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Volume 74, Issue 7, 01 October 1993
Optimal long term imaging of a charged microparticle at the center of a Paul trap in an atmosphere near standard temperature and pressure: Experiment and stochastic model74(1993); http://dx.doi.org/10.1063/1.354392View Description Hide Description
The thermal rms fluctuation in position of a levitated microparticle in a Paul trap in N2 near standard temperature and pressure is calculated numerically from a stochastic equation of motion and is measured experimentally by long term imaging. The calculations reveal loci of minima within the lowest stability region and enhanced fluctuations as the first instability is approached. Pseudopotential results deviate below our calculations progressively with increased drive potential. This disparity grows by more than an order of magnitude near instabilities, although the pseudopotential approach provides a good asymptotic approximation for small drive potentials. Long term imagingexperiments are performed in a trap modified to eliminate stray static fields at its ac ''null'' point. These experiments are well‐described by the stochastic model and suggest the use of such a trap as a stage for long term fluorescence and Raman microphotography experiments on individual microparticles in a gaseous environment.
Optical characterization of KTiOPO4 periodically segmented waveguides for second‐harmonic generation of blue light74(1993); http://dx.doi.org/10.1063/1.354393View Description Hide Description
Periodically segmented waveguides were fabricated by the ion exchange process in KTiOPO4. The waveguides were characterized by measuring the spectra of the transmitted and reflected guided infrared light and of the second‐harmonic‐generated power. The near‐field distribution of the fundamental and second‐harmonic wave was also investigated. Infrared to blue light conversion efficiency up to 250% W−1 cm−2 was obtained. Waveguide characteristics were calculated by replacing the segmented structure with an equivalent continuous waveguide. Good agreement between the calculated and measured values was obtained.
Modeling the coaxial double z‐pinch for the Al xi ‐ Mg ix laser at 228 Å74(1993); http://dx.doi.org/10.1063/1.354394View Description Hide Description
A magnetically embedded coaxial z‐pinch configuration is proposed for the resonantphotoexcitation laser at 228 Å in Mg ix pumped by the 48.338 Å line of Al xi. This laser configuration consists of an annular Al z‐pinch plasma imploded (final electron density of about 1020 cm−3) onto an inner, Mgplasma (final electron density of about 1018 cm−3) on the axis. The Mgplasma is confined and stabilized by an axial magnetic B z field, which is compressed to a final magnitude of about 130 T from an initially applied field of about 1 T by the Al implosion, thus serving to stabilize and physically separate the Al and Mgplasmas. Separate numerical simulations of the Al and Mgplasmas designed to guide exploratory experiments are reported. A 0D dynamic z‐pinch model captures the Al implosion, including trapped B z field and power losses due to line radiation. Initial conditions required to produce the intense Al xi pump line at 48.338 Å are derived assuming an 800 kA, 100 ns implosion current pulse. Assuming a pinch length of 2 cm, a pump power of 3.5 GW/eV is predicted for the 48.338 Å Al xi line. With the pump so defined, a separate, detailed atomic physics model is used to study the photoexcitation kinetics in the Mg ix lasant plasma. It is found that a gain of 1.0–1.5 cm−1 is obtainable on the 2s3d 1 D 2 ‐ 2s4f 1 F 3 transition at 228 Å in Mg ix.
Speckle‐free phase plate (diffuser) for far‐field applications74(1993); http://dx.doi.org/10.1063/1.354395View Description Hide Description
Phase plates have been used in holography and laser fusion to produce a well‐defined far‐field intensity envelope that is relatively independent of the input‐beam profile. However, superposed on this envelope is unwanted highly modulated speckle from the interference between different phase‐plate elements. The speckle can have deleterious effects such as creating intensities in the nonlinear region of a hologram recording medium or by initiating filamentation and hydrodynamicinstabilities in laser‐fusion applications. A technique has been developed for choosing the phase‐plate elements (in combination with polarization rotation) such that these intensity fluctuations approach zero in the limit of plane‐wave near‐field irradiation. For applications where the near‐field phase and amplitude have only small variations, the resulting speckle is also small. Conversely, the observation of far‐field intensity fluctuations can be used to estimate the quality of the near‐field beam.
Power and efficiency limits for internal combustion engines via methods of finite‐time thermodynamics74(1993); http://dx.doi.org/10.1063/1.354396View Description Hide Description
Analytical expressions for the upper bounds of power and efficiency of an internal combustion engine are obtained taking into account finite rate of heat exchange with the environment and nonzero entropy production due to chemical reactions. Recommendations of theoretically possible ways of improving internal combustion engines are presented.
Comparison of electron‐density measurements made using a Langmuir probe and microwave interferometer in the Gaseous Electronics Conference reference reactor74(1993); http://dx.doi.org/10.1063/1.354397View Description Hide Description
A Langmuir probe and a microwaveinterferometer have been combined to measure the electron density of argon glow discharges in the Gaseous Electronics Conference reference reactor [Bull. Am. Phys. Soc. 36, 207 (1991)]. The two techniques indicate the same charge density at 100 mTorr to within 30%. This 30% difference is easily explained by the experimental peculiarities. While the predicted charge densities obtained from the two techniques track one another as the applied rf voltage is varied at constant pressure, they do not track one another as the pressure is varied at constant rf voltage. In fact, the charge densities predicted from the Langmuir probe using Laframboise's theory (Tech. Rep. 100, Univ. Toronto Inst. Aerospace Study, 1966) are factors of 2 and 4 times lower than those from the interferometer at 250 and 500 mTorr, respectively. It appears that the probe alters the charge density in its vicinity when the probe radius becomes greater than the ion mean free path. The interferometer has also been used to investigate the macroscopic perturbation of the plasma electron density caused by the Langmuir probe. It was found that presence of the probe in a radio‐frequency discharge does not appreciably alter the electron density measured by the interferometer at a set rf voltage irrespective of the potential placed upon it. This was not the case for dc discharges in the same apparatus where the volume‐averaged electron density could be depleted by as much as 70% when the probe was biased even a few volts above plasma potential.
Low‐angle x‐ray diffraction with in situ annealing: Application to W/Cu multilayers74(1993); http://dx.doi.org/10.1063/1.354398View Description Hide Description
A high‐temperature x‐ray‐diffractometer stage specifically designed for low‐angle work has been built. With careful alignment, the stage provides resolution sufficient to probe temperature‐induced structural changes in multilayers. A series of studies using the stage was performed on W/Cu multilayers with modulation wavelengths between 65 and 110 Å over the temperature range 25–180 °C. Reversible, temperature‐dependent changes in the modulation wavelength, and an irreversible increase in the intensity of the scattered radiation along both specular and nonspecular directions in reciprocal space, have been observed. The observed thermal‐expansion coefficients in the growth direction are marginally greater than would be expected from bulk behavior even when interactions with the Si substrate are taken into account. Analysis of the intensity changes indicates that, upon annealing, the interfaces within these multilayers become more rough, but that this roughness comes from a thermally induced buckling of the film. This results in a mosaic texture and increased reflectivity with a concomitant increase in diffuse scattering.
Electrical characterization of neutron irradiation induced defects in undoped epitaxially grown n‐GaAs74(1993); http://dx.doi.org/10.1063/1.354399View Description Hide Description
Undoped n‐GaAs, grown by organometallic vapor phase epitaxy, was irradiated with neutrons from a clinical p(66)/Be(40) source for a range of fluences. Deep level transient spectroscopy(DLTS), employing Pd Schottky barrierdiodes, indicated that four electron traps, En1, En2, En4, and En5, with energy levels at 0.04, 0.14, 0.36, and 0.66 eV, respectively, below the conduction band were created during neutronradiation. Their introduction rates varied from 1 cm−1 for the En1 to 11 cm−1 for the En5. It was found that the En1, En2, and En4 defects have DLTS ''signatures'' similar to the E1, E2, and E3 point defects introduced during high energy electron irradiation, indicating their point defect nature. The En5 has a very large capture cross section, its emission rate exhibits a strong electric field dependence, and there are indications that it has a band‐like energy distribution, that results in a broad DLTS peak. We speculate that this trap is related to the presence of extended defects in the neutronirradiated GaAs.
Defect studies in oxygen‐ion‐irradiated silicon‐based metal‐insulator‐semiconductor structures74(1993); http://dx.doi.org/10.1063/1.354400View Description Hide Description
Damages induced by 69 MeV oxygen ions (fluence: 1.3×1014 ions cm−2) in gold–silicon‐nitride–silicon metal‐insulator‐semiconductor (MIS) structures were studied by measuring the pre‐ and postirradiation junction and interfacecharacteristics. Amount of the space‐charge produced at the silicon–silicon‐nitride interface was estimated by measuring capacitance‐voltage characteristics and the energies of the defects were measured with the technique of deep‐level transient spectroscopy. Two new defect levels having energies (E c −0.34) eV and (E c −0.63) eV were found in addition to the defects detected in the unirradiated devices. The values of the surface recombination velocities,measured with a variable‐energy electron beam, indicate that the radiation‐induced defect concentration on the surface was negligible; however, about 7% degradation in the lifetime of minority carriers in the bulk was observed. The results indicate that oxygen ions can be used to modify the junction characteristics of MIS structures while keeping the surfacecharacteristics of the structure almost unaltered.
