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mulatto diaries
creating a bye-racial world
nancy weston
Posted on May 7, 2009 by Tiffany
with friends like these….
She lived in Charleston, South Carolina, in the 1850s as a free woman. However, in order to satisfy the laws of the state, she was a 'nominal slave' legally owned by a white friend. She was also the grandmother of writer Angelina Weld Grimke.
'The Face of Our Past: Images of Black Women from Colonial America to the Present' edited by Kathleen Thompson and Hilary Mac Austin
I would love to write a book or a screenplay based on this one sentence: she was a 'nominal slave' legally owned by a white friend. That has really got my imagination going. I've actually never heard of nominal slaves before. I read a bit about them today. Interesting stuff. Most of what I read was connected to writings pertaining to black slave owners, and the Weston name in S. Carolina came up frequently. But Nancy was 'owned' by a white friend. I am fascinated.
From http://www.straightdope.com/columns/read/2821/before-the-civil-war-were-some-slave-owners-black
Between 1800 and 1830 slave states began restricting manumission, seeing free blacks as potential fomenters of slave rebellion. Now you could buy your friends, but you couldn't free them unless they left the state — which for the freed slave could mean leaving behind family still in bondage. So more free blacks took to owning slaves benevolently. Being a nominal slave was risky — among other things, you could be seized as payment for your nominal owner's debts. But at least one state, South Carolina, granted nominal slaves certain rights, including the right to buy slaves of their own….
We do, however, need to acknowledge a less common form of black slaveholding. Whites in Louisiana and South Carolina fostered a class of rich people of mixed race — typically they were known as "mulattoes," although gradations such as "quadroon" and "octoroon" were sometimes used — as a buffer between themselves and slaves. Often the descendants and heirs of well-off whites, these citizens were encouraged to own slaves, tended to side with whites in racial disputes, and generally identified more with their white forebears than black. Nationwide maybe 10 percent of the mixed-race population (about 1 percent of all those identified as African-American) fell into this category.
This entry was posted in biracial, history, race and tagged angelina weld grimke, manumission, mulatto, nancy weston, nominal slaves, octoroon, quadroon, slaves, south carolina, the straight dope by Tiffany. Bookmark the permalink.
7 thoughts on "nancy weston"
Omega418 on May 7, 2009 at 5:21 pm said:
I think you'll find the following story very fascinating. It's regarding the 1925 Rhinelander trial that took place in New York. It concerned a 'mixed' race woman married to a white man and his so called discovery of her family background and what transpired because of it.
http://www.flickr.com/photos/22067139@N05/3301807007/in/set-72157603697729788/
I want to thank you for including these images on your blog. So many of these people have been lost in the history books. This is my way of giving them a voice. And flickr is their stage and blogs like yours.
Thanks again ~
Amy on May 8, 2009 at 12:43 am said:
http://www.nydailynews.com/archives/news/1999/05/02/1999-05-02_kip_and_alice_rhinelander_so.html
tiffdjones on May 8, 2009 at 7:33 am said:
thanks, amy!
Hi Omega!! Thank YOU for your absolutely wonderful photostream! I'm hooked. So much rich history you offer. Thank you, Thank you!!
Omega418 on May 8, 2009 at 7:44 am said:
Amazing how things work out — I stank big time in history class. What they taught when I was in school bored me to tears. This is probably my way of getting back at them. 😉
tiffdjones — you're very welcome and thanks again.
Take care ~
abagond on May 13, 2009 at 3:58 pm said:
When Thomas Jefferson died he freed four children of Sally Hemings but not her. Instead he gave her to his daughter Martha. Martha did not free her either but gave her "her time", which made her free in all but name.
Bill Drayton on March 5, 2011 at 3:00 pm said:
According to my gggg uncle's will which had a codicil, Nancy and her children were to be placed in the "care" of his eldest son, Montague, who was her sons half-brother. Cane Acre plantation was sold and out of the proceeds a house was bought for Nancy in Coming Street in downtown Charleston. Having been the mistress of the plantation, Nancy was now reduced by the Grimke family to abject poverty – taking in washing. Montague's first wife died at the age of 23. When he re-married, things became very bad for the boys – Archibald and Francis. Montague attempted to enslave them as his house servants – with predictable results. They rebelled and were beaten. They were even taken to the workhouse on occasions. Nancy, their mother, was a formidable woman with great moral and physical strength, and yet knew the limitations of her position. On one occasion Archibald who was in bare feet cut his foot on some glass on his way to Montague's house. He went back home to be nursed by his mother for a few days. Montague stormed down to their house and demanded that Archibald come to his house. For once Nancy stood up to him and told him that Archibald was his half-brother. She was sent to the workhouse where she starved herself for a week in defiance. Montague was persuaded by friends to get her out of there and seek medical help. Nancy was also very anxious that her sons receive an education – despite the restrictions. The boys went to school at night.
I mentioned earlier about Nancy's physical strength. She had a withered arm. However, despite that, when Henry lifted his arm to strike her on one occasion when he was married to Selina Simmons, she threw him to the floor, and he never tried that again.
At the moment, having done genealogical research on the Weston family, all I can fathom out is that her parents were John and Betsy Weston. Now John may have been a slave-owner and Betsy one of his slaves.
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Teams of vocalists enhance our morning worship services. Commitment and faithfulness to the Worship Choir is a requirement and individuals are selected by the Worship Pastor according to musical ability and a humble willingness to serve God and others. Worship teams assist the worship leader and worship choir in helping the congregation to connect with God.
The Celebration Choir is a vital part of our weekly Sunday morning worship services. The goal of the Celebration Choir is to be used by God to lead His people into His presence. The choir is our leading worship group whose sole desire is to encounter God and His presence. It is not a musical act, although music is the vehicle. It is not performance, although people witness it. It is worship: a dialogue between God and man. The choir sings almost every Sunday and is active in doing special seasonal presentations. No audition required and reading music is not a prerequisite. Singing at pitch is helpful. Rehearsals are each Wednesday evening from 7:00-8:00 pm in the Choir Suite during the school year.


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Q: Why do write syscalls print `%` at end on linux x86_64 (nasm)? The following hello-world program displays a % sign at the end of the printed string. Why is this and how can I remove it?
Here is my program:
section .data
    msg db  "hello, world!"

section .text
    global _start
_start:
    mov rax, 1      ; syscall 1 (write)
    mov rdi, 1      ; arg 1 = 1 (stdout)
    mov rsi, msg    ; arg 2 = msg ("hello, world!")
    mov rdx, 13     ; arg 3 = 13 (char count)
    syscall         ; call write
    mov rax, 60     ; syscall 60 (exit)
    mov rdi, 0      ; arg 1 = 0 (OK)
    syscall         ; call exit

And here is the output when I run the executable: hello, world!%
Thanks in advance.
Edit: It seems to be caused by zsh (not reproducible in bash). The question is why this happens and how to fix it.

A: This happens because your program's output doesn't end with a newline.

Your program isn't printing the %.  You can verify this by piping its output into hexdump -C or similar.
You can also use strace to trace what system calls its making, but that doesn't show the output, so it doesn't rule out the kernel magically adding a %.  (But you can be sure the kernel doesn't do that.  The only munging that's possible is for write to return early, without having written the full buffer.  This is only likely with large buffer sizes, especially when writing to a pipe with a buffer larger than the pipe-buffer (maybe 64kiB).

This is a ZSH feature for partial lines:
Why ZSH ends a line with a highlighted percent symbol?.  You didn't say it was a highlighted % symbol.  Accurate / complete descriptions are important.
(An earlier version of this answer assumed you were using % as your prompt in ZSH.  % is sometimes used as a prompt, but more often in C-shells like tcsh, not Bourne-derived shells like bash and zsh.)
You'd get exactly the same thing from echo -n "hello, world!".  e.g. in bash:
peter@volta:/tmp$ echo -n 'hello world!'
hello world!peter@volta:/tmp$

In ZSH:
volta:/tmp$ echo -n 'hello world!'
hello world!%
volta:/tmp$      # and the % on the previous line is in inverse-video

Bash just prints $PS1 (or runs $PROMPT_COMMAND) after a foreground command exits, regardless of cursor position.  It can't directly check that your program's output ended with a newline.  I guess ZSH uses VT100 escape codes to query the cursor position to detect cases where programs leave the cursor not at the start of a line.
You also get this when you cat a file that doesn't end with a newline, or any number of other cases.

To fix it, include a newline (ASCII linefeed, 0xa) in your message:
section .rodata
    msg: db  "hello, world!", 0xa
    msglen equ $ - msg               ; use mov edx, msglen
    msgend:                          ; or  mov edx, msgend - msg

See How does $ work in NASM, exactly? for more details on getting the assembler to compute the size for you.
Don't omit the : on data labels in NASM; it's good style and avoids name conflicts with instruction mnemonics and assembler directives.
NASM (but not YASM) accepts C-style esacapes inside backquotes, so instead of the numeric ASCII code for a newline, you could write
  msg: db  `hello, world!\n`

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Wood Charles A And Co Bridlington is situated in Bridlington providing accountants services.They offer accounting and bookkeeping services, taxation and business advice, to small businesses and individuals. It is Bridlington based and provide community accountancy services mainly, though not exclusively, in the East Riding of Yorkshire and Hull. All businesses, organisations and individuals are now welcome throughout the county of Yorkshire. They provide en suite accountant services to people. All their staffs are highly qualified and experienced. They provide business,tax and other management services to people.
The accountancy practice provides accounting, tax advice, company secretarial, business and retirement planning, bookkeeping and payroll services. The auditing practice is registered to carry on audit work in the UK and regulated for a range of investment business activities by the Institute of Chartered Accountants in England and Bridlington.
They are chartered accountants and registered auditors. They offer accounting and tax services to a wide variety of businesses, large and small.


