We've had a great first year, and are proud to be the winners of two Camping & Caravanning Club awards.
We were voted both the BEST NEW CS 2017 and BEST CS 2017 by members of the club.
Thanks for all the support we've had – it's great to see familiar faces come back, and to meet new people too!
Don't hesistate to get in touch with us – we'd be happy to hear from you!


Albion's striker is adapting well to the team's style of play.
Brighton & Hove Albion striker Glenn Murray reflected on his second home debut for the club against Lazio and feels he is gradually settling into the squad.
Murray played the full 90 minutes against the Serie A side and was delighted to grace the Amex turf in a tough test.
He told SeagullsPlayer HD, "It was a good game and I thought we did well in the first half. It turned into more of a pre-season game in the second half, but all in all it was a good work-out.
"They are a very strong side and it showed in the way they kept hold of the ball and moved it.
Murray was full of praise for the club's wingers, with the likes of Anthony Knockaert, Jamie Murphy and Jiri Skalak delivering dangerous balls into the box.
"He [Knockaert] came in off the wing, linked up well and we almost made a few things happen together.
"I'm sure we will develop more of an understanding as the season goes on.
"As far as I'm concerned, I'm still learning a little bit, but every time I train with them I am learning a bit more and feel like I am getting up to speed now.
The experienced frontman then looked ahead to the opening day match at Derby County and says the squad is not consumed by thoughts of replicating the fast start to last season.
"I don't think we're striving to meet that, that hasn't been mentioned, we just need to collect points as often as possible and if that's four wins and a draw, then I'll take that.
"Last year was a special year for the club, but this is a new challenge and we will be aiming to beat that.
"It will be a very tough task facing Derby away, they have got a new manager and will be out to impress.


text:
<?php

namespace Lioshi\WonderCacheBundle\Command;

use Symfony\Component\Console\Input\InputOption;
use Symfony\Component\Console\Input\InputArgument;
use Symfony\Component\Console\Input\InputInterface;
use Symfony\Component\Console\Output\OutputInterface;
use Symfony\Bundle\FrameworkBundle\Command\ContainerAwareCommand;
use Symfony\Component\DependencyInjection\Exception\ServiceNotFoundException;

/**
 * Provides a command-line interface for flushing memcached content
 *
 */
class ClearCommand extends ContainerAwareCommand
{

   protected function configure()
   {
      $this
        ->setName('wondercache:clear')
        ->setDescription('Delete all memcached items')
        ->setDefinition(array());
   }

   /**
    * Execute the CLI task
    *
    * @param InputInterface  $input  Command input
    * @param OutputInterface $output Command output
    *
    * @return void
    */
   protected function execute(InputInterface $input, OutputInterface $output)
   {
        try {
            $memcached = $this->getContainer()->get('memcached.response');
            $output->writeln($memcached->flush()?'<info> Delete all cache OK </info>':'<error> Error, cache not deleted </error>');

        } catch (\Exception $e) {
            $output->writeln($e."<error> Memcached client response is not found</error>");
        }
   }

}

redpajama_set_name: RedPajamaGithub


With their comfortable, flexible design, you"ll find your flow in these women"s shoes. A seamless FORGEDMESH upper and a textile lining give them a sock-like fit, and a BOUNCE? midsole delivers flexible cushioning for enhanced comfort and long-distance support.


text:
Subscribe to MFWire.com's News Alerts [click]
Rating: Email & Route Print
A British EM Specialist Leads
Reported by Neil Anderson, Managing Editor
An emerging specialist across the pond led the U.S. pack last month when it comes to inflows in small fund firms.
The fund flows information within this article draws from Morningstar Direct data on mutual fund and ETF flows in September 2018, specifically for small fund firms (those with between $1 billion and $10 billion in fund AUM).
Ashmore brought in an estimate $295 million in net inflows in September, more than any other small fund firm and up from $163 million in August. Other big September winners included: WCM, $262 million (up from $162 million); KraneShares, $252 million (up from $16 million in net outflows); Cambiar, $212 million (up from $14 million in net outflows); and Champlain, $149 million (up from $86 million).
KraneShares led the small fund firm pack proportionately in September, with estimated net inflows equivalent to 12.71 percent of its AUM, up from 0.91 percent in net outflows in August. Other big September winners included: Ashmore, 11.02 percent (up from 6.93 percent); Nuance, 10.53 percent (up from 0.64 percent in net outflows); Fuller & Thaler, 10.25 percent (up from 5.06 percent); and Cambiar, 5.23 percent (up from 0.37 percent in net outflows).
On the flip side, September was a rough month for Driehaus, which suffered an estimated $183 million in net outflows, more than any other small fund firm and up from $176 million in August. Other big August sufferers included: PNC, $139 million (down from $12 million in net inflows); Longleaf, $101 million (down from $102 million); Hennessy, $84 million (down from $118 million); and James Advantage, $76 million (down from $217 million).
Proportionately, Driehaus also led the small fund firms in suffering in September, with estimated net outflows equivalent to 4.58 percent of its AUM, up from 4.15 percent in August. Other big September sufferers included: PNC, 3.57 percent (down from 0.29 percent in net inflows); James Advantage, 3.55 percent (down from 9.66 percent); LoCorr, 3.21 percent (down from 2.93 percent); and Fairholme, 3.2 percent (up from 3.12 percent).
As a group, small fund firms brought in a combined $1.499 billion in net inflows in September, equivalent to 0.3 percent of their combined AUM. That's up from $116 million in combined net outflows in August.
Across the whole industry, long-term open-end mutual funds and ETFs brought in a combined $28.269 billion in estimated net inflows in September, equivalent to 0.15 percent of their combined AUM. That's up from $22.219 billion in August.
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Reynolds Hires a Retail Chief [1/14/2020]
At a $623B-AUM Shop, a COO's Successor Rises [1/14/2020]
Fundsters Added $3.9T In AUM Last Year [1/13/2020]
Week In Preview, January 13-19 [1/13/2020]
After 14 Years, a Top Marketer Leaves a $72B-AUM Firm [1/10/2020]
From Fixed Income Fundster to Mayor? [1/10/2020]
An Acquirer Hunts For a U.S. Distro Platform [12/26/2019]
Blass Says Goodbye to an Architect of MF Disclosures [12/24/2019]
$20.5T vs $4.3T [12/20/2019]
Will a $1.2T-AUM Giant Make an Alts Push? [12/27/2019]
So You Haven't Completed Your Strategic Plan for 2020 [12/20/2019]
$835B, $151B, and $52B [1/2/2020]
An Ex-Goldman Vet Takes Over an NYC ETF Boutique [1/9/2020]
Repetto Hires a Familiar Academic [1/6/2020]
FS Will Buy a Four-Year-Old MF Startup [12/18/2019]
Who Runs the Best Funds of the Year? [12/30/2019]
An Expanding AM Supertanker Still Had a Tough Year [12/26/2019]
Seven Years In, a U.S. Boutique Unwinds a Canadian Deal [1/6/2020]
O'Hanley Adds Another Hat [12/23/2019]
47 Years In, a Gotham AM Rebrands, Slightly [12/19/2019]
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redpajama_set_name: RedPajamaCommonCrawl


text:
Theatre Guild presents "Joseph" as spring musical
The Marist Theatre Guild will present "Joseph and the Amazing Technocolor Dreamcoat" as this year's spring musical.
Leah Kane, Sophomore Reporter
The Marist Theatre Guild will present "Joseph and the Amazing Technocolor Dreamcoat" as this year's spring musical. Performances will take place on March 24 and 25 at 7:30 p.m. and on March 26 at 1:30 and 7:30 p.m. at Morgan Park Academy's Baer Theater.
The musical is based on the Biblical story of Joseph, son of Jacob and one of 12 brothers. Jacob gives Joseph a coat as a symbol of Joseph's favor in the family. This makes his brothers very jealous and they turn against him, deciding to sell Joseph into slavery and tell their father that he has died.
Joseph eventually works for a powerful Egyptian named Potiphar, but he encounters many difficult situations and ends up in jail. In jail, Joseph interprets the dreams of his cell mates. Joseph's gift helps Egypt prevent a devastating famine, and he returns to his hometown as the second most powerful man in Egypt.
Last year the Theater Guild performed "Singing in the Rain." Due to continued difficulties with COVID, they had to record and stream the performance to audiences instead of performing it live. The previous year, the musical was cancelled altogether due to the start of the pandemic and remote learning.
"I'm so excited to be in front of a live audience for this upcoming musical," sophomore Sarah Moran said. "Although it was an interesting experience to stream our performance, half the fun of theatre is in seeing the reaction of the crowd."
Senior Owen Gainer and junior Andrew Crisp play Joseph, while the part of the narrator is shared by seniors Rebecca Jackson and Donna Bruinis, junior JoJo Martin and sophomore Kathleen Godsel.
Members of the school band will perform the musical score.
"The students enjoy hearing us play during football season," sophomore band member Christina Misura said. "I think playing along to the plot of the musical will engage the audience and help them to feel the emotions of the scenes."
O'Connor Named Chick Evans Scholar
Extra! Extra! Freshman Read All About It!
Marist Senior Named a National Merit Semi-Finalist


text:
Q: Magento 2 - Create a translatable custom model I've created a custom model named "Post". It has some fields: a title and a content. How to make these fields translatable?
More detailed question:
The Magento 2 way to translate ? products / categories is the following : from the back-office, in a product / category edit page, you have to switch from your default language store view to a localized store view (for example: French Store View to English Store View), then edit the fields you want to translate, then save your product.
How to reproduce this behavior on my custom model?

