Maya 7 Years South East Regional 2013 UK Gymnastics Vault Competition
Maya doing her vault routine in the South East Regional 2013 UK Competition.
Bass'Flo - Live @ AM Producer Tour, 22.09.12 (Perception, Shrewsbury, UK)
Bass'Flo Live! For the AM Producer Tour Showcase @ Perception Shewsbury 22.09.12, (The Vaults) playing exclusive atmospheric drum 'n' bass..
Advection Agency
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Bass'Flo, Nemanoe, The Outerworld, Ziyal and other deeper drum 'n' bass artists.
Available for worldwide bookings at advection.co.uk/agency
Resident Advisor
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Buy AM Producer01
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35 Tracks from, The Outerworld, Bass'Flo & Nemanoe
Press
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The Outerworld (Bass'Flo & Nemanoe) Knowledge Magazine Interview: -
Kmag Presents Advection Music UK: -
We are The Shrewsbury Club
We are a family friendly health and tennis club in Shrewsbury, England with a Gymnasium, Swimming Pool, Imagine Spa, Restaurant and 14 tennis courts (6 indoors) theshrewsburyclub.co.uk
Seven-Time Lottery Winner Offers Tips to Powerball Winner | ABC News
Julie Leach is the winner of a $310.5 million Powerball jackpot, Michigan's second-largest lottery win in its history.
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EDW Unlimited #1
A promo montage featuring the stars of EDW, building to July 16th, 2010's show at The Hive in Shrewsbury. Courtesy of edwwrestling.com
Kensal Green Cemetery, London
By the beginning of the 19th century, the business of burying the dead in London had become intolerable. The crypts under most churches together with their churchyards and other burial sites, were full to bursting, and the situation had also become a health hazard.
In 1825, George Frederick Carden had the idea for the establishment of public cemeteries away from the centre of London, and later petitioned the government for the establishment of these. He established the General Cemetery Company in 1830, and the first of what was to become the 'Magnificent Seven' cemeteries, was opened in 1832 at Kensal Green. The General Cemetery Company still owns and manages this cemetery, which covers 72 acres.
Many famous names are buried here, and in 1939, a crematorium was opened, again with many well known names making their last journey to here.
It's Christmastime in Hollywood Graveyard
It's Christmastime in Hollywood Graveyard, so throw a yule log on the fire, and cozy up next to the tree with some hot cocoa, as we set out to remember and visit the final resting places of the stars who topped our Christmas trees.
Full list of stars visited today: Washington Irving, Clement Clarke Moore, Thomas Nast, Charles Dickens, George C. Scott, George Albert Smith, Frank Capra, Jimmy Stewart, Donna Reed, Lionel Barrymore, Henry Travers, Thomas Mitchell, Edmund Gwenn, Maureen O'Hara, Natalie Wood, Robert L. May, Gene Autry, Burl Ives, Larry Mann, Charles Schulz, Boris Karloff, June Foray, Thurl Ravenscroft, Jimmy Durante, Haven Gillespie, Fred Astaire, Mickey Rooney, Keenan Wynn, Ed Wynn, Darren McGavin, Dudley Moore, Judy Garland, Sammy Cahn, Dean Martin, Mel Torme, Robert Wells, Bobby Helms, James Pierpont, George Frederic Handel, Bing Crosby, Irving Berlin.
Thanks to our Patreon supporters, who help make these videos possible: Janet Elliot, Shawndelle Young, Trish McFerran, Victoria Waldock, Charles Whelan, Marcos M, Scott DeVane, Danielle Tripodi, Deb Blissick, Don Bass, Eve Devinsky, Jett, Jennifer Hall, Shannon Mead, Kim Friberg, Blake Changnon, Ronald Tompkins, Mary Dolan, Mario Tavena, Dan Greenlaw, Ron, Carrie D, Fred Rodriguez, Karen Mikulka, Jayden Padilla, Ashley Goddard, Charlie Clother, Robert Crotts, Lisa Williams, Teri, Jane Cuthbertson, Sarah Davidson, Everett Bowen, MariaElena Gonzalez, David Silver, Lady Diana, Eric Farque, Robin Lazerlere, Cesar, Lynn Eades, Michael Bawden, Jim, Roger Beard, Warren Butler, Sue Jordan, Sally Dupuis, NWOZ007, Henry Vinson, Matthew Henriksen, and Jason Young.
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Written & Produced by Arthur Dark
Music by Giuseppe Vasapolli
Additional music arrangements by Arthur Dark, and E's Jammy Jams.