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Instagram vs Facebook: Which Can Boost Your Business More?
Instagram vs. Facebook advertising? If you intend to launch a successful campaign using just one of the most popular social networks. But the problem is you don't know which of the platforms would be best for you. Facebook and Instagram are among the most popular. So you'd want to take a closer look at the benefits and statistics of each of these platforms. And this post is going to help you do just that. These insights will help you launch a successful social media marketing campaign through the right channel.
Quantifying consumer reach.
Facebook has been around much longer than Instagram and therefore has a larger user database than Instagram. Facebook is also more popular amongst the older folks whilst Instagram is more popular among the younger generation.
However, this is not to say Instagram isn't on its way to having a larger database, as it is rapidly growing. Statistics below show the comparison between both platforms.
Instagram has more than 800 million active users on a monthly basis and around 500 million daily active users. 80% of all these users are outside the U.S, suggesting that the platform has massive global reach. The sheer number of users makes it ideal for businesses to boost their visibility. They also have more than 1 million advertisers.
The best part about Instagram is that it has some of the most highly engaged users. On an average day, users share more than 95 million photos and videos. And these posts yield a total of about 4.2 billion likes in a single day.
Locowise reported in March, 2016 that the engagement rate on Instagram was 0.84% of all audiences as of February. Compared with the engagement rate in January, there was an 11.58% decline. At the same time, Instagram still had the highest audience engagement compared to all other social networking platforms.
In 2015, Forrester conducted a study on how social media users engage with the top 50 global brands. They analyzed more than 2,400 posts and 11.8 million user interactions to collect useful data. From this data, they concluded that user interactions with brands are highest on Instagram when compared to every other social network.
When it comes to engagement, Facebook doesn't perform as well as Instagram. But it still has the second highest audience engagement rate among all social networks according to Locowise. The Forrester study also supported this claim. It shows that the platform generates the second highest number of user interactions with brands.
Traffic Engagement
Aside from the high engagement rates on the platform, Instagram also brings in highly-engaged website visitors. Yotpo conducted a study to find out which channels bring in the most engaged traffic. According to this study, website visitors from Instagram spend an average of 192 seconds. More than 3 minutes, higher than many other marketing channels. In fact, visitors from Instagram stay 45% longer than visitors from Facebook and 40% longer than visitors from Twitter.
Your choice of social networking platform depends on your target demographic. Because you'll need to be on platforms they prefer. A 2015 study conducted by Pew Research found that there are more female users on Instagram than male users. According to the study, 31% of women online use the platform regularly. The same holds true for 24% of men online.
Instagram is most popular among young adults between the ages of 18 and 29. In fact, 55% of internet users in this age group use Instagram. This user base makes Instagram ideal for reaching a younger audience. Instagram is also a great platform for influencer marketing.
Facebook is popular among online adults with 72% of them using the platform. Like Instagram, this channel is more popular with women than with men. But the difference isn't too drastic. 77% of female and 66% of male internet users are on Facebook.
Facebook seems to attract adult internet users of all age groups. And it is most popular among the 18-29 age group. In fact, 82% of internet users in this age group are on the platform. 79% of internet users between 30 and 49 years of age are using Facebook. And the same is true for 64% of internet users aged between 50 and 64. These stats suggest that Facebook is effective for reaching internet users across all age groups.
Comparing Instagram and Facebook
Based on the data laid out above, here are a few facts we can make out:
#1: Instagram for better engagement
Instagram outperforms Facebook when it comes to engagement. A News Whip study proves this fact by comparing the average likes for posts on the two platforms. If you look at the following data, you will see a clear contrast in the number of likes for the same brand on Instagram and Facebook.
#2: Facebook for higher visibility
When it comes to reach, Facebook has authority over Instagram. Not only does it have a much larger user base, but it also has acceptance across most age groups. So you will have a better chance at boosting visibility using this platform. This is especially true if you're not targeting a specific age group.
#3: Instagram to reach a younger audience
Instagram appeals to a younger audience, and it's the perfect platform to engage a younger customer base. In fact, this is how Harley Davidson managed to raise awareness about their motorcycles and engage a younger audience. The motorcycle brand launched an Instagram ad campaign. Their goal was to reach men aged between 18 and 35.
They developed a campaign involving carousel ads. These ads featured creative illustrations mimicking designs that are popular in biking culture. Each of these illustrations focused on their motorcycles in a unique storyline. Within just three weeks, they reached almost 1.4 million men in their target age group.
These ads also managed to drive 8,365 clicks to the brand's website. As a result, Harley-Davidson accomplished its goal of reaching a younger audience. Here's an excellent example of how Instagram can help brands in re-targeting and engaging younger people.
#4: Facebook for distributing information
If you're familiar with Instagram, you already know that there are limitations with linking. You can add one link to your bio, but that's about it. Users cannot share links to their blogs through photo captions. The other option involves creating a sponsored post. This post will lead users to a specific landing page.
Facebook gives you the freedom to share unlimited links to your blogs and product pages. So if your goal is to distribute informational posts and promote your blog posts, it would be a better option than Instagram.
Choosing the right platform depends on what you're looking for. You have to think about your goals and what you wish to achieve from the campaign. Benefits of Facebook and Instagram are highly subjective. Different features and audiences mean that what works better for you may not work so well for another business. But the data from this post suggests that Instagram may be a better choice for promoting your business and engaging with an audience. Do you agree? Let us know what you think in the comments below.
10 ways to increase traffic to your website
Social media optimization: 9 quick tips to improve your SMO today
5 Reasons Why Every Business Needs a Website

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Off World
An Alien in Our Solar System: Planet 9 Might Have Once Belonged to Another Star
The first alien world we visit may actually be in our own solar system.
Todd Jaquith June 1st 2016
/ Off World
/ Exoplanets
/ Extrasolar Planets
/ Planet 9
/Exoplanets
/Extrasolar Planets
/Planet 9
It seems our solar system's planets might have a foster sibling. "Planet 9," which has been much in the news of late, may really be the spawn of another sun.
At least that's the word coming out of a computer simulation study run by a team of astronomers at Lund University in Sweden, which examined the orbital dynamics of the solar system during its early youth, some 4.5 billion years ago.
If it's true, it means our solar system hosts an interstellar interloper—an extrasolar planet that's not "extrasolar" at all, but is a member of our Sun's own retinue of planetary bodies.
Which leads to a very unusual possibility—the first exoplanet we visit may actually belong to our own solar system.
"It is almost ironic that while astronomers often find exoplanets hundreds of light years away in other solar systems, there's probably one hiding in our own backyard," observes Alexander Mustill of Lund University.
"Planet 9" lurking in the lonely marches of the outer Solar System. Credit: K. Gill
Cradle-Robbing
Now, this doesn't mean our Sun was a malignant and mean-spirited parent, robbing sibling stars of their rightful children. But it's a function of the curious gravitational dynamics that were likely at play in the solar system's natal cloud—what was probably a giant star-formation factory, somewhat like the famous Orion or Carina nebulas.
These immense molecular clouds are dominated by a central cluster of extremely big—and extremely short-lived—O and B type stars; these explode after a few million years, releasing density waves that further contract the star-formation cloud, and spawn the condensation of thousands of smaller stars.
So our own Sun was merely one of many similar stars that formed in very close proximity to each other. In fact, 4.5 billion years ago, our sun was closer to other stars than it ever will (very likely) be again. This meant a lot of fidgety jostling, as young siblings are wont to do—a lot of gravitational pushing and shoving.
And the Lund University simulation indicates that the Sun probably captured Planet 9 after a particularly energetic bit of stellar horseplay.
"Planet 9 may very well have been 'shoved' by other planets, and when it ended up in an orbit that was too wide around its own star, our Sun may have taken the opportunity to steal and capture Planet 9 from its original star," Mustill continues.
"When the Sun later departed from the stellar cluster in which it was born, Planet 9 was stuck in an orbit around the Sun."
It's even possible than certain outer planets of our own early solar system were stripped away and captured by the Sun's nursery-mates; in any case, if Planet 9 really is a captured exoplanet, it probably means our only real chance to study an alien planet up close.
"This is the only exoplanet that we, realistically, would be able to reach using a space probe," Mustill concludes.
Enhance! Enhance! Enhance!
NASA Telescope Idea Could Spot Vegetation on Distant Exoplanets
Phobos Anomaly
New Photos of Mars' Moon Phobos "Look Like Candy." Here's Why.
Exoplanet "Water Worlds" Could Hold Unfathomably Deep Alien Oceans
Galactic Collision Could Fling Our Solar System Into Intergalactic Space
Astronomers Just Found a Dwarf Planet Three Times As Far Away As Pluto