A: Implement your model as EAV model and use the store_id column of the attribute tables to save store specific values.
The devdocs don't seem to have a chapter for creating custom EAV models yet, but there are some other resources:
Code generator

*

*https://github.com/staempfli/magento2-code-generator
(others exist but none I am aware of that can create EAV models)
Video tutorial

*

*https://w3webdesign.de/tutorials/magento-2-crud-eav-module-in-just-5-minutes_3072b10b4.html
Relevant Stack Exchange questions

*

*Custom EAV model in magento 2

*Magento 2 - Custom Eav Entity

redpajama_set_name: RedPajamaStackExchange


Description The aim of the course is to help teachers improve their knowledge - and to discuss essential aspects of - the provision for Gifted and Talented students as well as to look at some practical examples for effective differentiation. Examples and practical materials will be provided. A questionnaire will be sent so as to inform the course leader about the teaching circumstances of each attendee. N.B The KS5 sessions will run if there are sufficient delegates for whom this is relevant.
We will explore the following: • The GT national policy: the Quality Standards • Planning GT policy in a MFL Department, setting criteria for identification, provision and monitoring • Effective differentiation strategies, planning challenging lessons for the most able students • Using multimedia resources to engage the more able • A few practical examples of how to integrate cross-curricular projects in schemes of work.


Photo taken at RTF's American Wild Horse Sanctuary by Paloma Ianes.
Rep. Raúl Grijalva, D-N.M., House Subcommittee on Natural Resources ranking member, has penned a letter to Interior Secretary Ryan Zinke demanding answers about the Bureau of Land Management's change to allow a buyer to purchase 24 wild horses or burros with no waiting period.
BLM instituted the policy change in a memo to field offices of May 24, but didn't post the memo online until July.
Grijalva emphasizes that Congress has barred BLM from selling wild horses for purposes of commercial slaughter. He calls on Zinke to explain the reasoning behind the sale changes, as well as what steps are being taken to ensure wild horses and burros go to buyers that can adequately care for them and do not go to slaughter.
Read the BLM memo changing the sale policy.
See the new BLM sale sheet.


text:
La variación lingüística es  el conjunto de diferentes formas alternativas para expresar un mismo significado en el dominio de una lengua. Es decir, distintos hablantes, o incluso el mismo hablante en distintos momentos, usan formas diferentes para expresar el mismo concepto, o tienen distintas pronunciaciones para la misma palabra.

Existen distintos tipos de variación lingüística: según área geográfica, según registro o estilo, según la clase social, etc., pero la idea subyacente es que todos estos tipos de variación no son independientes sino que están muy relacionados entre sí.

Variación diatópica o geográfica
Debido a que las lenguas del mundo están sometidas al cambio lingüístico, en el dominio de una lengua existen variaciones que difieren de un lugar a otro. Frecuentemente debido al hecho que las formas que usan los hablantes están sometidas a ajustes comunicativos, las variantes usadas por los hablantes que tienen contactos frecuentes tienden a ser las mismas. Debido a que la mayoría de personas tienen un contacto más estrecho con las personas de su propia ciudad o localidad, las variaciones tienden a ser más uniformes en áreas cuyos habitantes mantienen contactos regulares entre sí.

Este factor es el origen de la variación geográfica. Al ser menos frecuentes los contactos entre hablantes de regiones distantes, el proceso de reajuste entre esas regiones es menor y las hablas tienden a diferir entre sí al adoptar variaciones ligeramente diferentes en cada región. Una variante geográfica con rasgos más o menos homogéneos se conoce como geolecto. Tradicionalmente los geolectos habían sido el principal objeto de estudio de la dialectología.

Variación diastrática o social
De la misma manera que los hablantes pertenecientes a regiones geográficas lejanas tienen menos contacto lingüístico que los hablantes de una misma área geográfica, es un hecho bien establecido que dentro de un área geográfica las personas reajustan más su habla con personas de su mismo grupo social. Esto da lugar a variantes diastráticas o sociolectos que hacen que los hablantes con características socioeconómicas u ocupacionales similares tengan características de habla que las diferencian sistemáticamente o estadísticamente de otros grupos.

Los sociolectos han sido un campo de estudio preferente de la sociolingüística que trata de ver cómo las relaciones sociales se reflejan en los hechos lingüísticos. Los sociolectos se caracterizan por un conjunto de rasgos del habla de un determinado grupo social que son más estables, se diferencian de otras variaciones de tipo social como los códigos elaborados y restringidos, cuya aparición está más influida por el contexto o la situación que por la pertenencia al grupo social del individuo. Sin embargo, es un hecho conocido que las características de ciertos códigos restringidos especialmente prestigiosos, pueden llegar a ser adoptados como características propias del sociolecto de los hablantes más ligados a dicho contexto y sus referencias.

Variación diafásica o contextual
El habla de la mayoría de hablantes no es uniforme en todos los contextos. Así, en situaciones o registros lingüísticos más formales, como el registro escrito, el hablante puede optar por usar ciertas estructuras o formas léxicas sobre otras.
Las variedades diafásicas se refieren a los usos lingüísticos exigidos por cada situación, en la que el hablante, o bien mide el alcance de sus palabras, como en una entrevista, un discurso, una conferencia..., o bien hace un uso relajado y espontáneo del lenguaje, como ocurre al hablar con la familia o con los amigos. Las situaciones del primer grupo pertenecerían a un registro formal, mientras que las del segundo pertenecerían a un registro informal o coloquial.  Los límites entre ambos registros no son tajantes, por lo que se puede hablar de situaciones intermedias. La variedad diafásica está condicionada por cuatro factores: el oyente y el hablante, el marco en el que se produce la intercomunicación y el tema del que se habla.

Variación diacrónica o del momento histórico

Variación en el tiempo atendiendo a las diferentes fases temporales de la evolución de la lengua, es decir, el cambio lingüístico. El factor extralingüistico de variación es el momento histórico.

Bibliografía
 Chambers y Trudgill. La dialectología, Barcelona:Visor Libros, 1994.

