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An ongoing series of articles on songs & performances of the early Grateful Dead.
August 20, 2009
Did The Dead Like Their Live Albums?
We think of the Dead as being reluctant to record in the studio, feeling that they were much better live....
The live experience rarely came out well in their releases, though - even though they put out so many live records through their career, I think their choices were often strange.
Live/Dead '69 is of course unassailable. They had recorded some '68 shows to use in Anthem of the Sun as a sonic experiment, which then took them months to combine & mix with the studio tracks. But it seems releasing a live-album didn't occur to them until they noticed how in-debt they were to the Warners label, thanks to all that studio time. A live record seemed the easiest way to record cheaply and make some money back to pay for Aoxomoxoa, and they had a long suite of music that was just right, as well as being totally different from their studio experiments.
So on Live/Dead they emphasized the longer jam pieces (most of which they'd been doing for a year), and mostly omitted the new Aoxomoxoa songs that were in their setlists. Garcia said, "We were after a certain sequence to the music. In the sense of it being a serious, long composition, it's our music at one of its really good moments." But Live/Dead was the last time they would fill an album with jams! So while it remains perhaps the finest introduction to the Dead for psychedelia-lovers, it may have also misled many people who thought the Dead would always be like this.... At that time, the Dead were evolving so quickly, Garcia said, "When Live/Dead came out, it was about a year out of date." (And that was only nine months after being recorded!)
Live/Dead was probably seen as an extravagant step at the time....I don't think by '69 there were a whole lot of live rock albums (let alone double-albums) that showed a whole different band than the studio records. Cream's Wheels of Fire comes to mind, there are probably others, but it was a new field - and the idea of releasing new songs only on live albums would be quite novel!
Once that was done, the Dead could have just stopped recording their shows - but they found it useful, or Bear insisted, so they started massing up piles of tapes.... From what I've read, they only checked these tapes right after the shows - after that, they never wanted to hear them again! They also didn't consider these tapes for release, apparently, but only for their own reference - when they wanted to record a live album, they brought in multitrack equipment. So it seems all their live albums were planned ahead, since they wouldn't be carrying around mulitrack decks on every tour.
Workingman's Dead & American Beauty in 1970 were their biggest hits yet, and Garcia/Hunter were on a creative roll....so you'd think they would follow up with more studio records. But, surprisingly, they decided not to do another studio album until 1973! (It's worth mentioning that the Sunflower records Vintage Dead and Historic Dead, from 1966 shows, came out at this time. They weren't strictly bootlegs, but apparently the Dead were horrified. Garcia said, "There's no point going back to the past....those performances weren't meant to stand around forever. They were for that night....it's not what's happening now. It's just a source of embarrassment." They were also not too pleased to see the fan-produced live bootlegs that started coming out in 1971 - in general they tried to prevent tapers from recording shows in the early '70s.)
The Skull & Roses album in 1971, Garcia particularly liked, feeling it showed the essence of the band - "It's the prototype Grateful Dead....a good example of what the Grateful Dead really is....people can see we're like a regular shoot-'em-up saloon band." I think it was meant as a snapshot, "here's where we are now", maybe for fans who were requesting another live album! It's not one of my favorites, but it does show where they were at in early '71, with all the covers and a couple new songs (with overdubs by Merl Saunders). They decided not to put on new versions of older songs, except for the Other One, which had certainly changed dramatically since 1967! Otherwise, fans hoping for a new Live/Dead were in for some cold water.
Again with Europe '72, the Dead decided to release their new songs in a live album rather than go to the studio. The Skull & Roses album was actually their biggest-selling record - and in fall '71 they'd broadcast a whole series of shows on the radio, so the droves of "Dead Freaks" clearly couldn't get enough - another live album probably seemed the natural thing to do. So they brought the multitrack equipment to Europe, hoping to record a live album that would help pay for the cost of bringing their entire organization on the two-month tour of Europe. (Hunter was disappointed that they didn't record his new songs in the studio, though.)
It must have been a surprise to get a whole triple album from the Dead, with a bunch of new songs (though the sides were pretty short). China Cat showed up for the second time on record, quite different from its Aoxomoxoa form - a couple 1970 songs were chosen, rocked-up since the originals - and jam-lovers got a lot to chew on with the third record. It's interesting, though, that with both these albums, the Dead felt the need to overdub in the studio. Listening to the original shows, it doesn't seem necessary! The production makes it sound like they're playing a super-slick set in an empty hall. In hindsight, it seems more surprising how much they left off Europe '72 (more Pigpen?), but it was still a pretty good release.
1973 is where the Dead started to fall off the rails with their live albums. After Pigpen died, they decided to put together kind of a tribute album to him. (And, finally finishing off their Warners contract was also an issue - they wanted their new studio recordings to come out on their own label.) So we got Bear's Choice - History of the Grateful Dead, vol 1. Bear's choice was interesting - he went back to the Fillmore East 1970 shows and put together an acoustic/blues/r&b record with a few Pigpen highlights, and only one song that had been on record before. A nice collection, but still feeling like a casual toss-off - it's their shortest live album (the only single-LP one), and it didn't represent those shows well at all. The Dead didn't much like it themselves, and were ready to forget it as soon as it came out - which might explain why there was never a vol. 2!
(I quoted Garcia's thoughts about it in another post here.)
After that came Steal Your Face....or 'Steal Your Money', as thrilled fans called it once they heard it. The Dead had managed to make very lousy recordings of their October '74 farewell shows - but after taking an extended touring break and recording Blues for Allah, they were short on material to release an album in 1976, and Garcia's work on the film was gobbling up money, so they decided to revisit these shows for another live album. (As Garcia said, "We were not working, and we didn't have anything else to deliver.")
They could have taken tapes of practically any '74 show and made a great album - but decided to stick with the film multitracks regardless of quality. Bear was very unhappy with the tapes and thought they were crap: "It was made from totally screwed-up master tapes... We spent months on it, almost overdubbing the entire multitrack tape in the studio. There was never any possibility to salvage any of it, and the movie was a total disaster as well as the album. The performances sucked, and no one could change that."
But Phil overrode him and picked out a double-album of songs that mostly hadn't been on albums before, covers and new songs - some of them things that had slipped through the cracks on the last couple live albums. Unfortunately, he also decided to leave out any of the jams that had made those shows notable! So this record of leftovers came out in '76 to massive disapproval - even Garcia admitted, "None of us liked it. I'm sure even Phil didn't like it."
Garcia also finally finished the Grateful Dead Movie, which had a more interesting selection and was a lot more satisfying. Of course, as the recent DVD showed, he still left out a mind-boggling amount of stuff, but the film was still over two hours, and he was very strict in picking things he thought looked good.
(In contrast to Steal Your Face, the 2004 5-cd '74 Movie Soundtrack is excellent - basically nonstop jams, though the sound is still kind of dismal. It's the kind of huge archival release that couldn't have been considered til recently, though.)
The Dead had also started a new never-ending yearly binge of touring - presumably they could have kept putting out a live album every year. But they'd decided that the studio routine was what they wanted for their new material - and as the years went by, new songs started drying up, and the albums kept getting worse.
They did record the Egypt '78 shows hoping to make a live album from that.....but the shows turned out to be too poor to use. As Garcia said, "What could be more amazing? A total eclipse, a full moon, the Great Pyramid. Everything perfect and we went and played shitty. It didn't really matter."
Finally in October 1980 they decided to record their acoustic/electric shows, and in a fit of generosity, released two double-albums. Garcia explained, "We really ended up with so much good material that it was a struggle. The idea of just one acoustic and one electric record was sort of pathetic, since our electric tunes are seldom less than eight minutes long. And that meant our fat electric album would have two songs on a side."
Reckoning was the acoustic release - as far as being a full document of the shows, it was perhaps their best live-album yet, including most of the acoustic songs they did. Dead Set was a selection from the electric shows....unfortunately, late 1980 was not a golden period for live Dead, although the shows were serviceable enough, and the songs further suffered from being edited (sometimes severely) for the record. By this time, their setlists were large enough that any selection would be somewhat random, but once again they aimed for songs rather than jams, and songs that hadn't been on previous live records - if this were an actual Dead set, most of it would be a first set!
Don Pearson, their sound engineer, was disappointed: "When the tape was rolling, they choked. Once they knew tape was rolling, they would do a mediocre show. [When] they did a fabulous show, of course the tape wasn't rolling."
Weir said of the album, "What we got were some nearly letter-perfect performances that were a little lacking in punch. But the old punch doesn't come across on tape... I think everybody had in the back of their mind that the tape was rolling and we were going for a record, and concentrated on a little neater rendition of a given tune rather than a more impassioned performance... Unfortunately, a number of the songs that we got that were really wonderful performances were also songs that had been out on so many records that we couldn't do it again. It would have been nice to put The Other One on, for instance....I thought Scarlet Begonias was going to be on there...."
After Dead Set, I think their live shows improved markedly in Nov/Dec '80. Considering how they could stretch out the jams in '79 and '81, it must have been a band decision to have such concise shows in '80 (for instance, Weir talked about cutting down on the spacey jams)....perhaps trying to reach new Go to Heaven fans?
The Dead didn't release anything for the next six years. Finally, impatient fans were treated to....Dylan & the Dead....which I will pass over in silence.
After painfully squeezing out a couple more studio albums in the late '80s, the Dead experienced a bit of a live renaissance in '89, and recorded shows from '89/90 for another triple-album. Phil again did the selections for this, but Without a Net turned out to be a good representation of where they were at. It's not my favorite period of the Dead, and I have many quarrels with the song selection, but at least it tries to represent the full range of a Dead show. It captured the first set/second set flow much better than Dead Set had - and although any setlist selection from 1990 would leave out much of their material even on 3 albums, the choices were at least interesting ones, and for the first time it wasn't governed by "let's avoid live versions we've released before" - two songs were even repeated from Dead Set!
