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Published: 8 February 2010 at 10:39
Anglia Ruskin University has today launched a new Urban Design course developed in partnership with Regional Cities East (RCE).
Anglia Ruskin University has today launched a new Urban Design course developed in partnership with Regional Cities East (RCE).
This new one year Graduate Certificate in Urban Design and Place Shaping has been developed to help people in public, private and third sector organisations improve their ability to understand, design and deliver great places.
Daniel Durrant, Capacity for Urban Renaissance East Manager at RCE, said:
Dr Alison Greig, Skills Development Consultant at Anglia Ruskin University said:
Assessment is based on a portfolio of evidence including real life projects, evaluations of good practice and Continuing Professional Development sessions.
The course is designed for professionals already involved in place making or place shaping. This is likely to include assistant officers and officers in planning, design and regeneration teams, policy teams and development control. It will also be relevant to architects, surveyors, highway engineers, transport planners, engineers and conservationists.
Further details about the course and application forms are available at http://www.anglia.ac.uk/urbandesign
Anglia Ruskin University has secured funding from HEFCE to significantly reduce the cost of this course for its January 2010 start. Small and medium sized private sector organisations can also apply for beyond 2010 funding which may reduce these fees by another 50%
For further information about the course please contact Dr Alison Greig on 07545 204358 or email email@example.com


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Is wine and chocolate too much of a good thing? A friend who attended a chocolate and wine tasting recently found each match, to her dismay, worse than the preceding one. The problem is that chocolate, especially milk chocolate, which is both sweet and fatty, tends to strip wine of its natural fruit flavours, making it taste thin, lean and sour. Even a classic sweet wine like Sauternes can suffer under the assault of chocolate's lingering, mouth-coating sweetness. Can two such polar opposites ever attract? The answer is that they can, but only the most dedicated of chocaholics would put red wines and chocolate together.
The darker the chocolate, the more of a fighting chance it has, especially with one that's sufficiently rich and viscous not to curdle the wine. Dark chocolate contains an undertone of bitterness and dryness, and the bitterer the better is no bad rule. Not a hard and fast one, mind, because the flavour profile of the wine and the chocolate also counts. Take a rich Australian liqueur muscat such as Buller's Rutherglen Muscat, £8.99, Majestic. On its own, its rose-petal richness borders on the cloying. Try it with a dark chocolate like Lindt Excellence Chili and it turns into a match made in heaven as the wine tastes of muscat and the chilli sings. Can a golden, sweet wine ever work then? Just about, but to retain the marmaladey sweetness of a Brown Brothers 2007 Orange Muscat and Flora, £4.99, down from £6.49, 37.5cl, Somerfield, or the luscious pineapple and mango richness of a 2006 Feilinger Artinger Beerenauslese, Burgenland, £9.99, 37.5cl, Waitrose, you need the acid foil of raspberries, albeit sprinkled with chocolate flakes.
Why not take your liquid sweetness with a more time-honoured match? Port and Stilton, Roquefort and Sauternes, are statements of the obvious point that a rich, sweet wine loves the savoury, salty and creamy. A sweet botrytis wine such as the 2005 Bimbadgen Estate Botrytis Semillon, £6.99, 37.5cl, Majestic, or Patricia Atkinson's honeyed 2003 Clos d'Yvigne, Saussignac, £21, 50cl, Justerini & Brooks (020-7484 6400), work a treat with a creamy blue like the cow's milk St Agur and firmer Fourme d'Ambert, or our own goaty Harbourne Blue. Classic tawny ports such as the Christmas puddingy Taylor's 20 Year Old Tawny, £26.99, Sainsbury's, Selfridges, Threshers, Waitrose, have a similarly devastating effect. Washed-rind cheeses can be harder to match but a fresh, creamy goat's cheese is a perfect foil for a delicate floral riesling such as Dr Loosen's 2006 Riesling Beerenauslese, £9.99, 18.75cl, Waitrose.
Madeira can range in style from the sophistication of Henriques & Henriques 15 Year Old Verdelho, around £17, 50cl, Waitrose, The Sampler (020-7226 9500), Noel Young (01223 844744), whose burnt-caramel undertones carry Portugal's trademark blade of acidity; to the nutty crème brûlée richness and tang of a 10 Year Old Malmsey, Madeira, Broadbent Selections, £25.95, Berry Bros & Rudd (0870 900 4300). From southern France's Pyrenean corner, a traditional alternative to port such as Maury can act as a great partner for Fourme d'Ambert or Stilton; like the 1928 Maury Solera, £12.95, 50cl, Tanners, Shrewsbury (01743 234500), begun in the earliest days of the Maury co-operative, which combines rich caramel and raisin flavours with the rancio effect (deliberately exposing the wine to air in order to bring on a fortified taste) of an oloroso sherry. Or, since it's Easter, what better way to mark the occasion than with vin santo, Italy's holy wine, and Trentino's luscious Arele Vin Santo, £18.99, 50cl, D Byrne & Co, Clitheroe (01200 423152).
- More about:
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Up next! The two "nightmare years", Coop loses control and spoiled Buck fans contributed to the bad attitude by constant b*tchin and moanin! Buckeye fans are some of the most spoiled and unrealistic fans going. Gotta love 'em!! Go Bucks!!!
Member since 30 November 2012 | Blog
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I was at the game against TTUN at the Shoe and some drunk guy gave me his pressbox pass because of my weird and wild buckeye hat.
Almost cried. One DB slip from perfections. Sigh!
That's just fine
All the media yappers talking about Nick and Sam. I'm thinking that will let Tyquan blow up even BIGGER! Going to be fun to watch the young Bucks grow and the "expert fans" (LOL!!!) grump, gripe and groan if we don't win every game by 30 with a Natty. Have a fun season! Go Bucks!!!
Of course he would. The Vest, The Senator WROTE "The Winner's Manual" and backed it up every year.
Silly question
Here comes the outstanding coach that so many Buck fans love to hate LOL!
I was a boy scout usher at that game. We had moved to Mo-town that summer and the troop I joined got to usher the game. I was near the MSU students (they weren't jerks) and saw OSU fans literally crying when they left the stadium.
So, SO many to put in front of Smith. You WERE kidding right?
They won at TTUN for my literal birthday! :-D Gotta love our Bucks!
How can people NOT feel "pain" from historic disappointments? OSU football was huge WAY before your lifetime. If you don't care about the tradition and bleed it, you're just a band wagoneer. :-)
I want back the 1969 Meatchicken Loss. We and Woody might have done a 3-peat. How cool would that have been?
Hey BucksHave7, what loss compares to THAT one (2007 Fiesta, Biakabatuka game, and 88 MSU loss are runners up)
Seems to me the ENTIRE sports writing WORLD doesn't remember how "great" Hoke's first team (with RichRod personnel) was. 11-2, won the Sugar bowl. Boy were the blue boyz full of wild fantasies then. That was 5 years ago. No one considers that Harblegh might similarly flame out. Hope so just for the entertainment value of the Khaki exhibitionist trying to explain how mean ol' Rutgers beat them. LOL! Fun to contemplate.
How to recruit 101: "You'll win a national championship, B1G rings and a degree from tOSU. Deliver. 50-4 isn't so magical now is it? Excellence isn't lucky.
Not an excuse, an explanation. His whole downfall and incorrect decisions were driven by his consuming passion to teach, grow and take care of "his kids". His whole career. His coaching awesomeness is a fringe benefit. Congratulations to a fine man and legendary Buckeye.
Do these as a an audio or video podcast. Would rock! Plus post the transcript. Just ideas :-) Good stuff guys.
Just AGHAST the DJ calls the flippin' BeeGees more talented than the stones. Bob, can't sing a note, Dylan was bad enough. You youngsters (head shaking) :-) Fun article as always though! Go Bucks!!!
The final scores of 15 Ws will be sufficient statistically for me ;-)
All the contenders should be rewarded by a lifetime vacation in the magical kingdom of Smarmya.
It is a Smarmasbord! You couldn't line up a smarmier group in total if you designed and built your own.
Great fun! This is BRILLIANT! (can you tell I like that you call out their smarminess?). #GoBucks!!!!
It will be Miller backed up by Cardale (as the two leaving the program for pretty sure). JT will get the job next year and barring injury be the leader/mentor for the grab bag of Stellar QBs (potentially) behind him.
I don't know how Miller doesn't win it. The best guy will play I'm pretty sure.
I really like number 3!! Think of the throw backs in addition to the runs!
We claim 8 :-D Since 1995 The Ohio State University football team has won 10 or more games 14 times. That's more 10 win seasons, spanning 3 coaches, than many programs have experienced in their entire existence. Add in 5 (6, 7 or 8) National Championships including the first CFP undisputed Champion. People are talking "dynasty", that's pretty dynastic already. Enjoy the Championship (and any future ones), repeating is very hard to do. I agree about counting by team but by conference is a fun exercise. Go Bucks!!!
Long way (with great pictures) to say "Gap Sound"
Good read! Until/Unless Urban gets to 9-1 against TTUN I'll take the Senator to coach The Game if I have to choose.
Don't do such things to ANY truly good bourbon :-)
Glad you caught that too LOL!!!
Let's do Intensive intents and care purposes.
Go Bucks!!!! Turtle Time!!!
Why the gratuitous Bollman cracks. I know he's popular to hate on. All those 10 win (plus!) seasons and an MNC OBVIOUSLY indicates how poorly he performed. Bollman has been gone a couple of years now, FYI.


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This renewal of the program project "Modulation of biodefense responses to microbial pathogens" is composed of four projects and three cores focused on the immune response to Category B and C Biodefense Pathogens and their products. The central hypothesis is that early events during activation of the mucosal innate and adaptive immune responses determine whether or not immunity or injury is induced in response to infection, or bacterial toxin exposure, respectively. Each project focuses on a unique aspect of the theme to advance our overall understanding of the mucosal immune response to infectious agents or their toxins. Since human disease can be easily spread by deliberate or accidental contamination of food, water, or air, our focus is on mucosal tissues at the interface with environmental exposure. Project 1 (Lefrancois) proposes to investigate the mechanisms regulating the intestinal mucosal T cell response to oral Listeria monocytogenes infection (LM). A novel system that mimics human infection will be employed. Project 2 (McSorley) will examine a new model of relapsing Salmonella infection and will define the critical requirements to elicit protective immunity. Project 3 (Vella) will determine how pulmonary administration of Staphylococcus aureus enterotoxin mediates acute lung injury. An innovative proteomic mining strategy will be used to test the novel hypothesis that T cell responses against enterotoxins guide a cell damage process that manifests in profound lung pathology. Project 4 (Cauley) will investigate the mechanisms that support sustained cellular immunity in the lungs against influenza virus infection. The projects utilize in vivo models, in-depth cellular immunological techniques and state-of-the-art imaging and are supported by 3 cores: administrative, flow cytometry and fluorescence microscopy. The projects and cores synergistically interact and mutually reinforce one another to achieve the goals of the program. Coupled with strong institutional support, it is anticipated that significant new insights in immune response regulatio to pathogens and their byproducts will continue to be obtained.
