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Giants To Hire Jason Garrett As OC
Drew Rosenhaus Parts Ways With Antonio Brown
Cardinals' Larry Fitzgerald To Return
Luke Kuechly Announces Retirement
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Aaron Williams
Former Bills S Aaron Williams Retires
January 31st, 2018 at 11:28am CST by Sam Robinson
Aaron Williams attempted to return to the NFL in 2017, working out with three teams, but none ended up signing him. A six-year safety with the Bills, Williams has not played in a game since midway through the 2016 season.
As a result, he will retire from the league. The 27-year-old defender announced this on The Players' Tribune.
Williams details the 2015 and '16 neck injuries that ended his run in Buffalo and describes quality workouts with the Texans, Jaguars and Chiefs in 2017. However, Williams writes those teams informed him they wouldn't offer a contract because of concerns regarding his history with neck issues and concussions.
The former second-round pick wrote that he set a New Year's Day 2018 deadline for himself, and if he wasn't on a team by then, he'd retire. That's come to fruition.
Buffalo signed Williams to an extension, but after he'd started 38 games from 2012-14, the Texas product only appeared in 10 games during his final two seasons. He ended up starting in 52 of the 59 games he played, lining up at both cornerback and safety, and played only for the Bills during his six-season run.
Photo courtesy of USA Today Sports Images.
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Chiefs Work Out S Aaron Williams
September 13th, 2017 at 9:13am CST by Zach Links
With star Eric Berry done for the season, the Chiefs are looking into some reinforcements at safety. With that in mind, Kansas City auditioned former Buffalo safety Aaron Williams on Tuesday, Adam Caplan of ESPN.com (Twitter link) hears.
Williams was cut loose by the Bills around the start of free agency following a season in which he suffered a painful neck injury. He met with the Jaguars in May and the Texans in June, but things have been quiet for him over the last few months. The good news is that Williams was said to be fully healthy when auditioning for Houston three months ago.
Williams, 27, has been a starter for the majority of his NFL career, posting seven interceptions and 183 tackles through 59 total games. His health limited him to only ten games from 2015-16, however.
For now, it looks like Daniel Sorensen could be in line to start with Berry out for the year.
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AFC Notes: Browns, Texans, Jags, Jets
June 16th, 2017 at 7:30pm CST by Connor Byrne
Second-round signal-caller DeShone Kizer is in the mold of Super Bowl-winning division rivals Ben Roethlisberger (Steelers) and Joe Flacco (Ravens), according to Browns quarterbacks coach David Lee, but it doesn't sound as if he'll see the field for a while. "He's got a great future," Lee told reporters, including Nate Ulrich of Ohio.com. "He's just a long way from being ready. He's not ready, but he's climbing on it, and he's making progress."
Kizer, the 52nd overall pick from Notre Dame, is competing against Brock Osweiler and Cody Kessler to open the season as the Browns' starter. Osweiler has impressed Cleveland's coaches since coming over in March in a surprising trade with Houston, and the fact that he's the most experienced and accomplished of the Browns' QBs matters to Lee. "You can say what you want, but the guy in the last two years has taken two different teams [Texans and Denver Broncos] to the playoffs, and there's nobody else in that room that can say that," Lee pointed out. "Plus, this is his sixth year of experience. [The other guys have] got [little or] no experience. … So he's the senior citizen. He looks like a guy who's played before. He's great at the line of scrimmage. He's great in the huddle, I mean calming effect. Is he the quarterback? We don't have one yet, but he's in the mix for sure."
The Texans worked out safety Jaiquawn Jarrett on Monday, tweets Aaron Wilson of the Houston Chronicle. Jarrett, a former second-round pick, spent the first two seasons of his career with the Eagles before joining the Jets from 2013-15. He didn't appear in the NFL in 2016. A veteran of 47 career games, Jarrett boasts nine starts through five pro seasons. Houston has no plans to sign either Jarrett or fellow defensive back Aaron Williams, whom the Texans hosted earlier this week, as Wilson writes in a full article.
Jaguars cornerback Jalen Ramsey underwent core muscle surgery Thursday, per NFL.com's Mike Garafalo, who adds that he should be ready for the regular season (Twitter link). Ramsey also dealt with a notable injury last spring, a torn meniscus that required surgery and kept him out of organized team activities and minicamp, but still went on to post an excellent rookie season. Last year's fifth overall pick, Ramsey started all 16 of the Jags' games, intercepted two passes (one of which he returned for a touchdown) and ranked as Pro Football Focus' 21st-best corner.
Josh McCown has a smaller-than-anticipated lead over Christian Hackenberg as the Jets' training camp quarterback battle approaches, writes Rich Cimini of ESPN.com. McCown wasn't all that sharp in minicamp, whereas Hackenberg exceeded expectations, per Cimini, who notes that Bryce Petty is a clear third in the race. The Jets invested a second-rounder in Hackenberg only a year ago, but it seems the ex-Penn State Nittany Lion is widely regarded as a lost cause after he couldn't crack the lineup last season for a club whose QB play was among the worst in the league. But Hackenberg should get on the field sometime this year for a team that's now in a full-scale rebuild.
Dallas Robinson contributed to this post.
Bryce Petty
Christian Hackenberg
DeShone Kizer
Jaiquawn Jarrett
Josh McCown
Texans To Host Aaron Williams On Visit
June 12th, 2017 at 11:17am CST by Zach Links
Things could be picking up for former Bills safety Aaron Williams. The veteran will meet with the Texans on Thursday, according to Aaron Wilson of the Houston Chronicle (on Twitter).
[RELATED: Texans Work Out WR Javontee Herndon]
Williams was cut loose by Buffalo around the start of free agency following a season in which he suffered a painful neck injury. Since then, he has had only one visit – his May 3 powwow with the Jaguars. At this point, Wilson hears that Williams is fully healthy, so it might not take long for a deal to materialize if Houston likes what it sees.
Williams has only played in ten games total over the last two seasons thanks to neck issues. However, he has been a starter for the bulk of his career and he has seven interceptions to his credit in the NFL. The Texans are thin at the safety position, so it makes sense for them to at least kick the tires on Williams.
For Williams, a deal with the Texans would represent a homecoming. Williams played his high school ball at McNeil in Austin and went to college at the University of Texas.
Jaguars Hosting Safety Aaron Williams
May 3rd, 2017 at 8:50pm CST by Dallas Robinson
The Jaguars are meeting with free agent safety Aaron Williams today, according to Ian Rapoport of NFL.com (Twitter link).
Williams, 27, has suffered severe neck injuries in each of the past two seasons, and despite the inherent risk in continuing his career, Williams has no plans to retire at this time. A six-year NFL veteran, Williams has been a starter for the majority of his NFL tenure, posting seven interceptions and 183 tackles through 59 total games. Health concerns have only allowed him to play in 10 contests from 2015-16, however.
In Jacksonville, Williams would be a clear-cut reserve, as the Jaguars have invested heavily in the safety position during the past two offseasons. Tashaun Gipson and Barry Church are each in the midst of multi-year contracts, so Williams wouldn't have a shot at a starting job. However, he'd give the Jaguars high-level depth, and could also contribute on special teams and in three-safety looks.
Williams, whom Buffalo released on the first day of the 2017 league year, is PFR's No. 9 free agent safety.
Top 2017 Free Agents By Position 3.0: Defense
March 15th, 2017 at 6:23pm CST by Dallas Robinson
The initial wave of NFL free agency is now complete, and while many of the league's top available players are now off the board, there are still plenty of quality options still on the open market.
Listed below are our rankings for the top 15 free agents at each defensive position. These rankings aren't necessarily determined by the value of the contracts – or the amount of guaranteed money – that each player is expected to land in free agency. These are simply the players we like the most at each position, with both short- and long-term value taken into account.
Restricted and exclusive-rights free agents, as well as players who received the franchise tag, aren't listed here, since the roadblocks in place to hinder another team from actually acquiring most of those players prevent them from being true free agents.
We'll almost certainly be higher or lower on some free agents than you are, so feel free to weigh in below in our comments section to let us know which players we've got wrong.
Here's our breakdown of the current top 15 free agents by defensive position for 2017:
Edge defender:
Dwight Freeney
Trent Cole
Erik Walden
Darryl Tapp
Devin Taylor
Wallace Gilberry
Sam Acho
The pass rushing market has been completely depleted during the first week of free agency, as 14 of our original top 15 edge players have now been franchised, signed, or, in the case of DeMarcus Ware, retired. As such, a 37-year-old with 15 NFL seasons under his belt is now the best pass rusher on the market. Dwight Freeney played on roughly a third of the Falcons' defensive snaps in 2016, and posted three sacks and 18 hurries. Capable of playing in either a 4-3 or 3-4 scheme, Freeney can still help out a club on the cheap.
Three players on this list — Elvis Dumervil, Connor Barwin, and Eugene Sims — were released by their respective clubs last week, meaning they won't count against the compensatory formula if and when they're signed. Dumervil, now 33, was hampered by injuries last season but still earned strong pass-rushing marks from Pro Football Focus. Barwin, meanwhile, wasn't a good fit in Jim Schwartz's 4-3 defense, but he should flourish if he signs with a team running a 3-4 look. So far, he's met with the Bengals (who use a 4-3) and Rams (3-4).
Chris Long has already indicated he won't be returning to the Patriots, indicating he wants to join a roster where he'll earn more playing time. Erik Walden, too, won't re-sign with his 2016 club (the Colts), but he has taken a visit with the division rival Titans. Further down the list, Howard Jones has also met with at least one club, as he was hosted by the Jets on Tuesday. Jones, 27, is recovering from a torn ACL, but did post five sacks in five starts last season.
Interior defensive line:
Johnathan Hankins
Dontari Poe
Vance Walker
Sen'Derrick Marks
Ricky Jean-Francois
Al Woods
Tony McDaniel
Cullen Jenkins
Cam Thomas
Tyson Jackson
Although top-flight players such as Calais Campbell and Brandon Williams have already been signed, the crop of interior defenders remains strong at the top. The buzz around Johnathan Hankins has been virtually non-existent, as the only club that's been even tangentially linked to the 25-year-old is the Redskins. He's one of the youngest free agents on the market, and therefore is probably looking for a massive payday. But the lack of interest around Hankins may be an indication that he's simply asking for too much money.
The same issue could be surrounding Dontari Poe, although he's not wanting for meetings around the league. He's visited with the Colts, Falcons, Jaguars, and Dolphins, while the 49ers and Raiders also reportedly have some level of interest. Clubs may have concerns about Poe's lingering back issues, and he might have to accept a one-year deal in order to prove he's healthy and willing to provide full effort.
The remaining defensive interior players are mostly over-30 veterans, with names such as Tony McDaniel, Cullen Jenkins, Frostee Rucker, and Tyson Jackson still looking for new deals. While most of these guys can still play, they may have to wait awhile — possibly into the summer — before signing on with their next club. Jared Odrick (Patriots) and Vance Walker (Bears) have both taken visits, but the most intriguing lineman here may be Sen'Derrick Marks, who offers a good amount of pass rush from the interior.
Linebacker:
Kevin Minter
Perry Riley
Gerald Hodges
DeAndre Levy
Daryl Smith
Sio Moore
Sean Spence
Manti Te'o
Keenan Robinson
D'Qwell Jackson
Erin Henderson
Josh Bynes
While players at other defensive positions have flown off the board, there's been almost no movement among off-ball linebackers. Only five of PFR's original top-15 free agent linebackers have signed new contracts, a group that includes Dont'a Hightower, our previous No. 1 'backer who re-signed with the Patriots today. Zach Brown, who now holds that honor, broke out in his fifth NFL campaign and played especially well in coverage, a skill that should lead to a handsome reward. Brown, 27, met with the Raiders today, while the Dolphins also hope to schedule a visit.
The Bengals, specifically, are in the linebacker market, as they've met with both Kevin Minter and Keenan Robinson in recent days. But the rest of the players on this list aren't drawing much interest as of yet, a fact that speaks to the devaluation of the linebacker position. Teams will pay up for a three-down linebacker like Hightower, but if a player can be formation-ed off the field, he's not going to land a hefty deal.
One linebacker who did prove he could stay on the field on third down was Perry Riley, who played 370 coverage snaps for the Raiders last season. Riley is still only 28 years old, but posted awful marks from Pro Football Focus during his previous campaigns with Washington. Whether it was Oakland's scheme (including its talented pass rushers) that allowed Riley to flourish, or a true breakout coming in the middle of a career, Riley could help a number of clubs. The Raiders are reportedly working to bring him back.
Cornerback:
Brandon Carr
Nickell Robey-Coleman
Darrelle Revis
Sterling Moore
Alterraun Verner
Sam Shields
Tramon Williams
Jerraud Powers
B.W. Webb
Valentino Blake
Leon Hall
Leodis McKelvin
The top two corners still on the open market are both former Cowboys, and Brandon Carr looks like the surer bet to return to Dallas at this point. Morris Claiborne, meanwhile, has drawn interest from the Ravens, and most opposing clubs believe he'll end up signing with Baltimore. Clairborne, 27, appeared to be a prime overpay candidate heading into the offseason, but if the Ravens can land him on a short-term deal, they'd be making a wise investment.
Nickell Robey-Coleman was surprisingly cut loose by the Bills earlier this offseason, and the 25-year-old has already drawn interest from numerous teams, with the Vikings, Chargers, Dolphins, Steelers, and Titans all considering a run at the slot man. Like Robey-Coleman, Alterraun Verner, Valentino Blake, and Leon Hall are all probably best sticking to slot duty, while Hall can even offer safety versatility.
Now that all charges have been dropped against Darrelle Revis, he'll make for an interesting test case in free agency. Clearly, Revis is not the shutdown corner he once was, and may even be mulling a move to safety as he closes his career. But clubs in the market for secondary help could do worse than Revis, and he should be on a roster when the regular season rolls around.
Darius Butler
Bradley McDougald
Corey Graham
Jairus Byrd
Lardarius Webb
Rashad Johnson
Rafael Bush
Daimion Stafford
Steven Terrell
Kendrick Lewis
Duke Ihenacho
Chris Prosinski
Donte Whitner
Tony Jefferson, Duron Harmon, and Barry Church all came off the board quickly, leaving Darius Butler as the top safety who is still unsigned. Butler is 30 years old, but as a former cornerback, offers the type of coverage skills that NFL teams are looking for in today's passing league. He's taken a visit with the Bears (who have already added Quintin Demps), while a return to Indianapolis is still possible.
Most of the safeties on this list are in-the-box types — that's thanks to the fact that center field-esque safeties are more rare and thus more expensive. Recently-released veterans such as Jairus Byrd, Lardarius Webb, and Corey Graham, however, offer coverage ability and would make for decent signings on short pacts. T.J. McDonald and Bradley McDougald, on other hand, are big hitters that will patrol near the line of scrimmage. McDougald, specifically, will take a visit with the Seahawks this week.
Chris Prosinski is just a special teamer, but he's a great special teamer. While he only played 173 defensive snaps in 2016, he saw time on more than 80% of the Bears' special teams plays, and was listed as one of the season's best special teams players by Gordon McGuinness of Pro Football Focus. Football Outsiders ranked the Cardinals, Jets, and Texans as the bottom-three teams in special teams DVOA, and any of those clubs would benefit from adding Prosinski.
Kicker:
Nick Folk
Dan Carpenter
Mike Nugent
Demand is not high for placekickers at the moment, as only the Giants and Bengals stand out as clubs that immediately need a kicker. Injuries and ineffectiveness are sure to strike the position, however, at which point the specialists on this list will surely receive calls. Dan Carpenter and Mike Nugent missed a combined 11 extra points in 2016, and given that he topped both Carpenter and Nugent in field goal percentage, Nick Folk should be the first kicker on clubs' emergency list.
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Extra Points: Browns, Osweiler, Jets, Eagles
March 10th, 2017 at 10:09pm CST by Dallas Robinson
The Browns are reportedly trying to trade Brock Osweiler after acquiring him (and more specifically, his contract) from the Texans yesterday, and while Cleveland might be willing to pay Osweiler's deal down to $8MM or so, some executives don't think the Browns will find a taker. "Get the [expletive] out of here," said one personnel man, according to Jason La Canfora of CBSSports.com. Another evaluator: "No one will do their new trade … but I don't blame them for trying."
Here's more from around the league:
Free agent safety Tony Jefferson reportedly turned down a better proposal from the Browns before signing with the Ravens, and Jefferson himself says Cleveland $1.5MM more than Baltimore, per Mike Garafolo of NFL.com (Twitter link), Jefferson claims the Jets offered him the same overage, although Manish Mehta of the New York Daily News disputes that assertion (Twitter link).
Eagles linebacker Mychal Kendricks saw $4.35MM of his $4.85MM 2017 base salary fully guarantee today, tweets Adam Caplan of ESPN.com. Kendricks has long been the subject of trade rumors, and the base salary guarantee could impact any such discussions. Unlike signing bonus money, which accelerates onto the original team's cap in the event of a trade, guaranteed base salaries stay with the player and carry over to the acquring club.
Both linebacker DeAndre Levy (Lions) and safety Aaron Williams (Bills) were designated as post-June 1 releases, according to Michael Rothstein of ESPN.com and Field Yates of ESPN.com (Twitter link). Those decisions will save Detroit and Buffalo some cap space the short term, but both teams will see dead money incur on their 2018 books.
Mychal Kendricks
Tony Jefferson
Bills To Release Aaron Williams
March 9th, 2017 at 10:27am CST by Sam Robinson
The Bills are set to release Aaron Williams after six seasons, Ian Rapoport of NFL.com tweets. This comes a few months after the safety's season ended due to a neck injury.
This move stands to cost the Bills nearly $5MM in dead money since Williams has two years and some guaranteed money left on the four-year contract he signed to stay in Buffalo. The team will save just $1.775MM by making this move, perhaps illustrating the franchise's feeling about future Williams contributions. The Bills may designate Williams as a post-June 1 cut to split up the dead money hits. Said move would allow them to save $4.2MM in 2017, but the extra cash wouldn't be available until June begins.
Williams has incurred consistent neck scares during his career, seeing this type of injury sideline him for most of the 2015 season as well. He played in just 10 games in 2015-16 combined and now faces questions about his future. The 26-year-old Williams started 52 games for the Bills after coming to Buffalo as a second-round pick in 2011.
Extra Points: Texans, Broncos, Cowboys, Bills
January 16th, 2017 at 9:28pm CST by Ben Levine
It sounds like Texans head coach Bill O'Brien will return to the organization next season, but will he opt for the same starting quarterback? O'Brien wouldn't commit when asked if he was going to stick with quarterback Brock Osweiler in 2017.
"Before I talk about those types of things, I have to evaluate it myself," O'Brien told ESPN.com's Sarah Barshop. "I've got to talk to our coaching staff, get their input, personnel people, get their input. So I wouldn't be a good head coach if I stood up here and said, this is what I'm planning to do. The game is less than 48 hours ago. We're going to evaluate everything."
Osweiler finished his first season in Houston with 2,957 yards, 15 touchdowns and 16 interceptions. It seems like offensive coordinator George Godsey may have earned the brunt of the blame for the team's offensive woes, as the coach and the organization parted ways earlier today.
Let's take a look at some more notes from around the NFL…
Mike Klis of 9News in Denver reports (via Twitter) that the Broncos are set to interview two coaches for their special teams coordinator vacancy: Richard Hightower and Greg McMahon. Hightower joined the Bears last offseason as their assistant special teams coach, and he previously spent time coaching the 49ers, Browns, and Redskins. McMahon served as the Saints special teams coordinator from 2008 through 2017. The longtime coach was let go by the organization in early January.
The Raiders have promoted midwest scout Trey Scott to the position of Assistant Director of Player Personnel, reports Mike Florio of ProFootballTalk.com. Scott has spent the past four seasons with the organization, and he previously spent time working with the Redskins.
The Cowboys announced the signing of 12 players today, but the team isn't done making moves. ESPN.com's Todd Archer tweets that the team is still trying to finalize deals with practice squad players Rico Gathers and Andy Jones. Gathers, a tight end, was a sixth-round pick in this past year's draft. Jones, a former undrafted free agent, spent much of the season on the Cowboys practice squad.
Bills safety Aaron Williams has dealt with mulitple neck injuries, but his dad told John Wawrow of the Associated Press that the former second-rounder intends to keep playing. "He's leaning toward coming back," Anthony Williams said. "We'll take it slow and go from there." The 26-year-old has been productive when he's been on the field, but he's been limited to only 10 games over the past two seasons.
Greg McMahon
Richard Hightower
Rico Gathers
Trey Scott
Bills Place Aaron Williams On IR
November 1st, 2016 at 12:56pm CST by Zach Links
The Bills announced that they have placed safety Aaron Williams on injured reserve. The move will make room for the addition of Percy Harvin, who came out of retirement to sign with Buffalo earlier today.
[RELATED: Percy Harvin Comes Out Of Retirement, Signs With Bills]
Williams was on the receiving end of a vicious tackle Dolphins wide receiver Jarvis Landry recently, leaving him with a neck injury. According to Williams' father, the defensive back may consider retirement in the offseason since this is his second neck injury in the last two seasons.
Williams, 26, has been a starter for the majority of his career in Buffalo, posting seven interceptions and 183 tackles through 59 games. Having agreed to an extension in 2014, Williams is signed through the 2018 campaign, with cap hits north of $6MM in each of the next two seasons. Buffalo can use options like Robert Blanton, Duke Williams, and Jonathan Meeks to fill in at safety, so they won't necessarily have to add a defensive back this week.
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Packed with beautiful Victorian-era musical instruments, clothing, home furnishings, Tiffany lamps and artwork, the Lightner Museum is a lovely ode to America's Gilded Age. Although definitely not for toddlers and rambunctious little ones, the Lightner Museum is a hit with parents and older children with an interest in history. Housed in the Spanish Renaissance-style Hotel Alcazar building, which itself was built in 1887, the museum was opened by wealthy Chicago publisher Otto C. Lightner in 1948. He gifted his entire collection to the city of St. Augustine, and the Lightner Museum quickly found recognition on the National Register of Historic Places. Today, the Lightner Museum contains more than 20,000 items from the past century including toys, miniatures, sea shells, animal trophies, paintings and many other treasures. Located in the lovely downtown area, the museum also features the decadent Cafe Alcazar. Younger visitors especially will get a kick out of dining in this former indoor swimming pool.
The entire Lightner Museum is wheelchair accessible.
Be the first to write a review about Lightner Museum!