Here We Come A-wassailing & Joy to the World performed by the U.S. Army Band Chorus.
Disclaimer: Tour videos are independently produced, and are not endorsed by the respective cemetery. When visiting a cemetery, do so only during regular visiting hours, take only pictures, and leave only approved grave offerings. Be courteous and respectful of both the living and the dead. In deference to families of those profiled herein, any requests to remove profiles by family members of the individual will be honored.
Copyright: Short excerpts of media featured in this video are copyright of their respective owners, and are used herein for commentary and reference under fair use. Please contact us with any copyright concerns if you feel the use of your property does not meet the conditions of fair use, we'll be happy to comply.
Famous Grave Tour videos copyright Hollywood Graveyard. Original music copyright Giuseppe Vasapolli.
Tudor House on BBC South Today.mov
Tudor House Surgery on BBC South
Tony Skeggs 4. 2. 2018 MARKET DRAYTON SANDBROOK VAULTS (VIDEO LIVE)
2019 Midland League - Final Match
On 4th August 2019 the joint Bristol/Yate Midland League team hosted the fourth and final league match.
Going in to the match the team were top of the table, so we knew that another match win would see us regain the Midland League Champions status Birchfield Harriers took from us in 2018.
Fortunately, this is exactly what we did!
MIDLAND LEAGUE DIVISION 1 CHAMPIONS!
The Real Origin of Dubstep
Dubstep
From Wikipedia, the free encyclopedia
Dubstep is a genre of electronic dance music that originated in
South London, England. It emerged in the late 1990s as a
development within a lineage of related styles such as 2-step
garage, dub, techno, drum and bass, broken beat, jungle, and
reggae.
In the United Kingdom the origins of the genre can
be traced back to the growth of the Jamaican sound system
party scene in the early 1980s.
The music generally
features sparse, syncopated drum and percussion patterns with
bass lines that contain prominent sub bass frequencies.
The earliest dubstep releases date back to 1998, and were
usually featured as B-sides of 2-step garage single releases.
These tracks were darker, more experimental remixes with less
emphasis on vocals, and attempted to incorporate elements of
breakbeat and drum and bass into 2-step. In 2001, this and
other strains of dark garage music began to be showcased and
promoted at London's night club Plastic People, at the
Forward night sometimes stylised as FWD, which went
on to be considerably influential to the development of dubstep.
The term dubstep in reference to a genre of music began to be
used by around 2002 by labels such as Big Apple, Ammunition,
and Tempa, by which time stylistic trends used in creating these remixes started to become more noticeable and
distinct from 2-step and grime
A very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards.
In 2004, the last year of his show, his listeners voted Distance, Digital Mystikz, and Plastician in their top 50
for the year.
[5] Dubstep started to enter mainstream British popular culture when it spread beyond small local
scenes in late 2005 and early 2006; many websites devoted to the genre appeared on the Internet and aided the
growth of the scene, such as dubstepforum, the download site Barefiles and blogs such as gutterbreakz.[6]
Simultaneously, the genre was receiving extensive coverage in music magazines such as The Wire and online
publications such as Pitchfork, with a regular feature entitled The Month In: Grime/Dubstep. Interest in dubstep
grew significantly after BBC Radio 1 DJ Mary Anne Hobbs started championing the genre, beginning with a
show devoted to it (entitled Dubstep Warz) in January 2006.[7][8][9]
Towards the end of the 2000s and into the early 2010s, the genre started to become more commercially
successful in the UK, with more singles and remixes entering the music charts. Music journalists and critics
also noticed a dubstep influence in several pop artists' work. Around this time, producers also began to fuse
elements of the original dubstep sound with other influences, creating fusion genres including future garage, the
slower and more experimental post-dubstep, and the harsher electro house and heavy metal influenced brostep
the latter of which greatly contributed to dubstep's rising mainstream popularity in the United States.
Characteristics
The music website Allmusic has described Dubstep's
overall sound as tightly coiled productions with
overwhelming bass lines and reverberant drum patterns,
clipped samples, and occasional vocals.[11] According to
Simon Reynolds, Dubstep's constituents originally came
from different points in the 1989—99 UK lineage: bleep 'n'
bass, jungle, techstep, Photek-style neurofunk, speed
garage, [and] 2 step.[2] Reynolds comments that the traces
of pre-existing styles worked through their intrinsic sonic
effects but also as signifiers, tokenings-back addressed to
those who know.[2]
Dubstep's early roots are in the more experimental releases
of UK garage producers, seeking to incorporate elements
of drum and bass into the South London-based 2-step
garage sound. These experiments often ended up on the Bside
of a white label or commercial garage
release.[7][12][13] Dubstep is generally instrumental. Similar
to a vocal garage hybrid – grime – the genre's feel is
commonly dark; tracks frequently use a minor key and can
feature dissonant harmonies such as the tritone interval
within a riff. Other distinguishing features often found are
the use of samples, a propulsive, sparse rhythm,[14] and an
almost omnipresent sub-bass. Some dubstep artists have
also incorporated a variety of outside influences, from dubinfluenced
techno such as Basic Channel to classical music
or heavy metal.