Sociolingüística
Dialectología
Lingüística histórica

redpajama_set_name: RedPajamaWikipedia


text:
Health, Pharma & Medtech›
New tuberculosis cases and relapses in Croatia 2012-2019
Published by Conor Stewart, Apr 6, 2021
This statistic displays the number of new tuberculosis cases and relapses in Croatia from 2012 to 2019. Throughout the years the number of new cases and relapses of tuberculosis decreased, reaching a total of 297 new cases and relapses in 2019.
Number of new tuberculosis cases and relapses in Croatia from 2012 to 2019*
Number of new cases and relapses
* The source adds that this data is subject to change as the national TB registry was under review when the report was produced.
BMI: adult's body mass index in England 2019, by gender and age
Death rates from coronary heart disease in the United Kingdom (UK) 2000-2019
Pneumonia mortality rate in England and Wales 2000-2019, by gender
Leading causes of death in the United Kingdom 2001-2018
Conor Stewart
Research expert covering health & pharmaceuticals in the UK & Europe
Statistics on "State of health in the United Kingdom (UK)"
Overweight prevalence in England 2000-2019, by gender
Disability prevalence by impairment in the United Kingdom (UK) 2019/20
Alcohol-specific death rate United Kingdom (UK) 1994-2019, by gender
Alcohol-specific male death rate in the United Kingdom (UK) 2001-2019, by country
Alcohol-specific female death rate in the United Kingdom (UK) 2001-2019, by country
Very good general health status in Scotland 2020, by gender and age
Life expectancy in selected countries 2020
Life expectancy in the UK in 2020, by gender and country
Life expectancy in the UK 2017/19, by gender and region
Female life expectancy in the UK 1980-2020, by country
Male life expectancy in the UK 1980-2020, by country
Life expectancy in the UK 2017/19, by gender and area
England: limiting long-standing illness among over 50s in 2018/19, by gender and age
England: Arthritis among over 50s in 2018/19, by gender and age
Share of adults with long-term conditions in Scotland 2008-2020, by gender
Prevalence of long-term conditions in adults in Scotland 2020, by gender
New cases of AIDS diagnosed in the United Kingdom 2006-2021
Share of adults with diabetes in Scotland 2003-2019, by gender
Northern Ireland: adults with longstanding illness in 2019/20, by age
Prevalence of hip osteoarthritis in over 45 year olds in the UK 2019, by region
Diagnoses of circulatory system diseases in the United Kingdom (UK) 2011-2020
Diagnoses of circulatory system diseases in the UK 2012-2020, by disease type
Death rates from cardiovascular diseases in the United Kingdom (UK) 2000-2019
Prescriptions used for prevention and treatment of CVD in England in 2019, by type
Hypertension categories in England 2019, by gender
Share of adults with ischemic heart disease in Scotland 2003-2019, by gender
Adults with hypertension in Scotland 2003-2020, by gender
Respiratory disease mortality in England and Wales 2013-2019, by gender
Avoidable respiratory diseases deaths in the United Kingdom (UK) 2019, by gender
Avoidable respiratory disease deaths in the United Kingdom (UK) 2014-2019
England: Respiratory illness among over 50s in 2018/19, by gender and age
England and Wales: winter deaths caused by respiratory disease 2019/20, by age
Asthma care measures in the United Kingdom (UK) 2013-2020
Adults diagnosed with asthma in Scotland 1998-2019, by gender
Children diagnosed with asthma in Scotland 1998-2019, by gender
Share of adoption rates of health digital technologies in the UK in 2020, by type
Preconceptions of telehealth services in Great Britain 2021
Opinion after use of telehealth services in Great Britain 2021
Opinion on telehealth compared to in-person consultations in Great Britain 2021
Type of physician consultations since COVID-19 in Great Britain 2020/21
Planned telehealth services in the UK and Ireland 2020, by type
Number of new TB cases and relapses in Lithuania 2019, by age
Estimated number of deaths caused by tuberculosis in Iceland 2008-2019
Number of new TB cases and relapses in Romania 2019, by age
Number of new TB cases and relapses in Slovakia 2019, by age
New tuberculosis cases and relapses in Slovenia 2012-2019
Number of new TB cases and relapses in Slovenia 2019, by age
Number of new TB cases and relapses in Belarus 2019, by age
New tuberculosis cases and relapses in Moldova 2012-2019
Number of new TB cases and relapses in Moldova 2019, by age
Number of new TB cases and relapses in Kosovo 2019, by age
Number of new TB cases and relapses in Greece 2019, by age
Number of deaths caused by tuberculosis in Italy 2006-2019
Tuberculosis HIV/AIDS worldwide Health Diabetes Diseases
ECDC. (March 22, 2021). Number of new tuberculosis cases and relapses in Croatia from 2012 to 2019* [Graph]. In Statista. Retrieved January 19, 2022, from https://www.statista.com/statistics/918304/new-tuberculosis-cases-and-relapses-in-croatia/
ECDC. "Number of new tuberculosis cases and relapses in Croatia from 2012 to 2019*." Chart. March 22, 2021. Statista. Accessed January 19, 2022. https://www.statista.com/statistics/918304/new-tuberculosis-cases-and-relapses-in-croatia/
ECDC. (2021). Number of new tuberculosis cases and relapses in Croatia from 2012 to 2019*. Statista. Statista Inc.. Accessed: January 19, 2022. https://www.statista.com/statistics/918304/new-tuberculosis-cases-and-relapses-in-croatia/
ECDC. "Number of New Tuberculosis Cases and Relapses in Croatia from 2012 to 2019*." Statista, Statista Inc., 22 Mar 2021, https://www.statista.com/statistics/918304/new-tuberculosis-cases-and-relapses-in-croatia/
ECDC, Number of new tuberculosis cases and relapses in Croatia from 2012 to 2019* Statista, https://www.statista.com/statistics/918304/new-tuberculosis-cases-and-relapses-in-croatia/ (last visited January 19, 2022)


text:
Tennis Briefs(3): Grants, Team Challenges, More
USTA National Foundation Grant Deadline on Oct. 17
The USTA Foundation, formerly known as USTA Serves, will close applications for its second round of grants on Oct. 17, 2014.
The USTA Foundation awards grants to programs that support at-risk youth and individuals with disabilities through tennis and education programs designed to improve health, build character and strive for academic excellence.
To date the USTA Foundation has granted more than $12 million to fund 247 programs in 184 cities in 47 states, including more than $900,000 to adaptive tennis and wounded warrior programs for people with disabilities.
To see the grant application go to https://www.grantrequest.com/SID_527/Default.asp, or for additional info e-mail foundation@usta.com.
Port Orange to Host USTA Florida 10-U Regional Kids Team Tennis Challenge
Kids love playing on teams, from junior team tennis to middle school tennis to high school. Now the new USTA Florida Regional Team Tennis Challenge is bringing recreational
team play to the Central Florida area.
USTA Florida's Team Tennis Challenge series, presented by Wilson Racquet Sports, will be hosted by Airport Road Park in Port Orange, Fla., on Nov. 15, 2014, for children age 10 and under.
The one-day tournament will host gender-blind teams of no more than six players per team. Players must be age 10 or under to compete, with Orange Ball and Red Ball
divisions.
These "BYOT" (bring your own team) events do not require previous team tennis league participation. Both USTA members and non-members can participate. Registration is $20
for USTA members, $30 for non-members.
USTA Florida strongly encourages coaches to register teams early. Lunch will also be provided.
To register or for more information go to www.ustaflorida.com/teamtennischallenges<http://www.ustaflorida.com/teamtennischallenge.
Orlando Tennis Coach Named to USTA 2014 No-Cut All-Star Team
Mark Noel of Oak Ridge High School in Orlando, Fla., was named by the United States Tennis Association to its national 2014 No-Cut Coach All-Star Team, joining 13 other exceptional high school coaches throughout the nation who implement a "no-cut" policy which welcomes all interested students to be a part of their school's tennis team.
The No-Cut Coach All-Star Team was established in 2013 to recognize a select group of coaches nationwide for their special achievements in offering a "No-Cut Tennis" policy. Coaches are nominated by their respective USTA Section.
"Throughout the year, these coaches play an integral role in the development of student-athletes and the success of No-Cut Tennis," said USTA National Manager of High School Tennis Glenn Arrington. "We applaud their efforts at encouraging players of all levels and allowing them to share in a rewarding team experience at their school."
Since 2006, more than 4,000 tennis coaches nationwide have made a commitment to offering a no-cut policy, with some programs including more than 100 team members on a high school team. The coaches of these teams serve as positive role models and make a difference by spending the extra time and effort to ensure that young players experience the fun and fulfillment of playing tennis and participating in a school sport.
To qualify for the USTA No-Cut All-Star Team, coaches must be currently implementing a no-cut policy on their tennis teams, be currently registered with the USTA as a "no-cut" coach, and have coached tennis for a minimum of five years.
To register as a no-cut coach or to learn more about the program and free registration incentives, visit www.usta.com/no-cut.


text:
Frédéric Chopin vollendete das 1. Klavierkonzert op. 11 in e-Moll im Alter von 20 Jahren. Er widmete es Friedrich Kalkbrenner und brachte es am 11. Oktober 1830 – am Vorabend des Novemberaufstands – im Nationaltheater Warschau zur Uraufführung. Er berichtete Tytus Woyciechowski von "lebhaften Bravorufen".

Hintergrund

Chopins zwei Klavierkonzerte, das in f-Moll op. 21 und sein op. 11, sind etwa zur gleichen Zeit entstanden. Es gilt als gesichert, dass das Konzert in f-Moll eigentlich sein erstes Klavierkonzert gewesen ist, das Nr. 1 somit sein zweites. Weshalb sie indessen in umgekehrter Reihenfolge veröffentlicht wurden, ist nicht ganz geklärt. Es wird angenommen, dass Chopin, der 1831 seinen endgültigen Aufenthalt in Paris nahm, dort einige seiner Werke, darunter eben auch die zwei Konzerte, einem Verleger angeboten hat, dieser aber aufgrund des hohen Schwierigkeitsgrades der Stücke, die für den "Hausgebrauch" von Liebhabermusikern nicht geeignet waren, erst nur eines, nämlich das Konzert in e-Moll, akzeptierte.

