text:
2nd GRADE – " Hit to Hit "
ANNA B SAVAGE – " A Common Turn "
The KINKS – " Something Else "
JIMI HENDRIX – " The Lulu Show " Broadcast January 1969
Posts Tagged 'The KVB'
The KVB – " Submersion EP "
Posted: July 15, 2020 in MUSIC
Tags: Invada Records, Kat Day, Nicholas Wood, Submersion EP, The KVB, UK
The KVB make brilliant, swirling, immersive guitar and synth based Shoegaze epics, blissful and dreamy and all together amazing. This EP is a fine example of what they do, and a great introduction for those who haven't been lucky enough to already be acquainted with their work. Such a good EP. A must for any KVB fan
Such a good EP. A must for any KVB fan
Nicholas Wood & Kat Day,
Released October 4th 2019,
All songs originally written & recorded by Nicholas Wood & Kat Day (The KVB), in Berlin 2016-2017.
The KVB – " Live at La Cigale " Paris France
Posted: July 2, 2020 in ALBUMS, MUSIC
Tags: France, Kat Day, Live At La Cigale, Nicholas Wood, Paris, The KVB, UK
One night in Paris, a perfect moment preserved and documented for posterity. If you have been lucky enough to see The KVB on their 2019 North American tour, then this live album captures that same energy, that same space perfectly. I very much look forward to being able to see them perform again, but for now "Live at La Cigale" offers a reminder of what we all have to look forward to. The visionary film-maker Christopher Brown delivers a love letter to Berlin in a new short film 'Sehnsucht', the city where the London based brits lived for a year in 2016 and collaborated with the likes of The Brian Jonestown Massacre, The Underground Youth and Neu!, under the Moniker 'Browzan'. The film scored by The KVB gives us an insight into the dark, creative and the freak show that is Berlin. In this film-poem Brown illustrates his experience living in Berlin between 2016-17. Brown uses collage, still photography, video and boomerangs to re-imagine this dirty paradise as a throbbing visual mosaic. The evocative imagery is harmonised by a dark music score composed by the illustrious duo: The KVB (Invada Records)
In 2020, feeling nostalgic in UK lockdown, Brown reminisced over his time in Berlin and wanted to make a piece that captured his experience living there. His concept was to make a film-poem using still photography, boomerangs and collage techniques.
A long time admirer of British audio-visual duo The KVB (Nicholas Wood & Kat Day), Brown reached out to the band to make an original score – they had been wanting to collaborate for a while and finally the opportunity came to being. Having lived in Berlin also, Brown thought the UK duo were the prefect act to generate the atmosphere that Brown's imagery evoked.
'Live at La Cigale' LTD Edition silver vinyl available now exclusively via Invada Records UK. Each vinyl purchase guarantees access to our upcoming 'Dreamspace' live stream concert.
Recorded on the 29th January 2020 live at La Cigale in Paris.
All songs written and performed by The KVB
The KVB – " Submersion " EP
Posted: September 25, 2019 in ALBUMS, MUSIC
Tags: Submersion, The KVB
UK psych/synthwave duo The KVB will be on their North American tour starting very soon in October 11th at San Diego and at the merch table they'll have a new EP, "Submersion", available as a tour exclusive. It features two new songs and remixes, including one by The Holydrug Couple. The EP will also be out digitally on October 4th via Invada Records the sweeping title track which the band say is "a melancholic, romantic and uplifting ode to closing off the distractions and turmoil of the modern world and being alone with the one you love."
The KVB's tour includes a stop at California's Desert Daze and Austin's Levitation festivals
FUZZ CLUB EINDHOVEN Effenaar 23rd-24th August 2019
Posted: March 9, 2019 in FESTIVALS, MUSIC
Tags: 10 000 Russos, Effenaar, Eindhoven, Fuzz Club Records, Iceage, Iguana Death Cult, Kikagaku Moyo, Lumerians, Medicine Boy en Vuelveteloca., Minami Deutsch, Rendez-Vous, Tess Parks, The KVB, the Soft Moon, The Telescopes, The Underground Youth, The Vacant Lots, The Warlocks, Whispering Sons
Fuzz Club, organised by the label of the same name in partnership with Eindhoven Psych Lab, in that city's imperious Effenaar venue, is ostensibly a 'psych fest'. It's a little steelier than most, perhaps – there is more psychedelia of the skull-crushing, motoric and guitar-based variety than there are whacked-out interdimensional synth voyages – but psychedelia it remains.
In the wider world, psych is somewhat on the wane in 2018, having hit a soaring high four or five years ago. In Liverpool, the annual International Festival of Psychedelia – one of Europe's largest – was the undisputed daddy of the Scouse music calendar, a cosmic celebration imbued with a sense of starry-eyed optimism, a friendliness and community spirit.
After last year's Fuzz Club Eindhoven, and before our ears had even stopped ringing, The Fuzz Club promoters began working on round two. Today we're unbelievably excited to share the first seventeen bands who are set to play at FCE19 – taking place once again at the Effenaar over August 23rd-24th. You can find the line-up as it stands as well as a link to early-bird tickets below.
So, topping the bill will be everyone's favourite Japanese mavericks Kikagaku Moyo, who will be bringing their transcendental blend of minimalist psychedelia, Eastern folk and krautrock. Also joining them will be Iceage and their twisted post-punk drawl and The Soft Moon, whose pounding cocktail of industrial, EBM and darkwave will be shaking floors in the early hours.
On top that there will be The KVB's icy synth-pop, the shadowy drone-rock of Tess Parks and shoegazing legends The Warlocks and The Telescopes. Plus further Japanese hypnosis courtesy of Minami Deutsch, synth-punk workouts from Rendez-Vous and droning garage-psych from Alan Vega proteges The Vacant Lots. Oakland cosmonauts Lumerians, Chilean heavyweights Vuelveteloca and South African noise-pop duo Medicine Boy. We'll also be bringing back Berlin post-punk outfit The Underground Youth and Porto krautrockers 10 000 Russos.
Bands for 2019 + more to be announced
Kikagaku Moyo, The Soft Moon, Iceage, The KVB, Tess Parks, The Underground Youth, The Warlocks, The Telescopes, The Vacant Lots, Lumerians , Whispering Sons, Rendez-Vous, Iguana Death Cult, Minami Deutsch, 10 000 Russos, Medicine Boy en Vuelveteloca.
The KVB – " Only Now Forever "
Tags: Invada Records, Kat Day, Only Now Forever, The KVB
We are very pleased to announce that our new album 'Only Now Forever' is officially out now!.
Buy it direct from Invada Records or your local record shop, The last few copies of the limited edition transparent vinyl with black splatter are available via Invada Records, The KVB have released their sixth album, entitled Only Now Forever . Whilst holding evident inspiration from previous times, the sound this London-founded duo present is progressive and distinctly new in every sense. Idyllic at times; gritty in others, each bar is as enchanting as the last, leaving you in a melancholic trance. Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait. Will appeal to fans of Depeche Mode, The Soft Moon, New Order, Nine Inch Nails and My Bloody Valentine.
This week also saw the release of 2 new lyric videos for the album single's 'On My Skin' and 'Afterglow', both made by Kat Day.
In just over 1 week from now, we begin our seven week European album tour.
Taken from 'Only Now Forever' out via Invada Records on the 12th October 2018
THIS WEEKS ESSENTIAL NEW RELEASES Friday 12th October 2018
Posted: October 14, 2018 in ALBUMS, MUSIC, THIS WEEKS ESSENTIAL PURCHASES
Tags: Anna St Louis, Arc Iris, Elvis Costello and The Imposters, Jeff Buckley, John Grant, John Hiatt, Kurt Vile, Small Faces, Spacemen 3, The Beta Band, The Kinks, The KVB, The lucid Dream, The Rolling Stones, Tokyo Police Club
The big records releases from Kurt Vile, John Grant, St Vincent and at last The Lucid Dream plus loads of fantastic reissues from Mute and Dark Entries (that Eric Random is amazing) and the next David Bowie box set. Among new artists with records you should be listening too goes to Anna St. Louis, I have to say that I hadn't heard her before but when I saw the press release compare her to Loretta Lynn, Townes Van Zandt and John Fahey I had to give it a spin. It is sooooooo good. Easily eyeing up a top spot in our albums of the year list. Its one of those records that everyone asks who it is when you hear a song, each track gets better as it goes along until when the album finishes you have just got to stick it straight back on.
I love records that are a surprise and I think you will love it too.
St. Vincent – Masseducation
A year on (to the week) from the release of the critically acclaimed Masseduction album, St. Vincent releases re-imagined piano versions of the album. Performed with Thomas Bartlett over two days in a studio in Midtown Manhattan, August 2017.
Kurt Vile – Bottle It In
Kurt Vile is back with his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around America over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips.
Every song, whether it's a concise and catchy pop composition or a sprawling guitar epic, becomes a journey unto itself, taking unexpected detours, circuitous melodic avenues, or open-highway solos. If Vile has become something of a rock guitar god—a mantle he would dismiss out of humility but also out of a desire to keep getting better, to continue absorbing new music, new sounds, new ideas—it's due to his precise, witty playing style, which turns every riff and rhythm into points on a map and takes the scenic route from one to the next.
Using past albums as points of departure, Bottle It In heads off in new directions, pushing at the edges of the map into unexplored territory: Here be monster jams. These songs show an artist who is still evolving and growing: a songwriter who, like his hero John Prine, can make you laugh and break your heart, often in the same line, as well as a vocalist who essentially rewrites those songs whenever he sings them in his wise, laconic jive-talkin' drawl. He revels in the minutiae of the music— not simply incorporating new instruments but emphasizing how they interact with his guitar and voice, how the glockenspiel evokes cirrocumulus clouds on Hysteria, how Kim Gordon's "acoustic guitar distortion" (her term) engulfs everything at the end of Mutinies, how the banjo curls around his guitar lines and backing vocals from Lucius to lend a high-lonesome aura to Come Again.
John Grant – Love Is Magic
With his fourth solo album, Love Is Magic, Grant has continued evolving, creating his most electronic record yet.
In collaboration with Benge (Ben Edwards), analogue synth expert / collector and a member of electronic trio Wrangler, Grant's collaborators earlier this year under the collective name of Creep Show on the album Mr Dynamite. Anyone familiar with Grant's story will recognise his battles – with addiction and health, with trusting love and relationships. From this turbulence he's forged another riveting collection of often brutal diatribes and confessionals, where humour, fear, anxiety and anger overlap as Grant, with trademark candour, figuratively exposes the machinations of his saturated brain. It's epitomised by the album's brilliant opener Metamorphosis, almost as if his warring psyches are facing up to one another, as impervious synth-pop and brain-on-fire imagery ("Tiki bar, rat soufflé, Buik regal, Marvin Gaye") melts into dream-ballad introspection ("Questions left unanswered, spiritual extortion") and back to synth-backed mania. The magic of love pervades in two gorgeous, magisterial ballads toward the end of the album,Is He Strange and The Common Snipe – referring to the wader bird that makes a unique 'bleating' sound by rubbing its tailfeathers together.
David Bowie – Loving the Alien (1983 – 1988)