β‐FeSi2 in (111)Si and in (001) Si formed by ion‐beam synthesis74(1993); http://dx.doi.org/10.1063/1.354401View Description Hide Description
Ion‐beam synthesis of β‐FeSi2 is demonstrated both in (111) Si and (001) Si substrates by 450 keV Fe ion implantation at elevated temperatures using a dose of 6×1017 Fe/cm2 and subsequent annealing at 900 °C. The structure of the buried layers has been analyzed using Rutherford backscattering spectrometry, x‐ray diffraction, and (cross‐section) transmission electron microscopy. In (111) Si an epitaxial layer is formed consisting of grains with lateral dimensions of approximately 5 μm. Epitaxy of β‐FeSi2 (110) and/or (101) planes parallel to the (111) Si substrate plane is observed. In (001) Si a layer is formed consisting of grains with lateral dimensions of typically 0.5 μm. Several grain orientations have been observed in this material, among others β‐FeSi2 {320}, {103}, and {13,7,0} parallel to (001) Si. Selected (111) Si samples were investigated optically using spectroscopicellipsometry, and near‐infrared transmittance and reflectance spectroscopy. The results confirm that the β‐FeSi2 layer has an optical band gap of 0.87 eV. The ellipsometry results indicate that the layers formed by ion‐beam synthesis are more dense than those formed by surface growth techniques. Hall measurements show that the β‐FeSi2 layers obtained are p type. Mobilities observed are 1–4 cm2/V s at room temperature and approximately 25 cm2/V s at liquid‐nitrogen temperature. These results show that the electrical properties of ion‐beam‐synthesized β‐FeSi2 is comparable with those of surface‐grown material. The results confirm that optoelectronic applications of β‐FeSi2 are limited.
Observation of contact holes by atomic force microscopy with a ZnO whisker tip74(1993); http://dx.doi.org/10.1063/1.355313View Description Hide Description
We have developed a new precise imaging technique for atomic force microscopy(AFM) and observed complicated surface structures of integrated circuit (IC) devices by this technique. This technique consists of a hopping mode operation and use of a zinc oxide whisker as a probing tip with high aspect ratio. In this operation, topographic data of the surface structures are obtained under a constant repulsive force at each measuring point, and after each measurement the probing tip is withdrawn from the surface and moved to the next measuring point. The contact holes with a diameter of ∼1 μm and a depth of 1.5 μm fabricated on IC devices have been successfully imaged in this AFM imaging technique.
Electron irradiation of GaAs: Improvement of transport properties and observation of DX‐like centers at ambient pressure74(1993); http://dx.doi.org/10.1063/1.354402View Description Hide Description
Epitaxialn‐type GaAs samples were studied before and after irradiation with 7 MeV electrons at fluences varying from 1×1013 to 5×1015/cm2. The measurements involved the Hall effect and resistivity from 15 to 300 K. Fitting of the data revealed the evolution of the density and activation energy of impurity levels as a function of fluence. At the higher fluences, the carrier concentration and mobility decrease as expected but at the lower fluences, both of these quantities increase in a manner that depends on doping and fluence levels, and on temperature. The results are consistent with the radiation‐stimulated gettering effect. It is shown that the maximum observed in the Hall coefficient as a function of temperature is possibly due to a manifestation of DX centers in the absence of applied pressure.
Ion‐beam mixing and solid‐state reaction of Fe‐Zr multilayers74(1993); http://dx.doi.org/10.1063/1.354403View Description Hide Description
The amorphization of an Fe‐Zr multilayer film due to ion‐beam mixing with protons and due to solid‐state reaction is studied in detail using backscatter Mössbauer spectroscopy, x‐ray diffraction, and Auger electron spectroscopy. The local structure of the amorphous phase produced by both processes is found to be very similar based on the Mössbauer results. The dose dependence of the ion‐beam‐mixed phase fraction can be accounted for approximately by a collision cascade mixing model. Incomplete amorphization of the Fe was observed as a result of the proton irradiation with a large enough dose to produce apparent saturation whereas complete amorphization occurred for the identical multilayer structure via solid‐state reaction. The latter was characterized by a thermal activation energy of 0.7 eV.
Hot implantation of protons into GaAs: Transmission electron microscopy74(1993); http://dx.doi.org/10.1063/1.354404View Description Hide Description
Implantation of hydrogen at 600 °C into GaAs at 8 keV and at high doses resulted in the formation of a two‐layer structure. The topmost layer roughly extended in depth to the range of the protons and exhibited a high concentration of loops, hydrogen bubbles, decorated dislocations, and faults. Occasional microsplits on {110} were observed. The deeper layer contained pressurized hydrogen platelets on {111}. These results are critically compared with previous results obtained with cold implanted and subsequently annealed GaAs. The present observations are also discussed in relation to the theoretical treatment by d'Olieslaeger [J. Mater. Sci. 23, 2697 (1988)]. Estimates of the importance of arsine production are also presented.
Effect of ion energy on Sn donor activation and defect production in molecular beam epitaxy GaAs doped with Sn ions during growth74(1993); http://dx.doi.org/10.1063/1.354405View Description Hide Description
The production of electrically active defect centers in molecular beam epitaxy(MBE) GaAs irradiated with low energy (50–500 eV) Sn ions during growth has been investigated as a function of ion energy. GaAs was dopedn type during growth with a specially designed Sn focused ion beam column mounted on a MBEgrowth chamber. The 77 and 300 K Hall mobility and carrier concentration of the GaAs depended strongly on the ion energy, thus providing a sensitive measure of the concentration of ion‐induced acceptorlike defect centers. The material was found to be nonconducting for ion energies greater than 200 eV, while a systematic decrease in the acceptor concentration, and consequent increase in the mobility, was observed as the ion energy was decreased below this value. A peak mobility of 90 000 cm2 V−1 s−1 at a carrier concentration of 1×1014 cm−3 was achieved (at 60 K) which is in excess of that obtained in other reports of ion‐doped GaAs. A similar dependence on ion energy was found in the 4.2 K photoluminescence spectra of the ion‐doped GaAs, characterized by the appearance of a broad acceptor level peak and a decrease in the overall luminescent intensity with increasing ion energy. The lowest energydoped samples provided high quality spectra with narrow linewidths comparable with thermal (Si) doped material. Using the above data, a mechanism is proposed for the production of acceptor centers in this system.
Impression creep of a thin film by vacancy diffusion. I. Straight punch74(1993); http://dx.doi.org/10.1063/1.354406View Description Hide Description
A closed‐form solution for diffusion in two dimensions is obtained for impression creep of a thin film by a straight punch. The results show that for a rigid impermeable substrate the penetration rate is proportional directly to the thickness of the film and inversely to the square of the punch width. Without the substrate the penetration rate is inversely proportional to the thickness of the film and independent of the punch width.
Impression creep of a thin film by vacancy diffusion. II. Cylindrical punch74(1993); http://dx.doi.org/10.1063/1.354407View Description Hide Description
The diffusion problem in the impression creep of a thin film by a cylindrical punch is analyzed. It is found that at low stresses the impression velocity is proportional to the punching stress. For the same punching stress and the same punch radius the impression velocity decreases for a rigid substrate, and increases without the substrate as the thickness of film decreases. Two limiting cases for the rigid substrate agree with the previous work, namely, the impression velocity is inversely proportional to the punch radius for impression creep of a half‐space, and inversely proportional to the square of the punch radius for impression creep of a thin film. Without the substrate the impression velocity for impression creep of a thin film is inversely proportional to the thickness of the film and independent of the punch radius.
Phase equilibria in the Pt‐In‐P system74(1993); http://dx.doi.org/10.1063/1.354410View Description Hide Description
X‐ray diffraction and electron probe microanalysis were used to determine the phase equilibria in the In‐Pt‐P system at 725 and 600 °C. The observed binary phases were consistent with the assessed phase diagrams from the literature. Three ternary phases were found. The major difference between the 725 and 600 °C isotherms was the phases in equilibrium with InP. At 600 °C, the binary phases Pt3In7 and PtP2 were in equilibrium with InP. However, a tie‐line transition from InP‐Pt3In7 to In‐PtP2 was found between 600 and 725 °C. The binary phases which were found to be stable in thin film form on InP were consistent with the phase equilibria data. From the tie‐line change, the enthalpy of formation of PtP2 at 298 K was estimated to be −350±40 kJ/mol.
Interfacial reactions in Pt/InP contacts74(1993); http://dx.doi.org/10.1063/1.354411View Description Hide Description
Interfacial reactions in Pt/InP contacts were examined by transmission electron microscopy and Auger depth profiling. A solid state amorphization reaction occurred after the contacts were annealed for 60 s at 325 °C. Crystallites were observed in the amorphous layer near the boundary between the amorphous phase and the remaining Pt upon annealing at 350 °C. The predominant phase formed upon crystallization was polycrystalline Pt5InP. A cubic phase, which is most likely a supersaturated solution of phosphorus in Pt3In, also formed. As the annealing temperature was increased, the reaction proceeded with the formation of phases that were richer in In and P. For 60 s anneals at temperatures of 500 °C or greater, Pt‐In phases and textured PtP2 were observed, and the film/InP interface exhibited roughness on the scale of tens of nanometers. Both the Pt‐In phases and PtP2 were present at the film/InP interface.
