alocispepraluger102

talk about musical integrity. none greater than the shortman. what's he into these days?

ware's---------- angel eyes.

thoughts?

ahhhhhhhhhhh

this bell's hell hath no fury tastes like liquid licorice laced with creosote. fine for the kind of music i listen to.........

bell's new hopslam ale, just a tad spicy, but the brahms leavens it.........

robert farnon and his orchestra play the hits of frank sinatra

Billy Bang Sextet Sweet Space 8th Harmonic Breakdown 2005 (1979) The tune that opens Sweet Space, “A Pebble is a Small Rock,” has a structure reminiscent of “India” or “Africa,” starting with the plucked bass intro by Wilber Morris. Drummer Steve McCall and pianist Curtis Clark add their voices, then Bang, Luther Thomas and Frank Lowe fall in to state the frenetic, spiraling theme on violin, alto sax and tenor sax. The title tune, classical in its conception and execution, is a playful landscape that sounds like insects buzzing. Wilber’s younger brother Butch Morris adds his cornet to the mix and he joins Bang for a quaint pas de deux until the other horns state the carnival-like theme. McCall takes the lead on “Loweski for Frank (T.F.R)” with a strong drum solo. “Music For the Love Of It” moves on a four-note holding pattern repeated by the band as Bang introduces the members to the audience. The alternate takes on Sweet Space consist of a second set with the same songs, played in a slightly different style and pace. Billy

i just cannot believe that isnt paul bley on piano

hey, got any territory 5?

it's called billy bang's sweet space. such music............!

very hard to find definitely not a sam adams fan, but their cream stout is definitely worth a sampling.

very hard to find

Sunday, October 29, 2006 Mahler beats Britten with finale knockout In the first half we had Britten's Violin Concerto, completed in 1939 and premiered in 1940 by Antonio Brosa and the New York Philharmonic conducted by John Barbirolli. The structure of the concerto is three movements with the final Passacaglia marked Andante Lento (un poco meno mosso). Its opponent in the second half was another 20th century masterpiece dating from 37 years earlier, Mahler's Symphony No 5 in C sharp minor, with its Rondo Finale marked Allegro - Allegro giocoso. The venue for the contest last night was Britten's own magical Snape Maltings, and the orchestra was the BPO. Everywhere else in the world BPO stands for Berlin Philharmonic Orchestra, but Aldeburgh is a parallel musical universe where the BPO is the Britten Pears Orchestra, a crack orchestra of young professionals whose spontaneous music-making puts to shame the auto-pilot efforts of the big name bands. Yes, they do take risks, as the early horn entry in the attaca between the last two movements of the Mahler showed, but give me ten of those for one of the current auto-pilot performances by the BBC Symphony. Conductor was man to watch Paul Daniel who conjured up memories of Sir Adrian Boult with a crystal clear stick technique, feet kept firmly on the podium, and violins divided across the stage. The outstanding violin soloist in the fiendishly difficult, and exposed, Britten Concerto was Thomas Bowes whose task was made even more difficult as he took over the part as a last minute substitute for the indisposed Janine Jansen. Britten was, of course, a great admirer of Mahler. He had received the score of the Ninth Symphony as a present from Peter Pears in 1938, and the Violin Concerto is clearly influenced by that great work, ending