Without a Net came out after Brent died - since the band entered a serious decline afterwards, it was pretty much the last gasp of new Dead releases. (Although there was a live Garcia Band double-album in '91.) Bob Bralove also produced the Infrared Roses record in '91 - but although this was taken from live shows, and the band must have thought it was pretty cool, I just don't consider an hour of manipulated midi space to be a live album.... There's also Grayfolded from '94, the John Oswald production of multiple Dark Stars that was apparently Phil's idea.
Overall, the Dead's live albums were a mixed bag. If you were a fan of their shows and wanted a record that was much like what you heard.....there was rarely a release you could turn to. Almost always, the Dead wanted their live albums to be a collection of songs, preferably new songs, and minimized the amount of jamming included.
Through the '70s I suspect the Dead really were looking for 'pop hits' as much as any band - hence all the work in the studio (especially '77-80), and the focus on just-right songs on their live albums. (Or check out how concise the songs on Wake of the Flood were, though they'd already been stretching them out live.) If true, they kind of lost control looking for that magic radio-friendly sound - they weren't being true to themselves - which helps explain why they skidded & stayed out of the studio for most of the '80s.
Anyway - the lack of jams on their live albums may just be due to the limitations of vinyl.... As Jerry said, if you put jammin' tunes on, you get only two tracks a side (as on E72) - or even just one a side (like Live/Dead)! Filling up an album with songs might have seemed to give better value to record-buyers. (But in this respect, fan-traded tapes worked much better than 'official' records, since tape sides are so much longer.)
It may also be that the Dead didn't trust their jams to hold up well, since they were pretty critical of their playing. The Dead didn't like listening to past work....they mainly heard the mistakes, and what they could do better now. As Garcia said, when he heard an old record, "I listen to what's wrong with it." So releasing a song, it doesn't change much, it's a good portrait - but a jam might sound 'dated' to them. Fans value a show as played - a snapshot of one moment - where the Dead were more about a process, and seem to have felt restrained in leaving behind too many snapshots of outdated moments. Garcia put it this way: "It's hard for me to go back to the past in terms of the music because for me it's a continuum and to stop it at one of those points....to me it always looks underdeveloped and not quite working."
Another possible explanation is the live-tape situation....the Dead were well aware from the '70s that fans were trading tapes. Artists always exaggerate the bootleg situation ("oh, why release that, everyone has it already") - and possibly, seeing a forest of microphones in front of them when they played, the Dead figured that just putting out a warts-&-all show would be irrelevant.
It is ironic about all the overdubs on the early '70s albums - to the extent the live performances just become 'backing tracks'. When the Dead released a live track, they wanted it to sound 'like a record', clean and professional - but I'd rather listen to any E72 show than that album... It is also ironic how the Dead stood at such a divide from their fans, who always wanted to hear "the real thing" rather than doctored-up compilations!
That changed in 1991, when One From the Vault came out. Finally, someone had heard the fans' prayers - they were going to release complete old shows! This plan didn't really get going until 1995....while the Dead were still active, there were only two Vault releases and two Dick's Picks. The release schedule exploded in '95, though, for obvious reasons.
The Dick's Picks series was actually even more of a breakthrough - the intent of the Vault releases was that, just like the regular live albums, they would be taken only from multitrack recordings of the highest quality. This creates evident limitations, ruling out most of the Dead's shows. But with the Dick's Picks, all those miles of 2-track reels could finally be used (with apologies for the quality printed on each cover)....as long as the Dead approved.
There were still some hitches to get through - Phil cast a harsh eye on some of Dick's picks, many were rejected, and he cut out a bass solo on vol. 1. (This may also have been due to a reel flip though - the other curse of Dead recordings. Many a show will never qualify for release because of a badly timed reel change.) Also, at the start they were only releasing 2-disc sets, which meant that shows like Hundred Year Hall had to be butchered for release. [Unfortunately we've returned to the 2-disc limit in recent years....]
I'll conclude with one reader's comment:
"It is ironic that a band that was known primarily for its live performances, who sought to try and capture the essence and "magic" of the live shows in their studio albums, mostly saw the live albums as Easy Money -- a way to fulfill contractual obligations, stop gap measures that would keep the overall operation afloat and allow them ultimately to get back into the studio!"
8 comments:
Dick Latvala asked Bear about the selection on Bear's Choice:ReplyDelete
"I said, 'How come you chose tunes that were the *least* exciting parts of these two shows?' And he said, 'I submitted over a hundred different ideas, and every one was rejected, and this was the one that got through.'"
The same was true of the early Dick's Picks and Vault releases....they were not so much the best "choices", but what was left after all the other choices were rejected!
As Latvala said, "It's not really 'Dick's Picks', it's just *called* that. I don't have the final say... I suggest things, and then we see how far they go. But it takes a lot of other people's agreements to get things off the ground."
Lesh was the bandmember most interested in maintaining the Vault & filtering shows for release. He's the one who hired Latvala as archivist; and he even released his own Dead compilation CD. He's also most in favor of digitizing the Vault so everything could be streamed. (In contrast, Weir said he never listened to older shows or new Dead releases, as he wasn't interested in hearing them.)
Lesh said in the '90s, "I'm just quality control... I was the one who was the most interested in preserving the quality of what we put out. There's a demand for that material, the old concert tapes. I just didn't wanna start putting it out haphazardly... So I wanted to make sure that everything we put out was as high quality as it could be."
It's well-known that Lesh originally rejected 2-19-71 as Three From the Vault (which is why it didn't come out for many years). I think he made the comment that the Dead had already listened to the tape for the Skull & Roses album, so it must not have been up to snuff! (Can't find the quote right now.)
As Lemieux said, "He nixed a lot of Dick's Picks, too. He nixed Philadelphia, 9-21-72 - that was supposed to be Dick's Picks Volume Two."
When Lesh was asked how he chose what shows to release, he said:
"For a while, I was the final arbiter, and I made the decision what we were gonna put out - and we never put anything out, because I didn't like anything. So these guys [Norman & Cutler] decided that I shouldn't be involved in this, and I agreed, because we needed to put something out! And I didn't like anything, so I decided I'd let them make the decision."
So the increase in live-show releases had a lot to do with Lesh removing himself from the selection process.
- AnonymousSeptember 27, 2012 at 4:09 PM
I'm a fan of the "Dylan & The Dead" album. I don't understand why it gets so much bad press. I think it's Dylan's third best album of the 80s after "Infidels" and "Slow Train Coming."ReplyDelete
- AnonymousJune 13, 2013 at 7:53 AM
Dylan & Dead.The Dead is mixed too low in favor of Dylan and...Check Sugarmegs if you really want to hear what D&D sounded like live.ReplyDelete
From Robert Hunter's interview with the UK magazine Dark Star, August 1980:ReplyDelete
"Steal Your Face was the Grateful Dead at their worst, as a coordinated studio unit. (Q: It wasn't a studio album.) Well it was eventually! They get down and run through all these tapes. You get this tape that's just honking along - this tune is going so fine, and someone will say, 'Oh, no no no, I screwed up here, I turned the rhythm around,' and finally they'll find something that nobody can object to - everybody's rhythm is fairly correct. That's your standard live Grateful Dead record, unfortunately. It's that kind of artistic license that they have over their own product. Someone should go in sometimes and say, 'Hey, this track is kicking ass! Put this one on the record!" So what if the rhythm gets turned around or whatever. You know, all the great Grateful Dead stuff is the stuff that people got on their little tape recorders out of the audience, when it's really hot - but were the Dead to listen to those tapes, they'd say, 'Oh, this is wrong.' They don't listen to the overall picture sometimes, it seems to me."Replies
Commenter runonguinness found a similar statement Hunter gave to the Edinburgh magazine Hot Wacks in 1979:Delete
"If they want to use something on a live album, firstly they'll go through five or six different versions of the same song and they won't pick the one that's got the most juice, they'll pick the one where nothing's out of tune and where no one's made any real glaring errors. So they pick the one that's musically the most correct and they throw out all the stuff you'd just love to hear, you know it just goes right out of the window. And then they run it through the studio and replace a guitar part and replace this and that and then you have something that's musically more correct, but all the juice just goes right out, and they'll always do it, there's just no stopping them. I've been out of the choosing process for albums for many years now, it's just too much for me. I see too much good stuff just going on by, and it's such a democracy that you can't say halt. Anyway I'd be entirely out of place to do that sort of thing."
Hunter says that "the first night they did [Terrapin Station] at Winterland it stood head and shoulders above the recorded version," but then paradoxically adds that "the songs, the new material that is from Europe '72 should have been put out as a studio album. I had always considered them as some of the best. To my mind [those songs] were designed as a single studio album, they were to be the third in the cycle of 'American Beauty' and 'Workingman's Dead.' I think it would have been very successful."
He often mentioned his disappointment with E72, but it's ironic when he's just talked about a live performance of a song being much better than the studio version. Then again, it's clear that he regards the Dead's live albums as being basically dried-up unexciting studio recreations of the "live" performances anyway.
Dead Set, a year later, wasn't overdubbed like the '70s live albums had been, but Weir would complain that the performances chosen for the album were lacking in passion - on record they were trying to be 'correct' as Hunter had said; "on a record you're not caught up in that spirit and enthusiasm."
- AnonymousFebruary 4, 2019 at 4:47 PM
I have always been a staunch supporter of the "Dylan & the Dead" album. I don't understand why people think it's bad. The version of "Joey" is amazing and even better than the one on "Desire." Every other song sounds just as good to my ears. I just wish it was a bit longer.ReplyDeleteReplies
Many people feel that the shows it was drawn from are better listens than the poor song selection & mix on the album. For instance, this show: https://www.youtube.com/watch?v=ayOGcnn01OQDelete
A couple "alternate albums" from the shows:
https://www.youtube.com/watch?v=ZiilqZ1WWQ4 (with gaps)
And here's one discussion of the tour & album:
For me, the rehearsals before the tour were more interesting, certainly more diverse. The tour paired the Dead as a restrained rock group with Dylan at his shoutiest, kind of combining the weaknesses of both. But the music has a strong ramshackle-garage-band feel, enthusiastic but very unpolished; it's kind of bombastic and well-suited for stadiums. I agree 'Joey' was a highlight.


