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Supercomputing the Climate
http://svs.gsfc.nasa.gov/vis/a010000/a010500/a010563/index.html
This video provides an overview of how computer models work. It explains the process of data assimilation, which is necessary to ensure that models are tied to reality. The video includes a discussion of weather models using the Goddard Earth Observing System (GEOS-5) model and climate models using the MERRA (Modern Era Retrospective Analysis for Research and Applications) technique.
Video length 5:30 minutes.
Learn more about Teaching Climate Literacy and Energy Awareness»
See how this Video supports the Next Generation Science Standards»
High School: 5 Disciplinary Core Ideas, 3 Cross Cutting Concepts
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Global Climate Modeling
Measuring and Modeling Climate
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Climate Literacy
About Teaching Climate Literacy
5c (see details)
Observations, experiments, and theory are used to construct and refine computer models
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5d (see details)
Meteorology and climatology are related but different sciences, and their processes are modeled and forecast differently
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Climate models are robust enough to be used for guiding decision and actions as response to climate change
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Our understanding of climate
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Teaching Tips | Science | Pedagogy | Technical Details
The contemporary "nature of science" involves the union of science, mathematics, and technology where computer-coded equations are solved to help understand satellite and ground observations and predict future conditions.
This video can be used to introduce the roles of data, scientists, and computer models in predicting weather and climate conditions.
About the Science
The animation includes several examples of visual results of computer model runs. While there is some advanced reference to the NASA Center for Climate Simulation (NCCS) and current NASA / Goddard Space Flight Center approaches, the visuals may help general audiences understand the scientific material.
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Scientific strengths:
great visual of climate and weather models and how they work!
- Clear explanation of what numerical models are and what they do
- Clear explanation of why weather models are important (most accurate prediction of weather from 1 week to 10 days)
- Explanation of how data is used (satellites collect data--> data entered to computers --> supercomputers --> continuing daily accumulation of satellite and ground observations)
- Difference between weather and climate models
- Examples of actual models used (MERA)
About the Pedagogy
Prefacing the video with a definition of computer models as "systems of equations that represent physical systems" may help prepare students to understand the abstract concepts of weather and climate models.
You may want to follow the video with a review of data assimilation, in which models run forward to make predictions, then actual observations are brought into the system (assimilated) to give the model an accurate snapshot of reality before making the next set of predictions.
There is no specific teacher's guide for this video. There is a transcript of the narration at: http://svs.gsfc.nasa.gov/vis/a010000/a010500/a010563/NCCS_transcript.html.
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Disciplinary Core Ideas: 5
HS-ESS2.A1:Earth's systems, being dynamic and interacting, cause feedback effects that can increase or decrease the original changes.
HS-ESS2.D1:The foundation for Earth's global climate systems is the electromagnetic radiation from the sun, as well as its reflection, absorption, storage, and redistribution among the atmosphere, ocean, and land systems, and this energy's re-radiation into space.
HS-ESS2.D4:Current models predict that, although future regional climate changes will be complex and varied, average global temperatures will continue to rise. The outcomes predicted by global climate models strongly depend on the amounts of human-generated greenhouse gases added to the atmosphere each year and by the ways in which these gases are absorbed by the ocean and biosphere.
HS-ESS3.D1:Though the magnitudes of human impacts are greater than they have ever been, so too are human abilities to model, predict, and manage current and future impacts.
HS-ESS3.D2:Through computer simulations and other studies, important discoveries are still being made about how the ocean, the atmosphere, and the biosphere interact and are modified in response to human activities.
Cross Cutting Concepts: 3
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HS-C4.2:When investigating or describing a system, the boundaries and initial conditions of the system need to be defined and their inputs and outputs analyzed and described using models.
HS-C4.3:Models (e.g., physical, mathematical, computer models) can be used to simulate systems and interactions—including energy, matter, and information flows—within and between systems at different scales.
HS-C4.4:Models can be used to predict the behavior of a system, but these predictions have limited precision and reliability due to the assumptions and approximations inherent in models.
Collection of Climate and Energy Educational Resources
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CLEAN is funded by grants from the National Oceanic and Atmospheric Administration (NA12OAR4310143, NA12OAR4310142), the National Science Foundation (DUE-0938051, DUE-0938020, DUE-0937941), the Department of Energy, and NASA (80NSSC19K1696). Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the National Science Foundation.
Shortcut: http://cleanet.org/resources/43136.html | Last Modified: Jan 06, 2020