Imagine yourself discovering Paris in the comfort of a 1962 Rolls Royce. Rendez-vous à Paris offers you a journey through the Paris giving you its history and culture while bringing you to the greatest French spots in town.
Rendez-vous à Paris has many different types of tours for you to choose from. We offer trips around Paris that last a day, a weekend or a week depending on your choice of tour. We also give you the option to design your own tour so that you may discover exactly what you wish to see in Paris. We include day trips to the famous Chateau de Versailles, with an explicit tour the Versailles charming village.
Our luxury tour will show you a Paris only know to true Parisians. Our program is designed to bring you comfort and organization that will make your trip relaxing and enjoyable.


text:
Гре-ла-Віль, Ґре-ла-Віль () — муніципалітет у Франції, у регіоні Бургундія-Франш-Конте, департамент Верхня Сона. Населення —  осіб (2011).

Муніципалітет розташований на відстані близько 290 км на південний схід від Парижа, 45 км на північний захід від Безансона, 50 км на південний захід від Везуля.

Демографія

Розподіл населення за віком та статтю (2006):

Економіка

У 2010 році в муніципалітеті числилось 423 оподатковані домогосподарства, у яких проживали 1023,0 особи, медіана доходів виносила  євро на одного особоспоживача

Посилання

 Офіційний сайт Сайт мерії муніципалітету Гре-ла-Віль
 Гре-ла-Віль на сайті французького Національного інституту географії
 [ Розташування муніципалітету Гре-ла-Віль на мапі Франції та сусідні муніципалітети]

Див. також
 Список муніципалітетів департаменту Верхня Сона

Примітки

Муніципалітети департаменту Верхня Сона

redpajama_set_name: RedPajamaWikipedia


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text:
Q: Make a bunch of C++ classes comparable while avoiding repetitiveness in code I need to create a bunch of classes so that the instances of a particular type can be mutually compared.
I thought about writing a compare method, unique to each class, and then adding the following code to each class definition, replacing T with the name of the class I'm in:
bool operator== (const T& L, const T& R)        {return L.compare(R)==0;}
bool operator!= (const T& L, const T& R)      {return L.compare(R)!=0;}
bool operator< (const T& L, const T& R)       {return L.compare(R)<0;}
bool operator<= (const T& L, const T& R)        {return L.compare(R)<=0;}
bool operator> (const T& L, const T& R)       {return L.compare(R)>0;}
bool operator>= (const T& L, const T& R)      {return L.compare(R)>=0;}

This is kind of repetitive, though. Is there a more generic way of doing it? I guess I could write a macro for that, parametrizing it on T, but macros are not very cplusplusy now, are they? I also thought about inheritance and polymorphism, and from what I'm read about it (I have yet to use virtual classes; I'm new to C++), it seems like I'd be introducing an unecessary runtime overhead, as I'm not going to be needing uniform access those via base class pointers. Is there a better way of accomplishing it other than macros or copy-pasting?

A: Boost.Operators

The header <boost/operators.hpp> supplies several sets of class templates (in namespace boost). These templates define operators at namespace scope in terms of a minimal number of fundamental operators provided by the class.

#include <boost/operators.hpp>
#include <cassert>

struct Integer : boost::totally_ordered<Integer>
{
    int value;
    Integer(int x) : value(x) {}
};

bool operator<(Integer lhs,Integer rhs)
{
    return lhs.value < rhs.value;
}
bool operator==(Integer lhs,Integer rhs)
{
    return lhs.value == rhs.value;
}

int main()
{
    Integer a(1), b(2), c(1);
    // We have defined only operator< and operator==
    assert(a < b);
    assert(a == c);
    // Other operators are provided automaticly:
    assert(a <= b);
    assert(b > a);
    assert(b >= a);
    assert(a != b);
}

A: The closest I think you can get is providing operators for the base class and requiring all comparable classes to inherit from it. Implementing them as templated free functions isn't exactly a good idea as it will allow the compiler to attempt the operation on more than just the types you are interested in.
class AClass
{
public:
    int compare(const AClass& a) const
    {
        return this == &a ? 0 : 1; // i'm sure you can do the -1 / 1 stuff
    }

    friend bool operator==(const AClass& L, const AClass& R)
    {
        return L.compare(R) == 0;
    }
};

This will allow comparisons of AClass and all decendents.

A: Without using boost:
#include <cassert>
struct Integer
{
    int value;
    Integer(int x) : value(x) {}
};

bool operator<(Integer lhs,Integer rhs)
{
    return lhs.value < rhs.value;
}
bool operator==(Integer lhs,Integer rhs)
{
    return lhs.value == rhs.value;
}

template< class T >
bool operator!= (const T& L, const T& R) { return !(L==R); }
template< class T >
bool operator<= (const T& L, const T& R) { return (L < R) || (L == R); }
template< class T >
bool operator>  (const T& L, const T& R) { return (!(L < R)) && (!(L == R)); }
template< class T >
bool operator>= (const T& L, const T& R) { return !(L < R); }

int main()
{
    Integer a(1), b(2), c(1);
    assert(a < b);
    assert(a <= b);
    assert(b > a);
    assert(b >= a);
    assert(a == c);
    assert(a != b);
}

Or closer to your original question:
#include <cassert>
struct Integer {
  int value;
  Integer(int x) : value(x) {}
  int compare(const Integer & rhs) const {
    return (value - rhs.value);
  }
};

template< class T >
bool operator== (const T& L, const T& R) { return L.compare(R)==0; }
template< class T >
bool operator!= (const T& L, const T& R) { return L.compare(R)!=0; }
template< class T >
bool operator<  (const T& L, const T& R) { return L.compare(R)<0; }
template< class T >
bool operator<= (const T& L, const T& R) { return L.compare(R)<=0; }
template< class T >
bool operator>  (const T& L, const T& R) { return L.compare(R)>0; }
template< class T >
bool operator>= (const T& L, const T& R) { return L.compare(R)>=0; }

int main() {
  Integer a(1), b(2), c(1);
  assert(a < b);
  assert(a <= b);
  assert(b > a);
  assert(b >= a);
  assert(a == c);
  assert(a != b);
}

redpajama_set_name: RedPajamaStackExchange


text:
Sania-Strycova ease into second round
March 10, 2017 by qayam
Indian Wells (California): Indian tennis ace Sania Mirza and her doubles partner Barbora Strycova of the Czech Republic eased into the second round of the BNP Paribas Open after defeating German-Latvian duo of Julia Goerges and Jelena Ostapenko 6-3, 6-4 here.
The fourth seeded Indo-Czech pair, who came together in 2016, consumed just over an hour and 15 minutes after staving off four of eight possible break points from their opponents on Thursday night.
Goerges and Ostapenko were broken six times during the tie.
Sania and Strycova will now play Italy's Sara Errani and Alicja Rosolka of Poland.
In men's doubles, India's Rohan Bopanna, who has partnered Pablo Cuevas at Indian Wells, will take on the all-Serbian combine of Novak Djokovic and Viktor Troicki later on Friday.
Categories News, Sports Tags Barbora Strycova, Ease, Sania, sania Mirza, Sania-Strycova, second round, Strycova
Injured Starc ruled out of India series
Delhi student dies in Hyderabad

redpajama_set_name: RedPajamaCommonCrawl


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The weather is good almost all year round in Salta and the north west in general. It's warm and dry in winter (June to September) though it gets cold at night. Summer (December to February) is hot and there's no air conditioning in most rooms. Avoid the rainy season of February to March, when many of the roads to places you'll want to explore may be impassable due to flooding.
Once a colonial mansion, Patios de Cafayate Wine Hotel is now a luxury property, surrounded by trestled vineyards and majestic mountains in the wine producing region near Salta, a region of spectacular natural beauty in northern Argentina.
Enter the enchanting glass lobby doors of Patios de Cafayate Wine Hotel and experience true elegance. Rich in culture, wine, and tradition, Patios de Cafayate embraces its spectacular views of the Calchaquí Valley vineyards.
Take a stroll through Patios de Cafayate's extensive gardens and admire traditional architecture and antique colonial patios. The region is home to an ample range of wineries, which offer guided excursions to taste the excellent and varied wines, among which the famous Torrontes wine stands out.
Antique furniture, artisan carpets, ceramic floors and penny royal baskets decorate each of the thirty guest rooms and suites. Patios de Cafayate's uniquely designed suites accent traditional culture and offer guests the luxury of a double Jacuzzi in the bathroom. Beautiful views of the vineyard and hills or spectacular garden scenes create long-lasting memories of your stay at Patios de Cafayate.
Patios de Cafayate features 15 Garden View Rooms, 11 Vineyard View Rooms and three Vineyard View Suites, adorned with antique furniture, striking art and designed in a typical Argentine style. Rooms feature a double Jacuzzi and afford stunning views of the vineyard and surrounding hills or gardens. All rooms include: cable TV, hairdryer, desk, phone, minibar, air conditioning, safe and wifi.
Children are welcomed at Patios de Cafayate, but there are no specific facilities. Babysitting can be arranged, and most children will enjoy the heated outdoor pool.
The excellent facilities at Patios de Cafayate include an outdoor heated pool and the La Rosa restaurant which serves up creative dishes, accompanied of course, by delicious regional wines.
Patios de Cafayate offers activities such as wine tasting, golf, swimming, excursions in the nearby Calchaqui Valleys. Alternatively, why not take a journey on The Train to the Clouds to experience the breathtaking landscape of the region. Hiking, biking and horseriding amongst vineyards and spectacular mountain scenery can also be arranged.
The impressive Patios de Cafayate, part of the Starwood Luxury Collection, rewards anyone who makes the trip through the dramatic Quebrada de Cafayate Canyon from Salta. With a bodega master's historic manor as its core, this hotel and vinotherapy spa is all about beauty and grace in picturesque surroundings. It skillfully combines historic elegance with modern conveniences and looks out at vineyards and mountains from a quiet and serene spot.
Visit El Esteco, one of the most traditional wineries in the Cafayate region, famous for its distinctive Torrontés wines. Accompanied by a private guide you will explore the vineyards, learning about the history, as well as its production processes.
This full day horseback riding adventure takes in the stunning landscapes of the highest part of the Colchaqui Valleys, surrounding the picturesque wine region of Cafayate. Enjoy lunch at a local winery, paired with the region's famous Torrontes wines.
The Patios de Cafayate Hotel & Spa is located on the same grounds as the state-of-the-art El Esteco Winery. The winery and its vineyards are located in the Calchaquies Valleys, at more than 1,700 meters above sea level.
Salta is the nearest airport and is served by domestic airlines from Buenos Aires' Jorge Newbery Airport, a 2-hour 15-minute flight. The Patios de Cafayate is a 3-hour drive from the airport.