The box contains newly remastered versions of David's most commercially successful period Let's Dance, Tonight, Never Let Me Down (Original and 2018 Versions), the live album Glass Spider (Live Montreal '87)', the previously unreleasedSerious Moonlight live album, a collection of original remixes entitled Dance and the non-album / alternate version / b-sides and soundtrack music compilation Re:Call 4. The highlight of this latest box is the brand new production of the 1987 album Never Let Me Down by Bowie producer / engineer Mario McNulty with new instrumentation by Bowie collaborators Reeves Gabrels (guitar), David Torn (guitar), Sterling Campbell (drums), Tim Lefebvre (bass) as well as string quartet with arrangements by Nico Muhly and a guest cameo by Laurie Anderson on Shining Star (Makin' My Love). The seeds of this new reimagining of the albums were first sown in 2008 when David asked Mario McNulty to remix the track Time Will Crawl and record new drums by longtime Bowie drummer, Sterling Campbell along with strings. The track was issued on the iSelect compilation to much acclaim, and in the notes, for that record, David remarked 'Oh, to redo the rest of that album'. The new re-workings have revealed Never Let Me Down as a very strong collection of songs with a dark thematic thread running through them. Fans listening to Never Let Me Down (2018)would be forgiven for thinking that they were listening to a brand new 'lost' Bowie record. Also in each box is the never before released Serious Moonlight live album recorded in Montreal in 1983. Originally mixed at the time by Bob Clearmountain, the double album captures Bowie on what at that time was his most successful tour. The artwork features shots taken by photographer Denis O'Regan. Exclusive to each box is Re:Call 4 and Dance. The former a new compilation featuring remastered contemporary single versions, non-album singles, album edits, b-sides and songs featured on soundtracks such as Labyrinth, Absolute Beginners and When The Wind Blows. Dance features 12 contemporaneous remixes some of which are appearing on CD and vinyl for the first time and is named after an unreleased Bowie remix album that was originally slated for release in November 1985. The box set's accompanying 128 page book features rarely seen and previously unpublished photos by photographers including Denis O'Regan, Greg Gorman, Herb Ritts and many others as well as historical press reviews and technical notes about the albums from producers / engineers Nile Rodgers, Hugh Padgham, Mario McNulty and Justin Shirley-Smith.
11CD – The CD box set includes faithfully reproduced mini-vinyl versions of the original albums, and the CDs are gold coloured rather than the usual silver. Includes 128 Page hardback book. Let's Dance (remastered) (1CD) Serious Moonlight (Live '83) (previously unreleased) (2CD) Tonight (remastered) (1CD) Never Let Me Down (remastered) (1CD) Never Let Me Down 2018(previously unreleased) (1CD)* Glass Spider (Live Montreal '87) (2CD) Dance (1CD)* Re:Call 4(non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (2CD)*
* Exclusive to Loving The Alien (1983-1988)
15LP – LP Box Set includes a 88 Page hardback book. Let's Dance (remastered) (1LP) Serious Moonlight (Live '83) (previously unreleased) (2LP)* Tonight(remastered) (1LP) Never Let Me Down (remastered) (1LP) Never Let Me Down (2018) (previously unreleased) (2LP – side 4 is etched)* Glass Spider (Live Montreal '87) (previously unreleased on vinyl) (3LP)* Dance(2LP)* Re:Call 4 (non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (3LP)*
* Exclusive to Loving The Alien (1983-1988) LP box.
Primal Scream – Give Out But Don't Give Up – The Original Memphis Recordings
In 1993 Primal Scream went to Memphis to make an album with Tom Dowd and the Muscle Shoals rhythm section, that album never saw the light of day, until now. Following the recent discovery of these tracks in a box lurking in Andrew Innes' basement, Primal Scream release the original studio recordings from Memphis of the tracks that eventually became their 1994 album Give Out But Don't Give Up. Teaming up with legendary producer Tom Dowd and the Muscle Shoals rhythm section of David Hood (bass) and Roger Hawkins (drums) at Ardent Studios in Memphis, the resulting recordings from those classic sessions showcase the more country soul, rock'n'roll side to a band who continue to surprise. It's Primal Scream as you've never heard them before. Dowd's deft production, coupled with the merging of this sublime rhythm section and one of the UK's best ever bands, led to the creation of nine glorious tracks that run the gamut between blues, gospel and brilliant songwriting, available for the first time.
Elvis Costello and The Imposters – Look Now
Costello returns with his first new collection of songs since his Wise Up Ghost collaboration with The Roots in 2013. It features The Imposters (bassist Davey Faragher along with original Attractions members, drummer Pete Thomas and keyboardist Steve Nieve). The album was co produced by Costello with Latin Grammys winner Sebastian Krys. Two standout tracks are Under Lime and Unwanted Number. The former is a spry, heavily textured pop rocker with Beatles-esque harmonies and horn arrangements on which Costello sings, "It's a long way down from that high horse you're on." The latter is more low-key and boasts a soul groove and lush backup vocals, which allows Costello to belt lyrics about enduring a sour relationship. "I knew if we could make an album with the scope of Imperial Bedroom and some of the beauty and emotion of Painted From Memory, we would really have something," Costello said in a statement, referring to the 1982 album he recently revisited on the road and his collaboration with songwriter Burt Bacharach. Bacharach co-wrote a few songs on Look Now, and sat in on piano with the Imposters on two of them, Don't Look Now and Photographs Can Lie. Costello wrote another Look Now song, Burnt Sugar Is So Bitter, with Carole King.
Arc Iris – Icon of Ego
Arc Iris releases Icon Of Ego, its third groundbreaking album, as a trio that packs the heft of a far bigger band with fully realized sonic and visual intensity. On this latest album, vocalist / guitarist Jocie Adams, keyboardist / sample artist Zach Tenorio-Miller and drummer Ray Belli have crafted a vividly expressionistic new album that reflects both the group's protean talents as well as its journey of survival. After its self-named 2014 debut on the nti- label, Arc Iris achieved critical acclaim, along with tours with St. Vincent and Jeff Tweedy and festivals like Bonnaroo followed. Within two years, the band self-released Moon Saloon in the US while Bella Union released the album in Europe. Tours supporting Kimbra, Gene Ween, and a complete re-imagination of Joni
Mitchell's Blue performed at Washington's Kennedy Center followed, which added to a growing, international fan base that has remained dedicated throughout.Icon of Ego finds a stronger, more experienced band. Recording at Providence's Columbus Theater, home to silent movies and vaudeville during the '20s, the band has evolved into a concentrated pop-prog explosion, mixing styles with disparate elements that captivate and surprise. With heavy synthesizer work by Tenorio and Adams, and seemingly impossible transitions executed effortlessly by Belli, the songs here carry a thick, analog electronic sound that harks back to the '70s. Presiding over these are Adams' powerful vocals that house the energy under pop forms.
The Lucid Dream – Actualisation
The Lucid Dream return with the release of their 4th album, Actualisation. Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream. Actualisation is soaked in the influence of acid house, amalgamated with dub and kosmische. The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove. Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor. Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz). The confrontational techno-punk of Alone In Fear opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is. Recent single SX1000 (the first work from the album, unveiled via 12′ vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by Ardency, a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'. The 2-part opus of Zenith follows, commencing with a space-dub / house instrumental groove before building into a track that will go for your head as much as your hips. Only Breakdown harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. No Sunlight Dub closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass / jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
Anna St Louis – If Only There Was a River
If Only There Was A River is the first full-length studio album from Anna St. Louis. The songwriter, who originally hails from Kansas City, began writing songs after moving to Los Angeles five years ago and has previously released a cassette of recordings on Woodsist / Mare Records, appropriately titled First Songs. On her proper debut, St. Louis spreads her wings and expands on the promise hinted at on First Songs. To achieve that end, she enlisted Kyle Thomas (King Tuff) and Kevin Morby to produce the album, which was engineered by Thomas in his home in Mount Washington, LA. The collection of eleven songs also features Justin Sullivan (Night Shop) on drums and multi-instrumentalist Oliver Hill (Pavo Pavo). While hints of influences like Loretta Lynn, John Fahey and Townes Van Zandt peek out of the corners of the songs, this album is not a nostalgic affair. Rather it marks the emergence of an artist fully coming into their own.
The KVB – Only Now Forever
The KVB release their sixth album, entitled Only Now Forever via Invada Records. Whilst holding evident inspiration from previous times, the sound this London-founded duo present is progressive and distinctly new in every sense. Idyllic at times; gritty in others, each bar is as enchanting as the last, leaving you in a melancholic trance. Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait. Will appeal to fans of Depeche Mode, The Soft Moon, New Order, Nine Inch Nails and My Bloody Valentine.
Cocteau Twins – Treasure Hiding: The Fontana Years
There was perhaps a sense, after a while, that the world was taking The Cocteau Twins for granted. Late Eighties reviews had routinely described them as The Voice of God, yet 4AD, concerned that we'd get tired of appreciating the rarefied genius which shimmered in front of our noses, would keep reminding us that they were truly special. The irony was that The Cocteaus were themselves evolving, morphing, reconstituting and taking on new shapes. This wasn't widely registered at the time. It can be now, as The Fontana Years demonstrates a musical marvel which still makes your ears feel like they're sucking citrus fruits after years of licking ashtrays, while the rings of Saturn crash-land in your front room. This 4-CD set brings together the two albums the band recorded for Fontana along with B-Sides, EP's, Radio One sessions and the odd rarity. The set was mastered at Abbey Road from the original tapes and approved by Robin Guthrie. Housed in a study box designed by James Issacs – the booklet contains photos a discography from the era as well as a sleeve note by noted author Chris Roberts.
Beta Band – The Three Eps (20th Anniversary Remaster)
Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. After acquiring the Beta Band's catalogue last year, Because Music reissue their releases, with a double vinyl edition featuring the EPs Champion Versions, The Patty Patty Soundand Los Amigos Del Beta Bandidos with remastered tracks and coloured vinyls, to celebrate the 20th anniversary of the 1998 compilation.
Tokyo Police Club – TPC
If the universe had tilted the tiniest bit, there would be no TPC – the not-quite self-titled fourth (and best) Tokyo Police Club album. By 2016, singer-bassist and chief songwriter Dave Monks had settled into life in New York City; he made a solo record and did some co-writing. Drummer Greg Alsop was living and working in L.A. Keyboard player Graham Wright and guitarist Josh Hook remained in the band's native Canada. Tokyo Police Club created songs via e-mail, thinking they had enough natural chemistry and experience to make that setup work. But eventually, the lack of friction meant there was less musical spark, and it dawned on everybody that the end was near. There was resignation, not anger, when Wright, Alsop, and Hook told Monks they were done with the band. After putting aside the idea of splitting up and back-burnering their commercial expectations, there was just one thing left to do: go to church. Specifically a church in rural Ontario, where the foursome could recapture the energy of their early years by playing in a room together. Songs that Monks had written were abandoned when they didn't feel right for this new energy, and TPC started to take shape, built on camaraderie and esprit de corps.