The work performed under this Program has direct relevance to the development of vaccines and countermeasures for protection against viral and bacterial pathogens and their products. The studies described will provide an in-depth understanding of how productive and sometimes destructive mucosal immune responses are induced and controlled.
Showing the most recent 10 out of 46 publications


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D.S. Berenson presented at the 2012 Remodeling Leadership Conference and is a frequent contributor to REMODELING magazine. He is the Washington, D.C., managing partner of Berenson LLP, a national law firm specializing in the representation of contractors and the home improvement industry.
REMODELING: What are the top three legal issues facing remodeling company owners?
D.S. Berenson: 1099 reclassification, sales and marketing compliance, and insurance failure.
RM: What's the issue with 1099s (i.e., a worker who contracts out his or her services to another business)?
DSB: The states and federal government have been on a concerted act against the contracting industry for about three years now in an effort to reduce if not eliminate the use of 1099 labor within our industry.
This is the result of a mix of policies that consider 1099 labor a huge source of missing tax revenue — revenue much sought after by cash-strapped states — coupled with the belief in some political sectors that 1009 workers are taken advantage of by unscrupulous employers who deny them benefits.
We've seen an increasing number of contractors large and small subject to reclassification audits by the Department of Labor, the IRS, and state tax and labor agencies. Hundreds of contractors have been audited or sued over 1099 reclassification issues over the past three years.
You need to know how this applies to your business in the state you're operating in and the risks and rewards of maintaining a 1099 relationship and how to do it if you want to do it.
RM: What do you mean when you talk about sales and marketing compliance?
DSB: There's an epidemic failure within the industry to understand what's really happening on the street in regard to liability exposure. The vast majority of sales and marketing techniques are holdovers from the 1970s, many of which are illegal and may cause your business to fail if you don't make changes.
Take Penguin Windows, which went from being a $55 million company to bankruptcy in less than a year all because of marketing. The marketing techniques given to them by industry consultants were illegal, unethical, or a combination of both. The company was audited by the Washington State attorney general's office and then by the State of Oregon, and it was sued. A PR nightmare ensued, and Penguin had no option but to file for bankruptcy.
[This kind of thing] is not the exception but the rule. But no one listens. That's the epidemic failure I'm talking about.
Here's another example. A trade publication — not REMODELING — recently partnered with NAPAC [the National Association of Professionally Accredited Contractors] to do a survey in which it asked readers to send in samples of their advertising and contracts to see if they are compliant with state law. My firm did the free contract review. Of the 70 readers who responded, guess how many violated state or federal law: 69. That's a big issue.
RM: And how is insurance failing the remodeling industry?
DSB: This stuff can be dry as toast, but the stories are not. For example, one Midwestern remodeler's policy didn't cover his independent contractor's car. While the sales manager was driving to a lead, he hit two bicyclists. No policy coverage applied because of the manager's 1099 status. That remodeler almost lost his entire business.
This is a serious problem. Since 9-11 the insurance industry has been getting killed. They send out riders excluding coverage in a policy and no one reads them. [If you do read them], you quickly find out you're not covered for mold or leaks or for defective work. You sit back and say, "What's the point of having an insurance policy?" if you're a roofing contractor, let's say, and you're not covered for defective work? Why are you paying for a policy? It may be dry, but it's serious.
Click here to read more from the 2012 Remodeling Leadership Conference speakers.


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Abandoned Malls Symbolize American Economy
By admin on April 29, 2014Once filled with over 5,000 employees and triple the amount of every day shoppers, it is eerie to see a place we normally know to be so full of life to be so lifeless and still. Photagrapher Seph Lawless captured these photos of two abandoned malls to symbolize our American economy and the struggle we have been through as a […] -
ASOS Super Bowl Sale + My Shopping Cart
By SP on February 2, 2013I shared on my facebook page yesterday that I was spending my Friday night browsing ASOS.com. The site is quite massive, so I had to dedicate an uninterrupted couple of hours to find personal gems. They are having a 20% off sale all weekend, so I had to take advantage. Get yours; ASOS.com code SUPERBOWL20 My shopping cart consisted of […] -
Phillip Lim Pre-Fall 2013 Collection
By admin on February 1, 2013Phillip Lim just revealed his gorgeous Pre-Fall collection, and it's full of the most wearable pieces! From emerald green to wild leopard and classic black leather, it's impossible not to want them all! Here's a look at some of our favorites! Related articles 2013 Trend Alert: Spring Jumpsuits (stylepantry.com) -
Stylish Holiday Heels
By admin on December 27, 2012Every woman dreams of having a closet full of breathtakingly gorgeous shoes. This holiday season, why not celebrate every woman's favorite foot accessory with a defile of beautiful holiday inspired shoes? Enjoy…and hope you have NYE dancing shoes ready! 😉 Givenchy Stella McCartney Miu Miu Thakoon Aperlai Lanvin Miu Miu Nicolas Kirkwood Jason Wu Valentino Brian Atwood Nicholas Kirkwood Christian Louboutin Miu Miu […] -
DSquared2 Pre-Fall 2013 Collection
By Michal Upchurch on December 21, 2012Dsquared2's Pre-Fall 2013 collection displayed all the classic, timeless pieces we love to wear in the fall (plaid, wool, denim and leather). Although, I did spot a trend from "seasons past"…..the sock/heel combo. It's a playful style that totally works with this collection. Enjoy…x -
Prada Spring Summer 2013 Handbag Ad Campaign
By SP on December 20, 2012Prada's spring summer 2013 handbags [ad campaign]. Lovely! Enjoy! -
Editorial Spread: Man About Town
By SP on December 17, 2012Bastiaan Ninaber photographed by David Roemer for Robb Report. Parisian class and elegance. One of my favorite things is to see people wearing coats draped over their shoulders. I just love it! Enjoy….xx -
Lardini Fall/Winter 2012 Collection
By SP on December 10, 2012Lardini Fall/Winter 2012 is perfection. Quite stylish and makes an awesome Christmas gift for a dapper man 😉 Enjoy…xx -
Trend Alert: Pairing White With White
By admin on December 7, 2012We love this white washed trend as we are all for wearing white after labor day! Let the blank canvas take over from head to toe or add colored accessories, like Carolina Herrera. With style inspiration from fabulous designers the white on white combinations are endless! Be sure to choose the white silhouette that fits you! Enjoy… xx Assembly 2013 […] -
Mango December 2012 Lookbook
By SP on December 6, 2012Mango's December 2012 collection is based on foulard prints in red, blue, black and white tones with cashmere. We also see a take on the pegged and baggy pants, boxy blouses and the classic leopard print. Enjoy…xx


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THE controversial Mynydd y Betws windfarm seemingly faces question marks over its future after experts claimed to have discovered a 5,000-year-old Stone Age monument "almost as significant as Stonehenge" on the site.
The 500-metre Neolithic stone row– believed to date from around 3,000BC – has been described as having "national, possibly even international, significance".
The discovery – if confirmed – also raises questions over the planning permissions granted to the developers, Irish power firm ESB.
The Guardian has previously reported how ESB spokesman John O'Donohue said that archaeological surveys of the site failed to unearth anything of significance.
"We didn't find anything, but we would have to stop if something was discovered," he told Betws community councillors after the possible presence of sites of religious and archaeological interest was first raised by Cllr Maldwyn John in October.
Contractors at the site have fenced off the find, but opponents of the scheme say the discovery – part of which has already been destroyed during the windfarm's construction – is one among many.
"The whole mountain is covered with archaeological artefacts," said Geoff Moore of campaign group Communities Acting Together. "We have shown the find to two wellrespected experts and they were astounded to find such a fine example of something which is very, very rare in Wales. What concerns me most is that if it takes lay-people like us to spot something that is so enormous and important to our history, why was it not seen during the original survey? Does this mean that the decision to approve the plans was based on incorrect or flawed information?"
Freelance archaeologist Helen Gerrard described the find as "tremendously important". "There is only one of its type in Britain which has even been partially excavated," she said.
"This could be almost as important as Stonehenge."
A spokesman for Cambrian Renewable Energy Limited, the company building the turbines, said the firm was consulting its archaeologists and Carmarthenshire County Council. "Further statements will be issued when more information becomes available," he said.


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Translation of Powerpoint English to French
- Status Closed
- Budget N/A
- Total Bids 29
Project Description
I require the translation of a presentation from English to French. The presentation is about 14 slides and the text is summarized in a Participant's Guide in Word format of about 1000 words which will be the basis for this job. I will need the guide translated and then the appropriate pieces copied and pasted into the PowerPoint presentation to replace the English text. The topic is "Practical Coaching". The material is all protected by copyright law, so it must not be shared with anyone and all files must be deleted after the project is complete. The document is attached.
Once I find a freelancer that does a good job, I will have a regular flow of presentations that will also need to be translated. This will be the first of many for the right person. The budget says $30-$250 but even $30 is too much for this job.
Please begin your bid with TWIDDLYDOO or you will not be considered for this job. If you are not a NATIVE FRENCH SPEAKER with an excellent written and spoken English, do not bid.
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WELCOME TO THE WEST VIRGINIA TOWING ASSOCIATION The West Virginia Towing Association is comprised of 80 towing company members throughout the State of West Virginia. The purpose of our organization is to provide important information concerning the towing industry to the public and our members.
GAYLOCK WRECKER SERVICE The WV Towing Association proudly recognizes Gaylock Wrecker Service of Logan, WV as their Spotlighted Member of the Month. ©2013 WV Towing Association | Privacy Policy | Member Login | Website Design Company
MEMBER MEETING NEED A TOW TRUCK? CANCER AWARENESS IS BACK Need a tow truck in the State of West Virginia? Simply click on the map to the right to locate a tow truck or wrecker close to you. ASSOCIATE MEMBER LINKS Reminder, don't forget to re-apply for your 2014 adjusted fuel surcharge with the PSC. B/A TOWING FOR A CURE STRAPS. We are happy to announce that the B/A Towing for a Cure Straps are back for a limited time and will return annually. Presented by ROPE, Inc.