Formation of void/Ga‐precipitate pairs during Zn diffusion into GaAs: The competition of two thermodynamic driving forces74(1993); http://dx.doi.org/10.1063/1.354412View Description Hide Description
An experiment of diffusing Zn into GaAs has been conducted at 900 °C using Zn metal as the source material in a quartz ampoule, with or without As being included. For cases without further including As in the ampoule, the Zn profile is box shaped and the Zn‐diffused region contains dislocations and void/Ga‐precipitate pairs, with the void to precipitate volume ratio being essentially constant throughout the Zn‐diffused region. For cases including As in the ampoule, the Zn profile is of the kink‐and‐tail type with the Zn‐diffused region containing dislocations and void/Ga‐precipitate pairs. In the profile tail region, the Ga‐precipitate to void volume ratio is substantial, while in the profile kink region of high Zn concentration near the surface only voids are left. The results are interpreted in accordance with Zn and diffusion‐ambient‐induced Ga‐As‐Zn ternary alloy system thermal equilibrium requirements in general, and the consequential solid phase composition variations in particular. Without As inclusion in the ampoule, the overall Ga‐As material Ga concentration in the Zn‐diffused region has exceeded the allowed limit of the GaAs crystal, with the crystal composition at a limit. With the inclusion of As in the ampoule, the GaAs crystal composition in the high Zn concentration region near the surface has reached an allowed As concentration limit, but in the profile tail region the overall Ga‐As material Ga concentration has exceeded an allowed limit of the GaAs crystal. This is because the vapor phase Zn and As species constitute two conflicting thermodynamic driving forces for producing GaAs crystals with two opposite and extreme compositions: As for producing As‐rich crystals, and Zn for producing Ga‐rich materials. The common assumption that the inclusion of As in the diffusion ampoule will ensure the whole GaAs crystal essentially at an As‐rich composition does not hold during high‐concentration Zn indiffusion.


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Liverpool Message Board
rafa to meet barca director about mascherano sale ???
According to Sport, Barcelona's sporting director Txiki Begiristain will have a meeting with Liverpool boss Rafa Benitez to discuss a 30 million euro bid for Javier Mascherano.
is this now a done deal :(Sort: Newest | Oldest | Most Replied Expand all replies
psredpool...or it could me he has multiple ids?
That's weird.
The front msg board says the last post was from Seaniceman at 5:46 on 8/7 yet your's (neutral) is the only post I can see at that time?
Mistake by Yahoo?
A Yahoo! User Jul 8, 2009 12:46 Flag
A few weeks ago David Villa made up his mind to go to Real Madrid, he's said that repeated times. The only problem was Valencia's asking price.
As of yesterday, Valencia has been given a life saver, they got a 500M Euro credit to address the immediate needs of the club's finances, meaning that as of today they don't have to sell any player at all.
Barcelona, also known to be after Villa, is looking at Forlan as an alternative to the Valencia striker, since Pep Guardiola is not fond of Eto'os ethics.
I really hope thare is no substance in the story...Masc has been the cornerstone at Liverpool (often more than even Garrard)....How can we sell him to our direct competitors??...we are on the edge of being serious contenders for the first time in nearly a decade. The bond that Xabi, Masc, Dirt, Torres , Reina Yossi Carra Agger etc have created last season is so vital....We were so close...they will want to finish business this comimhg season.
- 1 Reply to pol
You are not direct competitors to Barcelona. Mascherano wants to go there, you can force him to stay but cannot expect the best of him if you do. Best to let him and Alonso go now, so you have time to get replacements
I'll not believe anything till I see Masch in another teams shirt.
Up to that point all these stories that keep circulating are fluff and paper talk.
And as far as Xabi is concerned he has great friendships within the club and they have a great deal of respect for each other. AND also he was injured for a portion of the year before and seemed to have fallen out of love with Football. It was only the kick up the ass of being sold at this point last season that galvanised him into one of our players of the season for us. If he has any sense he'll stick with us for a while longer.
A Yahoo! User Jul 3, 2009 02:40 Flag
Benitez has given permission to Barca to make an offer for Javier Mascherano. That's all there is right now.
Rafa must be considering options if Mascherano, Alonso or Arbeloa are sold. There's talk in the press that trades would be considered. Negredo and Toure have been mentioned.
It doesn't matter how you look at it, losing either Alonso or Mascherano will weaken Liverpool's chances of an EPL title.
- 2 Replies to A Yahoo! User
dsteer_lfc_68 dsteer_lfc_68 Jul 3, 2009 03:40 Flag
Who knows what's going on with these players. The fact that most of the talk is coming out of the Spanish press, and Masch is reported to be on a relativily low salary considering his current reputation and importance to the club, I'd say we should take this all with a pinch of salt.
I'd also seperate Arbeloa from Masch and Alonso. The lad only has a year left on his contract, and has just seen England's number 1 in his favored position join our squad. Considering he's now breaking into the Spanish national team, I can understand him maybe wanting to got back to Spain where he might get more playing time, and therefore a higher profile with the Spanish national coaches. I'd prefer him to sign a contract extension and stay, as he's a great back up not just for Johnson, who may need time to settle, but also anyone of the back 4 positions. Rafa can't guarantee him playing time, but I'm sure he'd get it if he stayed. But if he's to go, and we get decent money, good luck to him.
But Masch and Alonso are a little different. If they want away, just as others have said, I'd say let them go, so long as the buying club meet the asking price. Fair market value, and no hard feelings. It might hurt us in the short run, but so long as we get the right money we can look to cover the positions. I just hope we both stick to our guns on price, but also the two lads have a good hard think before making the decision. Masch could be a legend with us, we are the team that brough him out of this English nightmare at WHU, so I hope he understands he won't get any warmer embrace from fans than the one he gets from us.
Alonso on the otherhand was already establishing his reputation before he came to us, so may think Liverpool are just a stepping stone to glory back in Spain. While I can understand a lad wanting to spend his peak in his home country, he needs to understand Real Madrid may shine with gold, but that may not mean it will shine with silverware. So does he want to join a team of names, or does he want to stay with a "team".
But lastly, if this is just Barca, Madrid, and or agents just making waves....they can Pi$$ off!!
Also to be considered is the fact that a fee of 25mil euros works out about the same fee as we paid for masch (as already mentioned) so no way should that offer be acceptedke.
Seeing as we plucked him from relative obscurity rotting away in west hams reserves i think he should show some loyalty and stay with the club. But I do think he deserves parity with the clubs other top playesr with regards to a wage rise.
dsteer_lfc_68 dsteer_lfc_68 Jul 1, 2009 21:39 Flag
Bit worrying, but it might be also to clear the air and finally get this story closed for good, one way or another. IMO, I think its Masch's agent fishing for a pay rise for his client, but you never know.
- 1 Reply to dsteer_lfc_68
If these stories are true about Masch and Alonso wanting out then once this can be determined to be true I would certainly want to have them down the road...get rid of em ! ANY player whos heart is not behind the badge and for the fans should be down the road rapid...enough of these cash hungry mercenaries in the game. However if it is just intrigue, deceit perpetrated by their agents then its time for these two lads to stand tall in the pulpit and speak for themselves and tell the fans they want to stay and fight for the club this upcoming season. If they must leave then I think 40 million for Masch and 35 mill for Alonso....
or they stay... the cash hungry thing cuts BOTH ways; the club should be adequately rewarded for creating of these two the world class playersthey now so obviously are ..who can argue with that as Masch is captain of his national side, one of the finest in the world and Alonso is a consistent performer forhis national team currently the Champions of Europe...Tell me please WHY should a rich club like Barca be able to pick Masch up from us for the same fee we justpaid for Glenn Johnson this is not to say GJ is not a very talented player but remember he was plying his trade with Pompey not LFC whereas Masch is a proven performer for...LFC.
A Yahoo! User Jul 1, 2009 17:51 Flag
Yep, Mascherano is off after one POOR season and winning NOTHING with you lot, just says it all about your club!
Throw in the fact that Alonso wants to join Madrid, I'd say your club is in all sorts of problems!
And NO ONE is interested in joining you!!!
- 3 Replies to A Yahoo! User
A Yahoo! User Jul 7, 2009 21:03 Flag
so id say thats cumin from a united fan....an ronaldo was so desperate to get away from the club he probaly wuld of joined city just like tevez will do at this stage just to be away from your club and ye,s cant even attract any big name players.......and fergie bringin in owen haha he must be desperate hull didint even want that OAP hahahahahahahahaha
A Yahoo! User Jul 7, 2009 21:02 Flag
so id say thats cumin from a united fan....an ronaldo was so desperate to get away from the club he probaly wuld of joined city just like tevez will do at this stage just to be away from your club and ye,s cant even attract any big name players.......and fergie bringin in owen haha he must be desperate hull didint even want that OAP hahahahahahahahaha
how can u say no one is interested in joining us, we have made a bid for one player...oh and guess what he has already signed!!!
and even though hes a right back, he would still make a better right winger than valencia!!!
and if masch goes alonso will stay, no chance of both going. Both have 3 years left on their contracts so we do not NEED to sell.

subset: commoncrawl


text: Hey KatG, Don't worry, I hadn't even thought for a second that it was the final version. I'm just happy that we are down to fixing the parts, instead of the whole. I do agree that is a bit long, I'll work on the next iteration and see how much I can cut. I do agree that scuttle should be there, maybe I'll try to add that final phrase as you suggest, instead of the last question. Anyway, hopefully I'll have something in the next day or so... Thanks again for more excellent feedback. Taramoc


text:
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I see in the video how affiliates have their own links they can add to their own site.
What I don't see:
Is it possible for the affiliate to enter their domain name and then anything coming from that domain name counts as their link?
*Obviously security has to be added so the affiliate can prove they own the site they are adding so they don't add facebook, twitter, etc..
I've seen the 'big boys' do this no problem, but I have yet to see a WordPress affiliates plugin that does this. Does yours?
If so, where do I set that?