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subset: commoncrawl


text:
call number
A combination of numbers and letters that provide a unique description of each item in a library collection. Items are arranged on the book shelves by call number, so the call number is the "address" of materials on the shelf. The St. Lawrence libraries use the Library of Congress style for creating call numbers and categorizing books.


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One of my favorite posts in the past month came from Chris Dixon. It is short and sweet, just the way I like a blog post. In the post Chris lays out three constituencies to the startup economy; business people, engineers, and hobbyists. And he makes the point that hobbyists are a great lens through which to see the future.
I love Paul Bucheit's edict to "live in the future". I totally agree that is the best way to find the things that will turn out to be the next big thing. Being a hobbyist is a great way to live in the future. And so I try to play around with all of this stuff in order to wrap my mind around it. You should too.
Chris lays out some things that hobbyists are playing around with a lot these days:
Today, the tech hobbies with momentum include: math-based currencies like Bitcoin, new software development tools like NoSQL databases, the internet of things, 3D printing, touch-free human/computer interfaces, and "artisanal" hardware like the kind you find on Kickstarter.
I am very pleased to say that we have investments in most of those hobbies and are working to make more.
But I also think that they may be the hobbies of the moment or even possibly the hobbies of the past few years. What are the hobbies that we should take on next? That is what I woke up thinking about this morning.


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I run Sguil at my lab gateway to the Internet. I watch traffic right before the gateway, before it is NAT'd. I really don't care what's on the other side. I mostly care what is leaving the network, so I concentrate my NSM activities there.
I noticed one of these TFTP-enabled devices trying to retrieve a file repeatedly. I looked closer at the traffic (thanks to Sguil I keep a record of traffic leaving for the Internet) and noticed I never saw any replies. Simultaneously I received an email from tech support for this device. They told me to unplug all Internet devices from my cable modem and plug the troublesome device into the cable modem overnight (!) My answer to that: "heck no."
I decided to run an experiment with a TFTP client inside the lab and a TFTP server on the Internet. By watching traffic on the internal and external sides of the gateway, I could see TFTP requests making it to the TFTP server on the Internet, and TFTP replies coming from the server back to the gateway. However, the TFTP replies never appeared on the internal side of the gateway.
I did some research and determined that FreeBSD's Pf firewall can't handle TFTP traffic by default. Here is why:
18:13:31.205435 IP my.public.ip.addr.64212 > tftp.server.public.ip.69: 17 RRQ "test.txt" octet
18:13:31.282363 IP tftp.server.public.ip.51186 > my.public.ip.addr.64212: UDP, length 29
18:13:31.284161 IP my.public.ip.addr.57880 > tftp.server.public.ip.51186: UDP, length 4
You see the TFTP request to port 69 UDP. The reply, however, comes from port 51186 UDP to port 64212 UDP. Pf doesn't automatically know that packet 2 is associated with the TFTP request in packet 1.
Fortunately, FreeBSD and other operating systems ship with tftp-proxy(8). I tried following the example in the man page, but I ended up adding the following to the configuration file /etc/pf.conf. $local192 is the LAN from which I expect to see TFTP requests.
no nat on $ext_if to port tftp
rdr-anchor "tftp-proxy/*"
rdr on $int_if proto udp from $local192 to port tftp -> \
$int_if port 6969
anchor "tftp-proxy/*"
I added the following to /etc/inetd.conf.
acmsoda dgram udp wait root /usr/libexec/tftp-proxy tftp-proxy -v
acmsoda is the name in /etc/services for port 6969.
I had to enable /etc/inetd in /etc/rc.conf.
inetd_flags="-wW -C 60 -a 172.16.2.1"
Without the -a flag, tftp-proxy would be listening on all interfaces, and I don't want that.
Now I was ready to reload Pf and restart /etc/inetd.conf.
r200a:/root# pfctl -Fa -f /etc/pf.conf
r200a:/root# /etc/rc.d/inetd restart
I checked to ensure port 6969 UDP was listening.
r200a:/root# sockstat -4 | grep 6969
root inetd 161 5 udp4 172.16.2.1:6969 *:*
Now I was able to retrieve my test file via TFTP.
tftp> get test.txt
getting from tftp.server.public.ip:test.txt to test.txt [octet]
sent RRQ
received DATA
Received 25 bytes in 0.1 seconds [2000 bits/sec]
I wanted to note that the man page recommended this addition to inetd.conf:
inetd(8) must be configured to spawn the proxy on the port that packets
are being forwarded to by pf(4). An example inetd.conf(5) entry follows:
127.0.0.1:6969 dgram udp wait root \
/usr/libexec/tftp-proxy tftp-proxy
That didn't work for me; I saw this error in /var/log/messages.
Jul 13 17:11:56 r200a inetd[99738]: 127.0.0.1:6969/udp: unknown service
By specifying the port only and using -a to bind inetd where I needed it, I avoided this error. There's probably another way around this though.
The final step will be seeing this TFTP-enabled device updating itself during the next 24 hours.
Richard Bejtlich is teaching new classes in Las Vegas in 2009. Late Las Vegas registration ends 22 July.


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"On Iowa" is going away, morphing into "HawkeyeNow."
I'd sort of like to keep "On Iowa" alive in some way, shape or form, and so why not at the old blog called "On Iowa"?
I don't know the form it'll take. I don't know what content will make it over here. But I love to write and probably won't be able to get away with all the fun stuff at the new site, where a lot of people will be posting. It'll be an info mecca for Iowa fans, but it won't be "mine" anymore. I like having my space.
I hope this can be it.
We'll talk soon.


