2017 07 << 12345678910111213141516171819202122232425262728293031>> 2017 09

NEW BORN BABY CHECK LIST. BABY CHECK LIST


NEW BORN BABY CHECK LIST. BABY LOTION VIDEO. MY BABY BOY GAME.



New Born Baby Check List





new born baby check list






    check list
  • (check lists) (systematic listing of points of attention) can also be starting point for the determination of evaluation criteria.

  • A list of items required, things to be done, or points to be considered, used as a reminder

  • A checklist is a type of informational job aid used to reduce failure by compensating for potential limits of human memory and attention. It helps to ensure consistency and completeness in carrying out a task. A basic example is the "to do list.

  • Pertinent data checked before getting your plane off the groundor landing safely. see B-26 checklist)





    new born
  • "New Born" is a song by English alternative rock band Muse available on the eponymous single, the album Origin of Symmetry and on the Hullabaloo Live DVD.

  • A recently born child or animal

  • (New-borns) An infant or baby is the very young offspring of humans. A newborn is an infant who is within hours, days, or up to a few weeks from birth.





    baby
  • A young or newly born animal

  • the youngest member of a group (not necessarily young); "the baby of the family"; "the baby of the Supreme Court"

  • A very young child, esp. one newly or recently born

  • The youngest member of a family or group

  • a very young child (birth to 1 year) who has not yet begun to walk or talk; "the baby began to cry again"; "she held the baby in her arms"; "it sounds simple, but when you have your own baby it is all so different"

  • pamper: treat with excessive indulgence; "grandparents often pamper the children"; "Let's not mollycoddle our students!"











new born baby check list - Letting Go:




Letting Go: A Parents' Guide to Understanding the College Years, Fourth Edition


Letting Go: A Parents' Guide to Understanding the College Years, Fourth Edition



This bestselling guide, read by hundreds of thousands of parents over the past decade, is now better than ever, newly revised and completely updated. Based on real-life experience and recommended by colleges and universities around the country, Letting Go offers compassionate, practical, and up-to-the-minute information to help parents with the emotional and social changes of the college years.
When should parents encourage independence?
When should they intervene?
What issues of identity and intimacy await students?
What are normal feelings of disorientation and loneliness for students—and for parents?
What is different about today’s college environment?
What new concerns about safety, health and wellness, and stress will affect incoming classes?
These important issues and more are addressed with wise advice and time-tested counsel in Letting Go -- a realistic and reassuring source for meeting the challenges ahead, from the senior year in high school through college graduation.










76% (9)





2009 - 07 - 10 - The Big Star Is Now Closed




2009 - 07 - 10 - The Big Star Is Now Closed





Very sad news this morning. Musician Alex Chilton collapsed yesterday while mowing his yard in New Orleans and later died at the hospital. He was 59.

Chilton was the greatest musician I've had the chance to see in person (see below for a summary of his career from the Memphis Commercial Appeal).

The best show I ever saw (by any musician) was a Chilton show at the 9:30 Club in Washington, D.C. in January 1982. I was exhausted (having just finished a brief on a Supreme Court case) and there was a big snowstorm in progress. But this was a show I couldn't miss. There were only 19 people there (I counted). It was magical.

Years later, I saw an article by local rock critic Mark Jenkins talking about the greatest shows he'd ever seen -- the best was that January 1982 show by Alex Chilton with 19 people there.

I was pleased to see that Chilton had married and had a son. He was the poster boy for abusing your body (drugs, alcohol, hard living in general) and I'm actually surprised he lasted so long.

Chilton is undoubtedly best known to the general public for his teenage lead vocals for the Boxtops in the late 60s -- they had a massive hit with "The Letter" ("give me a ticket for aeroplane, ain't got time to take a fast train, lonely days are gone, I'm a going home, my baby done wrote me a letter") and a lesser (but superior) hit with "I Met Her in Church."