If not, is it on the horizon, being planned for etc? e.t.a?


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Top Definition
A person who owns a ZX Spectrum computer, therefore they are your friend. Coined by Your Sinclair magazine I believe.
One of my spec-chums lent me a copy of Rainbow Islands for my speccy. It's crap in a funky skillo kind of way.
by chird September 10, 2003
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Athens residents Robert and Carol Winthrop recently donated a conservation easement to the Oconee River Land Trust on 367 acres of forested land the Winthrops own along Beaverdam Creek in Oglethorpe County.
The land contains a lake, 34 acres of wetlands, extensive hardwood forests and meadows maintained as wildlife habitat.
A conservation easement permanently limits development and protects the site while allowing the owner to continue using the land.
The Oconee River Land Trust, a nonprofit organization based in Athens, holds 19 conservation easements that protect more than 1,800 acres in Northeast Georgia.
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Sergeant First Class Tyler Matheson lifted the scope away from his eye, ran his thumb around the rubber eyepiece collar to dry off the sweat, then flattened himself against the courthouse roof to sight on the plaza below. The sun wasn't yet up and already the day was promising to be a steam bath. The locals had started setting up their market stalls before first light, and now the cobblestones were getting clogged with everything from wheelbarrows of bananas to crates of live chickens. Stray dogs nosed among the carts while seagulls, drawn from the harbor by the promise of scraps, fluttered and swooped over the crowd. Picking out a lone assassin in that melee would be a challenge.
Jack Norton's voice came through Tyler's headset. Jack was positioned near the gates of the governor's palace on the far side of the plaza. "Someone's on the scaffold. You see him, junior?"
Tyler moved his rifle toward his left. A column of steel pipes and wooden planks rose above the corner of the courthouse where the facade was being repaired. An ambitious restoration project was underway throughout Rocama City's historic Old Quarter, which included the colonial-era structures around this plaza in the heart of the district. It was meant to benefit the island nation's budding tourist industry. It didn't do much good for security. It was tough to lock down a site when there were so many uncontrolled vantage points.
Yet Eagle Squadron had been ordered to keep this mission low-key. There would be no change of routine, no road closures, no security zones or aerial surveillance. The Rocaman president's keenly loyal palace guards were their only backup. The real purpose of the American envoy's visit had to remain a secret until the official announcement could be made.
Tyler used his elbows to drag himself closer to the edge of the roof and centered the scope's crosshairs on the figure who was climbing the scaffold. The man wore a hard hat and a tool belt, so he could be a workman wanting to get an early start on the day. Tyler's hunter's instincts told him otherwise. The man's body language didn't jive with that of a guy getting paid by the hour. And he was moving too carefully, as if he were carrying more than what was visible. "That's our shooter," he said into his transmitter.
"Maybe." It was Duncan Colbert's voice. Judging by the volume of the squawking in the background, he was near the chicken crates. "The scaffold provides good line of sight for the entrance to the palace, but it leaves the shooter exposed."
"Doesn't matter. No one's looking up," Jack said. "There's too much action down here."
"He could be heading for your roof, junior," Duncan said. "It's the only flat one around."
"Or he could be checking out the brickwork before the rest of his crew comes in— Damn!" Jack said. "Did you see that jump?"
Tyler lifted his head. The man had disappeared from his scope. That was because he had leaped to the low roof of the adjacent building, the Royal Rocaman Hotel.
Tyler pushed to his feet, looped the strap of his rifle across his chest and sprinted to the far edge of the courthouse roof. He bypassed the scaffold and jumped, relying on his momentum to carry him directly to the hotel. He hit the tiles hard and grabbed the ridge along the peak to regain his balance just as his quarry slid down the slope of the roof and over the edge. Tyler listened for an impact or alarm from the ground, but there was none. He inched forward. "Where'd he go?"
"He landed on a balcony," Jack said. "Top floor of the hotel. Huh, just like a cat."
"The palm trees are blocking my view," Duncan said. "I'm going to change position."
"He's about three yards ahead of you, junior," Jack said. "I can't see his face."
Tyler moved forward three yards, then turned and slid headfirst down the tiles on his stomach until he caught the edge of the roof in his hands. He looked over.
A stocky man was beside a cluster of wrought iron furniture less than twelve feet below him. He'd discarded the hard hat and the tool belt and was kneeling on the floor, his dark head bent over his lap as he assembled a sniper's rifle.
Adrenaline punched Tyler's gut, just as it always did when he closed in on his quarry at the end of a hunt. Though no photographs of him existed, this had to be El Gato, the assassin Eagle Squadron had been ordered to stop. Intelligence hadn't expected him to strike so soon, since the American envoy he was targeting would be in Rocama City for more than a week if the talks went as scheduled, but the team had wanted to cover all its bases. Could it really be this easy? Tyler anchored one hand on the edge of the roof, tensing his muscles so he could flip himself over.
A seagull screeched, wheeling past his face. Tyler took his attention off El Gato for a split second. When he looked back, the man had his weapon in his hand and was jumping to the neighboring balcony.
Well, that's what he got for thinking this might have been easy. Tyler swung down from the roof, eyed the gap to the next balcony and followed.
The chilled champagne had come with the room. So had the platter of chocolate-dipped strawberries and the miniature pitcher of cream. It had all been meant to stimulate the appetite, not satisfy it. Evidently the hotel management assumed that a couple on their honeymoon would be able to come up with all kinds of creative ways to partake of the goodies.
But Emily hadn't been feeling very creative last night. She'd just wanted to get drunk. She'd done a bang-up job of it, too. No half measures for Emily Wright, no indeed, because as she'd discovered, magnums of champagne weren't meant to be consumed by one person.
Just like honeymoon suites weren't designed for single occupancy.
She groaned and dropped her forehead against the shower stall. The impact with the tiles started another turn on the Tilt-A-Whirl that had set itself up inside her skull. She groped for the faucets to turn off the water. Somehow, they twisted the wrong way, cutting off the hot and opening up the cold.
She cursed, jumped backward and promptly lost her footing. She grabbed the faucets to keep from falling and managed to shut the cold. Meanwhile, the carnival ride picked up speed, morphing into a combination Ferris wheel and merry-go-round.
Emily pressed her fingers to her mouth and fought to keep down the contents of her stomach as she staggered out of the shower. She winced when she caught sight of herself in the mirror. Even soaking wet, her hair was starting to corkscrew. And she'd known she shouldn't have eaten the strawberries. The rash she got whenever she indulged was already mottling her chest and neck. But she'd wanted the chocolate, and besides, no one was here to see the rash. No one would see the black teddy she'd bought for her wedding night, or the red garter belt, either.
"Enough," she muttered, scowling at her reflection. "Pity party's over. Today is the first day of the rest of—"
Her voice broke before she could finish the trite phrase. Yet it was true. Her life stretched out in front of her, as full of possibilities—and as daunting—as a blank page. The only thing for certain was that Christopher wouldn't be part of it.
Fine. Good. So there was no reason to waste any more time mooning over what might have been, or the dreams that wouldn't come true. She was going to enjoy herself. She really was. She had paid for a full ten days before she had to return to reality.
A solitary reality.
"And that's good," she said, snatching up a towel. "Love is for fairy tales. And men are overrated." She was about to rub her hair dry when she thought better of it and gingerly blotted the water drops from the ends. "You don't need a man," she muttered. "You're tall enough to reach the top shelves in the cupboards. So aside from opening jars and scratching itches you can't reach, what are they good for? Besides totally screwing up your life?"
Buoyed by her pep talk, she walked to the bedroom. The sky glowed conch-shell pink through the glass above the louvered balcony doors. The overhead fan didn't do much to cut the mugginess; as first days went, this one promised to be a hot one. The sounds of dogs and seagulls, plus snatches of Spanish drifted from the plaza below. It was market day, she remembered. The brochure from the travel agency had featured pictures of it, but she wasn't sure she would be venturing outside until she felt more human. She dropped her towel beside the empty champagne bottle and rummaged through her suitcase for her underwear.
The first item she encountered was the red lace bra that went with the red garter belt. Why hadn't she repacked her luggage before she'd left?
For the same reason she hadn't canceled the honeymoon, she reminded herself, defiantly picking up the matching fire-engine-red panties. Because she'd wanted to prove she wasn't hurt. She might have indulged in pity for herself, but she'd be damned if she'd accept it from anyone else. Ten days would be plenty of time for her to lay the ghosts of all those happily-ever-after fantasies to rest. She would go back to Packenham Junction refreshed and tanned. That would show her family she was going to be just fine. Her coworkers at the paper would see that she was too tough to fall apart.
Only, they weren't her coworkers anymore. She'd worry about getting her job back once she got home. Actually, she would have to find a home first. She'd couldn't imagine going back to the apartment she'd shared with Christopher, but her options were limited. Her bank account was down to double digits, and she'd maxed out her credit cards to pay for this trip.
And all because she'd believed in a man. Put her faith in love. Opened her heart enough to buy into the whole pathetic fairy tale.
Emily crumpled the red lace in her hands and refused to acknowledge the moisture in her eyes. Damn. She wasn't going to cry. Not over him. She intended to enjoy this vacation, even if it killed her.
Something thumped on her balcony. She turned toward it just as a shadow moved across the louvers. An instant later the doors burst inward and crashed to the floor. A short, dark-haired man ran into the room. He was dressed like one of the construction workers in the square she'd noticed when she'd arrived yesterday, but even her alcohol-fogged brain didn't believe he'd entered her room by mistake. Construction workers didn't normally carry guns.