Monks' friends could once again help shape his songs into TPC songs, and the batch that ended up on the record aren't quite like anything they'd done before. Album opener New Blues signals that Tokyo Police Club doesn't need a racing tempo to introduce themselves; Pigs takes a sneering look at record-business politics; Simple Dude is unabashedly horny. Not giving a fuck—or, more accurately, only giving a fuck about those things closest to your heart—paid off. It's the channeling of energy, which flows into every song on TPC, that makes the record their best. They're through being cool, through doubting themselves, and through wasting time on ancillary things. TPC is self-titled, almost, because it's Tokyo Police Club circa 2018—scarred but smarter, fully re-energized.
Peter Holsapple vs Alex Chilton – The Death Of Rock
Newly discovered recordings of early solo Peter Holsapple and Like Flies On Sherbert–era Alex Chilton. Liner notes by Peter Holsapple and author / filmmaker, Robert Gordon. Previously unseen photos from the collections of Peter Holsapple and Pat Rainer. It's 1978 at Sam Phillips Recording Service in Memphis, TN. Peter Holsapple had rolled into town chasing the essence of Big Star. He hooked up with musician / engineer / friend-of-Big-Star, Richard Rosebrough after approaching, and being turned down by, Chris Bell who Holsapple had hoped might be interested in producing him. Together Richard and Peter started laying down tracks during the off hours at the studio. Chilton meanwhile, was knee deep in the making ofLike Flies On Sherbert, also being tracked at Phillips. He told Peter, "I heard some of that stuff you're working on with Richard . . . and it really sucks." Alex promised to come by and show Peter "how it's done." The results? Alex's tracks definitely line up with the chaos found on Flies, while several of Peter's songs found homes on The dB's albums (Bad Reputationand We Were Happy There) and on an album by The Troggs (The Death Of Rock retooled as I'm In Control), so not a loss at all. What we have in these newly discovered tapes, is a fascinating pivot point with both artists moving past each other headed in distinctly different directions. Chilton moved toward punk/psychobilly as he began playing with Tav Falco's Panther Burns and produced The Cramps debut, Songs The Lord Taught Us, within a few months of these recordings. Holsapple was off to New York to audition for The dB's and enter the world of "sweet pop." Liner notes by Peter Holsapple tell the story of these recordings firsthand and author / filmmaker / Memphian, Robert Gordon, helps pull the time and place into focus. Previously unseen photos included in the package are drawn from the collections of Peter Holsapple and Pat Rainer. Produced by Cheryl Pawelski with mastering by Mike Graves at Osiris Studio and Jeff Powell at Take Out Vinyl / Sam Phillips Recording Service in Memphis, who brings it all right back to where it started.
John Hiatt – The Eclipse Sessions
The Eclipse Sessions, John Hiatt's newest album, offers up his strongest set of songs in years. Long celebrated as a skilled storyteller and keen observer of life's twists and turns, Hiatt can get at the heart of a knotty emotion or a moment in time with just a sharp, incisive lyric or witty turn of phrase. The 11 tracks presented in The Eclipse Sessions, from the breezy opener Cry To Meto the stark Nothing In My Heart, the lost-love lamentation Aces Up Your Sleeve to the rollicking Poor Imitation Of God, demonstrate that the singer-songwriter, now 66, is only getting better with age, his guitar playing more rugged and rootsy, his words wiser and more wry. Hiatt goes all in with The Eclipse Sessions. There's a grit to these songs – a craggy, perfectly-imperfect quality that colours every aspect of the performances, right down to Hiatt's vocals, which are quite possibly his most raw and expressive to date. "They ain't pretty, that's for sure," he says about the creaks and cracks that punctuate his phrases in songs like Poor Imitation Of God and One Stiff Breeze. "But I don't mind a bit. All the catches and the glitches and the gruffness, that sounds right to me. That sounds like who I am." The Eclipse Sessions is the sound of an artist not only living in but also capturing the moment.
Spacemen 3 – Forged Prescriptions
Forged Prescriptions is a double album by Spacemen 3, containing alternative takes and demo versions of songs from their album The Perfect Prescription, plus some previously unreleased tracks. In his liner notes
Recorded in Pilton, Somerset, England at the legendary Glastonbury Festival – running nearly 50 years now, since 1970 – on June 24, 1995, this is one of Jeff Buckley's most famous live recordings. Raw, heavy, heartfelt, and deeply emotional, the set is comprised almost entirely of Buckley originals, mostly off of 1994's Grace as well as one unreleased track and an unexpected cover of the MC5. Required live listening for any fan of this great 90s artist gone way too soon, who left only a small but nearly perfect legacy of recorded music.
The Rolling Stones – The BBC Sessions 1963-1965
Amazing early live BBC recordings from The Rolling Stones, even including recordings made before the release of their first record. Essential stuff for any fan of the greatest rock and roll group of all-time, including a ton of their great early R&B and blues cover versions! Including early Stones classic covers like Memphis, TN, It's All Over Now, and Hi-Heel Sneakers, this is a party on wax. Nothing beats early Stones with Mick and Keith wailing and the band as amped up as they ever were! Classic.
Small Faces – The BBC Sessions 1965-1966
Collecting some of their earliest BBC sessions onto one disc this is Steve Marriott and his Small Faces at their absolute rocking R&B rave up best. Featuring classic originals like Watcha Gonna Do About It, E Too D, and Understanding, as well as killer covers of Motown and Otis Redding, this set is guaranteed to get you go-go'ing on the dancefloor. The greatest UK blue eyed R&B group of all-time at their live best.
The Kinks – The BBC Sessions 1964-1967
Spanning tracks from the classic 1964 self-titled debut to their 1967 masterpiece Something Else by the Kinks, this collection features nearly two dozen Kinks klassics, recorded live on the BBC. With stunning sound quality and a near perfect group of songs, hear the Davies Bros and Co. at their live, raw best. From the psych-pop brilliance of David Watts to the foot-pounding R&B of All Day And All Of The Night this collection runs the full spectrum of The Kinks' sound. Essential live cuts from one of the top British Invasion and psychedelic era groups!
This Weeks Releases —-
Anna St. Louis – If Only There Was A River – Woodist
Daniel Brandt – Channels – Erased Tapes (Indie Exclusive)
John Grant – Love Is Magic – Bella Union (Deluxe)
Kurt Vile – Bottle It In – Matador (Indie Exclusive)
Yves Tumor – Safe In The Hands Of Love – Warp
Factory Floor – A Soundtrack For A Film – Heart Of Data (Indie Exclusive)
A Certain Ratio – The Graveyard & The Ballroom – Muts (Indie Exclusive)
Silicon Teens – Music For Parties – Mute
William Basinski & Lawrence English – Selva Oscura – Temporary Residence (Indie Exclusive)
Goatman – Rhythms – Rocket Recordings (Indie Exclusive)
Groundhogs – Blues Obituary – Fire Records (Indie Exclusive)
The Fall – I Am Kurious Orange – Beggars Banquet
Eric Random – A Boy Alone – Dark Entries
Talking Drums – Courage – Dark Entries
Cyrnai – To Subtle Drive – Dark Entries
Tess Parks & Anton Newcombe – Tess Parks & Anton Newcombe – A Recordings
Holger Czukay – Rome Remains Rome – Gronland
Holger Czukay – Der Osten Ist Rot – Gronland
Haley – Pleasureland – Memphis Industries (Indie Exclusive)
Exek – A Casual Assembly – Superior Viaduct
The KVB – " On My Skin "
Tags: Berlin, Invada Records, Kat Day, Nicholas Wood, Only Now Forever, The KVB
The KVB are gearing up to the release of their sixth album, entitled 'Only Now Forever', which will be released October 12th via Invada Records.
The band have now shared new single "On My Skin" which the band describe as "the most openly romantic track on our new album". They go on to explain "It's a song that deals with the glowing anticipation of new relationships and the uncertainty and optimism whilst falling in love. How people have a presence even when they are not present, and how memories can linger and infatuate your mind. Treading the lines between euphoria and melancholia, it also recognises that in these delicate beginnings, nothing can last forever."
After intense touring their 2016 release 'Of Desire', The KVB returned to their home to further immerse themselves in sonic experimentation. The resulting Only Now Forever heralds the next chapter in the adopted-Berliners dark, electronic pop development. "On our new album we wanted to take everything we had learned in the studio recording our last album and apply it to self-producing this album," explains the band. Recorded entirely in their Berlin apartment throughout 2017 the band decided they wanted to take a freer approach to writing and recording. "In the past, we had always tried to restrict ourselves productions wise, to what was possible to play live as a duo, but this time we wanted to expand our compositions and instrumentation, and let the atmosphere dictate the layers of sound."
Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait. "For us it is an album of contrasts: light yet dark, uplifting yet melancholic, romantic yet unsettling."
The ethereal cover ,mirrors dreamy songs such as 'Live In Fiction', 'Cerulean' and 'Violet Noon' – the latter a romantic ode to the apocalypse. In reaction to the anxieties of now, there are more aggressive moments on the album, such as the title track 'Only Now Forever' and the single 'Above Us', a driving defiance against modern life. Dark and seductive tracks like 'Afterglow' & 'Into Life' show the influence being in Berlin has had on making the album, a place that has been their home for the past four years.
The duo will take Only Now Forever on the road across the UK and Europe following the October release.
The KVB – " Above Us / White Walls " Invada Extended Mix
Tags: Invada Records, Kat Day, Nicholas Wood, Only Now Forever, The KVB
The KVB release their 6th album to date entitled 'Only Now Forever'.
This is the ltd edition mail order exclusive variant, pressed on 2 x transparent natural vinyl with heavy black splatter. This is limited to 300 copies only!, The records come housed in a spined sleeve with beautiful artwork, and digital download card included.
After intense touring their 2016 release 'Of Desire', The KVB returned to their home to further immerse themselves in sonic experimentation. The resulting Only Now Forever heralds the next chapter in the adopted-Berliners dark, electronic pop development.
"On our new album we wanted to take everything we had learned in the studio recording our last album and apply it to self-producing this album," explains the band. Recorded entirely in their Berlin apartment throughout 2017 the band decided they wanted to take a freer approach to writing and recording. "In the past, we had always tried to restrict ourselves productions wise, to what was possible to play live as a duo, but this time we wanted to expand our compositions and instrumentation, and let the atmosphere dictate the layers of sound."
Whilst holding evident inspiration from previous times, the sound this London-founded duo present is progressive and distinctly new in every sense. Idyllic at times; gritty in others, each bar is as enchanting as the last, leaving you in a melancholic trance. Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait.
Full EP released on Invada Records 19/05/2017
The KVB – " Above Us "
Tags: Invada Records, Only Now Forever, The KVB
We're very pleased to announce that our new album 'Only Now Forever' will be released on the 12th October 2018 on LP / CD / Digital / Cassette via Invada Records.
The new video for the album's first single 'Above Us', directed by Alden Volney, which recently premiered on Clash Magazine, Whilst holding evident inspiration from previous times, the sound this London-founded duo present is progressive and distinctly new in every sense. Idyllic at times; gritty in others, each bar is as enchanting as the last, leaving you in a melancholic trance. Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait, and will appeal to fans of Depeche Mode, The Soft Moon, New Order, Nine Inch Nails, and My Bloody Valentine.
Taken from The KVB's forthcoming album 'Only Now Forever'. Released on Invada Records on all formats October 12th 2018.