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Home Canada 5 things to know about Boeing's problems over new airplane
5 things to know about Boeing's problems over new airplane
Published Saturday, March 16, 2019 12:30PM EDT
Investigators at a lab in France and a field in Ethiopia are looking for clues into the second deadly accident involving Boeing's newest jetliner, while DNA testing has started to identify the remains of victims.
As the investigation proceeds, more details have emerged suggesting similarities between Sunday's crash of an Ethiopian Airlines Boeing 737 Max 8 jet and another deadly Max 8 accident in October.
Here are five things to follow as the investigation continues.
THE INVESTIGATION:
Experts on Friday in France began analyzing the so-called black boxes from Ethiopian Airlines Flight 302, which plummeted to the ground shortly after takeoff from Addis Ababa.
Preliminary satellite data suggests that the jet's flight path was similar to that of a Lion Air Max 8 that crashed Oct. 29 in Indonesia.
The Indonesian investigation focuses on whether flight-control software embedded in the plane automatically pushed the nose down repeatedly, and whether the pilots knew how to fix the problem.
Earlier this week, investigators searching the wreckage in Ethiopia found a part that controls tail surfaces used to make the plane rise or descend. The surfaces, called horizontal stabilizers, were tilting up, which would have caused the plane's nose to drop, according to a person familiar with the matter who spoke on condition of anonymity. The person was not permitted to disclose details of the investigation that have not been made public.
The 737 Max has flight-control software that can automatically tilt the stabilizers if sensors detect that the plane is in danger of losing aerodynamic lift from the wings, which is necessary to stay aloft. That is suspected in the Lion Air accident. It is too early to know whether the software or something else tilted the stabilizers up on the doomed Ethiopian plane.
Boeing shares were hammered all week but got a small bump Friday after a report by the Agence France-Presse news agency that the company will produce an upgrade to the Max's flight-control software in 10 days.
That would be quicker than expected. An airline industry official told The Associated Press that Boeing has indicated it is more likely to be two to four weeks. The official spoke on condition of anonymity because Boeing's conversations with airline officials were not intended to be made public.
Boeing declined to comment and Charles Bickers, an airline spokesman, referred the AP to the company's previous statement, which said only that the upgrade would be completed "in the coming weeks."
Boeing executives and technical experts briefed pilots at U.S. airlines that fly the Max in November about the plane, less than a month after the Lion Air crash. They mentioned changes in the flight-control software, indicating that Boeing was already at work on a solution.
Boeing aimed to finish the work in April. Boeing has declined to say whether the Ethiopian Airlines crash gave new urgency to finish the work, but experts have said that is a safe bet.
"They were working toward a solution. They didn't expect the Ethiopians to lose their jet while all this was going on," said Alan Diehl, a former investigator for the National Transportation Safety Board.
Boeing won't comment on the time it has taken engineers to finish the work, but Diehl and industry officials familiar with the situation say it isn't as easy as upgrading an iPhone.
Engineers had to find out what the system was doing on the Lion Air flight, how the system's commands appeared to pilots, what changes needed to be made to software, manuals and training, and the best way to make those changes.
Then they had to write new software code, test it — first in the lab, then on a 737 Max simulator, finally in a flying plane. And they had to be sure that the modifications didn't affect other flying characteristics of the plane.
"Whenever you change this stuff you better be damn sure you don't create some other problem," Diehl said. "I think they are being very methodical."
COST FOR BOEING
The two deadly crashes and the worldwide grounding raise two risks for Boeing: financial losses and a reputational damage.
Analysts think Boeing can overcome both if the company convinces regulators relatively quickly that the problems with the plane and its flight-control software, and there are no more accidents.
Norwegian Air CEO Bjorn Kjos has said his airline will seek compensation from Boeing. Others carriers say it's too early for them to say whether they will because they cannot yet estimate lost revenue and extra costs. Those numbers depend on how long the planes end up parked.
Boeing already faces lawsuits over the Lion Air crash, and lawyers say the second crash strengthens their argument that Boeing knew the plane was defective and let it fly anyway.
Investigators haven't determined the cause of either crash, but Boeing would face large payouts to the families of passengers if the Max plane is found to be at fault.
Boeing has $7.6 billion in cash, but new revenue could face a hit because the company suspended deliveries of the Max on Thursday.
TRAVEL DISRUPTIONS
There are about 370 Max jets now parked at airlines around the world, including 72 in the United States. Because the Max is so new, it accounts for a small percentage of the global fleet of about 24,000 airliners.
In the U.S., Southwest is likely to be most affected because its 34 Max 8s represent nearly 5 per cent of the carrier's fleet and a slightly higher percentage of the airline's passenger-carrying capacity. Southwest cancelled 170 of its roughly 4,000 flights Friday, and "the vast majority" were due to the Max, said spokesman Chris Mainz.
American Airlines cancelled about 85 flights Friday because of the groundings — some scheduled for its 24 Max 8s and others on planes being used to fill in for the now-parked Max 8s.
United Airlines, which has 14 Max 9s that are parked, cancelled five flights scheduled for the planes on Friday and used other planes to add four flights to Hawaii for displaced passengers, said spokeswoman Erin Benson. The airline said in a securities filing Friday that the financial and operational impact of the grounding will increase if it lasts into the peak summer travel season.
Helane Becker, an airlines analyst with the Cowen Research financial services company said if the planes are grounded for a long time, ticket prices could rise because there will be fewer seats for sale if demand remains steady. Southwest experienced a bookings decline last year fall after one person was killed by a piece of engine debris on a flight last year.
The Max 8 crashes in Ethiopia and Indonesia killed 346 people.
Travel insurance companies expect a record number of claims from travellers whose flights scheduled on the Max planes have been cancelled.
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Biwak Zapałowicza – maleńka, nieco podmokła polanka (obecnie już mocno zarastająca i trudna do identyfikacji) na północnych stokach masywu Babiej Góry w Beskidzie Żywieckim.

Leży wprost pod przełęczą Brona, nieco poniżej górnej granicy lasu, na wysokości ok. 1300 m. Tuż powyżej tej polanki rosły kiedyś cztery potężne świerki (do dziś ostał się tylko jeden zwany Świerkiem Zapałowicza). Pod nimi lubili (według miejscowych podań) raczyć się winem i dzielić łupy zdobyte na orawskiej stronie dawni zbójnicy babiogórscy. W. Midowicz podaje, że jeszcze do końca XIX w. można było tu ujrzeć stertę potłuczonych butelek po winie. Od Biwaku Zapałowicza odgałęział się Przechód Poszukiwaczy Skarbów – droga trawersująca północnymi stokami Małej Babiej Góry wiodąca do jaskini Złotej Studni.

Nazwa miejsca pochodzi od nazwiska wybitnego przyrodnika badającego w latach 70. XIX w. florę babiogórską, Hugona Zapałowicza, który lubił w tym miejscu biwakować w trakcie swych wypraw botanicznych.

Przypisy

Babia Góra

redpajama_set_name: RedPajamaWikipedia


text:
Q: Why can the spring app not connect to the Postgres db? I want to build my spring boot app with a Postgres db in a docker container with docker compose. I got an error when I build the docker compose container. The spring app cannot connect to the Postgres db. The Postgres container run as it should and I can create a connection with a usually db-client (dbeaver).
Here are my configuration files:
1. application.yml
server:
  port: 8081
  error:
    include-message: always
    include-binding-errors: always
spring:
  datasource:
    password: password
    url: jdbc:postgresql://postgres:5432/trainingdb
    username: user
  jpa:
    hibernate:
      ddl-auto: create
    properties:
      hibernate:
        dialect: org.hibernate.dialect.PostgreSQLDialect
        format_sql: true
    show-sql: true

2. Dockerfile
FROM openjdk:11
ADD target/training-service-1.0.0.jar app.jar
ENTRYPOINT ["java", "-jar", "app.jar"]

3. docker-compose.yml
version: '1'
services:
  app:
    container_name: springboot
    image: springboot
    build: ./
    depends_on:
      - postgres
    ports:
      - "8081:8081"
  postgres:
    image: postgres:latest
    ports:
      - "5432:5432"
    environment:
      - POSTGRES_USER=user
      - POSTGRES_PASSWORD=password
      - POSTGRES_DB=trainingdb

first I run
./mvnw clean package -DskipTests
to build the jar file and then I run the
docker compose up
little snippet to the log messages:
springboot                   |  at org.postgresql.core.ConnectionFactory.openConnection(ConnectionFactory.java:51) ~[postgresql-42.2.24.jar!/:42.2.24]
springboot                   |  at org.postgresql.jdbc.PgConnection.<init>(PgConnection.java:225) ~[postgresql-42.2.24.jar!/:42.2.24]
springboot                   |  at org.postgresql.Driver.makeConnection(Driver.java:465) ~[postgresql-42.2.24.jar!/:42.2.24]
springboot                   |  at org.postgresql.Driver.connect(Driver.java:264) ~[postgresql-42.2.24.jar!/:42.2.24]
springboot                   |  at com.zaxxer.hikari.util.DriverDataSource.getConnection(DriverDataSource.java:138) ~[HikariCP-4.0.3.jar!/:na]
springboot                   |  at com.zaxxer.hikari.pool.PoolBase.newConnection(PoolBase.java:364) ~[HikariCP-4.0.3.jar!/:na]
springboot                   |  at com.zaxxer.hikari.pool.PoolBase.newPoolEntry(PoolBase.java:206) ~[HikariCP-4.0.3.jar!/:na]
springboot                   |  at com.zaxxer.hikari.pool.HikariPool.createPoolEntry(HikariPool.java:476) ~[HikariCP-4.0.3.jar!/:na]
springboot                   |  at com.zaxxer.hikari.pool.HikariPool.checkFailFast(HikariPool.java:561) ~[HikariCP-4.0.3.jar!/:na]
springboot                   |  at com.zaxxer.hikari.pool.HikariPool.<init>(HikariPool.java:115) ~[HikariCP-4.0.3.jar!/:na]
springboot                   |  at com.zaxxer.hikari.HikariDataSource.getConnection(HikariDataSource.java:112) ~[HikariCP-4.0.3.jar!/:na]
springboot                   |  at org.hibernate.engine.jdbc.connections.internal.DatasourceConnectionProviderImpl.getConnection(DatasourceConnectionProviderImpl.java:122) ~[hibernate-core-5.4.32.Final.jar!/:5.4.32.Final]
springboot                   |  at org.hibernate.engine.jdbc.env.internal.JdbcEnvironmentInitiator$ConnectionProviderJdbcConnectionAccess.obtainConnection(JdbcEnvironmentInitiator.java:180) ~[hibernate-core-5.4.32.Final.jar!/:5.4.32.Final]
springboot                   |  at org.hibernate.resource.transaction.backend.jdbc.internal.DdlTransactionIsolatorNonJtaImpl.getIsolatedConnection(DdlTransactionIsolatorNonJtaImpl.java:43) ~[hibernate-core-5.4.32.Final.jar!/:5.4.32.Final]
springboot                   |  ... 44 common frames omitted
springboot                   | Caused by: java.net.UnknownHostException: postgresql
springboot                   |  at java.base/java.net.AbstractPlainSocketImpl.connect(AbstractPlainSocketImpl.java:220) ~[na:na]
springboot                   |  at java.base/java.net.SocksSocketImpl.connect(SocksSocketImpl.java:392) ~[na:na]
springboot                   |  at java.base/java.net.Socket.connect(Socket.java:609) ~[na:na]
springboot                   |  at org.postgresql.core.PGStream.createSocket(PGStream.java:231) ~[postgresql-42.2.24.jar!/:42.2.24]
springboot                   |  at org.postgresql.core.PGStream.<init>(PGStream.java:95) ~[postgresql-42.2.24.jar!/:42.2.24]
springboot                   |  at org.postgresql.core.v3.ConnectionFactoryImpl.tryConnect(ConnectionFactoryImpl.java:98) ~[postgresql-42.2.24.jar!/:42.2.24]
springboot                   |  at org.postgresql.core.v3.ConnectionFactoryImpl.openConnectionImpl(ConnectionFactoryImpl.java:213) ~[postgresql-42.2.24.jar!/:42.2.24]
springboot                   |  ... 58 common frames omitted
springboot                   |
springboot exited with code 1