[14][15][16]
Rhythm
Dubstep rhythms are usually syncopated, and often shuffled
or incorporating tuplets. The tempo is nearly always in the
range of 138–142 beats per minute, with a clap or snare
usually inserted every third beat in a bar.
[14] In its early
stages, dubstep was often more percussive, with more
influences from 2‑step drum patterns. A lot of producers
were also experimenting with tribal drum samples, such as
Loefah's early release Truly Dread and Mala's Anti-War
Dub.
Sheffield Cathedral
SHEFFIELD CATHEDRAL
A walk around the grounds of Sheffield Cathedral on Church Street in Sheffield City Centre.
The Cathedral Church of St Peter and St Paul, Sheffield, usually called simply Sheffield Cathedral, is the cathedral church for the Church of England diocese of Sheffield, England.
Originally a parish church, it was elevated to cathedral status when the diocese was created in 1914. Sheffield Cathedral is one of five Grade I listed buildings in the city, along with Town Hall, Abbeydale Industrial Hamlet, and the parish churches at Ecclesfield and Bradfield. It is located in the city centre on Church Street and served by Sheffield Supertram's Cathedral stop. It is one of three stops to be served by all tram lines.
The site of the cathedral has a long history of Christian use. The shaft of the 9th-century Sheffield Cross, believed to have formerly been sited here, is now held by the British Museum.
It is probable that Sheffield's parish church, a satellite of Worksop Priory, was constructed here in the 12th century by William de Lovetot at the opposite end of the town to Sheffield Castle. This established the area of the parish of Sheffield, unchanged until the 19th century. This church was burnt down in 1266 during the Second Barons' War against King Henry III.
Another parish church was completed in 1280, but this church was mostly demolished and rebuilt about 1430 on a cruciform floor plan. The Shrewsbury Chapel was added in the next century, and a vestry chapel (now the Chapel of Saint Katherine) was added in 1777. The north and south walls of the nave were rebuilt in 1790–93 and a major restoration by Flockton & Gibbs, which included the addition of new north and south transepts, was completed in 1880. The church was originally dedicated to Saint Peter, but from some time after the reformation into the 19th century it was dedicated to Holy Trinity; it has since been dedicated to both Saint Peter and Saint Paul.
The parish of Sheffield was subdivided into smaller parishes in 1848. The church is still the parish church for the smaller Parish of Sheffield, but in 1914 it was also made the cathedral church for the newly created Diocese of Sheffield. Plans were drafted by Charles Nicholson to extend the church and reorient it on its axis, but due to World War II these were greatly scaled down. The resulting additions leave the church an awkward shape in plan, but with an impressive south elevation.
On Thursday 2 April 2015, the Royal Maundy service was held in Sheffield Cathedral. The Queen distributed specially-minted Maundy money to 89 men and 89 women.
The east end of the current church is the oldest. In the east wall of the sanctuary there are stones from the 13th-century church. Dating from the 15th century are the sanctuary and chancel. The 15th-century cruciform church also included lofts and a rood chapel but these were ordered to be removed by Elizabeth I. Their scars can be seen on the walls.
The chancel roof likely dates to the 16th century[5] and is a hammerbeam roof with gilded angels. The outstretched wings are a modern gift from the 1960s by George Bailey.
In the 1770s, rebuilding included the addition of tracery into the windows and a resurfacing of the walls with moorstone.
The addition of the vestry chapel of St Katherine destroyed the cruciform shape of the plan. The Shrewsbury Chapel was constructed in order to house the Tudor monuments of the Earls of Shrewsbury.
The altarpiece in this chapel is considered medieval in date. On the south wall of the Shrewsbury Chapel is the alabaster monument to George Talbot, 6th Earl of Shrewsbury with its architectural surround, armoured effigy, and Latin inscription.
Several members of the family are buried in the vault. The monument on the left towards the sanctuary is to George Talbot, 4th Earl of Shrewsbury. It is made of fine marble, carved in an Italian style to depict the Earl and his two wives in positions of prayer.