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|Wed 19 Feb 2020
- This course has been commissioned by ourcambridge and is delivered by a third party company.
- The course provides an accredited Lean Practitioner qualification. The course involves a 2-day face to face training session followed by completion of a 6-week project.
Speakers: Joanne Bishenden and Ian Matthias from PA Consulting Title: ourcambridge seminar: Engaging with Academics Effectively Wednesday 24 July 3-4pm Faculty of Classics, Lecture Theatre 1.02, Sidgwick Site
The seminar is being held in response to staff ideas submitted under the Supporting our Staff work stream. It is designed to introduce the concept of CoPs and will look at what they are and how they can support collaboration, communication, peer to peer support and career development. There will also be an opportunity to hear from UCL (University College London) and UIS (University Information Services) about how they have introduced CoPs and the benefits they have brought, plus their future plans.
Why attend? The seminar is an ideal opportunity for you to find out more about CoPs and discuss with your colleagues how they can support the work of our professional services staff. Your opinion really counts and we are very keen to hear your thoughts and ideas.


text: This week's species spotlight is on one of my favorite annuals- Gazania! This brilliant and beautiful member of the Asteraceae family is native to South Africa and, like me, loves hot, sunny days! They are super low maintenance (no deadheading required!), can tolerate poor soil and continue to perform in drought conditions (for those of you who forget to water every once in a while.. you know who you are 😉). The flowers do take a rest at night by closing up, but never fear, they will open again with the first sign of sunshine! Bonus!- These beauties bloom from late spring all the way through fall, adding magnificent fall color to your landscape!


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New Products
Servo-Driven Turret Press
Users report 30 percent less power consumption than hydraulically controlled turret punch presses.
Design innovations include reportedly the industry's first advanced servo-motor-controlled ram drive, the elimination of hydraulic fluid-driven parts, a low-energy LCD control screen and quick-start capabilities that require no warm-up period.
Murata Machinery USA, Inc.: 704/875-9280; www.muratec-usa.com
See also: Muratec Murata Machinery USA, Inc.
Related Enterprise Zones: Fabrication
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Dress your nest!
50% off select organizing styles with every $35 you spend!
Earn amazing rewards when you share the fun of Thirty-One with friends and family!
Access exclusive offers and be rewarded just for shopping all your favorite styles!
Behind the bag
Peek at past months' bags and snag your own this month.
This winter, cozy felt is here in high-quality, fashion-forward styles and colors.
Get the girls together for a fun Thirty-One twist on a wine & paint party.
From bold patterns to playful personalization, stay on top of this elephantastic trend.
Whether you're looking to make a bold statement or keep it classic cool, our solid-color totes, purses, wallets and more will match your mood.
All About the Benjamins - City Charcoal Pebble
Around Town Tote - City Charcoal Pebble
Rubie Mini - City Charcoal Pebble
Wristlet Strap - City Charcoal Pebble


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What does Beyonce have to do with "Fifty Shades of Grey"?
That's the question everyone was asking after the 17-time Grammy Award winner posted a 15-second Instagram video teaser Saturday. The snippet promoted the trailer's Thursday premiere on NBC's "Today."
The clip features flashes of a few sexy images--a man's silhouette against a window, a finger tapping, a hand pulling up a dress--as a sexier, slower version of "Crazy in Love" seems to play in the background.
U.S. & World
No word yet if this will be the extent of Beyonce's involvement or if she's got another trick up her sleeve.
Beyonce was first connected to the movie's soundtrack in March after the song "Haunted" (off her multiplatinum self-titled album) appeared in the "Fifty Shades of Grey" footage shown at CinemaCon.
NEWS: Dakota Johnson having a "tough" time with Fifty Shades of Grey fame
Directed by Sam Taylor-Johnson and based on the book by E.L. James, Fifty Shades of Grey stars Jamie Dornan and Dakota Johnson. The movie's cast also features Jennifer Ehle, Luke Grimes, Marcia Gay Harden, Max Martini, Eloise Mumford, Dylan Neal, Rita Ora, Victor Rasuk and Callum Keith Rennie.
"Fifty Shades of Grey" premieres Valentine's Day 2015.
(E!, NBC and Universal Pictures are all part of the NBCUniversal family.)


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Anyone curious about the myriad, unpredictable ways that enormous success can translate into enormous influence need look no further than Tokyo in the summer of 1964. There, in the city's dankest music clubs, a group of skinny, mop-topped Japanese rock and rollers were driving their fans wild playing the music -- and borrowing the name -- of a group of skinny, mop-topped British rock and rollers who, a year earlier, had released their first full-length album: a 14-track marvel titled Please Please Me.
The Brits, of course, were the Beatles, who would go on to release a dozen or so records (every one of them a classic); alter the course of musical history and of popular culture in general; and, in 1970, would acrimoniously and publicly break up after seven world-changing years as a foursome. The quartet from Japan, meanwhile, were in a cover band that, by all accounts, recorded exactly one album, made around $85 a month in their heyday, and broke up at some point in the mid-1960s without too many people noticing they were gone.
And yet . . . when LIFE's Michael Rougier photographed the Tokyo Beatles (for that was their name) and their highly energized fans while working on a larger story about disaffected, drug-addled Japanese youth in 1964, his pictures captured not a laughably bad rock act, but a group of charming, sincere musicians who, like millions of young people around the globe, were swept up in the earliest wave of Beatlemania and simply had to find a way to be a part of it all.
[See more of Michael's Rougier's amazing photos from Tokyo in 1964 in the LIFE gallery, "Teenage Wasteland: Japanese Youth in Revolt, 1964."]
Here, LIFE.com pays tribute to John, Paul, George and Ringo by celebrating the unprecedented visceral effect they had on countless people around the world, as seen through the lens of one small cover band formed half a world away from the Fab Four's native England. (It's also worth noting that, by the time the Beatles came around, the likes of Sinatra and Elvis had already sparked cyclones of highly vocal, eroticized fan worship. But the scale and the duration of the pandemonium unleashed by the Beatles, especially among girls and young women, set it apart from previous outbreaks of pop-star hysteria.)
[Listen to the Tokyo Beatles here.]
In the end, maybe it's the very transience of an act like the Tokyo Beatles that contributes so much, all these years later, to their appeal. Who among us, after all, has not dreamed at one time or another of rock and roll (or R&B, or classical, or jazz or hip hop or country) immortality? Who has never imagined standing in a spotlight at Madison Square Garden and holding 20,000 fans in the palm of your hand with your voice, or a piano or a guitar? Michael Rougier's pictures of the Tokyo Beatles and their fans are so engaging not merely because they are technically excellent and absolutely beautiful photos (although they are both of those things) but because they so empathetically chronicle young people striving for some sort of freedom, some sort of creative release, and making no apologies for their embrace of a new kind of force -- pop music -- that might get them there.


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Channel beach-chic with Quay sunglasses. Shades from '90s inspired to modern day. Shapes range from square round, feline or oversized as well as bright colours and patterned frames for an instant statement.
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Transfer of a Personal Domain Website to a Third Party.
Personal Domain Name websites can be sold and transferred to a third party following their initial registration, providing the purchaser agrees to accept Our Pages Ltd's Registration and User Conditions and the Customer registered the personal domain at least 3 Months previously.
If you wish to transfer your Personal Domain Website, you will need to start by activating the 'Transfer tab' option on your Administration Controls. Simply enter your website address below and click the 'Administer Site' button. Once you have done this, you will be prompted to enter your user name and password to be granted access to your Administration Controls.
Use the 'Transfer tab' option to provide details of the new owner. You have to submit this to Our Pages Ltd with your agreement to pay a twelve pounds administration fee (inclusive of VAT) using your credit or bank card before the transfer procedure can be instigated.
Afterwards, the new potential owner will be contacted by Our Pages Ltd by e-mail and asked to complete an on-line transfer application, which includes a declaration that they can read, write and understand English and irrevocably accept the Registration and User Conditions in their entirety. They also must agree to pay a twelve pounds administration fee (inclusive of VAT) using their credit or bank card.
Once both transfer forms have been submitted, both the purchaser and the seller will be invited to go to a secure server to pay the twelve pounds they both agreed to pay in order to complete the transfer formalities. Note: Commissions for referrals from a website that is being transferred, will be held to the credit of the new owner and this should be taken into consideration before starting any transfer.
It costs only 12 pounds a year to have a website!
Create your WebSite now.


