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Colin Powell blasts GOP's 'intolerance'
Colin Powell did more than defend Defense secretary nominee Chuck Hagel on Sunday morning TV. The former secretary of State also strongly condemned his Republican Party, calling it out for a "dark vein of intolerance."
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There's been lots of hand-wringing about the GOP since Mitt Romney lost the 2012 presidential election, and Powell's comments are similar to those made by Louisiana Gov. Bobby Jindal and ex-Florida governor Jeb Bush. While conservatives may hold some of the GOP's top leadership posts, Powell is still someone who commands respect.
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Powell's remarks also come as former Utah governor Jon Huntsman, a one-time GOP presidential candidate, and New York City Mayor Michael Bloomberg, briefly a registered Republican before becoming an independent, take steps to revive the middle ground in politics.

subset: commoncrawl


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Wait, You're Not a Centaur.
A collection of 50 fifty- word stories by musician/ artist/ writer/ triathelete/ ice cream lover/ renaissance man Nate Denver. At turns scary, sweet, totally bizarre, hilarious, and always heartfelt, these 50 stories read a lot like haiku poems, except, well-- longer. Nate also did a bunch of drawings for the book, and they rule. This book also contains a full-length, 21 song CD, "Ghost Alarm", by Nate Denver's Neck (which is, strangely enough, the same guy as the author. go figure.) Introduction by Adam Jones of Tool.
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Just getting back from Bay Area Brony Spectacular - BABSCon and boy are my hooves tired. I got to say hello to many awesome Kickstarter backers as well as get the book into a lot of new hooves! I left with nothing, every single book having found a new home.
Dead tired, but I'll get back to work on getting the last of the Fulfillment done and out of the way. Most are on the way, but not 100%, and we won't rest until that happens.
Babscon Report
Ponyfinder updates
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- TaliaKirana
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Re: Babscon Report
Good to hear you had a fun time, even if it was exhausting.
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Re: Babscon Report
Sorry to fail on following through with the muffin-pelting.
The guy I was hoping to send it was too busy with doing some AV stuff...
Glad you had fun.
The guy I was hoping to send it was too busy with doing some AV stuff...
Glad you had fun.
Re: Babscon Report
It was a learning experience, being my first Con, but very much worth it.
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|Database :: AIR 81
RAF and Commonwealth Air Forces AIR81
This is a database of AIR81 Records. Courtesy of Paul McMillan. The data is being cross linked to the CWGC DB.. Work in Progress.
There are a total of 14544 records in this database. Your current query returns 2 records. You can click on the result fields to narrow the search.
|Pilot Officer R G A Barritt, Corporal R Wilson: died of injuries; Aircraftman A A Wilson: killed; aircraft accident, Blenheim L1466, 23 Squadron, 4 January 1940. Note: With plan
|Leading Aircraftsman R Watson: killed; Oxford V3558, 12 Service Flying Training School; aircraft accident near RAF Wittering, 26 January 1942.
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Marcellus's Mozart
Date: 2003-12-31 04:56
I just got a recording of the Marcellus Mozart. I had heard this piece was "the definitive American" rendition, so I was intrigued.
I listened to the whole piece once all the way through, then listened to a couple more spots again. I think the playing is great, and I love his sound, but I'm not sure why this performance would be considered definitive, or even what characteristics are "definitive" of Mozart. I guess I'm asking, what is the abstract ideal which Marcellus's playing so closely resembles?
I have 5 recordings of this piece; Stoltzman, de Peyer, Pay (on basset horn), Marcellus, and some unnamed person on a "Mad About Mozart" type Cd. Of all these pieces, I think I like Marcellus's sound best, but I think his interpretation is somewhat bland (whether this is good or not, I suppose, depends on the abstract ideal). I personally probably prefer the Pay version most, but that's fine.
I'm not trying to discredit Marcellus's playing, as it is incredible. I'm just curious why everyone (or most clarinetists I've talked to anyway) would hold this particular performance up as the standard. I often subscribe to the "if everyone agrees, everyone is probably wrong" philosophy, so I think it's very important to question these things and not just accept it as the best because that;s what your teacher told you and his/her teacher told him/her, etc...
When approaching this issue, what are the standards applied when judging "definitive-ness" of the performance? What kind of phrasing is best, how much dynamics should one use, etc? I realize many say that "music is subjective and it's impossible to say which is the "best" (which I would agree with - assuming all the performances are well done, of course), but when so many agree that his playing on this piece is best or definitive, there surely must be some objective standards that everyone holds. What are they for this piece?
Donald Hite
Just to avoid being branded a clarinet heretic, I'm not saying that I think Marcellus's performance isn't definitive because someone else's is MORE definitive. I'm simply curious as to what it means for a piece to be definitive or whether this is even possible (beyond the composer, who can actually say what is definitive of a piece anyway??)
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Re: Marcellus's Mozart
Date: 2003-12-31 05:09
I heard it and didn't like it that much. His technique is phenominal. And in the last movement he takes such a quick tempo that to me it almost sounds like the strings are having to work hard to keep up to his tempo! Superb technique, but I too didn't hear as much phrasing or didn't get any feeling from his playing. He played the dynamics, but it didn't sound very personal to me.
I'm thinking that maybe because of his quick tempo he wasn't able to embelish or put as much feeling into each phrase. I know when I had to play it for juries, I tried to do slight crescendos and tried to lead to the high point of a phrase and then slighlty decrease in volume and intensity till the beginning of a new phrase. But I was taking it much MUCH slower than he did.
But wow is he a master of the instrument. I never thought someone could tongue that fast or play that piece so quickly and flawlessy. I'm sure he was an excellent clarinet player overall, and I definitely would like to hear more of him, but I don't find this particular recording to be "all that and a bag of chips" either.
Small Group Leader
US Army School of Music NCO Academy
Post Edited (2003-12-31 05:12)
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Re: Marcellus's Mozart
Date: 2003-12-31 05:19
I agree. When I've worked on this piece with my teacher, we go to tedious lengths talking about phrases and examining every single interval and what to do with every single note (or so it seems). Then he recommends this recording, which while technically good (though his notes and rhythms are no more correct than de Peyer or Pay's) and with a great sound, he seems to just gloss over all the phrases without much of the expression (which, from what I understand, is the exact opposite example I was supposed to get by listening to this recording).
Perhaps it's a "less is more" type of thing, but considering that my teacher kept wanting more, I don't see this to be the case...
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Re: Marcellus's Mozart
Someone who knows
Date: 2003-12-31 13:32
If you are only listening to the clarinet playing on this recording, you've already missed the whole point.
The piece is a work for clarinet and orchestra, playing equal roles.
One of the many things that distinguish this recording as memorable ( a 'definitive' recording of a work where no manuscript exists?) is the way Szell and Marcellus worked together to integrate the ensemble and solo parts.
This recording being 40 years old now, one could hardly expect it to reflect today's ideas about Mozart performance. The fact that it is referred to at all should tell you something. The fact that many truly great musicians still respect this recording should tell you something more.
In short, perhaps it is not the recording that is lacking something. I can remember 'not getting' many recordings when I was young, only to return to them as a more mature musician and realize how great they are.
The recording is what it is. A snapshot of what a group of fine musicians did on one day of their lives.
My ideas about what this concerto is differ from what my teacher did on this recording. But that doesn't change how great I think this recording is. It faithfully represents how the performers wanted the piece to go, and that's very hard to reproduce on any recording.
It is very easy to try too hard in Mozart, to apply makeup to the Mona Lisa as it were. This recording is what I would call extremely reverent in this regard. But compared to the smear-it-on-with-a-trowel approach sometimes observed today, I'll take this.
And I can tell you that while Mr. Marcellus was proud of this effort, he was not satisfied with it. He could barely even listen to it.
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Re: Marcellus's Mozart
Date: 2003-12-31 13:59
I have always felt that yes, there is great beauty and control in the clarinet playing, glorious legato and wonderful ensemble playing. I have always enjoyed the fact that some of the beauty that I hear in this recording is in the is subtlety. He lets the music speak for itself. It is not about Marcellus, Szell or Cleveland, it is about Mozart. (and yes, it reflects what the thoughts were at that time about Mozart performance.)
It is like having a fine piece of fresh fish prepared where it is simply sauteed. The flavor is allowed to shine through and is not covered with heavy sauces or over-preparation. I hope you can allow this to grow on you and see the beauty that is there.
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Re: Marcellus's Mozart
Date: 2003-12-31 16:45
"Playing between the notes". When you learn what that phrase means, perhaps you will then understand Marcellus.
Marcellus, better than anyone since, took Bonade's principles of playing to an even higher level of artistry.
There are countless great orchestral clarinetists.
There are countless great soloists.
However, the number that could do both is extremely small.
Put Marcellus' name at the top of the list...GBK
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Re: Marcellus's Mozart
Date: 2003-12-31 17:16
what does playing between the notes mean?
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Re: Marcellus's Mozart
Date: 2003-12-31 17:25
It means connecting all the notes, with impeccable legato. 99% of the legato is jaw-breaking, it's very perfect and ideal. This is itself makes the recording so definitive. I fully agree with GBK about Marcellus taking Bonade's playing principles to the highest level. The tonguing in the beginning of the 3rd movement is very difficult to get just the right sound and length, and Marcellus does it wonderfully.
Legato is the most difficult thing on the clarinet. Perhaps the most difficult legato in the first movement lies in the prolonged 16th note passages with arpeggios (starting with G,D,B,D...) I guarantee you that most people cannot play that without popping the notes. Marcellus here is at his best, making every note sound connected.
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Re: Marcellus's Mozart
Date: 2003-12-31 18:35
When it comes to Mozart, more is less! Marcellus's purity of sound and playing and is well matched for Mozart's subtleties. Marcellus does a wonderful job of not overstating the phrases and, as a result, captures the elegant charm and superb wit of this work. This is why he was the best :D
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Re: Marcellus's Mozart
D Dow
Date: 2003-12-31 19:51
I have always admired this particularly fine performance for a number of reasons, and the part of this recordI like is that it is unfussy and played in an unmannered way.
As for sublety and nuance this is fine, but I have long admired the glory of Marcellus' control and the excellent definitition to his sound. There are alot of passages which now would be articulated or done in a different way, but this never detracts from the great artistry of this version..
the coupling I haVE IS with the Sinfonia Concertante which is superb as well..
As to things which I detract from in his styling is the fault of maTTER of trills and ornamentation, which is pretty standard for the day, but now clarinetists tend to do things quite differently...remember too he is probably working from the lousy Beitkopt version which is a totally bum edition....
David Dow
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Re: Marcellus's Mozart
Date: 2003-12-31 20:56
i first heard this recording in 1994 when i was studying with Dr Dave Etheridge. After listening to it a few times i commented to Randy Paul that i thought it was.... boring, over-rated, nice but unimaginative... he just smiled and said something quite unjudgemental like "hmmmm, maybe your right"
WELL, now i've actually learnt to play the clarinet properly, and (more importantly) learnt to LISTEN better, i play this recording and find myself amazed by the incredible musicality evident in this performance. I "ate those words" long ago. Everything else i could say about this recording has already been said above.
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Re: Marcellus's Mozart
Date: 2003-12-31 21:18
I also studied with Dave Etheridge (before Donald did) and we often discussed the ease and beauty of playing in Marcellus' Mozart.
It is rare when two great minds deeply seated in Classical tradition (Szell and Marcellus) meet and join together to create a special performance. Both personalities meshed to make an account which thankfully was captured for eternity, albeit on one day in October of 1961. Remember, Szell could have chosen anyone for his definitive statement on the Mozart Concerto. He chose Marcellus.
