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Mariinsky Theatre to the Jubilee of Rodion Shchedrin
Mariinsky Theatre сelebrates the jubilee of the outstanding Russian composer Rodion Shchedrin in commemoration of his 85th birthday this year.
Febuary 27, 2017 at 7 p.m. Valery Gergiev and the orchestra of the Mariinsky Theatre are to present a concert of Rodion Shchedrin works. The audience will hear "Concerto Dolce" for viola, string orchestra and solo harp. The soloists Sofia Kiprskaya (harp) and Jury Afon'kin play this rarely performed concert. Afterwards the stage is free for the soloist Denis Matsuev who will play the Concert for piano and orchestra Nr. 2.
March 1, 2017 the series of the festive events will be continued with the premiere of Shchedrin's opera "Not Love Alone". The performance was prepared by the stage manager Alexander Kuzin, costume designer Irina Cherednikova, articstic director Alexander Orlov. The premiere will be conducted by Valery Gergiev.
"Not Love Alone" is the first opera of Rodion Shchedrin, which was written 1961 and dedicated to Maya Plisetskaya. The first staging of the opera took place in the Bolshoi Theatre but the plot was too hard for these times and after only four performances the notes disappeared in the libraries. Ten years later Boris Pokrovsky decided to ask Rodion Shchedrin to make a chamber version of the opera. Thus 1972 he opened his Moscow Chamber Theatre with the premiere of this piece. 2014 the opera was staged in "St. Petersburg Operá". Two years later Mariinsky Theatre presented the opera for the first time on the stage of the Concert Hall. Now the audience can enjoy the premieres of the staged performances on March 8 and 14, 2017.
March 22, 2017 the Mariinsky Theatre will perform the Russian choir opera Boyarinya Morozova for 4 soloists, choir, trumpet, timpani and percussion. The plot of the opera is based on the texts of the "Life of protopop Avvakum" and "Life of Boyarinya Morozova, prinzess Urusova and Maria Danilova". The lead roles on this day will be performed by Ekaterina Sergeeva, Violetta Luk'yanenko, Stanislav Lenot'ev and Jury Vlasov.
Mariinsky Theatre and Rodion Shchedrin are bound by long-lasting friendship and artistic work. Most of his vocal works were staged in the theatre as well as three out of five ballets. Many concert works can be heard around the year. To commemorate the opening of the theatre Rodion Shchedrin wrote his opera "The Left Hander" and in December 2015 Mariinsky could stage the premiere of the opera "A Christmas Tale". Both works were written for and dedicated to Valery Gergiev and Mariinsky Theatre.
https://www.mariinsky.ru/playbill/playbill/2017/2/27/3_1900

redpajama_set_name: RedPajamaCommonCrawl


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> place this name in the proper place within Typhonium.
> and Murata accepted in their revision of the genus five years ago.
> not had a response.
> info anyone can supply about this plant.
> Thenks for any help anyone can provide.


text:
Home » Music » Night Kisses » Transmutations, Vol. 1 by Night Kisses featuring Michael J. Epstein
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Transmutations, Vol. 1 by Night Kisses featuring Michael J. Epstein
January 18, 2023 by Michael J. Epstein
Transmutations, Vol. 1 by Night Kisses featuring Michael J. Epstein One tool Night Kisses uses in score composition is the creation of bed soundscapes, looping and altering some of our existing music to build tone, mood, and sonic fill. Essentially, we make our own samples and our own instruments that we can use to build score beds. We have chosen to release some of these ambient compositions to demonstrate what they are like before they are harvested for layers and samples used in other works.
Tags:hypnotic music night kisses soundscape
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The Mummy Song and The Hearse song from Fat Fleshy FingersJanuary 28, 2023
Sophia filmed special features for new The Vagrant (1992) releaseJanuary 26, 2023
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Fat Fleshy Fingers world premiere at Film Maudit 2.0 – also streaming free at the fest through 1/22/2023January 19, 2023
Transmutations, Vol. 1 by Night Kisses featuring Michael J. EpsteinJanuary 18, 2023
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Safety equipment on the 2017 Toyota Sequoia in Evansville starts with an advanced airbag system, anti-lock brakes with electronic brake distribution and brake assist, stability and traction control, and a backup camera. A TOW/HAUL mode and trailer sway control are also standard, adding more stability and efficiency when towing. The SUV can even be had with smart cruise control, blind-spot warning, and front and rear parking sensors on select models.
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We're a local Toyota Sequoia dealer with up-to-the-minute lease offers on new and Certified Pre-Owned vehicles. After checking out our 2017 Toyota Sequoia review, make note of the specifications that you found helpful; they'll help you make a responsible vehicle purchase that you won't second guess. Locate the brand-new Toyota Sequoia at Kenny Kent Toyota, where you can be pleased with a test drive and view the model personally. Can't wait to see its innovative cabin equipment in person? Check out our video now!


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How safe is your medical-gas delivery system?
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In vitro tumor growth inhibition by syngeneic lymphocytes and/or macrophages.
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We has an overnight stay before departure to Doha early morning on the next day. The hotel room was perfect for three of us with good working air conditioning despite the hot temperature and very clean. I love the fact that we can park our car at the hotel and call Freephone for bus shuttle to collect us on the day we arrived from our holiday. A free breakfast served from 4.30am was a real bonus.