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Off-Campus Link:
Brief Description:
Books and other materials in libraries worldwide
Full Description:
All material cataloged by OCLC member libraries including: books, manuscripts, websites & internet resources, maps, computer programs, musical scores, films & slides, newspapers, journals, magazines, sound recordings, articles, chapters, papers, videotapes. Over 179 million records representing materials from 1000 BCE to the present, many with online links to the fulltext. Updated daily.
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The thing I love best about online shopping is being able to shop at anytime, in my pyjamas with holes (HAHA!), with no makeup, untidy hair.
I also don't have to wait in line at the store, no need to squeeze with smelly people, and no need to feel pressured into buying things from pushy sales people.
Here are 5 makeup products I got from Best Buy World Singapore!
Chanel Les 4 Ombres Quadra Eye Shadow #34 Eclosion
Retail price: $87.00
BBW price: $78.00 (10% savings)
Size: Full size. 1.2g
YAYYY to my first ever Chanel quad! 😀 Chanel Les 4 Ombres Quadra Eye Shadow #34 Eclosion has 4 beautiful neutral shades that are work-appropriate and wearable for any occasion. They are all highly complimentary, ranging from matte to satin to shimmer.
From left to right (I started swatching from the top left shade and went clockwise):
- Peachy pink, satin finish. Goes well as an overall lid color, or the Contour Area to neutralize/warm up cool shades. You could even use this as a blush in an emergency touch-up situation if you don't have a blush with you.
- Golden beige with gold sparkles, shimmery finish. Love this as a highlight on the centre of the lid. Some people say they have problems with fallout, but it's not serious to me. I've experienced much worse.
- Taupe with purple undertone, satin finish. I normally stay away from taupes, but this is very wearable and doesn't look weird on my warm undertones. I use this on the outer second half of the lid and as a light highlight for the brow bone area.
- Deep plum, matte finish. Great for adding dimension to the eyes when applied to the Outer V, or as an eyeliner.
Applied dry
Applied wet
The eyeshadows definitely are intensified when applied with a wet brush, but they already appear pigmented when applied dry. So being the lazy person that I am, I would just apply them dry!
Trivia: If you do a search on Google for this product, you would see that it comes in a square version. Don't worry! BBW is not selling fake stuff! Chanel quads come in square eyeshadow pans in the US and have black sponge applicators. The rest of the world have round pans and white sponge applicators.
Lancome Gloss In Love #323 Pink Carat
Left to right: #385 Under The Spotlight, #323 Pink Carat
BBW price: $12.00
Size: Sample size. 4.5ml
The applicator of Lancome Gloss In Love tapers and curves to fit your lips perfectly, making application a breeze. I use the concave side of on my lower lip and the convex side on the upper. But you can use it anyway you want, whatever rocks your boat!
I'm glad I already own the full size Lancome Gloss In Love in #385 Under The Spotlight (6ml) so I can do a comparison between that and Lancome Gloss In Love in #323 Pink Carat (4.5ml). The full size one comes with an applicator wand that you click to eject and comes out with the perfect amount of product. The sample size one doesn't have that unique contraption, but if you just want to try the shade, it really doesn't matter because the shape of the wand is more important and both sizes come with that wand shape.
Pink Carat has a light pink pigment with loads of micro pink shimmer, leaving your lips looking like you just kissed Edward Cullen. I meant that in a good way, ya! 😀
Lancome Gloss In Love Pink Carat
Benefit Fine-One-One Sheer Brightening Color for Cheek & Lip
Retail price: $47.00
BBW price: $38.00 (19% savings)
Size: Full size. 8g
What a fun product! The Benefit Fine-One-One Sheer Brightening Color For Cheek & Lip (Such a cheeky name! You know, like 911….heh) is a cheek color and highlight stick. I place the product on my cheek area with the champagne shade facing upwards and swipe across towards my hairline. I would do about 3 swipes, then take a synthethic brush to blend the 3 shades together. You can use your fingers, but I just prefer brushes.
I'm usually averse to cream/cake blushes as they tend to slide off very quickly on my oily skin, some even turn patchy, but Fine-One-One could be a game turner! WOOHOO!
My advice would be not to smile while doing the swipe motion so that you get an even application with the flat surface. In fact, I don't smile when I apply blush; I don't follow the 'apply blush on the apples of your cheek' rule because… it doesn't work this way.
3 swipes
Estee Lauder Sumptuous Extreme Lash Multiplying Volume Mascara #01 Extreme Black
Retail price: $20.00
BBW price: $4.50 (80% savings)
Size: Sample size. 2.8ml
Just like the Lancome Gloss In Love sample size, this Estee Lauder Sumptuous Extreme Lash Multiplying Volume Mascara #01 Extreme Black has the same wand size as its full size counterpart so you can try the product without having to dish out money for a full size one.
Banila Co. Eye Love Deep Black Eyeliner Pencil
BBW price: $21.80
Size: Full size.
Dark black matte black eyeliner pencil that goes on smooth and creamy on my eyelids without tugging. Banila Co. Eye Love Deep Black Eyeliner Pencil can definitely give Urban Decay 24/7 Glide-on Pencil in Zero a run for the money! Banila Co.'s smudges much less on my eyes too. I don't know why Urban Decay's Zero never worked for me, I always ended up with panda eyes. Tsk.
Today's look created with products mentioned above ! 😀
I used #385 Under The Spotlight here coz I prefer brighter lip colors. By the way, Under The Spotlight made it to my Top 13 Favorite Makeup Products of 2013 list!
Cheap Prices & Good Deals
Apart from the great prices and sample Best Buy World has to offer, another thing which fascinates me is the cheap deals!
Best Buy World has such a large variety of products from so many brands that if converted into a physical store, can crush any existing mega store one in Singapore. From skincare to cosmetics to fragrances to accessories, you can browse several brands and products at one place.
Here are just some of the loooooonnnnnng list brands they carry:
Shopping online with Best Buy makes comparing and researching of products and prices so much easier and convenient!
Sometimes I feel uncomfortable asking the sales person for the prices of too many items because… it's kinda embarrasing. You know what I mean, right? Like, yes, I am the customer, but I just don't feel good asking "How much is this?" for 5 items. It's harder to hide the shock on my face when I'm taken aback by the price too. HAHAHA! 😀
You can shop by brand: Estee Lauder
WOW! Look at the fantastic savings! 50%, 62%, 65%!
Then find the specific category under that brand: Estee Lauder > Mascara
Do note, however, that this Estee Lauder Sumptuous Extreme Lash Multiplying Volume Mascara #01 Extreme Black is a travel-sized tube, as mentioned above in my review. You get 2.8ml of product for ONLY $4.00. Sample sizes are great for trying new products before deciding whether it's worth getting more, and for traveling too!
Fast Delivery, Cash-On-Delivery
You can make payment with a credit card, but if you are not comfortable with making payment online, Best Buy World has a cash-on-delivery option so you can personally check your goods before handing your money over.
Expect next-day delivery, and if you spend above $60, you get free delivery too! Check out their delivery schedule here. Please note that delivery is only WITHIN SINGAPORE.
Go check out Best Buy World now if you haven't heard of them before! I'm sure you'll find something you like from their wide range of products!
Best Buy World Singapore


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Florida's consumer confidence continued to decline in September for a fourth month, although the drop was slight, according to a University of Florida survey released Tuesday.
Floridians' overall mood this month was down only a point to 76, said Chris McCarty, director of UF's Survey Research Center in the Bureau of Economic and Business Research.
But their faith in the national economy over the next five years dropped the most -- down six points this month to 72, he said.
"The growing pessimism about long-term U.S. economic conditions was fueled by lower-income respondents and seniors," McCarty said in a written statement.
Floridians with more modest incomes are "particularly pessimistic about their current and future personal finances," he added.
While the state's unemployment rate continues to go down to 7 percent last month, it masks that Florida actually lost 4,000 jobs between July and August, McCarty said.
Broward is one of the bright spots in the state economy with the Fort Lauderdale metro area adding 22,700 jobs since August 2012. Broward ranked second among all metro areas in the state for job growth in August, leading in over-the-year growth in construction, financial activities, government and manufacturing.
The UF survey interviewed 399 Floridians between Sept. 13-24.
The index used by UF researchers is benchmarked to 1966, which means a value of 100 represents the same level of confidence for that year. The lowest index possible is a 2; the highest is 150.
Details of the September survey can be found at http://www.bebr.ufl.edu/cci.
dgehrke@tribune or Twitter @donnagehrke


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Tips for Storing Rugs
Maybe you've downsized your living space for a while. Or maybe you have family staying for an extended visit, and you don't want their dogs to trample your large, pristine rug. Whatever your situation, when you put your rug in storage, you'll want to prepare it properly.
First thing's first: clean the rug thoroughly. Dirt, when concentrated in a small area of a rug, can form a clump, causing a smooth, hard surface on the rug. This, obviously, is completely undesirable. So dust the rug, then vacuum, and repeat a few times. Diligence will not only rid the rug of dust and dirt, but it'll also prevent entrenched hair and dust from causing odors over long periods of storage.
Next, you'll want to prevent water and pest damage from ruining your rug while it's in storage.
To prevent pests, apply a repellent designed for rugs. Then let it set for a few minutes before you roll it up, especially if the repellent is a liquid. You don't want the rug to be wet for the next step. A wet rug in storage is a recipe for mold.
Never fold the rug. This will compromise the foundation, causing breaks and folds that irreversibly separate its material. Rather, roll up the rug. If it's delicate, have the material facing outside, as this will put less pressure on its foundation. Either way, be sure to wrap the rug in paper wrapping which will allow moisture to escape while also protecting the exposed, rolled-up exterior.
The ideal place for a rug is in a climate-controlled storage unit. That way, you'll control how much moisture is in the air. Some rugs soak up humidity, causing them to trap odors. But, to be sure, check out the material type and what kind of conditions it can endure. Certainly, a temperature-controlled unit or a regular storage unit will be less expensive. If this is a route you can go, it will be more cost-effective.
At the end of the day, you'll just want to have your rug off the floor, which prevents pest infestation and moisture accumulation. And you'll want it out of direct light, which can cause certain materials to fade. You'll also want to check it every once in a while. The sooner you discover issues, the sooner you can resolve them.
Rugs can be finicky. Be sure to research the kind of rug you have and what kind of conditions it can endure without losing value or beauty. And, as you follow these tips, you can be sure that your rug is perfectly prepared for storage.


