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Another feature called the Presentation Panel allows the choice of hundreds of different Themes to change the overall look of the site, without changing anything else therein. The main menu and admin panel will take the user step-by-step through all the features and set up of a WordPress site, while further help here and in the use of all the available WordPress functions can be found amongst the many WordPress tutorials on offer.

A soothing drink can be made by dissolving menthol-eucalyptus or peppermint candy in boiling water and then adding honey. Cranberry juice has a numbing effect on the throat and with honey added will be extra soothing, while the same goes for fresh ginger; sliced and steeped in boiling water and mixed with honey, when cool becomes a very tasty and efficient drink.

For those who don’t really like the taste, or whose throat is to sore to swallow yet; a gargle is another alternative:
Sage leaves boiled in water with salt and then cooled to room temperature make an excellent gargle and chamomile tea is soothing when used as a gargle or a drink.

Honey and black treacle are both very helpful natural remedies for sore throats and a spoonful of either will feel wonderful as it slides down those raw areas, but of course too much of this is not conducive to a healthy body, especially if calorie counting! However the addition of one of these calming elements to drinks and gargles will add additional benefits.

As most people nowadays prefer to look to natural solutions rather than medicines and drugs, these natural remedies for sore throats are welcome ideas to help endure, and hopefully cure, a very uncomfortable situation.

Before approaching the first tee, it is important to familiarize yourself with any specific rules to the golf course you intend to play on: These will generally be listed on the provided scorecard.
The golf balls you will play with must be individually marked to identify them as yours and the other players must be informed of your identification mark as well as the number and type of ball you are using.

Try to avoid playing too slowly as there are almost certainly other groups of golfers playing the same course and you may be holding up play. Neither is it a good idea to play too quickly and arrive at the next tee while the previous group is still playing. Try to keep up a reasonable speed between holes and use the time while the rest of your group are playing to plan your next shot and make note of wind speed and direction. The time taken between the selection of a club and taking of the shot should never be more than 30 to 40 seconds and when you find you are not prepared to take your turn you should allow another in your group to play first.

Replace divots wherever possible, but where the displaced turf is too broken up to set back into place, you should kick around the missing spot with the toe of your shoe. Some golf courses supply containers of soil with grass seed mixed in, which you can use to fill a divot.

When taking a shot from a bunker, avoid stepping on the upright slopes and be sure to rake the sand wherever you have stepped and played; leaving the surface as clear as possible. Rakes will be supplied and should be left near to a bunker.
On the green, never step onto another players putting line and if necessary mark the spot where your ball sits if it is going to interfere with another player.

Following these simple rules of golfing etiquette will ensure that everyone enjoys their game without interfering with anyone else’s and the game of golf will continue to be as relaxing and friendly as always.

This clinic/performance will focus on the innovations flute players have contributed to the development of Afro-Cuban music. The period of time discussed will be from 1900-present.

The flute was introduced to Cuba by way of Haiti in the late 1700’s by the French landowners who had been forced to emigrate to Cuba during the Haitian Revolution. They brought the five- keyed flute with them along with a rich musical culture. The flute was eventually incorporated into a musical ensemble called the Charanga Francesa or Charanga Tipica Francesa.

This clinic will enlighten the audience with historical facts which are relevant to the development and evolution of the flute in Afro-Cuban music. It will also highlight a select few of the vast amount of amazing flute players who have played this music and contributed to each significant innovation throughout the time period specified.

The master class will end with a performance in which the audience will hear original music which was greatly influenced by Charanga music, a facet of Afro- Cuban music, other facets of Afro-Cuban music, and Jazz.

Materials needed:
o Microphone and sound equipment if needed
o CD player, and audio visual equipment for showing video clips, and an overhead projector
o Table to place materials
o Placement of chairs should be considered depending upon size of each room, always preferably in an arc in order to facilitate intimacy for discussion.
o Handouts: glossary of musical terms, one page of most important relevant dates, resource page, discography of material used, brochure.

+ Introduction of myself – 1 minute
+ Content of Clinic- 45 minutes
The body of the clinic will begin by explaining the history of the West African’s forced arrival in Cuba. It will continue by highlighting each flautist who contributed to the development of Charanga music and Afro-Cuban influenced music as it is known today. Interspersed within all dates and flautists, will be coordinated musical selections, overhead sheets, and video clips.
+ Credits – 4 minutes – Brief discussion of materials which were used to create the clinic along with people who contributed their time and expertise.
+ Question and answer period – 15 minutes
+ Performance- 20 minutes- Pieces to be performed:
# Latin Sunset – 10 minutes
# Quatemala’s Dance – 10 minutes
Total time: 85 minutes

Note: For an additional 20 minutes, a guest artist can be included in the clinic who is one of the featured flautists.