text:
Books & Works
Scholarly Works Written by John
By Sub-Category
Books & Articles Notes & Book Reviews Other Works
The History of The Hobbit, Second Edition
View Errata
The History of The Hobbit, Part 1: Mr. Baggins
The History of The Hobbit, Part 2: Return to Bag-End
"Introduction"
Eager Spring
By Owen Barfield
"The Lost Road, The Dark Tower, and The Notion Club Papers: Tolkien and Lewis's Time Travel Triad."
Tolkien's Legendarium: Essays on The History of Middle-earth
Edited by Verlyn Flieger and Carl F. Hostetter
"Rhetorical Strategies in Charles William's Prose Play."
The Rhetoric of Vision: Essays on Charles Williams
Edited by Charles A. Huttar and Peter J. Schakel
"Early Versions of Farmer Giles of Ham"
Leaves from the Tree: J. R. R. Tolkien's Shorter Fiction
By The Tolkien Society
"Classics of Fantasy Series"
August 2002 to January 2004
Williams Morris, The Well at the World's End
Patricia McKillip, The Forgotten Beasts of Eld
M. R. James, Collected Ghost Stories
Fritz Leiber, Swords Against Death
John Myers Myers, Silverlock
David Lindsay, A Voyage to Arcturus
Barry Hughart, The Bridge of Birds
E. R. Eddison, The Worm Ouroboros
H. P. Lovecraft, The Dream-Quest of Unknown Kadath
Ursula K. Le Guin, A Wizard of Earthsea
John Bellairs, The Face in the Frost
Wm Hope Hodgson, The Night Land
Richard Adams, Watership Down
Kenneth Morris, The Book of Three Dragons
Clark Ashton Smith, Tales of Averoigne
Lord Dunsany, The Books of Wonder
J. R. R. Tolkien, The Hobbit
Katharine Briggs, Hobberty Dick
"Owen Barfield: A Short Reading List"
Mythcon 29 Souvenir Book
"Gríma the Wormtongue: Tolkien and His Sources."
Mallorn 25
"'Fastiticalon' and 'Cat': A Problem in Sequencing."
Beyond Bree
Co-written w. Wayne G. Hammond. August 1987
"'And Something Yet Remains to Be Said': Tolkien and Williams."
Mythlore 45
Originally appeared in 1985 Mythcon Proceedings
"J. R. R. Tolkien: 'Sir Topas' Revisited"
Notes and Queries, n.s. vol. 29 no. 4
"She and Tolkien"
"Review of Tolkien's Oxford By Robert S. Blackham"
Mythprint #319/320
"Review of The Frodo Franchise: The Lord of the Rings and Modern Hollywood by Kristin Thompson"
VII vol. 25
"Review of Owen Barfield: Romanticism Comes of Age: A Biography by Simon Blaxland-de Lange"
Mythlore 103/104
"Review of Past Watchful Dragons: Fantasy and Faith in the World of C. S. Lewis editied Amy H. Sturgis"
"The Return of the King: a film by Peter Jackson"
Wizards of The Coast Lord of the Rings Reviews
Part 1 | Part 2
"The Two Towers: a film by Peter Jackson "
"The Fellowship of the Rings: a film by Peter Jackson"
Part 1 | Part 2 | Part 3
"Review of 'The Kathryn Lindskoog Hoax': The C.S. Lewis Hoax by Kathryn Lindskoog"
"Tolkien for the Masses": review of Bill Green, Tolkien: Master of Fantasy
"Review of And God Came In: The Extraordinary Story of Joy Davidman; Her Life and Marriage to C. S. Lewis by Lyle W. Dorsett"
Christianity & Literature, Vol. XXXIII No. 3
Ph.D. Dissertation "Beyond the Fields We Know: The Short Stories of Lord Dunsany"
" 'A Kind of Elvish Craft': Tolkien as Literary Craftsman"
Delivered as the Blackwelder Lecture at Marquette University
"Book Review of The Evolution of Tolkien's Mythology: A Study of the History of Middle-earth By Elizabeth A. Whittingham"
"Book Review: Tolkien's Shorter Works Book Review: Tolkien's Shorter Works ed. Margaret Hiley and Frank Weinreich"
Lost Works
"Tolkien and Ossian"
The Westmarch Chronicle
"The Hobbit" (my first book review)
The Campus Cub (Magnolia Junior High School newspaper)
Scholarly Books & Works
Notes & Book Reviews
RPG Books & Works
Core AD&D
D&D Basic
Third Edition D&D
Non D&D Games
Miscellaneous Works
©2011 John D. Rateliff.