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Fiscal Fiasco: Will a Shutdown Cause a Stock Meltdown?
Wall Street has seen this circus before. That's why, as the clock ticked closer to a partial shutdown of the federal government, investors had been fairly sanguine in the face of the ongoing high-wire act. Even with a shutdown looking increasingly certain, the markets are far from panic mode, though investors are clearly showing signs of worry and a mounting aversion to risk.
It wasn't all that long ago that the S&P 500 and Dow Jones Industrial Average reached new closing highs on word that the Federal Reserve wouldn't yet ease up on its monthly asset purchases meant to stimulate the economy. But since Sept. 18, the day of the Fed's announcement, the S&P has now fallen about 2.5 percent, including a dip of more than 1 percent last week and losses in seven of the last eight trading sessions.
Yields on 10-year Treasuries have slipped from 2.72 percent to 2.64 percent as investors moved into U.S. government bonds – still seen as a safe bet despite the growing chances of a shutdown.
^SPX data by YCharts
RELATED: THE SHOCKING COST TO TAXPAYERS OF A SHUTDOWN
"Neither financial markets nor consumer confidence gauges have signaled much concern about developments on Capitol Hill," wrote Jim O'Sullivan, chief economist at High Frequency Economics, in a note to clients Sunday night. "After the debt-limit saga of 2011 and the fiscal-cliff showdown coming into this year, there appears to be a presumption that some kind of last-minute deal will be brokered. Collectively, policymakers are being viewed as the boy who cried 'wolf.'"
Even if the wolf is real this time, investors still hope that it doesn't have sharp teeth. A shutdown might cost hundreds of millions or even billions of dollars, depending on how long it lasts. But many analysts still expect any shutdown to be resolved quickly, and not cause massive economic disruption.
"Should we have a shutdown, we would expect it would be relatively short — public uproar and market pressure will hopefully spark an agreement," Bank of America Merrill Lynch economists Ethan Harris and Michael Hanson wrote to clients Monday. "A shutdown of a few days would likely have no real measurable effect upon the economy and result in only a small sell-off in the markets."
The government last shut down in December 1995 and January 1996, but investors can look back at a number of recent budget battles and a longer history of shutdowns that had little lasting impact, at least on stock prices. "Since 1970 there have been 17 'shutdowns,'" Jeffrey Saut, chief investment strategist at Raymond James, said in a Monday commentary, "and guess what, we have survived every single one of them."
That history may present an opportunity for investors, some analysts say. The S&P 500 fell 3.7 percent from peak to trough during the mid-'90s shutdown drama and then rebounded 10.5 percent in the subsequent month, according to S&P Capital IQ.
The fiscal fighting could again cause a drop of 5 percent or more, S&P chief equity strategist Sam Stovall noted, but that "may end up as a gift to investors" if stocks then bounce even higher. "While we believe the odds of a government shutdown are increasing, we suspect this may prove to be a great buying opportunity for stocks," Piper Jaffray Technical Market Strategist Craig Johnson wrote to clients on Monday, adding, "We continue to believe that stocks will continue to climb into year's end as economic conditions continue to improve and uncertainty in Washington subsides."
By contrast, analysts are much more alarmed by the debt-ceiling deadline looming next month, when the Treasury is set to exhaust the extraordinary measures used to avert a default by no later than Oct. 17.
"A government shutdown would be temporary and probably make only modest dents in fourth-quarter growth, whereas failure to agree on raising the debt ceiling in a few weeks could put the U.S. in technical default and be massively disruptive to the economy and global financial system," Russ Koesterich, chief investment strategist for BlackRock, wrote in emailed comments.
As we approach that critical date, investors will also still be wondering just when the Federal Reserve will pull back on its bond buying and what quarterly earnings might look like. So for now, investors should expect increased volatility, Koesterich says, and decide how they want to act based on that. "Those investors uncomfortable with volatility should consider getting a bit more defensive, possibly raising cash, while those with longer-time horizons can probably use the market angst around the U.S. budget issues as a buying opportunity."
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: if it weren't for his music, he'd likely find himself locked up again.
On his first day out of jail, Grizzley laid a foundation, perhaps out of urgent necessity, for what would eventually develop into a budding career in rap. Not even bothering to change out of the clothes he left the prison in, he stepped into the studio to record the aptly-named single "First Day Out" — a track he first penned behind bars back in April 2015. By a twist of fate and a wink from the man upstairs, his first-ever track began taking off, accumulating views at a viral rate and landing him on the radar of 300 Ent. and Atlantic, where he ended up inking his first official deal before 2016 came to a close.
As he weaves his gripping story into "First Day Out," he gives fans a proper introduction of who Tee Grizzley is for the first time, with lines such as "You ever been inside a federal courtroom? / N***a you ever went to trial and fought for your life?" helping make it known that the rapper is fully aware he's on borrowed time. With that comes a great responsibility to one's self and is an opportunity that the God-fearing, street-smart rapper embraces as a blessing, knowing that his passion to aspire to something greater is also his saving grace.
Growing up, his parents were in and out of jail, with his mother now serving time for a drug trafficking and his father getting murdered in 2012 after a life spent on the streets. Grizzley's hardened past is littered with heartache that his grandmother helped heal by exposing him to decades worth of R&B early on while she raised him on her own. Although his childhood was far from a fairytale, the musically inclined teenager found himself drawn to making music from an early age, first hearing his uncles make records at the age of eight and inspiring him to create his own tracks in middle school with the help of his friends. Grizzley later became the first family member in generations to go on to attend college but, during his freshman year at Michigan State University, was faced with a new variety of temptations, snowballing into what would soon become his developing criminal record.
Throughout his debut project, My Moment, Grizzley doesn't hold back from letting us in on exactly where he came from, reflecting on certain aspects of his troubled past while eagerly embracing the moment he's now found himself thriving in. However, his unique approach, balancing raw aggression with inviting, melodic moments, is his strongest suit. We're not alienated or overwhelmed by the at-times strikingly blunt lyrical content, further proving that Grizzley already has impressively come into his own as a maturing recording artist with a knack for storytelling.
With production handled mostly by Helluva and two blessings from Sonny Digital and another from DJ Mustard, the varied soundscape suits Grizzley in a way that some rappers spend years trying to perfect, somehow allowing him a brilliant versatility that makes sense in a feel-good club setting without losing sight of its hard street influence either.
As the project's smooth production contrasts significantly with Grizzley's extremely distinctive vocals, he's able to stand out amongst the tracks he's paired with on Spotify's rap-curated playlists — something that helped aid with his hit single taking off in the viral manner it did, since accumulating 18 million streams. While "First Day Out" is the undeniable standout track from the featureless project, several other singles also have the necessary recipe to take off in a similar fashion, with "Real N****s," "No Effort" and "How Many" emerging as the strongest offerings throughout the 13-song tracklist, full of boastful bars, polished delivery and hard-hitting production alike.
Sometimes he spits as fast and ruthlessly as possible, almost as if he's ranting and sweating at the same time ("My Moment – Intro" and "Country"). Other times, he's softly singing dirty sweet nothings ("Side N***a"). Either way, that IDGAF zeal is a real vibe and something that not every rapper can pull off without arrogance hindering their appeal. While My Moment may not be a flawless, five-star project, he's winning a lot of points for putting so much of his personality and individuality into each and every bar.
As Grizzley interchanges between singing and rapping, his life story is not only alluring, but also told in an intriguing way. While one could argue that the entire genre of hip-hop was built off of tactfully capturing street wisdom, the gems that Grizzley shares are a little hard to find and off-the-beaten path, in turn adding to his intrigue as an artist.
His story in and of itself may build a different argument, but Grizzley will be the first to tell you he doesn't have all the answers, the best advice or everything figured out. That humble honesty is a breath of fresh air, reminding us that while this may be his first moment in the spotlight, Tee Grizzley is destined to have many more.
Written by KC Orcutt
(Photo: 300 Entertainment)
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Home / A&E / The Hare With Amber Eyes: A Family's Century of Art and Loss
The Hare With Amber Eyes: A Family's Century of Art and Loss
Your take will be just as personal. And you might as well accept that going in — this is not a book about Japanese art objects.
November 29, 2019 by Jesse Kornbluth Leave a Comment
Buy it on Amazon.
There are men and women who write beautifully, every word inevitable, the paragraphs building into chapters, the chapters adding up to a great book, and we never suspect that their work is a phenomenal trick — that they bled over every word, turned every sentence around a dozen times, missed meals with their children, sacrificing all to make their writing look effortless.
And then there are men and women who write beautifully because they're tuned to a different frequency and do everything beautifully. They may work to make their writing better, but they're starting at such a high level they really don't need to — they're in humanity's elite.
Edmund de Waal is in that second group. And so we start with an irony — the author of an exquisite memoir isn't a writer. He's a potter, said to be one of the best in England, and Professor of Ceramics at the University of Westminster.
You could say the eye that judges a pot is also a writer's eye.
And you could say a gifted Brit who studied English at Cambridge might write a compelling family story.
But none of that would explain the fierce attachment that readers of "The Hare with Amber Eyes" have for it, why they can't help talking about it, why they press copies on friends. [To buy the paperback from Amazon, click here. For the Kindle edition, click here.]
Let me try. Start here: "The Hare with Amber Eyes" has, as they say in show biz, everything. The highest echelons of Society in pre-World War I Paris. Nazi thugs and Austrian collaborators. A gay heir who takes refuge in Japan. Style. Seduction. Rothschild-level wealth. Two centuries of anti-Semitism. And 264 pieces of netsuke, the pocket-sized ivory-or-wood sculpture first made in Japan in the 17th century.
It is on these netsuke that de Waal hangs his tale — or, rather, searches for it. Decades after he apprenticed as a potter in Japan, he has returned to research his mentor. In the afternoons, he makes pots. And, one afternoon a week, he visits his great-uncle Iggie.
Iggie owns a large vitrine, in which he displays his netsuke collection. He has stories about that collection, but then he has so many tales about his family — glorious anecdotes of hunting parties in Czechoslovakia, gypsies with dancing bears, his grandmother bringing special cakes from Vienna on the Orient Express. And then this:
And Emmy pulling him from the window at breakfast to show him an autumnal tree outside the dining room window covered in goldfinches. And how when he knocked on the window and they flew, the tree was still blazing golden.
I shivered when I read that last sentence — you don't often read a description of real-world magic expressed so magically. And so simply!
de Waal is a visual artist; he lives to look, and look hard. And, like a detective, he puts the objects of his interest into a kind of order. His interest: the collection of netsuke bought in 1870 in Paris by Charles Ephrussi, a cousin of his great-grandfather. Because his family is "staggeringly rich," Charles is able to exercise his considerable taste. No holding back with this collector — in the best story about Charles, he buys a still life of asparagus from Manet at a price so over-the-top that the artist sends a unique thank-you: a painting of a single stalk of asparagus, with a note, "This seems to have slipped from the bundle."
Charles in Paris — a city of salons, exquisite clothes, complicated relationships. The world of Proust. It's no surprise that Charles and Marcel were friends or that the novelist based a character on him.
"I have fallen for Charles," de Waal writes. Yes, he has, and it shows; there's more here about Charles than most readers will want. Feel free to skim. Skip, if you must. But don't, for the sake of your immortal soul, put the book down, for in 1899, Charles sends his first cousin in Vienna the netsuke as a wedding present and the book goes into a different gear.
In Vienna, de Waal writes, there were 145,000 Jews in 1899 — 71 per cent of the city's financiers, 65 per cent of the lawyers, 59 per cent of the doctors, half the journalists. Why does he begin this chapter by telling us about the Jews when, as he notes, they were so assimilated? Oh, you know why; it just takes three-and-a-half decades for the anti-Semitism he chronicles to reach a boil.
I've studied World War I, as you have, but not from the point-of-view of a rich Jewish banker in Austria. I'm obsessed, as you may be, with the rise of the Nazis, but — silly me — I somehow thought that Jews who owned palaces were exempt. So you will encounter nail-biting terror here. And you'll be brought up short: How did a book about an collection of objects take such a radical turn? And how, amid the horror, did 264 pieces of netsuke survive intact?
England, Japan, Russia. The research unhinges de Waal: "I no longer know if this book is about my family, or memory, or myself, or if it is a book about small Japanese things." Curiously, that is to the book's advantage; it's really up to the reader to take what meaning he or she can from this story of objects gained, lost, found.
What are objects to us? Do they change when we hold them, display them, give them value? Do they "retain the pulse of their makeup?" If we didn't collect anything, how would we remember who we were?
Edmund de Waal lives with his wife and their children — and the vitrine of netsuke. The kids sometimes play with the little pieces. "But there is no aesthetic life with small kids around," de Waal has told interviewers. "They want that plastic tiara, or Disney water pistol — and you remember what it is to start accumulating things in your life." The implication is clear: Eventually those kids will understand and appreciate what it means to hold the objects of their ancestors.
My ancestors are dust. At most, there are a few photographs. So for me, the moral of this book is that everything matters but nothing lasts. Cherish beauty, but keep it private. And, if you are a Jew, always be prepared to pack and flee on an hour's notice.
One sunny April day I set out to find Charles. Rue de Monceau is a long Parisian street bisected by the grand boulevard Malesherbes that charges off towards the boulevard Pereire. It is a hill of golden stone houses, a series of hotels playing discreetly on neoclassical themes, each a minor Florentine palace with heavily rusticated ground floors and an array of heads, caryatids and cartouches. Number 81 rue de Monceau, the Hôtel Ephrussi, where my netsuke start their journey, is near the top of the hill. I pass the headquarters of Christian Lacroix and then, next door, there it is. It is now, rather crushingly, an office for medical insurance.
It is utterly beautiful. As a boy I used to draw buildings like this, spending afternoons carefully inking in shadows so that you could see the rise and fall of the depth of the windows and pillars. There is something musical in this kind of elevation. You take classical elements and try to bring them into rhythmic life: four Corinthian pilasters rising up to pace the façade, four massive stone urns on the parapet, five storeys high, eight windows wide. The street level is made up of great blocks of stone worked to look as if they have been weathered. I walk past a couple of times and, on the third, notice that there is the double back-to-back E of the Ephrussi family incorporated into the metal grilles over the street windows, the tendrils of the letters reaching into the spaces of the oval. It is barely there. I try to work out this rectitude and what it says about their confidence. I duck through the passageway to a courtyard, then through another arch to a stable block of red brick with servants' quarters above; a pleasing diminuendo of materials and textures.
A delivery man carries boxes of Speedy-Go Pizza into the medical insurers. The door into the entrance hall is open. I walk into the hall, its staircase curling up like a coil of smoke through the whole house, black cast iron and gold filigree stretching up to a lantern at the top. There is a marble urn in a deep niche, chequerboard marble tiles. Executives are coming down the stairs, heels hard on marble, and I retreat in embarrassment. How can I start to explain this idiotic quest? I stand in the street and watch the house and take some photographs, apologetic Parisians ducking past me. House-watching is an art. You have to develop a way of seeing how a building sits in its landscape or streetscape. You have to discover how much room it takes up in the world, how much of the world it displaces. Number 81, for instance, is a house that cannily disappears into its neighbours: there are other houses that are grander, some are plainer, but few are more discreet.