text:
Music Box je čtvrté řadové album Američanky Mariah Carey. Album bylo vydáno v roce 1993 a pracuje na něm se svým dvorním producentem Babyfacem. Řadí se mezi nejlépe prodávaná alba historie hudby.

První singl Dreamlover se stal prozatím jejím nejúspěšnějším na americkém kontinentě a píseň Without You se stala prvním singlem, kterým dobyla Mariah Velkou Británii.

Album vyneslo zpěvačce dvě nominace Grammy Awards. Jednu v roce 1994 za píseň Dreamlover a druhou v roce 1995 za píseň Hero.

Seznam písní
 "Dreamlover" – 3:53
 "Hero"– 4:19
 "Anytime You Need a Friend"– 4:25
 "Music Box" – 4:57
 "Now That I Know" – 4:19
 "Never Forget You" – 3:46
 "Without You" – 3:36
 "Just to Hold You Once Again" – 4:00
 "I've Been Thinking about You" – 4:48

Bonusy
 "Everything Fades Away" – 5:25 (Evropa, Austrálie, Asie)
 "Do You Think of Me" – 4:45 (Kanada)
 "Héroe" – 4:19 (Latinská Amerika, Španělsko

Umístění ve světě

Alba Mariah Carey
Alba z roku 1993
Alba v angličtině
Alba Columbia Records

redpajama_set_name: RedPajamaWikipedia


All of us here at Review Kings are proud to present you with a great new service dedicated to bringing you the best reviews for Tips For Training. whatever you like, our crack team of researchers will bring you up to date, quality data concerning the latest trends in Tips For Training, keeping you a step beyond the competition. We're certain you'll be content with our reviews and eagerly await your feedback on the quality and efficiency of this new service.


This text explores the central role of prayer in the history and psychology of religion through the ages, from ancient indigenous prayer rituals to large-scale public worship. It includes coverage of prayer in philosophy, mysticism, in prophetic religion and in public worship.
Friedrich Heiler was a German scholar of religion, writing during and after the First World War. He was a major player in the move to ecunmenicism.


text:
Q: django-filters BaseInFilter with CharFilter returns no results when empty with django-rest-framework I'm using django-taggit for tags, so it's essentially just a m2m relationship.
The following lets me filter tags with a comma-separated string.
However, the browsable API with django-rest-framework submits empty filter parameters, and &tags= with no corresponding values is filtering out ALL results. Have I done something wrong below? Or is this an issue with the browsable API?
class TagsFilter(django_filters.filters.BaseInFilter, django_filters.filters.CharFilter):
    pass

class NuggetFilter(filters.FilterSet):
    tags = TagsFilter(name="tags__name", distinct=True)

A: This is a bug in django-filter (pull request). The CSV widget is parsing the blank value as a list containing one empty string, [''] instead of an empty list. The value isn't technically empty, so it passes the filter's empty check, resulting in the following query:
Nugget.objects.filter(tags__name__in=[''])

To get around this in the short term, you can override the filter method like so:
class TagsFilter(django_filters.filters.BaseInFilter, django_filters.filters.CharFilter):

    def filter(self, qs, value):
        if value == ['']:
            return qs
        return super(TagsFilter, self).filter(qs, value)

redpajama_set_name: RedPajamaStackExchange


text:
2nd December 2022 22nd January 2023 mathew carr
Emerging Countries' Bid to Hold Right to Revoke UN Carbon Market Deals Will Backfire: IETA Chair (1)
By Mathew Carr
Dec. 2, 2022 — The private sector won't participate so much in carbon-cutting projects if nations can revoke permission to trade, according to Lisa DeMarco, chair of the International Emissions Trading Association, the industrial group.
Because talks in Sharm el-Sheikh led to only small improvements in the rules of carbon markets being created under the Paris climate deal, there will only be a limited increase in investment flowing to emission-cutting deals in 2023 vs 2022 incentivized by those rules.
"You will not mobilise the finance and investment that you need to mobilise, if in fact authorizations are revocable," Demarco said on this Gold Standard webinar.
She urged lawmakers and participants to seek new carbon markets that create a currency. Once a new "dollar bill" has been issued under that currency, it should not be able to be ripped up, unless there is crime attached to its creation such that it is counterfeit, she said.
Source: Gold Standard. Link above. DeMarco, top left. Crook, top right
The push to make authorisations revocable was apparently from the Like Minded Group of Developing Countries negotiating group, which includes oil producers, and the Africa Group, DeMarco said. (See chart below)
A currency of the Paris climate deal is known as an ITMO — Internationally Transferred Mitigation Outcome. Carbon credits not authorized for trade can also be created under the rules and potentially claimed by corporations with net-zero targets.
People including the private sector can comment on UNFCCC rules through March 15. The issue will be discussed under a workplan through 2023.
Following the Sharm talks, there is a risk that an "unauthorized" carbon market will be created that's loosely regulated and will run "in parallel" to markets that are to be better regulated under UN supervisory bodies being set up and those under existing standards that already exist such as Gold Standard and Verra in the voluntary carbon markets, DeMarco said.
See the 34 page document from the INTERNATIONAL ORGANIZATION OF SECURITIES COMMISSIONS for download, below, for your convenience. This push by IOSCO dovetails with the continued UNFCCC negotiations.
CarrZee comment: It's puzzling why this lawmaking / rulemaking is happening only now, seven years after the Paris climate deal was struck.
Another issue slowing agreement at Sharm was determining how much information on carbon trades, if any, could be kept confidential from the public.
The rules as they stand may allow a country to say all its carbon market information is confidential and the rules would not even require it to say why, according to Jonathan Crook, a carbon market expert at Carbon Market Watch, an environment group that followed the Article 6 negotiations in Sharm. See notes below. He was also speaking on the webinar.
Negotiation Groups
IOSCO
co2-iosco-IOSCOPD718Download
Carbon Market Watch
Lacklustre COP27 fails to bring clarity to carbon markets
Human rights in climate action, Carbon dioxide removals, Greenwashing, Global markets
Author: Khaled Diab
The Sharm el-Sheikh climate conference's final agreement on Article 6 opens the door to secret carbon market deals between countries with little oversight. On a positive note, a new type of carbon credit could help spell the end of offsetting, but the agreement falls far short of what is needed. This glacial progress occurred against the backdrop of continuing emissions growth, a landmark decision to set up a Loss and Damage Fund to support vulnerable countries affected by the climate crisis, and human rights violations in the host country.
The world must halve carbon pollution within just eight years to keep temperature rises within the relatively safe 1.5°C margin, yet, as countries attending COP27 in Sharm el-Sheikh learned last week, global emissions are set to rise by 1% this year.
This news should have focused the minds of the heads of states and delegates attending the climate conference on the urgent need to speed up deep and meaningful emissions reductions, yet there was little to no movement on reducing humanity's collective carbon footprint.
Carbon Market Watch came to Sharm el-Sheikh to ensure that the carbon markets under Article 6 agreed on at COP26 in Glasgow are designed and governed in such a way that they help tackle the climate crisis and benefit local and indigenous communities.
Two weeks of international talks at COP27 in Egypt delivered glacial progress on global carbon market rules, with major sticking points relating to transparency, carbon removals and the risk of opening up the new global markets to corporate greenwashing through double-counted offsets.
"Instead of agreeing on carbon markets with exemplary transparency, robust governance, and stringent accounting provisions, governments did not rule out arbitrary secrecy and weak oversight," said CMW's Policy Director Sam Van den plas. "The carbon market spirit of Glasgow turned into the offsetting ghost of Sharm-el-Sheikh, which risks haunting effective climate action for years to come."
Shrouded in secrecy
One area of serious concern is that the rules agreed will allow countries to designate any type of information as confidential, without even requiring a justification. This is a licence to keep market activity secret for the least ambitious actors who seek to meet their climate targets with accounting tricks rather than real action.
While countries will take this up next year again, they will likely be limited to talking about how to review confidential information. This is a far cry from actually limiting the amount of information that can be deemed confidential.
"Rather than clarifying the ambiguity surrounding conditions for 'confidentiality' in country-to-country carbon credit trades, the poor outcome at Sharm el-Sheikh failed to establish any meaningful guardrails," said Jonathan Crook, a CMW expert on global carbon markets. "This transparency loophole risks being exploited by countries seeking to shroud their emission trades in secrecy. If a country wants to be clandestine about their engagement in Article 6.2 bilateral agreements and carbon credit trades, they now have a free pass to do so."
The spectre of double counting
In a bid to tame the Wild West of voluntary carbon markets, which are rife with cheap low-quality credits, negotiators at least agreed to establish a new type of Article 6 carbon credit known as a "mitigation contribution" unit, i.e. one that is not directly recognised as a sale of an emission reduction by a country, and hence not accounted for as such by the country. These credits represent emission reductions (or removals) that are counted towards the host country's climate target, and using these credits towards any other emissions target would amount to double counting.
"COP27 has given an official status to the concept of a 'contribution' to climate action. This is a real alternative to using carbon credits to offset emissions. This decision is a clear signal that when emission reductions are counted by a country, they should not also be claimed by a company through the purchase of a carbon credit." said Gilles Dufrasne, CMW's lead on global carbon markets. "Companies could frame their purchase of these credits as contributions to domestic mitigation, but must not make misleading offset claims."
When a removal is not a removal
The Supervisory Body charged with designing and regulating the global carbon market governed by Article 6.4 set out to define carbon removals for their future eligibility as credits. However, it defined them so vaguely that, had this definition been adopted, it would have enabled approaches that do not remove greenhouse gases from the atmosphere or that store them temporarily – such as carbon capture and storage, carbon capture and utilisation, or a broad category of products – to be erroneously classed as removals.
Thanks to concerted and determined pressure from civil society, governments relented and decided to delay discussion of removal activities to next year's COP28. This is a welcome outcome, since the body that came up with the definition did not have sufficient time to devote to the very complex issue of removals. However, countries rejected an earlier proposal to include a clear reference to human rights in the mandate for future work, which is troubling and a step back from last year's agreement.
"Creating carbon credits from removal activities is a major risk, and it is not surprising that the body tasked with providing guidance on this failed to do so in the few weeks they had to work on the issue," noted Dufrasne. "It is a wise decision to take a step back and rework the proposed text. Had it been adopted, it would have opened the door to the unbridled creation of dodgy carbon credits from removal activities that might not create any removals at all. The work on this is only starting, and there will be many hurdles to overcome before any activity can credibly generate carbon removal credits under the UNFCCC."
Previous Gold Standard on Article 6: Rulemaking slowed by tricky concepts
Next Judicial persecution of Assange shows failure to follow due process: Dad's Video
Carbon Seen as a Liability and How it Might Help Save the Climate - CarrZee Carbon says:
9th January 2023 at 3:48 pm
[…] Emerging Countries' Bid to Hold Right to Revoke UN Carbon Market Deals Will Backfire: IETA Cha… This IOSCO consultation through next month below asks questions about how companies should communicate around the use of carbon credits ……………………please respond to the consultation if you can. IOSCOPD718Download […]