Suggested Reading

Diccionario de la Música Cubana, Biográfico y Tecnico-by Helio Orovio-Editorial Letras Cubanas, Cuidad de La Habana, Cuba 1981
Essays on Cuban Music- North American and Cuban Perspectives, Edited by Peter Manuel, University Press of America, 1991 Ballroom Dance Magazine Vol 2 no. 7 July 1961
The Devastation of the Indies, A Brief Account-Bartolomé de Las Casas, translated by Herma Briffault, The Johns Hopkins University Press, 1992
Biography of a Runaway Slave, Miguel Barnet, Curbstone Press, 1994
Jazz Monthly Magazine, “The Charanga and the Chachachá,”Derrick Armstrong,May 1959, Vol. 5 #3, June 1959, Vol. 5, #1
La Música en Cuba Editorial Letras Cubanas, Carpentier, Alejo, Cuidad de La Habana, 1979
Miguel Faílde-Creador Musical del Danzón by Oswaldo Castillo Faílde 1964-Oficina del Historiador de La Cuidad Habana
Charanga: Then and Now, Latin Beat, Connie Grossman, Dec. 1999
Brief History of the Latin American Flute, Latin Beat, Luis Tamargo, March 2000
De La Contradanza al Danzón, Argeliers León, Dept. de Música Biblioteca Nacional, Habana, Cuba
The Cuban Danzón-Before There Was Jazz: 1906-1929, Arhoolie Records Cristóbal Díaz Ayála
The Cuban Danzón: It’s Ancestors and Descendents, Folkways Records, Produced by Andrew Schloss, Introduction by John Santos
El Danzón Iconografía: creadores e intérpretes, Recopilacíon y Coordinacíon: Ezequiel Rodríguez, 1967
Salsa Guidebook for Piano & Ensemble, Rebeca Mauleón,Sher Music Company
Latin Beat Magazine – any articles by Max Salazar

Suggested Discography
www.descarga.com/www.amazon.com

Historical:
* La Volanta-Danzas Y Contradanzas Cubanas-EGREM-1993
* Early Cuban Danzón Orchestras:1916-1920-Harlequin-1999
* The Cuban Danzón-Before There Was Jazz: 1906-1929-Arhoolie-1999
* Hot Music from Cuba: 1907-1936-Harlequin-1993
* The Music of Cuba:1909-1951-Columbia

Cuban-Typical:
* Antonio María Romeu-Danzones-EGREM-1996
* La Sabrosa Aragón- Artex-1993 (any Aragón record)
* Montuneando con Arsenio Rodríguez Y Su Conjunto:1946-50-Tumbao-1993
* Silver Star- Orquesta América de Ninón Mondejar-Tumbao-2000
* Prueba mi Sazón- Orquesta de Belisario López:1942-1948-Tumbao-1995
* Pancho El Bravo- Edenways
* Arcaño Y Sus Maravillas-Grandes Orquestas Cubanas-EGREM-1992 (any Arcaño record)
* Fajardo Y Sus Estrellas-esto sólo se da en Cuba-Bis Music
* Montuno Favorito-Orquesta Melodías del 40-Tumbao-1999
* Charangas Orquesta América del ‘55/Orquesta Estrellas Cubanas-SEECO-1995
* Collection-Dr. Olavo Alén Rodríguez-From Afro-Cuban Music to Salsa-Book and CD-Piranha-1998

New York Charangas:
* Pachéco Y Su Charanga-Alegre-1996
* Charanga Moderna- Ray Barretto-Tico-1999
* Eddie Palmieri and his Conjunto La Perfecta-Alegre-1996
* Pruébalo Mi Amor: Try it Out, My Love-Orquesta Broadway-Tico-1968
* Viva Palmieri- Charlie Palmieri and his Charanga Duboney-Alegre-1998
* Charangas de Cuba y Nueva York-Tico-1976
* Charanga ‘76-TR-1976
* Charangueando-Típica ‘73-Fania-1980
* Rumba Caliente-Típica ‘73-Inca-1976

More Contemporary Cuban and New York:
* Descarga Total-Maraca-Ahí-Namá-2000
* Es Diferente-Los Jóvenes Del Bárrio-Shanachie-2000
* Cuban Roots-Mark Weinstein-Cubop-1999
* Best of Los Van Van-Milan Latino-1996
* Cuban Carnival-Tito Puente and his Orchestra-1990 (Any Tito record)
* More Legendary Descarga Sessions-Cachao-Caney-1995

Latin Jazz/Jazz:
* Wildflower-Hubert Laws-Atlantic-2001 (any record where Hubert plays)
* Burning Whispers-Néstor Torres-Sony-1994
* Madera-Mauricio Smith-Wenmar-1996
* Live at the Blue Note-Dave Valentín-GRP-1988
* Unreleased and Unleashed-Mongo Santamaría-Sony Music-2000
* Jazz Masters 56-Herbie Mann-Verve-1996
* Cal Tjader’s Greatest Hits-Fantasy Records-1995