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MONSTER MELODIES (FRANCE) 12 Titles
viewing 1 To 12 of 12 items
OPUS MINOR
MONSTER MELODIES
MMLP 015LP
Monster Mélodies presents an unpublished recording of Opus Minor, an underground Parisian group with undeniable musical qualities, who gave numerous concerts during its brief existence from 1970 to 1973 but never had the opportunity to publish its recordings. The record consists of an instrumental track, seven songs sung in French and three more songs in English, in which the band, beyond its influences, creates its own musical universe. In September 69, at the École Normale Supérieure of Cachan (ENS), three student teachers meet: Jean-Claude Lardrot, Jean-Louis Grassi, and Guy Aicart. They decided to start a rock band called Opus Minor. The first, who had taken piano lessons and played in his teens as a singer-guitarist in bands, focused on the keyboards and the vocals. The second, who had already participated as a guitarist in short-lived, country-folk bands, focused on the bass and the vocals. The third discovers his passion for the drums. A first guitarist joins them but is soon replaced by Philippe Marcenac, a student in architecture at the Beaux-Arts in Paris. A fifth accomplice, Daniel Reynet, takes care of the sound system and the technical and material matters. At student house parties, Opus Minor played covers of Cream, John Mayall. During the summer of '70, inspired by the hippie movement, the band members got a taste of community life playing every night in a club of a holiday village in the Hérault. The band then composed its first titles in English and French, in which we find the post-May '68 spirit. In 1971, Opus Minor won a student group contest organized by RTL and starts to perform often in various Parisian prestigious schools. Invited in June of the same year to the festival of Auvers-sur-Oise organized by couturier Jean Bouquin, Opus Minor and four other bands performed just in time before the rain and everything sank in the mud. For a year they rented a suburban house in Villepinte to practice every weekend, and they'd go back to their rehearsal studio in the basement of ENS Cachan. This is where, from April 28th to May 1st of '73, the original compositions finally published on this album were recorded. But the same year, three of the band members are appointed to teaching positions located in different provinces too far away, which resulted in the band coming to an end. Gatefold sleeve; Includes two posters; Color vinyl; Edition of 1000.
RAUX & HAMSA, RICHARD
Monster Melodies present Kundalini, an unreleased live recording of Hamsa. This French band with Richard Raux (ex-Magma) at his best in 1976 play an incredible and unique music, groovy, powerful, between funk and spiritual jazz, drawing on roots in African and Indian rhythms. Raux was born in Périgueux in 1945, but would never forget his Creole origins, his family having come from Madagascar. In his early years, Raux was introduced to ethnic music, Django Reinhardt, Brassens, and most importantly the jazz of Coltrane, Dolphy and, Monk. Richard studied at Paris' Ecole Normale, and frequently played at the Chat Qui Pèche in order to measure himself against other horn players. It was there that he met the bassist Jean François Catoire, who played in two groups with the distinction of having Christian Vander as drummer. When Vander formed Magma in 1969, Richard was staggered by the energy of the new group. He shared Vander's fascination for Coltrane, he was hired to replace departing saxophonist René Garber. After 12 months of intense work, Richard took part in the recording of Magma's first album for Philips, before leaving the band. While Magma had taught him a lot about composition, he was exhausted by having to play note-perfect renditions of un-notated music on stage, with no room for improvisation. The first Hamsa record was released in 1975 on Fiesta, a small Belgian label that specialized in African music. Raux composed all of the tracks and was accompanied by Patrice Raux and John Faure on guitar, Jano Padovani and Jean Louis Besson on drums, Albi Cullaz on bass, and Alain Pistre on percussion. Following that, Hamsa was snapped up by singer Jacques Higelin as his backing group, but the relationship ended in conflict when Higelin prohibited the musicians from playing any solos at all. Richard had discovered free jazz through Frank Wright, and collaborated with the Celestial Communication Orchestra directed by Alan Silva, but left mid-concert, exasperated by being forced to "play the same segment twenty times before playing the music backwards". Into the '70s and '80s Richard toured as a soloist, and collaborated with Charlie Haden, Jacques Thollot, Mal Waldron, among others. He also formed The Richard Raux Quartet, who recorded the album Under The Magnolias (1995) was formed with the desire to return to more orthodox jazz, showing the diversity of his approach.
XALPH
The story begins in the city of Bordeaux in 1964. Captivated by Hank Marvin's guitar-playing, Jean Pierre Daran teaches himself to play Shadows tunes, working out their intricacies by the unusual method of slowing 45RPM singles down to 33RPM. Jean Pierre joins forces with Yvan Blanl?il, Jean Jacques Pouget, and Serge Blachère to form the band Les Franglais. In 1971, a new musical project takes shape when Jean Pierre and Yvan form Lucie Dans le Ciel with three other students: Francis Ferrer, Christian Lassalle, and André Lesgouarres. The music is influenced by '60s beat and Frank Zappa's freakiness. After playing some local gigs, Lucie Dans le Ciel score the support for Magma, when they went through Bordeaux in April '72. At that show, Christian Vander and his band were won over by the madness of the Bordelais musicians, who closed their set with a big battle of cream pie. A friendship grows, and contact is established between Magma's professional musicians and the Bordeaux amateurs. However, Yvan Blanloeil is now more excited by theatre than by music, and he quickly sucks the life out of Lucie Dans le Ciel by wanting to restrict it to providing musical accompaniment to theater shows. The other musicians, no longer feeling that they are expressing themselves, don't hide their dissatisfaction. Yvan continued his theater career alone. In the meantime the musicians around Jean Pierre Daran formed a new group: Amélie la Sèche. As none of the musicians can read music, everything is worked out through discussion; the strong sense of unity this creates yields a number of highly-collaborative musical sketches recorded on a Teac 3300 reel-to-reel recorder. On these recordings Jean Pierre creates his own universe on the guitar, and Christian Lassalle, Francis Ferrer, André Lesgouarres, and new bass-player Jean Pierre Alcaïne add their own contributions. After clarinetist and saxophonist Christian Faure joins, Amélie la Sèche play a number of concerts, but never outside the Bordeaux area. The band's most creative period begins in July '74, while the group (now renamed Xalph) is rehearsing in a house in Pondaurat, a small village in the Gironde. Recordings of accomplished pieces of "dense music full of rhythmic and harmonic twists and turns" are made by the group, with the bass overdubbed onto a reel-to-reel Sony and the ever-present Teac 3300. Clear vinyl; Includes poster and insert; Edition of 1000 (numbered).
Monster Mélodies present the never before released album by Calcium. A legendary French psychedelic rock album, recorded in 1969, of which only two tracks were released at the time. Percussionist Stéphane Vilar played with pianist Jef Gilson and recorded on his 1964 album Oeil Vision (OI 012LP). Musician Graeme Allwright introduced Vilar to Marc'O, then director of the theater school of the American Center Boulevard Raspail. The director, looking for musicians to play rock n' roll in his project Les Idols, hired Vilar along with jazz pianist Patrick Greussay, saxophonist Didier Malherbe (Gong, Clearlight), and guitarist Didier Léon who features on the Barney Wilen's 1972 album Moshi (FFL 015LP). Stéphane then recruited jazz bassist Jacques Zins through Jérôme Savary. Les Idols is where the musicians who baptized The Rollsticks played. It was performed in 1966 and was later adapted for a feature film in 1968, where the same participants were joined by Valérie Lagrange. Stéphane Vilar then decided, together with his brother the painter Christophe, to create his own band which included some of the Rollsticks: Jacques Zins, Patrick Greussay, Didier Léon, drummer Alain Sirguy, and singer Danièle Ciarlet known as Zouzou. Model and muse of the Parisian night scene, Zouzou acted in Eric Rohmer's Afternoon Love (1972). Considered to be the French Marianne Faithfull, she released two 45 EPs orchestrated by Jacques Dutronc. She represents the image of the liberated woman in France in the sixties. The group took the name of Jardin, and soon changed it to Calcium. Thanks to financial support from Sylvina Boissonnas, the group bought instruments and practiced and refined the compositions for a year before recording. Two recording sessions were held at the Davout studios in 1969. Christophe was replaced by guitarist Denys Lable who later recorded on Jean Claude Vannier's L'enfant Assassin Des Mouches (FKR 001X-LP). After the recordings, Michel Taittinger, the heir of the namesake Champagne and television producer, obtained a contract with Pathé for the band. A single was put on the market without any promotion, resulting in poor sales. It's now considered to be one of the rarest singles of French psychedelic rock. Due to the disinterest of the record company, which only wanted put Zouzou's character forward to create a new Janis Joplin, the masters for the album were abandoned on a shelf for forty-eight years. Color vinyl; Includes two inserts; Edition of 1000 (numbered).
At the end of the sixties, Jean Pierre Weiller, a young Parisian and amateur bassist, was an assistant at a Soft Machine concert, and befriended Hugh Hopper who introduced him to Robert Wyatt. He was invited to the Abbey Road studios to attend the recording of Kevin Ayers's 1969 album Joy Of A Toy (MRSSS 513LP). Back in Paris, in October 1970, he decided to add a saxophonist to the band Brave New World, a band he set up at the age of seventeen with two other high school students of Paris's thirteenth arrondissement. Having become a quartet, the group took the name Contrepoint. Contrepoint, first formed by bassist Jean Pierre Weiller, organist Jean Pierre Carolfi, percussionist Mike Freitag, and saxophonist Robert Taylor, started to explore instrumental avant-garde music between rock and free jazz. Like so many bands at the time, Counterpoint performs in the circuit of the MJC and for various events. The members gained a certain notoriety, allowing them to be invited to the Pop Club of "France Inter" where they performed three singles: "Facelift", "Golden Section", and "Lily Kong" in the company of English musicians Elton Dean, Lol Coxhill, Hugh Hopper, and Laurie Allen. The group had a growing reputation and were in talks with CBS to release an album, but it was not like England. In France, the market for innovative music was not in line with the expectations from the French majors requesting maximum profitability. Contrepoint never recorded a studio album. Contrepoint did end up recording a live single, "Unfathomable Of The Seventh Time", on the initiative of Laurent Thibault, for Puissance 13 + 2 (1972), a compilation with other bands such as Catherine Ribeiro and Magma. In 1974, it was a new beginning. Counterpoint played in the first part of the new group by Hugh Hopper, which included Jean Pierre Weiller, Jean Pierre Carolfi, Elton Dean, and Mike Travis. A record from the band Hugh Hopper Monster immortalized on its second face the performance recorded in Bordeaux on March 20, 1974. But despite the recognition, after more than 200 concerts throughout France, Contrepoint separated in 1976. The unpublished record of Contrepoint, directed by Jean Yves Tonello in 1971, was originally engraved on acetate at the time and it remains one of the few existing testimonies of the work of these excellent musicians. Includes two inserts; Transparent vinyl; Edition of 1000 (numbered).