redpajama_set_name: RedPajamaCommonCrawl


200 stock photos, vectors, and illustrations are available royalty-free.
PITTSBURGH, PA - NOVEMBER 5: Former President Bill Clinton poses with attendees of a rally while campaigning for Barack Obama in Pittsburgh, PA on November 5, 2012.
PITTSBURGH, PA - NOVEMBER 5: Former President Bill Clinton campaigns for Barack Obama on the eve of the election at Market Square in Pittsburgh, PA on November 5, 2012.
BEAVER, PA - AUGUST 29: Sen. Barack Obama campaigns in Beaver, PA, on August 29, 2008.
PITTSBURGH, PA - SEPTEMBER 12: Actor Taylor Lautner visits the sidelines prior to the Pittsburgh Steelers / Atlanta Falcons football game at Heinz Field in Pittsburgh, PA on Sept. 12, 2011.
PITTSBURGH, PA - NOVEMBER 6: Presidential candidate Mitt Romney emerges from his plane on election day during a brief stop in Pittsburgh, PA on November 6, 2012.
PITTSBURGH, PA - SEPTEMBER 12: Actor Taylor Lautner and Abduction co-star Lily Collins visit the sidelines prior to the Pittsburgh Steelers / Atlanta Falcons football game at Heinz Field in Pittsburgh, PA on Sept. 12, 2010.
PITTSBURGH, PA - AUGUST 15: Actor Taylor Lautner visits the sidelines prior to the Pittsburgh Steelers / Atlanta Falcons football game at Heinz Field in Pittsburgh, PA on August 15, 2011.
WASHINGTON, PA - AUGUST 30: Sen. John McCain and running mate Sarah Palin campaign in Washington, PA, on August 30, 2008.
WASHINGTON, PA - AUGUST 30: Senator John McCain waves to a crowd during a campaign visit to Washington, PA, August 30, 2008.
WASHINGTON, PA - AUGUST 30: Vice Presidential candidate Sarah Palin and her family campaign in Washington, PA, August 30, 2008.


"When they're fresh, their exoskeletons don't get stuck in your teeth."
Reading this article about eating bugs as a greener substitute to animal meat in the Atlantic almost made me swear off food for good. Intellectually, I know that there's probably nothing wrong with insect-sourced protein and I'm ready to believe people who've eaten them that they can be tasty is cooked right, but my poor evolved brain has innate reflexes that make me feel queasy at the idea of putting these things in my mouth. Maybe if I had been used to eating bugs from childhood things would be different? But I'm curious to know if you're the same. Would you eat bugs just because they're a greener source of food? Please vote in the poll below and leave a comment to tell us what you think of having garlic mealworm for dinner.
Get your friends and family to vote too. I'm curious to know what all kinds of people think about this, not just die-hard treehuggers!


I'm very excited to announce the release of my next children's book entitled "Three Wise Mice." It is available now on Amazon and other outlets.
You may follow this link to order your copies.
My daughter, Aimee, helped to bring the story to life with her cover art and her pen and ink illustrations in the book.
For as long as I can remember, I have loved Christmas and Christmas stories. To this day, I'm still that wide-eyed kid taking in all the lights, colors, aromas and sounds of the season. It doesn't take much to pluck my heart strings and put a lump in my throat.
I've found that my imagination has an uncanny way of casting a different light on profound truths and actual events. It gives me a pathway to place myself in times and situations I wasn't privileged to experience. I can enter a world of talking animals and impossible scenarios and for a moment be swept away to another world. It provides me a unique framework to strengthen my grasp of the truth as I view it from the innocent eyes of a child.
So, take an imaginary journey with me back 2000 years or so. Allow yourself to identify with the smaller creatures who lived among the humans during this time of exceptional wonder. Hear the voice of the angel and the massive choir that joined him in the pronouncement of the Messiah's birth. Sense the irresistible draw of the Baby in the manger and join me and the others as we make our way down the road to Bethlehem.
It is my desire that this will be a story that your young children, grandchildren, nieces or nephews will enjoy reading or to have read to them this Christmas season.
It was a cool, brisk night outside the little village of Bethlehem—the City of David as it was called. The air was clear and you could see the glow of the shepherd's campfires on distant hills, surrounding the sleepy town. With all the visitors coming in for the census, it had been a busy day for the townspeople. Things were finally quieting down and lights were going out, one by one.
On the hillside, the field mice were scurrying to and fro, darting from one hole to another. They were always busy, but who knows about what. The shepherds were telling stories about the days long ago when God had appeared to Moses and the prophets. And what great stories they were!
Suddenly the night sky burst open with Light!
The Light was so bright it seemed as if the whole hillside was glowing along with the rocks, the trees and the sheep. The shepherds, who belonged to these sheep, were all face down on the ground with their hands clasped around their heads, as if that could protect them from the blinding Light.
No one moved! From somewhere in the Light, a thunderous, yet soothing, voice said, "Don't be afraid." Still no one dared to look! "I bring you great news that will bring joy to many people! The Savior, the Messiah, has been born tonight in Bethlehem!" A few of the shepherds slowly lifted their heads, squinting in the dazzling brilliance of it all.
The rest of the shepherds were looking by now, then . . .
"Y-y-yes! So it wasn't a dream!" another answered cautiously.
"What should we do," whispered yet another?
"GO TO BETHLEHEM!" shouted the first. The other shepherds immediately fell back to the ground, afraid such an outburst might crack the sky open again.
When nothing happened, they all agreed that they should make their way to Bethlehem. They snuffed out their fire, threw some provisions on their wool wagon and off they went.
Zechariah and Matthew, a couple of field mice, had seen and heard it all.
"Oh, every other night, or so. NO-O-O! Where do you think this is, Moses' Mountain?
Nathan, a third little mouse, was standing beside them. He had not moved a muscle or even blinked since the Light flooded the hillside.
"Hey, look!" Matt stated matter-of-factly as he pointed down the hill.
The shepherds were already quite far down the path that led to the village. Their voices and the light from their lanterns grew fainter as they scrambled along the way.
"The wool wagon!" Nat exclaimed in horror.
Now you may wonder why a mouse would be so upset over a wagon. You see, just for the fun of it, the mice would often catch a ride into town in this wagon. The shepherds used it to carry their wool to market. But now, the mice had missed their ride!
The hillside was quiet now—and dark. A million stars winked back at them as they gazed up into the vast sky. It was only a few miles into Bethlehem, but for the mice, with their little legs, it just as well have been a hundred.
"You really think we should go?" questioned Matt.
"What!" Zack snapped and glared at him. Matt never did anything Zack said was dumb, and Zack wasn't used to Matt thinking for himself.
Zack's mouth was still open, and, for once, he was at a loss for words. He just gave a disgusted grunt and walked away.
"Hey, Zack! Come on!" Nat pleaded. Zack just kept walking and didn't even look back.
Well, there you go. Hope it makes you want to hear the rest of the story. please, head over to the store to get your copies in time for Christmas.


CRG Plumbing & Maintenance Pty Ltd : Campbelltown Chapter : Southwest Networking Group Inc.
"Bringing Honesty & Quality Back"
Thank you to CRG for the professional workmanship, advice and service in connecting two outdoor taps at our place. I could not fault the professionalism of all the staff we dealt with at CRG Plumbing and would highly recommend them to anyone in need of a plumber.
Thank you to Cameron for organising to fix an issue we were having with our shower. Great service and advice. I would highly recommend Cameron and his team if you are in need of an experienced plumber.
If you need quick, reliable & honest plumber you can\'t go past Cameron from CRG Plumbing. Called him early yesterday for a hot water leak. Job done by mid afternoon. Great service. Highly recommended!


text:
Man in 60s Killed After Tree Falls Onto His Car in Briarwood: NYPD
(Victor Amenze via Unsplash)
Aug. 4 2020, By Michael Dorgan
A man was killed after a tree fell onto his car in Briarwood during Tropical Storm Isaias Tuesday.
The man, who is believed to be in his 60s, was sitting in his parked car on the corner of Smedley Street and 84th Avenue at around 2.10 p.m. when the massive tree came crashing down, police said.
The tree landed on top of his white-colored vehicle. Cops said the man died at the scene.
The man's name has not yet been released pending family notification. No other details were released by police.
Minutes later a woman in Brooklyn was critically injured when a tree fell and struck her in the head outside the Tilden Houses in Brownsville, police said.
The woman was walking outside 340 Dumont Avenue when the accident happened at around 2:12 p.m. police said.
Police said she is unlikely to survive from her injuries.
Tropical Storm Isaias battered the city with torrential rains and high winds Tuesday afternoon, toppling many trees and causing power outages.
The winds in New York Harbor sustained nearly 60 miles per hour, with gusts up to 75 miles per hour, according to the National Hurricane Center.
The MTA suspended above-ground subway services for a period of time as trees and other debris fell onto tracks in several locations in Queens, Brooklyn and the Bronx, the MTA stated.
Man dead, woman injured by falling trees in NYC amid Tropical Storm Isaias https://t.co/7AYG7qWtuo pic.twitter.com/CJiLn65utS
— New York Post (@nypost) August 4, 2020


text:
Q: jQuery: mouse following element wont stick with cursor when scrolling I have a small problem and I can't get it to fix.
I developed a element that is following the cursor and way it needs to function is that the border around the cursor needs to stick with the position of the cursor. But the problem I've got right now is that it won't stick when scrolling down.
You can check at the demo below what I mean.
The problem seems that it is not correctly checking the height of the page, thats why its not correctly positioning. Am I right?
const windowW = window.innerWidth;
const windowH = window.innerHeight;
const maxLength = Math.max(windowW, windowH);

const cursorWidth = 100;
const cursorR = cursorWidth >> 1;
const cursorDelay = 10;

const buttons = Array.from(document.querySelectorAll('.border-button'));

const cursor = {
    el: document.querySelector('.border-cursor'),
    x: windowW >> 1,
    y: windowH >> 1,
    scaleX: 1,
    scaleY: 1,
};

const target = {
    x: windowW >> 1,
    y: windowH >> 1,
    width: cursorWidth,
    followMouse: true,
};

const norm = (val, max, min) => (val - min) / (max - min);
const toDegrees = r => r * (180 / Math.PI);
const distanceBetween = (v1, v2) => Math.sqrt((v1.x - v2.x) * (v1.x - v2.x) + (v1.y - v2.y) * (v1.y +- v2.y));

const loop = () => {
    const destX = target.x - cursorR;
    const destY = target.y - cursorR;

    const newX = cursor.x + ((destX - cursor.x) / cursorDelay);
    const newY = cursor.y + ((destY - cursor.y) / cursorDelay);
    const angle = angleBetween(cursor.x, cursor.y, newX, newY);

