelled 15 miles every sunday evening to practise in the hills of llanrwst where sessions would last up to seven hours, in drummer geraint's garage. However These days the band claim their only practise is their sound check.

Having played numerous gigs around the conwy county such as The Dwygyfylchi legend Inn, MASE and the now annual penfest, with a performance earning them the front cover on local news paper the north wales pioneer. The bands live performance has been described as a combination of energy, melody, and noise with catchy choruses.

Originally releasing a rough 3-track demo including songs hot rox, ripped words, and the live favourite bunk bed, 3AC have since gone into the studio to start preparing to record their, as yet untitled E.P laying down new tracks such as finding emo, batting for the other team and S.M.B.

File:Http://myspace-914.vo.llnwd.net/00753/41/92/753262914 l.jpg

More information on the band, can be found online.

[www.3acmusic.tk] [www.myspace.com/3acmusic] [www.purevolume.com/3ac]

84.64.73.254 00:33, 30 June 2006 (UTC)

Rich grew up in New Jersey and moved to Los Angeles to attend University of Southern California. After earning his degree in broadcast journalism, Rich accepted an on-air position with an NBC affiliate in Yakima, Wash., and later at the NBC affiliate in Shreveport, La. Rich recently worked for Channel One News based out of Los Angeles. He is currently a host for CNET TV, reporting on technology news and events based out of New York City.

Sources

http://www.channelone.com/anchors/rich/

72.254.62.24 00:45, 30 June 2006 (UTC) File:Rich.jpg

Roy Mustang

Roy Mustang is an alchemist who uses his right glove made of fibers called ignition cloth, to create a spark that with his transmutation array, he can control it variably, from a streaking flame to an explosion. He earned his promotion for service in the Ishbal War (The military calls it service, he calls it atrocities.) He may have some romance with Riza Hawkeye, his faithful first liutenant. For pictures and info go to www.fullmetal alchemist.com or beckkett's magazines (beckett anime and manga) 71.135.33.96 00:47, 30 June 2006 (UTC)

Cool Kidz

24.56.229.107 00:51, 30 June 2006 (UTC) The Cool Kidz [CK] are a group of new habbo.com members who try to act cool to become more known. The founding members of this club are Spam and Silly they call themselves Noobs and constantly talk about Habbodiscussion.com Because they try to be as cool as it. From what we know none of these people are cool but just annoying.

[Great Western Brewery]

The Great Western Brewery in Saskatoon, Saskatchewan.

Known for such great beers as: Great Western Lager, Great Western Light, Great Western Honey Brown, Great Western Pilsner and the now discontinued Great Western Bitter. A great local spot for many groups, in particular the University of Saskatchewan Engineering Society.

Sources

http://www.greatwesternbrewing.com/fridge.php

68.148.23.36 00:54, 30 June 2006 (UTC)Cranston.

cecile washington

ECILE F. WASHINGTON, Ed.S., GCDF is a graduate of Nova Southeastern University (NSU) College of Education, receiving an Educational Specialist degree (Ed.S.) in Educational Media, Curriculum and Instruction. Cecile holds a Bachelor of Business Administration degree from Edward Waters College and a Master’s degree in Computer Science Education from (NSU) School of Computer and Information Science (SCIS) respectively. Cecile has been a teacher in several states where he served as a computer science teacher, academic advisor, distance education/IT consultant and a librarian. Cecile’s research interest includes teaching via distance education, blacklibrarianship and educational technology. Cecile is currently a career development coordinator/counselor at Florida A&M University. Cecile has taught at several colleges and universities as an adjunct instructor. Cecile holds memberships in Brothers of the Academy (BOTA), American Library Association (ALA), Multimedia Educational Resource for Learning and Online Training (MERLOT), International Society for Technology in Education (ISTE), Phi Delta Kappa (PDK) and serves on the Board of Director’s for Tallahassee and African Sister Cities Coalition, Inc.,(TASCC). Cecile is currently pursuing a Ph.D. in Educational Leadership (K-12) and serves as a book reviewer at Columbia University Teachers College Record (TCRECORD). Cecile is also a Florida Notary Public.