This couldn't really be happening, could it? Except for the gun, he looked as harmless as the guy who drove the milk truck to her parents' farm. Same round face and full lips, except there was a fine white scar across his chin and his eyes, instead of a merry brown, were black, and as dead as a snake's.
Emily's paralysis lasted no more than a heartbeat. A survival instinct she hadn't known she possessed took over and she reacted without thinking. "Get out!" she yelled, snapping her underwear at the intruder. "Out!" Her action appeared to startle him long enough to allow her to snatch the empty champagne bottle from the floor and swing it at his head.
He ducked, muttered something in Spanish and gave her a left jab that knocked her to the bed.
Both her stomach and the room wavered. She rolled to her feet on the other side of the mattress and was lifting the bottle to throw it at him when it shattered in her hand.
Shards of glass whizzed past her face and bounced on the sheets.
"Get down!" someone yelled from behind her.
Emily half turned in time to see another man lunge toward her from the balcony. He wrapped his arms around her legs and tackled her to the floor. She kicked and jabbed backward with her elbows. He quickly immobilized her by sliding up her body and folding one leg around hers.
There was a series of sharp pops. The lamp beside the bed exploded in a cloud of porcelain. The painting of the seascape on the wall crashed onto the platter on the room service cart, spraying leftover cream and strawberry hulls. Chunks of wood and plaster rained to the floor around her but none of it hit her. She couldn't move. She could hardly breathe. The second man was lying completely on top of her with his chin pressing down on her head. It felt as if he were built like a tree trunk.
As suddenly as they had started, the popping sounds halted. The door to the corridor banged open.
The weight on her back disappeared instantly. A pair of worn black cowboy boots moved into her vision. "Stay put," their owner ordered, vaulting over the bed. Footsteps pounded out of the room and down the corridor.
Emily hadn't meant to obey his command. Out of principle, she had vowed never to go along with what any man told her ever again.
But she was shaking so badly, she couldn't make her limbs work for a full minute. She lifted her head, gasping for breath. Her lungs filled with plaster dust. Coughing, she managed to get to her knees.
Through her tangled damp hair she saw the doors to the balcony were in splinters, their louvered slats strewn in ripples like broken fans. Pieces of dark green glass lay scattered over her bed, the clothes in her suitcase and even the towel she'd dropped on the floor. A line of small, round holes had appeared in the wall behind her.
Her brain struggled to process what she saw. Were those bullet holes? What on earth had happened here? Who were those men?
Belatedly, she thought of screaming but that might bring those men back.
She pushed herself to her feet, wobbled her way clear of the broken glass, and dashed for the room's door. She turned the lock, attached the chain, then leaned back against the panels and hugged her arms across her chest.
Only then did she realize that she was completely naked.
Her teeth started to chatter. She clamped her jaw and breathed hard through her nose. This was no time to panic. She was alive. That's what was important. So what if two strange maniacs had seen her naked? They obviously hadn't been here for that or they wouldn't have left. She had bigger concerns than modesty.
The door vibrated with a sharp knock. "Ma'am? Are you all right?"
Emily jumped away from the door. She recognized the voice, even though she'd heard him speak only four words. Get down. Stay put. It was the big man, the one who had tackled her. She ran back across the room and grabbed the phone.


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Philip Edward Fisher Plays Handel: An Interview
- 1 April, 2010
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Philip Edward Fisher has a wonderful Handel disc coming out on March 30. Sean was able to interview him about the disc, and his plans for the future!
Sean Hickey: Philip, you've recorded the Handel Keyboard Suites for Naxos. Despite a huge resurgence in the composer's opera, oratorio and vocal music in the past few years, most people are not familiar with his keyboard music. How did you decide to record this repertoire and why not the obligatory Bach?
Philip Edward Fisher: While Bach's keyboard works have been established as staples of the piano repertoire for many years, Handel's seem to have been viewed almost exclusively as belonging to the harpsichord. This has always struck me as strange…the two composers were, after all, exact contemporaries, and these suites in particular translate just as effectively to the piano as do Bach's. I first came across them more than fifteen years ago, and quickly grew to love them for their great beauty and visceral, down-to-earth qualities that are so unique to Handel's music. When the opportunity to record for Naxos came along, the project seemed to align itself well with the label's creative and innovative programming — and it felt to me infinitely more stimulating a challenge than simply to tackle works that had been recorded countless times before, however great.
SH: Fascinating, and we appreciate anyone who looks into the byways of this vast repertoire. It seems silly to put Handel in a category such as this, but it seems many great composers have parts of their output that are neglected, often unjustly. Handel for his keyboard music, Vivaldi for vocal music, etc. Are there more Handel suites and do you have plans to record them?
PEF: Well, I just finished recording the other four suites of the set this past September. That disc is in post-production right now, and soon to be released on Naxos. Those eight suites make up the set that is often referred to as Handel's "Great Keyboard Suites". There are quite a few others, composed later in his life, but none of them are quite as substantial in nature as the "great" suites. Having said that, there is some beautiful music to be found there, and I certainly wouldn't rule out recording some of them in the future.
SH: Given your concertizing and other recordings, it certainly wouldn't be fair to label you a specialist in the Baroque repertoire, simply because you tackle music from the 17th to 21st centuries. Is there a period that you gravitate toward more than others, and any composers or works from that period that particularly inspire you?
PEF: You're right that I don't really specialize in any particular period, and I must admit it's not something I have felt the inclination to do as yet. I feel a strong connection to a wide variety of works and composers, and I would find it hard to have the level of focus necessary to specialize in a specific style or period to that extent…..although I have tremendous respect for those that do.
I could probably answer the second part of your question differently on an almost daily basis! There definitely are works I feel a deep connection to and particularly love to perform — Rachmaninov's 3rd Concerto, for example (which I'm excited to be performing with the wonderful Longwood Symphony in Boston this May!) — but in general I am inspired by a huge range of composers and periods, and I'm particularly passionate about immersing myself in contemporary music as well as the classics. I must admit that I don't really listen to so much piano music….I'm crazy about the symphonic medium — and it's also not just classical music that can be a tremendous source of inspiration for me!
SH: What can we expect from you next, in terms of performances, recordings and project and what would you like to see happen next in your career? Any conductors or collaborators on your radar?
PEF: Other than the second disc in the Handel set, soon to be released, I'm excited to be recording a disc for the Chandos label this coming summer — a disc of works by the 'Mighty Five' handful of Russian composers. It will be an interesting combination of very popular works and rarely-heard gems; a challenge I'm particularly looking forward to.
In terms of future performances, I have a number of concerto appearances lined up, and I'll be taking a recital program based around the Handel suites and various works by other composers inspired by Handel to a number of venues around the world, including New York, London and Birmingham, UK (where the Handel disc was recorded). As well as playing solo recitals and concertos, I love to collaborate with other performers, and I have been lucky enough to work with many up to this point — so I'm looking forward to many more of those experiences.
Where my 'radar' is concerned, I am particularly keen to work with the CBSO, my hometown orchestra! It meant a great deal to me to return there to record the Handel disc, particularly when the Symphony Hall is such a special venue, and it would be an even more incredible feeling to return and work with what is a fantastic orchestra! Stay tuned!
David Aaron Carpenter & the Viola Sing Out
- 6 November, 2009
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These past two months have brought something not typically widespread – wonderful releases from talented violists, and excellent reviews to follow! The LA Times recently did a viola feature on this very topic, citing two of my latest favorite violists, Eliesha Nelson and David Aaron Carpenter. As a violist myself, I love to see such regard and praise come to the instrument, and am excited for the opportunity to help bring attention to these brilliant violists. In late September, I interviewed Eliesha Nelson, and graciously, David Aaron Carpenter recently answered the same questions concerning his experience as a violist. His debut album from Ondine, "Elgar & Schnittke Viola Concertos," has received much critical acclaim, most recently winning the Gramophone Editor's Choice Award in October 2009. He is one of the brightest viola talents to come along in many years. It's wonderful to have such a star associated with the viola, and it makes me very optimistic we will continue to see more of this type of excitement towards viola releases. In Mark Swed's words: "The viola…is the future."
How did you first develop a love for music? What inspired you to begin playing?
I am fortunate enough to have an older brother and sister who play the violin. Growing up in a musical environment helped me obtain a passion and love for music. I never had a one-track career in mind to become a soloist, and my mother always believed in a well-rounded education for her children. I never would have foreseen that I would be making a career as a viola soloist, especially after attending a liberal arts college and majoring in political science and international relations.
Although this is not the case for myself, like many violists, you began your musical instruction on the violin and later switched to viola. What ultimately made you stick with the Viola, and what do you enjoy most about playing Viola as opposed to the Violin?
I started playing the violin at age 6 and gravitated to the viola at 11 years of age. In my opinion, the viola can sometimes be a very clumsy instrument to begin with for young players, and I always recommend starting on the violin to develop good habits for technique. I attended pre-college at Juilliard and Manhattan School of Music as a double major in both violin and viola and it was very liberating for me to approach different works on both instruments. In the process, I was always more inclined to the complex tone of the viola. Also, the repertoire on the viola is unique and the possibilities are endless.
Artur Nikish believed that 'a player's psyche depended upon the instrument he played,' and he characterized violists as being 'calm and good-natured.' It has also been often said that 'viola players are the least troublesome' in orchestral settings. Do you agree?
I agree, and think we need to change such a passive role! It is time that violists start to make a stand to change the status of the instrument. Violists have historically been the "least troublesome," and I believe that if we had more virtuosi like Lionel Tertis and William Primrose living in the classical or romantic eras, we would certainly have more extant masterworks for the viola repertoire.