Several high-profile U.S. weapons from World War II were in front-line service with the South Vietnamese Army (ARVN) throughout much of the Vietnam War. One of the most common of these was the M1 Carbine. This unique little American rifle captured the attention of U.S. troops deployed to Southeast Asia during the 1960s, much the same way it had caught the eye of the GIs and Marines in WWII.
U.S. Navy men discovered this modified M1 Carbine as Viet Cong guerrillas attempted to smuggle weapons into South Vietnam by sea.
U.S. Navy river patrol circa 1966.
The M1 Carbine was introduced into Vietnam by French troops during the late 1940s in their war with the communist Viet Minh forces. A large number of M1 carbines were captured and used by Viet Minh troops. After the First Indochina War ended in July 1954, M1 carbines filtered from the North into the hands of the developing Viet Cong guerrilla forces.
The M1 Carbine was a good fit for average-sized ARVN soldiers.
Beginning in 1956, U.S. military advisors brought M1 carbines to South Vietnam, and soon they were being issued to ARVN Marines and Rangers. Later, the carbines were also issued to the South Vietnamese National Police, as well as their Regional and Popular Forces and the Kit Carson Scouts. The compact size and light weight made for easier handling by the smaller stature Vietnamese troops. As U.S. troops began to arrive in country in larger numbers, more young Americans became interested in the endearing little rifle. Deals were made, bargains struck, and the M1 carbine began to appear in the hands of American troops—sometimes as a souvenir or curiosity, and on some occasions it was used as a back-up weapon.
Illustration depicting the most common styles of modified M1 Carbines as used by the Viet Cong. Illustration provided courtesy of Larry Ruth.
The M1 carbine was also popular on the communist side of the lines. The Viet Cong acquired and used many: Some were captured on the battlefield while others were stolen from ARVN stocks. Still more carbines were purchased by Viet Cong agents in Vietnam's active black market. Many of the Viet Cong carbines were modified, featuring shortened barrels, or stocks cut down to the pistol grip, or a combination of modified features. VC jungle workshops created some M1 carbine imitations, usually crude bolt-action models that were chambered for the readily available .30 Carbine round.
U.S. adviser instructing ARVN troops in the art of bayonet fighting with the M1 Carbine.
The war dragged on and the M1 carbine remained in service in many ARVN units. Carbine expert Larry Ruth estimates that there were approximately 1.5 million of them left behind in Vietnam at the war's end in 1975.
ARVN soldier learning the finer points of his M1/M2 Carbine from a U.S. advisor. Note his carbine is equipped with the M3 flash hider.
"The M1 and M2 carbines are fine for a personal-defense weapon, better than a pistol. But as a combat rifle, it was extremely ineffective. Its range was too short, and the round delivered poor knockdown power and very poor penetration through typical cover materials (like bricks, sandbags, small timbers, foxhole parapets, plank fences, building walls, dense brush, and even bamboo). I found that some of the small parts broke regularly, and in very poor weather it could jam easily.
The M2 Carbine was a capable submachine gun (cyclic rate of about 900 rounds per minute). This example is seen in the hands of an ARVN soldier aboard a USN riverine patrol craft.
I asked Gordon if he had seen any of the modified M1 Carbines in U.S. service or with Viet Cong or NVA.
U.S. Special Forces man armed with an M1A1 Carbine.
Montagnard (Degar) troops training with M1 Carbines at a Special Forces camp during 1963. Note also the M3 "Grease Gun" SMGs on the sandbags in the background.
Lost childhood: the M1 Carbine served armed forces throughout southeast Asia. This child soldier was photographed in Laos during 1962.
Many American units continued to use the M1/M2 Carbine. This example is seen with the 168th Engineering Battalion during Operation Atlanta during 1968. Note the Viet Cong bunker awaiting demolition in the background.
The M1 Carbine served U.S. forces from World War II, to Korea, to Vietnam. Each "generation" of American combat troops had their own experience, and opinions of the unique little rifle. With so many military and commercial manufacturers of the carbine, it's no wonder it is America's most collectible military longarm.
A smiling young Navy man ashore with his M1 Carbine in early 1968.
As for me, I cannot tell you what it is like to use one in combat. I thank God for that. Every time I take my trusty quality hardware-manufactured M1 carbine to the range, I also thank the good Lord, in this case, for my Second Amendment right to own it.


text:
MNN.com > Earth Matters > Energy
Pickens Plan in a pickle
Clean-energy investments have dried up during the recession, threatening the former oilman's plans for a wind-powered renaissance. But he isn't giving up yet.
Robynne Boyd
POWER PLAYERS: Energy executive T. Boone Pickens joined the Center for American Progress Action Fund to discuss alternative and clean energy. (Photo: Ralph Alswang/Flickr)
In July 2008, amid soaring gasoline prices, oil tycoon T. Boone Pickens began his glitzy $60 million advertising campaign to persuade Americans to break their reliance on foreign oil. His plan involves ramping up renewable energy investments to generate 22 percent of the country's electricity from wind, and using America's natural gas to replace imported oil as a transportation fuel.
To blaze the trail, Pickens announced the construction of the world's largest wind farm near Pampa, Texas, and bought 687 giant wind turbines worth $2 billion.
One year later, Pickens' prospects look bleaker. The credit crunch is in full effect, oil prices have plummeted to $65 per barrel, and the billionaire himself hasn't raised enough capital to build the transmission lines necessary for brining wind power from his secluded farm to the urban hotspots in need.
Many are left smirking at the irony of an oilman advocating for a sea change in energy policy and then backpedaling due to the lack of appropriate funds for transmission — the pivotal point of wind power's success, according to a Department of Energy report that targets 20 percent of U.S. electricity generation from wind by 2030.
Despite the bottleneck, however, Pickens says his plan is still a go.
"I am fully committed to wind energy and to developing wind projects in the U.S. and perhaps Canada," Pickens says, noting that he's currently seeking out smaller projects for his itinerant windmills. "I expect to continue development of the Pampa project, but not at the pace that I originally expected."
In Pickens' defense, Sierra Club spokesman Josh Dorner points out that the project's delay isn't a reflection of wind power's viability or of Pickens' commitment to his cause, but of the current economic crisis. "Lending has not returned to the level that gives economic vitality, especially in the clean energy sector," Dorner says.
In 2008, wind projects accounted for 42 percent of all new electric-generating capacity added in the country (most of the rest being natural gas), with 8,558 megawatts (MW) installed. According to the DOE, newly installed wind power is predicted to decrease by 4,400 MW to 6,800 MW in 2009.
One way to boost wind power's growth, Dorner says, is through the American Recovery and Reinvestment Act of 2009, a federal grant program through which the government will pay as much as 30 percent of the cost of renewable energy projects. The program is part of President Obama's stimulus package signed into law in February.
But if the government is truly dedicated to growing renewable energy, it needs to strengthen its energy policies, says Christine Real de Azua, assistant director of communications for the American Wind Energy Association.
"The good news is that the current climate and energy legislation includes a renewable electricity standard [requiring utilities to generate a certain percentage of their electricity from renewable energy sources]," she says. "However, the bad news is that the proposed standards are weak."
She's alluding to the climate and energy bill that recently passed through the House (Waxman-Markey American Clean Energy and Security Act — H.R. 2454, or "ACES"), requiring 15 percent of electricity production to come from renewable sources and 5 percent from energy efficiency.
Real de Azua says the target simply isn't enough to drive new renewable energy development, and hopes the standard will be strengthened when the Senate debates the bill.
"This is a big opportunity and we don't want to miss it," she says.
In other words, even though Pickens' plan is on the back burner, his vision is farsighted. As an energy businessman, Pickens looked at the maps, saw that a vibrant resource wasn't being tapped, and created a blueprint for changing the country's energy infrastructure.
"The opportunity is huge, and I think Mr. Pickens has eloquently put forth the case of what wind can do, such as supporting 20 percent of our electricity demand," Real de Azua says. "Now we need strong policies so that we can say America is clearly open for renewable energy business."
Perhaps then Pickens' plan, and wind power itself, won't be in such a pickle.
Related topics: Alternative Energy, Economics
The mystery and danger of Jacob's Well
This woman lives with 9 fluffy Newfoundlands
This is a 'Manifesto' I can get behind


Back in February of this year (2019), I received a message from Scott Williams. Scott informed me that he was starting a new endeavour with a home-based Business. The location is in Havelock Ontario.
Wildflower Bakery is a new artisan bakery business serving Peterborough, Trent Hills and surrounding areas. Their specialty is European style pastries and bread using organic and local ingredients as much as possible.
The name Wildflower comes from Scott's background and passion for gardening, as well as, his love of wild plants. Scott is still an avid gardener and plans to incorporate some of the produce from his garden into the baked goods. It doesn't get more local than that.
The challenge was creating a logo design that reflected the bakeshop and Scott's personality. It also needed to work as a stamp so that Scott can stamp bags with the branding.
Following some consultation and our own research, Inspiring Design developed this bakery logo design that would work great as a reflection of Wildflower Bakery.
Thank you for creating my logo. It looks really beautiful.
Where can I find the best logo designers?
Do you need a website if you have a Facebook page?