Die Frage, ob Chopin die Orchestrierung seiner Klavierkonzerte selbst vorgenommen hat, ist nicht beantwortet. Dass Chopin fast ausschließlich für Klavier komponiert und sich zu seiner Leidenschaft für dieses Instrument stets bekannt hat, ist allerdings kein Grund für einen Zweifel daran. Er beherrschte das Orchestrieren, wenn auch nicht in der Vollkommenheit anderer Komponisten, die sich auch Orchesterwerken gewidmet haben. Allerdings zeigt seine Orchestrierung der Konzerte, dass er die Rolle des Orchesters eher als schmückendes Beiwerk betrachtete. Es darf einleiten, überleiten und die Schlusspassagen spielen, aber dort, wo das Klavier seinen Auftritt hat, ist es zurückgenommen und reduziert auf eine schmale Begleitung des Soloinstrumentes. Anders als bei den Konzerten der Wiener Klassik und auch bei vielen romantischen Konzerten hat Chopin nahezu keine Zwiesprache zwischen Soloinstrument und Orchester vorgesehen, sie wechseln sich meist nur ab.

Satzbezeichnungen
 Allegro maestoso
 Romance – Larghetto
 Rondo – Vivace

Der Kopfsatz
Chopin folgte in der formalen Anlage des ersten Satzes dem Vorbild des brillanten Virtuosenkonzerts, wie er es beispielsweise bei Johann Ladislaus Dussek und Johann Nepomuk Hummel kennenlernen konnte. Es ging ihm weder um ein dialektisches Gegen- und Miteinander von Solist und Orchester wie bei Beethoven noch um eine Art symphonischen Konzertes mit einem Verweben von Klavierstimme und Orchester wie in Ansätzen bei Carl Maria von Weber. Der Solist und die Darstellung seiner Ausdrucksmöglichkeiten und technischen Fähigkeiten stehen bei Chopin im Vordergrund.

Der erste Satz des e-Moll-Konzerts hat drei Themen, die vom Orchester exponiert werden. Vom Klavier wird das erste Thema kurz aufgegriffen (Takt 139), aber gleich (Takt 155) in das lyrische 2. Thema in e-Moll überführt, dessen Melodie im Bass vom Kopfmotiv des 1. Themas kontrapunktiert wird. Auch das sich in E-Dur den ersten beiden Themen entgegenstellende dritte, ebenfalls lyrische Thema (Takt 222) wird vom Klavier übernommen. Die Durchführung beginnt in Takt 385, das Klavier kommt dabei auf das zweite Thema zurück und entwickelt es weiter. Im Folgenden wird es jedoch wie auch das zweite Thema durchführungsmäßig völlig vernachlässigt. Im Wesentlichen ist es nur ein verkürztes Motiv des ersten Themas, das vom Orchester in modifizierter Form gespielt wird, während im Klavierpart kapriziöse und technisch anspruchsvolle Läufe und Figuren zu bewältigen sind. Die Reprise beginnt in Takt 486 wieder mit dem Orchester und seinem Anfangsthema. Die Coda, deren Basstriller in der linken Hand dem Konzert einen düsteren Anstrich geben, fordert höchstes technisches Können des Pianisten, was die fehlende Solokadenz nahezu überflüssig macht.

Der 2. Satz
E-Dur, H-Dur und Gis-Dur bestimmen den Grundcharakter dieser Romanze. Ein sich dramatisch gebender Mittelteil in cis-Moll kontrastiert zu den sanglichen Liedthemen, die mehrmals wiederkehren und variiert werden. Chopin führt dabei seine glitzernde, doch nie überbordende Verzierungskunst vor, die den rhythmisch freien, dolcissimo, leggerissimo und legatissimo, aber auch con forza und veloce vorgetragenen Ornamentalmelodien einen leuchtenden Glanz geben. Die Verwandtschaft zu den später komponierten Nocturnes ist groß. Anklänge finden sich beispielsweise im Nocturne op. 32, Nr. 1 H-Dur. Dort wird die Stimmung durch eine unvermittelt eintretende, rezitativische Coda gebrochen, hier in der Romance durch das attacca anschließende Rondo.

Der 3. Satz
Das durchwegs vivace vorgetragene, mitreißende Rondo bedient sich stilisierter Volksmusik. Vor allem das Rondothema selbst ist nach dem Vorbild von Krakowiak-Melodien gestaltet. Sein synkopierter Anfangsrhythmus im 2/4-Takt zieht sich zudem durch das gesamte Themenmaterial des Satzes. Dieses Rondo bietet dem Solisten Gelegenheit, voller Spielfreude in rasanten Passagen und aufbrausenden Szenen, manchmal im Dialog mit dem Orchester, sein pianistisches Können vorzuführen. Die dramatische Zuspitzung in der Coda bildet den großartigen Schluss des Konzertes.

Kammermusikalische Fassung
Die Fassung mit Streichquintett bewahrt das Konzert vor jeder "Plüschigkeit" und macht den Klaviersatz hell und durchsichtig. Kit Armstrong spielte sie 2018 mit fünf Mitgliedern des Ensemble Resonanz bei den Festspielen Mecklenburg-Vorpommern.

Weblinks

Einzelnachweise

Klavierkonzert, 1.
Chopin, 1.
Musik 1830


Exclusive: Deleted Chapters from Carly Simon's New Memoir!
Men have always fed into my music. I'll never forget the day Sean Connery knocked on my cabin door. "The name's Bond," he said. "James Bond." That phrase! It was the second time that day I'd heard it. Roger Moore had come calling just three hours before.
Years have passed, but the debate still rages as to which of these legendary Bonds inspired my 1973 recording "Oh! Oh! Seven!," with its iconic chorus. My lips are sealed, though I am prepared to reveal that the gentleman in question had a strong Scottish accent and a way of slurring his "s"s. Some time later, my analyst informed me that my fixation with James Bond arose from the vexed relationship I had had with my father, who dated Ursula Andress whilst my mother, a wealthy New York socialite who may or may not have been the daughter of Queen Nefertiti of Egypt, was having an affair with a man who, I learned later, was plotting to take over the world and whom I always knew as Dr. No. And that's why, from that day on, the word "no" has never crossed my lips.
"Charisma" is an overused word. As December comes round, you hear people wishing each other "Happy Charisma," but that's not what I mean.
For some reason, Mick couldn't take his eyes off me, even in a crowded room. Maybe it was the way I kept stepping daintily in front of his girlfriends, then elbowing them discreetly to one side. Or perhaps it had something to do with the way I cooled myself down by first removing my T-shirt, then my bra.
As we walked around the pool, Mick and I spoke of Cocteau and Genet, of Sartre and Rimbaud and Mallarmé. Call it synchronicity, but it was amazing how we felt all the same things about them.
"All them geezers have, like, names that sound sort of French," said Mick.
The first time I set eyes on Jack Nicholson by the pool, I felt lifelong feelings of inadequacy surge up inside me. It was undoubtedly the unresolved issues I had always felt towards my mother that made me rush up to him, clad only in a towel and the skimpiest of bikinis.
And you know what? If only my father had been more open about his feelings, I would never have let that towel fall all the way down to my feet. I have no doubt it was my sense of abandonment as a child that drove my fingers to undo the bikini top that day and cast it to the wind.
There was an electric gleam in Jack's eyes as they fixated on my iconic breasts. I saw my reflection in Jack's eyes, and time hurtled backwards. Yes, I had caught a glimpse of that lonely little girl, 12 years old, who had been denied the love of her parents and was driven to seek affection elsewhere.
I winked at him — an affliction borne of childhood nerves—and the words spilled out: "Hey, Big Boy." To Jack, it was a come-on. But to me it was a cry for help.
You watched as I climbed your mountain All the way to the summit.
Where were the crampons when I needed them?
I knew the words, but you made me hum it.
So: Was it Jack? Was it Warren? Was it Mick?
Or was it, as my analyst insists, really my great-grandfather? I'm always the last to know.


Massive public works program at union wages to rebuild the infrastructure and put people to work.
Immediate end to the embargo against Cuba. U.S. out of Guantanamo. All U.S. troops out of the Middle East.
Organize workers to build a movement to fight for political power. Replace the capitalist government with a workers and farmers government.