They are both fine examples of Tudor monuments. The east window is a monument to James Montgomery.
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Brooks Williams - Water Song
Brooks Williams performs his arrangement of Water Song, which was written by Jorma Kaukonen and recorded on the Hot Tuna album Burgers. Brooks' arrangement is available on the 2018 re-issue of his critically acclaimed Signature Sounds release, Little Lion (originally released in 2000). Video by Andy Craig. Recorded by Mark Freegard at Kyoti Recording Studio in Glasgow, Scotland. For more information about Brooks Williams, visit brookswilliams.com .
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At the crossroads of blues and American roots music you’ll find Brooks Williams. “Setting new standards and a fresh direction for the blues,” says Blues In Britain, and creating a “beautiful fusion” (Keys And Chords). Just when you think he can’t sing a blues-ier note, he sings it. Just when you think he can’t strum a deeper groove, he strums it.
Brooks Williams was born in Statesboro, Georgia, USA (the town made famous by the classic song Statesboro Blues), and did his apprenticeship in the small bars and coffeehouses of New York and Boston, following in the footsteps of Chris Smither, Rory Block, Shawn Colvin, Maria Muldaur, David Bromberg and Leo Kottke, all whom he gigged with from time-to-time when he was starting out.
The result of those early years is an unflagging career that goes from strength to strength. “Lucky Star,” Williams’ 28th solo recording, is already turning heads and making itself known on playlists throughout the world. The Second Line groove that runs throughout every track would make the late Allen Toussaint proud.
Williams performs hundreds of solo and band shows throughout Europe, North America and the UK each year and regularly collaborates with an impressive list of fellow musicians, including Hans Theessink, Guy Davis, Sally Barker, Boo Hewerdine, Paul Jones, and Rab Noakes.
Ranked in the Top 100 Acoustic Guitarists, he’s a mean finger-picker and a stunning slide guitarist. Plus, “he has a beautiful voice,” says AmericanaUK, “that you just melt into.” That voice earned Brooks a nomination for Best Male Vocalist by Spiral Earth, one of the UK’s most respected roots music publications.
He’s no slouch as a songwriter, and has an impeccable ear for a good cover. Williams’ original songs are typically sophisticated musically, and yet sound immediately familiar – a sign of a skilled songwriter”, writes Down At The Crossroads. His massive repertoire spans classic roots and blues. Check out his version of Dave Alvin’s “King Of California” and follow it with Williams’ instant classic, “Gambling Man.”
Brooks Williams has played all the major stages, like The Birchmere in Virginia, The Guthrie Center in Massachusetts, The Tolbooth in Scotland, The Liverpool Philharmonic Hall in England, Meneer Frits in The Netherlands, Harvest Blues in Ireland, The Avalon Theater in Maryland, JazzLand in Austria, The Stables in England, and Blues Au Chateau in France. And he gets invited back.
He’s played the Fairport Cropredy Festival, Newport Folk Festival, Kerrville Folk Festival, Costa del Folk, Shrewsbury Festival, Celtic Connections and the Glastonbury Festival.
He’s recorded for labels as diverse as Signature Sounds, Green Linnet Records, Reveal Records, Solid Air Records, as well as his own Red Guitar Blue Music. He’s learned the studio trade first-hand working with roots music producers like Colin Linden (Blackie And The Rodeo Kings, Bruce Cockburn) in Toronto and Phil Madeira (Buddy and Julie Miller, Emmylou Harris) in Nashville.
His instructional guitar workshops frequently sell out, and his teaching is in demand at music camps and colleges around the world. His music has featured on the BBC (UK), RTE (Ireland), CBC (Canada), NPR (USA) and Sirius XM (USA), and he’s charted on the FOLKDJ chart, EuroAmericana chart and Blues Lists around the world. WUMB-FM in Boston (USA) voted him one of their Top 100 Artists.
Praised by Blues Matters, fRoots, Rolling Stone, the Boston Globe and Mojo, Williams is at the top of his game. His tour schedule has never been busier. He writes and records at an astonishing pace. He loves it, and that love exudes from every note.
A William and Mary Walnut Feather Banded Fold-over Side table/ writing table
IMPORTANT ANTIQUES COLLECTION SELLS FOR £600,000 IN SHREWSBURY
An important single owner collection of antiques and fine art, which belonged to retired corn merchant who collected only the best, has sold for £600,000 at a hugely successful two-day auction at Halls in Shrewsbury.