    if (target.followMouse) {
        const distance = Math.abs(distanceBetween(target, cursor));
        const scale = norm(distance, maxLength, cursorR);
        cursor.scaleX = 1 + scale;
        cursor.scaleY = 1 - scale;
    } else {
        const targetScale = target.width / cursorWidth;

        cursor.scaleX += (targetScale - cursor.scaleX) / (cursorDelay / 2);
        cursor.scaleY = cursor.scaleX;
    }

    cursor.x = newX;
    cursor.y = newY;

    cursor.el.style.transform = `translate(${cursor.x}px, ${cursor.y}px) rotate(${toDegrees(angle)}deg) scale(${cursor.scaleX}, ${cursor.scaleY})`;

    requestAnimationFrame(loop);
};

const angleBetween = (x1, y1, x2, y2) => Math.atan2(y2 - y1, x2 - x1);

const onPointerMove = (e) => {
    if (!target.followMouse) {
        return;
    }

    const pointer = (e.touches && e.touches.length) ? e.touches[0] : e;
    const { clientX: x, clientY: y } = pointer;

    target.x = x;
    target.y = y;
};

const onPointerOver = (e) => {
    const btn = e.target;
    const rect = btn.getBoundingClientRect();

    target.followMouse = false;
    target.x = rect.left + (rect.width >> 1);
    target.y = rect.top + (rect.height >> 1);

    target.width = Math.max(rect.width, rect.height) + 50;
};

const onPointerOut = () => {
    target.followMouse = true;
    target.width = cursorWidth;
};

document.body.addEventListener('mousemove', onPointerMove);
document.body.addEventListener('touchmove', onPointerMove);

buttons.forEach((btn) => {
    btn.addEventListener('touchstart', onPointerOver);
    btn.addEventListener('mouseover', onPointerOver);

    btn.addEventListener('touchend', onPointerOut);
    btn.addEventListener('mouseout', onPointerOut);
});

loop();

const windowW = window.innerWidth;
const windowH = window.innerHeight;
const maxLength = Math.max(windowW, windowH);

const cursorWidth = 100;
const cursorR = cursorWidth >> 1;
const cursorDelay = 10;

const buttons = Array.from(document.querySelectorAll('.border-button'));

const cursor = {
 el: document.querySelector('.border-cursor'),
 x: windowW >> 1,
 y: windowH >> 1,
 scaleX: 1,
 scaleY: 1,
};

const target = {
 x: windowW >> 1,
 y: windowH >> 1,
 width: cursorWidth,
 followMouse: true,
};

const norm = (val, max, min) => (val - min) / (max - min);
const toDegrees = r => r * (180 / Math.PI);
const distanceBetween = (v1, v2) => Math.sqrt((v1.x - v2.x) * (v1.x - v2.x) + (v1.y - v2.y) * (v1.y +- v2.y));

const loop = () => {
 const destX = target.x - cursorR;
 const destY = target.y - cursorR;

 const newX = cursor.x + ((destX - cursor.x) / cursorDelay);
 const newY = cursor.y + ((destY - cursor.y) / cursorDelay);
 const angle = angleBetween(cursor.x, cursor.y, newX, newY);

 if (target.followMouse) {
  const distance = Math.abs(distanceBetween(target, cursor));
  const scale = norm(distance, maxLength, cursorR);
  cursor.scaleX = 1 + scale;
  cursor.scaleY = 1 - scale;
 } else {
  const targetScale = target.width / cursorWidth;

  cursor.scaleX += (targetScale - cursor.scaleX) / (cursorDelay / 2);
  cursor.scaleY = cursor.scaleX;
 }

 cursor.x = newX;
 cursor.y = newY;

 cursor.el.style.transform = `translate(${cursor.x}px, ${cursor.y}px) rotate(${toDegrees(angle)}deg) scale(${cursor.scaleX}, ${cursor.scaleY})`;

 requestAnimationFrame(loop);
};

const angleBetween = (x1, y1, x2, y2) => Math.atan2(y2 - y1, x2 - x1);

const onPointerMove = (e) => {
 if (!target.followMouse) {
  return;
 }

 const pointer = (e.touches && e.touches.length) ? e.touches[0] : e;
 const { clientX: x, clientY: y } = pointer;

 target.x = x;
 target.y = y;
};

const onPointerOver = (e) => {
 const btn = e.target;
 const rect = btn.getBoundingClientRect();

 target.followMouse = false;
 target.x = rect.left + (rect.width >> 1);
 target.y = rect.top + (rect.height >> 1);

 target.width = Math.max(rect.width, rect.height) + 50;
};

const onPointerOut = () => {
 target.followMouse = true;
 target.width = cursorWidth;
};

document.body.addEventListener('mousemove', onPointerMove);
document.body.addEventListener('touchmove', onPointerMove);

buttons.forEach((btn) => {
 btn.addEventListener('touchstart', onPointerOver);
 btn.addEventListener('mouseover', onPointerOver);

 btn.addEventListener('touchend', onPointerOut);
 btn.addEventListener('mouseout', onPointerOut);
});

loop();
html,
body {
  margin: 0;
  padding: 0;
}

.wrapper {
  width: 100vw;
  min-height: 1500px;
  display: flex;
  flex-direction: row;
  align-items: center;
}

.container {
  width: 100%;
  display: flex;
  padding: 0 1rem;
}

.cursor {
  position: absolute;
  z-index: 10;
  width: 100px;
  height: 100px;
  border: 2px solid #23bfa0;
  border-radius: 50%;

  pointer-events: none;
}

.button {
  padding: 1rem;

  background-color: #23bfa0;
  border: none;
  box-shadow: 0 0 7px 0px rgba(0, 0, 0, 0.2);

  color: white;
  font-size: 1.2rem;

  cursor: pointer;

  transition: box-shadow 0.1s ease-in, transform 0.1s ease-in;

  &--small {
    padding: 0.75rem;
    font-size: 0.75rem;
  }

  &:hover {
    transform: translate(0%, -2px);
    box-shadow: 0px 4px 9px 2px rgba(0, 0, 0, 0.2)
  }
}

    <button class="button button--small border-button">small</button>
    <button class="button border-button">hover me</button>
    <button class="button border-button">hover me more</button>

A: In onPointerMove, try replacing:
const { clientX: x, clientY: y } = pointer;

with:
const { pageX: x, pageY: y } = pointer;

Here's a good post explaining the differences between these values:
https://stackoverflow.com/a/9335517/965834
Also, change:
target.x = rect.left + (rect.width >> 1);
target.y = rect.top + (rect.height >> 1);

into:
target.x = window.scrollX + rect.left + (rect.width >> 1);
target.y = window.scrollY + rect.top + (rect.height >> 1);

This takes into account scrolling when calculating the position of your buttons.
Demo:

const windowW = window.innerWidth;
const windowH = window.innerHeight;
const maxLength = Math.max(windowW, windowH);

const cursorWidth = 100;
const cursorR = cursorWidth >> 1;
const cursorDelay = 10;

const buttons = Array.from(document.querySelectorAll('.border-button'));

const cursor = {
 el: document.querySelector('.border-cursor'),
 x: windowW >> 1,
 y: windowH >> 1,
 scaleX: 1,
 scaleY: 1,
};

const target = {
 x: windowW >> 1,
 y: windowH >> 1,
 width: cursorWidth,
 followMouse: true,
};

const norm = (val, max, min) => (val - min) / (max - min);
const toDegrees = r => r * (180 / Math.PI);
const distanceBetween = (v1, v2) => Math.sqrt((v1.x - v2.x) * (v1.x - v2.x) + (v1.y - v2.y) * (v1.y +- v2.y));

const loop = () => {
 const destX = target.x - cursorR;
 const destY = target.y - cursorR;

 const newX = cursor.x + ((destX - cursor.x) / cursorDelay);
 const newY = cursor.y + ((destY - cursor.y) / cursorDelay);
 const angle = angleBetween(cursor.x, cursor.y, newX, newY);

 if (target.followMouse) {
  const distance = Math.abs(distanceBetween(target, cursor));
  const scale = norm(distance, maxLength, cursorR);
  cursor.scaleX = 1 + scale;
  cursor.scaleY = 1 - scale;
 } else {
  const targetScale = target.width / cursorWidth;

  cursor.scaleX += (targetScale - cursor.scaleX) / (cursorDelay / 2);
  cursor.scaleY = cursor.scaleX;
 }

 cursor.x = newX;
 cursor.y = newY;

 cursor.el.style.transform = `translate(${cursor.x}px, ${cursor.y}px) rotate(${toDegrees(angle)}deg) scale(${cursor.scaleX}, ${cursor.scaleY})`;

 requestAnimationFrame(loop);
};

const angleBetween = (x1, y1, x2, y2) => Math.atan2(y2 - y1, x2 - x1);

const onPointerMove = (e) => {
 if (!target.followMouse) {
  return;
 }

 const pointer = (e.touches && e.touches.length) ? e.touches[0] : e;
 const { pageX: x, pageY: y } = pointer;

 target.x = x;
 target.y = y;
};

const onPointerOver = (e) => {
 const btn = e.target;
 const rect = btn.getBoundingClientRect();

 target.followMouse = false;
 target.x = window.scrollX + rect.left + (rect.width >> 1);
 target.y = window.scrollY + rect.top + (rect.height >> 1);

 target.width = Math.max(rect.width, rect.height) + 50;
};

const onPointerOut = () => {
 target.followMouse = true;
 target.width = cursorWidth;
};

document.body.addEventListener('mousemove', onPointerMove);
document.body.addEventListener('touchmove', onPointerMove);

buttons.forEach((btn) => {
 btn.addEventListener('touchstart', onPointerOver);
 btn.addEventListener('mouseover', onPointerOver);

 btn.addEventListener('touchend', onPointerOut);
 btn.addEventListener('mouseout', onPointerOut);
});

loop();
html,
body {
  margin: 0;
  padding: 0;
}

.wrapper {
  width: 100vw;
  min-height: 1500px;
  display: flex;
  flex-direction: row;
  align-items: center;
}

.container {
  width: 100%;
  display: flex;
  padding: 0 1rem;
}

.cursor {
  position: absolute;
  z-index: 10;
  width: 100px;
  height: 100px;
  border: 2px solid #23bfa0;
  border-radius: 50%;

  pointer-events: none;
}

.button {
  padding: 1rem;

  background-color: #23bfa0;
  border: none;
  box-shadow: 0 0 7px 0px rgba(0, 0, 0, 0.2);

  color: white;
  font-size: 1.2rem;

  cursor: pointer;

  transition: box-shadow 0.1s ease-in, transform 0.1s ease-in;

  &--small {
    padding: 0.75rem;
    font-size: 0.75rem;
  }

  &:hover {
    transform: translate(0%, -2px);
    box-shadow: 0px 4px 9px 2px rgba(0, 0, 0, 0.2)
  }
}