Sources

71.1.3.168 01:07, 30 June 2006 (UTC)

Jaclyn Wood

Jaclyn Wood is the best female director in the world and shes only 15!!

www.myspace.com/linnykakes

or

www.myspace.com/goodnight

chonodomarius

Sources

70.71.170.85 01:14, 30 June 2006 (UTC)

AUSTRALIAN SCHOOL OF PACIFIC ADMINISTRATION

In 1945, General Sir Thomas Blamey directed the Australian Army to established a School of Civil Affairs to train officers for the Australian New Guinea Administrative Unit (ANGAU), which was responsible for civil administration in Papua New Guinea during World War 2. The School was located in the grounds of Duntroon Military College in Canberra.

In March 1946, the School became a civil institution renamed the Australian School of Pacific Administration (ASOPA) and was transferred first to Mosman and later to Middle Head in Sydney.

ASOPA was given statutory recognition under the Papua New Guinea Act in 1949 and continued to function as a responsibility of the Minister for External Territories until 1 December 1973. Over these 27 years it trained hundreds of people, mainly patrol officers and education officers, for service in Australia's territories.

In 1973 the Australian Government integrated ASOPA into the structure of the Australian Development Assistance Bureau (ADAB) under the Minister of Foreign Affairs and the International Training Institute (ITI) came into existence. ITI provided management training for people from countries in the Pacific, Asia, Africa and the Caribbean.

A final shift – and change in name to Centre for Pacific Development and Training - saw the former ASOPA used as a base for consultants operating in the South Pacific until this role was disestablished in 2001.

The old Army huts on Middle Head are now empty and desolate. Heritage listed, they await refurbishment and regeneration into another role.

Sources

Article author Keith Jackson was a Cadet Education Officer at ASOPA and Acting Principal of the International Training Institute. Refer to websites http://www.asopa.com.au and http://asopa.typepad.com and other published sources.

61.88.112.122 01:21, 30 June 2006 (UTC)

[ [Bishop Paul Moore] ]

Bishop Paul Moore (born November 15, 1919.  died May 1, 2003) was an ordained priest in the Episcopal Church, a part of the larger Anglican communion.  He was ordained  in 1949 after attending General Theological Seminary in New York City.  He was ordained as Bishop of the Diocese of New York where he served in that position from 1972-1989.  
    Bishop Moore was known for his liberal activism and his outspokenness against homelessness, racism, and the rights of all people regardless of class, gender, ethnicity, or sexual orientation.  He was the first Episcopal Bishop to ordain an openly homosexual woman as a priest in the church.  His liberal political views were coupled with traditionalism when it came to the liturgy.  Bishop Moore took on a number of social issues in very liberal and progressive ways.

Sources

The New York Times. Ari L. Goldman

Kielwmitchell 01:23, 30 June 2006 (UTC)

Robert Vandewalle

Sources

67.49.63.138 01:28, 30 June 2006 (UTC) robert was born in april 28, 1992. Today robert is considered a "sureno" gangster and ex-pimp he has a very large dick his phone number is 298-4695

Troy johnson

Sources

203.153.243.30 01:30, 30 June 2006 (UTC)

Troy johnson played for brisbane bears in 1996, but only played 2 games and didnt score any goals. He also played for the Fremantle dockers in 1998 unfourtently not playing a single game. He was selected by brisbane in the draft of 1995 as the number 1 draft pick. He played with some great players at brisbane such as, Micheal voss, Roger merret and Jason Akermanis.

Sources

24.83.251.144 01:48, 30 June 2006 (UTC) TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOO HTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPO OHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOO TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHv TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHvv TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHv TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH TONPOOHTONPOOHTONPOOHTONPOOHTONPOOH v TONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOHTONPOOH H

[Geelong Revival Centre]

Sources

207.216.138.191 02:23, 30 June 2006 (UTC) Bold text

James William Hackett (1929- )

“The Haiku and Zen World of James W. Hackett” http://www.hacketthaiku.com/

Wind gives way to calm, and the stream smoothes, revealing its treasure of leaves . . . jwh

Nothing speaks more of the haiku poet’s way of life, philosophies and beliefs than his poetry.http://www.hacketthaiku.com/haikuspringgarden1.html And the one who chooses haiku as a way of life, or perhaps rather, is “chosen by haiku,” may be naturally reticent of publicity. As R. H. Blyth said in his foreword for Haiku Poetry, Hackett’s four-volume series” … to attain the ability to write, not the best words but the right words,” and:

“To express the immediate sensations, to pour all of one’s self into the thing and let the thing penetrate every part of one’s self, needs much travail of mind and body. It requires also the renunciation of all ambition to be ‘recognized,’ though some few persons must share the experiences so as to assure, if possible their universal validity.” <a href=http://en.wikipedia.org/wiki/Reginald_Horace_Blyth#References>R. H. Blyth </a> in Hackett’s Haiku Poetry vol. 1, The Hokuseido Press, 1966.