in a beautiful coda that struggles ambiguously between the desolation of D minor and the possibility of D major. An outstanding performance faded away last night, and the capacity Snape audience hesitated - had the work really finished, or was there another movement to follow to resolve the ambiguity? There was no such questions in the second half, the barnstorming Rondo Finale of the Mahler accelerated to its final bars leaving everyone in no doubt that this was the triumphant conclusion The audiences responded with an ovation, and there was no doubt that Mahler had won with a knockout in the finale. The status of these two masterpieces from two of the 20th century greatest composers reflects the audience's reaction. There are few recordings of the Britten in the catalogue (the finest of which remains the composer's own), and it is rarely heard in the concert hall. Searching Mahler 5 on Amazon returns 320 hits, and the work is a warhorse of the auto-pilot orchestras with the peripatetic Minnesota Orchestra riding it into town this summer for a BBC Prom. Why? Visconti's film Death in Venice undoubtedly helps the Mahler. I still cannot hear the Adagietto without seeing a heavily made-up Dirk Bogarde, just compare the photo below of Bogarde in the film with the header image of Mahler, and in a neat piece of synchronicity one of the highlights of the 1007 Aldeburgh Festival is a new production of Britten's opera Death in Venice with the Britten Pears Orchestra in the pit (except Snape doesn't have a pit). The Britten Violin Concerto is unpopular with today's auto-pilot soloists who find it difficult to learn and in little demand from the equally as auto-pilot concert planners. But I wonder what the impact of those two finales is on the relative popularity of the two masterpieces? Granted there are many examples of frequently played works with equivocal endings including Maher's Ninth Symphony, the Rite of Spring and the Gottedamerung. But these are outnumbered many times over by the popular works with rousing and uplifting conclusions, including Mahler's own First Symphony (have you ever heard a performance that didn't get a standing ovation?), Beethoven's Ninth and numerous other examples. So is there a lesson here for contemporary composers - please your publisher with a rousing finale? * A timely reminder that December 4th 2006 is the thirtieth anniversary of the death of Benjamin Britten. The composer was a friend of admirer of Shostakovich, and it is an irony that this important musical anniversary looks likely to be overshadowed on the BBC and elsewhere by the current Shostakovich saturation. Britten was a great composer, conductor and pianist, a musical visionary, pacifist and humanitarian whose legacy not only survives, but grows with the work of the Britten Pears Foundation which embraces young performers and composers. Many of Britten's admirers, including me, will be attending a concert at Snape on December 2nd by the Britten Sinfonia and Britten Pears Chamber Choir which will include Britten's 1948 cantata St Nicholas and Arvo Pärt's Cantus In Memoriam Benjamin Britten. We are also fortunate to be seeing the acclaimed new Glyndebourne Touring production of the Turn of the Screw in November. Britten's Violin Concerto was first performed with John Barbirolli conducting the New York Philharmonic, now follow this link for more on new music in New York at that time. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and other errors to - overgrownpath at hotmail dot co dot uk