March 11, 2015 Join us for our quarterly members meeting at the Flatwoods Days Inn. Don't forget that Membership Dues for 2015 are due now. |


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Kaffe fat quarters |
Friday, February 11, 2011
...can be expensive!
I left behind an item at The Sewing Studio during our last guild meeting. I was really good on meeting day and only purchased a couple of things. However, that was not the case when I made a return trip to the store to pickup my forgotten portable design wall.
I didn't need anything at all, but some how I found myself asking the nice lady to cut yards of colorful velvet ric rac and coffee bean ribbon. Not sure what I'll do with these notions, but I'm going to have fun trying to figure it out ;-)
While I was waiting for the ribbon to be cut, I spotted some Kaffe fat quarters on sale and this bundle of Robert Kaufman fat quarters. Hmmm...maybe I forgot that design wall for a reason ;-)
In other news....I've been feeling so out of this week that I haven't even pulled out these two quilts I received from my long armer....on MONDAY! Literally, this picture tells the story...I've only opened the box and peeked inside....very sad.
I need to prepare the binding strips and sew them on so that I can take them with me to Montana and hand sew them on by the fire. As if things aren't crazy enough around here, SOMEONE (I'm not say who...but it isn't me) in my family has to get their skiing fix so we are taking a really quick trip to Montana for the kids' winter break.
Hope to have some finished quilts to show you next week.
Have an amazing weekend!
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EXECstudio.com | CF Fabric for Interior Trim $40 shipped per yd. | 4colors
Due to a high demand of DIYers, how can EXECstudio.com resist? VIEW MORE INFO AND PICTURES ON OUR WEB SITE! CF Fabric prides itself of the following:
Carbon Fiber Fabric is a new product on the automotive market that has made it easy to upgrade your interior from regular plastic to a racy yet classy carbon look. No, it's not your typical CF overlay nor is it vinyl. This is actual fabric showcasing a CF based weave to allow the trim to breathe even better than leather. The idea was originally brought out by BMW when they used Carbon Fiber Vinyl on the front dash board of their e90 M3 (see image below). While everybody loved the look, it was very hard to recreate due to the thickness of vinyl and the cost of actually stiching it together to make it fit seamlessly around any dash board that was never disigned for any type of trim. Carbon Fiber Fabric solves the problem by being extrimely thin and durable. It follows the contour of any object that you are overlaying, adding less then a fraction of a millimeter to the surface of the part. The easiest thing about installing the fabric is that all you need to do is to spray the surface of a part with 3M glue and simply stick the fabric to it. Here's a picture to compare the difference between vinyl and fabric...notice the difference on finish, the backing, and flexibility...(vinyl on the left and fabric on the right) CF Fabric in Black and in Charcoal is $40 for the first yard shipped and $37.50 for the following yards to the lower 48 states. An additional 7.5% Sales Tax for California Residents. CF Fabric in Titanium and Silver costs $45 shipped for the first yard and $42.50 shipped for the following yards to the lower 48 states. An additional 7.5% Sales Tax for California Residents. Please send payment to email@example.com via PayPal. State your screen name, the type of fabric you are buying and how much in the notes section. Charcoal Carbon Fiber Fabric, Titanium Carbon Fiber Fabric, Black Carbon Fiber Fabric and Silver Carbon Fiber Fabric are currently in stock and ready to ship. We have 200ft of each! Our own pictures of samples will be posted in the near future! Comparison between CF Swatches: Samples of fabric installed... WRAPPING SEVICES ARE AVAILABE! Contact for pricing! A great DIY on how to wrap your interior trim yourself! * Shipping Quotes: Quotes for US Mainland. Please PM me for the cheapest possible way to get one of these items shipped to your door if you are in Hawaii, Alaska, Puerto Rico, Canada, and other International countries.* * California Residents: 7.50% CA Sales Tax is applicable. * Peter M. --- Last edited by CONSTRUCTauto.com; 07-21-2009 at 04:16 PM. |
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Try not to take the lord's name in vain, but don't ever be a goddamn scab
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Sorry for the language. Hope you understand. Recent Reviews
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"Try not to take the lord's name in vain, but don't ever be a goddamn scab"
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Klaus Heymann Exclusive Interview: February 21, 2012
Various Artists
CDs: 1
Tracks: 15
Rel. 1 Jan 1992
Sample Album Track
On Monday, January 16, 2012, Classical Archives Artistic Director Nolan Gasser spoke with innovative record executive Klaus Heymann – founder and CEO of Naxos Records, which this year proudly celebrates its 25th Anniversary. In this engaging and edifying interview, Mr. Heymann takes us through the fascinating history of Naxos, from its 1987 origins as an experimental budget label to one of the most powerful classical music operations in the world – with a multitude of interconnected businesses: record label, physical and digital distributor, video and book publisher, educational resource, online library, etc. The two also discuss the vital artistic and business role played by Mr. Heymann's wife, violinist Takako Nishizaki; Mr. Heymann's knack for anticipating shifts in the music industry; the distinctive Naxos approach to artists and repertory; the various plans to celebrate this anniversary year; and much more. Our Naxos feature also includes a set of top Naxos album picks from Mr. Heymann himself, along with a set of three 1-Click Concerts based on those "top picks"; as a special treat, two of the three concerts are FREE to stream to all visitors; the third, "American Classics" allows full streams to subscribers only. Don't miss this fascinating interview with the CEO of one of Classical Archives' most valuable label partners!
"Telemann has not been recorded completely, C.P.E. Bach hasn't either; there are hundreds and hundreds of great composers who are not. And there are composers you've never heard of, who wrote over 500 compositions or more. There is still much repertoire to be recorded for the first time."
– Klaus Heymann
Nolan Gasser: Klaus Heymann, welcome to Classical Archives. 2012 is a rather significant year in your business life, as it marks the 25th Anniversary of your label cum classical music empire known as Naxos. This is pretty remarkable for many reasons, not least in the fact that you initially envisioned putting out a mere 50 or so titles on this "budget" label before imagining your competitors would catch on and drive you out – and thus, just a bit shy of the over 5000 titles that you've actually produced so far on Naxos. We'll be exploring some of the many dimensions of this fascinating history, but let's begin by talking about the future. Can you tell us what special plans you have at Naxos to commemorate this significant milestone – in terms of special releases or projects?
Klaus Heymann: The first big thing is that Nicolas Soames has written a book about Naxos called The Story of Naxos, which will be published by the Little, Brown Book Group – a very reputable publishing house, as you surely know. The book will become the focal point at all the functions we'll be doing around the world: we'll start in May in London, Paris, Scandinavia, and Munich – for the Classical: Next Conference [May 30-June 2, a forum for classical labels, publishers, festival organizers, etc.]; we'll have events in all these places: press conferences, and in some cases we'll have concerts. In August, I'll do events in Australia and New Zealand; in September, we'll go to North America – to Los Angeles, Nashville, Washington, D.C., New York, and Toronto; finally, in October and November, we'll do events in Asia, mainly Hong Kong, Japan, and Korea. There will be different kinds of functions, but at every one – where people understand English – I'll read a few passages from the new book. In Munich, at the Classical: Next Conference, we'll feature a concert with two of our artists.
In addition, we'll be releasing between eight and ten CD box sets especially for the anniversary; each box set will have a distinct theme: around the great Russian symphonies, the great ballets, the great piano concertos, and so forth – basically the most popular in different genres. We'll also have a very substantial release schedule for the year that we've just selected: featuring [American conductors] Marin Alsop and Leonard Slatkin, a new cycle of symphonies by [Russian composer Mieczyslaw] Weinberg, and several other really good releases.
NG: I can well imagine that you would save a few gems for this anniversary year, and it sounds like you've got a very strong program scheduled. It's nice too that you're doing a book tour along with some concerts. Do you know in which cities in the U.S. there be a concert along with the book reading?
KH: We haven't figured that out yet; all the dates have been fixed, but what we're going to do depends upon whether we have any resident artists in the city in question. For example, our visit to Nashville coincides with the opening of the Nashville Symphony season; they're performing Beethoven's 9th Symphony, to which all of the people who come to the press conference will be invited. And when we're in Washington D.C., we'll take a side-trip to Baltimore for their season Gala.
NG: Right – for Marin Alsop and the Baltimore Symphony. Well, it all sounds exciting. One doesn't normally think of a tour for a record label – but it makes sense given how widespread the influence of the Naxos label has become. I'm sure that you'll be greeted with some very nice responses from the audience, and we'll keep tabs of those new releases and box sets here on Classical Archives.
Lets now dive in a bit into years past. What began 25 years ago as a kind of experimental alternative to your primary label at the time, Marco Polo, has evolved into a truly dizzying amalgam of properties: a record label, a major physical and digital distributor, a video and book publisher, a vital educational resource, and an online library, among much else – and likewise a rare entity in the music business, a profitable company. So, as you reflect over the grand arc of this evolution, what are you perhaps most proud of?
KH: I think I'm most proud that we were the pioneers in digital distribution of classical music – actually, digital distribution overall, because we put our whole catalogue up online for streaming in 1996, well before there was iTunes, or all the various attempts by the major labels to run their own websites. I'm also proud that I had the foresight to invest in my own IT [Internet technology]; everything was developed in-house, and that we created our own data, which now has become quite valuable. We now have close to 70,000 CDs on our website.
NG: You certainly were pioneers in digital distribution; I recall a technology conference back in 2000 or 2001 – also before iTunes – with all the major record and computer companies: the take-away tagline was: "it's easier to steal music than to buy it". Clearly you saw the future, even back in 1996, when digital sales would become a viable part of the music industry.
KH: We also see a lot of streaming services by subscription today, but Naxos started that in 2002 – well before anybody else thought of the concept.
NG: Indeed, seeing into the future seems to be a leitmotif in your career. It's clear from what I've read that you are quite a hands-on CEO, and that you take pride in being very cognizant of the industry. Yet, in gaining these insights – that the future lies with subscriptions or that content should be digitized – were there others you conferred with who helped trigger these insights?
KH: In 1995, my warehouse manager came to me and said, "Mr. Heymann, can we build a website?" I said, "What's a website?" I didn't really pay any attention to the idea until a short time later I read a story in either the Wall Street Journal or the New York Times, saying that digital distribution might well be the future of the industry; with that I became very interested. I then visited our website, and I was horrified – it took five minutes to load the home page! In those days we had a home page in 3-D – not what we have today. So, we shut it down and re-started properly from scratch. In the beginning, what we put on line was made available for free – as a marketing tool so people could listen online, and then hopefully they'd buy a CD.