Today, James W. Hackett, a living disciple of Blyth, is the most influential Western haijin advocating the Zen and “present-moment” haiku. He continues to uphold the spiritual aspects of haiku that he shared with <a href=http://www.worldhaikureview.org/1-3/jwhwitnesscloud1.shtml>his mentor, R. H. Blyth. </a>

Hackett maintains his conviction that haiku can be the reflection, expression and affirmation of “that art thou,” or the intuitive experience of “things as they are;” and this, again, after the manner of Matsuo Basho, who placed importance on the immediacy of the present in haiku.

For Hackett, haiku is what he calls “a Way of living awareness,” and an “appreciation of each moment of life.” He does not claim to be a literary soul [though he writes numerous lyric and spiritual poems and essays], All his poetry is focused on the Universal Spirit and is aimed toward awakening humanity’s consciousness to recognize the soul’s oneness with Eternal Spirit, and the reality of the Eternal Now.

Two flies, so small it’s a wonder they ever met, are mating on this rose jwh

Born and raised in Seattle, USA, Hackett studied history and philosophy at the University of Washington. An honors student, his graduate studies in art history were taken at the University of Michigan before he moved to San Francisco [and 14 years later to the Santa Cruz Mountains south of the City]. He was influenced early on by Eastern philosophy and the writings of the American naturalist, Henry David Thoreau.

After a near-fatal accident Hackett experienced an awakening, and from that time on, has devoted himself to the writing of haiku as a vehicle to express his reverence for Creation and to raise the awareness of his readers’ consciousness. It was the works of R. H. Blyth who first introduced JWH to haiku, and in the 1950s he embarked upon correspondence with the author-translator. In the beginning of the relationship between the two men, Hackett, who was not yet thirty, sent several examples of his haiku to Blyth, who was then in his sixties. Hackett’s letter was prefaced, “I am sending my haiku poems to you because of one sentence you wrote in your book of haiku translations. Your sentence was: ‘There is more significance in the sound of the nib I’m now writing with than anything I could ever say’.” JWH

Hackett recounts that he had discerned from that singular remark, they both shared the same “old soul.” Because of this, he felt that Blyth would understand why he had made his decision to live a life of Zen and haiku. Their long friendship developed upon common spiritual values and understandings as well as haiku. Before <a href=http://www.hacketthaiku.com/hghletaboutrhb.html>Blyth’s</a> death in 1964, he had included JWH’s poetry in his The History of Haiku, Volume 2. Blyth highly regarded the haiku of his disciple, comparing them to the best of the Japanese masters. Blyth wrote on February 15, 1960,

“As far as publication is concerned, I am going to put the best of the verses, with your kind permission of course, at the end of my 5th volume of Haiku, which I am working on now. I wish to include them, not only for their intrinsic value, but to show that a haiku poet is born, not made, and of a “nationality” which has nothing to do with the ordinary conception of it.” RHB

The gust of wind trying on that shirt needs a larger size! jwh

Through Blyth’s arrangement, the first two volumes of Hackett’s Haiku Poetry (which would become four volumes) were published. The appendix includes Hackett’s twenty, now famous, “Suggestions for Beginners and Others,” which can be shortened to the following key points. [Abbreviated as follows by Susumu Takiguchi]:

1. Life is the fount; 2. Everyday life; 3. Contemplate nature closely; 4. Identify with your subject; 5. Reflect in solitude; 6. Reflect nature just as it is; 7. Don’t write everything In 5-7-5; 8. Write in 3 lines; 9. Use common language; 10. Suggest; 11. Mention season; 12. Haiku are intuitive 13. Don’t overlook humor; 14. Rhyme detracts; 15. Lifefulness; 16. Clarity; 17. Read aloud; 18. Simplify!; 19. Stay with it; 20. Remember Blyth’s admonition that “haiku is a finger pointing to the moon.”

Hackett also corresponded with American haiku scholar, translator and author, Harold Henderson for almost eleven years, and together with Blyth, these three pioneering men interacted and inspired one another through their common interests. After Blyth’s death on October 28, 1964, Henderson wrote to persuade Hackett to succeed Dr. Blyth, taking over where he left off.

