How to Make Blue Fire with the Easy Method

Making blue fire is an easy DIY project, and theres more than one way to do it. Here are a couple of pointers for making it yourself. Natural Blue Fire The easiest way to make blue fire is to burn a chemical that naturally produces a blue flame. Most types of alcohol burn as blue fire:Â   Ethanol (e.g., rum, vodka)Methanol (wood alcohol, Heet fuel treatment)Isopropyl alcohol (rubbing alcohol) Natural gas also burns with a blue flame. Easy Method of Making Blue Fire Several metal salts burn with a blue flame, such as certain copper, arsenic, and lead compounds. Antimony and lead are toxic, but you can use copper(I) chloride to produce blue fire. Add a small amount of water to copper(I) chloride to dissolve the salt. If you cannot find copper(I) chloride, it is possible to make this chemical yourself. Copper(II) chloride is more widely available, but it will burn with a blue-green flame.Soak a flammable material with the copper chloride solution. Good choices include sawdust or pine cones.Allow the material to dry.When you light it or add it to a normal fire you will get blue fire.

The Trial of Jesus Essay - 1484 Words

In The Judaeo-Christian Tradition by Jack H. Hexter, the trial of Jesus is addressed in an unorthodox perspective. The trial of Jesus incorporates two trials: the Roman trial and the Jewish trial. In Hexters book the Roman trial is addressed in great length while the Jewish trial is almost unaddressed. Hexter provides a perspective of the trial of Jesus with only one cause: the charge of sedition, for claiming to be king of the Jews. By using the four gospel texts, Hexters view is illuminated and we find crucial aspects to the trial that not only counter Hexters view on the sedition charge but also provide evidence for other important charges. Themes other than the charge of sedition supporting Hexters perspective include, the†¦show more content†¦Hexter blames Pilate for being the sole decision-maker for the death of Jesus, but once again, the Four Gospel texts allude the Jewish community for being a major influence upon the death of Jesus. Hexter begins his thesis with on e sentence stating that only Pilate gave the order of Jesus death: â€Å"...who in turn gave him to the procurator Pontius Pilate for trial.† (Hexter 63) Hexter does not address the Jewish community that is in upheaval during a time of Passover or Pilates role throughout the trial. Pontius Pilate, as Roman Governor, had a position to fulfill to the Roman population along with the Jewish community. During a time of Jewish Passover, along with the chaos Jesus had created, Pilate was under great influence from many outside factors. â€Å"The stir created by Jesus preaching and the size of his following perturbed both the Roman and the Jewish authorities, fearful of any wind that might fan the smoldering discontent in Palestine into a raging flame of revolt.† (Hexter 62) In the Roman trial, Pilate was chosen to judge Jesus on the act of sedition, however counter to Hexters perspective, repeatedly stated that he saw no case against him. In the Gospel of John, it is apparent that Pilate not only doesnt want to be involved but is puzzled at the situation at hand. â€Å"Your own nation and the chief of priests have handed you over to me; what have you done?† (John 18:33) Pilate is attempting to keep order in his city and rather not involveShow MoreRelatedThe Trial Of Jesus Of Nazareth874 Words   |  4 Pagestogether the texts. This is exactly the issue that S.G.F. Brandon explores in his book, The Trial of Jesus of Nazareth. Within his first chapter, â€Å"History or Theology? The Basic Problems of the Evidence of the Trial of Jesus,† he raises several important questions that historians must keep in mind. Did the people who wrote down the Gospels mean for the works to be a purely factual, historical accounts of Jesus’s trial and death, or did they mean for them to be religious, theological works? After all,theRead MoreThe Illegal Proceeding of Christs Trial1155 Words   |  5 Pages There were many, many illegal things that happe ned at Jesus trial. Their goal was to get Him condemned, not to truly and lawfully find out if He was guilty. They had been trying for a long time to find a way to put Him to death. Now, they had him in their hand and they did their best to get rid of Him. â€Å"If these men had intended to conduct a legal trial, a specific charge would have been made against Christ, and a warrant for His arrest would have been issued.†1 Since this was not what they wantedRead MoreThe Trials of Christ from His Arrest to His Death on the Cross1322 Words   |  6 PagesThe Trials of Christ from His Arrest to His Death on the Cross Introduction Jesus was in Jerusalem because he was trying to fulfill the prophesy that the Messiah would die and rise again in three days. Jesus entered Jerusalem on a donkey. As they proceeded into Jerusalem many people spread their cloaks on the road, while others spread palms they had cut in the fields. Those who followed shouted, Hosanna! Blessed is he who comes in the name of the Lord. Blessed is Read MoreThe Illegal Proceeding of Christs Trial992 Words   |  4 Pagesby accident? Jesus trial was filled with these â€Å"mistakes.