I look up at the second-floor windows where Charles had his suite of rooms, some of which looked across the street to the more robustly classical house opposite, some across the courtyard into a busy roofscape of urns and gables and chimneypots. He had an antechamber, two salons – one of which he turned into his study – a dining-room, two bedrooms and a 'petite'. I try to work it out; he and his older brother Ignace must have had neighbouring apartments on this floor, their elder brother Jules and their widowed mother Mina below, with the higher ceilings and grander windows and the balconies on which, on this April morning, there are now some rather leggy red geraniums in plastic pots. The courtyard of the house was glazed, according to the city records, though all that glass is long gone. And there were five horses and three carriages in these stables which are now a perfect bijou house. I wonder if that number of horses was appropriate for a large and social family wanting to make the right kind of impression.
It is a huge house, but the three brothers must have met every day on those black-and-gold winding stairs, or heard each other as the noise of the carriage being readied in the courtyard echoed from the glazed canopy. Or encountered friends going past their door on the way up to an apartment above. They must have developed a way of not seeing each other, and not hearing each other, too: to live so close to your family takes some doing, I think, reflecting on my own brothers. They must have got on well. Perhaps they had no choice in the matter. Paris was work, after all.
The Hôtel Ephrussi was a family house, but it was also the Parisian headquarters of a family in its ascendancy. It had its counterpart in Vienna, the vast Palais Ephrussi on the Ringstrasse. Both the Parisian and Viennese buildings share a sense of drama, of a public face to the world. They were both built in 1871 in new and fashionable areas: the rue de Monceau and the Ringstrasse were so of-the-minute that they were unfinished, untidy, loud and dusty building sites. They were still spaces that were inventing themselves, competitive with the older parts of town with their narrower streets, and spikily arriviste.
If this particular house in this particular streetscape seems a little stagey, it is because it is a staging of intent. These houses in Paris and Vienna were part of a family plan: the Ephrussi family was 'doing a Rothschild'. Just as the Rothschilds had sent their sons and daughters out from Frankfurt at the start of the nineteenth century to colonise European capital cities, so the Abraham of my family, Charles Joachim Ephrussi, had masterminded this expansion from Odessa in the 1850s. A true patriarch, he had two sons from his first marriage, Ignace and Léon. And then when he remarried at fifty he had continued producing children: two more sons, Michel and Maurice, and two daughters, Thérèse and Marie. All of these six children were to be deployed as financiers or married into suitable Jewish dynasties.
Odessa was a city within the Pale of Settlement, the area on the western borders of imperial Russia in which Jews were allowed to live. It was famous for its rabbinical schools and synagogues, rich in literature and music, a magnet for the impoverished Jewish shtetls of Galicia. It was also a city that doubled its population of Jews and Greeks and Russians every decade, a polyglot city full of speculation and traders, the docks full of intrigues and spies, a city on the make. Charles Joachim Ephrussi had transformed a small grain-trading business into a huge enterprise by cornering the market in buying wheat. He bought the grain from the middlemen who transported it on carts along the heavily rutted roads from the rich black soil of the Ukrainian wheat fields, the greatest wheat fields in the world, into the port of Odessa. Here the grain was stored in his warehouses before being exported across the Black Sea, up the Danube, across the Mediterranean.
By 1860 the family had become the greatest grain-exporters in the world. In Paris, James de Rothschild was known as the le Roi des Juifs, the King of the Jews. The Ephrussi were les Rois de Blé, the Kings of Grain. They were Jews with their own coat of arms: an ear of corn and a heraldic boat with three masts and full sails. Their motto, Quod honestum, unfurled below the ship: We are above reproach. You can trust us.
The masterplan was to build on this network of contacts and finance huge capital projects: bridges across the Danube, railways across Russia and across France, docks and canals. Ephrussi et Cie would change from being a very successful commodity trading house into an international finance house. It would become a bank. And each helpful deal struck with a government, each venture with an impoverished archduke, each client drawn into serious obligation with the family would be a step towards even greater respectability, a step further from those wagons of wheat creaking in from the Ukraine.
In 1857 the two elder sons and their families were sent out from Odessa to Vienna, the capital city of the sprawling Hapsburg Empire. They bought a huge house in the city centre, and for ten years this was home to a shifting population of grandparents, children and grandchildren as the family moved backwards and forwards between the two cities. One of the sons, my great-great-grandfather Ignace, was tasked with handling Ephrussi business in the Austro-Hungarian Empire from this Vienna base. Paris came next: Léon, the older son, was tasked with establishing the family and business here.
I'm standing outside Léon's outpost on a honey-coloured hill in the 8th arrondissement. Actually I am leaning against the house opposite and thinking of that fiercely hot summer of 1871 when they arrived from Vienna to this newly built, golden mansion. It was a city still in trauma. The siege by the Prussian army had only ended a few months before with the defeat of France and the declaration of the German Empire in the Hall of Mirrors in Versailles. The new Third Republic was shaky, assailed by communards on the street and by factionalism in government.
The Hôtel Ephrussi in the rue de Monceau
Their house may have been finished, but all the neighbouring buildings were still under construction. The plasterers had only just left, the gilders were lying uncomfortably on the shallow stairs burnishing the finials on the handrail. Furniture, pictures, crates of crockery are shifted slowly up to their apartments. There is noise inside and noise outside, and all the windows are open onto the street. Léon is unwell with a heart complaint. And the family have a terrible start to their life in this beautiful street. Betty, the youngest of Léon and Mina's four children, married to a young Jewish banker of unimpeachable suitability, dies within weeks of giving birth to a daughter, Fanny. They have to build a family tomb in the Jewish section of the cemetery in Montmartre in their newly adopted city. It is Gothic, large enough for the whole clan, a way of making it clear that they are staying here, whatever is going to happen. I finally find it. The gates are gone and it has caught drifts of autumn's chestnut leaves.
This hill was the perfect setting for the Ephrussi family. Just as the Ringstrasse in Vienna, where the other half of the family lives, was acerbically known as 'Zionstrasse', so Jewish money was a key denominator of life here in the rue de Monceau. The area was developed in the 1860s by Isaac and Emile Pereire, two Sephardic brothers who had made their fortunes as financiers, railroad-builders and property magnates, creating colossal developments of hotels and department stores. They acquired the plaine Monceau, a large nondescript area that was originally beyond the city limits, and set to work developing houses for the burgeoning financial and commercial elite, an appropriate landscape for the newly arrived Jewish families from Russia and the Levant. These streets became a virtual colony, a complex of intermarriage, obligation and religious sympathy.
The Pereires relandscaped the existing eighteenth-century park in order to improve the views of the new houses around it. New cast-iron gates with gilded emblems of the Pereires' activities now led into it. There was an attempt to call the area around the parc Monceau Le West End. If you are asked where the boulevard Malesherbes leads, a contemporary journalist wrote, 'answer boldly: to Le West End…One could give it a French name, but that would be vulgar; an English name was far more fashionable.' This was the park in which, according to a waspish journalist, you could watch 'the great dames of the noble Faubourg…the female "illustrations" of "La Haute Finance" and "La Haute Colonie Israélite" promenade'. The park had sinuous paths and flowerbeds in the new English style with displays of colourful annuals that had to be constantly renewed, far removed from the grey, clipped formalities of the Tuileries.
As I walk down the hill from the Hôtel Ephrussi at what I consider to be a good flaneurial pace, slower than usual, weaving from one side of the road to the other to check on details of the mouldings of windows, I'm conscious that many of the houses I pass have these stories of reinvention embedded in them. Almost everyone who built them started somewhere else.
Ten houses down from the Ephrussi household, at number 61, is the house of Abraham de Camondo, with his brother Nissim at 63 and their sister Rebecca over the street at number 60. The Camondos, Jewish financiers like the Ephrussi, had come to Paris from Constantinople by way of Venice. The banker Henri Cernuschi, a plutocratic supporter of the Paris Commune, had come to Paris from Italy and lived in chilly magnificence with his Japanese treasures on the edge of the park. At number 55 is the Hôtel Cattaui, home to a family of Jewish bankers from Egypt. At number 43 is the palace of Adolphe de Rothschild, acquired from Eugène Pereire and rebuilt with a glass-roofed exhibition room for his Renaissance art collection.
But nothing compares to the mansion built by the chocolate magnate Émile-Justin Menier. It was a building so splendidly excessive, so eclectic in its garnished decorations, glimpsed above its high walls, that Zola's description of it as 'an opulent bastard of every style' still seems about right. In his dark novel of 1872, La curée, Saccard – a rapacious Jewish property magnate – lives here on the rue de Monceau. You feel this street as the family move in: it is a street of Jews, a street full of people on display in their lavish golden houses. Monceau is slang in Paris for nouveau riche, newly arrived.
This is the world in which my netsuke first settled. On this street down the hill I feel this play between discretion and opulence, a sort of breathing-in and breathing-out of invisibility and visibility.
Charles Ephrussi was twenty-one when he came to live here. Paris was being planted with trees, and wide pavements were taking the place of the cramped interstices of the old city. There had been fifteen years of constant demolition and rebuilding under the direction of Baron Haussmann, the civic planner. He had razed medieval streets and created new parks and new boulevards. Vistas were opened up with extraordinary velocity.
If you want to taste this moment, taste the dust sweeping along the newly paved avenues and across the bridges, look at two paintings of Gustave Caillebotte. Caillebotte, a few months older than Charles, lived around the corner from the Ephrussi family in another grand hotel. You see in his Le pont de l'Europe a young man, well dressed in his grey overcoat and black top hat, maybe the artist, walking over the bridge along the generous pavement. He is two steps ahead of a young woman in a dress of sedate frills carrying a parasol. The sun is out. There is the glare of newly dressed stone. A dog passes by. A workman leans over the bridge. It is like the start of the world: a litany of perfect movements and shadows. Everyone, including the dog, knows what they are doing.
Gustave Caillebotte, Le pont de l'Europe, 1876
The streets of Paris have a calmness to them: clean stone façades, rhythmic detailing of balconies, newly planted lime trees appear in his painting Jeune homme à sa fenêtre, shown in the second Impressionist exhibition in 1876. Here Caillebotte's brother stands at the open window of their family apartment looking out onto the intersection of the rue de Monceau's neighbouring streets. He stands with his hands in his pockets, well dressed and self-assured, with his life before him and a plush armchair behind him.
Everything is possible.
This could be the young Charles. He was born in Odessa and spends the first ten years of his life in a yellow-stuccoed palais on the edge of a dusty square fringed with chestnut trees. If he climbs to the attics of the house he can see all the way across the masts of the ships in the port to the sea. His grandfather occupies a whole floor and all the space. The bank is next door. He cannot move along the promenade without someone stopping his grandfather or father or uncles to ask them for information, a favour, a kopek, something. He learns, without knowing it, that to move in public means a series of encounters and avoidances; how to give money to beggars and pedlars, how to greet acquaintances without stopping.
Then Charles moves to Vienna, living there for the next decade with his parents, his siblings, his uncle Ignace and glacial aunt Émilie, and his three cousins – Stefan (haughty), Anna (acerbic) and the little boy Viktor. A tutor comes each morning. They learn their languages: Latin, Greek, German and English. They are always to speak French at home, and are allowed to use Russian amongst themselves, but must not be caught speaking the Yiddish that they picked up in the courtyards in Odessa. All these cousins can start a sentence in one language and finish it in another. They need these languages, as the family travels to Odessa, to St Petersburg, to Berlin and Frankfurt and Paris. They also need these languages as they are denominators of class. With languages, you can move from one social situation to another. With languages, you are at home anywhere.
They visit Breughel's Hunters in the Snow with its patchwork of dogs busy on the ridge. They open the cabinets of drawings in the Albertina, the watercolours by Dürer of the trembling hare, the outstretched wing of a lapidary bird. They learn to ride in the Prater. The boys are taught to fence and all the cousins take dance lessons. All the cousins dance well. Charles, at eighteen, has a family nickname, le Polonais, the Pole, the waltzing boy.
It is in Vienna that the oldest boys, Jules, Ignace and Stefan, are taken to the offices off the Ringstrasse on the Schottenbastei. It is a forbidding building. This is where the Ephrussi conduct business. The boys are told to sit quietly as shipments of grain are discussed and percentages on stock are queried. There are new possibilities in oil in Baku and gold near Lake Baikal. Clerks scurry. This is where they are blooded in the sheer scale of what will be theirs, taught the catechism of profit from the endless columns in the ledgers.
This is when Charles sits with his youngest cousin Viktor and draws Laocoön and the snakes, the statue he loved in Odessa, making the coils extra specially tight around muscly shoulders to impress the boy. It takes a long time to draw each of those snakes well. He sketches what he has seen in the Albertina. He sketches the servants. And he talks to his parents' friends about their pictures. It is always pleasing to have your paintings discussed by such a knowledgeable young man.
And then at last there is the long-planned move to Paris. Charles is good-looking, slightly built with a neatly trimmed dark beard, which has a haze of red in particular lights. He has an Ephrussi nose, large and beaked, and the high forehead of all the cousins. His eyes are dark grey and alive, and he is charming. You see how well dressed he is, with his cravat beautifully folded, and then you hear him talk: he is as good a talker as a dancer.
Charles is free to do what he wants.
I want to think this is because he was the youngest son and the third son and, as in all good children's stories, it is always the third son who gets to leave home and go adventuring – pure projection, as I am a third son. But I suspect that the family know this boy is not cut out for the life of the Bourse. His uncles Michel and Maurice have moved to Paris: perhaps there were enough sons for the offices of Ephrussi et Cie at 45 rue de l'Arcade not to miss this pleasant bookish one, with his habit of withdrawing when money comes up and that aptitude for losing himself in conversation.
Charles has his new apartment in the family house, gilded and clean, and empty. He has somewhere to come back to, a new house on a newly paved Parisian hill. He has languages, he has money and he has time. So now he sets off wandering. Like a well-brought-up young man, Charles goes south. He goes to Italy.
Originally Published on The Head Butler
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Filed Under: A&E, Featured Content Tagged With: book review, Jesse Kornbluth, The Head Butler
About Jesse Kornbluth
Jesse Kornbluth is is a New York-based writer and editor of HeadButler.com, a cultural concierge site he launched in 2004. As a magazine journalist, he has been a contributing editor for Vanity Fair, New York and Architectural Digest. As an author, his books include Airborne: The Triumph and Struggle of Michael Jordan; Highly Confident: The Crime and Punishment of Michael Milken and Pre-Pop Warhol. As a screenwriter, he has written for Robert De Niro, Paul Newman and PBS. On the Web, he co-founded Bookreporter.com. From 1997 to 2002, he was Editorial Director of America Online.