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A fenceline community or frontline community is a neighborhood that is immediately adjacent to a company, military base, industrial or service center and is directly affected by the noise, odors, chemical emissions, traffic, parking, or operations of the company. These communities are exposed to hazardous chemicals, high pollution levels, and environmental degradation along with the threat of chemical explosions.

Many fenceline communities are situated in sacrifice zones that are disproportionately inhabited by people of color, Indigenous communities, and the working poor.

Background
As a result of exposure to hazardous materials and emissions, fenceline communities experience higher rates and risk of cancer and respiratory challenges. Fenceline communities also face additional health and socioeconomic issues such as poor housing infrastructure, lack of access to nutritious and non-toxic food, and higher rates of diseases, along with the increase stress and challenges that result from unemployment, poverty, crime, and racism. Climate change-induced extreme weather events and natural disasters place fenceline communities at risk of a high level of exposure to toxic emissions from facility explosions and chemical leaks.

Fenceline communities "fear that it may jeopardize jobs and economic survival" to organize to reduce their exposure to hazardous waste." Additionally, residents in fenceline communities are often unable to relocate. This is because the large industries adjacent to residential communities often produce effects that dramatically lower the property value of these homes. Therefore, residents are unable to sell their homes for a value that would be high enough for them to purchase property elsewhere.

An example of a fenceline community is the African American Diamond community in Norco, Louisiana. This community lived on the fenceline of a Shell plant.

Solutions
Examples of actions that can minimize the negative impact a nearby company has on a fenceline community include, greater education and information sharing between companies and communities, improved safety regulations, health-impact assessments, and increased monitoring, reporting, and reduction of toxic emissions. Communities also organize against adjacent company's and advocate for their standard of living. However, fenceline communities can face barriers in doing so as they often "do not have the social or financial resources to mitigate their exposures."

See also
 Cancer Alley
 Environmental dumping
 Environmental justice
 Environmental racism
 Environmental racism in the United States
 Line source
 Locally unwanted land use
 Low-emission zone

 NIMBY
 Sacrifice zone

References

External links

 Voices from the Fenceline

Community organizations
 Moving Forward Network
 Climate Justice Alliance
 NDRC
 Women's Voices for the Earth

Economic geography
Environmental justice


text:
Thermostat Instructions
Energy Management Guidelines
Cenergistic: The Energy Conservation Company
ECAP Pro Online
Audit Procedures
ECISD Energy Mangement
The mission of the ECISD Energy Management Program is to save money and energy through the conservation and efficient use of natural gas, water, and electricity, while maintaining a safe and comfortable learning environment.
Change the way staff thinks about energy and its usage to reflect an attitude of conservation.
Maintain the comfort and safety of the learning environment.
Use our utility resources wisely.
Achieve at least a 25% reduction in our energy bills.
In May, 2012, the ECISD Board of Trustees approved a partnership with Cenergistic (formally Energy Education), a firm whose mission is to help organizations reduce their overall utility usage and operations cost by providing a combination of tools, training, technology, engineering and analysis that are guaranteed to reduce energy costs. Projected cost savings during this partnership will be over $10 million over a ten-year period.
Overall cost avoidance (savings) from May 2012 - September 2018: $9,904,004 (25% reduction) & counting.
Our conservation efforts have reduced CO2 output by 39,745 metric tons which is the equivalent of 8,280 cars taken off the road each year, the CO2 absorbed by 1,019,097 tree seedlings grown over a 10-year period.
31 campuses plus the Administration Building have received the coveted Energy Star Award for 2014. Congratulations to the following sites:
Alamo Elementary
Austin Montissori Elementary
Hays Elementary
Wilson & Young Medal of Honor Middle School
New Tech Odessa High School
Tweets by Energy_ECISD


text:
LittleBigPlanet Hub Announcement Trailer
News Platformer Playstation 3
Nathan Farrugia August 22, 2013 No Comments
Little Big Planet Hub was recently announced for the PS3 at Gamescom in Germany during Sony's big press conference. In a new move for the series, the game will be completely free to play, however, additional tools will be available for purchase for those who want to take their creativity to the next level. Additional costumes for Sackboy will also be available. The trailer challenges players to create their own levels, games and challenges using Create Mode and to share them with their friends and the world.
Little Big Planet Hub includes the first world from the first and second games which hold 16 levels in total, as well as the entirety of the weekly team-picked community levels that continues to expand. Players that own either of the first two games will be able to bring across their profile which will give them access to all the content they had purchased previously.
It was revealed yesterday that Media Molecule, the developers behind Little Big Planet, are also working on an exclusive title for the PlayStation 4. You can view the trailer for Little Big Planet Hub below and once you've done that, feel free to view all the other exciting news that's come out of this years Gamescom event.
Nathan Farrugia
Nathan Farrugia - Editor at Capsule Computers. Raised on a Super Nintendo playing Donkey Kong Country, I'm a gamer who loves consoles and handhelds. Also a massive Dragon Ball fan and competitive Pokemon player. Don't be afraid to leave comments on my articles, I love to read them and reply!
LittleBigPlanet Vita Street Date Broken
Hands On: Playstation Vita


