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We were very pleased with out roof, they were very reliable and knowledgable. Pricing was reasonable as well!! Very happy!!
Posted: 12/31/2016 • Link to this review
Reviews: 1
We hired LB Roofing & Construction to remove some trees and replace our roof. Pricing was middle of the road but the service and work was excellent! It took 2.5 days from start to finish and it was a considerable sized job. We highly recommend LB Roofing and appreciate everything!
Project Details
Area Marietta, GA
Cost $10,000 - $14,999
Date October 2016
Posted: 12/27/2016 • Link to this review
Shouldn't have agreed to gutters on a solid 1920's bungalow that never had them. Overhanging trees filled them 4 times in 6 months.�gutter guards cost more than the gutters, etc...
Project Details
New roof, new gutters, extended small backroom & roof by 2 feet, some electrical work, waterheater
Area Atlanta, GA
Cost $10,000 - $14,999
Date May 2016
Posted: 10/30/2016 • Last edited: 11/29/2016 • Link to this review
We strive for customer satisfaction and although we believe gutters are necessary on your home, the customer is always right. Gutter covers or cleaning out the gutters in the fall and spring would be the best solution. Please let us know if there is ever anything we can do for you. Thank you for your business. All my best. Lee Marcum owner LB Roofing & Construction.
This is the second project we've used LB Roofing & Construction for, and we couldn't be more thrilled with the quality and price of the work. Justin Rogers worked with us last year to put a completely new roof on our home, and we liked him so much we asked him to come back and repair some gutters, siding, and fascia and do some painting. Justin did all of the work himself, and even fixed a deck board that was causing us concern without asking. Justin is a wonderful asset to the company, and is by far the nicest person we've dealt with when it comes to the industry. I definitely encourage you to use LB Roofing & Construction for all your needs!
Project Details
Repaired some gutters, replaced damaged fascia and siding, and painted our shutters.
Area Stone Mountain, GA
Cost $500 - $999
Date October 2016
Posted: 10/14/2016 • Link to this review
Thank you very much for the great review! Justin is awesome and a valued member of our team.
We had a new roof put on the house and the chimney was completely rebuilt. The entire job was finished in less than 2 days. We had several bids and LB Roofing had the best price and excellent reviews. Trevor Lucas worked very closely with my wife and was completely professional. He answered every question we had, was always available when we called. He prepared the bid and did not pressure us to make a decision. His customer service was top notch (something seldom seen these days). The overall experience was great and they did everything the said they would do. They are going to do a couple of smaller projects for us as well. I wholeheartedly recommend this company.
Project Details
Area Lawrenceville, GA
Cost $5,000 - $9,999
Date August 2016
Posted: 8/10/2016 • Link to this review
We truly appreciate the good review. It's great to hear Trevor is doing good job. Thank you for your business!
Great company to deal with. They found some holes, that another company overlooked. The crew were here on time. Finished it in one day. They didn't leave any trash. I recommend this company to everyone. I'm so thankful we used them and the price was lower than we had anticipated .Do not hesitate to give this company a call.
Project Details
Area Atlanta, GA
Cost $250 - $499
Date March 2016
Posted: 3/22/2016 • Link to this review
Thank you for taking the time to write a review. We value your business and we hope to work with you again soon.
Reviews: 1
Lee is a very nice person to work with and he cares about his customers and the work he does for you.
Posted: 1/19/2016 • Last edited: 1/28/2016 • Link to this review
Reviews: 1
I had to get some critical roof work done quickly and LB Roofing & Construction did an excellent job!
Posted: 12/30/2015 • Link to this review
Reviews: 1
Lee and his entire team are very attentive to detail, they have very reasonable pricing and I am very impressed with the high level of customer service . I highly recommend LB Roofing.
Posted: 12/22/2015 • Link to this review
It is raining I touch my ceiling it is not WET!! Yeah to Brian at LB Roofing and Construction. I am so happy with the entire team and it did not cost me $2,500-$2,600 like another roofing company quoted me. I need a paint job on my house I guess LB Roofing will be getting the job. Awesome work. Brian continue to do a great job and never compromise your integrity. Tanya, you were so sweet and showed compassion to me and my situation. Great experience for me.
Posted: 12/17/2015 • Last edited: 12/22/2015 • Link to this review
I called LB Roofing based on the positive reviews here on Kudzu and am compelled to add one more. I called about a repair and spoke to Tonya, who was both friendly and helpful. The rep came out a couple days later and provided a very reasonable estimate, and then went ahead and performed the fix that same day. And I was able to coordinate it all via phone/text with Tonya without even having to be home. The entire experience couldn't have been any more convenient. Very pleased.
Posted: 12/11/2015 • Last edited: 12/22/2015 • Link to this review
I contacted LB after reading favorable reviews on another website when my roof was leaking causing interior damage. They responded to my call promptly and repaired my roof leak. I was especially impressed when the manager suggested a way I could reduce my cost by doing a fraction of the work myself. I took him up on it. I thought their cost for the repair was reasonable and will definitely call them when the time comes to reroof my house.
Posted: 12/07/2015 • Last edited: 12/22/2015 • Link to this review
Very happy with LB. Was a first time customer and referred from a neighbor. They repaired my leaky roof that was causing water damage. Happy this issue was resolved in a timely professional manner.
Posted: 10/28/2015 • Last edited: 12/22/2015 • Link to this review
Reviews: 1
I contacted LB Roofing and Construction on a Saturday morning during a rainstorm with an emergency roof leak. I could see the channel of water peeling the paint down the wall. Daniel showed up right when he said he would and explained the problem and solution in about 10 minutes of arrival. The previous repair I had done in April was not done correctly and with the wrong materials. He worked in the rain and had the leak stopped in a few hours saving me from even more costly damage. I highly recommend LB and Daniel will be doing my new roof next spring.
Posted: 10/16/2015 • Last edited: 12/22/2015 • Link to this review
Reviews: 2
Set up the appointment and Lee showed up right on time, even having called ahead to let me know he was on the way. Listened to my issues and then got to work. Really appreciated that he never tried to upsell me into a large project but appeared to genuinely want to fix the problem with the the minimum amount of work. In and out in a couple of hours. I will most definitely use this company again if needed and they'd be the first one I call when it's time for a whole new roof.
Posted: 8/29/2015 • Last edited: 12/22/2015 • Link to this review
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Francis Duggan
A Dog's A Man's Best Friend - Poem by Francis Duggan
Your wife she may not speak to you and your marriage at an end
But your dog will always stick by you, A dog's a man's best friend
Her friendship unconditional she will always stick by you
Until the Reaper claims her to you she will stay true.
Your male dog he will stick by you and your female dog the same
Even when you're in a rotten mood and you call them out of name
Your dogs will overlook your faults and they don't bear a grudge
They love you for the one you are and you they never judge.
The woman you loved and married when you were in your prime
Does not even speak to you nowadays though she loved you at one time
But your dog is so different your heart she will not break
She will stick by you right till the end and you she won't forsake.
Your dog your faults she can forgive so different to your wife
She loves another better now but your dog loves you for life
The greatest friend you'll ever have be it male dog or female
She will always greet you at the gate with a wag of her tail.
Comments about A Dog's A Man's Best Friend by Francis Duggan
Abderrahmane Dakir (2/28/2016 9:10:00 AM)
Nice poem about the loyal dog and his greeting at the gate. Thank you Francis Duggan for this poem. (Report) Reply
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Francis Duggan's Other Poems
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The Road Not Taken
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If You Forget Me
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Stopping By Woods On A Snowy Evening
Robert Frost
A Dream Within A Dream
Edgar Allan Poe

subset: commoncrawl


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$20 Off Magma Traveler Laptop/DJ Equipment Stand!
DJDeals.com is offering $20 off the Magma Traveler Laptop Stand! We have very few of these left in stock, so the first ones to buy them will get them, they will no longer be available once the final stock is sold!
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I wish there were more 6-speed manual M6/5s out there!
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Location: Houton, Tx
Join Date: May 2012
Posts: 78
Mein Auto: 08 Alpine White M6
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Originally Posted by
I always toy with the idea of an M5/M6. I want a 6-speed though. The mechanics of a SMG (long term reliability) bother me ... also its just plain and simple not as much fun as a traditional 6-speed manual
Im completely torn on what my next purchase is going to be. Do i get CPO 335xi 6speed, do i get a M5/M6 if I can find one, do i settle for a SMG, do i order a new m3 coupe, ugh
decisions decisions decisons... may just sit on it for now and save more money.w
Is this going to be your weekend car or your daily driver?
If it is going to be your DD then I would say go with and SMG transmission.
I Don't mean to be rude but why are you even thinking about a 335xi?
A 335xi and a M3 or M6 is like trying to compare a Ferrari F430 to a V-8 Ford Mustang! Two totally different worlds.
David I wished you lived closer so we could ride together. Nothing compares to an M6 with Eisenmann top down doing a buck 20 chasing another M6!!!
Anthony Jackson
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Start Warming Up Your Vocal Chords: NBC's "The Sing-Off" Premieres Tonight
There was always something sexy about a cappella boys … the beatboxing, the not being afraid to bust out in song and dance, the matching outfits. Swoon. So, "The Sing-Off" is premiering tonight at 8pm (EST) on NBC. Since we're "Glee" fanatics, we're doubly psyched for the two new two hour episodes in the next two days. The show's hosted by Nick Lachey (welcome back to relevancy!)m but the best part is that the adorable Ben Folds is judging alongside Boyz II Men member Shawn Stockham and Pussycat Dolls lead singer Nicole Scherzinger. The scores will tallied by viewer votes and the winner gets $100,000 and an Epic Records/Sony Music recording contract. Watch above to see the eight a cappella groups in the competition singing David Bowie's "Under Pressure" together. A couple of these teams are kinda lackluster, but already cheering for The SoCals 'cause it's my new city and Blondie's got some chords on him. Who's your team? [NBC]


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St Aloysius' College Sixth Form soirée
Sixth Form students of St Aloysius' College, Birkirkara, are currently preparing for their annual soirée, a celebration of artistic talent to be held on four consecutive evenings next Friday, Saturday and Sunday and on February 11.