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FRANKS: WE AREN'T GETTING CARRIED AWAY
Dan Branowsky
Fraser Franks says that although spirits are high, the dressing room remains focused on the challenges ahead.
Boro are currently fourth going into the final seven games of the season but Franks knows a lot can happen in that time.
"It is probably up there with the best it has been all season. We have got ourselves into a good position; obviously we aren't getting carried away.
"There is a still a lot more we need to do and a lot more we are trying to push for but we can't ask for a much better camp at the minute. It is all going to plan."
During his time at the club, Franks has played in every defensive position and has most recently been starting at right-back.
The defender says he just loves to be on the pitch and is always looking to improve his game.
"I am enjoying it. I feel like I have been solid but I need to start adding more to my game going forward. The way we play, it is a big part of my game to contribute not just at the back but going forward also."
"I feel like I am slowly getting that in my game and I am looking to do more on the ball now."
One of the big stories over the past month or so has been the change of goalkeepers after Jamie Jones went down at Crewe.
Chris Day has since taken the gloves and Franks says it has been a seamless process.
"There has been no transition at all really. They are both good talkers, good organisers. He has slipped into the team and Jonah had probably been one of our stand out players this season, even when it wasn't going so well.
"You would say he has been a big loss but you only have to look at Daisy's form since he has come in. We have got one of these squads where if someone comes out of the team, the next person just fills in."
Four clean sheets over the last five games has given the team a superb platform to get results and Franks says their work at the back is all about allowing the forwards to do their thing.
"We have got a front four or five that would kill anyone in this league. I think you can see that with the goals we have scored.
"The only problem we had earlier in the season we were having to score two or three to win a game. Now, one looks like it could be enough for a point if not three.
"We just need to be solid and give them license to express themselves, knowing we're secure behind."
Sign into Boro PlayerHD to hear more from both Fraser Franks and Darren Sarll ahead of tomorrow's game.