    <button class="button button--small border-button">small</button>
    <button class="button border-button">hover me</button>
    <button class="button border-button">hover me more</button>


text:
Phelps seeks police probe into emails
5:49pm May 6, 2019
Independent MP Kerryn Phelps wants police to investigate the circulation of racist emails falsely claiming she is ineligible to run for parliament.
The office of Dr Phelps, the member for the Sydney seat of Wentworth, has received dozens of calls about the emails and Facebook messages.
One of the emails, obtained by AAP, falsely states she has been disqualified from election because she "is a Jew and entitled to automatic Israeli citizenship".
Dr Phelps is an Australian citizen and her parents and grandparents were born in Australia.
It also urges voters to "shred" her campaign posters and asks them to vote for Liberal candidate Dave Sharma.
The emails have been sent using a variety of names.
"The content of the emails is very disturbing," Dr Phelps said.
Canberra crooks trouser snakes and croc
What's on the program for parliament?
Threats of drought and terror on agenda
"Whichever individual or group is responsible is trying to influence the outcome of an election and I think they should be investigated and brought to justice."
Mr Sharma had condemned the emails, saying he had also referred them to the Australian Federal Police.
An AFP spokesman said a referral had been received and would be assessed in accordance with the AFP's standard protocols.
The website Pastebin has published a draft email which includes the disturbing content distributed in Wentworth.
Comments was being sought from Pastebin, a site used to share large amounts of text online.
Last month, hundreds of Dr Phelps' posters were stolen within a week of them being erected around the electorate.
Property News: The house rules that I always ignored, until I moved out of home - domain.com.au


text:
package com.example;

import org.springframework.boot.autoconfigure.SpringBootApplication;
import org.springframework.boot.builder.SpringApplicationBuilder;
import org.springframework.boot.web.context.WebServerPortFileWriter;

@SpringBootApplication
public class DevToolsTestApplication {

	public static void main(String[] args) {
		new SpringApplicationBuilder(DevToolsTestApplication.class)
				.listeners(new WebServerPortFileWriter("target/server.port")).run(args);
	}

}

redpajama_set_name: RedPajamaGithub


By 2030, Okhahlamba will be a prosperous area anchored on the preservation of World Heritage Site with its citizens enjoying a high quality of life. This will ensure that over the years, Okhahlamba Local Municipality would have sustainable development through growth in sectors such as Agriculture, Tourism, and Commerce with balanced infrastructure and social amenities. Empower and uplift its citizens through education, skills development, good health and safety, to that end, address the imbalances of the past, and the future needs of the youth, the elderly and those indigent. Integrated housing and all other basic services will have been sufficiently provided.
To create an enabling environment which will unlock and exploit all the economic opportunities in the region in order to uplift the quality of life of the people.
Okhahlamba Municipality is entirely committed to the attainment of the vision by the year 2030 and this will further enhance the municipalities performance and work ethics to the best level in order to reach standards by which communities will live within boundaries filled with peace and prosperity, and by far, always placing emphasis on customer service satisfaction and quality management of all our resources at our disposal.


Defence Research Laboratory invited applications for Junior Research Fellow Post. Eligible candidates can appear for the walk-in-interview on 06 November 2015.
Defence Research Laboratory invited applications for the posts of Junior Research Fellow. The eligible candidates can appear for the walk-in-interview along with other necessary documents on 06 November 2015.
Educational Qualification: NET Qualified First Class Masters' Degree in Agriculture, Horticulture, Botany, Chemistry, Biotechnology, Molecular Biology, Microbiology and Psychology.
Eligible candidates can appear for the walk-in-interview along with other necessary documents on 06 November 2015.


text:
Anneliese Rothenberger
Gisela Litz
Fritz Wunderlich
Dietrich Fischer-Dieskau
Nicolai Gedda
Artist: Anneliese Rothenberger
100 Best Sacred Works (2007)
performed by Alan Wilson (organ), Anneliese Rothenberger (soprano), Anthony Chadney (vocals), Arleen Augér (soprano), Barbara Hendricks (soprano), Barry Rose (organ), Carol Vaness (soprano), Carolyn Watkinson (contralto), Christa Ludwig (mezzo-soprano)
composed by Andrew Lloyd Webber, Anton Bruckner, Antonio Lotti, Antonio Vivaldi, Arvo Pärt, César Franck, Charles Gounod, Christopher Tye, Edward Elgar, Felix Mendelssohn, Francis Poulenc, Franz Joseph Haydn, Franz Schubert, Gabriel Fauré, Geoffrey Burgon
Engelbert Humperdinck: Hänsel Und Gretel (1995)
performed by Anneliese Rothenberger (soprano), Elisabeth Höngen (vocals), Grace Hoffmann (vocals), Irmgard Seefried (soprano), Liselotte Maikl (vocals), Walter Berry (vocals), Wiener Philharmoniker, André Cluytens (conductor)
composed by Engelbert Humperdinck
Flotow: Martha (2012)
performed by Anneliese Rothenberger (vocals), Artur Horn (vocals), Brigitte Fassbaender (vocals), Dieter Weller (vocals), Elisabeth Schmaus (vocals), Gerhard Fuchs (vocals), Hanne-Ruth Mayer (vocals), Hans Mursch (vocals), Hans-Georg Knoblich (vocals)
composed by Friedrich von Flotow
Fritz Wunderlich, der grosse deutsche Tenor (1990)
performed by Anneliese Rothenberger (soprano), Edith Mathis (soprano), Elisabeth Grümmer (soprano), Fritz Wunderlich (tenor), Gisela Litz (contralto), Gottlob Frick (bass), Hermann Prey (baritone), Lisa Otto (soprano), Liselotte Schmidt (soprano)
composed by Adolf Neuendorff, Albert Lortzing, Ambroise Thomas, Bedrich Smetana, Carl Heins, Carl Millöcker, Emmerich Kálmán, François-Adrien Boieldieu, Franz Lehár, Friedrich von Flotow, Gaetano Donizetti, George Frederick Handel, Giacomo Puccini, Giuseppe Verdi
100 Best Sacred Music (2017)
performed by Alison Place (mezzo-soprano), Andrew Foster-Williams (baritone), Angela Maria Blasi (soprano), Ann Murray (mezzo-soprano), Anne Pashley (soprano), Anneliese Rothenberger (soprano), Barbara Hendricks (soprano), Barbara Schlick (soprano), Barry Rose (organ)
composed by André Campra, Andrew Lloyd Webber, Anton Bruckner, Antonio Vivaldi, Arvo Pärt, César Franck, Charles Gounod, Claudio Monteverdi, Felix Mendelssohn, Francis Poulenc, Franz Joseph Haydn, Franz Schubert, Gabriel Fauré, George Frederick Handel, Giuseppe Verdi
Champagne & Laughter: The Music of Johann Strauss II (2007)
performed by Anneliese Rothenberger (soprano), Brigitte Fassbaender (mezzo-soprano), Dietrich Fischer-Dieskau (baritone), Elisabeth Schwarzkopf (soprano), Fritz Wunderlich (tenor), Grace Bumbry (soprano), Nicolai Gedda (tenor), Renate Holm (soprano)
composed by Johann Strauss I, Johann Strauss II, Josef Strauss
Mozart: Die Hochzeit des Figaro (1993)
performed by Annelies Burmeister (alto), Anneliese Rothenberger (soprano), Edith Mathis (soprano), Fritz Ollendorf (vocals), Hermann Prey (baritone), Hilde Güden (soprano), Jurgen Forster (tenor), Peter Schreier (tenor), Rosemarie Ronisch (soprano)
composed by Wolfgang Amadeus Mozart
Wagner: Parsifal (1998)
performed by Anneliese Rothenberger (vocals), Biserka Cvejic (vocals), Christa Ludwig (vocals), Eberhard Wächter (vocals), Elisabeth Höngen (vocals), Erich Majkut (vocals), Ermanno Lorenzi (vocals), Fritz Uhl (vocals), Gerda Schreyer (vocals)
composed by Richard Wagner
100 Best Mozart (2005)
performed by Agnes Baltsa (mezzo-soprano), Alban Berg Quartet, Aldo Ciccolini (piano), Alexander Lonquich (piano), Andrei Gavrilov (piano), Ann Murray (mezzo-soprano), Anne-Sophie Mutter (violin), Anneliese Rothenberger (soprano), Augustin Dumay (violin)
composed by Anonymous, Wolfgang Amadeus Mozart
Emmerich Kálmán: Gräfin Mariza (2005)
performed by Anneliese Rothenberger (soprano), Edda Moser (soprano), Kurt Böhme (bass), Nicolai Gedda (tenor), Olivera Miljakovic (soprano), Willi Brokmeier (tenor), Munich State Opera Chorus (choir, chorus), Graunke Symphony Orchestra, Willy Mattes (conductor)
composed by Emmerich Kálmán
Strauss: Die Fledermaus (1997)
performed by Adolf Dallapozza (vocals), Anneliese Rothenberger (vocals), Brigitte Fassbaender (vocals), Dietrich Fischer-Dieskau (vocals), Gerd W. Dieberitz (vocals), Jurgen Forster (vocals), Nicolai Gedda (vocals), Otto Schenk (vocals), Renate Holm (vocals)
composed by Johann Strauss II
Mozart: The Magic Flute (1996)
performed by Andreas Stein (alto), Anneliese Rothenberger (soprano), Brigitte Fassbaender (contralto), Edda Moser (soprano), Günter Wewel (bass), Ilse Gramatzki (mezzo-soprano), Kurt Moll (bass), Leonore Kirschstein (soprano), Olivera Miljakovic (soprano)
Richard Strauss: Arabella
performed by Anneliese Rothenberger (vocals), Cacilie Reich (vocals), Carl Hoppe (vocals), Dietrich Fischer-Dieskau (vocals), Erich Ringel (vocals), Eva Maria Rogner (vocals), Fritz Uhl (vocals), Georg Paskuda (vocals), Horst Günter (vocals), Ira Malaniuk (vocals)
composed by Richard Strauss
My Favorite Operetta Heroes (2015)
performed by Anneliese Rothenberger (vocals), Balalaika-Ensemble Tschaika, Benno Kusche (vocals), Biserka Cvejic (vocals), Friedrich Lenz (vocals), Gerd W. Dieberitz (vocals), Gisela Litz (vocals), Grace Bumbry (vocals), Hans Gunther Grimm (vocals)
composed by Franz Lehár, Johann Strauss II
Offenbach: Pariser Leben (2014)
performed by Adolf Dallapozza (vocals), Anneliese Rothenberger (vocals), Elke Schary (vocals), Gabriele Fuchs (vocals), Günter Wewel (vocals), Karl Kreite (vocals), Klaus Hirte (vocals), Marco Bakker (vocals), Martin Finke (vocals), Renate Holm (vocals)
Die Stimme für Millionen (2009)
performed by Alfred Pfeifle (vocals), Anneliese Rothenberger (soprano), Bruno Fritz (baritone), Carl Bay (vocals), Detlev Lais (vocals), Dolf Dolz (vocals), Fritz Göllnitz (vocals), Gisela Litz (mezzo-soprano), Hannelore Schmidt (vocals), Hans Herbert Fiedler (vocals)
composed by Albert Lortzing, Alois Melichar, Carl Michael Ziehrer, Carl Millöcker, Carl Zeller, Christoph Willibald Gluck, Clarmann, Eduard Künneke, Emmerich Kálmán, Francisco Asenjo Barbieri, François-Adrien Boieldieu, Franz Fox, Franz Josef Reinl, Franz Lehár
Golden Operetta of Vienna (2009)
performed by Anneliese Rothenberger (vocals), Elisabeth Schwarzkopf (vocals), Emmy Loose (vocals), Erich Kunz (vocals), Friederike Sailer (vocals), Fritz Wunderlich (vocals), Hilde Güden (vocals), Julius Patzak (vocals), Jussi Björling (vocals), Nicolai Gedda (vocals)
composed by Carl Millöcker, Carl Zeller, Emmerich Kálmán, Franz Lehár, Johann Strauss II, Richard Tauber
Mozart: Opera Arias (1996)
performed by Agnes Baltsa (vocals), Alfredo Kraus (tenor), Ann Murray (vocals), Anna Moffo (vocals), Anneliese Rothenberger (soprano), Birgit Nilsson (vocals), Dietrich Fischer-Dieskau (vocals), Eberhard Wächter (baritone), Edda Moser (soprano)
Lortzing: Der Wildschütz (2007)
performed by Anneliese Rothenberger (vocals), Fritz Ollendorff (vocals), Fritz Wunderlich (vocals), Gertrud Vordemfelde (vocals), Gisela Litz (vocals), Hermann Prey (vocals), Karl-Heinz Schmidtpeter (vocals), Lotte Schadle (vocals), Walter Ehrengut (vocals)
composed by Albert Lortzing
100 Best Soprano Arias (2011)
performed by Alfredo Giacomotti (bass), Anna Moffo (soprano), Anneliese Rothenberger (soprano), Arleen Augér (soprano), Astrid Varnay (soprano), Barbara Hendricks (soprano), Benito di Bella (baritone), Beverly Sills (soprano), Cheryl Studer (soprano)
composed by Alfredo Catalani, Ambroise Thomas, Antonin Dvorák, Antonio Vivaldi, Bedrich Smetana, Carl Maria von Weber, Charles Gounod, Christoph Willibald Gluck, Erich Wolfgang Korngold, Gaetano Donizetti, George Frederick Handel, Georges Bizet, Giacomo Meyerbeer
performed by Anneliese Rothenberger (vocals), Fritz Ollendorf (vocals), Fritz Wunderlich (vocals), Gertrud Vordemfelde (vocals), Gisela Litz (vocals), Hermann Prey (vocals), Karl-Heinz Schmidtpeter (vocals), Lotte Schadle (vocals)
performed by Anneliese Rothenberger (vocals), Edda Moser (vocals), Kurt Moll (vocals), Peter Schreier (vocals), Walter Berry (vocals), Bavarian State Opera Orchestra, Wolfgang Sawallisch (conductor)
Lisa Della Casa sings Wolfgang Amadeus Mozart, Richard Strauss (2011)
performed by Anneliese Rothenberger (soprano), Anton Dermota (tenor), Cesare Siepi (bass), Christa Ludwig (mezzo-soprano), Dietrich Fischer-Dieskau (bass baritone), Erich Kunz (bass baritone), Fernando Corena (bass), Franz Bierbach (bass)
composed by Richard Strauss, Wolfgang Amadeus Mozart
Essential Opera Divas (2013)
performed by Angela Gheorghiu (soprano), Anna Moffo (soprano), Anneliese Rothenberger (soprano), Arleen Augér (soprano), Barbara Hendricks (soprano), Beverly Sills (soprano), Cheryl Studer (soprano), Edita Gruberová (soprano), Elisabeth Schwarzkopf (soprano)
composed by Antonin Dvorák, Antonio Vivaldi, Charles Gounod, Christoph Willibald Gluck, Erich Wolfgang Korngold, Gaetano Donizetti, George Frederick Handel, Giacomo Meyerbeer, Giacomo Puccini, Gioachino Rossini, Giuseppe Verdi, Ludwig van Beethoven, Richard Wagner
Page 1 of 3: 1 2 3 Next>
Hermann Prey
Edda Moser
Brigitte Fassbaender