As has now become tradition the soirée is divided into two parts. The show's first half features a rich variety of exquisite performances while in the second half, the students will perform the musical Grease, the satire of teenage life in the 1950s. Tim Vella and Sarah Papagiorcopolo play the lead roles of Danny Zucko and Sandy Olsen.
Even though 35 years have passed since it first appeared on the big screen, Grease is still a delight to watch.
It tells the story of two high school students who fall in love over the summer. They have a wonderful time together and are sad to see their romance end.
On the first day of school they are unexpectedly reunited but Sandy is shocked to find the sweet boy she met at the beach is the leader of a greaser gang called The T-birds.
The story is complimented by a series of memorable songs such as Summer Nights, Beauty School Dropout and Greased Lightning. The music will be performed by a live student orchestra.
Tickets may be bought from the Sixth Form reception. Prices range from €10 to €12. For more information, call 2279 3258.
See our Comments Policy Comments are submitted under the express understanding and condition that the editor may, and is authorised to, disclose any/all of the above personal information to any person or entity requesting the information for the purposes of legal action on grounds that such person or entity is aggrieved by any comment so submitted. Please allow some time for your comment to be moderated.


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The autograph score of Bach's Brandenburg Concertos is dated 24 March 1721. In an elegant French dedication Bach explains that the collection of six concertos was the result of a commission from Christian Ludwig, Margrave of Brandenburg, whom he had met two years earlier - probably while in Berlin to collect a new Mietke harpsichord for his employer Prince Leopold of C÷then. Musicologists and performers have always found it impossible to explain the wayward variety of the Brandenburg Concertos, often concluding (in desperation) that the diversity of the pieces must be the very quality which binds them together. The fact that Bach presented the Margrave with a score rather than parts is in itself significant, and the works were in any case unsuitable for the Margrave's small musical establishment. There is no evidence that the Margrave either thanked Bach or paid him a fee for the commission.
The pieces were certainly not written especially for the collection. It seems that Bach chose from already-existing instrumental sinfonias and concertos, most of them probably originally written for the court band at C÷then. He did revise the ones he included, and occasionally the nature of his revisions might be seen to corroborate some of my thoughts on the collection as a whole; for I believe that Bach, in collecting together these particular concertos as a special presentation set for the Margrave, was devising for him a kind of musical triumph, a "procession" of tableaux similar in overall plan and intellectual content to the allegorical courtly triumphs, pageants, tournaments and entertainments produced to celebrate important affairs of state. There had to be six concertos. Zarlino had devoted an entire chapter of his Istitutioni harmoniche to the importance of the number six in nature, art and music, and similar discussions in the works of Lippius, Matthaeis and Walther would suggest that 17th- and 18th-century composers regarded the use of the number as a signum perfectionis - hence the custom of including six pieces in collections of instrumental music.
Bach was honouring the Margrave as an Ancient hero, but the presentation volume was also an object for study and contemplation. As in Vanitas paintings, the numerous symbols and allegories of the collection were open to a variety of interpretations - and they were also a means of moral instruction. Like the paintings the score was intended to be "read", the various symbols interpreted not only according to traditional associations but also according to the Margrave's personal perceptions, the depth of his knowledge and his powers of reason. The true creativity was the responsibility of the "reader", and happened as analogies were discovered and meanings understood. The symbols and metaphors were intended to bring pleasure because the "reader" was delighted by the understanding of the analogy presented. Only a wide-ranging study of the cultural and courtly milieu in which Bach worked and was educated can reveal the secrets of this most enigmatic of collections.
Of the five divisions of the art of rhetoric, two were applied to musical composition (inventio and dispositio) and three to performance (elocutio, memoria and actio). The starting point for a composer was the choice and exploration of loci topici - the various aspects of the text or subject matter on which the new work was to be based. Hopefully, from these deliberations would be found the inspiration necessary to invent a few strong musical figures which, with skill, imagination and training, could be developed into a movement or whole composition. Thus a musical discourse was constructed in the same way as a formal speech, and composers found an astonishing variety of figures which imitated the sounds of the natural world, projected moods and emotions or represented allegorical and mythological figures.
Even the smallest detail of a musical composition had its rhetorical counterpart. During the Renaissance the strengthening of the relationship between words and music had led to the development of a vocabulary of musical figures which enhanced the direct communication of the text. Later, these ideas were applied to instrumental music of all kinds. The musical figures associated with certain words had become so well-known that performers of sonatas and concertos were expected to recognise them and to project the emotions or Affekts implied by them in the same way as singers of cantatas or opera arias. A deeper knowledge and understanding of 17th- and 18th-century attitudes to rhetoric, Affekt and symbolism in musical composition might lead to a rather different assessment of many Baroque works and their performance.
In Germany especially this musical rhetoric became so important that it was studied, classified and described in numerous treatises, and its axioms applied to the composition and performance of works as diverse as opera arias, cantatas, instrumental sonatas and concertos. Rhetoric, the art of persuasion, was designed to appeal to the emotions as well as the intellect, and was employed by the musical theorists as justification for the emotional effects of music. Besides the surviving textbooks on musical rhetoric there is plenty of evidence in Mass-settings, cantatas, odes and operas that German composers were often obsessed with the concept of using stock musical figures to enhance the meaning of words. And they frequently went further, not only representing in music a variety of spiritual and emotional states, but also finding ways of portraying crowds, battles, waves, breezes, birds, storms, and a host of allegorical figures.
In 1718 and 1721(?) Bach wrote cantatas honouring the Prince at C÷then, and between 1725 and 1749 he wrote at least ten cantatas celebrating birthdays, anniversaries, Royal visits and homage ceremonies for the University, the Thomasschule and the Royal House at Leipzig. There were more, but their music is either lost or known to us only through other works - and nine of them express homage to Princely patrons at Cųthen or Dresden. In these works we constantly find such allegorical and mythological figures as Fortune, Gratitude, Fame, Time, Diligence, Virtue, Pleasure, Fate, Pheobus, Flora, Aeolus, Pallas, Pomona and Zephyrus.
The most important element was the processional entry, first a manifestation of medieval feudalism and later an emulation of the Imperial Roman triumph. The Renaissance developed the procession into an allegorical spectacle where the ruler was presented as an Ancient hero, and the focal point of the procession was the various pageant-wagons, decorated with Classical allusions and containing actors, singers and musicians personifying allegorical and mythological figures. A wagon decorated as Mount Parnassus, with musicians representing the nine Muses, was a particularly popular tableau in 17th-century German processions.
The medieval tournament was turned into a highly organised and stylised pageant of mock combat - again usually reflecting mythological themes. The horse-ballet mirrored the movement of the heavens and symbolised cosmic harmony (and the hoped-for peace and good fortune to be brought by the ruler). Examples from 17th- and 18th-century German court spectacles include:
The pleasures and preoccupations of earthly existence Books, documents, scientific instruments, valuables and collectables such as shells, precious metals and money, pipes and tobacco, musical instruments (particularly violins, recorders, shawms, trumpets and lutes), weapons and armour, food and drink, small statues and games. Death and the transience of earthly life Bones, hourglasses, candles, oil-lamps, soap bubbles, flowers and glasses (the latter often broken, tipped or half-empty).
Redemption and Resurrection Wheat, laurel and ivy (often beneath or crowning the skull). Written messages are sometimes found among the documents. The most prevalent comes from the Book of Ecclesiastes, VANITAS ET OMNIA VANITAS. Others include MEMENTO MORI, VITA BREVIS ARS LONGA and SIC TRANSIT GLORIA MUNDI. Throughout the Book of Ecclesiastes the writer emphasises the idea that everything accomplished on earth is in vain, including power, riches, possessions and even knowledge.
A further essential aspect of the Memento mori metaphor is that it is at the same time a reminder of life. While warning the viewer of the brevity of earthly life and the vanity of pomp, glory and material possessions it suggests that death brings eternal life. Quite apart from the Vanitas still-lifes themselves, portraits of all kinds also included Memento mori objects. Those who commissioned portraits were generally those with power, wealth and earthly possessions, in direct conflict with the teachings of the Church. Memento mori images were a way of countering a life of excess with humility.
Much of what had been written about painting before the 17th century was taken from texts on rhetoric and language - especially Aristotle's Poetics. The Baroque idea that a painting was to be "read" was a natural continuation of the concepts of picture poesis adopted by 15th- and 16th-century artists. Images were regarded as language, with the same ultimate goals of persuading, delighting and teaching the viewer; so the still-lifes were to be "read" not as narrative allegories or even as symbol sets, but rather as complex metaphors - the viewer associating one thing with another. Thomas Aquinas argued that intellectual truths were learned through the senses, so visual metaphor was as important to the aquisition of knowledge as aural - and he stated that "the very hiding of truths in figures is useful for the exercise of thoughtful minds... ".