now working - the knobs control panning though when I switch to controls - the knobs don't control them within that context..
Glad to hear it sounds like everything is mapping smoothly.
Hi Robert, Thanks for posting! Glad to hear it sounds like everything is mapping smoothly. Let me know if you have any questions!
Struggling with this - when I start a new project my settings are lost and the faders etc aren't mapped. I somehow seemed to get it to work a few days ago and now it's stopped. Should it be setup up as Axiom 61 Directlink Out and In for the input? I have a few controller Assignments which are doubled in the dialogue - following my setup attempts. Could this be the cause? I seem to be unable to delete these settings. I intend to create a default template - it's just that many of previous tracks were before I had the midi controller and I'd like to use it's features.
Can you tell me how to start again please and the exact process in Logic.
That should get your controller mapped properly. Let me know if you have any questions!
Hey Robert, There is another process for assigning controls for an Axiom 61 (MKII) in Logic Pro X. You will need the file at the following link: Axiom.bundle file The following post will show you which directory on your computer this file must be deposited to: M-Audio Axiom mapping with Logic Pro X That should get your controller mapped properly. Let me know if you have any questions!
This is the guide that I followed. It has worked - just can't seem to get it working again or be consistent.
I have downloaded the file, however, it isn't a .bundle file. it is a text file.
I followed the instructions none the less, but it still isn't mapped. is there a way to change it to a bundle file?
Sorry to hear you're having trouble with that file. The following link is a download for the complete setup with detailed instructions - be sure to follow them carefully!
Hey everybody, Sorry to hear you're having trouble with that file. The following link is a download for the complete setup with detailed instructions - be sure to follow them carefully! Axiom (2nd Gen) - Logic Directlink Let me know if you get stuck!
Happy to hear it's working for everybody!
Happy to hear it's working for everybody! Let me know if you have any questions.
Sorry you're having trouble again. I've made some screen captures that should help you get everything configured properly.
These are the settings I had in place during testing and they resulted in direct one-to-one mapping. The Axiom I tested with does not have faders but the DirectLink protocol facilitates all controls. I am able to use the encoders, and pads as well as the transport controls without issue.
You also want to ensure that you have the Group F button enabled in order to toggle DirectLink on. The same goes for the encoders and pads (they use the Group E and Group P buttons, respectively). These buttons are always lit - they are dim when disabled and brighter when they are enabled.
Hey Robert, Sorry you're having trouble again. I've made some screen captures that should help you get everything configured properly. The file pathway for the correct location of the .bundle file is displayed at the bottom of this window. In addition to the Axiom.bundle you can see that files for other controllers are also stored here:  Here is the Control Surface Setup window in Logic Pro X. Configure Logic as it is displayed below (I am using an Axiom 25 here but the process for the 61 is the same):  These are the settings I had in place during testing and they resulted in direct one-to-one mapping. The Axiom I tested with does not have faders but the DirectLink protocol facilitates all controls. I am able to use the encoders, and pads as well as the transport controls without issue. You also want to ensure that you have the Group F button enabled in order to toggle DirectLink on. The same goes for the encoders and pads (they use the Group E and Group P buttons, respectively). These buttons are always lit - they are dim when disabled and brighter when they are enabled. I hope this helps you!
I had to disable automatic control surface mapping to get the old plugin to work. The plugin seems to support the faders whereas the built in mapping only works with the transport controls.
Hi guys, I'm looking for Axiom.bundle file. Can someone help ?
hey, I am having problems with direct link. I have installed it and put it into logic but still my axiom will not connect. I am using an axiom 49 2nd gen, but I assume everything works the same. Any way I can make it work again?