The log messages from my postgres container:

PostgreSQL Database directory appears to contain a database; Skipping initialization

2022-01-30 07:39:04.321 UTC [1] LOG:  starting PostgreSQL 14.1 (Debian 14.1-1.pgdg110+1) on x86_64-pc-linux-gnu, compiled by gcc (Debian 10.2.1-6) 10.2.1 20210110, 64-bit

2022-01-30 07:39:04.321 UTC [1] LOG:  listening on IPv4 address "0.0.0.0", port 5432

2022-01-30 07:39:04.321 UTC [1] LOG:  listening on IPv6 address "::", port 5432

2022-01-30 07:39:04.327 UTC [1] LOG:  listening on Unix socket "/var/run/postgresql/.s.PGSQL.5432"

2022-01-30 07:39:04.338 UTC [27] LOG:  database system was shut down at 2022-01-30 07:38:38 UTC

2022-01-30 07:39:04.349 UTC [1] LOG:  database system is ready to accept connections

2022-01-30 07:42:16.689 UTC [45] LOG:  invalid length of startup packet

2022-01-30 07:42:16.709 UTC [46] LOG:  invalid length of startup packet

2022-01-30 07:42:16.726 UTC [47] LOG:  invalid length of startup packet

2022-01-30 07:42:39.376 UTC [1] LOG:  received fast shutdown request

2022-01-30 07:42:39.379 UTC [1] LOG:  aborting any active transactions

2022-01-30 07:42:39.381 UTC [1] LOG:  background worker "logical replication launcher" (PID 33) exited with exit code 1

2022-01-30 07:42:39.386 UTC [28] LOG:  shutting down

2022-01-30 07:42:39.430 UTC [1] LOG:  database system is shut down

2022-01-30 07:45:33.835 UTC [1] LOG:  starting PostgreSQL 14.1 (Debian 14.1-1.pgdg110+1) on x86_64-pc-linux-gnu, compiled by gcc (Debian 10.2.1-6) 10.2.1 20210110, 64-bit

2022-01-30 07:45:33.835 UTC [1] LOG:  listening on IPv4 address "0.0.0.0", port 5432

2022-01-30 07:45:33.836 UTC [1] LOG:  listening on IPv6 address "::", port 5432

2022-01-30 07:45:33.841 UTC [1] LOG:  listening on Unix socket "/var/run/postgresql/.s.PGSQL.5432"

2022-01-30 07:45:33.852 UTC [26] LOG:  database system was shut down at 2022-01-30 07:42:39 UTC

2022-01-30 07:45:33.861 UTC [1] LOG:  database system is ready to accept connections

2022-01-30 07:48:44.550 UTC [1] LOG:  received fast shutdown request

2022-01-30 07:48:44.559 UTC [1] LOG:  aborting any active transactions

2022-01-30 07:48:44.564 UTC [1] LOG:  background worker "logical replication launcher" (PID 32) exited with exit code 1

2022-01-30 07:48:44.572 UTC [27] LOG:  shutting down

2022-01-30 07:48:44.630 UTC [1] LOG:  database system is shut down

2022-01-30 07:49:05.986 UTC [1] LOG:  starting PostgreSQL 14.1 (Debian 14.1-1.pgdg110+1) on x86_64-pc-linux-gnu, compiled by gcc (Debian 10.2.1-6) 10.2.1 20210110, 64-bit

2022-01-30 07:49:05.986 UTC [1] LOG:  listening on IPv4 address "0.0.0.0", port 5432

2022-01-30 07:49:05.988 UTC [1] LOG:  listening on IPv6 address "::", port 5432

2022-01-30 07:49:05.995 UTC [1] LOG:  listening on Unix socket "/var/run/postgresql/.s.PGSQL.5432"

2022-01-30 07:49:06.004 UTC [26] LOG:  database system was shut down at 2022-01-30 07:48:44 UTC

2022-01-30 07:49:06.035 UTC [1] LOG:  database system is ready to accept connections

PostgreSQL Database directory appears to contain a database; Skipping initialization

PostgreSQL Database directory appears to contain a database; Skipping initialization

``

 command to start up the containers. Is there any error in my spring boot configuration ?

A: I think the problem is your jdbc URL: jdbc:postgresql://postgres:5432/trainingdb
can you try this URL instead: jdbc:postgresql://localhost:5432/trainingdb

A: Can you check on the log, whether postgre container is up and running?
Also please check the container status by using the command 'docker ps' and check for the container name 'postgres'.