What are some of your favorite compositions to play? Do you have an era you prefer?
This really changes depending on the project and composer that I am studying at any given point in time. I like all eras of music, which include the baroque, classical, romantic, and contemporary periods, although I have been recently focusing more on 20th century compositions. I am also interested in sensible transcriptions for the viola, especially those that are sanctioned by a particular composer.
As you have just recently released your first album, what did you enjoy most about the recording process? Least?
It was more than a dream to record the Elgar and Schnittke Concertos with the Philharmonia Orchestra directed by Maestro Eschenbach. The synergy of all parties involved was truly magical, and I am extremely proud of the product and outcome of the recording. Although there wasn't any particular aspect that I enjoyed least, I must say that playing for 2 days straight was quite a strenuous undertaking.
If you could choose one composer, conductor or artist, deceased or living, to meet who would it be? Why?
Jacqueline Du Pre—to this day, I have never encountered in person or heard on record an artist who was the embodiment of musical intuition, emotional connection, and raw talent. Her artistry was the primary reason I gravitated towards the deeper sound of the viola.
When you're not performing or practicing, what activities do you enjoy?
I enjoy playing tennis with my brother and sister, and also like to read and keep apprised of world events, financial markets, and international diplomacy. When I am traveling, I try to make it a priority to attend museums and special cultural events that are occurring in each city.
Which composer would you most like–or would have liked–to contribute to the instrument's repertoire?
One of my favorite composers who never wrote but sanctioned a viola concerto will be featured on my next recording. I won't disclose the composer's name yet, but I am sure it will stir up some controversy!
There are countless viola jokes. Can you share a few of your favorites?
I have never heard of one before. 😉
To see videos of David Aaron Carpenter's playing: http://www.youtube.com/user/violarocks45
NONCLASSICAL: A conversation with the ELYSIAN QUARTET
- 29 October, 2009
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With our recent North American Launch of Gabriel Prokofiev's "Nonclassical" label we find ourselves fortunate enough to have two fantastic releases by the Elysian quartet. In sept we released Gabriel's string quartet no. 1 and now on Oct. 27th we'll release Gabriel's 2nd string quartet also performed by the Elysians. I can't rave enough about these recordings, it's also given Elysha Miracle and I a chance to interview the quartet in anticipation of this second round of Nonclassical releases….
First off of course we've become familiar with the quartet through its work with Gabriel Prokofiev and Nonclassical, can you tell us how this relationship came about?
Laura went to York University with Gabriel and they had a lot in common musically, both being interested in contemporary and electronic music. A few years later, when she had joined the quartet and we had started working with amplification and electronics, she rang him up and suggested a collaboration. He wrote his first ever string quartet for us, and it went so well that we commissioned him to write us another.
Of course on these Nonclassical releases of Gabriel's string quartets your performances are also remixed, what's the groups take on this part of the projects?
We thought it was a great idea, especially as Gabriel's music is so influenced by dance music in the first place, and when we heard the remixes we were all pleased with how they had turned out. They only use sounds from the original recordings, so the remix artists had to find ways of creating new music from original material without resorting to extra drums or beats.
Which remix is most fun to play? Which do you prefer listening-wise?
The remixes are not written to be performed live – they were made by people using sounds from the recordings and have had many many effects and layers put on them. We have talked about trying to turn them back into live pieces, but the complications have so far put everybody off! Listening-wise it would be far too cheeky to single anyone out…
Can you give us a little history lesson on the quartet itself? Maybe tell us a bit about each member?
The quartet got together at Trinity College of Music in 1999 and gradually morphed from a normal classical string quartet into what it is today, totally dedicated to contemporary, electronic and improvised music. A big turning point for us was playing George Crumb's music, and then also meeting Gabriel. Each member of the group has a very diverse background in classical, jazz, pop, and improvised music and everyone plays regularly with other groups, and on other instruments. This seems to bring many styles of playing into the group and gives us a great advantage and certain lack of fear when we improvise.
You have such a fun and energetic feel as a group. What makes you have such a unique approach to playing and 'classical music'?
Thanks! I think we might come across like this because we all consider ourselves 'musicians' rather than 'classical musicians' and we bring our different musical experiences to the group. For instance, two of us used to play in a samba band, and that not only teaches you a lot about rhythm and feel, but also a great deal about group vibes. Also each one of us knows what it's like to play on stage in a pop/folk/rock context, which is usually so much more fun and relaxed than playing classical music. So I think subconsciously we probably bring a bit of that into our concerts.
Have you recorded projects for other labels? If so what were / are they?
We recorded a great project with British composer Max de Wardener last year, with cover art by Stanley Donwood (Radiohead collaborator), for Stanley's record label Six Inch Records. We have also contributed our improvising skills to some pop albums, and recorded our own EP of improvised music. We are also planning a few albums with other people next year – will let you know which label they come out on!
What music / art inspires the quartet as a group?
Wow big question. I think our various inspirations would be so massive it would be crazy to list them all! But as far as music goes you could definitely throw in the Crumb, and Gabriel, then Dai Fujikura, Reich, Stravinsky, Hot Chip, Melanie Pappenheim, Can, Janacek, Keith Tippett, Adem, Simon Fisher Turner… Art is a bit less relevant to us as a group, but individually I think we are all pretty modern in tastes…
I see from your facebook updates that you guys play in Germany from time to time, where else do you perform regularly and what rep do you play generally?
We have been to Belgium and France several times, and many other countries internationally, but mostly we perform in the UK. Our repertoire has become more and more fully improvised over the last two years, but we also play a lot of British and American contemporary music, most of which is either written for us or commissioned by us. Our concerts at the moment tend to be a mixture of very contemporary music and improvisation, sometimes both within the same piece.
Are the members involved in other music projects? What might those be?
Emma and Vince together are remix artists Geese and are becoming quite successful with their string instrument based remixes. Jenny and Emma play in Mercury-nominated Basquiat Strings, which is a jazz based project, and Laura is successfully carving out her own solo career with her music for cello with voice. All four of us are involved with other performers too: James Yorkston, Nancy Wallace, Adrian Crowley, Gilad Atzmon to name a few.
Ok so WoW you've worked with Damo Suzuki! how did this come about? Your impressions of Damo? Was this material recorded? How is CAN important to the quartet?
Damo is a pretty amazing guy, in that he makes his living going round the world improvising in a made up language every night. i'd like to make a living this way…seems like a nice life! He's usually very friendly and interesting, occasionally grumpy when he hasn't had enough sleep and has been flying around the world too much.. He is a total showman on stage with incredible charisma and a great voice. We've played with him twice now, and the first time was the best, at the Purcell Room on the South Bank, London. This was recorded, and Damo absolutely loved it, so it was then edited because it was VERY VERY long, and then…don't think it got released or anything. Hopefully one day… As a group we obviously listened to a lot more CAN prior to and after working with Damo, and I think we all took a lot of inspiration from the spirit and energy in that band. Obviously when we improvised with Damo it was an entirely different thing. But CAN are great. You can always learn a lot from bands like that.I can't quite remember how the collaboration came about.
Any future plans with Nonclassical? Plans on performing in the USA?
Nonclassical's pop imprint StopStart will hopefully be putting out Laura's solo album next year, and we are also discussing our future projects with them, but nothing is concrete as yet. We would absolutely love to go back to the USA after our very successful first time out there this March for SXSW, perhaps with composer Graham Reynolds who we met in Austin, or with Meredith Monk who we are working with next year. If anyone wants to book us a tour we'll be right there….
Langgaard's MESSIS: A chat with Flemming Dreisig
- 9 October, 2009
- 1 Comment
After hearing this monumental piece of organ music by Langgaard I simply had to find out more, what better place than to go directly to the artist who took the project on.
Flemming, Can you give us a little background on yourself and your playing?
Coming from a home where there was an understanding and an interest in classical music, I showed an early interest in sound and timbre and in consequence was taught piano from the age of 5. This led later to studying at the Royal Danish Conservatory of Music with a major in piano. Later I switched to a church music education with organ as my main instrument. This education was attractive in preparation for a continued, varied occupation in music, because of the many substitute job possibilities as an organist and the concert challenges provided by the church.
What music inspires you to do what you do?
Already as a child when my preferred composer was J. S. Bach – for instance because of his music's sustained motor dynamics – the ground was laid for what has become a lifestyle for me: playing organ.
Are there any composers that really blow your mind?
If early on it was Bach who impressed me, then in my growing years the classical composers like Beethoven, Brahms and not least, Wagner were a considerable inspiration for my perception and way of approaching the matter of improvisation, which is an indispensable and rather essential discipline for professional church musicians.During a study period in Paris in the early 70s, I met the especially gifted improviser, Pierre Cochereau, at the Notre Dame cathedral, and that meeting became a turning point in my musical perception up to then, by leading to my listening to the cathedral organist's exceptional, daring melodically, harmonically and rhythmically stimulating improvisations.
In the sound Danish musical tradition of the 60s, there were only a few pioneers who had discovered Langgaard's stylistically outdated and therefore rather unknown works, but finally there still remained the possibility of getting to know Langgaard, as through a radio-transmitted shorter version of Messis.
This was my first encounter with Danish romantic music, that at the same time clearly deviated from the well known "Golden Age" composers from the same period: the normally otherwise jovial, well balanced and clear forms of composition contrast here in Langgaard's music with tension, unrest, unexpected lines of development to dramatic climaxes – to once again, in a symphonic tone picture, move towards new, fantastic states of being.