text:
Miami's 2019 signing class off to impressive start
It's early — way-too, incredibly early — but the Miami-OH's football program currently has one of the top-rated recruiting classes for 2019 in the nation. The reason being: Miami's up to eight commits and we're just in the first week of April.
According to 247sports.com, Miami's currently rated No. 24 in the nation with its eight commits that give the RedHawks 71.40 points by the website's database, sandwiched between No. 23 Tennessee and No. 25 Ohio State. Again, it's really early, so don't draw too many conclusions from this by trying to exfoliate what Miami (and others) have for next year's signing class. But having fun with Miami's top-25 rating, no matter how many holes there are in the math, is all in good fun. Besides, sports only exist for your entertainment.
Grew up traveling to games every Saturday, but now it's my turn. Pumped to announce my commitment to Miami (OH) University! I've had a lot of help along the way from the best family, teammates and coaches around. This is only the beginning 🇺🇸 🔴⚪ #RiseUpRedHawks pic.twitter.com/cesLw1wINU
— Brett Gabbert (@BrettGabbert) April 4, 2018
Since our last update on Miami's 2019 signing class, two more players have joined the fold: Former NFL quarterback Blaine Gabbert's little brother and a fifth offensive lineman.
Brett Gabbert is a three-star, pro-style quarterback out of St. Louis, Mo. (Christian Brothers) and is the No. 13 ranked recruit in Missouri, No. 19 in his position. With a 247sports.com composite score of 0.8600, Gabbert is currently the highest-rated recruit in Miami's 2019 signing class.
Gabbert, whose eldest brother Blaine was a stud at Missouri and is currently with the Tennessee Titans in the NFL and middle brother Tyler was a quarterback at Missouri and Central Florida, held 10 total offers (five from Football Championship Subdivision programs, five from Mid-American Conference schools). His offers came from Murray State, Central Michigan, Miami, Northern Illinois, Dartmouth, Kent State, Harvard, Northern Iowa, Yale and Eastern Michigan.
Gabbert won't have to look far to see what his protection will look like, especially with Miami's other most-recent commit in Caleb Shaffer.
Oxford is home and we're going to win a lot of championships there…#RedHawks pic.twitter.com/ziiXxh9GLF
— Caleb Shaffer☠ (@cbshaffer53) April 3, 2018
Shaffer is an offensive guard from Carmel, Ind. (Carmel) that's listed at 6-foot-5, 315 pounds and is the highest-rated offensive lineman in Miami's class (No. 3 overall) with a composite score of 0.8199.
Shaffer is now the fifth offensive lineman to commit to the RedHawks, along with Ben Jackson, Nathan Jacobs, Rusty Feth and Spencer Holstege.
Football Recruiting 2019, Miami RedHawks, Spring, Summer 2018
Toledo adds first commit for 2019
CMU on the board: RB Joshua Crawford commits