Monster Melodies present the legendary album Satan, an absolute must-have in terms of French progressive music, recorded in 1973 and never before released. In 1968, in Le Mans (a town in the west of France in Les pays de la Loire), some young students, planning to become teachers, started a band under the name The New Rainbow. Like many young musicians at the time, they enjoyed English blues and were fans of Pink Floyd, Soft Machine and Led Zeppelin. Quickly, they changed their name to Heaven Road and started to become famous west of France, playing live frequently. After playing covers, they wrote their own compositions and delivered a very good show at the same level of any professional band. In Paris, they won three contests in Le Golf Drouot (the mecca of the French rock at the time) and were declared the best non-professional French band of 1972. Playing at the festival, the band started to hang out with big names from the French rock scene, like Variations, Magma, Il Etait Une Fois, Catharsis, Ange and Dynastie Crisis. In 1973, they decided to be a professional band and change their name to Satan. They produced a unique music between hard rock and progressive and delivered intense shows, inspired by the world of sci-fi and literature, with musicians wearing make-up and strange costumes. But despite the fact that they played before the English band Caravan in 1974 and had an appearance in local TV show, the band always suffered from financial difficulties. For this reason, they created the more commercial band Ciel D'été with the intention of playing exclusively in the ballroom circuit. With the financial proceeds from Ciel D'été performances, they went to a studio in Angers twice - the first time to record two commercial tracks for Ciel D'été, and the second time to record tracks for the future album by Satan which had been performing for more than three years at that point. But at the time, they couldn't find a record company to publish their record. Satan collapsed in the middle of 1976, joining the cohort of musical project killed by the French musical industry - an industry which was preoccupied with making easy money by already successful English and American music and producing very dispensable French music, marketed commercially. Comes as colored vinyl; Includes a poster and inserts; Edition of 1000 (numbered).
DUDON, JACQUES
Erosion Distillee
Monster Melodies Records present the first release of Jacques Dudon's Erosion Distillée, a work of French psychedelic music recorded in 1969. Colored vinyl. Includes two postcards and a fold-out family tree of Jacques Dudon's bands from 1967-2010. Hand-numbered edition of 1000. Jacques Dudon is a French multi-instrumentalist born in 1951 in Villecresnes (a small town in the southeast of the Paris suburbs). At 17, he taught himself how to play guitar before creating The Soul Bag, an electric blues band. Under his Ghislain pseudonym , Dudon was considered one of the best French guitarists, with his particular style of playing the guitar on his knees. The band changed its name to Ghislain Blues Band, then Blues Bag, and went through a few drummers. In 1968, the band discovered LSD and the music turned to a strong psychedelic style: the band would play solos for 45 minutes, performing a "liquid show." The band recorded the Le Chien single (1970) for EMI under the L'Assemblée name (yielding two legendary tracks presented on many psychedelic compilations) before going their separate ways. In 1969, Jacques Dudon recorded some tracks alone for an album but the project collapsed and the music was never edited -- until now. After 1969, Jacques Dudon appeared at the Festival d'Amougies with the French band We Free and at the Biot Festival, playing after Frank Zappa. Dudon made crazy music with special amplified guitars to produce feedback, playing chords with different objects in glissandi (a process he was the first to use according to Daevid Allen). At the end of 1969, he joined Pre-Crium Delirium and went on the road with the Hog Farm for a trip to Kathmandu via Bulgaria, Turkey, Iran, and Afghanistan. They organized the first Kabul rock festival in 1970 and stayed in India until 1974. He returned to France and invented the process of photo-phonic synthesis, becoming a master of microtonal music. He continued to participate in many projects in the south of France, building a new instrument, the Dulcevina, with 22 notes by octave in accordance with the 22 Indian shrutis. In 1979, he played this instrument for a project called Dedicace. Alejandro Jodorowsky used the instrument for his movie Tusk (1980). Dudon later created a school for harmonic exploration, psychoacoustic music, and initiation to polyrhythmic vocal and organized music festivals.
Monster Melodies present Dies Irae featuring Dies Irae. A flagship group of the French progressive underground from the '70s, based on the French Riviera (Monaco). This record is the first record of this group to be released (not to be confused with the German namesake training krautrock record release on the Pilz label in 1971). It consists of tracks recorded on stage and in the studio from 1976 and 1978, when Dies Irae was at the top of its game. A record that will allow you to judge the qualities of this little-known group that claims its influences (including notorious groups of the era King Crimson, Van der Graaf Generator and Magma) nevertheless has a very personal and original touch which deserves to be included in the history of French rock. Gatefold sleeve. Transparent vinyl. Includes many inserts. Edition of 1000.
2015 release. Monster Melodies presents the self-titled album from Eclosion. A legendary recording in the history of Underground French Rock from 1972 released for the first time. Eclosion is a musical project by friends Leon Cobra (founder of the counter culture magazine Le Treponeme Bleu Pale), guitarist Bernard Stisi and Mark White (drummer and guitarist of Ame Son). Psychedelic entrancing music with an experimental, Indian influenced and noisy sound recorded in analog in early 1973 on a Revox tape recorder (the same used by Red Noise to record the sound effects of the album Sarcelles-Lochères in 1970 (FFL 004LP/LTD-LP)) with the help of a an echo chamber for a highly innovative outcome. But the trio ended up having different destinies. The project remained on a shelf, along with the planned design of the cover by illustrator Henri Aspic. 10 tracks specially selected and restored. Blue vinyl comes in a cover which folds open, with numerous illustrations. It also contains a separate illustration of a collage by Leon Cobra and an anniversary edition of the magazine Le Tréponème Bleu Pâle of 20 pages. Edition of 1000.
MOVING GELATINE PLATES
2014 release. Monster Melodies presents a collaboration with Moving Gelatine Plates with Moving Gelatine Plates. 45 years after the start of Moving Gelatine Plates, Monster Mélodies and the legendary band release an album of unreleased tracks recorded between 1970 and 1978. Comes as a translucent pink jelly colored vinyl. Comes in a sleeve which opens up, containing a flyer with a family tree illustration of the different components of the band, a post card of a vintage promotional poster rand a plus a record which is an identical reproduction of the one originally made in 1970.
WOOD & WOODLANDS, ROBERT
Live at Lons Le Saulnier, 1974
2015 release. Monster Melodies present Live at Lons Le Saulnier, 1974 from Robert Wood & Woodlands. An exceptional recording, dating from September 1974, featuring a band that has never released an album up to now. Robert Wood, an English vibraphonist, guitarist and singer, is a veteran of the jazz scene, free jazz, jazz and experimental rock having played with Alan Silva, Don Cherry, Gong, Marc Bolan, Sam Gopal, Kent Carter, Bernard Vitet, Lard Free, Christian Vander, Fred Frith and Yannick Top. He spent the majority of his career in France. Woodlands was formed in 1973 with Olivier Didier (Herbe Rouge) on drums and Simon Wheatley on electric bass. Patrick Fontaine (Ame Son and Bananamoon Band) replaced Simon Wheatley a few months later and it is this second line-up that is featured on this album. In 1974, Robert Wood & Woodlands played more than forty concerts in France. The group's music is bursting with energy. Robert Wood plays his Deagan Electravibe and Premier Vibraphone in a manner which is both extremely personal and relentlessly perfectionist, producing a unique sound enveloped by the bass and the drums. Using a technique which includes as Robert himself explains: "My own choice of mallets, sticks, different types of pieces of wood, finger cymbals, the palms of my hands, the soft tips of my fingers and the harder attack of my finger nails. Each of these different types of attack engendered their own characteristic sound parameters which could naturally be played in a myriad of intermingling sound colors. I have always strived to open the range and flexibility of expression of the vibraphone as an instrument complete in itself and not simply an extension of the percussion family. I added a Cry Baby wah-wah from the '60s and a legendary amp, the Mike Matthews "Freedom Amp". The mutational frequencies of the wah to go even further into my 'improvisational madness' as certain people called it. On my Premier Vibraphone, I struck the key(s) at basically five different positions on each key, with a further four intermediate positions on each key which I would also strike for modelling the inherent harmonics. Applied to the Deagan Electravibe this technique literally exploded the conceived limitations of the vibraphone, and also created new soundscapes for my vocals, shooting us off into a cosmic voyage of time, sound and rhythm." - Extracts from an interview by Ron Kane.
PAPATHANASSIOU, VANGELIS
Restocked. Monster Melodies present the original soundtrack of Amore (1973), a film by Henry Chapier, composed and performed by Vangelis Papathanassiou. An unreleased recording dating from July 1973. Vangelis Papathanassiou was the composer of the group Aphrodite's Child, he composed the band's music and the songs of Demis Roussos. Later Vangelis became famous for the soundtrack of the film Chariots of Fire (1981). In 1974, Henry Chapier after several atypical movie, An American Summer (1968), Sex-Power (1970) and Hi, Jerusalem (1972), directed the fiction film Amore. Here is an extract from the Divan d'Henry Chapier interview with Papathanassiou directed by Jean Claude Longin 2011: "This is happening in a city constantly threatened with death. At the time, I thought, there were a lot of documentaries and that I would do it differently. I imagined Venice in the guise of a heroine, a very beautiful woman, Sonia Petrovna, a girl of the Venetian aristocracy ailing, representing a page of history that has passed. But the fact remains that in the frame, in the subject, there was a little journalistic approach. Also because one of the actors, Daniel Quenaud, was presumed to be a reporter, sent to consider the merits of an architectural plan which would save Venice. So in the agreement, there is a slight journalist contamination. Otherwise there was also a love story... I think it's more of a fiction film than a documentary nonetheless." Chapier had this to say about going about the score: "The first time, it was at the Olympia, at the band's concert. I found the music to be trippy and wonderful, I, who above all, loved the Pink Floyd. I thought the Pink Floyd, I could never get them for my films. So I stormed in backstage at the Olympia, I said to Vangelis, 'Listen you are made to be an independent composer.' Things clicked between us instantly and so I asked if he wanted the script. He told me, 'no, we will see, me, I improvise from images.' This is a technique that is practiced today, but back then, it was unheard of. We did not have people like him, who recorded the sound on sixteen tracks, playing all the instruments themselves and who already had in mind how they would edit the soundtrack." Colored vinyl. Includes unpublished photos, the film poster and a postcard.