text:
Category Archives: Year Of Recording: 1988
Mannheim Steamroller – A Fresh Aire Christmas (1988)
Mannheim Steamroller is an American neoclassical new-age music group founded by percussionist/composer Chip Davis that is known primarily for its Fresh Aire series of albums, which blend classical music with elements of new age and rock, and for its modern recordings of Christmas music. The group has sold 28 million albums in the U.S. alone.
Mannheim Steamroller began as an alias for record producer and composer Chip Davis. The name "Mannheim Steamroller" comes from an 18th-century German musical technique, Mannheim roller (German: Mannheimer Walze), a crescendo passage having a rising melodic line over an ostinato bass line, popularized by the Mannheim school of composition.
Before the fame of Steamroller, Davis had been best known for collaborating with his friend Bill Fries on the songs of the country music character "C. W. McCall" (of "Convoy" fame). The song was based on the character created by Fries and music composed by Davis for a series of Clio winning ads for Metz Baking Company for their Old Home Bread product.[3] Davis was named Country Music Writer of the Year in 1976, a genre he is not fond of.[4]
Even before the height of McCall's popularity, Davis produced an unusual album of classical music performed entirely by Davis and musical collaborator and keyboardist Jackson Berkey, using electric bass (played by Eric Hansen) and synthesizers.
Steamroller found its greatest fame beginning in 1984 when Davis released his first holiday album, Mannheim Steamroller Christmas, featuring modern contemporary interpretations of Yuletide favorites. This was followed by A Fresh Aire Christmas (1988) and Christmas in the Aire (1995), which showcased creative approaches to old carols, as well as some new carol-like compositions. Steamroller had now become one of the most requested Christmas music artists of all time,[citation needed] in part by adopting a very radio-friendly approach. At the end of 1997, they released a live album of Christmas music, Mannheim Steamroller Christmas Live. Their fourth all-new Christmas album, Christmas Extraordinaire, was released in 2001. However, sales of Steamroller's third and fourth Christmas releases fell far short of the sales of Christmas and A Fresh Aire Christmas. Christmas Celebration, a compilation of favorite tracks from the previous studio albums (with one new song), was released in 2004. The studio album Christmas Song was released in late 2007 and features guest vocals by Johnny Mathis and Olivia Newton-John, but co-founder Jackson Berkey is absent from the lineup. The CD Christmasville was released in 2008. Their next release was a 25th anniversary Christmas box set consisting of previously released material, and in 2011 they released Mannheim Steamroller Christmas Symphony with members of the Czech Philharmonic Orchestra. (wikipedia)
And here´s thier second Christmas album:
A Fresh Aire Christmas takes you back to the roots of a selection of beloved Christmas carols and exposes you to the origins of others, as they were composed and enjoyed around the world. Discover new favorites in the 19th century Ukrainian Carol of the Bells, the 15th century German carol Lo How a Rose E'er Blooming and the Austrian carol Still, Still, Still. Make A Fresh Aire Christmas part of your holiday soundtrack today and bring a little classical Christmas into your home!
12 beautifully performed and meticulously arranged Christmas carols
Delight friends and family with this classical Christmas album that explores the roots of many beloved carols. (press release)
To the outstanding ensemble sound of Mannheim Steamroller, Davis adds the majestic fanfare of a brass choir in this second seasonal recording gem. "Hark! The Herald Angels Sing" resounds with vibrant glory that only brass instruments can evoke, while the enchanting "Little Drummer Boy" brings us the magic of Santa's workshop… (by allnusic)
Recorded at Sound Recorder, Omaha; St. Michaels Cathedral, Chicago; Universal Studios, Chicago; The Great Hall Of University College School, London; and The University Of Downstairs.
Jackson Berkey (keyboards)
Ron Cooley (guitar)
Chip Davis (winds, percussion, vocals)
Eric Hansen (lute, trumpet)
Bob Jenkins (oboe)
David Low (cello)
Willis Ann Ross (flute)
John Sharpe (cello)
Mary Walter (harp)
Liz Westphalen (vocals)
Barbara Butler (trumpet)
Charles Geyer (trumpet)
Russ Knutson (percussion)
George Vosburgh (trumpet)
Doug Waddell (percussion)
tuba:
Charlie Schuchat – Rex Martin
Arnie Roth – Steven Shipps
trombone:
Charles Vernon – Ed Kocher
french horn:
Dan Gingrich – David (H.D.) Kappy – Jonathon Boen – Norman Schweikert
bass:
Greg Sarchet – Joseph Di Bello – Joseph Guastafeste – Paul Dallas – Stephen Lester
The Cambridge Singers:
Caroline Ashton – Clare Wallace – Donna Deam – Jo Maggs – Mary Mure – Mary Seers – Nancy-Jane Thompson – Simone Chambers
01. Hark! The Herald Trumpets Sing 1.27
02. Hark! The Herald Angels Sing 3.28
03. Veni Veni (O Come O Come Emanuel) 4.13
04. The Holly And The Ivy 2.59
05. Little Drummer Boy 4.06
06. Still, still, still 3.39
07. Lo How A Rose E'er Blooming 2.24
08. In Dulci Jubilo 2.45
09. Greensleeves 3.25
10. Carol Of The Bells 3.50
11. Traditions Of Christmas 3.32
12. Cantique De Noel (O Holy Night) 5.18
All songs: Traditional
except 11. written by Chip Davis
"This album was recorded in 5 places on Earth, including and highlighting some of Earth's finest performers"
The official website:
Posted in Christmas 2022, Mannheim Steamroller, Year Of Recording: 1988 | Leave a reply
The Global Vision Project – Essential Elements – Cathedral Echoes (1998)
Posted on October 10, 2022 by allerlei2013riffmaster
And here´s an voyage into the special atmosphere of a cathedral:
The mighty and ancient fruits of heruclean labour in the days of old. the great cathedrals were conceived to stimulate, awe snd inspire. Within their precints is a unique kind of quiet.
Visitors speak in hushed tones. Footfalls are soft despite the stone floors. And the music is rich and magnificent. Immerse yourself in the sounds of a magnificent cathedral, draw inspiration from its soaring architecture. grand scale and glorous histcory.
Imagine to the bright emerald green of the grass around its walls, the imagine of its spire soaring up into the heavens and the mighty stones that are its very fabric.
Absorb the very special atmosphere in and around a cathedral, and hear its echo in the music. (liner notes)
unknown studio musicians & choir
01. Convocation 18:47
02. The Ancient Order 13:48
03. The Sun Through The Stained Glass 17:54
04. Celibacy 9:10
Posted in New Age, Year Of Recording: 1988 | 1 Reply
Keith Clark + CSR Symphony Orchestra – Spanish Festival (1988)
Spain excersised a curious fascination over the nationalist composers of the ninenteenth century, with a particular appeal, in Russia, a country that was finding again it´s ohn identity in literature and music, after the Westerninisation initiated by Peter the Great. (taken orm the original liner notes).
And here is a really fine example of such compositions … all had the aim of approaching Spanish music, taking into account the folklore music there.
This album was recorded by the Slovak Radio Symphony Orchestra (CSR), conducted by Keith Clark:
Keith Clark studied at the Vienna Academy of Music and Tanglewood, was awarded diplomas and the conducting prize from the Chigiana Academy in Italy, and received his PhD degree with honors in composition from the University of California Los Angeles. From Vienna's Musikverein to the Royal Philharmonic Hall and from Lucerne to Los Angeles, Keith Clark has appeared widely as conductor of orchestras and opera.
He has participated in the Vienna, Bucharest and Siena Festivals as both conductor and composer, conducted on BBC, Austrian, Hungarian and Netherlands radio and television, and performed and recorded as conductor of the Vienna Chamber Orchestra. Following nearly ten years abroad, he returned to California as founding music director of the Pacific Symphony Orchestra, and in five years has brought the orchestra to national prominence. (Press release)
The Slovak Radio Symphony Orchestra (Slovak: Symfonický orchester Slovenského rozhlasu), previously known as Czecho-Slovak Radio Symphony Orchestra and CSR Symphony Orchestra, is a symphony radio orchestra based in Bratislava, Slovakia.
Founded in 1929 to serve Slovak Radio, the orchestra became particularly associated with the music of Slovak composers, notably Alexander Moyzes, Eugen Suchoň and Ján Cikker.
Chief conductors of the orchestra have included Krešimir Baranović, Ľudovít Rajter, Ladislav Slovák, Václav Jiráček, Otakar Trhlík, Bystrík Režucha, Ondrej Lenárd (1977–90), Róbert Stankovský (1990–2001), Charles Olivieri-Munroe (2001–03), Oliver von Dohnányi (2006–07), and Mario Kosik. in 2019, Ondrej Lenárd was installed as the chief conductor.
The orchestra has become well known abroad through its broadcasts and recordings, particularly for the Naxos Records label. (wikipedia)
Liten to this wonderful compositions and enjoy it !
The Slovak Radio Symphony Orchestra conducted by Keith Clark
Alexis Emmanuel Chabrier (1841–94):
01. España 6.00
Jules Emile Frederic Massenet (1842-1912): Le Cid (Balet Music):
02. Castillane 2.56
03. Andalouse 2.48
04. Aragonaise 1.42
05. Aubade 1.10
06. Catalane 2.59
07. Madrilene 4.14
08. Navarraise 3.07
Jules Emile Frederic Massenet (1842-1912): Don César de Bazan:
09. Sévillana 2.14
Edward William Elgar (1857–1934):
Rimsky Korsakov (1844–1908): Capriccio espagnol, Op. 34:
11. Alborada 1.10
12. Variations 7.17
14. Scena E Canto Gitano 4.49
15. Fandango Asturiano 3.17
Mikhail Ivanovich Glinka (1804–1857):
16. Summer Night In Madrid 9.16
17. Capriccio brillante on the Jota Aragonese 8.53
Posted in Clark Keith, Classic, Slovak Philharmonic Orchestra, Year Of Recording: 1988 | Leave a reply
Chris Isaak – Speak Of The Devil (1988)
Posted on September 28, 2022 by allerlei2013riffmaster
Christopher Joseph Isaak (born June 26, 1956) is an American musician and occasional actor. He is widely known for his hit "Wicked Game", as well as the songs "Baby Did a Bad Bad Thing" and "Somebody's Crying". He is known for his signature 1950s rock & roll style and crooner sound, as well as his falsetto and reverb-laden music. He is closely associated with film director David Lynch, who has used his music in numerous films and gave him a role in the film Twin Peaks: Fire Walk with Me. His songs generally focus on the themes of love, loss, and heartbreak. With a career spanning four decades, he has released a total of 12 studio albums, toured, and received numerous award nominations. He has been called the Roy Orbison of the 1990s and is also often compared to Elvis Presley, Ricky Nelson, and Duane Eddy.
Speak of the Devil is the seventh studio album by the American rock musician Chris Isaak, released in 1998. (wikipedia)
Speak of the Devil explores the same moody terrain as Chris Isaak's previous records, though the songs are fleshed out with more contemporary touches. The leadoff track, "Please," is unusually hard-hitting, with its acoustic/electric/soft/crash structure, Mellotron, and soundbite lyrics. "I'm Not Sleepy" is a roots rock rave-up (wherein Isaak lyrically quotes Lennon's "Oh Yoko": "In the middle of the night I cry your name"); the title cut is an eerie celebration of love lost and found; "Talkin' 'Bout a Home" is the album's tour de force.
Yet, some of the loungy vocal touches in "Flying" and the final instrumental track, "Super Magic 2000," would be right at home on an indie rock record. And of course there's plenty of that thing Isaak does best: quintessential love's-gone-wrong-'n'-let's-make-it-right songs, as on the loping, country-tinged "This Time" and the teary "Walk Slow." (by Denise Sullivan)
Chris Isaak (vocals, guitar)
Kenney Dale Johnson (drums, vocals)
Rowland Salley (bass, vocals)
Hershel Yatovitz (guitar, vocals)
Rob Cavallo (guitar on 01. + 03.)
additional musicians
Curt Bisquera – Cynthia Corra – Dave Palmer – Frank Martin – Jamie Muhoberac – Jimmy Pugh – John Pierce – Julie Lorch – Mark Needham – Mary Dunaway – Matt Chamberlain, Patrick Warren – Steve Ferrone – Terry Wood – Weddy Waller
01. Please 3.33
02. Flying 3.08
03. Walk Slow 3.01
04. Breaking Apart 3.45
05. This Time 3.12
06. Speak Of The Devil 3.30
07. Like The Way She Moves 2.49
08. Wanderin' 2.42
09. Don't Get So Down On Yourself 3.11
10. Black Flowers 2.43
11. I'm Not Sleepy 2.36
12. 7 Lonely Nights 2.09
13. Talkin' 'Bout A Home 4.44
14. Super Magic 2000 3.45
All songs written by Chris Isaak
except 04.:written by Chris Isaak & Diane Warren
More from Chris Isaak:
Posted in Isaak Chris, Rock, Year Of Recording: 1988 | Leave a reply
Ladysmith Black Mambazo – Journey Of Dreams (1988)
Posted on March 2, 2022 by allerlei2013riffmaster
Founded by Joseph Shabalala during the 1960s, Ladysmith Black Mambazo is a Grammy-winning choral group from South Africa. Specializing in isicathamiya, a harmony-focused Zulu style of a cappella and offshoot of mbube, they became known to pop audiences around the world when Paul Simon featured them on his 1986 album Graceland. After joining Simon on his 1987 Graceland tour, they became regular headliners on the international touring circuit.
Born in 1941, Shabalala was one of eight children in a family that lived on a farm near the town of Ladysmith, South Africa. As the oldest boy, it was Joseph's duty to take care of the family after his father died, and he eventually took up factory work.