You owe it to yourself to discover Marcellus' other work. Listen to his playing in the Mendelssohn Symphonies #3 and #4, Midsummernight's Dream, the Schubert Octet and Rosemunde, the Brahms Symphonies (especially #3), Beethoven #6 and #8 and First Piano Concerto, Waldweben, etc..etc..etc..
No other clarinetist since Bonade has left such an important mark in both solo and orchestral playing...GBK
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Re: Marcellus's Mozart
Synonymous Botch
Date: 2003-12-31 21:33
As an aspiring hack player, I can say without guile (for a change) that the Marcellus recording brings tears to my eyes...Buddy Wright, John Manassee and Ricardo Morales have achieved the same lucidity of emotional control in their playing.
Something about the way they leave room for the audience; and make the technically awesome passages seem effortless...
The CBS masterworks recording is the one I own of Marcellus, and it
sounding a little dated.
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Re: Marcellus's Mozart
Gregory Smith
Date: 2003-12-31 23:54
"There are countless great orchestral clarinetists.
There are countless great soloists.
However, the number that could do both is extremely small.
Put Marcellus' name at the top of the list...GBK-----
Not to mention chamber musician, conductor, teacher, and along with it a towering intellect about music whether it be classical or jazz. The breadth and depth of knowledge that this great musician posessed was legendary...as observed by some of the greatest musicians of the 20th century no less. Just read the memorial tributes from no less than a Pierre Boulez or a John Browning for instance.
He was one of perhaps a handfull of people that I've met where I've sensed - no, knew - that I was in the prescence of greatness or genius...and not in the simply charismatic sense, although he did exude that too. My appreciation for this great musician only grew over the 20 years that I knew him as teacher and then as friend and colleague.
To play a Schubert Octet or Mozart Serenade or Varese Octandre or perhaps the Schubert Unfinished Symphony or Hindemith Symphonic Metamorphosis or Ravel Daphnis under his direction was truly awe inspiring...not just to me, but to many of the top musicians that played with OR for him.
What an increasing number of observers don't realize is the relative shortness of his playing career (20 years) and that the Mozart concerto was recorded when he was an incredibly young but mature 33 yrs. old, quite a feat all things considered. Many haven't heard the live performance on tape of his Mozart that was done 12 years later. His approach was almost exactly the same but with the maturity of a 45 yr. old. He knew exactly what he wanted and even outdid his recording as far as mastery of the music and of the crarft in that live performance. Perhaps it was even more exciting because of the fact that it was a live performance.
His interpretation of the Mozart Concerto was the embodiment of that famous quote by his music director (and fine chef), George Szell who, in response to those very few critics that wanted more "emotion" in Szell's interpretations of music from the classical period exclaimed, "You don't expect me to pour chocolate sauce over asparagus do you?"
I hear nothing dated in the interpretation of his rendition of the concerto compared to others except perhaps the exclusion of improvisation - which was not being practiced in the days of either performance except in the realm of a new emerging "scholarly" movement just in it's infancy.
In the live performances I have on tape from 1961 and 1973 he played a little with the orchestra tuttis in the introduction to get his reed wet and then played with the orchestra all the way to the last note of the entire work to punctuate the final statement and send the audience off with no less than bravos and cheers. They simply loved him. He was their crowning jewel amongst a musician's orchestra...and a clarinetistt's clarinetistt amongst several generations of his peers.
Gregory Smith
Post Edited (2004-01-03 01:27)
Reply To Message
Re: Marcellus's Mozart
Synonymous Botch
Date: 2004-01-01 11:11
Everybody knows that you eat asparagoose with Devonshire Cream.
Right on the money, there... no ornamentation, just the purest line.
Wish I could have heard him, in person.
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Re: Marcellus's Mozart
Date: 2004-01-01 22:41
as wiseman case is much smaller. I bought one so I could travel with out a problem.
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Re: Marcellus's Mozart
Date: 2004-01-01 23:19
Author: LeOpus1190s stated:
"as wiseman case is much smaller. I bought one so I could travel with out a problem."
Mr Marcellus must have been a small person to fit in Any case.
(prob'ly reefers...er, refers to thread on bass clar on airplanes)
Too much NewYear cheer Opus???
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Re: Marcellus's Mozart
Date: 2004-01-02 08:10
Many of these points fit with my own feelings about the recording. I bought the LP of this, second hand, to get Wright's account of the Mozart Quintet, which I think is a great conception. Marcellus' Concerto was on the other side. I played it and thought it was a bore. It was as though the player knew what expression to put in, but lacked the guts really to go for it. Wright's Quintet seemed in a different league.
I returned to the Marcellus later and heard the various qualities mentioned above. All these are readily apparent to a clarinettist. Marcellus is a clarinettist's clarinettist.
I think if I listened to it more still, it might grow on me further. But similar comments can be made about the McCaw, which many hold to be very fine, but I find low key.
Another way of looking at this is that Marcellus/McCaw bring an inwardness to the music which is the antithesis of showmanship, much as, say, Brendel and Pollini do for the piano. But on that level I feel that the Prinz account is utterly special. Prinz, of all the accounts I know, gets to the very heart of the message. I do not listen out for perfect legatos and emaculate control. I do not care. The music is all that counts and that comes through loud and clear on the Prinz account.
There are several other accounts I like: Klocker, Lawson, (I have not heard the Pay, the reviews of which are very good), and Brymer had a way with it.
As far as "definitive" is concerned; as Brymer said, there will never be a definitive performance.
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Re: Marcellus's Mozart
D Dow
Date: 2004-01-02 12:07
Harold Wright recorded version of the Mozart Quintet shortly after Marcellus and spoke highly of the CBS version he did.
After my 2cd year of study with Mr. Wright I then worked on the Mozart Quintet and can honestly say his knowledge of phrasing and shade and colours was simply amazing. I eventually performed the Mozart Quintet with a student string group and can say I was inspired at the amount I learned from him.
The Ozawa Wright version of the Concerto on DG is excellent as well.
David Dow
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Re: Marcellus's Mozart
D Dow
Date: 2004-01-02 12:09
Errarata: should read....
Harold Wright's version of the Quintet was recorded around the time Marcellus did his version of the Concerto....
David Dow
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Re: Marcellus's Mozart
Brian Peterson
Date: 2004-01-02 20:24
Said recording is being played right now, 3:20 CST on WRR 101 in Dallas.
Happy listening.
Brian Peterson
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Re: Marcellus's Mozart
Date: 2004-01-02 21:57
I would like to add my vote for the Marcellus Mozart, very nice playing indeed. Such great fundamentals and line to his playing. On the flip side, it is an older recording, and it does seem very "reserved" when comparing to todays interpretive standards. I think of it as a wonderful treasure of clarinet playing from years past. People will never sound that way again; materials for clarinets, mouthpieces and the design of clarinets, mouthpieces and reeds have changed so much since then. I dont think we will have anyone in the near future that will come close to Mr. Marcellus's achievements with the instrument. We can just use it as a reminder of this great playing and press on in new directions with the clarinet.
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Re: Marcellus's Mozart
Date: 2004-01-02 22:35
RM wrote:
> People will never sound that way
> again; materials for clarinets, mouthpieces and the design of
> clarinets, mouthpieces and reeds have changed so much since
> then. I dont think we will have anyone in the near future
> that will come close to Mr. Marcellus's achievements with the
> instrument.
The chance of someone ever again recording the Mozart Concerto using Buffet/Moennig R13 A clarinet # 45451 (1958) with a Kaspar (Chicago) mouthpiece and Morre German cut 2.5 strength reeds with a 12.6 tip is nil...GBK (Marcellus set-up info as posted by Greg Smith)
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Re: Marcellus's Mozart
Gregory Smith
Date: 2004-01-02 22:56
"I played it and thought it was a bore. It was as though the player knew what expression to put in, but lacked the guts really to go for it."
Actually there *was* a choice made. The choice was made *not* to put a certain type of expression into it, although Marcellus was perfectly capable of doing just that. Perhaps that is what is missed sometimes when this discussion inevitably comes up... what one *expects* the expression of a piece of music to be like in the first place. It's a question of style and context.
For instance, I would say that the versions that I've heard having *more guts* in them (depending on what *type* of guts one's talking about), are often a bore because they are over or inappropriately phrased. They draw one's attention away from the music, putting more onto the performer...which is what I think Szell's comment was meant to address, although indirectly.
In the business, a much used comment is bantered about amongst professionals describing this phenomenon. I heard Boulez use it just the other day in rehearsal. It went, "That's like pouring honey on sugar." If there is something already in the music, emphasizing it in a certain way sounds out of place *in context* with every other style of music. In the arts, whether it be literature, drama, etc, context and proportion are everything. There was a long discussion about this very thing not too long ago here on this bboard concerning the Debussy Rhapsodie and it's interpretation.
Harold Wright's interpretation of the Quintet with his string colleagues seems a good example of performers playing in a style which highlights the music and not as much the performers. The music seems not so much about his or their personality but about the inherent drama, lyricism, etc. already contained in *that style* of music.
Of course there is no one "correct" interpretation within a style, but many musicians (and non-musicians) seem to think that Marcellus's and Wright's interpretations speak to them as a thing of beauty to marvel at, falling well within the boundries of the classical style, at least as we have come to know it.
Then again, some may indeed like chocolate on their asparagus and honey on their sugar.
Although loosely related, this discussion reminds me of another another cut-to-the-bone quote from Szell. When criticized by a very few that his interpretations sounded *too perfect*, he responded thoughtfully:
"It is perfectly legitimate to prefer the hectic, the aryhthmic, the untidy - but to my mind, great artistry is not disorderliness."
I believe that there is a little of that philosophy exuded in the interpretation of Mozart by Marcellus.
Gregory Smith
Post Edited (2004-01-03 01:37)
Reply To Message
Re: Marcellus's Mozart
Date: 2004-01-03 01:52
>>>>>...using Buffet/Moennig R13 A clarinet # 45451 (1958)...<<<<<
I've seen the same info posted by Gregory Smith but there is something wrong with this picture:
If the serial number is correct than the clarinet is Pre-R13 made in 1953
If the year '1958' and is correct than the serial number is questionable.
Reply To Message
Re: Marcellus's Mozart
Gregory Smith
Date: 2004-01-03 03:20
The serial number is correct. The date (1957 -1958 season) is when Marcellus started using the A clarinet full time in the Orchestra. An A clarinet with that serial number is certainly from 1953 according to Buffet's own register.
R-13's were manufactured as a *line production* instrument available to the general public starting sometime in 1955. During a couple of years leading up to that there was much experimentation, testing, and evaluation before a model was brought to market by top French players that were testers for Buffet France (much as it is done today).
In my extensive conversations with Marcellus about his legendary A clarinet (the finest clarinet I've ever played), he explained to me that in one of his annual visits to Moennig of Philadelphia while he was in the Cleveland Orchestra, Moening pulled out a beautiful playing A clarinet that he had been storing that was one amongst several that Moennig had received from Buffet that were of a then new type of *polycylindrical* bore. Some of these prototypes were sent to him and Moening naturally wanted his top players to be the be the ones to evaluate them.
Marcellus said that the improvement in the basic blowing and sound characteristics of that particular instrument were so astonishing that he bought it immediately.
So, there was a significant lag time between manufacture, arrival, storage and adjustment by Moening, purchase, then additional extensive adjustments for Marcellus (which Moening was legendary for especially when it came to the R-13) before Marcellus started to slowly break it in to eventually play it full time in the Cleveland Orchestra.