† One writer said this about the trial of Christ, â€Å"...the condemnation and execution of Jesus Christ was absolutely illegal, unwarranted, and worse than atrocious...†1 Jesus had four main enemies and many things that were illegal against him, but he is our Lord. Jesus enemies were the Pharisees, Sadducees, the Herodians, and the Chief Priests. They each had their own reasons for hating Jesus. The Pharisees hated Jesus because they thoughtRead MoreYou Are Not Alone? Essay874 Words   |  4 Pages(Matthew 28:20) Jesus talks to his disciple’s right before He was about to ascend into Heaven. He leaves a very important message for his disciples to remember. The fact that He was always with them to the very end of the age. Do you know the depth of what this verse means? Although Jesus was leaving His disciples, He was stating He would still be with them, but how? It’s like an oxymoron. How can He leave them but still be there with them? Simple, in spirit. I learned the reality of trials and strugglesRead More The Jewish Messiah 818 Words   |  4 Pages Jesus Christ or the professed Jewish Messiah was tried for terrible blasphemy. It was a great catastrophe. Had Jesus given a fair trial then His claim for divine Messiahship would have been established. Unfortunately the laws were bent and the eyes were closed and thus a fair judgment was prevented. There is no doubt that this was the most terrible miscarriage of justice ever experienced by the mankind. In open court it was admitted by Jesus Christ that He was God in human flesh. What ever wouldRead MoreThe Gospel Of Mark s Gospel1493 Words   |  6 Pages When you read the Gospel of Mark, there are things that can be taken away in the sense that they serve as a purpose for explaining the honor and shame within Mark’s Gospel. The Gospel of Mark starts out with the baptism of Jesus and ends with the burial of Jesus in the tomb. While Mark’s gospel is short and sweet, i t is the shortest Synoptic Gospel and is meant to be heard, not read. Going through the Gospel of Mark, Mark focuses on how to have trust, whether that’s trusting God or trusting yourselfRead MoreThe Apostle Paul The Foundation For Salvation, Faith, The Church, And Christian Growth1494 Words   |  6 Pagesrightly dividing the word of truth.† (2 Tim 2:15). Jesus stated, â€Å"I must be about my Father’s business† (Luke 2:49). In Paul’s life, he also went about doing the Lord’s business. Paul responded to the high calling of God by laying down, or breaking new ground, in order to grow in the Lord while giving birth to churches that are scripturally correct and have their proper reverence. Marshall 2 H. J. Hester stated that Paul â€Å"caught the spirit of Jesus and breathed that spirit into Gentile ChristianityRead MoreJesus Christ Called Holy Week Essay1726 Words   |  7 PagesOn Palm Sunday, Jesus and his disciples spent the night in Bethany, a town about two miles east of Jerusalem. In all likelihood, Jesus stayed in the home of Mary, Martha, and Lazarus, whom Jesus had raised from the dead. Beginning with Palm Sunday, we will walk through the week; the steps of Jesus Christ called â€Å"Holy Week†. We will visit each of the major events that occurred during our Savior s week of passion. On the Sunday before his death, Jesus began his trip to Jerusalem, knowing that soonRead MoreThe Testament Of The Bible833 Words   |  4 Pageshistorical background, it could help comprehend the meaning behind the book being written. If we really want to understand the bible to help us grow spiritually, we must be informed in our history. It could tell us why our ancestors went t hrough certain trials. We can then know why we still face dilemmas from their past actions today. History continues to affect our lives, and if we learn from the past it could salvage the future. The Gospels are written for different reasons. Some go more in depth on

Arvin

Arvin-and-Edgar team bolsters Long Wharf Essay More than 20 years since taking over the highest positions at New Havens Long Wharf Theatre, Arvin Brown and M. Edgar Rosenblum still share an office. Its not because they are required to. Since Brown became the theatres artistic director 25 years ago and Rosenblum joined him as executive director three years later, the two have seen the theatres facilities twice expanded. What began as a rabbit warren of offices with one performing space in 1965 is now a relatively expansive complex with rehearsal rooms, production shops, offices and two performing spaces. The fundamental things are now in place, 25 years later, Rosenblum says with hard-earned humor. What is apparent is that Brown and Rosenblums shared space is as fundamental as the cement blocks and beams supporting the walls of Long