His first musical experience, save for a bit of fooling around on the guitar, came with a choral group called the Blacks. Shabalala eventually took over leadership of the group and became its main composer. The Blacks won the majority of the local vocal competitions and became the most popular Zulu vocal group, but Shabalala felt that something was missing. "I had been hearing a voice inside me," he said. "I didn't know it, but it was the voice of God." Shortly thereafter he became a Christian. Blending the choral music he heard in the Christian church with multiple elements of the Zulu tradition not typically combined, he forged his own style.
When the Blacks refused to take part in Shabalala's experiments, he formed Ladysmith Black Mambazo. The group consisted of seven bass voices, an alto, a tenor, and Shabalala singing lead. After signing with Gallo Record Company, their recording debut, Amabutho, arrived in 1973. The combo began releasing albums at a staggering rate, creating a massive catalog of vocal music.
After Ladysmith Black Mambazo contributed to the eclectic mix of styles on Simon's international hit Graceland and joined him on the subsequent tour, Simon produced a trilogy of Warner Bros. releases for the group. Shaka Zulu, released in 1987, won a Grammy for Best Traditional Folk Recording. It was followed by 1988's Journey of Dreams and 1990's Two Worlds One Heart. Among continued releases for other labels, including Gallo, a pair of best-of samplers appeared on Shanachie, including 1992's Best of Ladysmith Black Mambazo. The 2000 compilation In Harmony was issued by Wrasse. The group won another Grammy for 2004's Raise Your Spirit Higher, this time for Best Traditional World Music Album, and No Boundaries, which featured the English Chamber Orchestra, arrived on Headsup Records in 2005. In 2007, Ilembe: Honoring Shaka Zulu was released in South Africa with an American edition following in 2008. It took home the Grammy for Best Traditional World Music Album, and Live: Singing for Peace Around the World won the Best World Music Album Grammy in 2013.
With a lineup featuring four of Joseph Shabalala's sons, who by that point had sung with the group for over 20 years, Ladysmith Black Mambazo released Songs of Peace & Love for Kids & Parents Around the World in 2017. Joseph Shabalala died in Pretoria, South Africa on February 11, 2020. (by by Marcy Donelson)
Amazing sounds of Africa, melodies that one has heard allover the world at one point or another, melodies that have touched your heart.
Their ability to sing these traditional songs in an expressive manner, even if you don't understand the lyrics, you will feel the emotions.
It makes me very melancholic to think of the love expressed, for a country so beautiful yet dangerous. A country so rich yet robbed misused and exploited.
It touches my heart to listen to the songs and feel the love for their beloved south Africa. (Carmelina)
The labels from South Africa:
I love the complex harmonies of this a capella ensemble … They blend their voices so well.
A great additon to ever World Music collection !
Jockey Shabalala – Jabulani Dubazana – Inos Phungula – Ben Shabalala – Geophrey Mdletshe – Headman Shabalala – Milton Mazibuko – Funokwakhe Mazibuko – Joseph Shabalala Walter Malinga – Russel Mthembu
01. Umusa Kankulunkulu 3.26
02. Lindelani 3.55
03. Ukhalangami 3.15
04. Bavimb'indlela 3.18
05. Bhasobha 3.18
06. Nomakanjani 3.23
07. Hamba Dompasi 3.39
08. Ungayoni into Enhle 4.11
09. Amaphiko Okundiza 5.06
10. Wayibambezela 5.37
11. Ungakhohlwa 3.23
12. Ibhubesi 3.35
13. Amazing Grace 3.09
All songs written by Joseph Shabalala
except 13.: Traditional
Posted in Ladysmith Black Mambazo, World Music, Year Of Recording: 1988 | Leave a reply
Little River Band – Get Lucky (1990)
Little River Band (LRB) is a rock band originally formed in Melbourne, Australia in March 1975. The band achieved commercial success in both Australia and the United States. They have sold more than 30 million records; six studio albums reached the top 10 on the Australian Kent Music Report albums chart including Diamantina Cocktail (May 1977) and First Under the Wire (July 1979), which both peaked at No. 2. Nine singles appeared in the top 20 on the related singles chart, with "Help Is on Its Way" (1977) as their only number-one hit. Ten singles reached the top 20 on the Billboard Hot 100 with "Reminiscing" their highest, peaking at No. 3.
Little River Band have received many music awards in Australia. The 1976 line-up of Beeb Birtles, David Briggs, Graeham Goble, Glenn Shorrock, George McArdle and Derek Pellicci, were inducted into the Australian Recording Industry Association (ARIA) Hall of Fame at the 18th Annual ARIA Music Awards of 2004. Most of the group's 1970s and 1980s material was written by Goble and/or Shorrock, Birtles and Briggs. In May 2001 the Australasian Performing Right Association (APRA), as part of its 75th anniversary celebrations, named "Cool Change", written by Shorrock, as one of the Top 30 Australian songs of all time. "Reminiscing", written by Goble, received a 5-Million Broadcast Citation from BMI in 2020.
The group have undergone numerous personnel changes, with over 30 members since their formation, including John Farnham as lead singer after Shorrock first departed in 1982. None of the musicians now performing as Little River Band are original members, nor members in the 1970s. In the 1980s, members included Farnham, Wayne Nelson, Stephen Housden, David Hirschfelder and Steve Prestwich. As from October 2020 the line-up is Nelson, Rich Herring, Chris Marion, Ryan Ricks and Colin Whinnery – none of whom are Australian. Various legal disputes over the band's name occurred in the 2000s, with Housden filing suit against Birtles, Goble and Shorrock.
Get Lucky is the eleventh studio album by Australian group, Little River Band, released in April 1990, the album peaked at number 54 on the Australian ARIA Charts.(wikipedia)
This album was recorded in 1990 and features three of the original and best members of a band with many lineup changes over the years.They now tour and record with no original members and their lead vocalist is Wayne Nelson who joined in 1980 at the tail end of their most successful period.The rights to the name `Little River Band' belong to guitarist `Steve Housden' who joined in 1981 and hasn't toured with them since 2006 and he forbids the original singers and writers to use the name when they tour.Shame they can't come to some amicable arrangement.
This is a good but not essential LRB album.Apart from a couple of not so great ballads at the end the songs are catchy and the trademark harmonies are there.The production is very glossy which I found off-putting in some songs making the band sound like another version of Foreigner and the like.
All up a worthwhile purchase and the last time you'll hear original lead vocalist `Glen Shorrock' sing on a `Little River Band' album. (R.Angel)
Graham Goble (guitar, background vocals)
Stephen Housden (lead guitar)
Wayne Nelson (bass, background vocals, vocals on 07. + 09.)
Derek Pellicci (drums)
Glenn Shorrock (vocals)
Claude Gaudette (keyboards, programming)
Dennis Lambert (keyboards, programming)
Jamie Paddle (keyboards, programming)
John Robinson (drums)
01. If I Get Lucky (Chapman) 4.15
02. There's Not Another You (Goble) 3.50
03. Second Wind (Lambert/Reswick/Werfel) 4.15
04. Every Time I Turn Around (Beckett/Lambert) 4.38
05. I Dream Alone (Pellicci/Shorrock) 4.51
06. Time And Eternity (Goble) 4.09
07. Two Emotions (Goble) 4.29
08. As Long As I'm Alive (Goble/M.Nelson/G.Nelson) 4.36
09. The One That Got Away (Lambert/W.Nelson/Gaudette) 3.57
10. Listen To Your Heart (Kelly/Steinberg) 4.52
A road sign to Little River, on a trip by the fledgling band from Melbourne to Geelong, inspired Glenn Shorrock to suggest the band name:
Posted in Little River Band, Rock, Year Of Recording: 1988, Year Of Recording: 1989 | Leave a reply
Mo Foster – Bel Assis (1988)
Mo Foster (born Michael Ralph Foster, 22 December 1944) is an English multi-instrumentalist, record producer, composer, solo artist, author, and public speaker. Through a career spanning over half a century, Foster has toured, recorded, and performed with dozens of artists, including Jeff Beck, Gil Evans, Phil Collins, Ringo Starr, Joan Armatrading, Gerry Rafferty, Brian May, Scott Walker, Frida of ABBA, Cliff Richard, George Martin, Van Morrison, Dr John, Hank Marvin, and the London Symphony Orchestra. He has released several albums under his own name, authored a humorous book on the history of British rock guitar, written numerous articles for music publications, continued to compose production music, and established himself as a public speaker. Foster is an assessor for JAMES, an industry organisation that gives accreditation to music colleges throughout the UK. In 2014, Foster was a recipient of a BASCA Gold Badge Award to honour his lifelong contribution to the British songwriting and composing community. (wikipedia)
You´ll find more informations about Mo Foster here.
And here´s his first solo-album and … it´s a masterpiece !
Bel Assis was originally released on Pete Van Hooke's fledgling MMC record label in 1988 and was subsequently remastered and re-released in 2003 by Angel Air Records.
This album is really for those out there who are familiar with Mo Foter's wonderful sessions work over the past decades, and I quite frankly think this album is great.
From the 1st track with has Gary Moore guesting on it, to the final track it showcases Mo's ability as a great bassist and as a songwriter. Maybe you should take another listen to this album and enjoy it for what it is. Great music from a great musician. (Phillby01)
Such soft and gentle compositions, perfectly played by wonderful musicians from UK (check the line up of this album)
Rod Argent (keyboards)
Dave Dufries (trumpet)
Mo Foster (bass, keyboards)
Sal Galina (electronic woodwind)
Peter van Hooke (percussion)
Gary Moore (guitar)
Simon Phillips (drums)
Frank Ricotti (vibraphone)
Ray Russell (guitar)
Stan Sulzman (saxophone)
01.The Light In Your Eyes (Foster) 5.42
02. A Walk In The Country (Foster) 4.32
03. Gaia (Foster) 6.27
04. Crete Revisited (Foster) 4.45
05. So Far Away (Foster/Russell) 3.48
06. Analytical Engine (Foster) 5.01
07. Pump II (Foster) 6.05
08. Jaco (Foster) 6.12
09. Bel Assis (Foster) 3.44
10. And Then There Were Ten (Foster/Russell) 5.01
11 Nomad (Foster) 8.10
More from Mo Foster:
Posted in Foster Mo, Rock, Year Of Recording: 1988 | 2 Replies
Don Grusin & Dave Grusin – Sticks And Stones (1988)
Sticks and Stones is an album by American pianist Dave Grusin with his brother Don Grusin. It was released in 1988, recorded for the GRP label. The album reached No. 14 on the Billboard Contemporary Jazz chart. (wikipedia)
This set works very well. Dave Grusin and his younger brother Don Grusin use a variety of keyboards to create a series of colorful duets. Other than Dori Caymmi's "Southern Wind," all of the fairly spontaneous yet well-planned performances are originals by one or both of the brothers. Even listeners who are not that much into electronics will find much of interest on this melodic and funky, yet often unpredictable set. (by Scott Yanow)
"Sticks and Stones" is a very special album musically and personally. The year was 1988 and Dave Grusin's GRP label was off in full force producing one unique recording after another. One of the album's released during this peak period is this one.
Dave Grusin and brother Don produced and played everything on "Sticks and Stones" themselves and with the exception of the dual piano rendition Dori Caymmi's "Southern Wind", they wrote all the music as well.
The Grusin's employed what was then the very latest in keyboard technology on this album. Several of the sounds on the album, especially the rhythm tracks, don't sound synthetic at all. Listen for the snare drum marches on the closing Celtic-tinged track "North-Tribal Step Dance" or the bass-lines on "This Little Pig's Got The Blues" and you'd swear they were the real instruments instead of from synths or drum machines.
The music on "Sticks and Stones" is quite varied. Beside the two tracks mentioned above, Dave's TV/Film Theme style is heard in the opening track "Birds With Long Legs" as well as "River Song". "Pico Pica" and the title track both have a slight Brazilian Jazz feel to them while "Good Ol' Boys" has a humorous country quality to it. Dave and Don also team up for two acoustic piano duets – one of which is the above mentioned "Southern Wind" and the other being a bluesy gospel-tinged romp entitled "Dog Heaven".
With all this said, Dave and Don Grusin's "Sticks and Stones" is a highly entertaining album which brings back some great memories for this reviewer. The CD is unfortunately out-of-print and has been for many years. However, it is still highly possible to find it used at a decent price.
If you're looking for some pleasant yet eclectic instrumental music with a good relaxing feel, look no further that this album. It's a great CD and it sounds like the Grusin brothers just had a plain ball making it together. (by Louie Bourland)
Dave Grusin (all instruments)
Don Grusin (all instruments)
Dori Caymmi (vocals on 10.)
01. Birds With Long Legs (Dave Grusin) 5.05
02. Pico Pica (Don Grusin) 4.57
03. Sailing At Night (Don Grusin) 4.19
04. River Song (Dave Grusin/Don Grusin) 5.13
05. Sticks And Stones (Dave Grusin/Don Grusin) 6.10
06. Glissade (Dave Grusin) 5.19
07. Good Ol' Boys (Don Grusin) 7.29
08. This Little Pig's Got The Blues (Don Grusin) 5.29
09. Dog Heaven (Don Grusin) 4.52
10. Southern Wind (Caymmi) 4.19
11. North-Tribal Step Dance (Dave Grusin) 4.50
Posted in Don Grusin & Dave Grusin, Grusin Don, Jazz, Year Of Recording: 1988 | Leave a reply
Sam Brown – Stop ! (1988)
Posted on May 18, 2020 by allerlei2013riffmaster
Samantha Brown (born 7 October 1964) is an English singer-songwriter, composer, multi-instrumentalist, arranger and record producer.