A considerably richer emotional palette than among the other romantic composers for organ. Yes, Langgaard was a romantic deep down, but at the same time he was creative in forms of expression that had a clear modernistic and expressionistic appearance.
Messis is an expression of a continuous "tale told in tones" and as such, makes no attempt to use artistic effects through prevalent classical idioms or traditional knowledge of technical disciplines.
What was your motivation for approaching it in the first place?
For a youth with a tempestuous heart, this music is spontaneously attractive and I harmonized with it in those days, and since then have appropriated Langgaard's universe as my own.
Messis in its foundation is a search away from those chaotic times (there in the 30s) and towards an earlier epoch's ideal of beauty, drawing a divine picture of reality.
What makes this composition important to Danish culture and to the history of Danish music in general?
A characteristic throughout this composition is that "defiance" with which the composer delivers his message. The basic romantic character is regularly marked by reactive, grotesque effects including use of modern and apparently absurd means such as unprepared dynamic jumps, illogical harmonic relations as well as changing measure. With Langgaard, that kind of musical "collage" technique blends into a large formal whole and makes for a symphonic concept that no other Dane – not to say no other European composer – has strived for.
Many of us here in America are just now becoming familiar with Langgaard in a very substantial way; where do you see his works fitting in not only the history of Danish music but of classical music itself?
The fact is Langgaard's music is more actual than ever as a bitter commentary on what we contemporaries are witness to the world over; the global political discord, environmental accidents, natural catastrophes and more, but in spite of it all, also a resonance of beauty, understanding and the dream that sustains our present day. It's true that Langgaard's written reference is the Bible, but his whole outlook on life is more strongly influenced by the expression he encountered in his own times – and in my opinion, it would have most likely become strengthened if he had lived today.
What projects do you have planned for the future?
Gazing into the future, I would like to promote large-format organ compositions like Langgaard's Messis that, within the formal time-horizon parallel to masses and requiems, create possibilities of pushing emotionally deeper into the topic than is the case of shorter musical forms as, for example, the sonata form.
A similar, more recent example could be the French expressionistically inspired composer, Germain Desbonnet's " Symphony Christique" for organ with obligatto mixed final chorus. Poetry, drama and meditative music meet in one work that lifts the soul into a truly optimistic expression.
The Skinny on NONCLASSICAL: An Interview With Gabriel Prokofiev pt.2
- 2 October, 2009
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Today the Nonclassical label officially hits the streets (in shops and online) in North America. Here is the rest of the interview with Gabriel Prokofiev.
Well inspiration can come from anywhere really. I might hear certain rhythmic approach, or an orchestral sound in a piece of music, and then start compose something inspired by that… but often that will only be a initial kernal in the beginning of a bigger piece. A more common inspiration for me is often hearing sounds for the environment around me: I might here a distant rhythm from a train, combined with the accelaration of a car, and then some garbage rattling in the wind, these 'atmospheric' sounds can often inspire a melodic or rhythmic idea. I often get intial inspiration for a piece when I'm cycling to my studio in the morning, the experience of motion seems to be quite effective in getting the creative juices going, along with all the stimulus of cycling through a busy city. Of course visual art can also be very inspiring, especially abstract painting, which can inspire the idea to create something that has similar shapes, rhythms and form; though I've yet to compose a piece directly inspired by one piece of art.
For Turntables it's as near a classical concerto score as possible.
The DJ part is similar to a percussion part, with rhythms given and approximate hi/lo pitch indication, but with clear written comments giving the type of scratching technique to be used, and indicating with sample should be used by the DJ. There is a little bit of flexibility for the DJ to improvise the finer details of some of the rhythmic scratching, and so that the most important part of the score is to give the cue points.
In the fourth movement, when the DJ plays pitched material the score is given at pitch, and is played just like a normal pitch-instrument part. And, in each movement there is a cadenza, where the DJ is free to improvise with the samples & develop new ideas.
Fanta Bottles and the rest of IMPORT/EXPORT (the 32 minute piece it is part of) is done as normal percussion score, with clear descriptions of each technique used. A loop pedal is used to create denser textures & rhythms at some points in the piece, and the record & playback point are also clearly marked. For some of the gestures like rubbing two glass fanta bottles together, graphical notation is used to visual represent the movements of the bottle.
Generally I try to use existing notation techniques, even though sometimes classical notation isn't ideal; I find that real subtleties of rhythmcan be hard to notate with exact accuracy (with out looking ridiculously complicated), so it's often best to use words as well to describe the 'feel' of how something should be played.
It's exciting, but also distracting. A couple of years ago I realised that I was spending most of my days just writing emails and talking on the phone; fortunately I know have a few other people, including the brilliant Dave Halliwell helping me run the label. I think it's so important for any music maker to have an outlet for their work, and Nonclassical provides that for me which is great, and ofcourse we release works by other composers and performers as well, so hopefully we can become a bigger and bigger force for new music.
I'm not sure if we are completely 'leading the charge for a re-energized classical scene' as you say, but we're are certainly doing what we can to get more contemporary classical music out into the 'real world'. There are plenty of really good young composers and ensembles out there, and I just don't understand why more people haven't thought of putting on classical club nights and the like so that this good music can get more exposure (only in the last few years have more alternative classical nights really started appearing) . It's our responsibility to be pro-active and make sure the music is heard… I don't really understand how classical music has allowed itself to get stuck in such a straight jack of tradition -so that young composers barely have their work heard except for in college end of term concerts and occasional lunch-time concerts or small festivals; imagine telling a Rock band that their songs would only get performed once every 2 years, if at all!
Anyway, all in all I'm very excited by our classical club nights, and feedback we get for each CD we release; so I am very happy with what we're doing, but it's still early days really.
I would love to run our club in cities all over the world… but the problem is finding the time to set-up new club nights. We have previously done one-off Nonclassical nights in New York (at Le Poisson Rouge), in Austin (part of SxSW), at Rock Festivals in Oxfordshire, and Yorkshire, and at The SouthBank Centre, London. We are hoping to run more regular events in New York, and hopefully in Holland and Portugal as well. Ideally we will find 'partners' who can help run other events, and then we will curate the nights, and some of the Nonclassical regulars will go over and perform. We will be back in the USA in March 2010 for SxSW, and will certainly stop off in NY, but hopefully we can do something before christmas.
Like most people involved in music, I really enjoy my food. I eat almost every type of food, and love the variety that's out there so it's too hard to find a favourite. It's like music, different food works for different moods & occassions. If I was to combine several favourite dishes into an imaginary 'symphony' of cuisines it could consist of something like:
I Dim Sum, II Fresh Sea Food platter (oysters and fresh crab), III Cochon de lait Roti IV French Cheese Plate (Chabichou, Pont-l'Evêque, etc..) V Marquis de Chocolat….
And then there are the wines….
The big problem with digital download is that many people just download single tracks, so that the experience of listening to a whole album by one artist is becoming less popular. And for classical music this is really tough, because many compositions are conceived as complete works of several movements that need to be listened together and that compliment each other. Also, some listeners might just check a 1 minute sample of a track before buying it digitally, and with classical music 1 minute rarely gives a balanced impression of what a piece of music will be like. Also there is the problem of sound quality; and though higher quality mp3s can be bought online, I don't think everyone is aware of the reduced sound quality they will be getting with an mp3. CDs always give a much higher sound quality.
However digital can be a quick way for people to dip-into and discover new music without commiting to buying a whole album, so that can be a positive way for listeners to broaden their musical horizons.
phew… that's always the hardest question… there's plenty:
Big fan of Russian music (surprise, surprise): old and new: Tchaikovsky, Mussorgsky, S Prokofiev, Stravinsky, Schnitke, Gubaidulina
French: Ravel, Debussy,
Bach of course, late Beethoven, Schubert.
20th century classics like Berio, Ligetti, some Stockhausen, Xenakis
And of course young, living composers!: Tansy Davies, John Richards, Larry Goves, are 3 young UK composers doing great stuff at the moment.
But I know I've missed out plenty…
I was recently introduced to the music of irish composer Gerald Barry, so I bought a CD that contained 'chevaux-de-frise' – seriously heavy weight orchestral texture, no compromise.
A CD that I need to buy is one that has Mossolov 'Iron Foundry'; it was performed in the same program as my Conerto for Turntables by the RSNO in the Glasgow festival hall last year, and is a killer piece, the original version of techo circa 1928! – I believe NAXOS might have released a recordin of it….
There were quite a few challenges (several of which you've identified). The immediate challenge was, can the Turntables really function as a musical instrument and play with an orchestra? also notation was of course an issue -not only how to notate? but will the DJ be able to read music?
Firstly, what sounds should the DJ be using on his Turntables?
Yes that was the first most important question.
Immediately I was aware that having a DJ scratch a bunch of standard scratch samples and breaks over an Orchestra would probably sound a bit cheesy, and though I was keen to take on board influences from hip-hop, anything too literal in terms of sound material might sound cheap, so the obvious solution seemed that the DJ should scratch with sounds from the Orchestra he is playing with. So I chose various phrase that the orchestra were going to play and decided that we should record them & give them to the DJ. However DJ Yoda had explained that besides using 'breaks' (short, loopable musical phrases) there were certain classic scratch sounds that were particularly effective for more elaborate scratching, which are used by most DJs through out the world, like the ubiquitous "ahhhh" and "fresh" voice sounds (sampled from "Change Le Beat" by Fab Freddy Five) and even the simple test-tone sound. To fully represent the extent of what the Turntable can do we would need sounds like them. I realised that these sounds could come from the Orchestra too, but in a less conventional way. So that the loud yawn and then the 'cough' from the conductor at the beginning of the 3rd movement actually become useful scratch sounds for the DJ. Then in the 4th movement, a loud gasp/inhale from the flute player is used, and also a long flute note is looped into a test-tone like sound which the DJ then uses to play melodies.