The auction, conducted on behalf of the executors of Edward V. Phillips, who died last December, featured several important collections, including 18th century drinking glasses.
The first day of the auction Tuesday 6th saw a rare Jacobite 'Amen' glass, one of fewer than 40 known examples in the world, sell for £43,000. The 'Baird of Lennoxlove' Amen glass, made in the 1750s was engraved with two verses of the Jacobite anthem.
Wednesday 7th saw the turn of oak, country and fine furniture, alms dishes and metalware, tapestries, clocks and mirrors. Top price of £18,000 went to a William and Mary osyter laburnum veneeered cabinet on stand.
This video shows the sale of:
Lot 566 - A William and Mary Walnut Feathered Banded Fold-over Side table/ writing table . Sold for £15,000.
A large collection of 16th century Nuremberg alms dishes sold for combined total of £29,000 and a dozen Aubusson style tapestries made £9,500.
Early English oak furniture, in particular, was keenly sought after. An oak joint stool made in around 1600 sold for £11,000 and two Elizabethan joined oak coffers made £9,600 and £9,400.
Other leading prices in the fine furniture section from the William and Mary period included £15,000 for a walnut feather banded fold-over side table, £13,000 for an oyster veneered olive wood chest, £12,500 for a laburnum cabinet on stand, £12,000 for a yew wood gate-leg breakfast table and £7,200 for an oyster veneered laburnum chest.
Quality 17th century clocks also performed well, with a walnut and marquetry longcase clock by Daniel Le Count, London making £16,500, an ebony veneered, quarter repeating, hour striking bracket clock by Simon de Charmes, London selling for £13,000 and a walnut and marquetry longcase clock by Joshua Allsop, London fetching £12,500.
Elsewhere in the saleroom, a set of five Victorian graduated imperial grain measures in bell metal made £4,800, a pair of 16th century brass pricket candlesticks and a pair of late 17th century walnut candlestands made £4,200 each and a George I giltwood wall mirror sold for £3,400.
The collector, Mr Phillips, who retired with his wife from the Cotswolds to Llanfair Waterdine, near Knighton, began collecting in the 1970s, selecting only the best pieces for his collection.
Halls' fine art director Jeremy Lamond said it was the most successful auction of an important single owner collection ever held by the company and augured well for the future.
We are absolutely delighted with the response to this collection from across the UK, Europe and the United States, he added. It is a testimony to the strength of the auction that so many lots were sold to people who had travelled especially to attend and buy in the saleroom.
The result shows that there is still strong demand for the best examples in each collecting field and that's exactly what the Edward V. Phillips collection offered.
This success provides a fantastic platform upon which to build for the future. Given the response to our extensive marketing of this auction, we intend to host similar important collections from the West Midlands and beyond.
Contact Halls Fine Art on 01743 284777 for details of our future sales or if you have a collection you would like to discuss selling at auction.
Free Running, Lilleshall (/Shrewsbury)
preparatory dance-the charleston
nwa's swingin' 7th graders.
Bishop's Castle, Shropshire, Wedding 1968
This is from a home movie on 8mm cine film of a traditional wedding. It shows the arrival of the bridal party, their photographs being taken after the ceremony and the walk down the church path to the wedding car which would take them to the wedding reception for family and guests.
emily dancing in pe in school
i recorded emily and samantha dancing in pe
UKCF Academy | Karate Kid | Inflatable Tumble Track
Emmeline, just turned 6 has been with us for a short time and already doing so well. One of her personal struggles recently has been cartwheels and the confidence needed to fall into it from standing. We are glad to say that she finally managed it and couldn't stop afterwards! Keep up the good work Emmeline - you've got a bright future ahead of you! For the chance to sign up your child onto our youth program please click ukcfacademy.co.uk to find out more.
Affcot Lodge, Church Stretton , United Kingdom, HD Review
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Located in Shropshire Hills Area of Natural Beauty, Affcot Lodge offers a restaurant and bar in the village of Upper Affcot. The hotel has free parking, and WiFi in the public areas.
The Lodge offers a shared lounge with an open fire, and outdoor seating with a children’s play area. The rooms all feature en suite bathroom, flat-screen TVs and tea and coffee making facilities.
The restaurant offers breakfast, lunch and dinner menus, including a Sunday carvery. Packed lunches are also available on request, and guests will also find a banquet area.
Affcot Lodge is 2.4 miles from Craven Arms, and a 35-minute drive to Shrewsbury. Guests can visit the Stretton Antiques Market, which is 5 miles from the property. Affcot Lodge is 67 miles from Birmingham Aiport.