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Window manager
A window manager (WM) is system software that controls the placement and appearance of windows within a windowing system in a graphical user interface (GUI). It can be part of a desktop environment (DE) or be used standalone.
Window managers are X clients that control the appearance and behaviour of the frames ("windows") where the various graphical applications are drawn. They determine the border, title bar, size, and ability to resize windows, and often provide other functionality such as reserved areas for sticking dockapps like Window Maker, or the ability to tab windows like Fluxbox. Some window managers are even bundled with simple utilities like menus to start programs or to configure the window manager itself.
The Extended Window Manager Hints specification is used to allow window managers to interact in standard ways with the server and the other clients.
Some window managers are developed as part of a more comprehensive desktop environment, usually allowing the other provided applications to better interact with each other, giving a more consistent experience to the user, complete with features like desktop icons, fonts, toolbars, wallpapers, or desktop widgets.
Other window managers are instead designed to be used standalone, giving the user complete freedom over the choice of the other applications to be used. This allows the user to create a more lightweight and customized environment, tailored to their own specific needs. "Extras" like desktop icons, toolbars, wallpapers, or desktop widgets, if needed, will have to be added with additional dedicated applications.
Some standalone window managers can be also used to replace the default window manager of a desktop environment, just like some desktop environment–oriented window managers can be used standalone too.
Prior to installing a window manager, a functional X server installation is required. See Xorg for detailed information.
- Stacking (aka floating) window managers provide the traditional desktop metaphor used in commercial operating systems like Windows and macOS. Windows act like pieces of paper on a desk, and can be stacked on top of each other. For available Arch Wiki pages see Category:Stacking window managers.
- Tiling window managers "tile" the windows so that none are overlapping. They usually make very extensive use of key-bindings and have less (or no) reliance on the mouse. Tiling window managers may be manual, offer predefined layouts, or both. For available Arch Wiki pages see Category:Tiling window managers.
- Dynamic window managers can dynamically switch between tiling or floating window layout. For available Arch Wiki pages see Category:Dynamic window managers.
See Comparison of tiling window managers and Wikipedia:Comparison of X window managers for comparison of window managers.
List of window managers
Stacking window managers
- 2bwm — Fast floating window manager, with the particularity of having 2 borders, written over the XCB library and derived from mcwm written by Michael Cardell. In 2bwm everything is accessible from the keyboard but a pointing device can be used for move, resize and raise/lower.
- 9wm — X11 window manager inspired by Plan 9's rio.
- AfterStep — Originally based on the look and feel of the NeXTStep interface, it provides end users with a consistent, clean, and elegant desktop. The goal of AfterStep development is to provide for flexibility of desktop configuration, improving aesthetics, and efficient use of system resources.
- berry — Bite-sized window manager written in C. It is controlled via a command-line client, allowing users to control windows via a hotkey daemon such as sxhkd or expand functionality via shell scripts. It provides extensible theming options with double borders, title bars, and window text. Berry places new windows in unoccupied spaces and supports virtual desktops.
- Blackbox — Fast, lightweight window manager for X, without all those annoying library dependencies. Blackbox is built with C++ and contains completely original code (even though the graphics implementation is similar to that of WindowMaker).
- Compiz — OpenGL compositing manager that uses GLX_EXT_texture_from_pixmap for binding redirected top-level windows to texture objects. It has a flexible plug-in system and is designed to run well on most graphics hardware.
- https://launchpad.net/compiz || compizAUR, compiz-coreAUR
- cwm — Originally deriving from evilwm, but later re-written from scratch, cwm aims to be simple, and offers helpful features such as searching for windows.
- eggwm — A lightweight QT4/QT5 window manager.
- Enlightenment — Enlightenment is not just a window manager for Linux/X11 and others, but also a suite of libraries to help you create beautiful user interfaces with much less work than doing it the old fashioned way and fighting with traditional toolkits, not to mention a traditional window manager.
- evilwm — Minimalist window manager for the X Window System. 'Minimalist' here does not mean it is too bare to be usable – it means it omits a lot of the stuff that make other window managers unusable.
- Fluxbox — Window manager for X that was based on the Blackbox 0.61.1 code. It is very light on resources and easy to handle but yet full of features to make an easy and extremely fast desktop experience. It is built using C++ and licensed under the MIT License.
- Flwm — Attempt to combine the best ideas from several window managers. The primary influence and code base is from wm2 by Chris Cannam.
- Fvwm — Powerful ICCCM-compliant multiple virtual desktop window manager for the X Window system. Development is active, and support is excellent.
- https://www.fvwm.org/ || fvwm3AUR
- Gala — A beautiful window manager from elementaryos, part of Pantheon. Also as a compositing manager, based on libmutter.
- Goomwwm — X11 window manager implemented in C as a cleanroom software project. It manages windows in a minimal floating layout, while providing flexible keyboard-driven controls for window switching, sizing, moving, tagging, and tiling. It is also fast, lightweight, modeless, Xinerama-aware, and EWMH compatible wherever possible.