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just-drinks home
CBC: If you ask me... Scotch whisky
Chris Brook-Carter1 May 2008
Will 2020 see Campari Group back on the M&A hunt?
just-drinks speaks to DISCUS CEO Chris Swonger - 2
What will shape consumer trends in 2020?
What's coming up in beer in 2020? - Predictions
What's coming up in soft drinks in 2020?
Fever-Tree UK sales slip prompts gin fears
Diageo's Baileys tops UK brand awareness chart
Search begins for next CEO at C&C Group
Ceder's founders ready CBD alcohol-free spirit
BlackRock expands Treasury Wine Estates stake
China Spirits - Market Assessment and Forecast to 2023
United States Spirits - Market Assessment and Forecast to 2023
Key Trends in Non-Alcoholic Beverages: Powerful changes shaping the soft drinks, hot drinks, enhanced water and packaging segment
Last year, just-drinks took part in a working party, set up following the World Whiskies Conference in 2007, to look at how to raise the profile of Scotch whisky. At this year's conference, held in Glasgow last month, the results of that working party saw the light of day for the first time. Chris Brook-Carter takes a closer look at the findings.
Here is a proposal that will unquestionably put the backs up of at least half of the marketing managers out there. We think you should take your already stretched marketing budgets and pledge a not insubstantial proportion of your funds to a generic body that will help promote your competitors.
There, I knew that would go down well.
But as confrontational a stand as that seems, that is exactly what the 'Working Party into Scotch Image and Innovation', which took place late last year and whose findings were presented to the industry last month, is proposing.
After two days at Drummuir in November and a further day in Glasgow in January, the working party - which included representatives from many of the sector's leading players as well as Ian Buxton of the World Whiskies Conference and myself representing just-drinks and the media - concluded that there is a real need to develop a vision for 'Brand Scotch' and that the best vehicle for this is potentially a Scotch Whisky Marketing Board.
Furthermore, it was our view that the SWA and representatives from the industry should set up a working party, remitted to review and answer the question of how to build a strategy to achieve this goal.
In private, the conclusions of the working party had already been presented to some other members of the industry earlier in the year and it would be remiss of me to suggest that they were received with universal support. After all, there is little doubt that generic marketing in drinks is a divisive issue. For every 'Brand Australia' that has succeeded, there is another category that has stumbled at the first hurdle and its brands have suffered as a result.
Generic marketing can appear toothless, particularly for those companies whose brands have a strong identity already. Moreover, on current form, many asked whether there was really any need for such a campaign. Life in Scotch is largely good. Growth in the BRIC markets is encouraging, new production plants are being built and value is outstripping volume growth.
But, that is not to say there are not concerns going forward and many of Scotch's successes are papering over its cracks. Market saturation in the category's traditional markets have driven a decline in prices in real terms at the standard end, which has become commoditised. The category is failing to recruit in these markets and its image is weak.
Scotch is undoubtedly going from strength to strength at the premium end, but what often gets lost in all the back-slapping that accompanies this success is that standard blended Scotch still accounts for 72% of the category volume. There are grave implications for the category, from stocks to sales, should this vast sector fail, which it is doing in key mature markets already.
"Ah yes, but it is brands that can drag this sector out of its malaise," I hear you cry. Yes, certainly brands have a part to play. But the difficulty is that the problem markets are being ignored by the large brands, who, quite reasonably, are focussing efforts where they can make decent margins. Scotch's slowdown in places like the UK, Spain and France has seen a commoditisation of the category, stripping it of its intrinsic added-value, making it comparable to standard vodka.
There is little doubt that some of the marketing created by the big brands is outstanding. But what, if any, effect is it having on the health of the category as a whole? Do many of the adverts for the large brands even mention the word Scotch? Or, have these brands, such as Johnnie Walker or Chivas Regal, transcended the category, resulting in their ability to deliver a "halo effect" being diminished considerably?
(It is interesting to note that, in market research presented to the Working Party last year by an independent agency, a number of respondents believed Johnnie Walker was made in Tennessee.)
In short, standard blended Scotch is in a weak position vis a vis its competitors, such as rum and vodka. And, despite the labour and time intensive production process that goes into making every bottle of Scotch, consumers view standard Scotch as a frighteningly ordinary product.
The question is, can a united industry deliver a strategy to solve this problem? The belief of the Working Party is that it can.
Scotch's quality and uniqueness is unquestioned by those who work with the product but, as an industry, have we largely failed to communicate that message? Brands, understandably, focus on building their image, but no one is communicating the category and product values that set Scotch apart from vodka, for example.
A number of questions remain unresolved, particularly at the practical level. How will this be funded? Should the SWA be involved? What messages will engage consumers? It seems clear to me that there is work to be done for the long-term health of Scotch whisky.
Of course it's easy for me to sit here and say all this because it's not my money, but I whole-heartedly believe this is an issue the industry must face up to and at the very least discuss further within the confines of a working party with some rigour further.
just-drinks will do what it can to support the process as it has done so far, and on that front we'd like to hear your opinions on the matter with a view to publishing them later in the month.
Email editor@just-drinks and let us know.
Sectors: Spirits
Companies: Scotch Whisky Association, Johnnie Walker, Chivas Regal
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Increasing affordable housing in NYC
TYLER WILLIAMS | 7/20/2017, midnight
Maria Isabel Housing in the Bronx Wikipedia
Prepare your down-payments, New York City, because Mayor Bill de Blasio has announced that his administration secured 24,293 affordable apartments and homes in Fiscal Year 2017, the highest overall production since 1989, according to the New York City website. The website stated that the 24,293 homes financed this past Fiscal Year, which ended June 30, more than 40 percent are for families earning less than $43,000 a year, including more than 4,014 homes for families of three earning less than $26,000 a year.
"Affordability is the key to protecting New York families, stabilizing our neighborhoods and the city as a whole," Mayor Blasio said. "By making smart investments, we are stretching public funds and creating more and better homes for New Yorkers, from formerly homeless families to seniors, firefighters, police officers and teachers. We have more work to do, but this city is for New Yorkers—and we will keep it that way."
This announcement has received support from Deputy Leader and Chair of the Committee on Housing and Buildings Jumaane D. Williams, who is the City Council Member representing the 45th Council District in Brooklyn. "I commend the administration on exceeding their goals for creating and preserving affordable housing in New York. This is welcomed news and I applaud the mayor for making this important issue a priority," said Williams.
According to the City of New York website, Fiscal Year 2017 saw the financing of 7,705 new apartments and 16,588 preserved homes. This financing represents a direct investment of $1 billion by the City of New York, which leveraged more than $1.3 billion in bonds issued by the Housing Development Corporation during Fiscal Year 2017. This investments brings total direct City investment under the housing plan to $2.8 billion, and total bond financing to $5.5 billion.
Housing Preservation and Development Commissioner Maria Torres-Springer said that through the 77,651 units financed to date under Housing New York, the city is delivering affordable housing on a scale that hasn't been seen since the Koch era.
"More importantly, we are reaching more of the city's lowest-income families, making good on our commitment to reach far deeper levels of affordability," said Torres-Springer. "While much of the emphasis is on numbers, at its heart, the housing plan is about people. Each affordable unit we finance is a home—for working families, seniors struggling on fixed incomes and New Yorkers facing rising rents across our neighborhoods. Their individual stories and very real needs are what motivates us at HPD to do more and better, and to fight for the resources we need to shape a more affordable, inclusive city for generations to come."
Here are some projects that have been financed over the past year according to the New York City website:
Bronx—Bronx Commons, a mixed-used development in Melrose, combines 305 affordable apartments with retail space and a 300-seat music- and arts-centered community hub, the Bronx Music Hall. The homes will serve households with incomes as low as $20,040 for an individual and $25,770 for a family of three.
Brooklyn—Ingersoll Senior Residences is a 17-story, affordable senior housing project on NYCHA land at the Ingersoll Houses campus in Fort Greene. The 145 new homes will be for low-income seniors supported by Section 8 rental subsidy. Services and Advocacy for LGBT Elders will operate a senior center on the ground floor.
Manhattan—The affordability of 506 affordable homes in 39 East Harlem buildings, collectively known as Hope East of Fifth, will be preserved for individuals earning as little as $33,400 or $42,950 for a family of three. The buildings and apartments will see needed improvements. More than 100 units are set-aside for homeless households.
Queens—One Flushing will create 208 new affordable homes for individuals earning as little as $20,040 and $25,770 for a family of three. The project, on city-owned land, was formerly a parking lot. The project provides supportive services for 66 seniors and a rooftop farm.
Staten Island—35 homeowners with incomes as low as $42,950 received support through various HPD programs to provide down payment assistance or home repair loans to low-income and senior homeowners.
A New Yorker named Matthew Crencher, who recently moved into a new, two-bedroom affordable apartment with his wife and uncle, talked about his new home on the City of New York website. "Our new home is just what the doctor ordered," said Crencher. "It's clean, beautiful and offers me and my family the stability we need to live and work in the city we love." For affordable housing information and applications, visit nyc.gov/housingconnect or call 311.
URBAN AGENDA: We Must Do More to Reduce Evictions in New York City
Groups break ground on affordable and supportive housing in the Bronx
URBAN AGENDA: Averting the Impending Subsidized Housing Crisis
City Council strikes affordable housing zoning deal with de Blasio


When intrepid adventurer, Jim Maitland, returns to England for a brief visit, he meets a charming young woman named Judy Draycott, who solicits his help in a perilous matter. She relates the story of her brother, Arthur – drifting in South America until he meets an old sailor who, on his deathbed, tells him about a hoard of buried treasure. When Arthur is shot during an attempt to return to London, Maitland persuades his cousin, Percy, to accompany him to Lone Tree Island, where the treasure is allegedly buried. But what can they do with only half a map? And can they evade the undesirables on their trail?


Session 16 – Angled Mortises and Tenons.
With the base fully assembled, sculpting comes next! What do you think of the project so far? Let me know!
This router table is actually black phenolic. My other router table top is shiny steel and is blinding to use in the sun, so it's no fun either.