It was the only A clarinet he owned from that point on and played until the end of his life. It was constantly adjusted to Marcellus's wishes on a continuing and ongoing basis throughout the rest of the years that he played in the orchestra. It was so customised for his own hands - key heights, springs, placement, tone hole modification, barrels made from scratch on Moening's belt-driven lathe,etc. Moening was old-world artist and craftsman in the finest sense collaborating with a master of their instrument. And since it was a collaborative endeavor accross many miles, it took time to evolve. Things simply moved slower back then.
Gregory Smith
Reply To Message
Re: Marcellus's Mozart
Date: 2004-01-03 05:11
Who'd he leave his instruments to anyway? In other words where is this "magic" clarinet?
Reply To Message
Re: Marcellus's Mozart
Date: 2004-01-05 09:00
GS makes good points but the question I ask is why the Wright account of the Quintet immediately made me think: this is great, and the Marcellus Concerto made me think: this is dull? As you point out, Wright's account is subtle. No chocolate sauce on asparagus there! And on the whole I do like inner strength type players.
What distinguishes this subtlety of expression from an account that lacks sufficient energy, and seems routine or just to be going through the motions? Whilst I would not be so harsh on Marcellus as to say he was an absolute case of the latter, I have strong doubts that his playing (on that record) is going to match my view of Wright's playing.
It is a difficult question to answer, but here is a stab. With Marcellus I felt the phrasing was a little obvious. I could hear what he was trying to do, but that obviousness made it all the clearer that he was pulling his punches. If you listen to Prinz in the Concerto (or, say, Lawson) the phrasing seems less obvious, but the result seems more enlightening. Just as it is the case in the Wright recording of the Quintet.
The other thing is the question of architecture or structure. It often takes several hearings of a recording to determine whether the overall conception of the performance is sufficiently structural to stand the test of time (i.e. several listenings). It may well be that this is where Marcellus scores over many more "obvious" sounding accounts. I would have to listen to it much more to tell if that were so. I might do that, and I might see the light. Meanwhile, the original poster seems to me to have a point when he feels that it is not a scintillating account.
Reply To Message
Re: Marcellus's Mozart
D Dow
Date: 2004-01-05 11:22
I tend to find the whole discourse on equipment to be somewhat tedious, and by this we are talking about two giant clarinetists(who sound great on just about anything)
and coming back to a salient point would be emphasize that some players can easily sound or emulate a given player but still have no artistic soul or capability in playing a piece convincingly.
Much of what I hear is equipment talk,
for example Wright owned Ralph MacLane's A which I played several times and found to be a beautiful sounding instrument. Yet, I had the feeling it was also a fine instrument because it was simply taken care of and tuned by Moenning. Wright tended to use this instrument more in chamber music, rather than orchestra.
I have the sensibility as a former student of Wright's to realize that Harold Wright would have sounded great on plastic clarinets if he had to...so the real key is that artistry must come down to individuality and not ...equipment.
As to interpretation, I feel key aspect of the Marcellus K622 recording's main problem is microphone placement, and we still must be thankful that the people at CBS recorded it at least,
but I tend to find the sound not the most pleasing for a classical recording. I find it is the dessicated sound which annoys most in the Szell/Marcellus cycle of CBS records...this is pronounced in the era of 61 to 62. I am sure it is close microphone sound which robs the resonance from this disc. This is another factor in evaluating any audio recording ....it robs the artist of their harmonic series...
Harold Wright with Ozawa is a splendid recording (sonically) on Deutche Gramphone...it is also a fine example of Wright's individuality. As to tempi and style it may not suit all tastes either!
we could only have one wish and that is if Marcellus was able to record on DG things would be better ...
David Dow
Reply To Message
Re: Marcellus's Mozart
D Dow
Date: 2004-01-08 03:05
I really find this discussion to be fascinating for a number of reasons...I think the underlying greatness of Marcellus' playing is something that is really hard define in words. Having just listened to the recording of K622 I will state what I feel are strong elements in Marcellus' fine record:
<There is a strong opening of movement one with the statement of the themes done superbly by Szell. Once Marcellus states the g e we really know we are listening to a partnership of equals and this adds to the dimension of the stature of this performance. Not since Wlach in 47 with Herbert K. has anyone played the opening with such a beautiful matching and meshing of the phrases...natural and flowing rather than clipped or exageratted like other players>
Another fine aspect of this recording is the retention of tempi through all of the movements...I especially like the development section of the first movement and the wondrous horn and bassoon sonorties which match the solo Clarinet contribution...here Marcellus really understood the concept of dovetailing phrases naturally. In the slow music the flute players are dead on in terms of phrases as well...for example listen closely to how well they match the colour of the clarinet...>
As to the finale we really have a superbly defined clarion register. I always wonder whether Marcellus used the 11 or 13 Kaspar here, because in this particular register I never liked the 11 facing which I own....however, that is beside the point....another element is the fine ritenuto at the restated them in the Recapitulation. This is a style thing many miss and of course it is pretty subtle...some players just bash there way when this dash of rubato is played so wonderfully. Marcellus was really a special player, and I think this interpretation says much about Szell and his special handling of an artist and a fine group.
David Glazer once referred to Szell (in a lesson once with him I was haning) ...as having a sense beyond this world in the way he could allow a player to phrase with "naturalness".
There are other things which should really be listened closely by students and any one who plays the clarinet in this fine record which I think is really important, and this is the great closing phrases of the slow movement. I sometimes wish I had the Clarinet Quintet K581 of Marcellus, but alas there are none of this to my knowledge...this could really be a revelation in places....
A little outside the box of this topic, but I will add a conductor who is great and inspired really is something that a player lives for! Szell was a true giant and I think he really honed the Cleveland winds in a way that wonderful...it was in those days a truly cultivated sound. Please listen to the Beethoven 2 slow movement and again Marcellus has a plasticity and sweetness that I admire. Around the same time Bernstein and Drucker did a spledid job as well, but interpretively inspired!!!
So, maybe this may not be the Mozart for some, but I truly love this Marcellus version, and I am glad to have it. I can also make a list of reason why I like the Wright Ozawa version too, but this differs in style on many points and this is a good thing. Great players bring also great individuality....wonder if Ralph MacLane has a recording of this....would be something to hear.
David Dow
Reply To Message
Re: Marcellus's Mozart
Date: 2013-11-15 21:52
I agree. I heard "play between the notes" many times. I also had to learn Cleveland's phrasing system. At first, I found a "system" to be restricting on expression. But, as I grew as a musician, I found it liberating. Another one of Marcellus's favorite sayings: "you must illuminate the phrase"
John Dorch
Reply To Message
Re: Marcellus's Mozart
Date: 2013-11-16 00:56
Marcellus is a master clarinetist. So was Benny Goodman. Each in their own fashion.
Let's not quibble and parse. Instead. let us honor the master's of their domain and strive to improve school band and orchestra programs that germinate master talent, which in many instances are being watered down in quality and taught in ever increasing numbers by pseudo-musicians who cannot play a phrase well, let alone conduct and administer a musically successful organization.
Reply To Message
Re: Marcellus's Mozart
Barry Vincent
Date: 2013-11-16 04:09
I once had a recording of Benny Goodman performing Mozart's concerto on vinyl before I sold off these and went over to CDs. Interesting, but nothing to write home to mother about.
Reply To Message
Re: Marcellus's Mozart
Date: 2013-11-16 04:22
Barry Vincent wrote:
> I once had a recording of Benny Goodman performing Mozart's
> concerto on vinyl before I sold off these and went over to CDs.
> Interesting, but nothing to write home to mother about.
It's still available:
Reply To Message
Re: Marcellus's Mozart
Barry Vincent
Date: 2013-11-16 05:00
Thanks GBK. I remember it being a nice 'neat' performance.
Post Edited (2013-11-16 05:05)
Reply To Message
Re: Marcellus's Mozart
Date: 2013-11-16 06:22
It's interesting to see this old discussion revived.
Back in the 60s, there just weren't many reed choices available to the average clarinet player. In the days before the Internet, you were at the mercy of what your local music store could provide. Perhaps there were some mail order businesses that provided more options, but it wasn't like it is today where you go online, see endless reed possibilities, and have them shipped to your home in a few days.
Vandoren's (only one style) and Mitchell Luries were the basic choices for serious players, and Vandoren's weren't always available. Olivieris were around (and quite good at the time), but in some parts of the U.S. they were almost unknown. Of course, one could always get Rico and La Voz. Reeds with thicker blanks (V-12s, Rico Reserve, etc.) that are so popular today, for the most part didn't exist.
There was Morre, a reed that had quite a mystique about it (perhaps like Coors Beer in the 70s, when you couldn't get it in the Eastern U.S.). As a high school student at music camp in the early 70s, everyone talked about Morre, but nobody used them. They were very hard for the average person to obtain, and as I recall, were only available from Marks Music in Farrell, PA. I recall sending them a letter, but it was never answered.
Most players in the 60s and early 70s struggled to get a nice "dark" sound.
Teachers would commonly say, "It's too shrill," or "It's too bright." Frustrated students would do everything they could to get rid of the "brightness," but many (I was one of them) never quite succeeded.
Even the famous professionals played with a "brighter" sound than one usually hears today. I'm convinced that the reeds were a major factor. The "smile" embouchure, not too common anymore but widely taught back then, was another factor.
A friend introduced me to the Marcellus recording in the early 70s. It blew me away (and probably countless others too) because of that famed sound. Here was that great "dark" tone quality that everyone seemed to be striving for, but couldn't quite get. I didn't know it at the time, but later learned that Marcellus played on Morre reeds. He was such a fine player that he probably would have sounded good on a basic Rico, but the thick-blank Morres sure didn't hurt. His embouchure, not widely taught, was probably also a factor (Tom Puwalski describes it here):
I haven't listened to my Marcellus recording for many years, but have always liked it. Now, I'm going to have to take it out again!
Post Edited (2013-11-16 06:23)
Reply To Message
Re: Marcellus's Mozart
Date: 2013-11-19 16:28
I'm curious what other's think about David Shifrin's recording of the Mozart back in the '80s. He used the bassett clarinet and I think his performance received a Grammy nomination.
Reply To Message
Re: Marcellus's Mozart
Date: 2013-11-20 05:31
Marcellus' first major teacher was Earl Handlon of the Minneapolis Symphony. Earl Handlon started students on the Klose method and, as soon as possible, got them started on the Mozart Concerto, with the Bb clarinet if they did not have an A clarinet.
If Marcellus was also enrolled in the U of M, taking clarinet as a credit course, he would have been playing movements of the Mozart Concerto for the quarterly exams for the music department faculty. Thus, Handlon was probably a major influence on Marcellus' performance of Mozart.
Handlon also used the "Fifteen Grandes Solos" for solo material for his students after the Mozart Concerto.
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text:
Wednesday, July 10, 2013
11:00 a.m. – 1:00 p.m..
San Francisco Main Public Library
100 Larkin Street
100 Larkin Street
100 Larkin St.San Francisco, 94102
For members only!
Join Past-president Jane Lindsey for a tour of the areas of genealogical interest at the San Francisco Main Public Library. Attendees will gather at 11:00 a.m. outside The San Francisco History Center on the sixth floor and split into two groups for a tour led by San Francisco City Archivist Susan Goldstein and library staff.
BART will be the transportation of choice. Travel to the Civic Center Station and walk towards the large blue medallion painted on the wall, then up the stairs or escalator. The library is across the street.
After the tour, members will gather to learn about the online catalog and the many San Francisco records the library has recently digitized through Archive.org and FamilySearch.org and how to access them.
Register online.
If you don't already have a San Francisco library card this will be a great opportunity to get one. Residents of California with identification may obtain one for free. Applications are available at the Main and must be submitted in person. Detailed information is available at the library website.
Attendees may want have lunch together. The Mint Café is located on the lower level of the library. Café Asia at the Asian Art Museum is close by.
This field trip is organized for members of the California Genealogical Society. Non-members interested in participating are encouraged to become members prior to July 1, 2013. The maximum group size is forty members.
Copyright © 2013 by Kathryn M. Doyle, California Genealogical Society and Library.