A bitter morning: sparrows sitting together without any necks jwh

In that fateful year (1964), Hackett won a trip to Japan as the grand prize of Japan Air Lines’ international haiku contest; the competition being a way in which the company advertised, while at the same time promoting haiku to a world which had begun to take a lively interest in Japanese culture. Radio stations in different parts of the United States ran seventeen contests, screening entries. All-in-all, there were over 41,000 entries. The top five winners from each local contest were submitted to philosopher Alan Watts for final judging. Eighty-five national entries were published in the booklet, Haiku 64 by Japan Air Lines company that now provides splendid materials for <a href=http://www.jal-foundation.or.jp/html/haiku/tsukurikata/etsukurikata.htm> teaching haiku. </a>

Hackett’s winter seasonal haiku above (A bitter morning) is composed in 5-7-5 format, a two-image style arranged in fragment/phrase construction and with punctuation which would echo the Japanese tradition of kireji (cutting word). The poem is considered a masterpiece by many haijin, as well as those proponents of “Zen-haiku.”

Although written in 5-7-5 English syllable format for the contest, he had also written another version of that haiku, published in the inaugural issue of the first United States haiku journal, American Haiku (1963) without the syllabic format, “better morning/ sparrows sitting/ without necks,” following his own advice from his twenty suggestions: “Rule #7: “don’t write everything in 5-7-5 form, since in English this often causes padding and contrivance,” and, Rule #8: “Try to write in 3 lines of approximately 17 syllables.”

Hackett became a timely advocate and spokesman for haiku as it spread its tiny, but powerful wings over the seas. Haiku enthusiasts from various countries soon followed his lead, broadening the map of World Haiku. Though reclusive, Hackett has served as a judge in subsequent JAL ––and many other haiku competitions.

Searching on the wind, the hawk’s cry . . . is the shape of its beak jwh

During that first trip to Japan, Hackett visited Zen monasteries and temples, and their roshi and priests.

Among them were <a href=http://en.wikipedia.org/wiki/Nakagawa_Soen>Soen Nakagawa </a>, abbot of Ryutaku-ji Monastery and monk Sohaku Ogata of Kyoto who both felt that Hackett’s “way of haiku” was one of the best means for the true spirit of Zen to reach America.

Interestingly, while Hackett as since become the most well-known proponent of he has, in practice, remained a somewhat solitary figure, not closely aligning himself with the Zen-haikuist or any other such <a href=http://www.worldhaikureview.org/2-3/whf2002hackett1.shtml>movement. </a> That he does not follow the mainstream, the crowd, should not seem strange, but rather, most appropriate. Here are his own words that he has spoken for, and of, even himself:

“. . . what is conventional warrants caution and the wisdom of wariness; for dire consequences (as well as good) can and do result from the various social approaches to haiku. Too often shallowness and a stifling parochialism and over-intellectuality are perpetuated by editors, scholars, and even teachers – however well-intentioned they might be. Certainly, some writers should be followers, and even participate in the intellectual maelstrom if they so choose. While others should courageously follow their own star – solitary and unconventional though their way may be.” JWH

And again, “Born nonconformists (such as Thoreau and Blyth) wisely warn against following the merely popular or fashionable–– especially in regard to matters of thought and values consensus (as history bears such grim witness) is certainly no guarantor of rightness or truth. Values and convictions need to evolve from deep within our own experience, knowledge, and search for the truth. However, that so few persons truly think for themselves is surely one of the more sad and tragic failings of our species.” JWH

Deep within the stream the huge fish lie motionless facing the current jwh

Hackett, the philosopher-poet and champion of unorthodoxy, remains a seeker, yet he is not swayed from exercising his critical mind, nor does he compromise his firm convictions. He guards the core traditions and intrinsic spirit of haiku, its aesthetic and spiritual values, as well as the values of his mentor, R. H. Blyth, Hackett is not one who regards the genre with the flippancy of an “anything goes” attitude. Quite the contrary. He questions the content of much contemporary and anthropocentric so-called haiku, holding it up for examination against the naturalism of the traditional Japanese haiku.

With the rise in popularity of haiku and its ever-increasing dispersion, Hackett, speaking in harmony with the voices of Basho and Shiki, calls for commitment to higher standards and quality amongst the world haiku communities. These aspirations are also in accord with aims and principles of the World Haiku Club of which James W. Hackett is the Honorary President.