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"Quantize ruins everything": Floating Points on...
Featured Stories I by Mr. Beatnick I 16.10.15
"Quantize ruins everything": Floating Points on playing jazz at Berghain and ignoring the rock 'n' roll lifestyle
Photo by: Louise Haywood-Schiefer
Sam Shepherd, better known as Floating Points, is on the cusp of a major new phase in his music career.
His debut album Elaenia is soon to be released on his new side-label Pluto, and he's putting together his first proper live tour in support of the album featuring an ambitiously large ensemble of performers. FACT met up with him at his favourite haunt, Brilliant Corners, an audiophile sushi bar in Dalston that's gaining a reputation for having the finest sound in town – a reputation once held by Plastic People, where Shepherd was resident for a number of years.
As we arrive, disco is playing and a small party is in full swing, making it tough for us to have a quiet chat. Instead, Sam suggests a wander down the leafy backstreets of Angel and Islington, where he's been living for the last few years.
Elaenia is a departure of sorts, one defined by its soft dynamics and use of contrast and negative space. "Space and separation, and the way that the sound of a room can be a sound in itself, are things I think about a lot," says Shepherd, describing how he visualised the album in terms of architecture; designing spaces inside of spaces. Making a sound within a song is like creating a room, he explains, and then placing that room on a floor, placing that floor inside a building, placing that building on a street. The process continues until eventually he has a record that exists in its own little universe.
Fans of Shepherd's previous work, particularly the dancefloor anthems 'Vacuum Boogie', 'Arp 3' and 'Love Me Like This', may be perplexed at the more subdued tone of this record, which avoids bass weight and rhythmic repetition in favour of long, airy passages of ambience, and complex time signatures. But even though his background is in classical music composition, his tastes have always been broad, and he's always voraciously collected records from different genres. At the age of 18 he took a week-long digging trip to Peabody's Records in Chicago to sift through house, disco and boogie, effectively speed-learning those genres in a week at the hands of local experts; later, he went to Brazil in search of his personal holy grails, such as string arrangements by Arthur Verocai and his contemporaries on Continental Records. For this album, he was strongly influenced by the work of Talk Talk, and given the earthy spatiality of their work, as well as the meticulous engineering, it's not hard to hear the parallels.
Much has been made of Shepherd's background as an academic and scientist and what influence that has had on his compositions, but it seems to me he simply has a rigorous attention to detail in all areas he takes an interest in. If he likes an album, he'll seek out all the records on the same label, research the performers, the arranger, the engineers – and the same process applies to his love of audiophile hi-fi, sound system components, mixing desks and Buchla modular synthesisers, as well as good food and great wine.
He's just one of those people who always plunges into the deep end, with a real appetite for understanding how things work and what makes them tick. As we turn the corner onto Essex Road, the conversation turns reflective.
Floating Points plays Turin's Club to Club Festival this November with SOPHIE, Apparat and more. For tickets and more info, head here.
"You build the room you want to DJ in and then the right people will come."
You started this journey at an early age – I wonder if at times, this rapid level of underground success must have been a challenge for you.
I always felt that I was just doing my thing. The one time I did force that exposure was the first release, deciding, "I'm gonna get out there and make a record. I'm confident that I can sell 300 copies of this record. I'm gonna go and press it up!" That's when I was almost on an ego thing, pushing the release through and taking it to shops like "Hi! Do you want to stock this?" And most of them were like, "Erm, no thanks." [laughs] People were slow to take things off me at first.
I guess that's humble beginnings for you.
You have to blag it a bit at the beginning don't you? Finally, we ended up doing 500 copies of the first release on Eglo, 'For You'. We managed to sell them all, and then onto the next one. Then by that point, Kudos Distribution had approached me and said, "Hey, we can help you with this." As it progressed, the head rush, the exposure and all that actually felt pretty natural to me, someone helping us do it – and that led to Vacuum Boogie. That's done a lot of copies over the years.
Indeed, it's been repressed over and over and still remains in print, which is an incredible achievement.
Kudos were instrumental to the success of Eglo, and, in turn, to what I'm doing now. They facilitated the production of our records. It never felt to me like I was astronomically head-rushing or coming up. It felt quite natural and actually quite slow compared to some people I see, who do one big tune and then suddenly are headlining massive festivals, and maybe can't follow that up with anything else.
It was the same with gigs. When I was first starting out, Naomi [Shepherd's agent] came along and said, "Do you need any help with this?" I said, "Well, I guess so, I have been doing it all myself." And that gradually grew as well. I wasn't going in at a rate I didn't feel comfortable with. Jam, on the corner of Shoreditch, was my first gig back in the day, through Naomi, just after 'For You' and 'Radiality', when I was making hip-hop. I think 10 people showed up and had no idea it was my first ever proper DJ gig!
I think some people will listen to this record and say "He's changed, he's not making dance music or club records any more." But those of us who really know you, know that you've been digging this sort of music for years.
Right, and I was still looking for those records back then. When [mutual friend] Alex Harrison was working in Eldica Records, 10 years back, he was putting me on to tunes, and I was just like, "This is the best!" You and him were doing those 'SHHHHH' mixes together, I thought those were heavy. I was learning a lot from all over, from people we knew on the internet.
It's so funny, I actually found out about Brazilian music by downloading a mix that Beane [underrated DJ from Nottingham, host of Beane's Noodle Hotpot podcast] did. At the time I only knew of Sergio Mendes and I hated it, but this mix had Marcos Valle and things like that. I remember going to India – I was supposed to be digging for records there – but I was sat there listening to that mix thinking, "Oh my god, Brazilian music is just the best!" [laughs] Big up to Beane, cause that mix was amazing. So I was always into things like this and I was always writing classical music before moving to London, but being in London actually put physical restraints on me doing things with ensembles, due to university.
Was it a question of the tools you had available to you at the time, more than what you actually wanted to create?
It was much easier for me to just make records on my laptop, so I just made more electronic music at the time. And making electronic music on my laptop turned into going to CD-R at Plastic People, playing my tracks there, which lead to me putting the records out. So one thing led to another, but I had never lost sight of my classical upbringing, writing scores for bands and strings, and horns, and all these other timbres that I couldn't achieve with my laptop.
A big turning point was working with Becky Grierson and Gilles Peterson on the Maida Vale session we did for Gilles's show – they enabled me to do a recording with live strings and then Ninja Tune subsequently allowed us to do the whole thing again at Abbey Road. When I finally finished my degree I began building my studio, near Old Street, which enabled me to learn how to record acoustic instruments properly, by myself. So I tracked this whole album at this new studio and made it up as I went along.
It sounds like a big contrast from another studio you used at home, to write records like Shadows – which was more focused on samplers, drum machines and synthesisers.
Definitely. I mean, I did music tech A-Level as well, but the main thing I've learned over the last few years is that there's no actual rules to recording. I worked in studios, like Fishmarket Studios, Abbey Road – I don't think anyone realized that the whole time I was there, I was just sneakily peering over the engineer's shoulder, watching everything he was doing, everything the studio assistant was doing, watching their hands: "OK, so that's how you get the sub right on the bass drum, you use a NS-10 speaker cone as a microphone!". How to use a compressor, things like that – realising there's actually no rules.
At Abbey Road, they have this one box with a big knob on it, no one seemed to know exactly what it does but when they turn it, it changes the stereo width in this magical way. So no one knows what it does, but we all know what we like the sound of – it was a revelation. So when I work now, I set up a few mics, see how it sounds, then adjust them, see if it's better or worse, and just experiment in that way. Now it's got to the stage that I can reproduce sounds that I like.
I remember us talking about the 808 once, and you said that you love the sounds but not the sequencer – you're not at all into grooveboxes, and sounds being on any type of grid. How do you get away from those restrictions in electronic music?
By just triggering the sounds over MIDI! On the 808, I've always just triggered the sounds, I've never once used the step programmer on the front. People say to me, "How can you do that? The 808 has an incredible swing to it." I always say, "Yeah, but that's not my swing, that's Roland's." You don't have control over that! Why should I let this guy Roland do it when I can do it myself?
I just used to use the piano keyboard to trigger the sounds – I didn't have pad controls back then, cause it was a bit less common, I would just use the keys. There's always the same sort of layout on MIDI drums – C is the kick drum, D is the snare, F sharp is the hi-hat, D flat is the rimshot – the classic arrangement of drum kits on piano roll. I'd just play the parts in like that. And then I'd just drag the sounds around in Logic – never once hitting quantize. Quantize ruins everything.
Theo Parrish came round to yours once to do some work, what did you learn from watching him do his thing?
Oh yeah, that was for a remix for Owiny Sigoma Band. It was literally one evening, he was in town and needed somewhere to work, he was playing at Plastic People that night and we're good friends, so I said come round. We borrowed Tom Skinner's MPC – he's actually playing drums on 'Silhouettes' off the new album, in fact. Anyway, I was helping Theo engineer – he came round and was just playing in the whole track live on the MPC. Not in , he would just play the whole bass drum part, from start to finish, live. Boom, boom, boom. Because the note shift mode on the MPC is a pain to use, if something was out of time he'd just delete it. So I wonder if that's why when you listen to a Theo record, there's a gap in the drum pattern every so often, cause he's deleted a beat that was out of time.
You mentioned Tom Skinner drumming on 'Silhouettes', whilst Leo Taylor plays on the rest of the session – I wanted to ask about the drums in fact, because it feels like you deliberately avoiding compressing the shit out of them like people do on dance records – the drumming is very dynamic – up until the end of the album, where everything goes completely bonkers.