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STARS IN STRIPES: 1986/87
How could it be worse…
IF you've played nearly 140 years of football as we have at this football club, there are going to be times that you look back upon more fondly than others, seasons that you would like to expunge forever from the memory.
But no season, not even those that saw us stuck in the third tier of English football, has ever been as hideous as 1986/87, for that was the year that really began the long, hard, nuclear winter that cut this club off at the knees.
We had just been relegated from the top flight and, with gates plummeting – this was to be the first season since 1910 when the average home attendance was below 10,000 – costs needed to be cut.
Ron Saunders was just the man to do it, slashing and burning across The Hawthorns, ridding us of the quality that might have seen us earn an instant return to the First Division and instead filling the squad with journeymen. Honest men, hard workers but lacking the class that Albion's traditions demanded.
Having done similar enduring work at Birmingham City, it was tempting to think that Saunders was a double agent, sent out by Aston Villa to wreak havoc among its neighbours.
If Villa enjoyed watching our misadventures, Wolves were even happier with Saunders' work. Having already released Ally Robertson to Staffordshire where Wolves were in the Fourth Division – wonder what it's like, Albion never having been there of course – and wobbling on the brink of collapse, Saunders sent them a life support machine in the shape of Steve Bull, Robbie Dennison and Andy Thompson, all of whom played huge roles in the rehabilitation of the Wanderers.
Legendarily, Saunders is supposed to have said that Bull had no first touch. What he neglected to add was that, in the lower leagues at least, his second touch tended to put the ball in the back of the net. Albion were decimated and Wolves resurrected with a single stroke of a pen on a contract.
Luck was not on our side either, Martyn Bennett's career succumbing to injury, Paul Dyson heading off to reinvent the vacuum cleaner, but there was still little excuse. In our first crack at winning promotion – always your best opportunity – we barely ever threatened to disturb those at the top end of the table, and the die was cast for a decade and more of misery to come.
Indeed, as we tumbled down the table, we felt the icy breath of the Third Division upon our necks for the first time ever as we endured a run of only two wins in 18 games running from December and long into the new year.
place out of 22 teams, with three relegated. The league was deeply congested and we were dropping like a stone, until Bobby Williamson scored the only goal of the game at Millwall, a result followed up four days later with a 1-0 win over Portsmouth under The Hawthorns' lights, Robert Hopkins the saviour that evening.thWith five games to go, we were staring down the barrel of relegation, in 16
With safety secured, normal service was resumed with just one point taken from the last three games and we ended a lowly 15th, only three points clear of the drop. We thought it couldn't get any worse than that. How wrong we were.