Wharfs theatres the literal manifestation of their ability to work elbow-to-elbow and provide a different sort of foundation for the distinguished company. These two Connecticut Jews, theyre really this sort of married couple, says Gordon Edelstein, Long Wharfs associate director, who has staged plays at Long Wharf the past two seasons. They take vacations together with their wives. They go off to England, the fourt of them, as if theyre not bored together. I cant imagine it. On a recent winter evening, the two sit in their office, a sweater-clad Rosenblum in his familiar post at the offices only desk and a casually attired Brown sinking into one of two couches. This, Rosenblum later confides, is how they usually work. Both men appear slightly fatigued, but neither looks his age 51 in Browns case, 60 in Rosenblums. And neither, unless hes cheating, has been rendered fully gray by a quarter of a century in nonprofit theatre. It is the middle of a preview week for John Tillingers production of Adventures in the Skin Trade, and both men have been functioning as midwives, helping to create Tillingers ambitious, part-musical adaptation of Dylan Thomass unfinished work. Rosenblum has (as usual, according to his staff) been present throughout the technical and preview performance periods. A self-described techie, Rosenblum has no production manager on his staff, but instead directly oversees the production process. Brown, who is in the midst of directing a New York-bound, Joan Collins-fueled production of Private Lives, has managed to duck into rehearsals and run-throughs and tonight will see the show in its entirety. We just told somebody downstairs what this interview was about, Rosenblum says that we are the oldest living couple in the American theatre. Brown booms with laughter, as he often will at Rosenblums jibes, then adds, No, not quite. Thats Hume and Jessie, if youre talking couples. Rosenblum, in turn, breaks into a wide grin at the comparison to the venerable Cronyns. The exchange seems part of a long-running Arvin Edgar show, a spontaneous but utterly familiar pattern of play established by two friends who genuinely like and entertain each other. Apart from their obvious mutual affection, the heart of Brown and Rosenblums longevity as a team in the fraught world of nonprofit theatre seems to be a foundation of trust in the others talents and a large measure of contentment that each finds in his assigned role. I once directed a play, Rosenblum says, and it scared the life out of me. (Brown roars.) Ive always had a view that theres somebody over here whos an artistic director who has a vision of what the artistic product and process should be, and my job is to support that. I feel very powerful. I know thats a bad word, but I feel very powerful supporting that thing. That thing is, of course, the play or in this case, the play reason, which, by the admission of both men and staff members, is Browns province. Thats the hardest part of the job, says the director, who this year selected five plays for the 487-seat mainstage space and four for the 200-seat Stage II space. Its ultimately my responsibility, no matter what. I mean, I can have all the advisers in the world. Certainly Edgar has suggestions; Joey Tillinger works very closely with me on evolving the season, but in the long run, its my decision. I am judged by the program of plays as much as by any other factor. Newton Schenck, who was chairman of the board at Long Wharf for most of Browns tenure and now retains the position of board chairman emeritus, says the board stays out of season-planning decisions. We in no way tell Arvin what plays hes going to do, Schenck says. I dont suppose many artistic directors would stay at a theatre where the board dictated the artistic product. The only thing we have to be careful of is the budget, of course. We tell Arvin what we can afford, and he has to stay within that. Over the years, Long Wharf has produced 220 productions including 37 American premieres and 29 world premieres. In addition, more than 20 productions have been transferred to theatres on Broadway and Off Broadway. If subscription numbers reflect public endorsement of play choices and productions, then Brown has been judged favorably over the years. The theatres subscriptions grew to a high of 18,000 in the media-blitzed 1989-90 25th-anniversary season. That the number dropped this year to just over 16,000 is attributed, by Rosenblum, to the recession, which is proving especially fierce in New England. Comparison of Two Films EssayThere has been speculation over the years, generally in the context of a successful New York transfer, that both men might leave Long Wharf for what are perceived by some to be greener pastures. Brown and Rosenblum refute the notion. Its never been true, Brown says. No matter how inviting the opportunity, theres always been some way of incorporating it within the framework of what I do here. Also, ultimately, Id rather