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Sunday, August 9, 2009
Frederic Rzewski - Coming Together
Rzewski's "Coming Together" is unquestionably one of the great Minimalist masterpieces, and this first recording of it is absolutely incredibly amazing. It's ridiculous that it's never been re-released.
"Coming Together" is an extremely simple piece. It's really nothing more than a short text read over a repetitive, fast sequence, much of which is played in unison. But the overall effect it creates is of a very slow build up of tension to an incredible climax after 19 minutes.
The text comes from a letter written by Sam Melville, who was an inmate at Attica prison, and was one of the leaders of the 1971 Attica riots, where Melville was killed.
The music starts with the piano playing fast rhythmic notes while most of the other instruments playing longer tones over this foundation. Gradually the other instruments start to play faster until they're all playing in a fast, tense unison.
The lineup on this recording is pretty amazing. Rzewski himself plays piano. Jon Gibson, who has worked with the big four minimalist composers (Young, Riley, Reich and Glass) as well as being an excellent composer himself, plays alto sax. Composer Alvin Curran, also of Rzewski's MEV group, plays synthesizer. Garrett List, whose beautiful LP Your Own Self will probably be the next thing I'll feature on this blog, plays trombone. Karl Berger play vibes, and has played on some classic ESP jazz recordings as well aso working with Don Cherry. Violist Joan Kalisch has played on recordings by Don Cherry and Alice Coltrane, and Richard Youngstein has worked with Paul Bley. The reading is done by stage actor Steve Ben Israel, who was a member of New York's Living Theatre.
The other pieces on the album are "Attica" and "Les Moutons de Panurge". "Attica" has the same lineup as "Coming Together", though Curran plays piccolo trumpet rather than synth, and is sort of a companion piece, with the text coming from a quote from former Attica prison inmate Richard X. Clark. It's much slower, calmer and droning than "Coming Together".
"Les Moutons de Panurge" is a classic piece of process music, whereby the performers are supposed to play a very long melodic line through a process of adding one note at a time (playing the first note, then the first and second notes, and so on). The interesting bit of the piece comes in the instruction that if the performers forget where they are in the piece (which should happen pretty easily), they are to continue playing but not try to find their way back together again. The piece is played here by the Blackearth Percussion Group.
This LP was recorded in 1973 and released on the excellent Opus One records - all the covers of LPs on the label were meant to respond to black light! Trippy.
16 comments:
- Blacklodge said...
Thank you so much, truly moving...
- August 31, 2009 at 8:32 AM
- jr said...
Thank you very much, dear Aaron.
I hope you are also in an excellent physical and emotional health ;), and will promote your blog in this internet forum where you all can find many links to other versions of those and other pieces from Rzewski:
Greetings from Barcelona!!
- October 2, 2009 at 1:06 AM
- Munnnnnph said...
after listening to the Garrett List album i got to check this one out. thanks for sharing.
- December 29, 2009 at 10:39 PM
also download it here
or watch
- January 6, 2010 at 10:45 AM
This is really incredible. I cannot stop listening to the title track. Really amazing. Thanks a lot.
- March 4, 2010 at 3:14 PM
- Love Letters Journal said...
Thanks for posting this, I like this musician so you're doing me a favour.
- August 22, 2010 at 7:26 AM
I grabbed this from this blog because I thought it sounded interesting; several listens later, "Coming Together" is now probably one of my favorite pieces of music ever. So, thank you.
BTW, were you informed that this post was adapted into an UbuWeb page? http://www.ubu.com/sound/rzewski.html
- December 16, 2010 at 8:34 AM
- Aaron said...
Mike -
I wasn't aware of the Ubuweb page.. Thanks for telling me about that.
- December 16, 2010 at 12:30 PM
Have you heard the version with the narration by rapper Mos Def, which was just posted on YouTube?
- October 19, 2011 at 9:08 PM
- Aaron said...
Dang, I was not aware of that Mos Def version. Amazing. Solid performance, too.
- October 19, 2011 at 10:52 PM
- yossarian said...
I have long been a great fan of Coming together but have always wondered what the title actually means... Could anyone answer this question (which, I think, ought to be pretty for a native speaker).
Does it mean anything like "being in a very close-knit in jail"?
- October 20, 2011 at 9:25 AM
- Queso Frito said...
Huge Fan of this piece. I heard an amazing interpretation by the Talujon Orchestra of Coming Together. I would love to hear the album in its entirety but none of the links work. Can someone re upload this file to sendspace?
- February 11, 2013 at 2:37 PM
- Jair-Rohm Parker Wells said...
- August 1, 2015 at 1:41 PM
- Unknown said...
Chatter Albuquerque
Link: https://www.youtube.com/watch?v=0_A3FFFiL_0#t=1189
- October 25, 2015 at 9:14 AM
- Unknown said...
I participated in a performance of "Coming Together" last month at the Arts& Letters Club in Toronto.
The piece really grew on me. I am often not a fan of minimalist compositions.
I think it is a very fine composition and should be performed more often .
our performance was organized by accordionist Branko Dzinovic. The narrator was accompanied by piano, accordion, Flute, Clarinet( doubling bass clarinet), Baritone Sax, and Alto Sax.
- May 10, 2016 at 8:50 PM
- Daniel Kernohan said...
This is one of my all time favourite recordings, extraordinarily beautiful.
- December 3, 2017 at 4:57 PM