If you look at the waveform of the album, the ending part of the final track, 'Peroration Six', grows six decibels in the last six seconds and that's the only dynamic shift in the whole record. So the whole record is really calm and quiet and it's gradually building up to that giant explosion at the end, where it finally starts to get noisy. In fact that whole track is going through a Mutron phaser. That was just a live take of the mixdown, I had all the tracks running in real time and it was a really lucky take. On the album, generally I tracked the strings first – Leo did two takes of those drums. The time signature is shifting all over the places – 9/4, 7/4 – so we did one take like that, and one which was more of a free-for-all. Nuts take was the one we went for.
I'm interested in dynamic range and how it applies to DJ gigs as well, given that a lot of club DJing now is quite often a pedestrian game where people just bang a kick drum in the direction of the audience for as long as they'll stay dancing. DJing in 2015 is increasingly a monoculture and in many ways, you're the antithesis of that, playing Sonar festival with a little stack of 7″ soul records on a massive stage.
It's interesting. My first few releases were hip-hop, then the Planet Mu 12", 'K & G Beat', sort of 2-step garage, then Vacuum Boogie which was house – so you'd think people would expect me to play things like that, and I used to, and continue to – but in the early days I would try to mix in things like 'Lansayana's Priestess' by Donald Byrd. It was always a bit of a struggle to be honest. But now, I mean Caribou and I played a recent show in Bologna to 8,000 people, playing Jessie Gould's 'Out Of Work', Danny Hunt's 'What's Happening To Our Love Affair'. Playing harder stuff, but then playing more lightweight stuff as well. And I'm starting to realize people are down with it now. Down with the disco, the soul and the techno stuff. I think I would have had a much harder time getting away with this sort of approach in the past, I don't know what it is.
"I do it because I care, I care about everything."
Well, from an observer's point of view, I've come to believe over the years that you get the audience that you build, as well as the audience you earn. A bit like Field Of Dreams: "If you build it, they will come."
Ha! It's great isn't it. Actually, I played at Berghain on Saturday. I expected to be playing Panorama Bar as usual, but then I walk in there and it's not the usual entrance, and the door opens and I was like, "Erm, wow, I didn't realize I was playing Berghain!" So I did six hours, and my first record was Pharoah Sanders' 'Harvest Time'. I played the whole entire record. And no one got cross, no one batted an eyelid, so maybe I've gotten somewhere.
I thought, if I'm going to do this, I'm going to build the set and experiment, 'cause I was following Mark Ernestus – he's amazing, playing deep percussive tracks. So I reset the room with Pharoah Sanders, took it through some soul, with Dee Edwards 'I Can Deal With That'. Dee Edwards, in Berghain! Just magic. Not a single person came over to tell me to switch it off. Played Marcos Cabral, Steve Reich's 'Music for 18 Musicians', then the Bricolage EP by Mike Dehnert, dipping in and out of techno in that way. I think you're right, and it's a bit like what I was saying at the beginning about spaces – you build the room you want to DJ in and then the right people will come.
You mentioned Caribou earlier and I wanted to ask your friendship group with him and Four Tet, which seems to be turning into a freeform jazz electronics version of the three musketeers. Three different approaches which overlap and compliment each other.
Well, it all started cause Kieran just emailed me out of the blue. [Puts on funny voice] "Hi, my name's Kieran. You might know me from such records as…" And I replied, "Hi I've heard of you," although I'll be honest, I had, but I hadn't got any records of his at that point. Actually, thinking about it I had 'She Moves She', which is phenomenal. Anyway, he was asking, "Do you fancy remixing one of the tracks off my album?" And my flatmate at the time was a Four Tet super-fan – she said to me, "If you don't do this, I'm not paying rent this month" [laughs].
Jokes aside, I was gonna do it anyway, I really liked the track. So I sent Kieran the remix – the original was four minutes and the remix I had done was 14 minutes long! I think he was a bit in two minds at first. So I think for the 12" version he then had to go back and redo it to compete with the length of my version, stretch it out [laughs]. Anyway we stayed in touch over email, he lives not far from me, we started hanging out. And then I met Dan [Snaith, aka Caribou] via Kieran not long after. We all connected, we all have very similar musical inclinations, we share a lot of records.
I think there are other similarities too, if you don't mind me saying – you aren't the type of guys who throw TVs out hotel room windows and spend time on Twitter complaining about the quality of your rider. Despite the constant touring, there isn't this rock 'n' roll lifestyle that goes with it – it's entirely about the music, not the bullshit that goes with it.
Right! Well, you might have noticed Kieran's really into his designer clothes isn't he – we struggle to keep up, me and Dan, but we can't cause he's constantly getting to Chanel first before we do, in his fancy clothes [laughs]. Kidding, obviously, and you're right – we are united in that we don't care about our footwear, we don't care about the clothes we wear, we don't care about the party lifestyle. We'd rather geek out about Albert Ayler. Actually that sounds pretty nerdy doesn't it? We like Albert Ayler and ice cream! I think friendship groups are brought together by a mutual understanding of each others aesthetic, and that's definitely what brings us together.
I'm glad Albert's got someone sticking up for him – and speaking of free jazz in fact, how do you feel about NTS Radio's success? You have a regular show.
I feel so happy, so happy for Femi especially. Ten years ago Femi had this blog, Nuts To Soup, and he was always like, "I want to start a radio station", and I always used to say to him, "Go on man, do it!" Now it's running, the effect it's had on the community is amazing – it's brought so many people together, and the coordination that the whole team bring to it is on a very high level too, I feel like the quality is very high.
It's unified all of us – music, literature and art people – and not just in the geographical context of London, but also internationally. Friends of friends of friends have been brought together, I think, around a common interest. That sense of bringing together, of unity, in the internet age of 2015 is very powerful, particularly as the internet makes people feel alone in a lot of ways. I like Holly Herndon's thesis on that topic – I won't paraphrase it, but it's a great read. Anyway, NTS brings people together, and I think that's quite unique for an internet phenomenon. It's funny cause Femi kinda twisted my arm to do the show in the beginning, cause I wasn't really up for it – but I don't think he particularly wanted to have a show himself so in the end we just forced each other to do a show! He has fantastic taste in records.
So what's next on the calendar?
Taking it live. I've put together this 11-piece band – we did a show for Dimensions this year. Live is even more of a thrill than DJing to me. DJing has these humps, these ups and downs – one second its going off, and the next you're looking through your bag, trying to work out what's next. And then you bring the next tune in and yay! Everything's fun again. So DJing is funny like that. But playing live is just like the fun part all the way through, it's actually crazy in that way.
When the offer of Dimensions came along I was chatting to Dan and Kieran about it and they both said, "No question, you're saying yes to this." So reluctantly, I took their advice. Then the show got announced and I was like, "Oh no. I've only got seven months to come up with something." Which is actually fine, but felt like a short space of time to nail it at first. So it took a while – I had to put together some players, a team, a tour manager, sound engineer, rehearsals, all that sort of stuff.
So all the players were sat there and I was sat at the bottom of the stage waiting for everyone to take their seats out front, thinking to myself, "This is the biggest mistake of my life." But then I walked on stage, looked out at the crowd and got this vibe like, everyone was looking back at me nodding, going, "It's ok, just do what you want to do, be yourself'. Everyone was so welcoming – first day of the festival, everyone in high spirits – and I felt as relaxed as I do when I DJ, like, zen.
In fact I was so zen, I played the whole first tune a semitone too high, cause I'd only been playing along to my own score at home! The band are a crack team of professionals and they nailed it, first time, whereas I had to control the Buchla, remember what I was supposed to be doing, whilst worrying about whether the viola was playing the right rhythm. But I felt zen. I got to the end and thought, "I want to do this again right now." So we've booked a tour of Europe – we play Utrecht, Leuven, Paris, Turin and New York, and finally London, Islington Assembly Hall.
And tickets for that last one sold out in 10 minutes.
I think all the tickets were gone for all the shows in 10 hours. We really didn't know what would happen – this is a big ship to sail, there's so many people involved, so it was a relief, and I'm just so happy that people are coming to see us.
I feel like this brings the conversation full circle because there's a common theme throughout a lot of this, and that's the fact that you are so hands-on in your approach, whether it's putting the live band together, putting out records, licensing your album across the globe. I wonder why you haven't done the obvious thing and just signed to a big player, like a major label. Why stay independent?
I'm not averse to the idea. I see the value of those big labels, filled with great people who are experts at what they do, and how they do it, whereas I'm sitting here thinking, "How do I get hold of a radio plugger in Guatemala? And do I even need one?" You're right, this path is a heck of a lot of work sometimes – writing string parts in the morning, and then dealing with rights and publishing in the afternoon, and so on. I've got good helpers, I've hired all these people who help, and have figured out how to do all the things those big labels do.
But I mean, it's a level of control that you just don't need to have. You could just let someone else do all this and just make records.
I do it because I care, I care about everything. I care about the end product, I care about the consumer holding the record, knowing that every detail of the project has been dealt with by me personally and seen right through to the end, that I've had as much control over it as I possibly could have done, right down to things like what percentage of yellow tint is on the cardboard. Because why wouldn't you? All that work that's gone into the record, you care about how it will be received at the end. I guess that some people don't, actually, they just make the record and let someone else deal with the rest, but that's just not me. I care and I'm interested, and I'm interested in learning about the process and learning from it.
Elaenia is out on Pluto Records in November.
Tags: Floating Points
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