text:
Dave's Picks Volume 26 is a three-CD live album by the rock band the Grateful Dead. It contains the complete concert recorded on November 17, 1971, at the Albuquerque Civic Auditorium in Albuquerque, New Mexico.  It also contains bonus tracks recorded on December 14, 1971, at Hill Auditorium in Ann Arbor, Michigan. It was produced as a limited edition of 18,000 copies, and was released on April 27, 2018.

A bonus disc was included with shipments of the album to 2018 Dave's Picks subscribers. This disc contains most of the rest of the songs from the December 14 concert.

Recording
The November 17, 1971 concert was the Dead's first show in New Mexico.  Keyboardist Keith Godchaux had joined the band about a month before, while Ron "Pigpen" McKernan was convalescing from the effects of liver disease.  Pigpen rejoined the band two weeks before the December 14 concert.

During this period, the opening act at many Grateful Dead concerts, including these two, was the New Riders of the Purple Sage.

Critical reception
On AllMusic, Timothy Monger wrote, "Vol. 26 of the Grateful Dead's long-running Dave's Picks archival series offers not one but two shows from late 1971, an era marked by the arrival of the band's second keyboardist, Keith Godchaux... This era marked the early days of what would be an epic couple of years for the Dead...."

In Glide Magazine, Doug Collette noted that the set lists for the November 17 and December 14 concerts were very similar, but that Pigpen performed only in the second of the two shows.  "... the differences are subtle but significant. And they are rooted in the contributions of the fairly new enlistee [Keith] Godchaux as much as [those of Pigpen]. The health issues that would claim the vocalist / harpist / keyboardist's life within two years were incipient at [this] point, but nevertheless precluded the extended rave-ups that in earlier years consumed lengthy intervals of Grateful Dead shows; clocking in between approximately four to seven minutes, Pig's lead vocal spotlights "Mr. Charlie", "Next Time You See Me" and "Big Boss Man" are, like most of the surroundings of 12/14/71 (and its companion piece), economical and to the point."