That tenement child performing his long shadow somehow sustains the world jwh

Through his <a href=http://www.hacketthaiku.com/bio2.html>published haiku </a> and also by his book The Zen Haiku and Other Zen Poems and his ongoing work for haiku, his philosophies and convictions are upheld and dispersed, including the primary Zen tenet, “no dependence upon words or letters.” His haiku is internationally published and anthologized, appearing in numerous haiku journals, publications and events.

The author of the above article is D. W. Bender, Deputy Chairman of the <a href=http://www.worldhaikuclub.org/textmap.html>World Haiku Review </a> and is used with permission.

Sources

The author of the above article is D. W. Bender, Deputy Chairman of the <a href=http://www.worldhaikuclub.org/textmap.html>World Haiku Review </a> and is used with permission.

70.95.172.202 02:29, 30 June 2006 (UTC)

GENERAL INFORMATION The Emory Youth Symphony Orchestra reinforces the pedagogy of school directors and private teachers, while providing additional performance opportunities and ensemble experience. The orchestra is open to string, wind and percussion musicians from 9th-12th grade; exceptions for younger players may be made at the discretion of the conductor.

The home of the EYSO is the world-class Schwartz Center for Performing Arts on the Emory University campus; members are under the artistic direction of conductor Dr. Richard Prior and receive regular sectional instruction from Emory’s Atlanta Symphony Orchestra Artist Affiliates and other Atlanta professionals. The orchestra performs two concerts during the year in the renowned Emerson Concert Hall, with a third concert at a “run-out” location in the region. In the 2006-2007 Season, the orchestra appeared at Spivey Hall in Association with the Atlanta Area Suzuki Piano Association.

SCHOOL MUSIC PARTICIPATION REQUIREMENT All members are expected to enroll in their school’s instrumental ensemble music program for the entire school year. Students with no school ensemble program or irreconcilable scheduling conflicts must be recommended to EYSO by a school official or private teacher.

REHEARSALS Rehearsals are held throughout the school year on Wednesdays from 7:30-9:30pm in the Tharp Rehearsal Hall of the Schwartz Center for Performing Arts at Emory University. Rehearsals begin immediately after the audition period. Students should plan to arrive on the Emory campus between 7:00-7:15pm in order to park and warm up. Free parking is available in the Lowergate South Parking Deck and the Fishburne Deck next to the Schwartz Center; practice rooms are available on the third floor of the Schwartz Center.

www.music.emory.edu/eyso

James William Hackett (1929- )

“The Haiku and Zen World of James W. Hackett” http://www.hacketthaiku.com/

Wind gives way to calm, and the stream smoothes, revealing its treasure of leaves . . . jwh

Nothing speaks more of the haiku poet’s way of life, philosophies and beliefs than his poetry. http://www.hacketthaiku.com/haikuspringgarden1.html And the one who chooses haiku as a way of life, or perhaps rather, is “chosen by haiku,” may be naturally reticent of publicity. As R. H. Blyth said in his foreword for Haiku Poetry, Hackett’s four-volume series” … to attain the ability to write, not the best words but the right words,” and:

“To express the immediate sensations, to pour all of one’s self into the thing and let the thing penetrate every part of one’s self, needs much travail of mind and body. It requires also the renunciation of all ambition to be ‘recognized,’ though some few persons must share the experiences so as to assure, if possible their universal validity.” R. H. Blyth http://en.wikipedia.org/wiki/Reginald_Horace_Blyth#References in Hackett’s Haiku Poetry vol. 1, The Hokuseido Press, 1966.

Today, James W. Hackett, a living disciple of Blyth, is the most influential Western haijin advocating the Zen and “present-moment” haiku. He continues to uphold the spiritual aspects of haiku that he shared with his mentor, R. H. Blyth. http://www.worldhaikureview.org/1-3/jwhwitnesscloud1.shtml

Hackett maintains his conviction that haiku can be the reflection, expression and affirmation of “that art thou,” or the intuitive experience of “things as they are;” and this, again, after the manner of Matsuo Basho, who placed importance on the immediacy of the present in haiku.

For Hackett, haiku is what he calls “a Way of living awareness,” and an “appreciation of each moment of life.” He does not claim to be a literary soul [though he writes numerous lyric and spiritual poems and essays], All his poetry is focused on the Universal Spirit and is aimed toward awakening humanity’s consciousness to recognize the soul’s oneness with Eternal Spirit, and the reality of the Eternal Now.