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Yesterday I posted a pic of the wonderful Artist Trading Card I received from my partner in this round of the swap organised by Ali Very Berry Handmade. The theme for this round is "Home Sweet Home", and here is the card I made for my own recipient. It is called "Waiting to be Let In".
I hope my partner likes cats!
Do check out the other cards in the flickr group - they are really amazing. It is hard to remember that these cards are only 2.5 x 3.5 inches - it's a fun constraint, and it's always fascinating to see how each member of the group takes the current theme and runs with it in their own way.
That is exquiSite! The front door with its window above is my grandmother's front door! I love the texture of the wall, the linen and the stitching is perfect, and the flowerpots...gasp!!
Catherine, you nailed the faintly exasperated mood of the cat by giving her semi-flattened ears. We have an itty bitty winner here!
I am happy to tell you that after giving up all quilting for 3+ years -I even gave away my cutters, mat, fabric, etc.- I feel up to starting one. Thus, there have been several fabric purchases since December. There have been several babies and weddings. So, I'll try one and see how it goes.
Going to be interesting to see if my approach, style, methods,etc. have changed since I walloped my brain in February!
:) m & jb who wants to know why anyone would want to sleep on a quilt when they can sleep on fleece fabric! Maybe I'll make her something in Minkee for Christmas.
I love this one, I joined in with the swap for the first time this time and I struggled a bit with the theme - worrying about making something that was twee and just hearts above a housey feeling, so I ended up doing something probably too off piste with whales in the sea! But you nailed the theme without being twee at all.
Whales in the sea would make me very happy! Love the black cat.
Thank you Ann:-) They are all brilliant, aren't they? I had a look to see if I could work out which was yours on flickr, but maybe you haven't posted it yet?
Very cute card! And your kitty reminds me a lot of my kitty only he's grey. He often sits at the back door just like that, waiting for his afternoon snack!
I love everything about this Catherine, and I am not a cat person!
I love all you ATC's, they are awesome!


CANDID PHOTOS ARE BETTER ANYWAY, RIGHT?
Sorry it's been a little while since I last posted, I'm in the middle of working out a new schedule to keep up with my blog and social posts.. and I think I've got it sorted! 😉 I don't want to fall behind because I love doing this, I'm doing most of the organisation over weekends so there'll be content posted over the weekdays. I'm going to refrain from talking about the weather so much again.. but I really can't wait to wear out all the new summer clothing I've got.. but hey, at least I can tell you that some good things are coming up! Instead it's back to tights and coats for me – the weather has been seriously morbid this past week, but I'll have to make do. I was actually feeling ill during this shoot, so excuse the random photos, in the end I used the most candid ones, the in between poses where I'm either playing with my hair or generally fidgeting haha – my mind was quite distracted and being ill and cold at the same time.. well, it's not great.
I'm so glad I went in and purchased this skirt in the winter, it's so incredibly versatile! You'll have seen me wearing it more casually in this post, but it's so fun to mix it up with different styles – dressed up, dressed down, formal or casual. I've been playing around with patterned pieces lately like the striped jumpsuit a few weeks back. I've never really been into patterns.. much more of a simple and classic girl, so things like this subtle monochome check pattern and polka dots suit me better, they're easing me in haha.
Hope you've had a great weekend and are looking forward to the summer too!
Thanks! It's my favourite skirt at the moment – the most versatile i've owned yet!
In love with this outfit, it's so stylish!
This skirt is very elegant, I love all outfit!
This is such a great professional look.
I have to start wearing tights again since we are going into winter.
Looking forward to that actually.
Thanks Kiri <3 At least one of us is looking forward to winter haha!
This is such a chic look! I love your wrap skirt!
Thanks! It's the best skirt I own right now..!
I know right?! I was lucky to get hold of it, pretty much nearly sold out!
I love the pattern of the skirt! I also love that you mixed it with this pink blazer, I think it looks really pretty together and it's a great combo! I have so many summer clothes I want to share as well but the weather is just being so silly right now!
Your pictures are beautiful. I love the skirt in particular.
Thanks Esther, hope you have a wonderful week too!
The skirt is just absolutely stunning.
Tell me about it, I'm in love haha!
Love the simplicity of the outfit and how it still looks elegant. Great skirt!
Thanks Jessica – I love how even the simplest of outfits can have some character to them!
You look fabulous! I love your outfit so much especially the skirt!
Haha, thank you <3 Apart from the fact i'm not smiling.. it's funny how it doesn't really show I'm feeling unwell here!
Hi cutie! I'm loving your look and the candid shot 😉 following you on all platforms!
This look is so chic and even goes when you are working!
Umm can we talk about how AMAZING this look is?? I'm so going to wear something similar to work, absolutely flawless.
Also, happy to have you back!!
Haha, aww Cindy you are too sweet! Thanks! I'm glad you love it <3 would love to see your take on this outfit!
Thanks, Heather! Definitely was going for the versatile look 😉 so glad you think it works!
I like this outfit; professional and stylish!
I am reading all your travel posts and I am enjoying them so much!
Oh wow what a simple yet grand look !
The skirt is amazing, beautifully worn.


Welcome to the Twitterverse – 8 brand new business opportunities have been posted to the Basicozbizinfo networks and now the Catalogues. Here are some examples to ponder, Homepage, thats right you heard correctly its a brand new social community forum where you can even do smart shopping. IBO Toolbox opportunity has also made another appearance and last but not least At Home Writing Jobs. The categories to look out for are listed below.


With its decision of November 7, 2012 the Nürnberg-Fürth District Court (Case 3 O 6652/12) has lifted a preliminary injunction obtained by Nike International Ltd. on the basis of an alleged patent infringement against adidas AG (represented by BARDEHLE PAGENBERG).
The subject-matter of the preliminary injunction proceedings was the alleged infringement of the European Patent EP 1 571 938 B1 by the "adizero primeknit"-shoe of adidas AG. The patent-in-suit concerns a shoe, the upper part of which contains fibres of a meltable polymer material arranged in a certain order.
Nike International Ltd. at first had obtained a preliminary injunction ex parte, i.e., without adidas AG having the possibility to be heard, of which adidas AG was notified on September 24, 2012. The ensuing prohibition for adidas AG to distribute its "adizero primeknit" shoe was reported extensively in the press. In a first important step BARDEHLE PAGENBERG succeeded only a few days later by way of an appeal to obtain a stop of the enforcement of the injunction order, with effect of October 10, 2012, – which is a rare course of events in German patent practice. The appeal was based on non-infringement of the patent claims and on invalidity of the patent-in-suit, in light of a nullity suit which was first announced and then filed with the Federal Patent Court on October 17, 2012.
In oral proceedings of October 24, 2012 before the Nürnberg-Fürth District Court, the Presiding Judge voiced substantive doubts about the asserted infringement of the patent-in-suit, on the one hand, and – against the background of the filed nullity suit – on the validity of the patent-in-suit, on the other hand.
As expected, the Nürnberg-Fürth District Court now lifted with its decision of November 7, 2012 the preliminary injunction, rejecting the corresponding claims for injunctive relief and thereby ruled entirely in favour of adidas AG. The decision is not yet final; Nike is allowed to file an appeal.