Track listing
Disc 1
First set:
"Truckin'" (Jerry Garcia, Phil Lesh, Bob Weir, Robert Hunter) – 9:39
"Sugaree" (Garcia, Hunter) – 7:58
"Beat It On Down the Line" (Jesse Fuller) – 3:27
"Tennessee Jed" (Garcia, Hunter) – 6:52
"El Paso" (Marty Robbins) – 5:10
"Big Railroad Blues" (Noah Lewis, arranged by Grateful Dead) – 4:06
"Jack Straw" (Weir, Hunter) – 5:12
"Deal" (Garcia, Hunter) – 5:20
"Playing in the Band" (Weir, Mickey Hart, Hunter) – 6:56
"Cumberland Blues" (Garcia, Lesh, Hunter) – 5:41
"Me and Bobby McGee" (Kris Kristofferson, Fred Foster) – 6:10
"You Win Again" (Hank Williams) – 3:18
"Mexicali Blues" (Weir, John Perry Barlow) – 3:24
"Casey Jones" (Garcia, Hunter) – 5:46
Disc 2
"One More Saturday Night" (Weir) – 4:39
Second set:
"Ramble On Rose" (Garcia, Hunter) – 6:52
"Sugar Magnolia" (Weir, Hunter) – 7:26
"Cryptical Envelopment" > (Garcia) – 1:59
"Drums" > (Bill Kreutzmann) – 3:35
"The Other One" > (Weir, Kreutzmann) – 10:46
"Me and My Uncle" > (John Phillips) – 3:08
"The Other One" > (Weir, Kreutzmann) – 9:09
"Wharf Rat" (Garcia, Hunter) – 8:34
"Not Fade Away" > (Buddy Holly, Norman Petty) – 8:12
"Goin' Down the Road Feeling Bad" > (traditional, arranged by Grateful Dead) – 7:44
"Not Fade Away" (Holly, Petty) – 3:10
Disc 3
December 14, 1971 Hill Auditorium selections:
"Truckin'" (Garcia, Lesh, Weir, Hunter) – 8:49
"Sugaree" (Garcia, Hunter) – 7:05
"Mr. Charlie" (Ron "Pigpen" McKernan, Hunter) – 4:07
"Beat It On Down the Line" (Fuller) – 3:14
"Loser" (Garcia, Hunter) – 6:25
"Next Time You See Me" (Bill Harvey, Earl Forest) – 4:36
"El Paso" (Robbins) – 4:45
"Big Railroad Blues" (Lewis, arranged by Grateful Dead) – 4:32
"Me and My Uncle" (Phillips) – 3:10
"Run Rudolph Run" (Johnny Marks, Marvin Brodie) – 3:28
"Big Boss Man" (Al Smith, Luther Dixon) – 6:52
"You Win Again" (Williams) – 3:41
"Not Fade Away" > (Holly, Petty) – 7:47
"Goin' Down the Road Feeling Bad" > (traditional, arranged by Grateful Dead) – 7:42
"Not Fade Away" (Holly, Petty) – 2:47
Bonus disc
December 14, 1971 Hill Auditorium selections:
"Jack Straw" (Weir, Hunter) – 5:07
"Tennessee Jed" (Garcia, Hunter) – 7:23
"Black Peter" (Garcia, Hunter) – 9:07
"Playing in the Band" (Weir, Hart, Hunter) – 7:03
"Casey Jones" (Garcia, Hunter) – 6:13
"Mexicali Blues" (Weir, Barlow) – 3:34
"Cryptical Envelopment" > (Garcia) – 1:55
"Drums" > (Kreutzmann) – 3:38
"The Other One" > (Weir, Kreutzmann) – 18:32
"Wharf Rat" (Garcia, Hunter) – 9:07
"Sugar Magnolia" (Weir, Hunter) – 7:20
Notes

Concert set lists

The set lists for the two concerts on Dave's Picks Volume 26 and its bonus disc are quite similar.  The album contains all of the November 17 show and most of the December 14 show.

November 17, 1971 – Albuquerque Civic Auditorium (without Pigpen):

First set: "Truckin'", "Sugaree", "Beat It On Down the Line", "Tennessee Jed", "El Paso", "Big Railroad Blues", "Jack Straw", "Deal", "Playing in the Band", "Cumberland Blues", "Me and Bobby McGee", "You Win Again", "Mexicali Blues", "Casey Jones", "One More Saturday Night"
Second set: "Ramble On Rose", "Sugar Magnolia", "Cryptical Envelopment", "Drums", "The Other One", "Me and My Uncle", "The Other One", "Wharf Rat", "Not Fade Away", "Goin' Down the Road Feeling Bad", "Not Fade Away"

December 14, 1971 – Hill Auditorium (with Pigpen):

First set: "Truckin'", "Sugaree", "Mr. Charlie", "Beat It On Down the Line", "Loser", "Jack Straw", "Next Time You See Me", "Tennessee Jed", "El Paso", "Big Railroad Blues", "Me and My Uncle", "Run Rudolph Run", "Black Peter", "Playing in the Band", "Casey Jones"
Second set: "Ramble On Rose", "Mexicali Blues", "Big Boss Man", "Cryptical Envelopment", "Drums", "The Other One", "Wharf Rat", "Sugar Magnolia", "You Win Again", "Not Fade Away", "Goin' Down the Road Feeling Bad", "Not Fade Away"

 On disc 3
 On bonus disc
 Not included

Personnel
Grateful Dead
Jerry Garcia – guitar, vocals
Keith Godchaux – keyboards
Bill Kreutzmann – drums
Phil Lesh – bass, vocals
Ron "Pigpen" McKernan – organ, harmonica, vocals (disc 3 and bonus disc)
Bob Weir – guitar, vocals
Production
Produced by Grateful Dead
Produced for release by David Lemieux
Associate Producers: Doran Tyson & Ivette Ramos
Recording: Rex Jackson
Mastering: Jeffrey Norman
Art direction, design: Steve Vance
Cover art: Tim McDonagh
Photo: Mary Ann Mayer
Liner notes: David Lemieux

Charts

References

26
Rhino Records live albums
2018 live albums

redpajama_set_name: RedPajamaWikipedia