I then began to worry that the major labels would try to control the Internet – to come together and monopolize it so that they could shut out unwelcome competitors like me. I didn't want that to happen, so I began to form my own IT group. And then once bandwidth started to get cheaper, I began to think that maybe there's a business there – to get people to pay for what they had been getting for free.
At that time, a paid subscription was a completely new concept. I remember that I would speak to people at universities – since in the beginning we were aiming at educational institutions – and they said, "What? You want us to pay, but we're not going to own the music?" I said "no"; but fortunately people knew the Naxos name, so they trusted us. I told everyone, "If you ask for it, we'll give you a hard disc with a backup of all the tracks you've bought, so that if we ever go out of business, you'll have all the music." No one ever took us up on the offer – and here it is nine years later. In all those years, I don't think we've been down more than once or twice for an hour or two. The subscription side is the fastest growing part of our business – this year we probably have 15-20% growth over last year.
NG: We need to remember how young the notion of the "cloud" is: it's just in the last year or so that people have become comfortable with the fact that they don't actually have to own the music, or the books, or the movies – it's all available through servers somewhere "out there." So, you were really over a decade ahead of the curve; and we all now see how important subscriptions services are – such as we have here at Classical Archives.
Let's now dive a bit further back – the pre-online part of the Naxos story, and how you got started in this business. The place was Hong Kong, the year 1978, and you decided to offer your young wife, Japanese violinist Takako Nishizaki, an opportunity to find a broader audience; and so you arranged to have her record [Zhanhou He's and Gang Chen's] The Butterfly Lovers' Concerto – which instantly sold well, and has since sold over 1 million copies. What were your impressions of the record business at that point – and did you have any inking that this was going to mark a career move for you?
KH: Definitely not. At the time I was running other successful businesses: I ran a studio business, building recording studios in China and Southeast Asia; I was also a distributor for Bose hi-fi equipment. So, those first Chinese recordings of my wife performing The Butterfly Lovers Concerto – and even the whole Marco Polo label – was really a hobby. And it was quite an expensive hobby – although most of the Marco Polo recordings actually recouped their investment. We started with the Hong Kong Philharmonic and Singapore Symphony; the music directors of these orchestras didn't want to record only Chinese music. I told them, "You can't do a Brahms or Beethoven symphony cycle; instead let's record things that have never been recorded before – people won't mind who records it so long as the playing is acceptable." And that's how the Marco Polo label started. Then around 1987, CDs came onto the scene, and manufacturing prices came down; we then started to record in Eastern Europe – and I shifted the main focus of the company to Naxos.
NG: One thinks of Marco Polo as a label that began with a mission to explore less well-trodden repertoire, and so it's interesting to learn that its impetus came as much from thinking about how to market the Hong Kong Philharmonic – that they couldn't do Brahms and Mahler, so why not do repertoire that's unknown; thus as much a practical as idealistic enterprise.
KH: I must also say that my musical tastes were really focused on late 19th-century / early 20th-century music. I love Mahler and Bruckner, don't get me wrong; but it was a combination of factors: we've got to record works that aren't available yet because people won't buy standard repertoire performed by a non-Western orchestra such as the Singapore Symphony or Hong Kong Orchestra.
NG: Marco Polo began as a hobby in 1982; but when you started Naxos in 1987, you were still involved with your audio equipment activities. When did this all become a full-time business for you – was it when Naxos began to take off?
KH: No, even then Naxos was a side business – because I had the studio business until about 2001, and was still the Bose distributor until 2003. Although my heart was in the music business, I made my money from other business – which I then sank back into the music catalogue.
NG: Yes, I read that you've put some $80 million into the catalogue. This certainly demonstrates your commitment to Naxos, as well as your capacity to handle many different enterprises.
We've discussed your wife, Takako Nishizaki, and her recording of The Butterfly Lovers Concerto – along with a lot of other Chinese content that has likewise sold very well. Indeed, since forming Naxos, her recordings [in all, over 170 albums covering the music of more than 100 composers] have been some the label's biggest sellers; for example, her 1987 recording of [Vivaldi's] Four Seasons has sold over 1 million copies. I also understand that to this day she's very much your business partner, being intimately involved with selecting the roster of artists and helping you to proof masters. People marvel at the stability of Naxos as a company with a single leader – but it really seems that it's a company with a power couple at its helm; I assume you agree?
KH: Absolutely! I'll say to her, "Sit down and listen to this; what do you think?" I don't tell her who is playing. She will then say, "Wow, very good – terrific", or "No, thumbs down." And that's the end of it. There are a few instances where there is a dispute between us about whether or not something is releasable, but in the end she is the one who makes the decision.
NG: Well, I'm sure your input is equally persuasive – I've read about your encyclopedic knowledge of music; how despite the fact that you don't play an instrument or read music, you are as knowledgeable as most conductors – a walking Grove Dictionary, I've heard you called.
KH: Yes, I can always meet with a conductor and can say, "I know more about the repertoire than you do," and they agree [laughs]. We were a real "mom and pop" record label in the beginning; obviously things have grown and we have more people now: we have an A&R [artists and repertoire] person here who is very knowledgeable about repertoire – the former general manager of the Hong Kong Philharmonic; we have Anthony Anderson, the Managing Director of Naxos UK, who is responsible for building up our English repertoire and who has a very wide knowledge of repertoire. So, it's now a lot more diversified – including the decision-making process, which is now a more consensus-driven process; we discuss release plans for the subsidiaries. It's a team now; it's a company with a team of executives who have all been with us for a long time. But, absolutely, my wife is still very important to the business.
NG: I've read about those blind listening sessions with your wife that you just talked about – where she can say "yes" or "no" after only a few bars. Have you gotten a sense of what she's looking for – obviously good technique, but something else as well?
KH: Yes, something else – because good technique nowadays is a given. There are so many young players with terrific fingers today. So it's about a musician expressing him- or herself, regardless of whether or not you agree with how they express it – but it's got to have personality, and their own, recognizable tone. It's difficult, of course, given that there are so many musicians out there.
NG: On average, how many new artists send their CDs to you for consideration to enter the Naxos roster each year.
KH: Hundreds – we are the label to which everybody goes. We may have been a bit easy to get in over the last couple of years, but we have to cut back now, because we can't continue to put out 20 or 25 new releases a month. Now we have to ask, "Is this something that we should record with this artist?" And if the answer is "no", we will not take on the project.
NG: Ah, so you'll now begin to lessen the number of Naxos releases that come out each month?
KH: Yes, we'll try to get down to 10 or 12 a month maximum, so we can better promote the important releases. In the old days, we had dealers who would automatically take everything we released. But once we started to release really obscure repertoire or a lot of American contemporary music, the dealers became more choosey. Sales per release have come down – there's no doubt about it. I'd say that 90% of what we record loses money in terms of physical sales; things that would have sold 30,000 copies in the early days of the label, we're now lucky to sell 3,000 or 4,000 copies, maybe 6,000 – which is not enough for us to break even. But we have so many other sources of revenue, that overall we are quite profitable.
NG: Clearly, that's a big part of Naxos' success over the past 25 years: you've discovered that there are many ways to utilize the content to generate various streams of revenue.
So, let's continue delving into the Naxos story. After working on this hobby label, Marco Polo, and seeing some nice success, in 1987 you saw another opportunity: to offer recordings of core repertoire at a price about 1/3 of what CDs were then going for; again, you imagined this would be short-term experiment, 50 CDs or so, before the majors took over this space. Why do you think that the major labels did not follow your lead and produce their own roster of budget releases?
KH: At the time we started, in 1987, they were too busy exploiting their back-catalogues at full price. You may remember those days: everything was released at full price, even CDs with short playing times. They only woke up to the Naxos approach in the early 1990s – at that time, PolyGram [a now defunct label started by Phillips, later absorbed into the Universal Music Group] came out with a budget label; BMG came out with Arte Nova, and so forth. But by then we had already raised our audio quality, and had started to record in Western as well as Eastern Europe. By contrast, the majors tried to create budget labels with their back-catalogue, and not even the best things from their back catalogues. In the beginning, Arte Nova tried to record too quickly and didn't pay attention to quality – which was bad for the label; only later did they also record at the same quality as Naxos, and now I believe they're semi-dormant.
NG: The majors seem to have concluded that on the basis of their names, and especially the big-named artists on their rosters, that people would pay a higher price even for back catalogue. By contrast, you were of the mind that people are more concerned with the actual repertoire than who's playing it – so long as it's a quality performance.
KH: Yes, though nowadays, with our online presence, we are also building up our artists – because that is absolutely essential for us as well. For example, [conductor] Marin Alsop would have made her career even without us; but her early recordings of [Samuel] Barber helped her a lot, and certainly accelerated her career. And we have others, such as [conductor] Vasily Petrenko, and quite a few "hot" young conductors on the label now.
NG: Indeed, you have many high-profile artists – beyond Marin Alsop, you have [conductors] Leonard Slatkin, JoAnn Faletta, and Barry Wordsworth; the Kodály Quartet, [pianist] Jenö Jandó, among many others. But it sounds like you will soon be seeking out an even higher-profile roster?
KH: Yes, we will probably have to; and if we'll want to attract more big name artists, we'll have to offer them interesting repertoires. So we probably will begin something I've tried to avoid: to start recording the standard repertoire over again.
NG: We'll come back to that topic in a bit. But returning to Naxos' development: it began as an experiment – as a budget label – which in turn allowed you to indulge in a broader repertoire, including the "war horses". And eventually, the mandate became to record the broad dimensions of the full repertoire – both known and obscure – throughout music history. I found one comment you made fascinating: your assertion that there are about 2 million hours composed since the Middle Ages, of which only about 100,000 have been recorded so far. I'm not sure how exactly you arrived at those numbers, but it does underscore why you don't actually aspire to record everything – only, as you say, "a reasonably comprehensive encyclopedia of classical music that covers all of the most important repertoire, and a few byways." This simple philosophy has been at the heart of your success. What was it, going back to those early years that gave you the "chutzpah" to imagine that you could achieve this grand task?
KH: It started organically: I recorded the first 50 or 100 CDs, and when the majors didn't come out with a competing budget label, we said, "Okay, we have recorded four of the Beethoven symphonies – let's do them all; we have six of his piano sonatas – let's do all of them." In the early days, people asked me if we were ever going to record the music of C.P.E. Bach, for example, and at the time I said "probably not"; but then we had the output of J.S. Bach pretty well complete, so it made sense to expand to the music of C.P.E Bach, and other more rare repertoire.