I will show that the Brandenburgs contain these metaphors, to be read by sensitive and "thoughtful minds". Whether they were all intended by Bach is another matter. His son Leopold Augustus, his wife Maria Barbara and his brother Johann Christoph all died during the two years which elapsed between the Margrave's commission and the final presentation of the score in 1721. These losses in his immediate family must have made him especially sensitive to death and the afterlife at this time. But the same symbols were employed throughout the arts - Cesare Ripa's Iconologia of 1593 described the allegorical figures of the Virtues and Vices, the Seven Liberal Arts, the Four Seasons etc., and quickly became the standard reference work for all artists - so a musical allegory involving vice and virtue, for example, is bound to throw up the same symbols as the Vanitas paintings. Even though the Vanitas subtext may have been to a large extent accidental, it is worth pointing out the symbols. Bach would have been aware of them, as would the Margrave and any other "thoughtful minds" of the time. For the Margrave the Vanitas symbols in the Brandenburg set would have functioned in the same way as the inclusion of Memento mori objects in the portraits of the wealthy and powerful.
This is all very plausible and probably true, but performers and scholars searching for extra- musical significance in the Brandenburg set took the interpretation at face value and assumed that Concerto I was an evocation of the Margrave's nobility and his prowess in the hunt, which led in turn to the conclusion that the set simply dealt with the virtues or qualities associated with Princes - including the hunt, the waging of war, sentiment and pastoral benevolence. The piccolo violin of Concerto I was explained away as a French dancing- master's fiddle and the unnecessary (for a concerto) series of French dance movements and Polacca were seen to represent the Margrave's "courtliness" and "modernity". Then the little fiddle was connected with the Polacca via Telemann's brief description of music-making in Polish taverns until someone pointed out that it is actually silent during the very movement it should be leading. In fact, the instrument only really has anything special to do in the third movement. A number of other puzzles and anomolies remain (and not just in the first Concerto) which normal analytical scholarship has so far failed to address.
I believe that the larger signalling horn was developed and introduced into the hunt in the first place because of old associations with the Roman triumphal entry - the hunt being regarded as a kind of triumphal progress. Ancient brass instruments (the curved cornu and buccina and the straight tuba) were well known from bas-reliefs of Roman military processions and triumphs. In Renaissance and Baroque art Fame's trumpet was always depicted as long and straight, so "fantastic stage-versions of the cornu or buccina often led the triumphal entries and processions which formed such an important part of 16th- and 17th-century court spectacle and celebration.
Roman reliefs and Renaissance paintings of the cornu in particular (often confused with the buccina in literary sources) show instruments which must have looked to Bach and his contemporaries remarkably similar to the large, hoop-like Baroque hunting horns with which they were familiar, so it is not surprising that horns were used to represent triumphal entries and worldly pomp and glory. Bach himself symbolises God's entry into the world as Jesus Christ in the Quoniam of the B-minor Mass with a horn obliggato. Fitzpatrick also points out that the horn fanfare at the beginning of the first movement of Brandenburg I is almost the same as an early 18th-century Saxon huntsman's greeting-call (unfortunately he does not cite a source). Bach uses the same fanfare again, this time played by a trumpet, in the aria Grosser Herr und starker K"nig from Part I of the Oratorium tempore Nativitatis Christi; and though the trumpet symbolises royalty the use of this particular fanfare figure probably represents God's entry into the world. Written low in the trumpet's range, it suggests the horn register in which the call would more normally have been heard. So the first movement of Brandenburg I probably portrays a triumphal entry with two "modern" representations of the Roman cornu blaring out fanfares at the head of the procession.
Concerto I existed first in a version containing only the opening movement, slow movement and minuet and trios - even the Polacca was missing. I believe that the original three- movement work may have been written as a functional accompaniment to an allegorical courtly triumphal entry (generally the Triumph of Caesar - Julius, Augustus or Trajan), possibly as part of an actual procession - in which case the orchestra would have been deployed on a pageant-wagon.
A Roman triumph started on the Campus Martius and slowly processed to the Temple of Jupiter where prayers were offered and sacrifices made. After the rowdy processional of the first movement (complete with turning chariot wheels and paeans of praise from the crowds) the second could well represent some kind of pagan religious ceremony. Bach may be symbolising pagan prayer by the use of a slow tremolo effect (bow/breath vibrato) in both the strings and oboes, a common Baroque device also used by Biber in his Pauern Kirchfahrt to suggest prayer accompanied by a soft tremulant organ. The following minuet and trios might then have been danced by the Prince and the courtiers who took part in the action.
It is of course possible that the work was conceived as a purely musical representation of the Triumph of Caesar. The minuet and trios would need some explanation, but this is easily found in the rhetorical process. Bach, considering ways of representing his locus topicus, might well have thought of Johann Melchior Caesar, court and cathedral Kapellmeister at Breslau, Würzburg and from 1683 Kapellmeister of Augsburg Cathedral. Caesar was a greatly respected composer and his music went on being popular well into the 18th century. His secular works consist mainly of dance suites, many of which contain pieces in the French style. Bach may have included the dance movements simply as a play on Caesar's name, and the minuet does provide a perfect opportunity for the horns to imitate the kind of simple parts the Roman cornu could probably play.
When Bach began to make his selection for the Brandenburg set this work would have been an obvious choice for the opening concerto - except that it could hardly be called a concerto! So Bach added a new third movement for concertato piccolo violin with horns, oboes, bassoon and strings, and extracted a solo part for the piccolo violin from the first violin part of the other movements. The new third movement seems to have existed already as a chorus (now lost, but rearranged again later as a chorus in the praise serenata BWV 207); in the Brandenburg arrangement the piccolo violin must attempt to play the vocal parts, with some difficult double-stopping. According to Malcolm Boyd the original chorus was probably written in D major but transposed up a minor third into F major to fit with the other movements. The new key would have made the necessary double-stopping more difficult on a normal violin, so Bach specified a small instrument tuned a minor third higher to make it easier.
Having constructed a three-movement concerto there was no longer any reason for Bach to retain the minuet and trios - but he did, including the piccolo violin in the minuet and adding a Polacca exactly at the centre of the dance-suite. He also rescored the second trio, replacing the tutti violins with tutti oboes. In suggesting why I must admit to some trepidation as my explanation is without doubt the most controversial and unsubstantiated part of this whole essay - but it is at least a logical argument which provides plausible answers to the many questions.
I believe that Bach, playing the rhetoric game again, came up with a different Caesar - this time Nero, who despite his many offences against humanity had the dubious merit of a passionate interest in music. He was also an easy prey for flatterers. Suetonius tells us that he had a husky voice which lacked body, and that he played the lyre and the bagpipe. Just before the end he made a vow to play the latter in a public music festival if he managed to keep his throne. He also arranged many musical victories for himself, both in Rome and Greece.
Bach would naturally have chosen a violin to represent Nero's lyre because of the symbolic tradition: Ancient lyre = Renaissance lira da braccio = Baroque violin. Is it an accident that the little fiddle sounds less refined than an ordinary one? Is it an accident that the solo part written for it always sounds difficult - even manic at times, however well-played? Is it an accident that, at the point where the soloist is given the opportunity for a cadenza, the other instruments hardly pause before interrupting? Nero was known to have employed his own claque, who would have been directed to applaud at the slightest opportunity. Having been victorious in the games in Greece Nero awarded himself a triumph, entering Rome in Augustus' triumphal chariot. His claque followed in the triumphal procession, shouting that they were "Augustus' men" celebrating his triumph.
Is it an accident that Bach retained the dance suite, so was able to insert a piece of "bagpipe" music (the Polacca) near the end of the concerto? Is it an accident that the "lyre" is silent when the "bagpipe" is playing? And perhaps the rescoring of the second trio for horns and oboes is a fanciful but humorous touch representing the unlikely combination of Roman cornu and Greek aulos - the brash Roman dabbling with the arts of Ancient Greece.
In most depictions of Roman triumphs there is a small figure riding with Caesar and whispering in his ear: "Remember, you are only mortal, all this will pass." By including references to someone as despicable as Nero, Bach seems to be pointing a moral of his own: "See how power and glory can corrupt a mortal. Remember that you will die". And there are plenty of obvious Vanitas symbols in the work.
Bach's trumpet in high F is not as unusual as it might seem. In reality the trumpet would have been pitched in D at high church-pitch, while the rest of the instruments played at low French chamber-pitch - a minor third apart! In Renaissance and Baroque art Fame's trumpet was always depicted as long and straight. If appearance was originally important to Bach or his employer - and I believe that it might have been both here and in Concerto IV - then he may have written this allegorical concerto for a very unusual and possibly specially-manufactured "theatrical" straight high-pitched trumpet because a low-pitched baroque trumpet would have been too long to play uncoiled. No 18th-century listener seeing a long trumpet could have failed to grasp the underlying symbolism of the piece, for Bach was working in a courtly milieu and writing for Kenner - men steeped in mythology and the Liberal Arts. Such symbols pervaded every part of their education and lives, and were common throughout literature, music, painting and sculpture.
Another reason for the high trumpet (and generally high tessitura) of this concerto could be the fact that Fame was often depicted leading the illustrious dead or living (and sometimes the Seven Liberal Arts) up to Parnassus. She was also frequently associated with renowned historical figures, and who better to praise and glorify a ruler than the great poets of Antiquity - Homer, Virgil and Dante? All three are found on Parnassus with Apollo and the Muses, and the heroic characters dealt with in their epics would have made them eminently suitable for the task.