Canadian Music Week 2014 welcomes the first-ever export mission to Canada from Taiwan. Meet key companies and see award-winning Taiwanese artists in concert. The Taiwan Ministry of Culture Bureau of Audiovisual and Music Industry Development (BAMID) is showcasing three Taiwanese bands at this year's Canadian Music Week (CMW) in partnership with CLICK MUSIC.
Taiwan Golden Melody "Best Band" Award-winner, winners of the Hohaiyan Rock Festival, openers for Guns N' Roses' Taiwan tour, they combine reggae, jazz, folk, rap and rock with native Taiwanese elements. They are one of the first Taiwanese bands to play the celebrated stage of the Summer Sonic Festival in Japan. (Taitung, Taiwan – Folk, Reggae, Rock) (Aboriginal).


Kevin Road North is a place on North East the outskirts of Glasgow and is mainly residential.
Corporate Communications is a mobile phone shop selling a range of phones and associated products.
Map showing Kevin Road North in Glasgow.


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County ultimatum leads to shake-up at Tampa EMS
Jesse Brunner is out, and Ron Mueller is in as Tampa EMS crew chief in the wake of a demand by county commissioners Friday for new leadership.
Commission Chairman Dan Holub issued the edict for change after a 35-minute executive session with County EMS Director Brandi McCarty, EMS Board Chairman Gene Winkler, and Commissioners Randy Dallke and Lori Lalouette.
Holub said the county would pull the ambulance out of Tampa if the local crew didn't appoint a new chief within five days. The change was necessary, he said, because of a loss of confidence in Brunner and his refusal to work with the EMS board.
"We didn't want to shut them down, but we had to change what we were doing," Holub said.
Winkler emphasized that the board wanted to maintain the ambulance in Tampa, but that greater cooperation was needed.
Brunner said that when he received a call from Holub informing him of the commission's decision, he knew what he had to do.
"Instead of waiting until Wednesday, I actually resigned Feb. 28, effective at midnight," Brunner said. "Due to misunderstandings and a communication breakdown, it became apparent it was best for all concerned for a new crew chief to take over."
Brunner declined to discuss specifics, saying he didn't want to be confrontational with the commissioners.
He did open up about his concern about miscommunication that could have led to reduced services out of Tampa.
Several Tampa ambulance crew members live further than the state standard of 5 to 7 minutes from reaching the ambulance when a call goes out. Brunner said he scheduled personnel so that at least one person could get to the ambulance in that period, and the required second responder would rendezvous en route or drive directly to the site of the call.
The miscommunication came, Brunner said, when it appeared McCarty and the board wanted to restrict those responding from a distance from going on runs. That would have limited the availability of the ambulance and forced more Tampa EMTs into first-responder situations.
"When you go on first-responder status, a lot of times they don't have anybody available, and on first-responder status you can't transport," Brunner said.
With ambulances having to come from Hillsboro or Marion instead, Brunner said he was concerned about the time element in getting people to hospitals.
"That's why I was fighting so hard, I was doing it for the betterment of the people in our area," he said. "The new board was trying to improve the services, and in doing so I think there was some miscommunication."
Brunner said he believed the issue to be resolved, and that ambulance runs from Tampa won't be curtailed.
"It's business as usual," he said. "There's never been a hiccup."
Brunner said he was disappointed in how the change came about, but shouldered some responsibility.
"The way it came to me, the breakdown in communication put me on the defensive," he said. "I probably should've called and talked to them, but I didn't. Life goes on, and no hard feelings. At the end of the day, it's not about us, it's about being able to help people in time of medical need."
To that end, Brunner said he was committed to remaining on the schedule to respond to Tampa call-outs.


In the midst of unexplained famine and plague in 1917, two pregnant teenage girls are proclaimed medical virgins. If the 1917 Third Secret of Fatima is true, then one teen is pregnant with the Savior, the other with the spawn of Satan. Anne Fitzgerald, a former nun turned private investigator, is hired by the Archdiocese of Boston to investigate the immaculate conceptions. As Anne comes to care about and trust the young women, she realizes that both are in great danger.
This updated YA adaptation of Patterson's 2000 thriller is built on a powerful premise: two pregnant teens, Kathleen of Newport, R.I., and Colleen of Maam Cross, Ireland, are medically confirmed to be virgins. This and further otherworldly occurrences (plagues, droughts) seem to conform to a prophecy given by the Blessed Mother Mary at her 1917 apparition in Fatima, Portugal, that two virgin births would occur, one the Son of God, the other the son of Satan. The Roman Catholic Church assigns Fathers Rosetti and O'Carroll to authenticate the medical claims, while a Boston cardinal hires private detective Anne Fitzgerald. Anne, the novel's protagonist, is a former nun who gave up the calling because of feelings she had for Father O'Carroll. Her chapters, first-person accounts, are narrated by Soler, an actress who, though her Boston accent is acceptable, sounds a bit too young and too sweet for a practicing PI, even one who'd formerly carried a rosary instead of a gun. Reader Ballerini handles the objective, third-person chapters, which follow the grueling progress of Father Rosetti, whose Italian accent thickens during his many moments of extreme stress in encounters with a deep-voiced Satanic figure. Age 15-up. (Sept.) © Copyright PWxyz, LLC. All rights reserved.
Two virgins are pregnant, and prophecy has it that one will give birth to the Messiah and the other to Satan's child. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