text:
I have uploaded a polyline data (50 million rows) to oracle spatial 10g as sdo_geometry through arccatalog and arcsde in my TEST database.
Now, I need to move this table to QA database, this table is not having any relationships with other table.
It took nearly 1 day to upload the data to TEST through arcsde. I want to do it using Oracle tools, which is the best method to copy/move this huge data with all informations like index, metadata etc., thanks, vadivelan. P


text:
#RSL Tweets of the Day (@RealSaltLake)
5 hours to kick on @abc4utah, #RSL Captain #5 ready for Vancouver ... #3points http://instagram.com/p/YDEYtKsFZS/
It's game day! Vamos ReAL!!! Don't forget it's an early game 2:00 on channel 4 #RSL #3pts #LGI #believe
#RSL Insider previews Sat at VAN w/ thoughts fm @TonyBeltran23, Ned Grabavoy & @JasonKreis … //www.realsaltlake.com/video/2013/04/12/rsl-vancouver-whitecaps-match-preview … … 2p kick on @abc4utah
Wheels up, thumbs up... Next stop- Vancouver http://instagram.com/p/YBRApOFRtD/
I've seen both Plata and Findley participating at #RSL training this morning. pic.twitter.com/jZzaWwPHyg
SeBasTian VeLasQueZ @TiaN_Futbol
Growing A CAST Beard And Not Shaving It Til I Take It Off.... WHOs Growing One Too? #RSL
RealSaltLake.com: RSL at Vancouver Whitecaps – Match Preview
ESPN 700: Chris Wingert on "The Bill and Hans Show"
RSL Soapbox: When Last They Met: RSL 0-0 Vancouver Whitecaps, Oct. 27
Real Salt Lake News & Notes
RealSaltLake.com: Preview: RSL at Vancouver Whitecaps FC
RealSaltLake.com: Tactical Preview: RSL at Vancouver Whitecaps FC
RealSaltLake.com: Match Center: RSL at Vancouver Whitecaps FC
MLSsoccer.com: Vancouver Whitecaps vs. Real Salt Lake: MLS Match Preview
MLSsoccer.com: Ready to go? Real Salt Lake's Chris Wingert anxious to rejoin lineup
MLSsoccer.com: Hertzog or Mattocks? Whitecaps have options up top vs. Real Salt Lake
Salt Lake Tribune: Real Salt Lake: RSL in search of points on the road
Deseret News: Real Salt Lake hoping for positive result in Vancouver
KSL.com: Real Salt Lake match preview: Short-handed Salt Lake at Vancouver Saturday
Vancouver Sun: Whitecaps – Real Salt Lake: Inside the game
For the Fans, By the Fans
RSL Soapbox: Four Questions with Eighty Six Forever: Insight ahead of RSL's Vancouver visit
RSL Soapbox: Options: Saborio, Plata best options for starting strikers
RSL Perspective: Six down & Twenty Eight to go for Real Salt Lake
MLS, Other News & Notes
MLSsoccer.com: MLS moves Montreal Impact-Columbus Crew match to Sunday due to inclement weather
MLSsoccer.com: The Throw-In: Fans in North America are defensive – and a thicker skin than they realize
MLSsoccer.com: Is the Philadelphia Union's Amobi Okugo the future of the US national team defense| The Word
MLSsoccer.com: Starting XI: The most critical lineup decisions facing MLS coaches this weekend
MLSsoccer.com: Top 4 moments during Houston Dynamo's record-threatening home unbeaten streak
MLSsoccer.com: A new year, a new style for Caleb Porter and the Portland Timbers: "Porterball"
MLSsoccer.com: LA Galaxy aim to avoid last year's mistakes as they turn full focus from CCL to MLS
MLSsoccer.com: Jackson, FC Dallas still aiming to make speed hurt in showdown with LA Galaxy
MLSsoccer.com: Pick 'Em: MLSsoccer.com editors pick MLS Week 7 matches
SI.com: Crew-Impact game moved to Sunday because of snow
Goal.com: Amobi Okugo Blog: Having fun with 'the American Chicharito'
Pro Soccer Talk: Reader generated content: MLS salary cap, CONCACAF Champions League and the "long run"
Pro Soccer Talk: Snow Clasico II? This weekend in Montreal?
Pro Soccer Talk: Finding your U.S. national teamers on TV this weekend