Homer was often depicted holding a stringed instrument, generally a lira da braccio (a reference to the ancient practice of accompanying the recitation of poetry with music), so the violin must symbolise Homer in this concerto. But what of Virgil and Dante - how could these great artists be represented by instruments traditionally associated with Dionysian pursuits? Virgil made his name with the Eclogues or "Pastoral Poems", composed after the model of Theocritus. Most of the poems describe Arcadian or Italian scenery and the life and loves of shepherds. These were followed by the Georgics, a collection of didactic poems on farming. So the Pastoral symbolism long associated with reed instruments made an oboe the obvious choice for Virgil.
Dante was known for his devotion to Beatrice, his love poetry and his interest in courtship. In his Vita nuova it is difficult to distinguish between Dante the poet and Dante the lover because the lover, the protagonist, is himself the poet! The recorder, traditional symbol of Passion in Baroque art, must represent Dante here.
The high trumpet part might suggest that Bach wrote this concerto for a visit to Weissenfels, perhaps in 1713 - a visit which coincided with preparations for the birthday of Duke Christian on 23rd February. The great trumpet virtuoso Johann Altenburg led the corps of trumpeters at the Weissenfels court, and was renowned for his playing in the high clarino register. There is evidence that at least one of Bach's other works was performed at the 1713 celebrations - the so-called Hunting Cantata BWV 208. Given the allegorical conceit of Concerto II it is no surprise that Bach should have included it early in the Brandenburg set. And then there is the Vanitas subtext, for as well as blowing or holding a trumpet Fame was often depicted sitting on a globe or wearing a crown - objects regularly included in Vanitas paintings to represent power and the possesions of the world. Violins and wind instruments also figured, symbolising Reason and Passion, and even the laurel crowns worn by the great poets on Parnassus were sometimes depicted to represent Resurrection.
It would have been impractical for Bach to write for 27 instruments - 9 are symbolic enough, and the three octaves (and the various hierarchic subdivisions) are represented by violins, violas and cellos. The universe was traditionally depicted by means of Apollo's lyre or a cosmic monochord, so Bach would naturally write for a string ensemble. Perhaps the movement was written for a ballet, or to accompany an allegorical tableau.
Boethius, Gaffurius, Kircher, Fludd and others supplied scales for the celestial spheres, and many of the figures in the first movement of Brandenburg III are built on or around scales. But I am sure that the movement symbolises the structure of the cosmos rather than the movement of the spheres - the hierarchy of existence expressed through the hierarchy of music. Kepler described a cosmic harmony produced by the angular velocities of the planets through their eliptical orbits, and showed that each of the planets produced a "song" - a sliding pitch- change over a given interval rather than a steady note. He could not accurately notate this, but his verbal explanations are clear enough - Mars, for example, produced a glissando scale from F to C and back again! Each of Kepler's planets sounded a variety of notes, and the musical possibilities of the various sliding scales were inexhaustable. Most of the chords produced were dissonant, but once in many years the notes sounded by the planets combined to form a consonance.
The second movement of Brandenburg III is based on a rapidly rising and falling figure reminiscent of Kepler's planetary "song" accompanied by a series of broken triads (consonances); the three cellos play in unison throughout, effectively reducing the number of moving parts to seven; and it is the only concerto movement by Bach to use the binary dance form of two sections, each repeated. I believe that the movement represents planetary motion, or the dance of the heavens. If so, then we may have at last not just one but two possible explanations for the problem of the "missing" middle movement of this concerto.
Firstly, the harmony of the spheres derives directly from the perfection in form, proportion and number of the cosmic design, so the motion of the seven planets would follow immediately after Bach's (God's?) burst of creative activity on the number 3 in the first movement. Perhaps the two chords marked Adagio which separate the movements were meant to suggest the concept of duality, essential to cosmic manifestation - Alpha and Omega: God is the beginning, and the beginning is the end; God is the end, and the end is the beginning. Such statements commonly appear with the numerous charts, lyres and cosmic monochords used by the theorists to illustrate the correspondences between music and the hierarchy of existence.
Secondly, the gyrating (astrological) bodies of the second movement could also represent Fortune - who bestowed her favours by chance, interrupting the normal pattern of events at random. This could also explain the sudden and unprecedented disruption of the anticipated three-movement concerto form.
What has all this to do with the Margrave? Since Capella's De nuptiis the nine spheres had been linked with the nine Muses, who in turn were regarded as the very same beings as the Angels of monotheism. Interestingly, the Greek angelos translates as "messenger". The Muses appeared as messengers who accosted chosen human beings such as poets or musicians, charging them with a divine mission. The fact that the Margrave was well-known as a patron of the arts and invited Bach to send him some compositions would liken him to one of the Muses. Furthermore, the Muses were particularly popular in 17th-century German processions, and the movement of the heavens (cosmic harmony) symbolised the peace and prosperity brought by the Prince's rule.
There is evidence to suggest that the two concerto movements originally existed separately and were brought together especially for the Margrave. Bach might well have incorporated this newly-constructed "astrological" concerto into the Brandenburg set as both a compliment and a subtle warning to the Margrave to remember that, for all his greatness, he was only a man, dwarfed by the grand design of the cosmos and subject to the caprices of Fortune like any other.
Note: In the light of my "astrological" interpretation of this concerto it seems appropriate to add a thought-provoking personal note. We recorded Brandenburg III for DECCA L'Oiseau- Lyre on the third day of the third month of 1993 - and it was the third session of the recording. The schedule had been dictated by the availability of the hall and the players, and no-one noticed the significance of the date until the morning of March 3rd itself.
A number of other composers clearly employed astronomy as a locus topicus, and Bach's own Goldberg Variations are based on an allegorical ascent through the nine spheres of Ptolomaic cosmology.
Marsyas' pipes had been invented by Pallas Athena and almost played themselves. For some time the Muses (competition judges) favoured Marsyas, so in order to win Apollo was forced to resort to outrageous tricks - playing his instrument upside down, singing to his own accompaniment and finally flattering the Muses with praise of Olympus and Helicon. In Renaissance and Baroque art the most frequent substitute for the Dionysian aulos (often represented in mythological scenes by instruments which were part of contemporary musical life) was the phallic recorder, sometimes depicted in pairs because the aulos was a double pipe; and the lira da braccio or violin (the latter thought to have been invented by Orpheus) usually replaced the obsolete lyre as the instrument of Apollo.
I would suggest that the locus topicus for this concerto was the musical contest between Apollo and Marsyas, symbolising the conflict between Reason and Passion. This would certainly explain the unusual choice of instruments and the occasional immoderate virtuosity of the violin writing (Apollo's tricks); and the way Bach writes for the pair of recorders strongly suggests a double pipe, with scale passages and arpeggios in one part against long notes (drone) in the other, and passages in thirds and in unison.
The idea of two recorders representing Marsyas' double aulos could also shed some light on the vexed question of Bach's unique and perplexing demand for fiauti d'Echo which occurs in the title of the concerto (though he calls simply for fiauto 1mo and fiauto 2do in the score).
It is possible that Bach had come across recorder players who, by binding two differently voiced instruments together, could produce an echo effect by playing first on one, then on the other. We know that Drumbleby, the English pipe-maker, showed Pepys such an instrument; Paisible was renowned in London for his performances on the "echo flute"; and Hawkins states that John Banister's son was famous for playing on two recorders at once.
Marsyas' aulos was a double pipe, so two recorders joined together would have appeared to an 18th-century onlooker a more convincing and evocative substitute for it than a single instrument - and many 16th- and 17th-century paintings show two recorders, shawms or trumpets being held and even (though only symbolically!) played by one person.
Of course two players are required to perform Brandenburg IV, but the underlying meaning of the work would have been instantly clarified by performance on "double pipes". And although the outer movements were probably played on the loudest of each joined pair it would have been possible to exaggerate slightly the echo effects of the second movement. Such experiments are more difficult today - few players will tinker with expensive and often irreplaceable instruments - so the concerto is usually performed (as it must also have been frequently in the 18th century) on two normal treble recorders without loss of effect. In any case, it must have been only the "fantastiC÷ appearance of the instruments that was really important, for when Bach rearranged the concerto for harpsichord and two recorders he no longer specified fiauti d'Echo, though the musical requirements were the same. Apollo's lira substitute was gone, so there was no longer any need for "double pipes".
This concerto would have been an obvious candidate for the Brandenburg collection; competitions and tournaments played an important part in court spectacle, Apollo (the Margrave) won and the Muses managed yet another appearance. A violin and one or two recorders were frequently included in Vanitas paintings to represent the opposing forces of Reason and Passion, Virtue and Vice.
With its fountain-like figures and self-indulgent solo episodes in the first movement, echoes and flourishes in the second and fugal writing in the last the concerto is a rhetorical tour de force - and a true contest between virtuoso soloists. The violin definitely wins in the end, but the recorders take the initiative in the passionate second movement.
The allegory depicts Hercules seated under a tree choosing between Virtue and Vice, each of whom tries to persuade him to follow her. One of the most common attributes of Vice is the satyr's pipe, represented in the concerto by the flattering, ingratiating flute; Virtue often took the form of Minerva herself, the goddess of war, personification of wisdom and patroness of learning, arts and crafts. Like Apollo, Minerva was regarded as a benevolent and civilising influence, and like Apollo could be represented by a lira or violin. She was generally depicted dressed in armour, with spear, shield and helmet, and like violins and recorders these objects are found in Vanitas paintings. Minerva may be accompanied by a man crowned with laurel and holding a book (more Vanitas symbols) - the poet who will tell of Hercules' deeds; and overhead Fame blows her trumpet or Time looks down, signifying that Hercules will be remembered for eternity. Hercules might show some slight inclination towards Vice, but of course he chooses Virtue. In some of the paintings the portrait of a Prince or nobleman is substituted for Hercules.