Originally, a lot of material that's is now out on Naxos would have come out on Marco Polo; but then a lot more labels started to focus on rare repertoire – for example, CPO and Chandos, who are very often digging in the same ground that we are; Hyperion to a lesser extent, although they now have a "Romantic Piano Concerto" series – we had this same series long before they did, but we didn't package it as such. But we eventually began to realize that there was no longer any point in having a separate novelty premiere recording label, and so a lot of that shifted to Naxos.
NG: So, is Marco Polo becoming a sort of dormant label itself?
KH: No, now all the "light" music comes out on Marco Polo: we've almost finished with the music of Johann Strauss Sr.; we just released the 21st volume – and have just four more to go, which we'll record in July. At that point we'll have Johann Sr. and Jr. complete, as well as [Johann Jr.'s brother] Joseph Strauss – all out on Marco Polo.
NG: It's been pointed out in various interviews that you are the main selector of repertoire for Naxos, aided by your encyclopedic knowledge of music – although you also have others helping you these days. Yet, given your own background – not reading music or trained on an instrument – how do you make decisions about works that haven't yet been recorded – say an obscure chamber work from the early Baroque era or an anonymous motet from the Renaissance?
KH: In fact, I would say that I'm quite knowledgeable about music from the second half of the 18th century, as well as the 19th and 20th centuries, and contemporary music. Everything before that I go to people who know better. Jeremy Summerly, the conductor Oxford Camerata, for example, planned most of the early music recordings we did in the early days of the label. We have another fellow working on the complete madrigals of Monteverdi, as well as the madrigals of Gesualdo. We also worked quite a bit with the Ensemble Unicorn in Vienna, who came up with projects of music of the Middle Ages and Renaissance; they would explain the project to me, and I'd say "yes" or "no". So, anything written before, say, 1750, I have to go to an expert.
NG: I also read that if there's something you don't know, you'll sometimes ask for a sample recording from the artists. I understand too that there are also some of your key artists – such as Jeremy Summerly and JoAnn Falleta – who will come to you with their special projects; and as you trust them, chances are that you'll give them a green light.
KH: Yes, as with JoAnn, she comes to me with various 19th and 20th century repertoire that she really wants to record. I generally know about most of it, but I didn't know about this composer Marcel Tyberg – a composer she champions. I listened, and it's good music, so I said, "If it makes you happy, we'll do it."
NG: As you may know, I had the pleasure of interviewing Maestra Falleta, and I know how grateful she is to you for allowing her to record his 3rd Symphony – which is quite powerful.
One last question on repertoire involves a topic that you've already touched on a bit: the notion of offering multiple renderings of a single work. You've just now started to re-record works that you originally recorded 20 or 25 years ago that don't, as you say, "stand up to today's standards". For example, you've recorded a new cycle of the Szymanowski symphonies with the Warsaw Philharmonic. One the other hand, you've noted that you have no interest in re-recording the Mozart violin concertos, since you can't imagine a better rendering than that done by your wife. I understand your pride in her recordings – they are wonderful, but isn't it also part of the magic of the classical repertoire, especially the great masterpieces, that they warrant, if not demand, different renderings, without one offsetting the value of the other?
KH: Well, as I've said before, we are now faced with the question of how to attract specific artists to record for us – and that will often require us to offer them standard repertoire. I'm not sure about the Mozart violin concertos, but we will certainly give artists a chance to look again at the Beethoven sonatas, the works of Chopin, a lot of standard concertos – even the recordings of my wife that have a 3-star rating in the Penguin Guide; I'll still consider that.
NG: It shows that Naxos is continuing to evolve.
KH: Yes, but there's something that happens at the major labels, where an artist under contract will say that they want to record something, say a Beethoven piano concerto – but the label already has 5 or 10 or 15 recordings of that same work. That is a trap I will never fall into. We will selectively re-record things that in the early days were perhaps not so good. Although sometimes I myself am surprised: for example, we just re-recorded the Gershwin Concerto in F with the Buffalo Philharmonic and [pianist] Orion Weiss. I said to my wife, "let's listen to the first recording we did of this work with the Slovak Radio Symphony conducted by Richard Hayman, with the young Australian pianist Katheryn Selby – and it really sounded damn good!
So, it will be really be on a case-by-case basis. Consider, for example, our original recording of Ravel's orchestral music – by this same Slovak Radio Symphony, 22 years ago; they had never played this music before, but they did a fantastic job. Still, we are now re-recording Ravel with Slatkin and L'Orchestre National de Lyon.
NG: You are certainly right that other labels form a stark contrast. I just spoke with [violinist] Joshua Bell, who recently recorded the [César] Franck Violin Sonata [in A, M.8] on Sony Classical – less than a year after another Sony Classical violinist, Ray Chen, recorded the same work. And with the notion of those 2 million hours of music, you have good grounds to not want to wade too often in familiar pools.
KH: [Georg] Telemann has not been recorded completely, C.P.E. Bach hasn't either; there are hundreds and hundreds of great composers who are not. And there are composers you've never heard of, who wrote over 500 compositions or more. There is still much repertoire to be recorded for the first time. All these Baroque composers – they were so prolific, I don't know when they ever slept!
NG: Yes, it was an amazingly prolific period. Again, I understand your perspective, and we're all very much indebted for it; without it, so much great music would only be available in manuscript, and not in our ears.
So, in this 25th Anniversary year, can you give us a little sampling of some of your favorites from the Naxos catalogue – your "desert island picks"?
KH: I like our Bruckner symphony cycle, conducted by Georg Tintner – which many have said is the best Bruckner cycle on the market. I also like our cycle of suites by Janácek [conducted by Peter Breiner] – for which I commissioned the arrangements and paid for the recording; also our cycle of [Joseph] Haydn's string quartets [recorded by the Kodály Quartet], Jenö Jandó's cycle of the Beethoven piano sonatas; of course, my wife's recordings of the Mozart violin concertos. I'm also very proud of our recording Mahler's Symphony No.8 [conducted by Antoni Wit], which many say is the best on the market – though I know that's a hard claim to sustain… And I'm very proud of our recording of Schumann's Scenes from Goethe's Faust [likewise conducted by Antoni Wit] – this is another of my pet projects; we'll lose money on it, but it's such great, though neglected, music. Finally, I like our series of the complete works for violin and piano by [Pablo de] Sarasate [with violinist Tianwa Yang] and our [multi-volume] American Classics series. So, these are some of my highlights.
NG: That's terrific [see the separate tab with Mr. Heymann's "top Naxos picks", as well as the set of three 1-Click Concerts with selections from these recordings; the first two allow FREE streams to all visitors]. I'm glad you mentioned Jenö Jandó – he's actually one of my favorite pianists, so versatile: his Bartók, of course, is amazing, but I also think his recording of the Mozart Piano Concerto, K.467 is the most moving I've ever heard. How did you get so lucky to get him on the roster so early in the label's history?
KH: That was my wife – when she heard the first three Beethoven sonatas recorded by Jandó on the Hungaroton label, she said to me, "We've got to sign him!"
NG: I can understand; I wish he were better known, at least here in the States.
KH: Well, he doesn't have management; he's a rather shy person, and not so media savvy. He loves teaching – he teaches in Budapest at the Liszt Conservatory, and in Tokyo; he's very happy with his life. He will finish up the complete Bartók for us, and then will back to me and say, "Okay, Klaus, what's next?"
NG: Well, please extend my personal gratitude for his talents.
So, as we move into the final portion of our conversation, I'd love to pick up the thread about your additional streams of income beyond album sales – for example, through distribution and licensing for so many companies, beyond Classical Archives: services like iTunes, Spotify, Rhapsody, and Pandora – where you may know, I am the architect of the Music Genome Project.
KH: Yes, Pandora's a good source of income. We also have new products: our iBooks are doing quite well – not huge yet, though still relatively new; they're books with embedded music. We also have many composers' biographies, and we've now packaged these into iBooks as well – where if the text mentions a work, you just click it to listen.
Then we have a new [mobile] app – called "My First Classical Music." It's an educational app, and is available in the iTunes store for $4.99; we've sold close to 10,000 already.
NG: That sounds great for all the young budding musicians. You also have been releasing DVDs and music videos – which you've spoken about as part of the future of streaming on your Naxos Library service. Is that something to which you'll be giving more resources?
KH: We do have a Naxos video library – around 1,500 programs; and we expect to add a substantial number of programs in the future. Getting streaming rights is far more difficult than for audio because the rights are so fragmented. The DVD labels only have DVD rights, the TV networks give TV rights to some people, Internet rights are given to yet other people; it's thus quite difficult to assemble the content for video. But there will be more in the coming months. We are currently negotiating video rights with several owners, and hope to get at least 2,000 or 3,000 more programs.
NG: And do you plan on licensing that content as well?
KH: Actually, only about 60-80 of the 1,500 titles come from our own DVD label; for the rest, we don't have the ability to license to third parties.
NG: Two final questions for you. First, you've been so good at predicting this changing music market, as well as the changing technology – and how best to situate yourself for the future. So, can you give us a sneak peek into Klaus Heymann's crystal ball of what the classical music landscape will look like in the next 5 years or so?
KH: In terms of market share, in five years we'll still have a physical format: we'll still cell CDs, Blu-Ray discs, and other new physical formats. I think that about 50% of the market will be via subscription of some sort – we don't know yet whether Spotify is the way to go. There may be other specialized services with better search engines coming out, and other players will certainly enter the market. For example, I could think of perhaps a cable or telephone or electricity company – that has access to people's homes – getting in on the subscription approach. And then, 25% will remain in downloads. That's my forecast.
NG: That all makes sense, and I won't argue – especially given our own firm belief in the subscription model as well. You've mentioned before that you don't believe that downloads will be much of a major force in the future, so that will be interesting to watch.
Finally, Klaus, I just want to return full circle to the topic of your wife, Takako Nishizaki. Clearly, her recording of The Butterfly Lovers Concerto is a seminal part of her and the Naxos story. As noted, she's also recorded a tremendous amount of other Chinese works. In reading of her background, I was struck by how her manager in Tokyo asked her in 1974 if she wanted to perform a concert in Hong Kong, to which she replied, "Where's Hong Kong?" And yet, she's gone on to sell millions of CDs of Chinese music. So, how did this Japanese-born, American-trained violinist come to be such an expert performer of Chinese music, and such a revered performer of Chinese violin music?
KH: She will tell you, "It's music, period." That's the explanation. I remember when I first came up with this project, I said to her, "Look, you now live in Hong Kong, you have to connect with the local audience, you should record this concerto." She looked at it, and when she started playing it, she said, "Oh, this is actually very nice." At first, she had no idea of the story behind the two lovers, the tragedy, and so forth. She simply looked at the music, and saw it as music – like a romantic violin concerto by Tchaikovsky or Beethoven; that's the way she played it.