Two flies, so small it’s a wonder they ever met, are mating on this rose jwh

Born and raised in Seattle, USA, Hackett studied history and philosophy at the University of Washington. An honors student, his graduate studies in art history were taken at the University of Michigan before he moved to San Francisco [and 14 years later to the Santa Cruz Mountains south of the City]. He was influenced early on by Eastern philosophy and the writings of the American naturalist, Henry David Thoreau.

After a near-fatal accident Hackett experienced an awakening, and from that time on, has devoted himself to the writing of haiku as a vehicle to express his reverence for Creation and to raise the awareness of his readers’ consciousness. It was the works of R. H. Blyth who first introduced JWH to haiku, and in the 1950s he embarked upon correspondence with the author-translator. In the beginning of the relationship between the two men, Hackett, who was not yet thirty, sent several examples of his haiku to Blyth, who was then in his sixties. Hackett’s letter was prefaced, “I am sending my haiku poems to you because of one sentence you wrote in your book of haiku translations. Your sentence was: ‘There is more significance in the sound of the nib I’m now writing with than anything I could ever say’.” JWH

Hackett recounts that he had discerned from that singular remark, they both shared the same “old soul.” Because of this, he felt that Blyth would understand why he had made his decision to live a life of Zen and haiku. Their long friendship developed upon common spiritual values and understandings as well as haiku. Before Blyth’s death in 1964, he had included JWH’s poetry in his The History of Haiku, Volume 2. Blyth highly regarded the haiku of his disciple, comparing them to the best of the Japanese masters. http://www.hacketthaiku.com/hghletaboutrhb.html Blyth wrote on February 15, 1960,

“As far as publication is concerned, I am going to put the best of the verses, with your kind permission of course, at the end of my 5th volume of Haiku, which I am working on now. I wish to include them, not only for their intrinsic value, but to show that a haiku poet is born, not made, and of a “nationality” which has nothing to do with the ordinary conception of it.” RHB

The gust of wind trying on that shirt needs a larger size! jwh

Through Blyth’s arrangement, the first two volumes of Hackett’s Haiku Poetry (which would become four volumes) were published. The appendix includes Hackett’s twenty, now famous, “Suggestions for Beginners and Others,” which can be shortened to the following key points. [Abbreviated as follows by Susumu Takiguchi]:

1. Life is the fount; 2. Everyday life; 3. Contemplate nature closely; 4. Identify with your subject; 5. Reflect in solitude; 6. Reflect nature just as it is; 7. Don’t write everything In 5-7-5; 8. Write in 3 lines; 9. Use common language; 10. Suggest; 11. Mention season; 12. Haiku are intuitive 13. Don’t overlook humor; 14. Rhyme detracts; 15. Lifefulness; 16. Clarity; 17. Read aloud; 18. Simplify!; 19. Stay with it; 20. Remember Blyth’s admonition that “haiku is a finger pointing to the moon.”

Hackett also corresponded with American haiku scholar, translator and author, Harold Henderson for almost eleven years, and together with Blyth, these three pioneering men interacted and inspired one another through their common interests. After Blyth’s death on October 28, 1964, Henderson wrote to persuade Hackett to succeed Dr. Blyth, taking over where he left off.

A bitter morning: sparrows sitting together without any necks jwh

In that fateful year (1964), Hackett won a trip to Japan as the grand prize of Japan Air Lines’ international haiku contest; the competition being a way in which the company advertised, while at the same time promoting haiku to a world which had begun to take a lively interest in Japanese culture. Radio stations in different parts of the United States ran seventeen contests, screening entries. All-in-all, there were over 41,000 entries. The top five winners from each local contest were submitted to philosopher Alan Watts for final judging. Eighty-five national entries were published in the booklet, Haiku 64 by Japan Air Lines company that now provides splendid materials for teaching haiku. http://www.jal-foundation.or.jp/html/haiku/tsukurikata/etsukurikata.htm

Hackett’s winter seasonal haiku above (A bitter morning) is composed in 5-7-5 format, a two-image style arranged in fragment/phrase construction and with punctuation which would echo the Japanese tradition of kireji (cutting word). The poem is considered a masterpiece by many haijin, as well as those proponents of “Zen-haiku.”

Although written in 5-7-5 English syllable format for the contest, he had also written another version of that haiku, published in the inaugural issue of the first United States haiku journal, American Haiku (1963) without the syllabic format, “better morning/ sparrows sitting/ without necks,” following his own advice from his twenty suggestions: “Rule #7: “don’t write everything in 5-7-5 form, since in English this often causes padding and contrivance,” and, Rule #8: “Try to write in 3 lines of approximately 17 syllables.”