Bach, about to undergo a test, obviously saw himself as a Hercules exploring the possibilities of French and Italian music (not really Vice and Virtue - this is only an allegory, after all). Having chosen Virtue at the end of the first movement he goes on to combine the two styles in a model of stylistic versatility and gouts rķunis.
This concerto was yet another obvious choice for the Brandenburg set. It's another contest piece; the Margrave replaces Hercules (Bach) as the hero who chooses Virtue over Vice (at least at the end of the first movement), and his fame lives for ever; at the same time enough of the Vanitas symbols are present to point the moral. In fact, Hercules himself often appears in paintings, engravings and friezes on the Vanitas theme. Hercules, as the personification of physical strength and courage, came to represent the Christian triumph of good over evil, which in turn led to the popularity of "Hercules at the Crossroads" in Renaissance and Baroque art. The figure of Hercules came to represent virtue, wisdom, knowledge and fame. It is also important to consider the position of this concerto in the set, for the figure of Hercules also symbolises the humanistic side of Memento mori - THE END CROWNS THE WORK. Through his labours, Hercules, by his constancy and fortitude, conquered evil. Virtue overpowered Vice, just as man can conquer vice and obtain virtue by his good works. Thus the spirit of the humanistic artist or scholar can survive through honourable work, and his name will survive on earth after his death through the fame brought by his works. A 17th- century Christian humanist did not have to choose between religion and philosophy, and Hercules embodies this blend perfectly.
The Italian-style concitato ritornello of the first movement symbolises the warlike Minerva, and the "cadenza", along with most of the harpsichord figuration of the first movement, must represent the disturbed and (very) indecisive state of Hercules' mind. Perhaps by extending the "cadenza" Bach was not only improving on what Richard Taruskin has called a "conglomeration of shallow fireworks and harmonic barbarities . . . poor music by any standard", but also suggesting that the worldly Margrave would take much longer to come to a decision!
Note: In the secular cantata mentioned above Vice is represented by flats and Virtue by sharps. In the Brandenburg set the three concertos dealing with earthly concerns (a Roman triumph; the great poets of Antiquity; The Three Quick and the Three Dead) are all written in flat keys. The three concertos based on mythology (the nine Muses; Apollo and Marsyas; Hercules) are written in sharp keys.
Another link: the principal musical figure of the first movements of all the concertos is based on the natural notes of the trumpet's harmonic series - an expression of heroism.
Bach's use of viols in similar contexts confirms the symbolism - the Trauer-Ode of 1727 includes two viols and two lutes and shares many musical figures with the first movement of this concerto. The repeated quavers played by the viols here represent the relentless passing of time - clocks are an omnipresent reminder of earthly transience in Vanitas paintings, and the same repeated quavers appear in Biber's Requiem in F minor and Bach's own Actus Tragicus.
The idea of the triumph as an allegory was given literary expression by Dante and Petrarch. Illustrations of the latter's Trionfi began to appear in the 15th century, and from this grew the idea of the triumphal pageant-wagon bearing an allegorical or mythical figure surrounded by appropriate attendants and attributes. The Triumph of Death is normally represented in the illustrations by a skeleton holding a scythe and an hourglass, but some later tableaux were based on other death allegories. In some triumphal processions the figure of Death was followed by that of Eternity, a religious allegory depicting the triumph of the Christian faith. This concerto was probably written in the first place for Prince Leopold of C "then, a keen viol player. I cannot help but see parallels between the work and "The Meeting of the Three Quick and the Three Dead", a popular allegorical theme in literary and visual sources of the 17th century. Three young Princes (2 violas and cello), returning carefree from the chase, meet three cadavers (2 viols and violone). The death figures warn the Princes to repent, for wealth and beauty vanish - all must eventually succumb to death.
The ecstasy and peace of the second movement must represent the blissful redemption of the souls of the three Princes after repentance. The viols are silent here, and by analogy (according to the allegory) the violone also, which helps to solve one more of the Brandenburg mysteries: there is no indication in Bach's score that the violone should be silent in the Adagio, but if the continuo bass-part is doubled (whether at 8' or 16' pitch) by a bowed bass then a number of unwanted dissonances occur between the continuo and the cello line.
In the final gigue-like movement the Princes (violas and cello) laugh and dance joyfully together, with occasional jerky movements (a suggestion of the Dance of Death?) from the cadavers (viols) - perhaps Bach's locus topicus was a vision of the lambs of God gambolling in the fields of heaven.
Published in Concerto (Germany)
© Philip Pickett March 1994
Webmaster: Nicholas S. Lander


text:
On Tue, 13 Jul 2004 17:59:47 +0200
Manuel Kasper <mk at neon1 dot net> wrote:
> On 13.07.2004 17:05 -0300, Volker Wieban wrote:
> Nice idea, but does this really make sense (i.e. is it worth the
> effort)? My native language isn't English either (as some of you
> might have noticed ;), but I'd never set my appliances (firewalls,
> access points, routers, etc.) to any language other than English even
> if I could. I just have this horrid image of incomplete, wrong (very
> likely to happen if the translator doesn't know all about each and
> every feature) or mixed (with English) translations... This is a huge
> amount of work, and each time new features are added the translations
> will have to be adapted as well. Will the initial translators be
> available at that point in time? Judging from the "success" of the
> m0n0wall documentation project, the long-time commitment has a
> tendency to not get particularly high. Needless to say, it also makes
> the webGUI pages a lot more complicated (and slower?) because every
> single text string has to be obtained via a function call/macro
> expansion (or something like that).
> Right now, I feel that the documentation has higher priority, as
> anyone who wants to go the "open source firewall route" will have to
> deal with English sooner or later anyway.
> Comments? Flames? Suggestions? Sometimes I feel like I'm the brake
> block of this project...
> - Manuel
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: m0n0wall dash unsubscribe at lists dot m0n0 dot ch
> For additional commands, e-mail: m0n0wall dash help at lists dot m0n0 dot ch
i agree, documentation is important and it won't be easy to keep translations up to date but with an
upgradeable system and some reliable persons it could be done IMHO.
another thing is the speed problem you spoke of. i can't see a solution for this. hardcoded strings
simply _are_ faster.
i also wouldn't need a german gui because my english is good enough to work with an english one also
but i think it's a nice feature and could be handy to some not-so-well-english-speaking. at the
moment i got some spare time and would be willing to help, that's all ;)


text: RISD RISD and RI Hospital Conduct Art Exhbition By Talia Ghazal • Jun 24, 2013 RISD and Rhode Island Hospital are running an exhibition where 11 artists display their creative works inspired by biomedical research. Carrefour: Intersections of Biomedical Research and Art is hosted by Lifespan and RISD. This collection celebrates Rhode Island Hospital's 150th anniversary. RISD's Director of Government Relations, Babette Allina, is an independent artist showing in the exhibition. She describes how the gallery showcases various pieces that have their own, individual background. RISD to Update Former Dye Plant By Elisabeth Harrison • May 29, 2013 RISD The Rhode Island School of Design breaks ground Thursday on a major renovation of its Illustration Studies Building. The project is expected to take three years to complete at a cost of more than $12 million. RISD plans to add 5,600 square feet to the former chemical and dye plant in downtown Providence and make it fully handicapped accessible. The project also calls for a complete renovation of the illustration studios and classrooms housed in the building. Who Will Address RI Graduates? By Elisabeth Harrison • Apr 10, 2013 Commencement speakers for 2013 are a mixed bunch. At New England Institute of Technology, quarterback turned sports analyst Terry Bradshaw will give the commencement speech on May 5th. The school is also honoring Taco, Inc. CEO John Hazen White, Jr. with an honorary doctor of humane letters, citing his leadership in the business community and his company's commitment to education for employees. Lists Take the Spotlight at RISD Museum By Flo Jonic • Mar 25, 2013 The humble list is the focus of a new exhibit at the Rhode Island School of Design Art Museum. The lists provide added insight into the artists who kept them. The RISD Museum has on display a collection of 80 lists, most of them written by artists. The collection is on loan from the Smithsonian's Archives of American Art. The most prominent artist featured is Pablo Picasso. A yellowed four-by six-inch piece of paper contains his recommendations of artists for a 1913 exhibition. RISD Recieves $1M Gift to Foster Partnership with India By John Bender • Mar 18, 2013 The Rhode Island School of Design has received a private donation of $1M to fund international relationships. RIPR's John Bender has more. A $1M donation coming from Bangalore, India to RISD is the largest international gift the school has ever received. The money will be used to fund a visiting faculty position, specifically, artists and scholars connected to India. RISD has had study abroad programs to India, and Provost Rosanne Somerson is excited to now bring scholars from India to RISD RISD's Largest-Ever International Gift By Elisabeth Harrison • Mar 8, 2013 Creative Commons The Rhode Island School of Design has received $1 million from the parents of an alumna to fund visiting scholars in the painting department. The gift from Vikram and Geetanjali Kirloskar of Bangalore is the largest bequest from an international donor in RISD's history. RISD Grad MacFarlane Hosts the Oscars By Elisabeth Harrison • Feb 25, 2013 Gage Skidmore from Peoria, AZ Rhode Island School of Design graduate Seth MacFarlane hosted the Oscar Awards last night, prompting some RISD faculty to tune in. The creator of animated television shows like "Family Guy" showcased his off-color sense of humor and singing and dancing abilities.During his opening monologue, MacFarlane joked about how critics would perceive his Oscar turn. He chatted with actor William Shatner, who reprised the role of Captain James T. Kirk, and sang an ode to actresses who have appeared topless in the movies. RISD prof examines "privileged white people" By Elisabeth Harrison • Jan 15, 2013 A new exhibit of work by the artist Christopher Ho entitled "Privileged White People" is now on view at New York's Forever & Today, Inc. gallery. The show features large photographs of people like President Bill Clinton and the actor James Van Der Beek, of Dawson's Creek fame. Class notes: A quick look at the stories that made news this week in education By Elisabeth Harrison • Jan 11, 2013 Sawyer probe continues State and federal law enforcement agencies are checking the books at the Sawyer School for criminal activity following its abrupt closure just after Christmas. State education officials have recovered student records from the school and are planning to hold an event at CCRI next week to provide transcripts and counseling for students wondering how to proceed with their degrees. 'Genius' heads to RISD By Elisabeth Harrison • Oct 4, 2012 MacArthur genius grant recipient and author Junot Diaz is slated to speak at RISD on November 5th. The talk will be open to the public. Diaz, who teaches writing at MIT, also won a Pulitzer Prize for his novel The Brief and Wondrous Life of Oscar Wao. The book was assigned reading over the summer for all incoming RISD students. School officials say it will be part of this year's curriculum in both fine arts and liberal arts courses. Pages« first ‹ previous 1 2 3 4 5 6 next › last »