carry out university and public service programs related to the Center's mission.
To accomplish these aims, the AISC maintains a reference library, publishes books as well as the American Indian Culture and Research Journal, organizes symposia, conferences, film screenings, and other events; supports academic programs in American Indian Studies (AIS) and administers postdoctoral and predoctoral fellowships and research awards through the Institute of American Cultures.
The Center serves as a focal point for scholars, staff, students, and community members. Our research focus is broad and encompasses topics ranging from the contemporary urban Indian experience to issues within tribal communities. We attempt to balance a local, national, and international focus, with special attention given to the underserved and often overlooked California tribes. Underlying our mission is an acknowledgment that the indigenous peoples of North America have distinct social, cultural, economical, political, and legal needs by virtue of their status as indigenous nations colonized by a major world power.
The American Indian Studies Center is an Organized Research Unit (ORU), and as such, its mission is to promote research, education, and community service within an academic framework. The Center is headed by a director who is a tenured member of the UCLA faculty. It is one of the four ethnic studies centers that constitutes the Institute of American Cultures (IAC). In 1975, the Institute of American Cultures was created to distribute research grants and fellowships in ethnic studies. All four ethnic studies centers participate, and each year, by means of competitive review processes, each center awards postdoctoral fellowships, predoctoral fellowships, or series of research grants to faculty, student, and postdoctoral fellow applicants. During the past 25 years, the fellowships and grants have been major sources of research support in the Center.
The Center's goals are accomplished by assisting campus departments with recruiting American Indian faculty and supporting research by faculty and students. The Center acts as a focal point for faculty, pre- and postdoctoral fellows, and students who work within the field of indigenous studies. IAC grants, external grants, committees, and teaching bring faculty and students to the Center from a variety of departments.
The Center dates to 1969, when students, faculty, and community members pressed UCLA to create a curriculum and research center concentrating on Native American history and culture. In 1970, Chancellor Young secured a five-year Ford Foundation grant for support of the Center and the three other ethnic studies centers: Asian American, African American and Chicano. The Ford grant supported research, grant writing, a library, publications, and curriculum development. In the early 1970s, the student affairs position was secured from the university and was designed to focus on student retention and recruitment. In the fiscal year 1975–76, UCLA agreed to assume financial support for the four ethnic studies centers, including the American Indian Studies Center.
At present, the Center is divided into four operational units. Administration integrates, supports, and monitors basic operations in all units. Publications disseminates research findings through the production of a quarterly academic journal, books, monographs, videotapes, and other media. The library serves as a resource for students and scholars by maintaining a collection of books and periodicals on American Indian subject matter and helping support research projects and grant development. The research department administers internal and external grants, and carries on and stimulates collaborative research projects. The American Indian Studies Center is dedicated to culturally appropriate research, information distribution, and community service for and about American Indians.
In 1975, the Center was endowed with five faculty FTEs (full-time equivalents) and is charged with faculty recruitment and development of scholars working in American Indian Studies. In 1982, the Center faculty created the Interdepartmental Program's (IDP) master's degree in American Indian Studies and developed a series of core courses. Since that time, the Center has provided administrative and resource support to the IDP, including a student lounge and computer work area. Students study and often work in the Center, where the IDP's academic coordinator is also offiiced. Faculty, holding Center FTE, are appointed in academic departments. In the mid-1990s, the Center and IDP faculty created a minor, B.A., and J.D./M.A. in American Indian Studies, which was approved in 2002.