Brown is a ukulele player and was a blue-eyed soul and jazz singer. She came to prominence in the late 1980s as a solo artist, releasing six singles that entered the UK Singles Chart during the 1980s and 1990s. Her solo singles, sometimes dealing with lost love included "Stop!", "This Feeling", "Can I Get a Witness", "Kissing Gate", "With a Little Love" and "Just Good Friends". She worked as a session backing vocalist, working with artists such as Gary Moore, George Harrison, Small Faces, Spandau Ballet, Adam Ant, Jon Lord (of Deep Purple), Pink Floyd (also David Gilmour), The Firm and Nick Cave.
Brown released her debut album Stop! in 1988. Since then, she has released five studio albums, one EP and three compilation albums, as well as three albums as part of the group Homespun, but lost her singing voice in 2007.
Samantha Brown was born on 7 October 1964, in Stratford, east London, England. She is the daughter of musician Joe Brown and session singer Vicki Brown. Brown's first work in the music industry was in 1978 at the age of 14, when she sang backing vocals on the final studio album by the Small Faces, 78 in the Shade. She also worked as a backing vocalist with several other bands, including Spandau Ballet and with her mother on former Deep Purple keyboardist Jon Lord's third solo album Before I Forget.
Brown signed a recording contract with A&M in 1986. Her most successful song with A&M was "Stop!", released as a single in 1988. She issued an album of the same name that same year.[1] Other singles taken from the album included "Walking Back to Me", "This Feeling" and her cover version of "Can I Get a Witness". The album Stop! has sold over two and a half million copies worldwide,[2] doing particularly well in the UK and Australia. Brown's second studio album, April Moon (1990), included two hit singles, "Kissing Gate" and "With a Little Love". Three further singles were released from the album: "Mindworks", "Once in Your Life" and "As One". She also played the ukulele.
Brown's third studio album, 43 Minutes…, was made around the same time that her mother was dying from breast cancer.A&M, Brown's record label at the time, were not satisfied with the album and wanted some potential hit singles recorded and added to the track listing.[2] Brown, unwilling to compromise and after a protracted legal battle, bought back the master recordings of the album and released them in 1992 on her own label Pod Music, a year after the death of her mother. Few copies were initially released, although it was re-issued in 2004.
Brown provided backing vocals for Pink Floyd on their fourteenth studio album, The Division Bell, released in 1994 and accompanied them on their tour to promote the release.[2] Her involvement was documented on the following year's Pink Floyd release, Pulse, in which she sang backing vocals and was the first lead vocalist on the song "The Great Gig in the Sky". In 1995, she had a minor chart hit with a duet with fellow singer-songwriter Fish, entitled "Just Good Friends". In 1997, Brown returned with her fourth studio album Box, released via the independent record label Demon Music Group. Tracks on this album included "Embrace the Darkness", "Whisper" and "I Forgive You" which was co-written with Maria McKee. McKee's version of the song originally appeared on her second album, You Gotta Sin to Get Saved.
In 2000, her fifth studio album ReBoot was released via another independent label, Mud Hut, and the single "In Light of All That's Gone Before." In 2003, Brown formed the band Homespun with Dave Rotheray,[1] releasing three albums. Brown also released several solo recordings in this period, including an EP, Ukulele and Voice.[1] In 2004, Jon Lord released Beyond the Notes, for which she wrote almost all the lyrics.[3] In late 2006, she undertook an extensive UK tour as special guest of her father, Joe Brown. The shows also included appearances by her brother, Pete Brown.
In 2007, seven years after her last album, Brown released Of the Moment. She also returned to the Top 10 of the UK Albums Chart in October 2007, when "Valentine Moon" was included on Jools Holland's hit album Best of Friends.
That same year she lost her singing voice, and for as yet unknown reasons has not been able to sing since. In an interview from 2013 she explained that "I can't get vocal cord closure and achieve the proper pitch simultaneously. It feels like there are some muscles that aren't working." After a cyst was found on her vocal cords, she had the cyst successfully removed, but problems with her voice persisted, leaving her unable to hold a note.
Brown currently runs the International Ukulele Club of Sonning Common, the North London Ukulele Collective and the People's Ukulele Brigade (PUB).[5] Brown is also a patron of Tech Music Schools in London, made up of Vocaltech, Guitar-X, Keyboardtech and Drumtech.
As well as her solo career, Brown has had a successful career as a backing vocalist and collaborator with other artists. She has worked with the band Barclay James Harvest (1984), David Gilmour (David Gilmour in Concert) and Pink Floyd, Deep Purple (In Concert with The London Symphony Orchestra), Jon Lord, The Firm, Gary Moore, George Harrison and Nick Cave. She has often appeared as a member of Jools Holland's Rhythm and Blues Orchestra and achieved further prominence with her 2002 performance at the Concert for George, which was a memorial to George Harrison on the first anniversary of his death,[6] where she sang "Horse to the Water". This song is included in the film of the concert, not on the album. In 2002, she was a backing vocalist at Buckingham Palace at the Golden Jubilee of Elizabeth II's concert, Party at the Palace.
In 2015, Brown started teaching backing vocals classes at the Academy of Contemporary Music (ACM) in Guildford, Surrey, a school for rock and pop musicians.
Stop! is the debut studio album by the English female singer-songwriter Sam Brown. It was originally released in June 1988, on the label A&M, and was distributed by Festival in Australia. Produced by Sam Brown, her brother Pete Brown, Pete Smith, Danny Schogger, and John Madden the album was recorded at the Power Plant, in London, England, with then-Pink Floyd member David Gilmour's guitar parts on "This Feeling" and "I'll Be In Love" being recorded at Greene Street Studios, in New York, United States. The track "Merry Go Round" has lyrics slightly adapted from W. H. Davies poem "Leisure". The CD edition of the album includes cover versions of Marvin Gaye's Can I Get a Witness and Ike & Tina Turner's Nutbush City Limits.
On release, the album was received favorably by the majority of music critics. Brown's most commercially successful solo album, it went on to peak at #4 on the UK Albums Chart and reached #13 on the Australian ARIA Charts. The album also reached the top ten in five other countries including Austria, the Netherlands, and New Zealand. The album launched three charting singles in the UK. "Stop!" peaked at #4 on the UK Singles Chart; "This Feeling" peaked at #91; "Can I Get a Witness" at #15. The album has sold over two and a half million copies worldwide.[3] The album was certified platinum by Music Canada. In the UK, it sold more than 100,000 copies and was certified gold by the BPI.( by wikipedia)
A fine debut, full of original songs with much more depth and things going on than your average pop record. A few songs like "This Feeling", I'll Be in Love" and "High as a Kite" may be slightly pedestrian, but there's nothing here I would call filler. (by Kim Alsos)
Sam Brown is a Superb artist…and this album was her debut release from 1988, though it spawned a couple of top twenty hits she has spent little time in the charts since but continues to produce some great work.
She has a huge cult following and has become an artist on the fringe of the mainstream which is a place many artists chose to be, and I believe she may be one of them; here they do not have to bow and scrape to popular demands and the whims of record producers. Here they can work freely, develop a strong fan base and maintian robust artistic integrity.
"Stop!" is recognisable now because Jamelia released it last year for the film, "Bridget Jones the edge of reason", but she has not even half the depth and richness of voice to belt the song out like Sam does on this original. It's an oldy but a goody and a descriptive work in terms where British pop/soul was headed in the late 80's before the manufactured craze took over. Listen "Stop!", and you won't stop with Sam Brown! (by S. Hebbron)
Jim Abbiss (steel-guitar)
Bob Andrews (organ)
Dave Bishop (drums)
Stuart Brooks (saxophone)
Joe Brown (guitar, mandolin)
Pete Brown (guitar, keyboards, percussion, background vocals)
Sam Brown (vocals, keyboards)
Ken Craddock (organ)
Danny Cummings (percussion)
Dinesh (percussion)
Paul Fishman (keybords)
David Gilmour (guitar, background vocals)
Gavin Harrison (drums, percussion)
Jakko M. Jakszyk (guitar, background vocals)
Roland Vaughan Kerridge (drums)
Jim Leverton (bass)
Ian Maidman (bass)
Kevin Mazpas (synthesizer)
Richard Newman (drums, background vocals)
Phil Palmer (guitar)
Ed Poole (bass)
Danny Schogger (keyboards)
Danny Thompson (bass)
Vicki Brown – Margo Buchanan – Amy Caine – Helen Chappelle – Philip Saatchi – Peter Smith – Billy Vanderpuye
horn section:
Jeff Daly (saxophone)
Christopher Dean (trombone)
Simon Gardner (trumpet)
David Hancock (trumpet)
John Huckridge (trumpet)
Rex O'Dell (trombone)
Chris Pyne (trombone)
Steve Sidwell (trumpet)
Peter Smith (trombone)
Stan Sulzmann (saxophone)
Jamie Talbot (saxophone)
Alan Wicham (trumpet)
string section:
Peter Esswood (cello)
Kate Musker (viola)
J. Stringle (cello)
Bobby Valentino (violin)
Mark Wazton (violin)
01.Walking Back To Me (Brown/Sutton) 3.44
02. Your Love Is All (Brown/Buchanan) 4.09
03. Stop! (Brown/Sutton/Brody) 4.56
04. It Makes Me Wonder (Brown/Buchanan) 4.36
05. This Feeling (Brown/Buchanan) 3.17
06. Tea (Brown) 0.45
07. Piece Of My Luck (Brown) 2.57
08. Ball And Chain (Brown/Schogger) 4.36
09. Wrap Me Up (Brown/Schogger) 3.13
10. I'll Be In Love (Brown/Schogger) 5.16
11. Merry Go Round (S.Brown/V.Brown) 3.09
12. Sometimes You Just Don't Know (Brown/Malloy/Brennan) 3.08
13. Can I Get A Witness (E.Holland/Dozier/B.Holland) 3.01
14. High As A Kite (Brown/Schogger) 3.26
15. Nutbush City Limits (Turner) 3.14
Posted in Brown Sam, Rock, Year Of Recording: 1988 | Leave a reply
Accordions Go Crazy – Overboard (1988)
Accordions Go Crazy was a six piece band formed in 1985 by the accordionist, pianist and performance artist Mike Adcock including Clive Bell, Dean Speedwell Brodrick, Nicola Hadley, Sylvia Hallet and Stuart Jones. The group featured the accordion as the lively, fresh and fun-loving instrument it was always meant to be. On occasion every member played an accordion, but usually the group presented two or three accordions complemented by combinations of bass guitar, drums, voices, violin, flute, piano, trumpet and trombone.
The music ranged from dance to folk to pop to experimental. As a dance band,
Accordions Go Crazy presented Cajun two-steps, French waltzes, Norwegian folk dances, rock'n'roIl and original material. For a Concert situation a wider range of pieces were available, maybe a Romanian birdsong scherzo compete with a forest full of larks, or an aching Roy Orbison baIIad. The band's experimental side was much less predictable, venturing boldly into the uncharted territory of the avantgarde accordion.
They recorded three albums on the Trikont label: Overboard in 1988, Zombie Dancer in 1989 (with Nicola Hadley replaced by drummer Ann Day), and The art of paper folding in 1991, with Stuart Jones replaced by Ruth Bitelli on bass guitar. Gradually people got more involved in other projects, and Accordions Go Crazy last played on a short tour of Italy in 1991, with Dan Brown replacing Ruth on bass. (last.fm)
An offshoot from the London Musicians' Collective, Accordions Go Crazy, formed 1985, included musicians then playing with Kahondo Style, the English Gamelan Orchestra or British Summer Time Ends, as well as other British performance groups. They released 3 LPs on the German Trikont label between 1988 and 1991, this one being the first. Members Sylvia Hallett and Clive Bell also included one of the band's compositions on their 1988 Golden Apples compilation, posted here.
All members (Mike Adcock, Clive Bell, Dean Speedwell Brodrick, Nicola Hadley, Sylvia Hallett and Stuart Jones) play accordion alternatively, in addition to various instruments. Overboard is a joyous celebration of the accordion's ebulient potentialities through evocative, festive and multi-colored dancing numbers sourced from Cajun, Bulgarian, Romanian and Klezmer traditions. In line with the accordion's generosity and profuse output, the arrangements favor musicians' virtuosity and interplay, a trait further enhanced by live-in-the-studio recording conditions. Of course, the title of the band doesn't imply the instruments are crazy but rather that the accordions will drive you crazy. You've been warned. (continuo.wordpress.com)
What a great and funny album !
Mike Adcock (accordion, piano, vocals)
Clive Bell (accordion, flute, khene, vocals)
Dean Brodrick (accordion, percussion, bassoon, vocals)
Nicola Hadley (accordion, percussion, vocals)
Sylvia Hallett (accordion, violin, trombone, vocals)
Stuart Jones (accordion, bass, trumpet)
01. Symphony For Massed Bands No. 1 (Hallett) 4.02
02. Cotswold Twostep (Adcock) 2.48
03. Tango René (Adcock) 2.20
04. Halinka's Fall (Brodrick) 4.06
05. Violin Solo "The Red Shred" / Imalamayka (Hallett/Traditional) 4.31
06. See My Baby Jive (Wood) 4.33
07. The Falcon Waltz (Adcock) 3.24
08. Ciocirlia "The Lark" (Traditional) 3.11
09. Lebedik un Freilach (Traditional) 2.18
10. Colinda (Traditional) 3.05
11. The Delta (Adcock) 2.18
12. Sea Cruise (Smith) 2.25
13. Diamond Tongued (Bell) 1.34
14. The Third Coming (Adcock) 5.16
Posted in Accordions Go Crazy, World Music, Year Of Recording: 1988 | 1 Reply