A main approach I took to composing the DJ part, was that in each movement a few different 'Scratching' & DJing techniques would be performed by the DJ, and that created quite a good framework for the piece. Many of the classical DJ techniques, like 'scribbling' for example have a very distinct sound which they bring to the original sound that is being scratched with, so that it wasn't all about just playing-back existing sounds at all. A lot of the writing was done as if I was writing for a very expressive percussion instrument; so I was working rhythmically but also bearing in mind that I as using sounds and phrases that had already been played by the orchestra -sometimes it was almost like having 2 orchestras: one live, one on the turn-table, and of course that was fun. The opening of the 2nd movement plays with that; and the DJ play-back the opening opening string phrase, but then brutally stops it; then once the strings enter he plays it back slightl;y out of sync with the live strings creating an interesting jerking, skipping texture.
The notation for the 4th movement was different, and I could write for a pitched instrument as the DJ was using the pitch-control to play exact melodies (though the tuning of the turntable was less than exact).
Thirdly, how to notate for the DJ?
I notated the DJ part in a similar way to a percussion part, with rhythms given and approximate hi/lo pitch indication, but with clear written comments giving the type of scratching technique to be used, and indicating with sample should be used by the DJ. There is a little bit of flexibility for the DJ to improvise the finer details of some of the rhythmic scratching, and so that the most important part of the score is to give the cue points.
In the fourth movement, when the DJ plays pitched material the score is given at pitch, and is played just like a normal pitch-instrument part. And, in each movement there is a cadenza, where the DJ is free to improvise with the samples & develop new ideas.
There are a couple of specific DJ-notation methods that have been developed, but they would take quite some time to learn, and I wanted the score to be something most people could look at and understand quite quickly. I don't think my notation was perfect but it communicates enough information; I prefer to be pragmatic in these situations, rather than try to get all clever and re-invent the wheel.
What have you found is the most common reaction of an audience listening to your music for the first time?
hmmm, tough question, it does depend on the gig. But generally people seem to engage, and follow where the music is taking them.
With your cutting-edge, modern style, do you find that your music draws a predominantly younger, hip audience?
I suppose there are aspects to my music to which younger audiences can immediately relate to, but in fact I've had stuff performed to older, more typically 'classical' audiences and it's gone down really well; so hopefully a whole range of people can appreciate my music. But if I can appeal to audiences who might not usual consider listening to classical music that's a very positive thing too.
What do you like to do in your free time (if you have any)?
Ha ha… Sometimes my free-time does. But once I get away from work, I'm quite good at relaxing and distracting myself with other activities.
I love to travel; and besides seeing a lot of Europe, I've enjoyed trips to the USA, and also spent quite a lot of time in Tanzania, East Africa where I did one years voluntary work when I was 19; I learnt Kiswahili and actually wrote my student dissertation on Tanzanian music; and I've also become a fan of African literature and history. I also love theatre and dance, and used to do a lot of acting when I was a teenager, even considered going to drama school!
So far so good… At least I'm not aware of any serious negative feedback. But I think that may be some people in the Classical world might have disregarded what we're doing with Nonclassical Records as 'cross-over'; because we have 'remixes' on most of our releases. I think that's a real shame, because the remixes we have on our releases are a very interesting, daring, and provocative musical 'experiment', which are in no way a callous attempt to 'cross-over', and are an exploration of the boundaries of different genres… something that can be of interest to any curious about new directions in music.


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BBC Review
There's an ominous grey clouding these songs' sunny skies.
Si Hawkins 2010
It isn't difficult to fathom how The Drums became the most name-droppable of new bands. New York acts have always travelled well, often making it big in Britain before doing likewise back home, but this savvy quartet also have exquisite timing. As the world self-flagellated over its financial woes last year they released an EP whose standout track featured the memorable refrain, "Oh momma, I wanna go surfing / oh momma, I don't care about nothing". Well, even a one-legged recluse could relate to that.
Let's Go Surfing – written on the day of Obama's inauguration, hence the optimism – makes a welcome return on their eponymous debut LP, and while the rest of the record isn't quite so extravagantly escapist, it's still a welcome espresso-rush of hooks and harmonies, with a healthy dose of lyrical darkness thrown in to ease the digestion.
Follow-up single Best Friend kicks us off, a sort of tragic human take on the story of Greyfriars Bobby (loyal mutt awaits return of dead master, spawns range of attractive commemorative mugs), with frontman Jonathan Pierce in sub-prime Morrissey mode, moping around on the bonnet of his late friend's car. Manchester's influence provides much of the ominous grey that clouds these songs' sunny skies, in fact. Book of Stories and It Will All End in Tears both sport uplifting Phil Spector-like walls of sound, but also trebly Peter Hook basslines and choruses that are actually, on second listen, slightly heartbreaking.
But only slightly. The outlook here is more Love Theme from The Breakfast Club than Love Will Tear Us Apart, and like the finest John Hughes movies, all words are awash with teenage hormones and thus shouldn't be taken too seriously. The Drums are no longer teens, admittedly, but their record skilfully conjures a time long before credit crunches, when the most important thing in the world was your current squeeze.
"You've got to believe me when I say, when I say the word forever," croons Pierce, in the doo-woppy Down by the Water. "And whatever comes your way, we'll still be here together." Of course, they probably won't be. But it's nice to dream, just for a while.


text: Sanitary landfills should aim to contain waste so that garbage and chemicals do not contaminate the surrounding environment. There are, however, a few different ways that landfill companies can choose to protect the environment. Learning more about the types of waste disposal containment options should help you choose a sanitary landfill that appeals to your interests.


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With more apps published each week in Google Play, building buzz around your own apps helps them get noticed and makes it easier for users to find and download them.
Building buzz doesn't have a single formula. The tools and techniques described here have worked for other developers, but finding the right mix will depend on your apps, your audience, and your competition. And don't be afraid to try something different or quirky, taking a risk could pay big dividends.


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Waardenburg syndrome type 2
Other Names for this Disease
- WS type 2
Related Diseases
See Disclaimer regarding information on this site. Some links on this page may take you to organizations outside of the National Institutes of Health.
Waardenburg syndrome characterized by varying degrees of deafness and pigmentation (coloring) abnormalities of the eyes, hair and/or skin. WS2 differs from WS1 and some other types of WS by the absence of dystopia canthorum (lateral displacement of the inner canthi of the eyes).[1][2] Sensorineural hearing loss occurs in the majority of people with WS2, and heterochromia iridis (differences in eye coloring) occurs in about half. WS2 may be caused by changes (mutations) in any of several genes, but in many cases the genetic cause is unknown. While inheritance is usually autosomal dominant, sometimes WS2 is not inherited, occurring for the first time in someone with no family history of the condition. Treatment may include the use of hearing aids and/or cosmetic products (if desired) for skin hypopigmentation.[1]Waardenburg syndrome type 2 (WS2) is a type of
Waardenburg syndrome type 2 can be further divided into subtypes based on the genetic cause, when it can be identified.
Waardenburg syndrome type 2 can be further divided into subtypes based on the genetic cause, when it can be identified.
Last updated: 6/28/2016
- Véronique Pingault. Waardenburg syndrome type 2. Orphanet. October, 2015; http://www.orpha.net/consor/cgi-bin/OC_Exp.php?lng=en&Expert=895.
- Jeff Mark Milunsky. Waardenburg Syndrome Type I. GeneReviews. August 7, 2014; http://www.ncbi.nlm.nih.gov/books/NBK1531/.
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Your Questions AnsweredView questions about this condition answered by GARD Information Specialists. You can also submit a new question.
On this page
Basic Information
- Genetics Home Reference (GHR) contains information on Waardenburg syndrome type 2. This website is maintained by the National Library of Medicine.
- MedlinePlus was designed by the National Library of Medicine to help you research your health questions, and it provides more information about this topic.
- The National Organization for Rare Disorders (NORD) has a report for patients and families about this condition. NORD is a patient advocacy organization for individuals with rare diseases and the organizations that serve them.
In Depth Information
- Medscape Reference provides information on this topic. You may need to register to view the medical textbook, but registration is free.
- The Monarch Initiative brings together data about this condition from humans and other species to help physicians and biomedical researchers. Monarch's tools are designed to make it easier to compare the signs and symptoms (phenotypes) of different diseases and discover common features. This initiative is a collaboration between several academic institutions across the world and is funded by the National Institutes of Health. Visit the website to explore the biology of this condition.
- Online Mendelian Inheritance in Man (OMIM) is a catalog of human genes and genetic disorders. Each entry has a summary of related medical articles. It is meant for health care professionals and researchers. OMIM is maintained by Johns Hopkins University School of Medicine.
- Orphanet is a European reference portal for information on rare diseases and orphan drugs. Access to this database is free of charge.
- PubMed is a searchable database of medical literature and lists journal articles that discuss Waardenburg syndrome type 2. Click on the link to view a sample search on this topic.
Other Names for this Disease
- WS type 2
Related Diseases
See Disclaimer regarding information on this site. Some links on this page may take you to organizations outside of the National Institutes of Health.


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