text:
I'll return with more from Sun Ra's 1971 European tour next week. In the meantime, here is a very entertaining video of the Arkestra performing in front of a large audience in Japan on July 30, 1988. Enjoy!
* Marais: Sonnerie de Sainte-Geneviève du Mont (Harnoncourt) (Harmonia Mundi CD)
* Buxtehude: Sonatas, Op.1 (Holloway/Mortensen/ter Linden) (Naxos CD)
* Geminiani: Cello Sonatas, Op.5 (ter Linden/Mortensen) (Brilliant Classics CD)
* Vivaldi: La Stravaganza, Op.4 (Arte Dei Suonatori/Podger) (Channel Classics 2SACD)
* Veracini: Sonatas (Holloway/Mortensen/ter Linden) (ECM CD)
* Handel: 12 Solo Sonatas, Op.1 (AAM/Egarr) (Harmonia Mundi 2CD)
* Handel: Trio Sonatas, Op.2 & Op.5 (AAM/Egarr) (Harmonia Mundi 2CD)
* J.S. Bach: Solo & Double Violin Concertos (AAM/Manze/Podger) (Harmonia Mundi SACD)
* Berg: Chamber Symphony, etc. (BBC Symphony, et al./Boulez) (Sony CD)
* Miles Davis: In Person at the Blackhawk, San Francisco (d.1-2) (Columbia/Legacy 4CD)
* Sun Ra: Dramaten, Stockholm 10-12-71 (FM CDR)
* Sun Ra: Helsinki, Finland 10-14-71 (FM 2CDR)
* Anthony Braxton/Milford Graves/William Parker: Beyond Quantum (Tzadik CD)
* Evan Parker Electro-Acoustic Ensemble: The Eleventh Hour (ECM CD)
* Peter Brotzmann Octet: The Complete Machine Gun Sessions (Atavistic CD)
* Mat Maneri: Blue Deco (Thirsty Ear CD)
* Mat Maneri: Pentagon (Thirsty Ear CD)
* Joe Morris & Mat Maneri: [soul search] (AUM Fidelity CD)
* Matthew Shipp: 4D (Thirsty Ear CD)
* David Torn/Mick Karn/Terry Bozzio: Polytown (CMP CD)
* David Torn's Prezens: Clef Club of Jazz, Philadelphia, PA 5-19-07 (AUD CDR)
* The Beatles: Help! (mono) (Apple/EMI CD)
* The Beatles: Rubber Soul (U.S. stereo) (Capitol CD)
* Bob Dylan: Planet Waves (Columbia SACD)
* Johnny Cash: American VI: Ain't No Grave (American CD)
* Sly & The Family Stone: There's a Riot Going On (Epic/Sundazed LP)
* Grateful Dead: Greek Theatre, Berkeley, CA 6-16-85 (SBD 3CDR)
* Jerry Garcia Band: Merriweather Post Pavilion September 1&2, 1989 (Pure Jerry 4CD)
* Santana: Caravanserei (Columbia/Legacy CD)
* Mahavishnu Orchestra: Visions of the Emerald Beyond (Columbia LP) (wlp!)
* John McLaughlin: Electric Guitarist (Columbia LP)
* Big Star: Keep an Eye on the Sky (d.3) (Rhino 4CD)
* Tom Petty: Wildflowers (Warner Bros. CD)
* R.E.M.: Fables of the Reconstruction (IRS LP)
* Guided By Voices: The Grand Hour (Scat 7"EP)
* Guided By Voices: Static Airplane Jive (City Slang/Luna CDEP)
* Guided By Voices: Get Out of My Stations (Siltbreeze 7"EP)
* Guided By Voices: Fast Japanese Spin Cycle (Engine 7"EP)
* Guided By Voices: Clown Prince of the Menthol Trailer (Domino/Luna CDEP)
* Robert Pollard: We All Got Out of the Army (GBV, Inc. LP)
* Boston Spaceships: Zero to 99 (GBV, Inc. LP)
* Buckethead: Day of the Robot (Submeta CD)
* People (Mary Halvorson & Kevin Shea): People (I & Ear LP)
* Animal Collective: Merriweather Post Pavilion (Domino CD)
* Animal Collective: Fall Be Kind (Domino CDEP)
I had to undergo fairly intensive oral surgery on Wednesday morning, which left me in rough shape for the remainder of the week (although I did go back to work yesterday). I felt quite a bit better this morning and since it was such a beautiful day, I decided I just had to get out of the house. What could be more fun than a visit my favorite record store, Grimey's New & Pre-Loved Music? I've gushed about Grimey's on this blog in the past, and I just can't help but do so again. They don't normally carry all the weirdo avant-garde jazz or classical stuff I'm into but I did pick up Matthew Shipp's new solo piano CD on Thirsty Ear and found Mary Halvorson's rock band, People's, first LP in the used bins for three bucks – sealed! – so you just never know what you might find if you dig around. No, what makes Grimey's so special are the people. Hip, indie record stores are notorious for their surly and snobbish employees, but the folks at Grimey's are genuinely friendly and helpful, making it a supremely pleasant place to hang out and shop. These are people who love their job and their giddy enthusiasm for all kinds of music is contagious. While many record stores are going out of business along with the steady decline of the recording industry, Grimey's appears to be thriving. Every time I go in, there is a crowd of people, young and old, male and female, digging the vibes and buying records by the handful. Obviously, I am not the only one who loves the Grimey's experience so much that they will go out of their way to support the store, even in the depths of this horrible recession. Taped onto the cash register is this panel from Charles Schulz's Peanuts, with the caption, "Schroeder Gets It:"
Indeed. Just walking into Grimey's and being greeted with big smile and "hello" is enough to brighten anyone's day; bringing home some new records is just a bonus. I *heart* Grimey's!
Other treasures I found in the racks: Johnny Cash's final album on American is as sublime as all the rest, but the intense focus on impending death makes it a mournful, almost morbid listening experience. That is, I suppose, the point. The one Cash original, "I Corinthians 15:55," is both a reverent take on scripture and a love song to his recently deceased wife, June Carter Cash, and his performance is deeply moving. +++ I'm still on the fence regarding Animal Collective, so I decided to check out their latest EP, which is more of the same but still oddly compelling. Will keep listening. +++ Finally, I happened upon a white-label-promo of the Mahavishnu Orchestra's 1975 LP, Visions of the Emerald Beyond. I loved this album when I was kid, but got rid of it in a fit of hipster pique. I bought the CD at one point, but thought it sounded crummy compared to how I remembered the LP sounding so I sold it off as well. I still have a soft spot for John McLaughlin and this album in particular, so when I saw that this copy was in decent condition, my heart leapt with excitement. You see, white-label promo albums were limited first pressings which were sent to radio stations and often have superior sound quality to subsequent regular pressings. After a thorough cleaning, I have to say that is the case here. Aside from a tiny bit of surface noise, it sounded great! This is jazz-rock-fusion at its most bombastic and overblown, but gosh it was fun to hear again after all these years.
Speaking of record stores, Record Store Day 2010 is April 17th. Mark your calendars!
Sun Ra & His Arkestra: Dramaten, Stockholm, Sweden 10-12-71 (FM CDR)
In the fall of 1971, the Arkestra embarked on their second European tour, this time enlarged to twenty-two musicians, two singers, six dancers along with Sun Ra himself. Once again, the itinerary was haphazardly arranged, with gigs spread far and wide and lack of money would cause many of the newcomers to abandon the tour along the way (see Szwed pp.286-287). Curiously, while Ronnie Boykins had returned to the fold and is clearly present on the rehearsal tape recorded just days before their departure, he did not make the trip to Europe. In fact, there was no bass player at all on this tour, except when Pat Patrick would put down his baritone sax and pick up the Fender electric bass on a few tunes. Nevertheless, when a gargantuan Arkestra took the stage on October 12 at Sweden's prestigious Royal Dramatic Theatre (a/k/a Dramaten) in Stockholm, they were clearly energized and inspired by the lavish surroundings. In another measure of how well Sun Ra was treated in Europe, the state-run radio station broadcast sixty minutes of the performance, a copy of which circulates amongst collectors. Thank you, Sweden! The stereo FM reception is a little hissy and there are occasional wow-and-flutter problems but overall, it is very nice recording for the period and truly an excellent performance.
There is, however, considerable confusion about some of the titles found on this tape. Campbell & Trent list the first track as "Discipline 2" (p.174) but I don't think that is correct. If so, it is a radical rearrangement of the "official" version which was recorded just weeks later and released on Nidhamu (Saturn LP) (now, confusingly, found on Art Yard's Horizon CD). After careful listening, I am unconvinced. Sam Byrd (who is really is much more of a Sun Ra expert than I am) suggests they are playing an early version of "Sometimes the Universe Speaks," a composition which was recorded in 1977 and released on The Soul Vibrations of Man (Saturn LP). I think Sam might be correct, although, again, the arrangement is very different, making direct comparisons difficult. The long-breathed melody for two flutes certainly shares a similar contour, but here they are accompanied by saxophone and trumpet harmonizations and there is a swinging fanfare section midway through that I do not hear on the LP version. In any event, it is a lovely composition that gives way to a very pretty duet with Ra on synthesizers and William Morrow on vibraphone before the coda. Afterwards, Sonny launches into a prototypical "mad-scientist"-style organ solo with the Arkestra contributing some free-jazz skronk here and there.
A dramatically dissonant organ chord signals another mysterious piece which Campbell & Trent identify only as some unknown number in the "Discipline" series. The label on my (weirdly indexed) CDR says "Discipline 5" but, after comparing it to the "official" version recorded in December 1971 (released on the Freedom/DA Music CD, Calling Planet Earth), I don't think that is correct either. Whatever its title, this composition is conceptually similar to others in the "Discipline" series with its through-composed horn-lines and sweet and sour harmonies, fading out to Ra's spacey, vibrating organ clusters. Whatever the actual titles, this thirteen-minute sequence conclusively demonstrates Sun Ra's prolific genius as a jazz composer.
Pat Patrick takes up the electric bass for joyful romp through "Enlightenment" wherein the rest of the Arkestra sings along with June Tyson, except for Marshall Allen's lone flute obbligato. The ragged choir moves seamlessly into "It's After the End of the World" before all hell breaks loose with wild free-group-improv, finally yielding to Eloe Omoe's reedy bass clarinet and a typically fire-breathing solo from John Gilmore on tenor sax. The intensity level becomes almost unbearable as the Arkestra prods Gilmore to ever greater heights of outrageous invention until Ra cuts things off with quivering organ chords to introduce "Discipline 8." Another moody piece for intricately hocketed horn lines, this particular number eventually settles on a brooding, three-note riff, harmonized in modal parallels which repeat endlessly, undergoing subtle permutations of tone and timbre through shifting instrumentation. Meanwhile, the soloists, led by Gilmore's tempestuous tenor, take things totally out over the heaving, trance-inducing riff. Art Jenkins even contributes an evocative "space voice" solo accompanied by Marshall Allen's flutter-tongued flute, followed by a brilliantly flashy trumpet solo by Kwame Hadi and distantly clanging marimba.
Suddenly, Ra plays a brightly swinging chord change, William Morrow plays a bebop-ish melodic figure on vibes and, while Campbell & Trent list the ensuing composition as "The Rainmaker," I think Sam Byrd is again correct in identifying this fleeting piece as "Sketch," which only otherwise appeared on 1964's Other Planes of There (Saturn/Evidence CD). (Good ears, Sam!) While the organ and vibes only hint at the composition, the horns enter with a surprisingly adept run through the entire head before the dissolving back into the three-note riff and a reprise of "Discipline 8." Fascinating! The tape closes with a long, rip-roaring rendition of "Rocket Number 9," over twelve minutes of ecstatic antiphonal vocals and wigged-out saxophone solos. "Zoom! Zoom! Zoom! Up in the Air!" Just as Ra cues a throbbing, screechy space chord, the radio announcer interrupts to conclude the broadcast. Argh!
Despite some minor technical problems, this is an exquisite artifact and well worth seeking out. If the original master reels still exist, it would make for a wonderful CD which I would certainly buy in a heartbeat. And perhaps more of this concert was recorded than was broadcast…? One can dream…
* Biber/Muffat: Der Türken Anmarsch (Holloway/Mortensen/Assenbaum) (ECM CD)
* Vivaldi: Cello Sonatas (ter Linden/Mortensen) (Brilliant Classics 2CD)
* J.S. Bach: Cello Suites (ter Linden) (Harmonia Mundi 2CD)
* Webern: Complete Works (London Symphony, et al./Boulez) (selections) (Sony 3CD)
* Lennie Tristano & Warne Marsh: Intuition (Capitol/Blue Note CD)
* Sun Ra: Rehearsal, Oakland, CA circa. October, 1971 (CDR)
* Sun Ra: Dramaten, Stockholm, Sweden 10-12-71 (FM CDR)
* Sun Ra: The Soul Vibrations of Man (Saturn LP>CDR)
* Sun Ra: Sub-Underground (Saturn LP>MP3>CDR)
* Andrew Hill Quartet: Amsterdam 8-10-89 (FM CDR)
* Anthony Braxton Trio: St. Paul's Church, Toronto 12-8-74 (FM 2CDR)
* Anthony Braxton 12+1tet: Christ Church Cathedral, Vancouver 1-29-10 (AUD CDR)
* Evan Parker Electro-Acoustic Ensemble: Memory/Vision (ECM CD)
* Miles Davis: The Cellar Door Sessions (d.5) (Columbia 6CD)
* John McLaughlin & Shakti: Hippodrome, London 5-12-77 (FM CDR)
* Herbie Hancock Trio: Vienna 1987 (FM>CDR)
* Herbie Hancock: Future Shock (Columbia/Legacy CD)
* Third Rail: South Delta Space Age (Antilles CD)
* DJ Shadow: Endtroducing… (Mowax CD)
* Tortoise: Headliner's Music Hall, Louisville, KY 2-11-10 (SBD 2CDR)
* The Beatles: A Hard Day's Night (stereo) (Apple/EMI CD)
* The Beatles: Beatles for Sale (stereo) (Apple/EMI CD)
* Jimi Hendrix: First Rays of the New Rising Sun (Experience Hendrix/MCA CD)
* Grateful Dead: Cal Expo, Sacramento, CA 6-10-84 (SBD 2CDR)
* Grateful Dead: Fox Theatre, Atlanta, GA 10-28-85 (SBD 2CDR)
* Grateful Dead: Kaiser Convention Center, Oakland, CA 11-21-85 (SBD 3CDR)
* New Order: Power, Corruption & Lies (Deluxe Edition) (d.2) (Warner Bros./Rhino 2CD)
* Yo La Tengo: Crossing Border Festival, The Hague 11-20-09 (FM CDR)
What a crazy week! On Monday morning we had more snow, ice and bitter cold; today it is sunny and sixty-five degrees. We even opened the windows to let in some fresh air! What a nice respite from what has turned out to be the harshest winter we've had since moving to Nashville in 1997. It would be nice to think that spring is right around the corner…
I hesitate to draw attention to the, ahem, shall we say, "unauthorized" recordings that appear on my playlists but I should point out that most (if not all) of these artists allow (or at least tolerate) audience taping and tape trading. Furthermore, these sorts of recordings should be distinguished from "pirated" recordings which are not only plainly illegal but morally abhorrent. (For an excellent historical overview of the subject, check out Clinton Heylin's brilliant Bootleg: The Secret History of the Other Recording Industry (St. Martin's, 1995).) Even so, this is an ethically grey area which gives me pause. Undoubtedly, today's digital technology combined with the distributive power of the internet has been a godsend for the hardcore fan. For example, to be able to hear Anthony Braxton's 12+1tet concert from Vancouver only days after it occurred is simply astounding. And it is a truly spectacular performance! This group just keeps getting better and better, capable of interweaving Braxton's most complex scores with such effortless aplomb that it is almost impossible to separate composition from improvisation. I've listened to this somewhat boomy audience recording over and over these past weeks and am blown away anew each time. The large ensemble creates sounds and textures I have never heard before in Braxton's music: dense blocks of harmony with weird electronic noises and odd instrumental combinations such as bassoon and flute or violin and tuba. And then there's the ingenious electric guitar-playing of the young Mary Halvorson, who brings an almost rocked-out edginess at times -- and the mature virtuosity of the man himself, blowing strong at age sixty-four. If an "official" CD of this concert is ever released, I would snap it up immediately -- and buy several more as gifts for the unconverted. This is a toweringly majestic piece of music and needs to be heard by more than just us hardcore fans.
Wedding Ring, originally uploaded by Rodger Coleman.
I am a deleriously happily married man. Every day is Valentine's Day!
Labels: home, liz, photography, Valentine's Day
Sun Ra & His Arkestra: Rehearsal, Oakland, CA circa. October, 1971 (CDR)
In preparation for the Arkestra's second European tour scheduled to begin in October, 1971, Tommy "Bugs" Hunter recorded this sixty-minute rehearsal segment sometime in late September or early October -- or possibly a mere days before departure (see Campbell & Trent, p.173). This tape was subsequently broadcast by WKCR-FM during their Sun Ra memorial event on May 22, 1995 and now circulates widely amongst collectors. The rather crude monophonic recording offers a window into the inner workings of the core Arkestra as Sun Ra pontificates on various subjects and works the band through a handful of compositions, three of which were never performed again. This was apparently common practice, where numerous compositions were vigorously rehearsed, but never performed (see e.g., Id. p.170).