another brand of antifreeze. ghetto juice called sparks +(7%), and i like love fake orange flavor.

the magical world of gordon jenkibs

Breaking through Apple's FairPlay By Joris Evers http://news.com.com/Breaking+through+Apple..._3-6129420.html Story last modified Thu Oct 26 06:16:17 PDT 2006 DVD Jon is at it again. But this time, he's in it for the money. Jon Johansen, the 20-something hacker widely known for helping crack the piracy protections on DVDs several years ago, is taking on Apple Computer again. He has reverse-engineered Apple's FairPlay, the digital rights management technology used to make iPod and iTunes a closed system. As reported earlier, the Norwegian has started DoubleTwist Ventures to license his work. The technology will make other online music stores work with Apple's iPod device and let iTunes songs play on gadgets other than the iPod, said Monique Farantzos, Johansen's business associate and DoubleTwist co-founder. The current situation is unsustainable. Farantzos said she made contact with Johansen after reading a profile of him in The Wall Street Journal. The pair sees a business in making digital media interoperable. They started working on this in the spring and are now talking publicly about it. The first customer has signed on, though its name is not being disclosed. If successful, DoubleTwist could break through the wall Apple has built around its music business. Farantzos, a biophysicist by training but now into technology business development, talked about the company's plans and challenges with CNET News.com. (Farantzos photo courtesy of J.D. Lasica.) Q: What is it the company doing? Farantzos: We have two components in the business. One is to enable other online stores to wrap their content with FairPlay so that it works on the iPod. Major labels and studios do not release their content unprotected. If you want to offer DRM protected content and you want it to play on the iPod, you have to use FairPlay. So we have developed a method for making content compatible with the iPod. We also plan to allow competing devices play iTunes content. When you buy a DVD, you know that the DVD will play on your Toshiba or Sony or Philips player, but when you buy music or video online, you don't have that. It is kind of like the zoo: Every animal is singing a different tune. We hope to make sense of that, and we have developed a technology to enable that. And this is technology developed by Jon. Farantzos: It is based on Jon's work. And this technology isn't something that Apple can easily shut the door on, as they've done in the past with RealNetworks' Harmony? Will we see update after update to keep it working? We have our own way to make sure it works and keeps on working. An important element is that the user will not need to do anything on their part. We have technology that basically guarantees that it works for them. User-friendliness--we thought that through extensively. What if Apple finds out how this works and updates its technology to block your hack? Or do you not think this can happen? It is not as easy as it sounds. They have sold 1.5 billion songs and there has to be some level of backward compatibility, otherwise it is going to be very painful for their users. We are confident that what we have works and will keep on working. Can you give me an example of how your technology works? Say I'm a maker of media players, and I would like my device to be able to play iTunes content… You would license some code that you would embed in your device and then there would be an application that would be installed on the computer that the device is syncing with. Essentially, what we do is trick iTunes into thinking that the device is an iPod. Is your technology ready to be licensed and used, or is it still in development? Some parts of it are ready, and there are still things we're improving upon. Online stores offering content for the iPod--that is going to come first. What they would do is just add another button on their site that says: "Click here to download this to your iPod." Sure, the iPod supports MP3s, but that is kind of a moot point because I cannot buy a major band in MP3 format, almost nobody offers unprotected content. Being able to play iTunes songs on other media players, that needs more time to develop. Any idea when that might be done? Yes, we're still working on that. I can't give a timeframe. Next year sometime, or even before the end of the year? Well, we joke that Steve Jobs will not send us a Christmas card this year. I am sure some people at Apple are upset about losing their monopoly. Do you think you can get away with this? We have consulted extensively with attorneys. Wrapping content with FairPlay is definitely within the limits of the law. We're not removing any copy protection, we're simply adding copy protection. In other news: Long road ahead for Oracle and Linux Bringing Wi-Fi power to the people Using nature's design to create a better world News.com Extra: House of IT horrors Video: First Look at the Nintendo Wii Over the next few months, on the hardware side, you're going to see interoperability become more and more of an issue, and there may even be some antitrust concerns that come up. I think we're in pretty good shape. Are you betting that antitrust concerns will come up and that you will be the first to offer the remedy? We're kind of in the first wave, yes. The current situation is unsustainable. Now Microsoft is coming out with their own closed system, and I even read something about Real coming with their own closed system with another manufacturer. It is the law of the jungle out there. Things have to start working. The devices and music have to start working with each other; otherwise, consumers will probably end up buying pirated or unprotected content to solve their problem if we don't solve it for them. You haven't heard anything from Apple yet? What would they say? It would be premature for Apple to do anything anyway. We have not heard from Apple at all. (Apple declined to comment.) Your company is DoubleTwist Ventures. Is it backed by any venture investors? There are some individuals supporting it. We've been in a unique situation as a start-up, because we've been profitable since Day One. We have encountered overwhelming interest for our products. Copyright ©1995-2006 CNET Networks, Inc. All rights reserved.