Hackett became a timely advocate and spokesman for haiku as it spread its tiny, but powerful wings over the seas. Haiku enthusiasts from various countries soon followed his lead, broadening the map of World Haiku. Though reclusive, Hackett has served as a judge in subsequent JAL ––and many other haiku competitions.

Searching on the wind, the hawk’s cry . . . is the shape of its beak jwh

During that first trip to Japan, Hackett visited Zen monasteries and temples, and their roshi and priests.

Among them were Soen Nakagawa http://en.wikipedia.org/wiki/Nakagawa_Soen, abbot of Ryutaku-ji Monastery and monk Sohaku Ogata of Kyoto who both felt that Hackett’s “way of haiku” was one of the best means for the true spirit of Zen to reach America.

Interestingly, while Hackett as since become the most well-known proponent of he has, in practice, remained a somewhat solitary figure, not closely aligning himself with the Zen-haikuist or any other such movement. http://www.worldhaikureview.org/2-3/whf2002hackett1.shtml That he does not follow the mainstream, the crowd, should not seem strange, but rather, most appropriate. Here are his own words that he has spoken for, and of, even himself:

“. . . what is conventional warrants caution and the wisdom of wariness; for dire consequences (as well as good) can and do result from the various social approaches to haiku. Too often shallowness and a stifling parochialism and over-intellectuality are perpetuated by editors, scholars, and even teachers – however well-intentioned they might be. Certainly, some writers should be followers, and even participate in the intellectual maelstrom if they so choose. While others should courageously follow their own star – solitary and unconventional though their way may be.” JWH

And again, “Born nonconformists (such as Thoreau and Blyth) wisely warn against following the merely popular or fashionable–– especially in regard to matters of thought and values consensus (as history bears such grim witness) is certainly no guarantor of rightness or truth. Values and convictions need to evolve from deep within our own experience, knowledge, and search for the truth. However, that so few persons truly think for themselves is surely one of the more sad and tragic failings of our species.” JWH

Deep within the stream the huge fish lie motionless facing the current jwh

Hackett, the philosopher-poet and champion of unorthodoxy, remains a seeker, yet he is not swayed from exercising his critical mind, nor does he compromise his firm convictions. He guards the core traditions and intrinsic spirit of haiku, its aesthetic and spiritual values, as well as the values of his mentor, R. H. Blyth, Hackett is not one who regards the genre with the flippancy of an “anything goes” attitude. Quite the contrary. He questions the content of much contemporary and anthropocentric so-called haiku, holding it up for examination against the naturalism of the traditional Japanese haiku.

With the rise in popularity of haiku and its ever-increasing dispersion, Hackett, speaking in harmony with the voices of Basho and Shiki, calls for commitment to higher standards and quality amongst the world haiku communities. These aspirations are also in accord with aims and principles of the World Haiku Club of which James W. Hackett is the Honorary President.

That tenement child performing his long shadow somehow sustains the world jwh

Through his published haiku http://www.hacketthaiku.com/bio2.html and also by his book The Zen Haiku and Other Zen Poems and his ongoing work for haiku, his philosophies and convictions are upheld and dispersed, including the primary Zen tenet, “no dependence upon words or letters.” His haiku is internationally published and anthologized, appearing in numerous haiku journals, publications and events.

The author of the above article is D. W. Bender, Deputy Chairman of the World Haiku Review http://www.worldhaikuclub.org/textmap.html and is used with permission.

Sources

The author of the above article is D. W. Bender, Deputy Chairman of the World Haiku Review http://www.worldhaikuclub.org/textmap.html and is used with permission.

70.95.172.202 02:35, 30 June 2006 (UTC)

Samir Gandhi (born December 8, 1982 in Philadelphia, PA) is best known as one of three friends, along with Ryan Dopson and Steven Fair, who broke the "100,000 coin barrier" in Mario Party 2 on Nintendo 64. Samir commonly played as the character Wario, citing his jolly demeanor and portly physique. This is somewhat ironic, considering Samir's own physical traits, standing approximately 6'3" and barely weighing 150 pounds.

Samir has a degree in Finance from New York University and is currently working at JP Morgan Chase in Manhattan. Among his interests are making people feel terrible about themselves and basketball.

Sources

Sfair 02:54, 30 June 2006 (UTC)