The tape opens with Ra talking about new experimental synthesizers and a "secret" electronic instrument (sort of like a Theremin) which won't respond to a black person's skin. Of course, Sonny is bemused by the apparent racism of this "mean" technology and chortles: "You go talking about equal rights and here you got an instrument that won't play for you if you're black!" Even so, Ra is interested in the instrument's ability to play a "purple C" and a "red C" and play "sixteen pitches between C and C#." I have no idea what he's talking about, but he sure sounds convincing. Getting down to business, he leads the 10-member Arkestra through part of an unidentified title that sounds somewhat similar to the "Discipline" series, with lushly harmonized horns playing slowly interweaving parts over a repeating bass ostinato. After a couple of minutes, Ra cuts things off to enquire whether James Jacson has been reached on the telephone in New Jersey regarding travel arrangements to Europe. (He wasn't home. "He wasn't home last night, either," Ra complains.) A lackadaisical run through of "Love in Outer Space" follows which prompts Sonny to chide the drummers and wax enthusiastically about Clifford Jarvis, who was apparently eager to get his old job back. Even so, Sonny does acknowledge Jarvis's propensity to overplay: "You can't just get a recording with nothing but drums, drums, drums, drums, drums. That's what I used to try to tell Clifford Jarvis. Now, he took about a forty-minute solo on the thing…I told him, 'we're recording!' Made no difference, though…That's all his fault, boy, he don't know when to stop!" I agree!
Sonny then assumes the role of the stern taskmaster, devoting more than fifteen minutes to diligently work out the arrangement and subtle rhythmic nuances of the old standby, "Friendly Galaxy." First he tells Marshall Allen to play the melody on alto flute rather than piccolo, so the melody will "cut through." This seems counter-intuitive to me (the piccolo cuts through just fine) and indicative of his inexplicable ire towards Allen. Because then he starts to get angry and repeatedly reprimands Allen for playing "on the beat!" Sun Ra scolds him: "You been playing that number for ten years and can't play it yet!" Ra explains that he wants the melody played with "anticipatory rhythms" – a little bit ahead of the beat. "If you play it right on time, you're gonna be wrong! It's designed for sound," he says. Ra then demonstrates on the keyboard, playing the "in-time" bassline and the "out-of-time" melody simultaneously. "See? I'm not asking you to do something I can't do. I'm doing it!" After a slightly more successful take, Sonny declares:
See, you almost played it that time because you wasn't counting and you wasn't thinking about it. You just have to do this like I'm talking. And I'm not measuring my words and saying, 'one-two-three'…I can't do that. Music is a language, so you not supposed be counting. I might hold a word a little bit longer than usual if I want to emphasize what I'm saying. That's the way music is.
Ra goes on to talk about playing behind the beat and makes his point more explicit: "That's hard to do too. So, it's either ahead or behind – and then there's some music that's right on the beat. Well, white people can do that! When it's right on the beat, they got you!" After another run-through, Ra really starts to preach it:
It's all about togetherness. The white race is together. Don't let 'em fool you what they talking about revoltin' and revolutin'. What they got to revolute against? They got everything! But that's for you! […] Talkin' about revolution. I told the truth the other night when I said, 'No. Not gonna have no revolution of black folks. Not no more freedom, not no peace, they don't need nothing like that. They need unity, precision, discipline.' That's it. That's the only thing white folks gonna respect and get out of the way […] They got their stuff together and I got mine together. And I'm not afraid of them. I ain't worried about them. Now, I'm telling 'em that. It's about unity, precision, discipline […] That's what jazz is: it's precision, discipline.
After some discussion, Ra calls for "Intergalactic Universe," a gently floating space vamp in 5/4 meter. The piece was never performed live and was likely never finished as you can hear Ra interrupting the proceedings several times in order to tweak the arrangement. Despite almost eighteen minutes of rehearsal, the music never quite gets off the ground although the piece clearly had some potential. Ra laments the lack of time for more rehearsal, but insists on working on another obscure composition, "Living Myth 7," a terrifically complicated melody in 7/4 which is through-composed in intricate, close harmony. The ensemble sounds tentative at best. After a lurching, half-time read-through, Ra calls for double-time but the Arkestra once more hobbles its way through the thorny score until the tape cuts off. Never played again, this is another tantalizing "lost" work from Sun Ra's oeuvre.
Although none of the musical performances really hang together, this rehearsal fragment offers an intimate glimpse into Ra's working methods circa.1971 and his role as leader of the rag-tag Arkestra. At once genial storyteller, exacting schoolmarm, and political firebrand, Sonny clearly commanded attention and elicited a fierce loyalty from his most devoted disciples. As "crazy" as Sun Ra might sound, he certainly got results. This tape recording allows a first-hand account of the fearsome charm by which Sun Ra achieved his ultimate aim: "Unity, precision, discipline. That's it."
Playlist: Week of 2-13-10
* Vivaldi: Late Concertos, RV 177, etc. (VBO/Marcon/Camignola) (Sony CD)
* Venice Baroque Orchestra (Marcon/Carmignola): Concerto Italiano (Archiv Prod. CD)
* Handel: Trio Sonatas, Op.2&5 (AAM/Egarr) (Harmonia Mundi 2CD)
* Schoenberg: Chamber Symphony No.1, Op.9 (Ens.Intercontemp./Boulez) (Sony CD)
* Schoenberg: 5 Pieces for Orchestra, Op.16 (BBC Symphony/Boulez) (Sony CD)
* Schoenberg: Chamber Symphony No.2, Op.38 (Ens. Intercontemp./Boulez) (Sony CD)
* Sun Ra: ESP Radio Tribute Highlights (d.1&5) (FM 5CDR)
* Miles Davis: The Cellar Door Sessions 1970 (d.1-4) (Columbia 6CD)
* Keith Jarrett: Concerts (d.1) (ECM 3LP)
* Evan Parker Electro-Acoustic Ensemble: Drawn Inward (ECM CD)
* Jimi Hendrix Experience: Axis: Bold as Love (Experience Hendrix/MCA CD)
* Jimi Hendrix Experience: Electric Ladyland (Experience Hendrix/MCA CD)
* Bob Dylan: Nashville Skyline (Columbia SACD)
* Bob Dylan & Johnny Cash: The Dylan/Cash Sessions 1969 (fan/boot CDR)
* Bob Dylan & George Harrison: The Dylan/Harrison Sessions 1969-1970 (fan/boot CDR)
* Bob Dylan: New Morning (Columbia CD)
* Grateful Dead: Capitol Theatre, Passaic, NJ 3-30-80 (SBD 2CDR)
* Grateful Dead: Auditorium Arena, Oakland, CA 12-30-82 (SBD 3CDR)
* Grateful Dead: Coliseum, Hampton, VA 4-14-84 (SBD 2CDR)
* Grateful Dead: Coliseum, New Haven, CT 4-23-84 (SBD 3CDR)
* Talking Heads: Speaking in Tongues (Sire/Warner Bros. DVD-A)
* Talking Heads: Little Creatures (Sire/Warner Bros. DVD-A)
* Yo La Tengo: The Sounds of the Sounds of Science (Egon CD)
* Uncle Tupelo: No Depression (Columbia/Legacy CD)
* Guided By Voices: Vampire On Titus (Scat LP)
* Guided By Voices: Bee Thousand (Scat LP)
* Beck: Sea Change (Geffen/MFSL 2LP)
Who's afraid of Arnold Schoenberg? I really don't understand why Schoenberg's (1874-1951) orchestral music is so rarely performed. I'll admit that the Five Pieces, Op.16 (1909) are pretty daunting with their convulsively expressionistic free-atonality but the whole thing only lasts fifteen minutes. Surely audiences should be able to appreciate a little bit of "spice" amidst the blandly familiar Mozart, Beethoven and Brahms? To my ears, he fits right in! Schoenberg's command of orchestral coloring is breathtaking and his concept of klangfarbenmelodie (tone-color-melody) is readily audible as the melodic lines are passed from instrument to instrument, changing colors along the way. The Chamber Symphonies are actually quite accessible. Op.9 (1906) is still deeply concerned with tonality and exploring the outer limits of functional harmony, but unlike Verklärte Nacht, Op.4 (1899) or Pelleas und Melisande, Op.5 (1902/03), the mood is lighter, with Schoenberg relishing in the transparent textures of the small orchestra. It is really quite lovely. Schoenberg began working on the Second Chamber Symphony immediately afterwards, but dropped it in favor of more ambitious projects (such as the Second String Quartet, Op.10 (1907/08)). At the insistence of conductor Fritz Stiedry (1883-1968), Schoenberg finished in the piece in 1939 and, as usual, his meticulous workmanship hides any seams. Furthermore, he saw the still quasi-tonal work as a landscape of "psychological problems" that had to be worked out musically, making for a more ponderous -- if not despairing -- harmonic language than Op.9. Still, Schoenberg's scoring is perfect and the music reaches for an intimate yet ultra-transcendent moment that perhaps never comes but is still worth striving towards. And such music is worth performing, in my opinion. Such music is not so much about liking it as just experiencing it. Listening to Schoenberg's music is like being inside his brain, his most profound thoughts articulated through carefully calculated notes on a stave. That is not necessarily a very comfortable place to be, but it is hyper-stimulating!
The Jimi Hendrix (1942-1970) estate is moving from Universal to Sony Legacy with the release of Valleys of Neptune, a collection of unreleased studio recordings, on March 9. The rest of the catalog will be remastered and reissued thereafter. Now, Valleys of Neptune looks interesting and I will definitely pick that up. But do I need to re-purchase all those other records yet again? I've been listening to the MCA CDs from 1997 and they sound pretty good to me: a little bright maybe, but dynamic -- they are not particularly fatiguing when played loud. Could they sound better? Perhaps. Will Sony do a better job? I'm taking a wait and see approach. It would the fourth or fifth time I will have bought these albums and I'm not exactly feeling the need to replace what I have. The fact that Sony is releasing a limited edition CD-single with an unreleased B-Side ("Peace in Mississippi") exclusively through Wal-Mart is not very encouraging. I refuse to shop at Wal-Mart so I guess I will be missing out. I'd rather give my money to Grimey's New & Pre-Loved Music right here in Nashville.
Labels: Arnold Schoenberg, home, music, photography, playlist, record collecting
More Snow!
Night Snow 2-8-10l, originally uploaded by Rodger Coleman.
Looks like we're going to get another dumping of snow tonight. Snow, I can handle. Ice? I don't think so. We'll see what happens....
Labels: home, photography, snow, weather, winter
Sun Ra & His Blue Universe Arkestra: Universe in Blue (Saturn LP>CDR)
Released as Saturn ESR 5000 IGB in 1972 (in mono), Universe in Blue was recorded live somewhere on the west coast presumably around August, 1971. However, the greatly reduced Arkestra suggests that it could have been recorded "somewhere on the road" in mid-1972, as they straggled across the country on their way back to Philadelphia for good (see Campbell & Trent pp.172-173). To further confuse the matter, "The Good Doctor" at ESP-disk' provides a firm date of August 17, 1971 but insists the venue is Slug's Saloon in New York City (see below). Who knows? In any event, behind the striking, psychedelicized album cover awaits a tasty selection of smoky, blues-based compositions, dominated by Ra's patented "space-age barbeque" organ.
Sun Ra leads the way on the somnambulant title track, a dreamy, slowly smoldering blues, demonstrating his mastery of the tradition while summoning up swelling and percussive Hammond-like sounds from the otherwise cheesy Farfisa organ. After a blissful five minutes, Kwami Hadi enters on trumpet, only to be rudely cut off by the tape running out. Ouch! Some amount of music is missing, with part two picking up with the rhythm section reaching a low boil, with a sparse horn section offering swinging punctuation to Hadi's bravura trumpet statements. John Gilmore then takes over with his soulful growl for a chorus or two on tenor sax before Ra returns with a brief, understated solo on organ to end. "Blackman" sets up a moderately rocking groove for June Tyson, who evokes a time when "Pharaoh was sitting on his throne, when the Blackman ruled this land." Over and over she implores, her voice cracking with emotion, "I hope you understand!" When I hear her sing, I think I do understand.
"In a Blue Mood" is another slow burner featuring more fingerlickin' good organ from Mr. Ra. Campbell & Trent suggest Alzo Wright is playing cello on this gig (p.172), but I can't hear him at all. In this instance, Sonny is playing a wandering walking bass with his left hand, soloing all the while with his right. This is a truly superb solo performance by Sun Ra. "Another Shade of Blue" concludes the album with a mid-tempo swing number led by Gilmore's indomitable tenor. Sonny shifts gears seemingly at random with unexpected key modulations while ad libbed horn riffs pop in and out. Unfazed, Gilmore just keeps things cooking -- and good lord, twelve minutes later, he's still wailing away like a madman as the track fades out. Dang! Yes folks, it's yet another incredible John Gilmore solo – what more can I say? It must be heard to be believed.
In the summer of 2008, "The Good Doctor" at ESP-Disk' produced a six-part internet radio tribute to Sun Ra which included over two hours of music from this concert -- recorded in stereo, amazingly enough. Even more surprising, "Universe in Blue Pts.1&2" is presented uncut and it sounds much better than my "needle-drop" of the LP. (Curiously, the rest of Universe in Blue is not found on the broadcast, adding further confusion about possible recording dates.) After some polite applause, a fifteen-minute "Intergalactic Research" follows with another extended tenor workout from Gilmore. "Discipline 27" allows the full ensemble to shine on this sweetly harmonized swing number. The thirty-minute "Blackman" is very different from the LP version, beyond its extraordinary length. Without introduction, Tyson begins by singing a cappella with Marshall Allen soon joining in on some wiggly oboe. Allen then takes over with a thrilling solo as a roiling groove is built up in the rhythm section, Pat Patrick leading the band with the hypnotic three-note riff on baritone sax. Suddenly, a male voice (Eloe Omoe?) starts yodeling and carrying on hysterically, compelling Tyson to resume her incantatory singing. At the eleven minute mark, Ra embarks on a lengthy declamation, assuming the role of the resurrected Pharaoh, who has returned from outer space to lead his people back to Egypt, away from "the path of destruction." "Destiny rules and fate decides and I command both of them!" he exclaims. After twenty minutes of feverish ranting, the piece ends quietly with tick-tock-ing percussion and distant, muted trumpet. Another fifty-three minute segment posthumously entitled, "I Roam the Cosmos," starts out with a brief solo statement from Danny Davis followed by Tyson singing the newly composed "Astro Black" over a massively slowed-down "Love in Outer Space"-type groove. Soon after, Ra begins hectoring the audience about the usual subjects: race, outer space, and doing the impossible -- "Give up your death for me!" he insists at one point, with Tyson echoing virtually every word of his tirade. Meanwhile, the Arkestra noodles around on the two-chord vamp with Hadi and Akh Tal Ebah providing running commentary on trumpet and flugelhorn, respectively. Overlong, it does get a bit tedious, but Ra's preaching is simultaneously terrifying and laugh-out-loud funny.
Universe in Blue is another one of those classic Saturn LPs which remains way out of print, originals commanding princely sums on the collector's market. That's a shame since this is one of the warmest, most approachable albums in the discography. ESP-Disk' or Atavistic or Art Yard or some other perspicacious label should compile all this material together and reissue Universe in Blue in a deluxe, two-disc edition; I'm sure it would be a big hit.
Playlist: Week of 2-6-10
* Buxtehude: Sonatas, Op.1 (Holloway/ter Linden/Mortensen) (Naxos CD)
* Boyce: 8 Symphonies (English Concert/Pinnock) (Archiv Produktion CD)
* Ravel: Piano Music (Queffélec) (Virgin CD)
* Ravel: Orchestral Music (selections) (NYPhil/Chicago/Boulez) (Sony 3CD)
* Poulenc: Chamber Music (d.1) (Nash Ensemble) (Hyperion 2CD)
* Sun Ra: The Native Son, Berkeley, CA circa.1971 (SBD CDR)
* Sun Ra: unknown venue, circa.1972 (SBD CDR)
* Sun Ra: Universe in Blue (Saturn LP>CDR)
* Sun Ra: The Antique Blacks (Art Yard CD)
* Pharaoh Sanders: Thembi (Impulse! CD)
* Miles Davis: The Complete Jack Johnson Sessions (d.2-5) (Columbia/Legacy 5CD)
* Miles Davis: The Complete On the Corner Sessions (d.1) (Columbia/Legacy 6CD)
* Henry Threadgill's Zooid: This Brings Us To, Vol.1 (Pi CD)
* Anthony Braxton Sonic Genome Project: Roundhouse, Vancouver 1-31-10 (AUD 2CDR)
* Susie Ibarra: Songbird Suite (Tzadik CD)
* Bob Dylan: Blood on the Tracks (Columbia SACD)
* Van Morrison: Veedon Fleece (Polydor CD)
* Grateful Dead: Marin Veterans Memorial Auditorium, San Rafael, CA 3-31-84 (SBD 3CDR)
* Steely Dan: Gaucho (MCA DVD-A)
* Talking Heads: Remain in Light (Sire/Warner Bros. DVD-A)
* The Police: Zenyatta Mondatta (A&M/Universal SACD)
* The Police: Ghost in the Machine (A&M/Universal SACD)
* My Bloody Valentine: Loveless (Plain LP)
* Robert Pollard: "Silk Rotor" (Happy Jack Rock Records 7")
It is appropriate that my first new records of the year would be by Robert Pollard (photo). By now of course, it is a cliché to say the guy makes too many records, but I am not complaining. As you can see, I love records! We All Got Out of the Army is another slickly produced collection of songs, but this time there's an air of dark melancholy and dissonant, prog-rock undertones. After only a couple of listens, the songs have yet to sink in, but I like the sound of it very much. The accompanying seven-inch single (on peach-colored vinyl) contains the album track, "Silk Rotor" and two strong b-sides: "Fear of Heat," a one-note rave-up bordering on Circus Devils-like paranoia and the gently whimsical "Rare Hazel Japan." Both records feature beautiful collages by Pollard, making them delightful objects d'art as well. Nicely done! A new Circus Devils album, Mother Skinny, is due out on March 30 and two new Boston Spaceship discs should arrive in April and May. Can't wait! Available directly from Rockathon.
Labels: music, photography, playlist, record collecting, Robert Pollard