But his best work was with the uber-pop band Big Star, his solo work, and his work with Memphis deconstructionist roots band Panther Burns. Check out any of these albums and you'll see what a big loss this is: Big Star - Radio City & Third; solo - Like Flies on Sherbert & Lost Decade; Panther Burns - Behind the Magnolia Curtain.

----------------------
Obituary from the Commerical Appeal:



Alex Chilton, the pop hitmaker, cult icon and Memphis rock iconoclast best known as a member of 1960s pop-soul act the Box Tops and the 1970s power-pop act Big Star, died Wednesday at a hospital in New Orleans.

The singer, songwriter and guitarist was 59.

"I'm crushed. We're all just crushed," said John Fry, owner of Memphis' Ardent Studios and a longtime friend of Chilton's. "This sudden death experience is never something that you're prepared for. And yet it occurs."

Chilton had been complaining about his health earlier Wednesday, Fry said. He was taken by paramedics from his home to the emergency room but could not be revived.

Chilton and Big Star had been scheduled to play Saturday as part of the South by Southwest festival in Austin, Texas. The band was also scheduled to play at the Levitt Shell in Memphis on May 15. It's unknown what will happen to those shows.

The Memphis-born Chilton rose to prominence at age 16 when his gruff vocals powered the massive Box Tops hit "The Letter," as well as "Cry Like a Baby" and "Neon Rainbow."

After the Box Tops broke up in 1970, Chilton had a brief solo run in New York before returning to Memphis. He soon joined forces with a group of Anglo-pop-obsessed musicians -- fellow songwriter/guitarist Chris Bell, bassist Andy Hummel and drummer Jody Stephens -- to form Big Star.

The group became the flagship act for Ardent's Stax-distributed label. Big Star's 1972 debut album, #1 Record, met with critical acclaim but poor sales.

The group briefly disbanded, but reunited without Bell to record the album Radio City. Released in 1974, the second album suffered a similar fate, plagued by Stax's distribution woes.

The group made one more album, Third/Sister Lovers, with just Chilton and Stephens -- and it, too, was a minor masterpiece. Darker and more complex than the band's previous pop-oriented material, it remained unreleased for several years.

In 2003, Rolling Stone magazine named all three Big Star albums to its list of the 500 Greatest Albums of All Time.

"It's a fork in the road that a lot of different bands stemmed from," said Jeff Powell, a respected local producer who worked on some of Chilton's records. "If you're drawing a family tree of American music, they're definitely a branch."

In the mid-'70s, Chilton began what would be a polarizing solo career, releasing several albums of material, including 1979's Like Flies on Sherbet -- a strange, chaotically recorded mix of originals and obscure covers that divided fans and critics.

Chilton also began performing with local roots-punk deconstructionists the Panther Burns.

In the early '80s, Chilton left Memphis for New Orleans, where he worked a variety of jobs and stopped performing for several years.

But interest in his music from a new generation of alternative bands, including the Replacements and R.E.M., brought him back to the stage in the mid-'80s.

He continued to record and tour as a solo act throughout the decade. Finally, in the early '90s, the underground cult based around Big Star had become so huge that the group was enticed to











"Jelly Roll" Morton




"Jelly Roll" Morton





1211 U St. NW

Ferdinand "Jelly Roll" Morton (October 20, 1890 – July 10, 1941) was an American virtuoso pianist, a bandleader, and a composer who some call the first true composer of jazz music. Morton was a colorful character who liked to generate publicity for himself by bragging. His business card referred to him as the "Originator of Jazz".

Ferdinand Joseph Lamothe was born into a Creole community in the Faubourg Marigny neighborhood of downtown New Orleans, Louisiana in September, 1890. His parents were Edward J. Lamothe and Louise Monette (written as Lemott and Monett on his baptismal certificate). Eulaley Haco (Eulalie Hecaud) was the godparent. Ferdinand’s parents were in a common-law marriage and not legally married. No birth certificate has been found to date. He took the name "Morton" by Anglicizing the name of his step-father, Mouton.