When the LP of the Concerto came out, the critics said, "Oh, she's Japanese, she cannot understand Chinese music." But then it started selling like hotcakes; it was the first modern recording of the work. Two years later one of the two composers of the work, Chen Gang, came to Hong Kong; he lectured on The Butterfly Lovers Concerto, and always played a recording by the violinst Yu Lina made in 1959 or 1960, even though everyone in the audience had my wife's recording. Chen Gang then said, "Oh, this is not good; she doesn't know how to play the piece." My wife said, "Okay, invite him to our home, and let him tell me how to play it." They went through the piece, measure by measure, after which my wife said, "Let's go to Japan and make a new recording." But when that came out, it was not as "Chinese" as the first one; everyone liked the first one better; and she's since then made seven or eight different recordings of the piece with various Chinese orchestras.
She just feels the music; and by now she knows all the Chinese melodies, and has heard them played on Chinese instruments. If it's a folk piece, it will probably need a bit of a slide [portamento] effect, but basically she feels the music intuitively. She's also done a recording of Thai classical music, if you can believe it.
NG: Yes, I read that.
KH: It was actually the best selling classical record in Thailand – ever! It's the same thing: she looks at the music, plays it through, says, "That's the way I feel it", and then pronto!
NG: She's absolutely right: if it's good music, a good performer can feel it's strengths, and communication them to an audience. As an eclectic musician myself, I always say the same thing: good music is good music.
KH: She has that in common with Jandó. When they were preparing to record the Beethoven or Mozart violin sonatas together, they hardly ever spoke. They looked at each other; they were both so well prepared. They began, stopped every five minutes or so, exchanging a few brief questions, like "What are you doing here?" I know other artists who spend weeks and weeks discussing interpretation ideas; but those two, never. Jandó always says that the most important thing is to understand the style – the rest is just fingers.
NG: And Takako was recently given the utmost validation in her intuitive approach to Chinese music when in 2009 she was invited to perform The Butterfly Lovers Concerto at the Great Hall of the People in Beijing – to celebrate the 50th Anniversary of this work. I'm assuming you were at that event as well?
KH: Yes, of course. It's a huge hall, and it was broadcast nation-wide on Shanghai TV; it was a huge thing for her – she "owns" that concerto. Chinese musicians too often play it like a virtuoso showpiece, whereas she treats it much more reverently, more seriously; again, she plays it like it were by Tchaikovsky or Beethoven.
NG: Yes, I've seen her quote about music and her philosophy on teaching: on the importance of focusing on the spirit of the music, and its communication – and not getting lost in virtuosity or pyrotechnics. It's clear that you are very proud of her, as well you should be, and that she's been critical to your success.
KH: Yes, and she's a very good wife too!
NG: I have no doubt. Well, thank you so much, Klaus, for your time – it's been a real pleasure.
KH: Thank you – it's been great talking to you.
In our interview, Klaus Heymann shared with us a set of his favorite recordings from the Naxos label, most of which are found below – and each available as a 1-Click play for our subscribers. In addition, and thanks to the generosity of Naxos, we've assembled two 1-Click Concerts that allow FREE streams to all visitors; a third, dedicated to the "American Classics" series allows full streams for subscribers only. As suggested by Mr. Heymann's comments, these recordings feature works from the late 18th, 19th and 20th centuries – including a set of Mozart concertos recorded by his talented wife, violinist Takako Nishizaki. Enjoy browsing this great collection of albums, and be sure to enjoy the set of 1-Click Concerts based on Mr. Heymann's "top picks".
Joseph Haydn, String Quartets. Kodály Quartet
Haydn: String Quartets, Op. 1, Nos. 0 & 6, Op. 2, Nos. 1 & 2
Kodaly Quartet CDs: 1 Tracks: 20 Naxos Rel. 8 Jul 1992 Sample Album Track $5.99
Haydn: String Quartets, Op. 1, Nos. 1-4
Kodaly Quartet CDs: 1 Tracks: 20 Naxos Rel. 24 Feb 1992 Sample Album Track $5.99
Haydn: String Quartets, Op.2, No.3; Op.2, No.5; Op.3, No.1; Op.3, No.2
Kodaly Quartet CDs: 1 Tracks: 17 Naxos Rel. 14 Mar 2003 Sample Album Track $5.99
Haydn: String Quartets, Op.2, Nos.4 and 6; Op.42
Kodaly Quartet CDs: 1 Tracks: 14 Naxos Rel. 22 Oct 1993 Sample Album Track $5.99
Haydn: String Quartet, Op. 3, Nos.3-6
Various Artists CDs: 1 Tracks: 14 Naxos Rel. 12 Aug 2002 Sample Album Track $5.99
Haydn: String Quartets Op.9, Nos.1, 3 and 4
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 17 Mar 1994 Sample Album Track $5.99
Haydn: String Quartets, Op.9, Nos. 2, 5 and 6
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 17 Mar 1994 Sample Album Track $5.99
Haydn: String Quartets, Op.17, Nos.1, 2, and 4
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 15 Jan 1999 Sample Album Track $5.99
Haydn: String Quartets, Op.17, Nos.3, 5, and 6
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 19 Apr 1999 Sample Album Track $5.99
Haydn: String Quartets, Op.20 ('Sun") Nos.1-3
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 26 Nov 1993 Sample Album Track $5.99
Haydn: String Quartets, Op. 20 ('Sun') Nos.4-6
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 25 Nov 1993 Sample Album Track $5.99
Haydn: String Quartets, Op.33 ('Russian'), No.1, No.2 ('The Joke'), No.5 ('How do you do?')
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 3 Nov 1994 Sample Album Track $5.99
Haydn: String Quartets, Op.33 ('Russian'), Nos.3 ('The Bird'), 4 and 6
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 21 Oct 1994 Sample Album Track $5.99
Haydn: String Quartets ('Prussian'), Op. 50, Nos.1-3
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 26 May 1998 Sample Album Track $5.99
Haydn: String Quartets ('Prussian'), Op.50, Nos.4-6
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 3 Nov 1998 Sample Album Track $5.99
Haydn: String Quartets, Op. 54, Nos. 1-3
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 11 May 1990 Sample Album Track $5.99
Haydn: String Quartets, Op. 55
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 1 May 1991 Sample Album Track $5.99
Haydn: String Quartets, Op.64, Nos.1-3
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 17 May 1993 Sample Album Track $5.99
Haydn: String Quartets, Op.64, Nos.4-6
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 17 May 1993 Sample Album Track $5.99
Haydn: String Quartets, Op. 71, Nos. 1-3 "Apponyi Quartets"
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 25 Apr 1990 Sample Album Track $5.99
Haydn: String Quartets, Op. 74, Nos. 1-3
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 1 Apr 1990 Sample Album Track $5.99
Haydn: String Quartets Op. 76, Nos. 1-3
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 15 Mar 1990 Sample Album Track $5.99
Haydn: String Quartets, Op. 76, No. 4 "Sunrise", No. 5, No. 6
Kodaly Quartet CDs: 1 Tracks: 12 Naxos Rel. 15 Mar 1990 Sample Album Track $5.99
Haydn: String Quartets, Op.77, Nos.1 and 2
Kodaly Quartet CDs: 1 Tracks: 8 Naxos Rel. 1 Jun 1995 Sample Album Track $5.99
Haydn: The Seven Last Words of Jesus Christ, Op. 51; String Quartet, Op. 103
Kodaly Quartet CDs: 1 Tracks: 11 Naxos Rel. 15 Mar 1990 Sample Album Track $5.99
Wolfgang Amadeus Mozart, Violin Concertos. Takako Nishizaki, violin; Capella Istropolitana; Johannes Wildner, conductor Stephen Gunzenhauser, conductor; Ladislav Kyselak, viola
Mozart: Violin Concertos Nos. 1 & 2; Rondo, K211; Andante, K269
Capella Istropolitana, Johannes Wildner CDs: 1 Tracks: 8 Naxos Rel. 6 Nov 1990 Sample Album Track $5.99
Mozart: Violin Concertos Nos. 3 & 5; Adagio; Rondo
Capella Istropolitana, Stephen Gunzenhauser CDs: 1 Tracks: 8 Naxos Rel. 29 Dec 1990 Sample Album Track $5.99
Mozart: Violin Concertos Nos.4 and 5; Rondo
Capella Istropolitana, Takako Nishizaki CDs: 1 Tracks: 7 Naxos Rel. 1 Jan 2007 Sample Album Track $5.99
Mozart: Violin Concerto No. 4, K218; Sinfonia concertante, K364
Capella Istropolitana, Stephen Gunzenhauser CDs: 1 Tracks: 6 Naxos Rel. 1 Apr 1990 Sample Album Track $5.99
Ludwig van Beethoven, Piano Sonatas. Jenö Jandó, piano
Beethoven: Piano Sonatas, Vol.1
Jenö Jandó CDs: 1 Tracks: 9 Naxos Rel. 7 Mar 1988 Sample Album Track $5.99
Beethoven: Piano Sonatas, Vol.2
Jenö Jandó CDs: 1 Tracks: 7 Naxos Rel. 5 Feb 1988 Sample Album Track $5.99
Beethoven: Piano Sonatas, Vol. 3
Jenö Jandó CDs: 1 Tracks: 12 Naxos Rel. 6 Oct 1988 Sample Album Track $5.99
Beethoven: Piano Sonatas, Vol. 4
Jenö Jandó CDs: 1 Tracks: 7 Naxos Rel. 15 Dec 1988 Sample Album Track $5.99
Beethoven: Piano Sonatas, Vol. 5
Jenö Jandó CDs: 1 Tracks: 13 Naxos Rel. 15 Oct 1988 Sample Album Track $5.99
Beethoven: Piano Sonatas, Vol. 6
Jenö Jandó CDs: 1 Tracks: 13 Naxos Rel. 15 Oct 1988 Sample Album Track $5.99
Beethoven: Piano Sonatas, Vol. 7