text: My recollection of this book, read several years ago, is that it laid out pretty clearly the thinking of Davis, Lee and Jackson about the timing for invading the North, and the effort that should be put forth in that endeavor. Jackson, I believe, was anxious for immediate invasion. His plan was to march an army of some 40,000 men into the North, and cause so much havoc and damage that the government in Washington would be brought to its knees -- forcing it to agree to a peace settlement. Davis I think was somewhat supportive of Jackson's approach, yet was not quite ready to approve such a venture. Lee, on the other hand, held out for more time to accomplish other military objectives. He was, however, in favor of an invasion, but he felt the timing had to be just right. The first attempt at full-scale invasion was intercepted by McClellan's forces, and resulted in the confrontation at Sharpsburg, MD. The second invasion, of course, led to the Battle of Gettysburg. Tom Ryan -------------------------------------------------------- >>>Here I would refer members of this list to that quirky but >>>thought-provoking book, James A. Kegel's *North with Lee and Jackson* >> Mentioned that same book in a post this morning. Just was sitting on the bookshelf - then when this thread in the group began - out it finally came - it's a shame - it is "quirky" - but one of the few revisionist books that makes a great case, and he backs it up with quite a bit of primary & secondary sources. Regards, Tom B. ----------------http://www.arthes.com/mailman/listinfo/gettysburg_arthes.com -to unsubscribe http://arthes.com/pipermail/gettysburg_arthes.com/ for Archives


text:
|Welcome to From Page To Play: Stories and Songs by Tim Seston
I am "Here to Play" and "Wake the Imagination"
with songs and stories that show children of all ages
what fun it is to pretend, laugh and play.
"So get up on your feet and get going. It's time to start your day.
There's lots to do both me and you. Let's all get up and play."
Scroll down to learn more because I'm "On a Roll"
|Calendar Highlights
January 17th & 20th - Hilltop Nursery School - North Reading, MA
January 20th - CMN Song Swap - Concord, MA
April 22nd - NEFFA / CMN Workshop, Mansfield, MA
April 29th - CMN NE Regional Conference, Arlington, MA
For Booking Contact firstname.lastname@example.com
|Program Highlights
I perform a wide range of children's music and storytelling programs for
birthdays, classrooms, festivals, libraries and more
Stories and songs are important for children of all ages and abilities
Learn more about my son Luke's imagination and musical talent despite his Cerebral Palsy
I teach weekly music classes and offer great workshops for children and adults
|CDs Highlights
"On a Roll" - Production has begun - release date planned for 2017
"Here To Play" (Sept 2014) - 16 original songs about what kids do best: Play!!!
Parents' Choice Award Winner
"Wake The Imagination" (Feb 2013) - 16 original stories that paint pictures in your mind.
Buy CDs in person, by mail (see contact below), online at CDBaby or download at Amazon
|Journal Highlights
Writing, Recording, Playing, Creating, Singing, Dancing, Teaching, Parenting
I am so often inspired by my three boys and all the other children I interact with daily.
Learn more about what I do when I am not performing live on stage.
You can also find select home videos
by searching for
From Page To Play on Facebook
If you have a great video clip of one of my performances please send it to
|Photos Highlights
You will find photos throughout the website
The photo page puts them all in one place
Please use any photos on this site to help promote
one of my events
|Comments Highlights
"With pleasant, sunny appeal, and a gentle pop vibe, singer-songwriter Tim Seston
celebrates music and rhythm, encourages physical play and prompts young listeners to
exercise their imaginations within a musical framework of family and friendship."
Lynne Heffley ©2015 Parents' Choice
|Archive Highlights
I have been performing live shows since 2006.
In 2014, I redesigned my website and included this section for performance history
Here you can find summary information about past birthday parties, library shows,
school shows, museum performances, and other special events
On the Archive page there is also a link to the old site where you can find more detailed
performance information dating back to the beginning.
|Contact Highlights
Use the easy entry buttons to send me your
questions / comments, buy a CD, or book a performance
Tim Seston
From Page To Play
166 Main Street
Concord, MA 01742


text:
General Information
This guide will explain how you can move your FreeBSD installation from one hard disk drive to another. I have done this many times using the dump/restore utility. Before you begin, be sure you have read this document carefully.
This guide will explain how you can move your FreeBSD installation from one hard disk drive to another. I have done this many times using the dump/restore utility. Before you begin, be sure you have read this document carefully.
This guide details how to set up user accounts with disk allocation. Let's say you want to limit each user to a specific size disk usage — 100 megs each. You will need to set "user quotas." Here we go!!
This guide is about a utility that is called Screen. It's in the ports collection of FreeBSD and it lets you setup a virtual Shell enviroment which you can connect and reconnect to even when you where totally disconnected or turned off the client PC.
There may be times you would want to run perl scripts as non-root users. This offers more security to your system and this guide will show you how to enable perl to use setuid.
Want to speed up your system a bit as well as reduce boot time and resource usage? Or compile extra features into your kernel? The best way to do that is to compile your own custom kernel yourself. It is much simpler than you would think, ESPECIALLY if you've ever tried it in Linux. 😉
There may be two main reasons as to why you would want a custom kernel on your system: 1) You want to add some functionality to your system such as audio support, or 2) you may want to remove some unused drivers to conserve memory.
By default in Mac OS X, you can only tab through the text fields of any window. Have you ever wanted to use your tab button to cycle through the dialog box options or tab through the check box options on a website? Now you can with this hidden gem.
If you are a point-and-click kind of person and have to manage one or more MySQL servers, you may find this web-based utility to be a goldmine.
The FreeBSD ports tree is the most common method of installing software. With the latest 6.x releases of FreeBSD, the old method of keeping your ports tree updated is now considered obsolete. This guide will teach you how to install and maintain your ports tree using the built-in portsnap utility.
This guide will teach you how to set up a basic web server with Apache, PHP support, and MySQL for the database.
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We have all heard the reviews and opinions of others about SAO at this time. I personally say Sword Art Online was amazing but it fell after they left Sword Art Online. However others also have valid points for saying it was still good. Regardless nothing I say will be convincing to sway your opinions since we have all already heard it before. This is why I come with a new Sword Art Online. One I think we all can agree fulfilled the true potential of this anime that it deserved. I found this on youtube and I bet many of you have seen it before. It is an abridged version however the episodes are almost the same length and yet its the same animation used, its a completely different story. Much more realistic and honestly its comedy is Godlike. The acting might bug you at first but it grows on you. I saw it and it must spread for its beauty to be given justice. So i figured I would do a Review on "SAO" Instead of SAO because this Abridged one deserves every bit of praise I can give. Even though its a fan made one it rivals most real anime with more character building and just better characters overall! It also keeps the realism of people you would normally see in an MMO. So check it out people! You will not regret it!
P.S Also dont worry the SAO isnt like illegal or anything, youtube even lets it go on and we all know how bad youtube will stick ya for that.
SAO is filled with with fangasms! The first 1-14 episodes are just pure bliss! but 16-23 are not quiet my favorite... If you are going to watch the ALO season then just watch episode 15 then 24 and 25. It flows ok and skips all of the shitting parts. Nothing really happens during 16 to 23 execpt some fights but ya know they dont really have to do with saving the chick and arent that important. The last fight scene is great like really really good. The antoganist is definetly one of thee most easily hated villains EVER! In all of the history of anime! I have never really hated someone as much as him (with the exception of the ULTIMATE scumbag named Griffith form Berserk). It has a lot of drama and action. The characters are very real feeling and not boring at all. The romance in the first season has pretty much every other anime beat including SAO 2 xD. SAO 2 had like no romance. Kirito like completely forgot he married Asuna. (in the game but still they said that the game and real life wouldnt matter and their feelings would remain the same right?!) Well I still rewatch the first season of SAO and absolutely love it!!! I wouldn't reconmend the shit anime called SAO 2 which will never ever compare to this EVER! The only reason this got 4 stars and not 5 is because Kirito like forgot about Asuna and started flirting with his sis who he didnt know was his sis. But it is stiil good if you skip the in between parts. SAO 2 is just not the same. The feels it gives do not compare to this awesome show!