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VENDORiQ: UiPath Partnership with Universities to Promote RPA Skills
30 November 2021: Enterprise automation software firm UiPath collaborates with business schools to support student training on robotic process automation (RPA). This is part of their program to develop students' skills in automation technologies, especially for business and finance majors. The strategy is aimed at growing future demand for RPA among business (as opposed to technical) staff.
Microsoft successfully transformed MS Excel into a standard spreadsheet software program in universities and enterprises, and edged out Lotus 1-2-3 and Quattro Pro in the '80s. Having Excel built into the curriculum of most schools at that time solidified Excel's adoption.
In a one-on-one executive interview with IBRS, UiPath's executive revealed that while it is a relatively young vendor, it has donated millions of dollars to business schools as part of the company's Academic Alliance partnerships. In the ANZ region, this includes:
Tower Australian College
Swinburne University of Technology
UiPath's goal is to train students early in using personal software robots to support the automation of manual processes, build smarter assistants, and create their startup similar to how Microsoft influenced developing spreadsheet skills in the '80s and '90s. In other words, the company is developing a new type of use case in the business and finance department where the launch of a non-IT version of the RPA will mean creating a domain for business majors, and not just for the IT department.
IBRS predicts that since RPA is rapidly becoming merged within the low-code everything ecosystem, it will play a vital role in business and finance even if it will take some more time for the technology to provide insights, predict outcomes and exercise self-healing.
Who's impacted
Educational policymakers
Educational ICT strategy leads
Principals and senior leadership of higher education institutions
Digital workspace teams
IBRS recommends CIOs prepare for RPA to become a standard business staff tool over the next three to 10 years. Its accelerated adoption in universities will expand its scope of automating rule-based digital processes and advanced cognitive automation on unstructured data sources across industries. Furthermore, organisations need to recognise the shift in management approaches and process discovery by adopting more sophisticated solutions that will leverage no-code tools and AI-driven technology to achieve their target ROI.
Related IBRS Advisory
Dr Sweeney on the Post-COVID Lessons for Education (Video Interview)
Higher Education Technology Future State Vision
Trends for 2021-2026: No new normal and preparing for the fourth-wave of ICT
VENDORiQ
CIO-as-a-Service
VENDORiQ: Can Australia Ever Manufacture Tech Product Again? There May be Hope
23 November 2021: SoftIron is developing an Australian facility to manufacture it's high-performance data processing appliance. This is the company's second facility after its California factory and they have plans to develop another centre in Berlin in the coming years. The planned edge manufacturing facility is expected to be the first component level computer manufacturing hub in Australia for several decades.
SoftIron's New South Wales manufacturing facility is supported by a AU$1.5 million grant from the Department of Defence. The hardware provided by SoftIron will include open-source appliances for high performance data processing.
The vendor will leverage smaller-scale, automated 'edge manufacturing' systems and effectively side-step global supply chain bottlenecks.
SoftIron claims that security-minded clients, such as the Australian Government, are increasingly concerned about the risks of supply chains that include foriegn entities suspected to have inserted spyware. Governments are already applying bans on foreign providers of communications and data processing hardware that power modern data centres. SoftIron claims the ability for clients to verify every aspect of a product - from the open source code to the supply chain of components and manufacturing cycle - is critical for trust in data centre appliance.
SoftIron's entry into Australian tech manufacturing is welcome. Australia's technology tech manufacturing was decimated by large-scale overseas production capabilities in the mid to late 80s, despite having some extraordinary world-leading products. For example, the world's first battery-powered laptop, the Dulmont Magnum (aka the Kookaburra) designed and manufactured in Australia in 1984. Hartley Computers developed hardware and software locally in the same decade, before concentrating on supporting imported Wang minicomputers.
The SoftIron announcement raises several important considerations:
Supply Chain Risk
Procuring hardware from an foriegn manufacturing plants (such as POS and telecommunication systems) is now being flagged as a possible point of exposure to business espionage and spying. The complexity of international supply chains combined with the opaqueness of the firmware and code running on tech products, opens up many avenues for criminal and state actors to inject malware into products sold overseas. While China is a target of US suspicions, it should be noted that Australia's allies have engaged in similar activities in the past: in particular the US and Germany with encryption technologies, and the recent use of the ANoM phone app used to ensnare criminals.
For Australian enterprises, the lack of visibility into the supply chain should be a growing concern. The only way to address this concern is to adopt a risk assessment policy that includes verifiability of the supply chain, and the firmware and code of products.
Support Chain
Edge manufacturing (aka micro-manufacturing) leverages the ever lowering costs of robotic manufacturing systems and (importantly) the lowering cost of programming such robots, to compete against the cost-efficiencies of huge factories in lower labor-cost countries.
Technology manufacturing firms have traditionally driven costs down through economies of scale and labor savings. However, the global supply chain crunch due to the pandemic and slow-moving trade wars, coupled with rising labor costs globally, is causing a change in the equilibrium of manufacturing.
Edge manufacturing employs robotic technologies and short-run production automation to deliver specialised products at a faster rate, at costs that are within the realm of those offered by large scale manufacturing, when transport, warehousing and related global supply chain costs are considered. Edge manufacturing is less susceptible (though not immune) to global supply chain disruptions.
Most importantly, edge manufacturing is highly agile and their entire manufacturing process is verifiable, making the model attractive for security conscious buyers. Finally, firms that locate their facilities here are covered by Australian laws and are therefore required to be certified to a compliance standard to ensure the level of data security is being met.
Procurement managers
IBRS believes that the national economy has a solid potential to benefit from edge manufacturing. Recent economic modelling by IBRS and Insight Economics noted a 10% increase in organisations buying Australian software (as opposed to US and European solutions) would return close to a $1.5 billion uplift in the economy within a decade. This economic benefit would be significantly magnified if hardware was added.
Organisations can examine the premium put on closer collaboration with suppliers and vendors through this business model by:
Running a hypothetical stress tests on their current supply chain to understand how it affects their financial standing
Utilising local vendors while considering a third party risk assessment and compliance program that will fit their cyber security strategy
Assessing a vendor's governance framework using the IBRS Vendor Governance Maturity Model
How does your organisation manage cyber supply chain risk?
Vendor governance framework (VGF): Evaluate maturity to manage growth and risks
Strategic vendor management in government
Challenges when conducting business impact analysis
VENDORiQ: ServiceNow to Acquire RPA Vendor Intellibot
23 March 2021: ServiceNow has signed an agreement to purchase robotic process automation vendor, Intellibot. The deal will see Indian-based Intellibot, which was founded in 2015, embedded into the ServiceNow platform.
RPA is rapidly becoming merged within the low-code everything ecosystem. ServiceNow's planned investment in buying into RPA is not surprising: other low-code vendors, such as Nintex, have already secured their RPA solutions through acquisition. Buyers of standard-alone RPA solutions can expect more acquisitions, followed by rapid market consolidation in 3-5 years time.
Development team leads
Expect RPA to play an increasing role in areas such as customer account creation and management, customer verification, employee on-boarding and off-boarding, data extraction and migration, and claims and invoice processing, among others.
Exploring Robotic Process Automation
How Can AI Reimagine Your Business Processes?
Cloud Low-code Vendor Webflow Secures US$140 Million
Aussie Vendor Radar: Nintex Joins the Mainstream Business Process Automation Vendor Landscape
SNAPSHOT: A Robotic Process Automation Infographic
ICT Modernisation
For enterprises and small to medium businesses (SMBs), Artificial Intelligence (AI) opportunities are widespread and industry-specific. Each industry will grapple with conversations to understand how AI can:
Create competitive advantage.
Complement existing business.
Disrupt, or even destroy the business model that exists today.
What businesses need to plan for is that AI engineering and AI ops are destined to be the essential umbrella to govern AI in the coming decade. Hyper-automation (HA) of business processes will see some business models fail whilst others thrive into the 2030s.
Records/Knowledge Management
Software Asset Management / SAM
Business Continuity Planning / BCP
Disaster Recovery Planning / DRP
Sourcing Trends