Nat Hentoff writes about Dave Insley for the Wall Street Journal, Oct 10th 2006 10/11/2006 11:18 am Years ago, traveling through the South on the Earl Scruggs-Lester Flatt band bus, I was struck -- at an outdoor concert in a small Alabama milltown -- by the intense attentiveness of the working class audience. "Sure," the dobro player said to me, back on the road again. "We know who they are. We tell them about their lives." This classic conversational sound of country music isn't heard much anymore on the mainstream country radio stations. Exemplifying that commercial culture, the Country Music Association's self-celebrating awards show, which was televised on ABC in July, had no room for Merle Haggard. The often raucous Hank Williams Jr was on hand, but if his legendary father were still here, he would have been venerated during the evening but not have fitted into the clangorous rock-pop-laced commotion of much of the show. However, coming upon a new self-produced release, "Here With You Tonight" (Amazon.com and Milesofmusic.com) by singer-songwriter Dave Insley, I was again listening to stories one could hear at the tables -- as well as on the bandstands -- of honky-tonks. Indeed, a promotional sheet accompanying the CD suggests: "File under Americana / Honky Tonk." Mr. Insley, who gives his cellphone number on that sheet, is based in Austin, Texas, but often on the road. His recording immediately held my attention not by showboating, but through naturally flowing rhythms and stories of everyday life and loss told in a warm, unhurried and sometimes wry voice of experience: "Well I cashed in my old life for the one that you see now, it don't mean that I'm a loser, it just means that I know how." Setting a scene that I expect will resonate with many listeners, as it did with me, Mr. Insley sings: "I've seen the look that flickers across your eyes when you tell me things are fine. I can't help but realize, that you and I are living on borrowed time." Born in Junction City, Kansas in 1961, Mr. Insley was raised on a wheat farm. While his father worked that farm, his mother waited tables at a nearby truck stop. Growing up, he listened to their record collection of Merle Haggard, Buck Owens, Bob Wills and other storytellers; and by the time he was 12, he was playing the guitar, writing and singing songs. Two years later, the family moved to Arizona, and by the age of 22 Mr. Insley was leading a band, Chaingang -- "Playing traditional country music," he recalls, "for punk rock fans." Puzzling, but critically acclaimed, Chaingang resounded in Phoenixs succeeded by the Flagstaff-based Politics or Pontiacs, which toured Europe for six weeks in 1988. (He still has a European following.) Back in Phoenix, leading other combos -- in 2000, the Arizona Republic called one of them that city's "Best Roots Band" -- Mr. Insley eventually decided to move on to Austin, "to see how my music holds up to broader audiences. Also, like my spiritual homeland, Arizona, the lifestyle here is very Southwestern, and the cost of living is low." His two albums so far -- "Call Me Lonesome" and "Here With You Tonight" -- have done well on independent stations that report to the Americana (AMA) and Freeform American Roots (FAR) charts. There's still a U.S. audience for country music without the glitter. And although Mr. Insley hasn't toured Europe since 1988, his sets make the Top 10 on the EuroAmericana chart. With pride, he tells me, "we're on about 50 European radio stations, and I get fan mail and autograph requests from Italy, Germany, England & Spain." "Roots" country music has long had audiences in various parts of the world, Japan among them; and years ago, listening to tapes a musicologist had collected in remote parts of Africa, I heard a yodeling tribute to Jimmie Rodgers ("the singing brakeman") who infused black blues he'd heard riding the rails with country music. Mr. Insley plays about 150 shows a year, mostly on the road -- in cities where he's been performing for at least six or seven years (from Sacramento to Nashville, as well as festivals in New Jersey & Pennsylvania). He tells me excitedly that Dave Insley & his Careless Smokers (he used to be a forest fire fighter) will perform Thursday at the Rodeo Bar, 375 Third Avenue in New York. (Show starts at 10 pm -- and, as befits a man who produces his own records, gives out his cellphone number and doesn't have an entourage or publicist, he adds that there is no cover charge.) I asked Mr. Insley where his songs come from. "Sometimes," he said, "I write to rid myself of my demons, and also because the things I create are sometimes my only companions. And I write because it makes me feel better." As for the song about cashing in his old life, he recalls, "I wrote it in a trance 15 years ago. Never knew how true the words would sound to me at a completely different time in my life." Of the other songs he wrote for "Here With You Tonight," Mr. Insley told me: "By the time I had recorded them, the words had all taken on new meanings for me." As his life changes, the songs he writes as a form of memoir tello him more about where he's been and what he's learned. "I try," he adds, "to use specific details or examples to convey universally understood themes. That help's the audience understand that the artist's feelings are real. When you hear the pain in Hank Williams voice, you don't even have to speak English to get the drift." (So too with Jimmie Rodgers in Africa.) From Mr. Insley's "Open Road": "Time sure flies when you know you're leaving, and it moves real slow after you're gone. My heart knows what to hold onto, an open road and an old love song." And on that road, "Here With You Tonight" made it's debut at #1 in July on the Freeform American Roots chart.