Brand Qs -Florence Fox http://www.curiousrosephotography.com/.
Please answer as much or as little as you can and are able.
This is a collaborative process; I need you to help me understand what and how we will communicate & express you and your brand through visual content in the most powerful way.
The name of your brand?
What has driven you to create the brand?
What do you hope people feel when they experience your services; What emotions, vibes do you strive to create?
Who, in the field do you admire and why? Send me a link please?
Why do your clients or people generally enjoy working with you?
I send you to a desert islands; what 3 songs would you take and why?
What music album have you listened to repeatedly?
What do you want me to capture?
What ideas do you have for the shoot?
What would you like to radiate?
What might you wear- Bring some options and we'll play.
Feel free to share additional imagery that you like, whether portraits, lifestyle, or decorative in the run up to the shoot. Think about props and styling of the shoot, including designs, notebooks, fabrics, Pantones that we can use within the shots. Is it also possible to include products that you've used to express your design style with in the shoot? Think about what you'll both wear, how it will look together and how it reiterates your design style. Also bring options which we can play with and/or shoot additional images in to create a more varied library of images. I'm here to bounce ideas off and on the day we we explore what works and what doesn't. Please refer to attached PDF document and write ideas and responses below.
Who are you style icons; send me a picture?
Anything that you would like to ask me?