text:
As an ambulance crew on Thursday night rushed a 3-year-old Willimantic girl to Windham Hospital, where in a few minutes she would be pronounced dead, a paramedic began a grim accounting of the victim's injuries.
As an ambulance crew on Thursday night rushed a 3-year-old Willimantic girl to Windham Hospital, where in a few minutes she would be pronounced dead, a paramedic began a grim accounting of the victim's injuries.
Swollen eyes. Small bite marks. Multiple bruises. Trauma to her genitals.
Police said the paramedic stated it was one of the worst child abuse situations he'd seen in his 21 years of service, according to an affidavit released Monday.
The 29-year-old Willimantic man arrested Friday in connection with the girl's death was arraigned in Danielson Superior Court on Monday.
Carroll Bumgarner-Ramos stood silently in a green prison jumpsuit while prosecutors successfully argued for stricter bail conditions. He faces several charges related to the death of the toddler.
"I saw the photos of the little girl," Windham County State's Attorney Patricia Froehlich said. "They demonstrated indescribable atrocities committed against a little child."
Bumgarner-Ramos, who has several pending court cases — including assault, strangulation and drug possession charges — was arrested hours after the victim was pronounced dead and charged with first-degree assault, risk of injury to a minor and offense committed while on release.
Froehlich successfully petitioned Judge Hope Seeley to impose a $1 million cash bond on Bumgarner-Ramos. She said her office anticipates filing harsher charges — likely homicide — against Bumgarner-Ramos when a completed autopsy report is filed.
Froehlich said her office will also be seeking warrants for the arrest of "an additional person or persons" in the victim's death.
Police were called to 11 Potter St. in Willimantic — the residence of Bumgarner-Ramos, the victim and a woman identified as Kim Lam — at 10:38 p.m. Thursday. The toddler was pronounced dead by a Windham Hospital emergency room doctor at 10:50 p.m., police said.
Witnesses told police Lam began screaming earlier in the evening that her daughter was not breathing. Lam said Bumgarner-Ramos, who lived with her in a basement apartment with the victim, had been babysitting the child on Thursday. When she returned from work, Lam said, she noticed bruising on her daughter's face and vomit around her, according to the court report.
Bumgarner-Ramos told police the child struck her head days before on a heater, according to the affidavit. Lam reportedly told police Bumgarner-Ramos said the victim "probably had Lyme disease" and that was what caused the girl's swollen face.
The Chief State's Medical Examiner has not released a final cause of death for the girl, but the affidavit states she sustained "serious physical injury," including trauma to her scalp, internal organs and genitals.
Bumgarner-Ramos' lawyer, Ron Johnson, said his client was "devastated" by the girl's death. Johnson requested Bumgarner-Ramos, who was initially held under psychiatric evaluation at Windham Hospital after threatening to kill himself, be placed in protective custody.
Bumgarner-Ramos' case was transferred to Danielson Court's Part A section, where more serious crimes are heard. He is due in court next on July 19.


text:
The "for sale" sign has officially been hung on TV Guide Channel.
Macrovision, the Santa Clara, Calif.-based tech company that bought Gemstar-TV Guide Intl. in May, has sent out the preliminary briefing books on the cabler to prospective bidders.
The channel is distribbed in more than 80 million cable/satellite TV homes, but it is expected to fetch a fire-sale price of only around $400 million because of the broader turmoil in the financial markets and because of specific issues with the cabler. (By way of comparison, the Weather Channel fetched $3.5 billion from NBC Universal and its private equity partners in July.)
A number of TV Guide Channel's carriage agreements give cable operators the discretion to move the channel into a digital tier, which could significantly shrink its subscriber base. Its contracts also tend to include low subscriber fees from cable ops, making the channel more dependent on advertising sales for its profitability than most basic cablers. TV Guide Channel's ad sales hit $129 million last year, according to Gemstar-TV Guide's annual report for 2007.
Among the entities kicking the tires on TV Guide Channel is Constellation Ventures, the Gotham-based venture capital fund whose active media investments include music Netco ArtistDirect and the fledgling TV One cabler targeting African-American auds. The channel is not generating any heat among showbiz's usual suspects for cable properties, such as Time Warner, News Corp. and Disney.
Macrovision, which signaled its intent to sell off the channel when it closed its acquisition in May, has told bidders it hopes to have a sale agreement in hand by the time it reports its third-quarter earnings in early November. A company spokeswoman declined comment Monday on the TV Guide Channel sale.


text:
When Apple rocked the cellphone world Tuesday by unveiling its radical and gorgeous new iPhone, it was bad news for Palm Inc., whose Treo smart phones will be severely challenged by the new iPhone when it goes on sale in June.
I attended the iPhone launch event, and was able to use one for a little while. That's too brief an encounter to allow me to write a proper review. But I can say that it has the largest and most beautiful screen I've ever seen on a cellphone, even though it's incredibly thin. It felt great in my hand. It has a brilliant new user interface; the handsomest email program and Web browser I've ever seen on a phone; a full-blown iPod music and video player built in; and even a cool new voicemail system.
The iPhone has some potential downsides — it doesn't use a physical keyboard, instead relying on a virtual keyboard on the screen, which may put off heavy email users. It runs on the relatively slow EDGE cellular data network, though that flaw is partly offset by the fact that it can also use speedy Wi-Fi wireless networking. And, with a $499 base price, it's expensive.
Still, the iPhone made my relatively new Treo 700p seem primitive in many respects when I compared them side by side. And the Apple product isn't Palm's only problem.
Palm's position as the design leader in smart phones has been under assault for months. Major phone makers like Motorola and Nokia have introduced models that have most of the Treo's capabilities but are thinner, sleeker and lighter — and much less expensive.
The Treo maker is starting to respond, but haltingly. It has brought out a couple of slightly smaller new models, but they're no match in sleekness or style for competitors like the Motorola Q. They also aren't as cheap. They do, though, have some advantages in software and functionality that, for some users, will make them preferable.
I've been testing the latest skinny contender, the Samsung BlackJack, along with Palm's newest Treo, the slimmed-down Treo 750. Both of these phones — like the Apple phone — run on the Cingular Wireless network. Both also use Microsoft's Windows Mobile software.
The new Treo 750 is slimmed down a bit from the familiar Treo 700 and 650 models. The 750 is also a little shorter, because it does away with the protruding antenna. In addition, it's a hair thinner and about 16% lighter.
But next to the new Samsung BlackJack, the Treo 750 looks bulky. The BlackJack is a striking, all-black model in the slim tradition of the Motorola Q. It manages to cram a full keyboard, like the Treo's, into a body that is much sleeker and better looking. The BlackJack is 35% lighter — and 36% smaller overall — than the Treo 750. It has a physically smaller screen, but that screen has a third better resolution than the Treo's. (Of course, both screens look tiny and grainy compared with the display on the new Apple phone.)
Also, the BlackJack claims 38% better battery life than the Treo, and it runs on a faster data network than the Treo. (Neither phone includes Wi-Fi.) And, to top it all off, the BlackJack is half the price — $199, compared with $399 for the Treo 750.
One of the Treo's biggest advantages has been its Palm software, which I consider to be better designed for email and phone calls than the Windows Mobile software from Microsoft. But the new 750 model can't claim that advantage because, while it has Palm hardware, it uses the Microsoft software.
The Treo does have a small software advantage over the BlackJack. It uses a fuller version of Windows Mobile that has more features than the stripped-down version used on the BlackJack and the Motorola Q. And, because it has a touch screen, the Treo is easier to navigate than the BlackJack, which must be controlled with buttons and a scroll wheel on the side.
Also, the Treo's control pad felt better to me than the BlackJack's, which was cramped. I kept hitting other buttons on the BlackJack while trying to scroll or select icons.
In my tests, both the Palm and the Samsung sent and received voice calls well. Both also exhibited the clumsiness that is inherent in Windows Mobile — multiple key presses were needed to do simple tasks. Both have basic cameras with resolutions of 1.3 megapixels. (The Apple iPhone's camera will be two megapixels.)
The BlackJack runs on Cingular's new broadband data network, called "3G" or HSDPA, while the Treo 750 uses a slower network called UMTS. Oddly, however, in my tests, the Treo was generally as fast or even faster at retrieving Web pages than the BlackJack.
Of these two phones, I prefer the BlackJack. But if you're in the market for a smart phone and can afford $499, you might want to wait until June for the Apple iPhone. The Apple entry is so full of promise that anyone buying a smart phone in 2007 should at least wait for the full reviews and a chance to try it out.
Email me at email@example.com.