work here than anywhere else I mean I enjoy it more, which is what says it all in the long run. As curtain time approaches, Brown is joined by his wife, actress Joyce Ebert. They make a courteous withdrawl to join the audience in the house. The sounds of the settling crowd can be heard clearly through a speaker in the office wall. Rosenblum waits, his head cocked to listen. When the applause begins, he rises from his chair and, drawing a curtain away from a small window opposite his desk, watches the start of the play. This ones got some problems, he says, but we can fix it. ENTRANCES EXITS Irene Lewis, acting artistic director of Baltimores Center Stage for the past season, has been named artistic director. Lewis replaces Stan Wojewodsk Jr., who resigned last year when he was appointed to head the Yale Repertory Theatre in New Haven, Conn. Lewis has been associated with Center Stage since 1980 as guest director and associate artist, and previously served as artistic director of the Philadelphia Drama Guild and associate director of the Hartford Stage Company in Connecticut. Lewis directed this seasons opening production at Center Stage, The Queen and the Rebels by Ugo Betti, and will helm Shakespeares Pericles and Moleires The Misanthrope later in the season. Richard Hamburger, artistic director of Maines Portland Stage Company since 1987, will resign to assume the artistic directorship at the Dallas Theater Center following the current season. Hamburgers 1990 production of Twelfth Night was Portlands inaugural Shakespeare production, and he recently directed Machiavellis The Mandrake for the company. He will helm the final play of the season, Jon Robin Baitzs The Substance of Fire, as a co-production with the Dallas Theater Center, where he first staged the play last winter. Dallas has been without an artistic director since the death of Ken Bryant in October, 1990. A search committee has been formed at Portland Stage to conduct a national search for Hamburgers successor. John Dillon, artistic director of the Milwaukee Repertory Theater, has announced that he will resign to seek other artistic opportunities following the 1992-93 season. In his 15-year tenure at the theatre, Dillon has pioneered international exchange programs with companies around the world, expanded the Reps resident acting ensemble to include a variety fo artistic positions, and continually emphasized multi-racial and nontraditional casting. The Rep, a four-theatre complex, has formed a search committee to name Dillons successor. . . . Elizabeth Huddle will resign from Seattles Intiman Theatre Company following her seventh season as artistic director in December 1992. Huddle most recently directed A Midsummer Nights Dream for the theatre, which is currently co-producing its acclaimed production of The Kentucky Cycle with the Mark Taper Forum in Los Angeles. A search committee has been formed to name her successor. The Idaho Shakespeare Festival has appointed Charles Fee artistic director. Fee is an actor, director and educator, and is currently artistic director of the Sierra Repertory Theatre in Sonora, Calif. . . . Michael Stotts has been named managing director of the New Jersey Shakespeare Festival. Stotts has been the Festivals general manager since October of last year, and previously served as company manager at the Manhattan Theatre Club . . . . Californias Marin Theatre Company has named Regina Lickteig managing director. Lickteig previously managed the PlayMakers Repertory Company in Chapel Hill, N.C. Kate C. Busch is the new director of development at Hartford Stage Company, where she will be responsible for government and community relations, long range planning and development of foundations and corporations. Busch previously served as executive director of the Alliance of Resident Theatres/New York, a trade and service organization for the New York City nonprofit theatre. Canadas Stratford Festival has named Marti Maraden director of the 1992 Young Company, where she will be in charge of the training program and will direct the festivals summer production of Shakespeares The Two Gentlemen of Verona. Maraden has been affiliated with the festival for eight seasons as an actor and director . . . . Cora Mirikitani has been named program officer in culture at the Pew Charitable Trusts, a national philanthropy based in Philadelphia. Mirikitani has previously served as executive director of the Greater Philadelphia Cultural Alliance, managing director of the Japan America Theatre and, most recently, director of performing arts and film for the Japan Society. The International Theatre Institute Worldwide has reelected Martha W. Coigney for a third two-year term as president. Coigney, currently director of the U.S. Center of ITI, has been affiliated with the organization for 25 years . . . . Margaret Lioi, administrator of New Yorks Eleanor Naylor Dana Charitable Trust since 1989, has been appointed the foundations executive director.