Italian archeologists have recently restored a statue of the Buddha in Pakistan's Swat Valley. It is believed to be the second tallest statue in the region. The tallest ones were destroyed by the Taliban in Afghanistan in 2001, and Swat residents feel it is essential to preserve this statue and its symbolic meaning. VOA's Fayaz Zafar has filed this report narrated by Niala Mohammad.


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Q: How to run gui apps like gvim from docker container To play around with a docker image, I installed docker and ran a sample docker ubuntu image as follows. (I hope I am using terminology correctly, still a docker noob)
docker run -it ubuntu
Because gvim or anyother gui based program was not installed, by default, I did, inside the ubuntu docker container
apt-get update
apt-get install x11-apps vim-gtk

However, on running xclock I get
root@59be2b1afca0:/# xclock
Error: Can't open display: :0
root@59be2b1afca0:/#

On running gvim I get
root@59be2b1afca0:/# gvim
E233: cannot open display
Press ENTER or type command to continue

So why won't gui apps work?

A: Containers weren't quite designed originally for gui apps, but rather for services, workers, processes, etc.. On the other hand since containerisation is a kernel construct to isolate and dedicate resources in a more managed way which can expose ports or share volumes, and devices etc..
This means you can technically map your screen, audio, webcam devices to a container by using --device /dev/xyz when you run your docker run command:
docker run [--rm [-it]|-d] \
-v /tmp/.X11-unix:/tmp/.X11-unix \
-e DISPLAY \
--device /dev/dri \
myimage [cmd]

I actually found an article describing this here - including audio, camera and other device mapping.

*

*http://somatorio.org/en/post/running-gui-apps-with-docker/
Hope this helps a bit!


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Marsdenia propinqua är en oleanderväxtart som beskrevs av William Botting Hemsley. Marsdenia propinqua ingår i släktet Marsdenia och familjen oleanderväxter. Inga underarter finns listade i Catalogue of Life.

Källor

Oleanderväxter
propinqua


As my career developed in commercial organisations, I believed I also had something to offer charities – the Third Sector. It seemed easy to get invited to join trustees, act as a treasurer or get more involved in operational activity. Here was a place that I felt I could contribute, if only they would adopt some of the commercial disciplines of project management, financial control and clear lines of authority that I knew so well, then we could really make a difference together!
My early attempts at introducing some of these commercial disciplines were welcomed in principle however, but resisted in practice. As my mentor used to say, "Charles, just because it makes sense, doesn't mean that it is the right thing to do" and even more confusingly, "Charles, just because it doesn't make sense, it doesn't mean it is not the right thing to do". I felt I must be missing part of the picture.
individuals with power may have no responsibility, and those with responsibility have little power.
As I began to fully understand this, I developed a new respect for leaders of charities. I also realised how much of what those leaders achieve could be applied with enormous power into commercial organisations.
The Third sector is often incredibly entrepreneurial. With almost no resources, a community action group can initiate the transformation of an entire neighbourhood, for example. The Jubilee Debt Campaign released billions of dollars of Third World debt to education and health care.
Does the commercial sector have nothing to offer the Third sector? No, I still believe that many of the disciplines of the commercial sector are required. But it is easy to squeeze out the power of the relationships that are the Social Capital underpinning the Third sector if you just turn the organisation into a more efficient financial machine. And for all of us, where financial resources are increasingly constrained, we should look to Social Capital as the entrepreneurial resource for leaders who want to re-invigorate Britain in the 21st century.