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New Kid on the FOSS Block: OX Documents
Mar 25, 2013 5:00 AM PT
There's been much ado about office suites over the past year or so, thanks in large part to the anticipation and then arrival of Microsoft's baffling Office 2013. We've seen the ascendance of LibreOffice, we've seen Redmond's wacky pricing plan, and we've even heard rumors -- as yet unsubstantiated -- of a launch that would blow more than a few minds.
None of that could have prepared us, however, for what came to light last week. Was it Office for Linux? Hah. No. But it was something much better: a new open source productivity suite.
Say hello to OX Documents and then join one of the blogosphere's many excited conversations.
Drive for Linux, Part Deux
Linux Girl was down at the blogosphere's Broken Windows Lounge when the news hit, listening to several barmates lamenting the end of Google Reader.
"Remember Google Drive for Linux?" was all she could say. "Anyone...? Anyone...?" Thank goodness tequila isn't made in the cloud, or she'd really be worried.
When Open-Xchange's announcement arrived, however, Linux Girl practically fell off her chair. This was one she hadn't seen coming, so she had to leap into action when the conversation exploded.
'This Looks Good'
"I think this is an exciting development and very timely," offered Google+ blogger Kevin O'Brien, for example.
"I had been using Google Docs, but now I am re-evaluating my use of Google products and looking to diversify in the wake of closing Reader," O'Brien explained.
"Having a safe, cloud-based, open source alternative is great," he opined. "I will still use LibreOffice on my desktop for any serious work, but this looks like a good tool to have. I will be looking to sign up and try it out."
'We Need More Choices'
Indeed, "there is definitely a place for OX Documents -- if anything, we need more choices, more options, more projects driving fresh design in UI and workflow, as this will ultimately drive other projects such as LibreOffice or Calligra Suite to innovate and refine," Google+ blogger Brett Legree told Linux Girl.
Legree uses Microsoft Office 2003 extensively at work, but for his engineering consulting business and personal work, he uses a mixture of Google Docs, Office 2011 and 2013, and a "huge variety" of text editors on all platforms," he explained.
He actually tested OX Text on a Nexus 7 tablet with a Bluetooth keyboard, on an old and slow HP 2133 netbook via openSUSE 12.3, and on his office workstation during a coffee break, via Internet Explorer 8 and Windows XP.
'It Was Quite Responsive'
"First impressions: The user interface is very clean and easy to understand, which I discovered when accessing the application via my tablet -- OX Text decided that I am French!" Legree recounted. "Luckily, I can read French, so I quickly changed the language to English.
"For a preview, it was quite responsive on the Nexus 7 and the netbook, and I would say in some ways more so than Google Docs, which I have found can become very unresponsive with long documents, especially with the netbook," he explained.
"Sadly, I could not evaluate OX Text on my office workstation, since the settings on Internet Explorer 8 (controlled by our IT group) would not allow it to load," he added.
"Would I use OX Documents? Yes, I would," Legree concluded. "I like the design and overall user experience, and since it can be used with a wide range of file formats, as well as with local files via what they call 'round-trip editing,' I could use it everywhere."
'There's Always Room'
Hyperlogos blogger Martin Espinoza had a similar view.
"One of the real strengths of the Web development model is that there's always room for a new competitor," Espinoza told Linux Girl.
Espinoza's experience with the preview was less encouraging, however.
"At first stab, the interface was immediately flaky, with drags becoming clicks and the like," he said. "It's probably wisest to hold off on that preview until the software works properly."
'A Message to LibreOffice'
Google+ blogger Gonzalo Velasco C. also liked the look of the new project.
"Not altering the original seems the best feature of this OX initiative," he told Linux Girl.
"Cloud based? Thanks, but no thanks for me," he added. "As a major document writer (university job), the desktop applications are more suitable for me."
Nevertheless, "here's a message to the LibreOffice guys: Correctly opening some other (m$) office documents needs improvements," Gonzalo Velasco C. concluded. "Google Docs and perhaps this OX Text can do it better!"
'You're Gonna See Problems'
Slashdot blogger hairyfeet wasn't so sure.
"Sigh...everybody seems to miss the problems with these things, which is it really needs to be in a format that everybody can use," hairyfeet asserted. "This is why MS Office is pretty much a 'must have' in business, because it's the one format you can be sure will be able to be opened by pretty much any business."
Regarding OX Documents, however, "I'll say about this the same thing I say about LibreOffice: If the ONLY work you are gonna be doing is strictly internal? Then it's perfectly fine. But when you start dealing with other companies, I bet you're gonna see problems."
'It May Be Quite Competitive'
Last but not least, "a new FLOSS cloud/web-application for office productivity is welcome, especially when it manages to follow the law and not use a generic term for itself, unlike M$'s stuff," offered blogger Robert Pogson.
One of Richard Stallman's objections to software in the cloud is that "FLOSS can be exploited and modified without sharing the code, since it is the service and not the software that is distributed," Pogson pointed out.
OX, however, "may deal with that issue," he added. "If it catches on, it may be quite competitive with other technologies, but it will be an uphill battle. There isn't much new under the sun in regards to office suites, so users may find the UI no problem at all."
Uptake may, in fact, depend more on performance, he suggested.
'There Won't Be a Huge Monopoly'
Meanwhile, LibreOffice is also working on a Web application, Pogson pointed out, but "more important than office suites in the air is that the emergence of LibreOffice and OX will free up some portion of business from the desktop monopoly in operating systems," he said. "That will inevitably permit other Free Software to grow in the business space."
All in all, "the only thing I am sure about in this space is that there won't be a huge monopoly, just a big pie sliced unequally," he predicted. "At first the pie will have two slices -- M$ and Google -- but eventually there will be five or six slices, probably approaching 20 percent each.
"The guys with the lowest unit costs will be the most profitable, and that will likely be GNU/Linux on ARM for simple editing and perhaps GNU/Linux on x86-amd64 for the collaborative editions," he added. "It all comes down to how much work a CPU can do with whatever operating system for a given cost, and GNU/Linux beats everything because that's its only design goal: to run well."


text:
LIR-PARTITIONED Status for IPv6
This proposal is to have a new status for IPv6 address space as "LIR-PARTITIONED".
This proposal is to have a new status for IPv6 address space as "LIR-PARTITIONED".
a. Arguments Supporting the Proposal
The LIR-PARTITIONED mechanism described in ripe-239 (New Values of the "status:" Attribute for INETNUM Objects (LIR-PARTITIONED)) is available as a status field in the RIPE Whois Database for inetnum objects. It allows large LIRs to partition their IPv4 allocated address space and to delegate
authority for managing these blocks to departments within the LIR's organisation. The mechanism is however not currently available in IPv6 for inet6num objects.
Some LIRs feel the need to partition their IPv6 allocation before making assignments for different purposes. These may include various services, customers and/or locations etc. Often, different groups within the same LIR are responsible for managing such segments.
Centralising the entire assignment process in such large organisations is not always practical or effective. There is a need for a means to delegate authority over database assignments in IPv6.
b. Arguments Opposing the Proposal
- None identified so far.
Joao Cabral
10 July 2006
The proposer decided that the proposal was no longer necessaryWorking Group:
Get Involved
The Database Working Group is open to anyone with an interest in the RIPE Database. The group discusses changes to existing database objects, the creation of new objects and features, distribution of databases and security issues. To post a message to the list, send an email to email@example.com. Please note that only subscribers can post messages.
The RIPE Forum is an additional way to participate in RIPE community mailing list discussions using a web-based interface rather than an email client.
Please contact firstname.lastname@example.com if you need more information.
Stay up to date!
Follow @PDO_RIPE_NCC on Twitter.


text:
They poured champagne at the University of Colorado early Monday afternoon and toasted the groundbreaking of a $143 million athletics facilities project in and around Folsom Field that Chancellor Phil DiStefano called "long overdue."
Coach Mike MacIntyre's football program stands to gain the most from the project that includes new offices for every coach, a new weight room, locker room and indoor practice facility, a high performance sports center, thousands of square feet of academic space as well as numerous other amenities. MacIntyre was a good sport when a worker carrying a tray of full champagne glasses spilled them right next to him.
"It's like a Gatorade bath," he joked during a brief speech in which he praised school leaders and donors for following through on the promises made to him when he was hired in December 2012.
MacIntyre later jumped in a tractor in the northeast corner of Folsom Field that was used to remove a large piece of concrete as the ceremonial start to construction. He said he was recently asked by each of the other 11 Pac-12 head football coaches at the conference's spring meetings if the project was actually going to happen.
Every other Pac-12 team is either in the midst of facilities projects of their own or playing in recently upgraded facilities, which is one reason CU leaders were finally convinced to take a more aggressive approach. It was clear CU had fallen behind. The recent struggles of the program and inability to compete for recruits because of lackluster facilities were other driving forces.
CU officials celebrated Monday despite the fact their fundraising efforts are still short of the $47.6 million (one-third of the total cost) originally required by the Board of Regents when they approved the project in December.
That approval came in a public session in Denver. The board modified the requirement in executive session at a recent meeting, which allowed the construction to start without reaching one-third of the total cost, Democrat regent Michael Carrigan said.
"The professional fundraisers tell us once we have the cranes there and we've broken ground, that will add momentum to the fundraising," Carrigan said. "So they came to us and we said, 'Yeah, that makes sense. Let's have this groundbreaking, let's have this celebration and let's get going on completing Folsom.'"
The completion date originally announced by the school also has been modified. Athletic director Rick George originally targeted August of 2015 to have the entire project done. On Monday he said it could take 16-18 months to complete, but he expects it to be done some time during the fall of 2015.
"I would like to finish by August, but I'm not going to put that as a deadline that we have to be finished by then," George said.
George did not reveal how much his team has raised to date, but he said he is confident his team will not only raise the one-third required but will raise well over that amount when new revenue streams the project is adding are up and running.
Why not be more transparent with how much money has been raised and how much is still needed?
"What I would say is everybody is fixated on a number that was thrown out when I was hired, one-third of the project, and while that number is important to go forward, basically with the sequence of the build the funding is right on par with the sequence of the build as we're building this facility," George said. "We've got to raise a lot more than $50 million for this project and we intend to do that. This process is going to go on for the next 16 to 18 months."
The first stage of the project started Monday and continues Tuesday as workers disconnect some of the electricity and begin removing seating from the north end zone area and the northeast corner of the stadium. George said those seating areas will be completed and ready for the 2014 season while the rest of the project continues.
George said another immediate emphasis is relocating the recycling center from just outside the northeast corner of the stadium to a temporary location on campus until a permanent home is determined, possibly near the Coors Events Center.
George said the project will be done in stages with the northeast corner addition being competed first. When it is done, those who currently work in the Dal Ward Center and other areas around the stadium will be able to move into their new offices while the Dal Ward Center in renovated and offices on the south end of the stadium are prepared to be rented as retail space.
The project will renovate parts of the Dal Ward Center and completely remodel other parts, including the addition of loge boxes and an End Zone Club overlooking the north end zone. Part of the renovation in the Dal Ward includes adding locker rooms and a weight room for sports that haven't had such amenities of their own in the past such as cross country, track and field, skiing, golf and tennis.
The project also includes a permanent indoor practice facility on the east side of the stadium and one full-size outdoor football practice field. The indoor facility will include a track for use by CU's track and field and cross country programs.
Contact BuffZone.com Writer Kyle Ringo at firstname.lastname@example.com or on Twitter: @kyleringo.