One of the greatest animes ever, It's an anime everyone must watch. I remember reading the manga before this anime became a hit so i knew what to expect but when i watched the anime wow, it surpassed my expectations. It was even better then the manga itself. After doing a bit of research i was surprised to find out Sword Art Online was one of the biggest sellers in Light Novel in Japan! I don't understand why people could possibly hate this anime when it's gotten such positive reviews. Unlike most Anime this doesn't have much Fan Service! Just like four or three scenes but compare to most anime it has so little.
The animation 5/5: one of the greatest animations I've seen and it actually won an award for the best graphics of the year!
Story 5/5: So much death and emotions for this story plot i can't help but to rewatch it. Most people complain it was to short, well what anime isn't? There will always be an anime that skips majority of the details or scenes from the original source so if you want it to a longer extent check the original.
Characters: 4/5: It has characters personalities I've never seen much in anime before so it makes it worst watching! Although i do think the characters could be better, the only ones who are the best are Asuna and Kirito including a few more but that's all.
Romance: 5/5 I think be it boy or girl you will love this romance, it's so good that you can't help but feel their love towards each other. Few Animes couples impact me this much.
SoundTracks: 5/5:It's brilliant, one of the best I've seen.
That is all i totally recommend this! Badass main characters and epic fighting. SAO4Life
it's one of the best anime for girls and boys
Don't stop watching it girls there is also romance and the plot is good from the beginning
The second season is out too by now
Don't stop watching you will see good episodes
Many people don't like GGO but believe me after GGO are good episodes like the first season
Believe me and you won't regret it for sure
with GGO on and have so many disappointing eps (so far but i still have hope) i downloaded and watched SAO and began to see why this show has attracted me so far and i came up with some conclusions:-
1) the story: the concept of VMMO is really great although its taken from hack (dont have time to watch it cuz of work) and seeing that u can control the avatar directly from the brain is really great and this what made this stands out the story of living in a game that if u die in it u die for real this is intense
2) main chara: kirito he is strong, smart, kind, ..... what else, anyway he is almost Mr.perfect adding any more and u get tatsuya which is not good having a strong MC is good but make him OP and the show (sometimes) become dull cuz u always know that the MC will win 1-hit-KO like dante from devil may cry (i really didnt like that show much) but kirito isn't Mr. perfect he had a few
3) romance: will i admit i always look up for shounen romance NOT harem and SAO had the chance to become harem but the MC choose immediately and the harem girls gave up and this is what made SAO stands as 1 of the great romance in anime world
thank u for reading this review and its my opinion about SAO so if u really agree with me vote yes and if not vote no and no hard feelings everyone has its own opinion :)
love the love story and by far an amazing anime season two ggo is bad ass I really think yall should watch it
this is my best anime until now.....its romance , fantasy, adventure, background...animation are all awesome,but the storyline is a little rushed....i believe many people would wanna see how kirito level up or train ,truly saying...the most thing i wanna see is how he get his black blade calle 'elucidator' i heard he slay a dradon to get it.....just a rumor...but...well...the storyline is a little rushed....time passed too fast in just the first 12 episodes....well...other than that its all okay...btw...GGO came...now only until episode 4....but well...so far so good...><
Second Season of Sword Art Online coming July 5th only 5 more days!
The premise for this anime is great, if unoriginal, in the fact that the protagonist and 10,000 other players are stuck in a VRMMO and must clear every single floor of a floating castle in order to logout. this is not without consequences though, as if you die in game, you die in real life (again, unoriginal).
the artwork, animation, and soundtrack for this anime are all great.
However the issues start early in this anime. for one, there is little to no character development for anyone, let alone the main characters (who i can say there is really only 3 of through 25 episodes that get any real screen time).
the romance is heavily forced and doesn't feel realistic at all. the main character showed little interest in any girl romantically at all, and then just proposed to her in that same episode right out of the blue.
the story deviates from the premise as early as the third episode and proceeds to have around half (if not more) of the first 14 episodes be nothing more than filler episodes, which speaks volumes for the lack of plot driven writing in the actual light novel source material.
Dues Ex Machina writing is continously used throughout the series, as the protaginist repeatedly soloes raid bosses, which any gamer who has ever played an mmo knows, should not be possible, amongst other instances of events happening with little logical explanation.
frankly, if you are able to ignore the glaring flaws (and i only listed a small handful) and just want to see an action anime where you can turn your brain off and enjoy it, this is the anime for you. if you like to actually have to think about what and why is going on, stay away from this anime.
Story - 2/5 (mostly filler episodes, deviates from plot early, dues ex machina writing)
soundtrack - 5/5
animation - 5/5
character development - 1/5 (we get to spend decent amounts of time with up to 3 people in the series, and they fail to have any real development)
overall 3.25/5
Amazing, this is my first word in mind after the first episode. I watched a lot of anime and i always skipped Sword Art Online, i thought that it will be a waste of time, but in the end i started to watch it. This anime has everything you need, from action, commedy, drama, rommance, sci-fi.
The story line is amazing asswell, i can't belive the they came up with such cool story.
Watch it at high quality because the detail in this anime is amazing. I can't stop using the word amazing to describe this anime.
If you see this review then you must, MUST watch it.
5 out of 5, if where 100 rating stars then my vote would 100.
Sword Art Online is a wonderful anime compiled of a mix of genres from Action, Adventure, Comedy, to even Romance and it does it in a perfect way. Yes the first season was rushed and felt like it put two seasons in one, it could have indeed been a much longer anime with all the content it has, I was a bit disappointed at how rushed it was, but the storyline, characters, animation, everything just felt great. I felt that Sword Art Online became an important thing in my life as I waited for the next episodes to be released. What made me even more happy was how fast they went from the japanese subbed to the english dubbed. They have really been quick to bring us content. I can watch this anime over and over again and never get bored, I still don't like the ending of season one (wont spoil it) but this anime has definitely become my favorite. I often find myself urging to want to watch it again especially when I see easter eggs of it in other animes such as the figurines in Oreimo, or the posters in Outbreak Company of SAO. Its a popular anime and they did a GREAT job with it. I hope that season 2 will be a bit slower and not so rushed, but rushed or not I still give this anime a 5 out of 5 and say that ANYONE who has not seen this anime should go watch it right away or never watch anime again >.>
it was a great anime with good art in it as it was very emotional and comedic personally i would recommened this anime to anyone but it depends on what genre basis do u like anime !!!! u should GO WATCH THIS ANIME !!!!!!!! :D :P
The anime call Sword art online, is a show that many people seem to absolutely love, or despise it. Looking at my rating, it isn't difficult to understand what i think of this series. However i'll review it on a professional level and try to keep my personal feelings out of it.
Episode 1: Lets start with the first episode. as an intro to an anime, it very quickly pulls anyone into the show with in a few minutes of watching it. Then at the very end it introduced the "if you die in the game, you die in real life." Many people think that this was just a rip-off of dot hack. This is False, Both works were released at roughly the same time, Dot hack being about a year earlier. They were both however being worked on at the same time so, again SAO is not a rip-off. They just have the same premise.
Now lets talk about the concept of "death" in this anime. As it was said in the first episode, if you die in-game you die IRL. This is one of the many points that the anime misses completely. Many deaths that happen, could have easily been avoided. The very first death in the series where a player receives a motal wound and his HP is slowly dropping. Kirito(Main) has a potion in hand and was about to heal the player, but the player instead of taking the potion, decides to tell Kirito something before he dies. This death in my opinion was completely...Stupid. There is no other way i could look at it. The Slowly dying player refused a chance to live just so the show had a dark moment.
This is a very common thing in SAO too. A girl that Kirito had sort of gotten smitten to, was introduced in one episode, and killed off only 15 minutes later. This makes in near impossible for anyone to feel an emotional attachment to her and be saddened by her death. Then came the "daughter" another character that i felt nothing for because i instantly knew she would "die" cause she was the cute mysterious character. The only thing she had going for her was that she was cute. That was not enough for me to care about her at all.
Now lets look at something that everyone seems to want to ignore. The "romance" aspect in the anime.
I'm not going to argue the love Kirito and asuna have with each other. Its the other girls that fall in love with him that are the issue. At no point do any of these girls decide that they would rather be friends with Kirito, instead they all decide that within the span of a few minutes that they are in love with him.
This is probably my biggest issue with the show. If every female character hadn't fallen in love with Kirito, i could believe the romance in this show, instead it only feels like a cheesy Harem.
The show is quite literally the definition of Harem too.
Alright, now that those points are gone Let me do quick list of other qualities and faults the show has.
Music: The music is amazing, The ost of the show is something you could listen to over and over again without being bored for a long while.
Artwork: Again beautiful and was one of the best things about the series.
Pacing: the pacing was terrible, the worst i've ever seen. There are so many time skips and random jumps that its hard to follow anything thats' going on.
Final evaluation: The series had a lot of potential but because the anime creators decided to rush everything and squeeze two seasons into a series with less than 30 episodes is what doomed it. The anime would have been so much better if they made the first season the SAO arc, with about 20+ episodes to get everything done. THEN go into the ALO arc to continue the story.
Ranking: 2-5 stars for me. This series was decent but it isn't something i'll ever re-watch.
I would only recommend this show if you are just getting into anime.