http://en.wikipedia.org/wiki/University_of_Phoenix_Stadium

my main reason for showing the link was that incredible rollout grass. the site seems fairly aged. several newer stadiums arent displayed.

http://www.stadiumsofnfl.com/nfc/Universit...enixStadium.htm

from the October 20, 2006 edition - http://www.csmonitor.com/2006/1020/p02s01-stss.html Disappear into thin air? Scientists take step toward invisibility. By Peter N. Spotts | Staff writer of The Christian Science Monitor Flip a switch and make something disappear? It's been the stuff of science fiction for decades. Now, two Duke University scientists and their colleagues have built the world's first device to render an object invisible. At least, it's invisible to microwaves. But researchers say the work demonstrates that, in principle, objects could be made to disappear from radar, cameras, and other detection devices. The trick? A new class of engineered substances called metamaterials. These materials could someday add muscle to microscopes, reduce the size and increase the capability of radar, sonar, and other remote-sensing devices, and cloak or shield objects, researchers add. The rudimentary microwave cloaking device was reported in Friday's edition of the electronic journal Science Express. It's hard to overstate "how amazing this whole field is," says Nathan Myhrvold, former chief technology officer for Microsoft Corp., who now heads Intellectual Ventures, a company in Bellevue, Wash., that focuses on inventions. Metamaterials exhibit electrical and magnetic properties not found in natural materials. In essence, they respond to radiation - whether microwaves or visible light - in new ways. The US military's current stealth technology makes a plane hard to detect by radar. In theory, metamaterials could make it disappear. The cloaking device, announced Friday, looks deceptively simple. "It's a compelling example of what we can do" with key properties that metamaterials exhibit, says David Smith, a Duke University professor of electrical and computer engineering who is one of the field's two founding fathers. In essence, the device consists of tiny copper antennas etched on thin, nested cylinders of circuit-board material. In the center, the team put a small object that would send microwaves flying helter-skelter if they struck it. A microwave beam slipped past this array of antennas and the target it encircled, much like ocean swells flow past a small offshore rock poking through the surface. The microwaves slipped by the setup virtually unaffected. Potential applications range from improving cellphone technology to shielding people and equipment from disruptive forms of radiation. The field of metamaterials is still in its infancy, Dr. Smith says. In 1967, Russian physicist Victor Veselago showed that it was possible in principle for matter to appear to display oddball traits. Light could appear to move backward. A reed would appear to bend back out of a batch of metamaterial, rather than continue in the same general direction, as it would in water. A lens made from this theoretical material would perfectly reproduce the tiniest details of the object behind it - at least over very short distances - in ways no traditional lens can. In the late 1990s, physicist John Pendry of London's Imperial College began making metamaterials. By tailoring their designs, researchers could give these materials unique electrical and magnetic properties that their constituents - like the copper and fiberglass in Smith's device - couldn't hope to match individually. In 2000, Smith found a combination of metamaterials that displayed the oddball optical properties Dr. Veselago's calculations predicted. While Smith and his colleagues are working to cloak a three-dimensional object, others are looking to perfect superlenses. In May, a team led by physicist Xiang Zhang of the University of California at Berkeley unveiled the first crude superlens using ultrahigh-frequency sound waves. The hope, he says, is to develop devices, such as ultrasound imagers and sonar, that are smaller and lighter and render objects in far more detail than today's devices can. Full HTML version of this story which may include photos, graphics, and related links

well stated. i concur.

has this been posted? http://www.monkzone.com/site.html