Jenö Jandó CDs: 1 Tracks: 11 Naxos Rel. 15 Dec 1988 Sample Album Track $5.99
Beethoven: Piano Sonatas, Vol. 8
Jenö Jandó CDs: 1 Tracks: 14 Naxos Rel. 15 Dec 1988 Sample Album Track $5.99
Beethoven: Piano Sonatas, Vol. 9
Jenö Jandó CDs: 1 Tracks: 9 Naxos Rel. 15 Apr 1989 Sample Album Track $5.99
Beethoven: Piano Sonatas, Vol 10
Jenö Jandó CDs: 1 Tracks: 19 Naxos Rel. 24 Oct 1990 Sample Album Track $5.99
Robert Schumann, Scenes from Goethe's Faust, WoO3. Antoni Wit, conductor; Warsaw National Philharmonic Orchestra; Warsaw Philharmonic Choir
Schumann: Scenes from Goethe's Faust
Antoni Wit CDs: 2 Tracks: 14 Naxos Rel. 1 Feb 2011 Sample Album Track $15.99
Anton Bruckner, Symphonies. Georg Tintner, conductor; Royal Scottish National Orchestra; Irish National Symphony; New Zealand National Orchestra
Bruckner: Symphonies Nos. 8 (1887 Version) & 0 (Die Nullte)
Irish National Symphony Orchestra, Georg Tintner CDs: 2 Tracks: 8 Naxos Rel. 24 Jun 1998 Sample Album Track $15.99
Bruckner: Symphony No. 1 (1866)
Royal Scottish National Orchestra, Georg Tintner CDs: 1 Tracks: 5 Naxos Rel. 30 May 2000 Sample Album Track $5.99
Bruckner: Symphony 2
National Symphony Orchestra of Ireland, Georg Tintner CDs: 1 Tracks: 4 Naxos Rel. 21 Jan 1998 Sample Album Track $5.99
Bruckner: Symphony No.3 (1873 Original Version, ed. Nowak)
Royal Scottish National Orchestra, Georg Tintner CDs: 1 Tracks: 4 Naxos Rel. 18 Jul 1996 Sample Album Track $5.99
Bruckner: SYMPHONY No. 4 "ROMANTIC" (1878/80 version, ed. Haas)
Royal Scottish National Orchestra, Georg Tintner CDs: 1 Tracks: 4 Naxos Rel. 26 Nov 1998 Sample Album Track $5.99
Bruckner: Symphony No.5
Royal Scottish National Orchestra, Georg Tintner CDs: 1 Tracks: 4 Naxos Rel. 15 Apr 1997 Sample Album Track $5.99
Bruckner: Symphony No.6 in A major
New Zealand Symphony Orchestra, Georg Tintner CDs: 1 Tracks: 4 Naxos Rel. 31 Dec 1997 Sample Album Track $5.99
Bruckner: Symphony No.7
Royal Scottish National Orchestra, Georg Tintner CDs: 1 Tracks: 4 Naxos Rel. 4 Mar 1999 Sample Album Track $5.99
Bruckner: Symphonies Nos. 8 (1887 Version) & 0 (Die Nullte)
Irish National Symphony Orchestra, Georg Tintner CDs: 2 Tracks: 8 Naxos Rel. 24 Jun 1998 Sample Album Track $15.99
Bruckner: Symphony No.9
Royal Scottish National Orchestra, Georg Tintner CDs: 1 Tracks: 3 Naxos Rel. 19 Aug 1999 Sample Album Track $5.99
Gustav Mahler, Symphony No.8 in Eb ('Symphony of a Thousand'). Antoni Wit, conductor; Warsaw National Philharmonic Orchestra
Mahler: Symphony No.8 ('Symphony of a Thousand')
Warsaw National Philharmonic Orchestra, Antoni Wit CDs: 2 Tracks: 26 Naxos Rel. 18 Apr 2006 Sample Album Track $15.99
Pablo de Sarasate, Works for Violin. Tianwa Wang, violin; Navarre Symphony Orchestra; Ernest Martínez Izquierdo, conductor; Markus Hadulla, piano
Sarasate: Music for Violin and Orchestra; Zigeunerweisen; Airs Espagnols; Viva Sevilla!
Ernest Martínez Izquierdo CDs: 1 Tracks: 7 Naxos Rel. 27 Oct 2009 Sample Album Track $5.99
Pablo Sarasate: Music for Violin and Orchestra, Vol.2
Orquesta Sinfónica de Navarra, Tianwa Yang CDs: 1 Tracks: 10 Naxos Rel. 26 Oct 2010 Sample Album Track $5.99
Sarasate: Music for Violin and Orchestra, Vol.3
Navarre Symphony Orchestra, Tianwa Yang CDs: 1 Tracks: 6 Naxos Rel. 5 Apr 2011 Sample Album Track $5.99
Sarasate: Concert Fantasies
Various Artists CDs: 1 Tracks: 8 Naxos Rel. 27 Nov 2007 Sample Album Track $5.99
Sarasate: Spanish Dances; Serenata Andaluza; Balade
Various Artists CDs: 1 Tracks: 12 Naxos Rel. 29 Aug 2006 Sample Album Track $5.99
Leoš Janácek, Orchestral Suites. Peter Breiner, conductor; New Zealand National Orchestra
Janácek: Orchestral Suites from the Operas, Vol.1
New Zealand Symphony Orchestra, Peter Breiner CDs: 1 Tracks: 11 Naxos Rel. 24 Feb 2009 Sample Album Track $5.99
Janácek: Orchestral Suites from the Operas, Vol.2
New Zealand Symphony Orchestra, Peter Breiner CDs: 1 Tracks: 11 Naxos Rel. 28 Apr 2009 Sample Album Track $5.99
American Classics Series (partial list). Various artists
John Adams: Nixon in China
Colorado Symphony Orchestra, Marin Alsop CDs: 3 Tracks: 41 Naxos Rel. 27 Oct 2009 Sample Album Track $24.99
Leroy Anderson: Orchestral Music, Vol.1
BBC Concert Orchestra, Leonard Slatkin CDs: 1 Tracks: 17 Naxos Rel. 27 Jan 2008 Sample Album Track $5.99
Antheil: Ballet Mécanique
Daniel Spalding CDs: 1 Tracks: 8 Naxos Rel. 10 Aug 2001 Sample Album Track $5.99
Barber: Violin Concerto; Music for a Scene from Shelley: Souvenirs
Royal Scottish National Orchestra, Marin Alsop CDs: 1 Tracks: 13 Naxos Rel. 2 Nov 2001 Sample Album Track $5.99
Bernstein: Symphony No.2 ('The Age of Anxiety'); West Side Story Symphonic Dances; Candide
Florida Philharmonic Orchestra, James Judd CDs: 1 Tracks: 20 Naxos Rel. 30 Jul 2003 Sample Album Track $5.99
Copland: Appalachian Spring Suite; Clarinet Concerto; Quiet City
Nashville Chamber Orchestra, Paul Gambil CDs: 1 Tracks: 6 Naxos Rel. 24 Dec 2002 Sample Album Track $5.99
Gershwin: Piano Concerto; Second Rhapsody; I Got Rhythm Variations
Buffalo Philharmonic Orchestra, JoAnn Falletta CDs: 1 Tracks: 5 Naxos Rel. 7 Feb 2012 Sample Album Track $5.99
Ives: Symphony No. 3
Northern Sinfonia Chorus, James Sinclair CDs: 1 Tracks: 8 Naxos Rel. 23 Feb 2003 Sample Album Track $5.99
Rorem: Selected Songs
Carole Farley CDs: 1 Tracks: 32 Naxos Rel. 17 Dec 2001 Sample Album Track $5.99
Thomson: Symphony No1; Symphony No3
New Zealand Symphony Orchestra, James Sedares CDs: 1 Tracks: 12 Naxos Rel. 9 Dec 1999 Sample Album Track $5.99


text:
Brooks, Stephen P. and Catchpole, Edward A. and Morgan, Byron J. T. (2000) Bayesian animal survival estimation. Statistical Science, 15 (4). pp. 357-376. ISSN 0883-4237. (doi:https://doi.org/10.1214/ss/1009213003) (The full text of this publication is not currently available from this repository. You may be able to access a copy if URLs are provided)
The full text of this publication is not currently available from this repository. You may be able to access a copy if URLs are provided. (Contact us about this Publication) | |
Official URL http://dx.doi/10.1214/ss/1009213003 |
We present the Bayesian approach to estimating parameters associated with animal survival on the basis of data arising from mark recovery and recapture studies. We provide two examples, beginning with a discussion of band-return models and examining data gathered from observations of blue winged teal (Anas discors), ringed as nestlings. We then look at open population recapture models, focusing on the Cormack-Jolly-Seber model, and examine this model in the context of a data set on European dippers (Cinclus cinclus). The Bayesian procedures are shown to be straightforward and provide a convenient framework for model-averaging, which incorporates the uncertainty due to model selection into the inference process. Sufficient detail is provided so that readers who wish to employ the Bayesian approach in this field can do so with ease. An example of BUGS code is also provided.
Item Type: | Article |
Uncontrolled keywords: | band-return; Bayesian analysis; BUGS; capture-recapture; Cormack-Jolly-Seber; model averaging; product-multinomial; ring-recovery |
Subjects: | H Social Sciences > HA Statistics |
Divisions: | Faculties > Sciences > School of Mathematics Statistics and Actuarial Science > Statistics |
Depositing User: | P. Ogbuji |
Date Deposited: | 13 Apr 2009 19:58 UTC |
Last Modified: | 12 Jun 2014 08:34 UTC |
Resource URI: | https://kar.kent.ac.uk/id/eprint/16166 (The current URI for this page, for reference purposes) |
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Move over, rubber ducky, there's a new breed of faux fowl afloat. Meet the Odd Ducks—Bob, Jane, Slim, and Squish—Boon's hip, vibrant, and thoroughly modern take on that classic bathtime buddy. Like Boon's other splash-and-play gear, this cheery flock is completely free of PVC, phthalates, and bisphenol-A. Because toxins in the tub? That's just quackers.
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Photographer's Note
View from south perth esplanade, overlooking swan river while the sky is breaking dawn.
Nobody has marked this note useful
Critiques | Translate
pepo (169) 2005-04-25 8:29
oh this is a great piece of art. the river still and the reflection perfect if it were a full moon it would have been even better :P
jeanfrancois (1260) 2005-04-25 15:53
Exquisite picture, despite the tilt. I love the ambiance.
The moon is weird !!! How could you get it like that...
Photo Information
- Copyright: joanne bergenwall aw (bebecam) (161)
- Genre: Places
- Medium: Color
- Date Taken: 2000-00-00
- Categories: Daily Life, Architecture, Artwork
- Camera: Canon EOS 1000F
- Photo Version: Original Version, Workshop
- Date Submitted: 2005-04-25 8:22
Viewed: 1990
Points: 5
- To pepo: Thanks pepo (1)
by bebecam, last updated 2005-04-25 08:37 - To jeanfrancois: moon (1)
by bebecam, last updated 2005-05-09 01:32


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To Have And To Hold
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Bleeding hearts in my hand
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Saroj Swain gave props (17 Jul 2013):
great macro shot.... I can read your lines.... Wonderful image....