He was (along with Tony Jackson) one of the best regarded pianists in the Storyville District early in the 20th century. Tony Jackson was the main influence on his music; according to Morton, Jackson was the only pianist better than him. Among other occupations, Morton was at one time a pimp.

After leaving New Orleans, Morton traveled widely in North America, spending several years in California before moving to Chicago, Illinois in 1923, where he released the first of his commercial recordings, both as a piano soloist and with various jazz bands.

In 1926 Morton succeeded in getting a contract to make recordings for the USA's largest and most prestigious company, Victor. This gave him a chance to bring a well rehearsed band to play his arrangements in Victor's Chicago recording studios. These recordings by Jelly Roll Morton & His Red Hot Peppers are regarded as classics of 1920s jazz. The Red Hot Peppers featured such other New Orleans jazz luminaries as Kid Ory, Omer Simeon, Barney Bigard, Johnny Dodds, and Baby Dodds. Jelly Roll Morton & His Red Hot Peppers were one of the first acts booked on tours by MCA.

Morton moved to New York City in 1928, where he continued to record for Victor. His piano solos and trio recordings are well regarded, but his band recordings suffer in comparison with the Chicago sides where Morton could draw on many great New Orleans musicians for sidemen. In New York, Morton had trouble finding musicians who wanted to play his style of jazz. With the Great Depression and the near collapse of the phonograph record industry, Morton's recording contract was not renewed by Victor for 1931. Morton continued playing less prosperously in New York, briefly had a radio show in 1934, then was reduced to touring in the band of a traveling burlesque act. He wound up in Washington D.C., where folklorist Alan Lomax first heard Morton playing solo piano in a dive in an African American neighborhood. (Morton was also the master of ceremonies, manager, and bartender of the place he played.)

Morton in the 1920sIn May, 1938, Alan Lomax began recording interviews with Morton for the Library of Congress. The sessions, originally intended as a short interview with musical examples for use by music researchers in the Library of Congress, soon expanded to record more than eight hours of Morton talking and playing piano, in addition to longer interviews which Lomax took notes on but did not record. Despite the low fidelity of these non-commercial recordings, their musical and historical importance attracted jazz fans, and portions have repeatedly been issued commercially. These interviews helped assure Morton's place in jazz history.

Lomax was very interested in Morton's Storyville days and some of the off-color songs played in Storyville. Morton was reluctant to recount and record these, but eventually obliged Lomax. Morton's "Jelly Roll" nickname is a sexual reference and many of his lyrics from his Storyville days were vulgar. Some of the Library of Congress recordings were unreleased until near the end of the 20th century due to their nature.

Morton was aware that having been born in 1890, he was slightly too young to make a good case for himself as the actual inventor of jazz, and so presented himself as five years older. Research has shown that Morton placed the dates of some early incidents of his life (and probably the dates when he first composed his early tunes) a few years too early, and his statement that Buddy Bolden played ragtime but not jazz is contradicted by other New Orleans contemporaries. Most of the rest of Morton's reminiscences, however, have proved to be reliable.

During the period when he was recording his interviews, Morton was seriously injured by knife wounds when a fight broke out at the Washington, D.C. dive he was playing in. His recovery from his wounds was incomplete, and thereafter he was often ill and easily became short of breath. Morton made a new series of commercial recordings in New York, several recounting tunes from his early years that he had been talking about in









new born baby check list








new born baby check list




What Your Child Needs to Know When: According to the Bible, According to the State: with Evaluation Check Lists for Grades K-8






Concerned homeschooling parents are always asking "Am I doing enough?" This book answers this question and includes the checklists for academic evaluation for each grade K-8 and much more. Author Robin Sampson explains our children need to obtain academic knowledge, but, more importantly, they need to acquire the wisdom to know how to use the knowledge! "You may be interested in this book because it includes the state standards but you will come away from it inspired to rely on God's standards!" The goals outlined in this book will help you prepare, teach, and evaluate your children from a Biblical world view. It will also advise you in helping them become self-motivated, lifelong learners.










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