text:
Business>Deals
Blackstone in Talks to Buy Minority Stake in India Data Center and Network Provider Sify
The operator recently said it was expanding its data center footprint in cities including Mumbai, Noida and Chennai.
Bloomberg | Mar 05, 2021
Gillian Tan and Cathy Chan (Bloomberg) -- Blackstone Group Inc. is in exclusive talks to acquire a minority stake in India's Sify Technologies Ltd., according to people with knowledge of the matter.
The communications infrastructure firm has sought a valuation of around $1 billion to $1.2 billion in a transaction, said the people, who asked not to be identified because the talks are private. It's unclear what valuation the Blackstone stake purchase will be struck at and talks could still fall apart.
Related: The Hottest Colocation Markets are No Longer in the US and Western Europe
Sify's American depositary receipts rose 6.7% in pre-market trading on Friday in the U.S. The company had a market value of about $484 million as of Thursday.
Representatives for Blackstone and Sify declined to comment.
Related: Equinix Enters India with a $161M Mumbai Data Center Acquisition
Sify, led by Chairman Raju Vegesna and CEO Kamal Nath, owns and operates data centers as well as India's largest multiprotocol label switching, or MLPS, network, its website shows. In a January earnings call, the company said it was expanding its data center footprint in cities including Mumbai, Noida and Chennai.
Blackstone has struck several deals in India in recent months, acquiring the glass unit of conglomerate Piramal Enterprises Ltd. and real estate assets from developer Prestige Estates Projects Ltd. Aadhar Housing Finance Ltd., controlled by the asset manager, has filed a draft prospectus with India's market regulator in January for an initial public offering that could raise about $1 billion.
U.S. data-center giant Equinix Inc. in August said it would expand into India by acquiring operations of GPX Global Systems Inc. in the country.
TAGS: Asia-Pacific Investing