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MrTS wrote:Here is my entry...just in time
Its been a long time since i've created a moc...its fun to be back.
Never tried micro scale before, i hope you all like it!
Here is preview pic:
Here's the gallery when public:
very nice. looks like it has lots going on and lots of places to go. Is that a brown minifig hat that is serving as a boat? Nice!
Users browsing this forum: Google [Bot] and 3 guests


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On Thursday June 14, late in the afternoon, Microsoft sent out invites to media for a special event in Los Angeles, CA which promised to be a major announcement not to be missed. Since it was so cryptic, it created a flurry of rumors, leaks and conjecture. Several pundits have written about what it could be, connected the dots and come to a conclusion and in fact this morning, one of those guesses was even shot down.
Instead of trying to think of what it could be, I am going to write about what I hope it will be. Based on the fact that this event is in Los Angeles, I am hoping it has everything to do with entertainment tie-ups. At E3 earlier this month, Microsoft took the wraps off their new entertainment brand (Xbox-everything) and showed some bits of their new (improved?) Xbox Companion app, Smart Glass. Also, Microsoft gave a glimpse of Xbox Music, their successor to the Zune Music service. However, neither Smart Glass nor Xbox Music were looked at in detail. What we do know is they said that the Xbox Music service will have a catalog of 30 million tracks (compared to Zune Music today, which is around 20 million).
So, here's my list of what I hope may come today:
- Details of Xbox Music service: Additional deals to get the catalog from today's 20 million tracks to the promised 30 million. Also, most importantly, access for the service from other platforms besides Windows (8, RT and Phone) – so, iOS apps and Android apps.
- Unveiling of Xbox Video service: While it was made clear that Xbox is the center of Microsoft's entertainment strategy, not much was discussed about Xbox Video. I hope that Microsoft is able to cut some deals with Hollywood to get exclusive content built into Xbox Video. Hollywood has got to be scared of Apple (and Netflix), so a good tie up with Microsoft would of course make sense for them.
- Merge Zune Music Pass and Xbox LIVE Gold: The most ridiculous thing about Xbox as an entertainment device is that to access almost any entertainment service on the Xbox, you need an Xbox LIVE Gold account, listed at $60/year. Although there are a lot of promotions for the Gold account (Amazon routinely sells these for $45 or so), it is still an unnecessary cost for normal (read: non-gaming) customers to access services they already pay for. On the other hand, Zune Music Pass is an awesome subscription service which can be accessed over the Xbox in addition to the PC and Windows Phone. It is time for Microsoft to merge the two and call it the Xbox Pass which enables access to the video services on the Xbox platform, as well as unlimited music.
- Xbox Lite: The Xbox today is still seen as a gaming device which can also do entertainment, never mind the stats which show that Xbox users now consume more content on the device than play games. Also, a lot of households have multiple TV sets and getting a $200 Xbox for each TV may not be worth it just for say, Netflix and Hulu. What if Microsoft made a Xbox Lite which like Apple TV would have close to no storage and would not be used for gaming. This would work great for the non-gaming customers who want to consume the unlimited music catalog and also get access to the tons of video services now available on the Xbox. If it is priced at $79, it would be a super hit, I'd imagine.
- Announce global availability of all of the above: Most of the Zune/Xbox LIVE services are poorly represented around the world. It would be fantastic if Microsoft is able to get availability parity across the globe.
Note, I am staying away from tablets, phones and cellular stuff. I do hope that it is not about a Microsoft tablet or a Nokia phone. On the cellular front though, some random rumor about a Verizon event have some tie in to this Microsoft announcement intrigues me – Verizon is a huge hold out when it comes to Windows Phones and any partnership they have with Microsoft, I see it as a positive step.
What do you think? Too much to hope for?


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Advisors needing up-to-date information on the cost of long-term care to assist in planning for clients can now access that data via a new mobile app from Genworth Financial.
In tandem with the release of its ninth annual Cost of Care Survey, Genworth has released its Cost of Care app, available from the iTunes store. With the Web-based app, advisors can access data on the cost of long-term care in any state.
According to the survey, the cost to receive long-term care at home, the most preferred method among Americans, has not changed from 2011 to 2012. In addition, the cost of receiving care at home has seen a less dramatic rise over the past five years than other types of long-term care.
"By providing specific data to clients based on where they want to receive care, plan to retire and the type of care needed, the Cost of Care Survey paints a clear picture of current and future costs associated with long term care," In a statement, Colleen Goldhammer Benzin, senior vice president of long-term care distribution at Genworth, said. "It is a powerful tool to show how costs may seem manageable while still earning income, but when retired, in say 15 years, the cost could deplete the clients' assets."
The median hourly cost for homemaker services and home health aide services nationally is $18 and $19, respectively. That's $37,440 and $39,520 a year for 40 hours a week of home care. A year in an assisted living facility has a median annual cost nationally of $39,600. The annual cost has risen 1.2% since 2011 and 5.7% over the past five years.
Clients who might want to consider private nursing home care would face substantially higher median costs of $81,030, a 4.2% increase from 2011, representing an annualized increase of 4.3% per year for the past five years.
With the app, advisors can:
- Find location-specific cost information by state and type of care setting for 437 cities and regions across the country
- Compare daily, monthly and annual costs for up to three regions across the U.S.
- Calculate the projected cost of care 10, 15, 20, 25 and 30 years out to help plan for the future
- Share information with a tool that clients can use as well.
Other resources are also available, including a cost of care map.


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South Africa: Officials tied to bogus interpreter quit
JOHANNESBURG >> Two officials of South Africa's ruling party who were linked to a bogus sign language interpreter at Nelson Mandela's memorial have resigned from the African National Congress, South African media reported Tuesday.
The New Age newspaper reported that the former officials from the ruling ANC are Bantubahle Xozwa, alleged owner of a company that had hired the bogus interpreter and former head of the ANC's religious and traditional affairs desk, and his wife Cikizwa, who had been a personal assistant to a senior party spokesman.
The South African Press Association quoted Keith Khoza, another party spokesman, as saying the ANC employees had resigned.
"No reasons were given," SAPA quoted Khoza as saying. "They just submitted their resignation letter. It happened in December after the incident."
Xozwa has said the interpreter, Thamsanqa Jantjie, was not working for the company at the Dec. 10 Mandela memorial inside a soccer stadium, at which he stood close to U.S. President Barack Obama and other world leaders and signed gibberish.
Jantjie said he has schizophrenia, hallucinated and believed he saw angels during the memorial. Experts say his signs were meaningless.
Friends said Jantjie was also involved in the mob killing of two men in 2003, but was found mentally unfit to stand trial.
Mandela, the anti-apartheid leader who became South Africa's first black president, died on Dec. 5 at the age of 95.


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Thomas Kinkade Alzheimer's Charity Angel Figurine Collection
Limited-edition. Handcrafted angel figurines with faux gem, forget-me-nots. A portion of proceeds donated.
Measure approximately 7-1/4" H
- Each issue shipped automatically
- Never risk a price increase
- No risk - 100% satisfaction
- No obligation — cancel any time
- Price:
- s&s◇
Caregivers for Alzheimer's patients are indeed angels. Now, celebrate their caring and compassion with Thomas Kinkade's first-ever angel figurine collection created to raise Alzheimer's support and awareness, beginning with Issue One, Caring. Soon your collection will continue with the arrival of Issue Two, Compassion, followed by Issue Three, Love, Issue Four, Hope, and additional collectible Thomas Kinkade Alzheimer's support angel figurines, each a separate issue to follow.
Available exclusively from The Hamilton Collection, each of the unique angel figurines in this limited-edition collection presents a heart-shaped faux gem as a shimmering token of faith and hope. Expertly handcrafted of artist's resin and hand-painted in exquisite detail, these figurines feature pearlescent white wings sparkling with glitter, cascades of forget-me-nots (the flower long connected with Alzheimer's awareness), and golden lanterns, the signature trademark of Thomas Kinkade. Plus, a portion of the proceeds from the sale of each figurine will be donated to Alzheimer's research. Strong demand is expected, so order now!
California Residents click here for Proposition 65 notice.
- Join in the battle against Alzheimer's with this exquisite Thomas Kinkade angel figurine collection, his first-ever angel figurines created to support Alzheimer's research, exclusively from The Hamilton Collection
- A portion of the proceeds from your purchase will be donated to aid in Alzheimer's research
- Each angel figurine offers a message of hope, compassion and support, and presents in her hands a brilliantly colored heart-shaped genuine faux gemstone
- Each angel figurine in this collection is beautifully handcrafted of artist's resin and hand-painted in remarkable detail and rich hues
- These lovely angel figurines feature pearlescent white wings highlighted by hand-applied glitter
- Symbolic forget-me-nots, the flower long connected with Alzheimer's awareness, adorn each angel
- Thomas Kinkade's signature mark, a gleaming golden lantern, nestles among the flowers that grace each angel figurine
- Unique keepsakes for you or perfect Alzheimer's awareness gifts
- Editions strictly limited to 95 casting days, so order now
- Hand-numbered with matching Certificates of Authenticity
- Measure approximately 7-1/4" H; 18.4 cm H
- Reserves the entire collectible Thomas Kinkade Angels Of Caring Figurine Collection from The Hamilton Collection in your name so you never risk an increase on the price of other collectibles in this collection, or miss a single issue of this collection
- Each issue will be shipped to you for your review, about one every month or two (pending availability), at the same low issue price and charged to the credit card on which your order was placed. No need to order each one separately
- You may cancel your collection at any time with no obligation
- "Issue One - Caring," will be followed by "Issue Two - Compassion," "Issue Three - Love," "Issue Four - Hope," and additional collectible Thomas Kinkade Alzheimer's support angel figurines as they become available
- Buy This Item Now:
- Thomas Kinkade Alzheimer's Charity Angel Figurine Collection
Thomas Kinkade Helps You Join in Efforts to Raise Alzheimer's Support with a Dazzling First-Ever Angel Figurine Collection!
- Price:
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- Item no:
- 907610
©2011 The Hamilton Collection