text:
|Ellicott City, Md.
|High School:
|Mount St. Joseph's
2013-14: Finished fourth in the 400-yd. IM and seventh in the 1,650-yd. freestyle at the 2014 CCSA Championships where the Retrievers finished in second place as a team… His time of 3:56.20 in the prelims of the 400 IM seeded him second for the nighttime finals and ranks as the third-fastest time in Retriever program history… Also competed in the 500 free at the conference meet in Knoxville, Tenn., registering a season-best time of 4:34.57 to place ninth… Won the 1,000-yd. freestyle at East Carolina on Jan. 25 with a career-best time of 9:34.14 to clock in with the eighth-best time in school history… Earned his first career dual meet victory by taking the top spot in the 500 free at Old Dominion on Nov. 2… Won the Great Chesapeake Bay Swim for the second consecutive year on June 8… Later featured in "Faces in the Crowd" in the June 23 edition of Sports Illustrated.
Background: Won the 2013 Great Chesapeake Bay Swim, crossing the 4.4 mile open-water span of the Bay in one hour, thirty-one minutes and forty-six seconds (1:31:46)… Named the Mount St. Joseph's Team MVP twice (2011, 2012)… Finished third in the 400 IM at Sectionals, dropping six seconds off his best time… Helped the Gaels take fourth at the MIAA Championships.
Personal: Son of Tom and Margaret McKissick… Has one sister, Claire… Plans to study computer engineering… Born June 30, 1995.


text:
Cliburn's national anthem rendition still resonates
Performance at opening of Rangers Ballpark considered unmatched
GLENDALE, Ariz. -- Van Cliburn, who passed away on Wednesday morning in Fort Worth, was one of the most renowned pianists ever, and he also holds a special place in Rangers history. Cliburn and the Fort Worth Symphony performed the Star-Spangled Banner at the opening of the Ballpark in Arlington in 1994.
"I thought it was ... it was amazing," Rangers vice-president John Blake said. "I can still remember them wheeling that piano out behind home plate. [Rangers vice-president of ballpark entertainment] Chuck Morgan said it was the best, and he has seen over 3,000 of them."
Cliburn's appearance was the work of Rangers president Tom Schieffer, who also lived in Fort Worth and had the social connections to get it done. Cliburn, who had rocketed to fame by winning the 1958 International Tchaikovsky Competition in the Soviet Union during the Cold War, started all his concerts with the Star-Spangled Banner and was considered one of the best at playing it. Fort Worth Star-Telegram music critic Wayne Gay said the Star-Spangled Banner was one of five songs Cliburn played better than anybody in the world.
Cliburn played the first verse of the anthem on his piano. Then he stood at attention, put his hand over his heart and began to sing as the Fort Worth Symphony began playing the second verse.
It was a magical moment at the Ballpark.
"Best national anthem ever," Morgan said.
Morgan said the Rangers tried to get Cliburn to come back to the Ballpark, but could never connect on the dates.


text:
Filter'd Out #6 & 7 [Hatchings]
It's like a Father's Day extravaganza: two weeks worth of enlightening* blog posts! Of course, I'm making up for missing last week, so it's not really anything above and beyond, just a few I missed but are still worth your time.
* Including but not limited to: entertaining, challenging, informative, inspiring, alarming, and/or that simply spoke to me.
For the weeks ending 11 and 18 June 2011 I've Filter'd Out:
Top Ten Birding Accessories
Jonathan Lethbridge, writing for The Crow Council
If you're engaged in serious birding you're going to need equipment. Jonathan highlights the most useful tools, each of which a must for (most) birding outings.
4) Dull, boring looking clothes. Essential for any birder. You should be dressed in mute shades of green or blue. Nothing else will do. You need to exude dullness. People should look at you and involuntarily yawn. If you are out birding and pass someone only to have them fall asleep a few yards later, you know you have got it right. On a serious note, just make sure whatever you have is suitable for the conditions, and not bright red. And whatever you do, don't buy camo, it is totally unnecessary and makes you look like a twat.
Pieplow Made Me Do It
Ted Floyd, writing for The ABA Blog
Remember this post's title, it's a phrase that may become part of the new lexicon in birding circles. After reading Nathan Pieplow's recent post on describing bird sounds, Ted puts the advice into practice.
A few evenings ago my kids and I were exploring Walden Ponds, a bucolic birding spot in Boulder County, Colorado. We were in the buggy back end of this sprawling complex of marshes and woodlots, listening to the sounds of early summer in the foothills of the Rockies: twittering Violet-green Swallows and chattering Bullock's Orioles; harsh Western Wood-Pewees and a querulous Black-billed Magpie; and a dispirited Warbling Vireo.
How to Prepare for An Exotic Birding Tour: Study the Birds
Laura Kammermeier, writing for The ABA Blog
Traveling somewhere exotic, where the sights and sounds are unfamiliar, can be fairly nerve-wracking. Now imagine you're headed there specifically to focus on the local birds, most (if not all) are new-to-you. Laura provides tips to prepare, both from her experience but also from a handful of well-traveled birders and guides.
While 'normal' people may fret over transportation and logistics, money or safety, or fear of forgetting something important, like underwear or toothpaste, I suspect that the prevailing anxiety among ABA members is the unwelcome fact that we'll be unable to identify the hundreds of new bird species that will parade in front of us the next seven to fourteen days.
Few things get a birder's goat more than being rendered impotent at bird identification.
AOU to leave Mexican Duck in limbo
David, writing for 10,000 Birds
A hallmark of excellent writing is when you find yourself caring about an issue you didn't know you should care about. David has a knack of probing into and explaining classification dilemmas and what they mean with all-too-uncommon clarity.
When the American Ornithologists' Union publishes its annual North American checklist update next month, many birders will be disappointed to see that a proposal to re-split Mexican Duck (Anas diazi) from Mallard (Anas platyrhynchos) has failed. The Mexican Duck, as its name suggests, is native to Mexico and parts of the southwestern United States, and unlike the Mallard, the Mexican Duck does not have a showy male breeding plumage; both sexes are brown throughout the year. Once considered a separate species, the Mexican Duck was lumped with Mallard in 1983 after studies indicated a high degree of hybridization, and that is where it's remained ever since.
What do you think? Do you prefer stability and certainty, or would you rather make changes to our lists early and often? And while we're at it, what's your experience with Mexican Ducks and Mallards in Mexico, Arizona, New Mexico, and Texas?
What I'm Doing
Mike McDowell, writing for Mike's Birding & Digiscoping Blog
Birding locally, thinking globally returns Mike to his "zen with nature," something that we would all benefit from.
There's a fable about a powerful king who assembles his sages and asks them to render an object that will make him happy when he is sad and sad when he is happy. They ultimately forge a ring for their king bearing the inscription "This too shall pass." For me that object is a bird. When I visit a woods or prairie filled with birds I know I'm generally seeing them at their best, which is how I like to capture them with my photography. Before I was a serious birder, however, I had no idea how much trouble birds are in. As the naturalist matures, it's a rather depressing moment when realizing all is not so well.
# 56 Field Tip: Study the Bird, Not the Book
Adrian Binns, writing for BIRDING with BINnS
The latest in Adrian's series of tips for birders and bird watching, one that is bypassed all too often.
Out in the field, when you see a bird and you do not know what it is, it is tempting to immediately look in your field guide and try to identify it. Don't do this! Instead, study the bird in your binoculars or scope for as long as possible, before opening a book or IPhone.
Finding Help for the Spoon-billed Sandpiper
Gerrit Vyn, writing for Round Robin
Gerrit is on assignment in eastern Russia to record the natural history of the Spoon-billed Sandpiper, one of the most endangered bird species in the world. While the photos and information are of the focal point, posts like this highlight one of the beneficial aspects of blogging: instead of waiting for the summary and slide show upon his return, we're right there with Gerrit as he documents the expedition.
Our destination for this project is the village of Meynypil'gyno—about 500 people living on a long gravel spit at the edge of the Bering Sea. Nearby is the largest known core breeding area of Spoon-billed Sandpipers, where at least 12 pairs bred last year. We arrived in early June, just before the males arrived to begin their courtship flights and nesting.
Flammulated Owl Surveys Near Island Park, Idaho
Anna Fasoli, writing for Speed Birding
Flammulated Owls are always interesting to come across, whether in real life or vicariously through someone else's experiences. And though the description of an environment so different from my local birding patches is worth the read, I find myself more stunned (horrified? enamored?) by the photos presented by Anna, which are not of owls.
Alex and I have been out the last few nights conducting Flammulated Owl surveys for IBO just a few miles west of Yellowstone National Park. Last night, Alex and I discovered the grid we wanted to head to required a 3.5 km walk in. It is pretty much at the base of the continental divide west of Island Park on a steep slope, and as far as I can see, there is still a ton of snow just above the grid. Not a good sign!