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What does XIS mean in Software?
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In Chartres, amidst the calls for knights and noblemen to go to Spain to fight against Islam, a group of shepherds led by Stephen of Cloyes one of their number, got up and started marching to deliver a letter from Christ to the King of France. Months later in Cologne Nicholas of Cologne set off with a group of German adolescents to take ship to the Holy land and recover the true Cross and with it Jerusalem. The movements may have been related- we don't know. We don't know though we can guess who took part, we have little knowledge of what happened to those that did take part- and we know only three people's names who were on the expeditions- Stephen and Nicholas referred to above- and an Otto who petitioned the papal curia in 1220 to be releived from his vows to crusade. And yet these crusades have become famous, passed from chronicler to historian, from poet to philosopher, from novelist to children's novelist, until they became part of the common currency of our times. The Children's Crusade is one of those events that shocked Europe at the time- yet had almost no consequences- it survived as a myth- a rumour- a disquieting revelation about human nature that kept the leaders of the Church and the doctors of the enlightenment awake at night.
What were the Children's Crusades? Well firstly there were as I said two of them. On both medieval chroniclers say that 'pueri' (latin for 'boys') took part. Some historians beleive that those pueri were a social group- marginalised young men on the edge of medieval society- some beleive that they were an age group- the young. Gary Dickson who has produced the most authoritative modern treatment suggests a mixture of the two- that the pueri were most likely shepherds and the dispossessed- young men before their marriage who left their homes and went to join these movements. The crusades happened in the Chartres region of France and in Germany. At our best guess, the crusade around Chartres developed after a request was sent out to the churches of the Chartrain to furnish soldiers for Christian armies under pressure in Northern Spain. The Chartres crusade arose out of processions around the great cathedral at Chartres- our best guess is that Stephen of Cloyes, mentioned by a chronicle from Laon, went home and was inspired by those processions to mount his own procession to bear a letter from Christ to King Phillip of France at St Denis. We know that that excitement led to perhaps hundreds and maybe thousands (numbers are hard with our limited information) to go south to St Denis. After St Denis, for some reason the remnant of the crusade headed off into the Rhineland- we have them recorded in a document at St Quentin, 140 miles north east of St Denis and a possible eye witness account by Renier of Liege at Liege in the first fifteen days of July 1212. From there they went onto Cologne where the movement seems to have grown in size. Dickson comments that fewer shepherds and more young people seem to have been present because the references in the chronicles emphasize the youth more. Nicholas of Cologne's group passed from Cologne southward- over the Alps and into Italy heading for the meditereanean- before attempting to board ships at various ports down the coast, culminating we think at Brundisium on the southern coast of Italy.
A spontaneous popular movement like this is not something that passed without comment. Monastic chroniclers were terrified of its implications- angry at the outburst of enthusiasm and fearful of the ways that the pueri had deserted the authority in particular of their parents. But nor was it unusual in the medieval world. There were movements before this- that behind the crusade launched by Peter the Hermit in the 1090s for example (though his movement did attract aristocratic support which the Children's Crusades didn't) and later movements like the Shepherd's Crusade of 1251 for example also had a popular nature. Popular revivals of religious sentiment were a feature of European religious history right up until the reformation and beyond: in 1457-9 thousands of French youths headed for Mont Saint Michel to pray and chronicles talked of the countryside emptying, similar things happened in the sixteenth century for example John of Leiden roused his supporters behind a manifesto of equality and free love based on the scripture. Such upheavals were the price society payed for a surplus of young men who were unemployed and ready to be roused to a biblically literalist interpretation of Christianity. They had other effects too- Dickson the author of the latest study of the Children's Crusade argues that one of those effects was mass migration. Effectively the pueri moved from Germany down to Northern Italy and many of them stayed behind within Italian towns- legends still connect many families in Genoa with the families of pueri who stayed behind, and Otto our petitioner to the papal curia was himself an emmigrant to Italy. Furthermore Dickson argues the effect of the crusade was to popularise the discourse about Crusades and hence about identity within medieval Europe: the call to crusade, made by Pope Innocent in 1213, was the first to address the people of Europe as well as its princes.
The Crusade has passed latterly into fiction and fairytale. Many of whose elements are unreliable- we have little evidence that there were mass sales into slavery at the end of the crusade- its not that likely that babies took part as one rather inspired chronicle has it. Nor that as medieval writers asserted the whole thing was a dasterdly plot by the Old Man of the Mountain or by Stephen of Cloyes's father who had sold his soul to Satan or for that matter by anyone else. Protestants in the 17th Century accused the Pope of selling out the crusaders and loved the self inspired nature of the movement. Voltaire in the 18th Century thought of it as a testament to his new doctrine of a socially contagious mental disease- religion. Victorians imagined it as the march of the innocent- H.G. Wells thought it was a 'dreadful affair'- Bertolt Brecht saw it as an analogy for wartorn central Europe and even a historian whose credentials were as impressive as the British Byzantist Sir Stephen Runciman couldn't resist gilding the history. The truth is though that the movement was a revivalist movement- launched from within the lower classes. We don't know an awful much about it- but what we do know makes it more fascinating than any myth would have it- we have a group of people marching away from their homes in the service of a living God, a God who breaks up authorities and family. The God of truly radical religion- not radical in our sense of the word- but radical in a much more profound sense- the God that destabilises.
The Children's Crusade is a useful marker in that sense- and Dr Dickens's book a useful testament- to the power of religion.
December 26, 2007
The Children's Crusade
Posted by Gracchi at 7:07 pm DiggIt! Del.icio.us
1 comments:
- Crushed by Ingsoc said...
It has been said that the legend of the pied piper has its origin in the children's crusade.
It's hard to guage the dynamics behind it, but I would put it somewhere between the pictures we see of hordes of Young Germans clamouring to enlist in 1914 and some of the sentiments that affected the London Bombers.
They were marching out of poverty towards salvation. - Friday, December 28, 2007 6:47:00 pm
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Penname: | legoboy56 | Member Since: | 2005.03.19 |
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Hey my names Zach. I have short brown hair. glasses. bout 5 foot. i guess i'm kind of a geek lol. um i am *personal info removed by staff* i have just got out of a very serious relationship, so i'm pretty sad but am willing to meet new people. my fan |
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: Harry Potter And The Staff Of Merlin by legoboy56
Novella hey readers, this is my second site posting this story. it is not completed yet but i have not been writing for a while. um.... so far i have written 9 chapters but have only typed 7 so i will get to that soon. please read and review! Unfortunatly i am dropping this story. if anyone would like to know what happens at the end please private message or email me at firstname.lastname@example.com Genres: Romance, Action, General Characters: Dumbledore, Ginny, Harry, Hermione, Lucius, M. McGonagall, Peter Pettigrew, Remus Lupin, Ron, Sirius Black, Snape, Tonks, Voldemort Pairings: Others Advisory: Mild Language, Scenes of a Sexual Nature, Scenes of a Mild Sexual Nature Published: 2005.03.22 Latest Chapter: 2005.04.23 Updated: 2005.06.17 Status: WIP (6063 words) |


text: Zoybar Modular Instrument is a Guitar, Bass or Medieval Lute, Depending on Your MoodJohn Herrman11/24/08 8:01amFiled to: InstrumentsMusicGuitarsDIYModular instrumentModular guitarZoybar13EditPromoteShare to KinjaToggle Conversation toolsGo to permalinkClick to view Stringed instruments are diverse in sound and design, but they all share the same basic shape. That similarity hadn't really bugged anyone too much for the last few hundred years, but where most see variety Zoybar sees redundancy: they've proposed a modular, build-it-yourself guitar-ish thing, with interchangeable parts that can convert it into a wide range of necky, stringy instruments. Want an electric guitar? An amplified theobo? A single-stringed hobo-bass with a line out? Sure, whatever, it's a Zoybar, man. Broken down into a few categories of changeable parts, main body included, the Zoybar itself is best described a series of standardized connectors. It'll be interesting to see what existing instruments can be created with the kit, but the weird, as of yet unrealized contraptions that artists create with the bevy of components have the potential to be amazing, or more realistically completely hilarious. The Zoybar should go on sale in January. [Zoybar via Crunchgear]Reply13 repliesLeave a reply


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Case Study: Teacher Learns a Hard Lesson About Identity Theft
Case Study: Teacher Learns a Hard Lesson About Identity Theft
A schoolteacher learns about identity fraud the hard way—after he's arrested for crimes committed by an identity thief. A night in jail and months of dealing with law enforcement led him to CyberScout for help. Find out how we restored his good name.
Thursday, August 11, 2011
Mark Kendel was running errands with his two children when police pulled him over and arrested him on the spot.
A routine license plate check had produced arrest warrants in his name for thousands of dollars worth of fraudulent checks written in Florida. He spent the night in jail and appeared before a judge the next day—in handcuffs. Bail was set at $5,000. He was released after his wife posted a $500 bond.
"The experience was humiliating," said Kendel, 39, who teaches special education at an Ohio middle school. He said he's never written a bad check or lived in Florida. About the charges, he added, "I was bowled over. I had no idea what they were talking about."
The incident took an emotional and financial toll on his family. Kendel was permitted to drive his two children home before going to jail. In subsequent months, however, the family found it difficult to put the episode behind them.
In the following days, Kendel contacted Florida's attorney general's office, which explained that someone had used his name, personal information, and image to open several accounts at local banks and Costco. Mark Kendel was listed as the account holder and described as a local business owner. The address of the supposed company was for a vacant lot.
Kendel contacted his home insurer,
MetLife Auto & Home,
which offers identity protection services on its renters, condominium, homeowners, and automobile policies in most states. The service is offered to customers at no additional cost.
"MetLife Auto & Home is proud to be the first major insurer to offer this enhanced service to customers, which provides a solution designed to help protect consumers against identity theft," said Deb Quinlivan, senior product consultant at MetLife Auto & Home. "Hopefully it's a service you'll never need to use, but in the event the worst occurs, it can be a powerful tool to help clear your good name."
Kendel was connected to Mark Fullbright, a CyberScout fraud investigator, who helped Kendel file a police report, enrolled him in CyberScout's fraud and credit monitoring program, and placed a fraud alert on his accounts.
Fullbright also worked with law enforcement in Florida and Ohio to expunge Kendel's record.
"Mark Fullbright was phenomenal," Kendel said. "I had a lot of questions, and he was there to give me advice on the actions or future precautions I could take. Every time I needed something he was there to reassure us."
© CyberScout, LLC. All Rights Reserved.
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