text:
svec	in programming	| September 28, 2013
Computer architecture humor
Hil. Ar. I. Ous.
This is the funniest thing I've seen in a long time, but maybe it's only funny to other computer/hardware geeks:
I think that it used to be fun to be a hardware architect. Anything that you invented would be amazing, and the laws of physics were actively trying to help you succeed. Your friend would say, "I wish that we could predict branches more accurately," and you'd think, "maybe we can leverage three bits of state per branch to implement a simple saturating counter," and you'd laugh and declare that such a stupid scheme would never work, but then you'd test it and it would be 94% accurate, and the branches would wake up the next morning and read their newspapers and the headlines would say OUR WORLD HAS BEEN SET ON FIRE.
Link: "The Slow Winter" by James Mickens (his bio at Microsoft Research is also funny.)


Do you like the smell of a new car? I do. While I would never put one of those "new car smell" air fresheners in an old car, there is something exciting about driving a brand new car off the lot that nobody else has driven before.
As new construction has been starting to take off again in the Sacramento area, I've been getting questions from home owners and real estate agents about using new construction sales for "comps" in appraisal reports. Can appraisers use brand new houses for comparison when appraising homes that are 4 or 5 years old, but literally right next door?
Owner: The new construction two blocks away is by the same builder.
Me: That's great to know. Thank you.
Owner: These houses are just the same as ours, but they're even selling without rear landscaping or built-in pools, which makes ours superior.
Me: Would you pay the same amount for a used car as you would a new car?
A real-life example of new vs. old: The 3200 square foot "new construction sale" above at $400,000 sold significantly above other sales that were built by the same builder just a few year prior. In my research I selected sales from a wide square footage range as well as a larger market area well beyond the immediate streets built by this builder. As you can see, there are always some sales in the entire market area that compete at the higher end of the market for various reasons, but even those have not touched the same level of this newly constructed house. There was one other sale at $400,000, but I didn't include it since it sold directly from the builder (not on MLS). From the looks of it, all other similar-sized sales in the immediate neighborhood sold about 20% less than the newly constructed sale. However, it's important to consider that the new sale may have superior updates and some of the older sales were distressed and therefore sold at discounted levels.
This is only one example, but in this neighborhood in Elk Grove it's an important value issue. In short, there is almost always a price premium for new homes. Just as buyers pay more for brand new cars, we see the same thing in real estate. Appraisers can definitely use brand new sales as comps, but if the subject property is older in age, there is probably going to be a downward value adjustment given.
NOTE: Every market is different. There are surely reasons why new construction sometimes won't sell above other sales. That's why I said there is "almost" always a price premium. For example, we might see buyers in classic neighborhoods pay more for homes with era elements instead of a cookie-cutter new tract houses.
Question: How else are new homes and new cars similar?
Very good points made and very well written advice Ryan!
I deal with this on occasion and when I do, I get the argument from locals that the quality of new construction is inferior to my 8 year old home's quality buit pre-Hurricane Katrina…and that's true! Since Hurricane Katrina, we had the embarrassing KB Homes open up office in our market and those homes are vastly inferior in quality to local normal quality. KB Homes lasted about 2 years in our market because locals recognized the gap in quality. And then DR Horton opened shop here, which is better than KB Homes but still inferior to the level normally built by the Capital Area Region Home Builder's Association. Local new economy homes might sell for $96/sf meaning you can built a lot more home versus the $136/sf to $150/sf average builders charge.
It's a tough question to answer and 1 can only look to market interaction for the answer. Buyers like shiny new homes and don't always consider "quality" in new homes. Following your new car example, in my market it would be the difference of buying a new flagship Mercedes or new Hyundai Genesis. Both are pretty awesome cars, just different quality levels.
Locally, I've been told the best business to be in for the next 20 years is the Home Repair business because our local model now is probably 80/20, meaning 80% of new homes sold are built by economy builders. And, that's what locals can afford now after the meltdown. I never believed that $136/sf to $250/sf for new homes was ultimately sustainable in the new economic paradigm in a broad sense.
Thank you Bill for such a thoughful comment. How interesting to consider your market post-Katrina with KB vs other homes. I think you bring up a great point of how important quality is. I thik my posts assumes a similar quality, though I'm not sure I really brought that across. In the neighborhood I am thinking of above, the homes are very similar overall. If anything, builders include more "upgrades" now as a part of the standard package to allure buyers. This was particularly evident during the really difficult days after the boom. Whereas buyers would pay more for rear landscaping and granite countertops as "upgrades," builders began to install features as such in every house to help inventory move. I would guess the more the economy comes back, the less "upgrades" will see for "free".
I'm glad you know your local market.
Thanks for the article, great read! As a vehicle appraiser I really appreciate the comparison between new cars and new homes.


to fulfil the recommendations and practice of all federations.
federations (I have example breakage at <3 federations).
we'll be able to align attribute semantics globally.
we all know solves any problem in computer science).
to 'foo' according to the accepted practice of the IdP.
translate into something like "givenName & sn" and/or "displayName"
the case and is unlikely to change no matter what we do.
for standardization as this is the recognized remit for SAML.
a pilot implementation within (say) Kalmar2.
way to do attribute management in edugain.
Prev by Date: Re: Does REFEDS R&S need a means to resolve a dispute?


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It never fails… Monday AM always brings on a severe case of wardrobe block – standing in front of you closet blindly trying to figure out what to wear. I want jeans but know I better for a new work week. See how I fight a case of the Mondays and wardrobe block.