To clear this point up for some who seem to forget this fact, this series is actually one of the most popular light novels for the past eight years. The show is rushed, that is true, but the deep sense that these characters truly care for one another really shines through. The inner dialogue isn't really that prevalent as it gave a better insight into the characters past and their motivations. The plot is deceptively deep, if you want to skim off the top and call it a cheezy action anime that cashes in misses the point. It makes you ask yourself, where you draw the line with what is reality and what isn't. The main two points that I see bashing this series, is A). that it is rushed and B). that it is shallow. Seeing as the source material is roughly 12, 300 page novels and we only got the first 4. I'd wager that it was not really that rushed it is that they have a lot of material to cover, so it comes of as faster paced. The second point is not at fault with the series, it is again, with the viewer. If you want to find reasons to bash it, find plot incongruities or faulty dialogue, not that it is like the dime a dozen fighters that we have seen after DBZ, Naruto, Bleach and One Piece. Overall, I find that the series is well put together and tries its best to create a metaverse that will eventually link into the other series, Accel World. It's worth a watch for those who have not and for those that enjoy it, the next season is expected to come out soon. Otherwise, read the light novel.
I have nothing to say. It's just brilliant. My second best rated Anime ever. :3
So why did I give it 3 stars. Well I only gave it 3 stars because of the second season. I loved SOA hate the fairy theme thought it was unnecessary I thought it should have end after they all, well you will see. The point is if you watch anime in my opinion you are still partly a kid, now by kid I mean you still have a imagination you want more than the average story line you want somethings to be over dramatized, over the top action, and yes childish adolescent romance is that bad no real romance sucks, its usually all about sex, control, mutual respect, mutual caring, etc. Plain and simple its complex and sometimes worth it if you find someone who cares. All im saying is SOA has good characters that you can tell care about each other. The animation is good, the characters are likable so good, and final and foremost is if you don't like it that's okay maybe its not your thing, just remember when you wright a review to keep it civil by not putting others down who liked it and only have criticism on topics that fit a category of review characters, animation, story, etc. Also remember its what keeps you young that prevents you from becoming a closed minded ass whole. Happy new year everybody and keep being a kid.
Sword Art Online is a gateway anime of the worst kind. It's a bad series, a clusterfuck of story and characterization that isn't very well done by any aspect, but which attempts to compensate for its weaknesses by adding in excessive shipping ****ry and self-insertion. The normal anime fan can see this as the shit it is, and may enjoy it, hate it or be indifferent to it, but all the while recognizing that the series itself, regardless of their opinion, is plain bad.
However, these very aspects that try to smear over the shit of its core make it a breeding ground for aspie, unsociable underageb& ****s who engage in every kind of ****ry both online and in the real world. The super powered gary stu main character always trying his hardest to look cool, the elongated, black and edgy long coat and everything about SAO world fuels their escapist fantasies, while the harem character backgrounds, make it fit just right with the mary-sueish drives of your average preteen and his sense of unwarranted self-importance towards the world. Exactly the kind of shit that makes little kiddies and underageb& retards eat this shit right the fuck up.
this anime is amazing it has gaming, war fare, sword play, romance, love, comedy, deception, passion, mystery, and everything that makes an anime great Sword Art Online is now ranked among my top favorite anime's of all time and i recommend it to everybody.
This anime is amazing, I watched it when it first aired and ive been a fan ever since. A boy name Kirito is trapped in a game and its a life or death situation, no spoilers intended. Im not really a big fan of "game" anime but this is my all time favorite. Ive watched Accel World and //:Hack but this is one caught my attention even more. The opening is simply amazing, the plot is fascinating, and the fights are very good. I hope this anime gets a 3rd season with GGO but for now i recommend any who hasnt watch this show to watch it.
At first, the only anime I liked is Naruto. I thought that other anime's story doesn't makes sense. But, after watching SAO, I realized I was wrong.......
SAO is a very interesting anime......., it has action, adventure and many more........! I love the characters, especially Kirito (Kazuko Kirigaya). Almost everything in SAO is very coool.....!
But what I hate most is the SPOILER! It's so bad that I couldn't even sleep......., but still, if it weren't for SAO, I wouldn't be a Narutard forever.......
Arigato SAO.......


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Welcome!County Coordinator is Jane Keppler.
County Co-Coordinator is Jean Huot Smoorenburg
If you have any questions or would like to submit information for Robertson County, please email one of the above.
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The information below is from a brochure published by the City of Hearne.
History Of Camp Hearne
During World War II, great numbers of German prisoners were captured. Under increasing pressure from the other Allied forces, the United States built prisoner of war camps across the U.S. In March of 1942, the Hearne Chamber of Commerce sent a letter to Texas Congressman Luther Johnson suggesting Hearne as a possible internment site. The following month, Hearne was selected and approved as a site by Colonel B. M. Bryan of the Provost Marshal General's Office. Construction started in September, 1942 on property approximately one mile to the northwest of the city center.
The camp was completed in February, 1943, and the first prisoners began arriving the following June. Considered a main camp, Camp Hearne was originally designed to accommodate 3,000 prisoners, but plans were modified to eventually hold almost 5,000 prisoners. Following the standard camp layout approved by the Provost Marshal General's Office, the camp was divided into three sectors. Each sector was subdivided into four companies of 400 men each. Barbed wire fences isolated the camp from the surrounding community and each sector was enclosed with more fencing.
The first prisoners to arrive were captured in North Africa and belonged to Rommel's Afrika Korps. Among these prisoners were members of a German military orchestra, complete with their instruments, who later supplied Camp Hearne with much-needed entertainment. Near the end of the war, a few Japanese prisoners were held at Camp Hearne.
Politically, the prisoners at Camp Hearne were divided into two groups; pro-Nazi and anti-Nazi. Although they were kept isolated from one another in different compounds, the pro-Nazi group caused many problems and there were several confrontations between the two groups. One prisoner was murdered by fellow prisoners who suspected he was a spy.
In February, 1944, the War Department classified Hearne as a non-cooperative camp and designated it as a reservation for the isolation of NCOs (non-commissioned officers). In March, Camp Hearne became the Central POW Post Office, handling all censored mail to German prisoners in the United States. When 800 NCOs who had previously refused any work volunteered to work in the Postal Unit, camp officials became suspicious. The German workers studied postal markings, obtained rosters of POW camps across the U.S., steamed open letters, and inserted information after censorship clearance. This Nazi spy network was successful in developing a secret system of inter-camp correspondence. Numerous investigations revealed the spy network and the postal unit was transferred to another camp in July, 1945.
Life at the POW camp was, for most of the prisoners, better than what they had left behind in Europe. Gymnastics, soccer, and art classes were common, as were English classes. The prisoners at Camp Hearne had theatre, complete with orchestra pit, where they performed elaborate skits and plays. It is also rumored that a clandestine broadcast radio was hidden somewhere in the theatre, from which news from Germany was broadcast to other prisoners in Central Texas. The prisoners also had at least one short-wave radio they constructed and had hidden under a stove in the barracks.
Barracks were constructed of wood frames covered with black tar paper. Mess halls, lavatories, and the PX had concrete slabs, as did the theatre. Some of the prisoners worked on surrounding farms harvesting cotton, onion, and peanuts, while others worked at a shop in the camp that repaired blankets and raincoats.
To make time pass more quickly, prisoners in Camp Hearne built several elaborate, waist-high castles and fountains, complete with moats and waterfalls. They used local rock and concrete for construction, and kept goldfish and turtles in ponds outside their barracks. A family of possums is shown in an old photo of one subterranean enclosure. Fountains actually contained pumps the could keep a continuous flow of water falling over water wheels and into surrounding moats. Female statues adorned two fountains, as did water-spraying frogs and other sculptures.
Camp Hearne closed in 1947 and the property was subsequently sold. The City of Hearne obtained the property, with the original intent to be an industrial park. Through the years, all of the buildings were removed and many of the fountains and other structures torn down. Two of the barracks are in use today at Hearne's Blackshear School, less than a mile away from the original camp.
In 1996, Dr. Michael Waters with Texas A&M University got permission from the City of Hearne to begin excavation of the site. For several weeks in the fall and winter, his students conducted a methodical clearing and search of some of the area. Mess hall foundations and barracks steps were uncovered, and many artifacts found, including buttons, medals, canteens, and toothpaste tubes. Most recently, in the fall of 1997, the theatre was uncovered, complete with old make-up tubes.
Dr. Waters received photos of the camp from the Red Cross in Geneva, Switzerland, verifying many of the fountains and ponds that had been built in the compounds. He has managed to uncover several of the fountains and ponds, although they have been heavily damaged. Some of the structures have been located thanks to directions provided by former POWs who have returned to the camp.
Plans are underway to conduct walking tours of the camp. It is hoped that increased interest in the site will result in historic designation by the State of Texas and the National Register of Historic Places. From there, reconstruction of some of the buildings and a museum housing recovered artifacts will be the next step.
If you are interested in learning more about Camp Hearne, contact the Hearne Chamber Of Commerce at 304 South Market Street, Hearne, TX 77859, 979.279.2351. Donations for this project will be greatly accepted and appreciated!
A Request For Information
Dr. Michael Waters at Texas A&M University has investigated the history of Camp Hearne. The objective of his research is to preserve the history of Camp Hearne before it is lost. He is routinely gathers information about the camp. If you have any historic photos of Camp Hearne or historic items from the camp such as paintings, carvings, copies of the camp newsletter, items made or used by the prisoners, or other items of interest, please contact Dr. Waters at the Department of Anthropology, Texas A&M University, College Station, Texas 77843-4352. His office number is 979.845.5246.
Page Modified: 15 September 2014
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Copyright � 2014-present byJane Keppler. This information may be used by individuals for their own personal use, libraries and genealogical societies. Commercial use of this information is strictly prohibited without prior written permission from Jane Keppler. If material is copied, this copyright notice must appear with the information and please email me and let me know. Neither the Site Coordinators nor the volunteers assume any responsibility for the information or material given by the contributors or for errors of fact or judgment in material that is published at this website.