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Wis. man charged with shooting at cars on Mich. highway
PITTSFIELD TOWNSHIP, Mich. (AP) — A man accused of firing shots at motorists along a highway near Ann Arbor has been charged with attempted murder.
Elmore Ray was charged Thursday with four counts of assault with intent to murder, weapons and other charges.
The 28-year-old was arraigned, and bond was set at $20,000. Authorities couldn't immediately say if he has a lawyer.
Police in Washtenaw County's Pittsfield Township responded early Wednesday to a wooded area near U.S. 23 after a 911 caller reported a man dressed in a black trench coat was standing near a bridge and shooting at traffic.
Police say they spotted Ray walking nearby and took him into custody. They tracked his footprints in the snow and found a sawed-off shotgun.
No injuries were reported, and police say no vehicles were struck.


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Stories from real people hurt by GPO, WEP
Thinking of Quitting Teaching in California
Penalized for Teaching in Illinois
Losing Widow's Benefits in Indiana
Severe Financial Penalties in Maine
Facing Poverty in Ohio
Penalized Unjustly in Texas
Discriminated Against in Massachusetts
A Dismal Retirement Prospect in Illinois
Rethinking the Choice to Teach in Maine
Grossly Unfair in Missouri
Feeling Cheated in Massachusetts
Thinking of quitting teaching in California
I have worked since 1961 including fifteen years in the private sector where the only retirement was Social Security. I also held summer jobs that required Social Security payments. For the past 14 years I have been teaching in public schools and participating in my state's retirement system.
Because of this I will not be allowed to receive my own Social Security. This is so unfair. I have paid into the system and now I will not be allowed to collect what belongs to me.
I have been advised to quit teaching and take another job, so that when I retire, I might get my teacher's pension and my Social Security. Is this fair when there is a teacher shortage and I love my job?
--An educator from California
Penalized for teaching in Illinois
I am a retired teacher after 40 years of service. I am currently drawing a teacher's retirement in Illinois. When I become 65 I will be unable to draw anything on my husband's Social Security, even though he has been disabled for 20 years and I have been the sole support of the family.
On the other hand, his cousin, who has never worked a day in her life, draws Social Security on her husband's benefits. Is this fair? Of course not!
I am penalized for working in the teaching profession for 40 years instead of in private industry, where I would be able to draw on my husband's Social Security. Is this any way to draw qualified teachers to the profession?
--An educator from Illinois
Losing widow's benefits in Indiana
I am a retired Illinois teacher who is directly affected by the Government Pension Offset to Social Security because I draw a Teacher's Pension from the state of Illinois.
My husband worked in the private sector for nearly 35 years and paid into Social Security. He died in November of 1999. At the time of his death he was receiving about $1,200 per month in Social Security benefits.
When I applied for my survivor's benefit, I learned that I would receive nothing from my husband's Social Security benefit. I feel that this is totally unfair. The amount that my husband paid into Social Security has absolutely nothing to do with my Illinois Teacher's Pension. I should be receiving my widow's portion of his Social Security.
I have moved to Indiana to be nearer my family and I have learned that Indiana teachers are able to receive Social Security. The law that stops me from receiving a portion of my husband's Social Security is unfair for many reasons and should be changed. At my husband's death, I not only had to face the dramatic loss of my husband, but also a great portion of my income.
This just should not be and that law must be changed.
--An educator from Indiana
Severe financial penalties in Maine
I worked in the private sector for more than forty quarters (fifteen years at least) and only returned to teaching ten years ago.
For my years of service as a teacher, I anticipate receiving a monthly income of $1,200. My estimated Social Security benefit would have been close to $700 a month, but because of the offset, I expect around $120 a month from a system to which I made regular contributions.
If my spouse dies, I will not receive anything from his Social Security, although he too has paid into it his whole life. If I had known the severe financial penalty I was to pay for returning to teaching I don't think that I would have done it.
--An educator from Maine
Facing poverty in Ohio
I worked for 15 years under Social Security; even when I owned my own home-based business to stay home with my daughter for 5 years, I was careful to fill out all the paperwork and contribute to the system every quarter.
Then there was a big push for people in private business to go into teaching: Our expertise, experience and qualifications were badly needed.
Two years later Congress enacted the offset - cheating me out of my hard-earned Social Security just to balance the budget on the backs of many hardworking teachers.
I am now 54 years old. In order to retire with a full state pension I will have to teach until I am 73 years old. I counted on having 20 years under teacher's retirement and 15 years under Social Security.
Now, with the offset, I am facing retiring in poverty at about $16,000 per year. I believe there are many women in my position who will face a poverty-stricken retirement. Does anyone care about us?
--An educator from Ohio
Penalized unjustly in Texas
I worked both as a teacher and as a Registered Nurse and I have paid fully and completely into both Social Security and my teacher's pension fund for retirement.
I will be penalized unjustly in my own Social Security benefit for having worked as a teacher. The offset is much greater when they take away your justly earned Social Security.
We need teachers and we need nurses. Must I live in poverty in my retirement because I worked hard in both these areas but will only be compensated for one?
--An educator from Texas
Discriminated against in Massachusetts
I taught in a state that deducted Social Security for four years; I then moved to a state that didn't deduct Social Security. I also worked at various jobs while in college, prior to college and during some summer vacations. So, I have earned a right to Social Security benefits even though I am receiving a teaching pension.
I find the offset program totally reprehensible!!! Why can't I get the total benefit that any other worker would receive? The small amount that I would receive would make retired life somewhat more manageable. I am being discriminated against just because I worked hard and paid into the program!
--An educator from Massachusetts
A dismal retirement prospect in Illinois
Together, my husband and I worked a total of 78 professional years, he as an
attorney and I as a teacher. My monthly state of Illinois pension of $1,700 prevents my drawing any Social Security as a spouse, since my entitlement thereto would be less than my monthly pension.
In my own right, I have earned sufficient quarters under social security
to be entitled to my own benefit, but since there is a correction of $2 out of every $3, my grand total of social security benefit in my own entitlement is $166 per month. Simple arithmetic tells me that my annual retirement income is $22,392, hardly regal after 37 years of teaching.
Both my husband and I have paid for benefits which we
are now denied, and my retirement income is hovering dangerously low. Yet Social Security tells me that under current law, neither my husband nor I will ever receive anything from each other, even after one of us dies. This is a dismal prospect at our ages of 63 and 62.
--An educator from Illinois
Rethinking the choice to teach in Maine
This is my second year teaching and I absolutely love it. In my former life I contributed the maximum amount of Social Security each year. In the late seventies, there were few if any positions open and since I paid for my education on my own, I needed to pick an alternative career. In the late 1990's I responded to the pleas I heard in the news media - we need teachers!
Now I am rethinking my choice as I worry about my retirement. Had I known that I would lose my Social Security contributions, perhaps I would have chosen a different state or stayed in private industry. I entered the teaching profession, realizing I would take a tremendous cut in pay but thought that my years of maximum contributions into Social Security would still be enough to provide an adequate living allowance in retirement. I haven't had the heart to try and calculate just how much I have to lose. The thought is far too depressing. When I do get the courage to figure it out, is it too late to leave the education system and avoid penalty? Somehow I think my fate is sealed.
The president and nation still cry about the crisis of the nation's educators nearing retirement age. The low pay does little to attract the best of our nation's youth and does little to attract converts like myself. But when coupled with the reduction of social security benefits, it makes matters worse. Many of my former coworkers are also interested in becoming educators. Their kids are older, houses paid for and life is more stable. As soon as I mention the penalties, their interest diminishes.
There is a wide pool of talented, intelligent, innovative and mature business professionals that could benefit our education system. Until these penalties are eliminated, our educational system will continue to discourage people from joining this admirable and noble profession.
--An educator from Maine
Grossly unfair in Missouri
My husband has earned benefits under Social Security from teaching in Oklahoma and from work in construction and insurance sales that would entitle him to $980 month. The last 20 years of his teaching career (out of 35 total) were in Missouri. He retired from this position. Now his Social Security is reduced to only $379 per month.
I also understand that even though all of my Social Security benefits were earned in Oklahoma (a Social Security state) that in the event of my death his benefit under my Social Security would also be reduced by 2/3 of his Missouri teacher retirement. It is interesting to note that if my husband had never worked at all and never paid anything into Social Security, he would receive 100% of my benefits in the event of my death. Grossly unfair!
We need to repeal this unfair law!
--An educator from Missouri
Feeling cheated in Massachusetts
I served 13 years in the military and am a wartime veteran. I did not receive a military pension, however, I did pay into Social Security. I am shocked to learn that I may receive virtually nothing from Social Security. My teaching pension in Massachusetts will be small if I retire at 60 with only 22 years of teaching service. I had previously thought that Social Security would help to make up for the smaller teaching pension. I feel that the federal government is unfairly penalizing those who have embarked on second careers as teachers. They have created a disincentive that will work against filling projected teaching shortages. I feel especially cheated as I did sacrifice much during my military career. It is obvious that I would be much better off financially had I not served at all. I hope this is not the message that the government wants to send.
--An educator from Massachusetts


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Will you survive?
There was a virus. The city was overrun. Everybody died. But the dead have risen and they want human flesh.
Your only chance is to find other survivors like you - people who are immune to the virus. But first you're going to have to get past an array of grotesque and terrifying zombies. Not only that, but press the Share button and broadcast via Twitch, and you could have other PS4 players sending help into your game... or another wave of undead.
It's time to fight for your life. Scavenge for resources, buy and upgrade weapons and blast your way through hordes of the undead... make them wish they'd never died.


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the following line of code (which i found on a forum) helped me fix this:
Code:delete Ext.tip.Tip.prototype.minWidth;
the following line of code (which i found on a forum) helped me fix this:
Code:delete Ext.tip.Tip.prototype.minWidth;
I downloaded the latest 4.2.1 nightly build. How do I find what code changes to fix this?
Seems the tooltip issue is still not fixed in ExtJS 4.2.1-883 (commercial) in Firefox 21.0 on MacOS X. I've got cut-offs here. (But working perfectly in Chrome). The "invalid" text should be "File doesn't exist or isn't executable". None of the given workarounds in this thread works.
Edit: when adding a single point (".") to the end of the sentence, the text is displayed correctly in Firefox. Seems the length determination of the text is broken.
Bug still exists in 220.127.116.113 (GPL) and Chrome 27.0.1453.9. In Firefox 21.0 it works.
18.104.22.1683 is OK for me (both commercial and GPL) in Chrome 27 and Firefox 21.
@vot: Your screenshot is how it looked in 126.96.36.1993, could the old version still be in your cache?
@h.latzko: Can you provide a code example?
@richardvd You're right, it's all ok now. Did not know how this could happen because i always clean the cache while reloading during development, had too much trouble without this.
@vot: just use any textfield, and manually mark it as invalid with the following code:
Code:Ext.getCmp('whatEverComponent').markInvalid('File doesn\'t exist or isn\'t executable');
No problem in Firefox 21 on Windows 7 with this code:
Result:Code:Ext.create('Ext.form.Panel', { title: 'Simple Form', bodyPadding: 5, width: 300, items: [{ xtype: 'textfield', fieldLabel: 'First Name', id: 'whatEverComponent' }], renderTo: Ext.getBody() }); Ext.getCmp('whatEverComponent').markInvalid('File doesn\'t exist or isn\'t executable');
Anyone who can run this on Mac OS X with Ext JS 4.2.1 in Firefox 21?
The Mac version of firefox still has the form tooltip wrapping issue described in this thread.
Other tooltips behave better but not always.
Mac firefox 21 - OS X 10.8.3
Anyone else?
This thread is marked fixed, but it isn't fixed for the Mac version of Firefox.
Is there a work around for this?


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Nick wrote:I don't think Jim wants to wait until next year to shoot this movie. This thing ''we start filming in may or june 2013'' is just a lie honestly to give the fans a little hope, but as i said in previous posts, i don't think this movie will happen after all. Early next year (in january, february) i'm very sure that Jim will say in an interview ''No, it's not happening. Sorry guys!''
You see i dont want to me and you be bad guys here but we are just realistic and thinking same But wat could be his next movie ??? i mean if dumb and dumber to shooting NEXT year he must do something until then?? Maybe Bruce 2 or Ace 3 or PIERRE PIERRE


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from a mile away
Oh, New Times of Rwanda, you never cease to amuse. Today's op-ed ( to the Times' credit, it is clearly labeled as opinion) manages in spectacular fashion to tenuously "link" opposition presidential candidate Victoire Umuhoza Ingabire, Human Rights Watch, and two Catholic priests to the FDLR. It's an interesting study in the ways that a few facts (Namely, that the FDLR gets significant amounts of funding from abroad, France hasn't arrested all of the genocidaires living in its territory, and minerals flow in and out of the DRC with little regulation) can be so misconstrued as to construct an alternate reality. Glenn Beck would be proud.
An alternate reality, of course, is what the New Times' RPF backers need if they're to maintain the idea that Rwanda cannot safely be governed by anyone else. Rwanda's leaders are aware that the donors are watching this election more closely than the last two. They aren't able to lock the opposition out of the country as they've done in the past. Thus, the next six months will be full of poorly researched "news" pieces, bizarre security incidents designed to scare the population, and thinly-veiled verbal attacks on the credibility of anyone who dares question the RPF's narrative of life in post-genocide Rwanda.
The real shame in Rwanda is that the RPF could run a clean campaign on a solid platform. After all, they've restored peace and stability, significantly developed the economy, and improved the provision of public goods over the course of the last sixteen years. Would they win? It seems unlikely; they represent a minority of a minority in a place where ethnic tensions are still incredibly high, despite rhetoric of reconciliation. But the opposition lacks a record of success and wouldn't have much to campaign on, other than the "We're not the RPF" line they're using now. It seems to me that a true coalition government of RPF and non-RPF members would do much to restore the Rwandan people's faith that the government exists for all Rwandans rather than for just a few.


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Common uses
This medication is an analgesic. Typically, it is used for pain or to reduce fever. It may also be used for arthritis pain. Its effects can be felt within 1 hour.
How to use this medication
This medication is typically used every 6 hours. However, your doctor or pharmacist may have suggested a different schedule that is more appropriate for you. Generally, it is used only as needed.
Important: Follow the instructions on the label. Do not use more of this product, or more often, than prescribed. This medication may be taken with or without food.
Moderate consumption of alcohol, 1 or 2 units of alcohol per day (1 or 2 glass of wine, or 1 or 2 small beers, etc.) is possible without causing problem. Greater amounts of alcohol increase the risks of liver problems.
Possible side effects
This product is generally well tolerated and rarely causes side effects. When side effects do occur, they usually disappear on their own, without further treatment. If you think this medication may be causing side effects, talk to your doctor or pharmacist. He or she can help you to determine whether or not the medication is the source of the problem.
Storage information
As with most medications, this product should be stored at room temperature. Store it in a secure location where it will not be exposed to excessive heat, moisture or direct sunlight. Make sure that any leftover portion is disposed of safely.
Additional information
This medicine contains ACETAMINOPHEN. Taking more than the recommended dose may cause liver damage. Be sure to avoid consuming other ACETAMINOPHEN containing products at the same time. Check all product labels carefully for the presence of ACETAMINOPHEN.
General information
When meeting with any health professional, it is important for you to share the following information:
- Your medical history and allergies (medication, food, or other);
- If you smoke, are pregnant, are planning a pregnancy, or are breastfeeding;
- The names of all the medications you take, whether you take them regularly or once in a while, including over-the-counter medications, vitamins, and natural health products.
Keep all your medications out of the reach of children and pets and return any unused or expired medications to the pharmacy for proper disposal.
This document contains useful information for those taking this medication. It is not intended, in any way, to replace the advice of a trained health professional. For more information, consult the manufacturer's literature, where you will find additional information about uncommon side effects as well as contraindications associated with this product.


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Code: Select all
Code: Select all
hehe !O!Mandari wrote:sometimes i wish i could mod myself ....
hey Dor thanx a lot for your words buddy appreciate itManiacPsychoPro wrote:good luck man...killer design ))
big up from IL
hey mah friend thanx for the feedback buddycharly911 wrote:WOOOOOW
Super design!
hey buddy appreciate the kind wordsTriptecRecords wrote:KILLER DESIGN!!!!
all best!
tinks my man boom shantiNap wrote:Great man!!!!
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hehe trying hard buddy appreciate the kind words mateWic|{ed wrote:Always blastin muahahah killer dirty, nice website love the design
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Harvy Nichols Proves Looks Can Kill
In a hilarious scenario that illustrates the horror a woman experiences when another woman shows up to an event wearing the same dress, this DDB Adam & Eve video for UK designer Harvey Nichols pits two women against each other in a Star Wars-style shoot out.
As one woman catches a glimpse of the other at the party, all hell breaks loose and the women engage in an all out laser fight that rips the venue to shreds and ultimately results in what appears to be the death one one of the women. Victory.
Well...not so fast...
by Steve Hall Dec- 5-12 Click to Comment
Topic: Video
Topic: Video