- IceWM — Window manager for X. The goal of IceWM is speed, simplicity, and not getting in the user's way.
- jbwm — Based on evilwm, with a minimal configuration size of approximately 16kb, focused on small binary size and usability, incorporating optional title-bars and XFT title-bar font rendering as compile-time options, jbwm also features easier to use keybindings than evilwm.
- JWM — Window manager for X. JWM is written in C and uses only Xlib at a minimum.
- Karmen — Window manager for X, written by Johan Veenhuizen. It is designed to "just work." There is no configuration file and no library dependencies other than Xlib. The input focus model is click-to-focus. Karmen aims at ICCCM and EWMH compliance.
- KWin — The standard KDE window manager since KDE 4.0, which is also a compositing manager. This allows KWin to provide advanced graphical effects, similar to Compiz, while also providing all the features from previous KDE releases (such as very good integration with the rest of KDE, advanced configurability, focus stealing prevention, a well-tested window manager, robust handling of misbehaving applications/toolkits, etc.). Also serves as a compositor for Wayland.
- lwm — Window manager for X that tries to keep out of your face. There are no icons, no button bars, no icon docks, no root menus, no nothing: if you want all that, then other programs can provide it. There is no configurability either: if you want that, you want a different window manager; one that helps your operating system in its evil conquest of your disc space and its annexation of your physical memory.
- Marco — The MATE window manager, fork of Metacity.
- Metacity — This window manager strives to be quiet, small, stable, get on with its job, and stay out of your attention. It is used by the legacy GNOME 2 and GNOME flashback sessions, and superseded by Mutter.
- MLVWM — Macintosh-Like Virtual Window Manager, an FVWM descendant which attempts to emulate the pre-Mac OS X Macintosh look and feel in its layout and window design.
- Muffin — Window and compositing manager for Cinnamon. A fork of Mutter, based on Clutter, uses OpenGL. It cannot be used outside of Cinnamon.
- Mutter — Window and compositing manager for GNOME, based on Clutter, uses OpenGL. Also serves a Wayland compositor.
- MWM — The Motif Window Manager (MWM) is an X window manager based on the Motif toolkit.
- Openbox — Highly configurable window manager with extensive standards support. The *box visual style is well known for its minimalistic appearance. Openbox uses the *box visual style, while providing a greater number of options for theme developers than previous *box implementations. Has been "feature complete" since 2010 but continues to be maintained.
- pawm — Window manager for the X Window system. So it is not a 'desktop' and does not offer you a huge pile of useless options, just the facilities needed to run your X applications and at the same time having a friendly and easy to use interface.
- PekWM — Window manager that once upon a time was based on the aewm++ window manager, but it has evolved enough that it no longer resembles aewm++ at all. It has a much expanded feature-set, including window grouping (similar to Ion, PWM, or Fluxbox), auto-properties, Xinerama, keygrabber that supports keychains, and much more.
- Sawfish — Extensible window manager using a Lisp-based scripting language. Its policy is very minimal compared to most window managers. Its aim is simply to manage windows in the most flexible and attractive manner possible. All high-level window manager functions are implemented in Lisp for future extensibility or redefinition.
- sowm — Simple Opinionated Window Manager that provides fullscreen toggling, window centering and a mixed workflow (i.e. mouse and keyboard).
- TinyWM — Tiny window manager created as an exercise in minimalism. It may be helpful in learning some of the very basics of creating a window manager. It is comprised of approximately 50 lines of C. There is also a Python version using python-xlib.
- twm — Simple window manager for X, the default/fallback used by Xorg since 1989. It provides titlebars, shaped windows, several forms of icon management, user-defined macro functions, click-to-type and pointer-driven keyboard focus, and user-specified key and pointer button bindings.
- ukwm — A lightweight GTK+ window manager, the default window manager for UKUI desktop environment.
- UWM — The ultimate window manager for UDE.
- Wind — Small floating window manager. Tries to comply with ICCCM, EHWM, NetWM.
- WindowLab — Small and simple window manager of novel design. It has a click-to-focus but not raise-on-focus policy, a window resizing mechanism that allows one or many edges of a window to be changed in one action, and an innovative menubar that shares the same part of the screen as the taskbar. Window titlebars are prevented from going off the edge of the screen by constraining the mouse pointer, and when appropriate the pointer is also constrained to the taskbar/menubar in order to make target menu items easier to hit.
- Window Maker — X11 window manager originally designed to provide integration support for the GNUstep Desktop Environment. In every way possible, it reproduces the elegant look and feel of the NEXTSTEP user interface. It is fast, feature rich, easy to configure, and easy to use.
- WM2 — Window manager for X. It provides an unusual style of window decoration and as little functionality as its author feels comfortable with in a window manager. wm2 is not configurable, except by editing the source and recompiling the code, and is really intended for people who do not particularly want their window manager to be too friendly.
- worm — Worm is a is a dynamic, tag-based window manager for X11. It supports both a floating layout and a master-stack tiling layout and is developed openly. It is also written in the Nim programming language.
- Xfwm — The Xfce window manager manages the placement of application windows on the screen, provides beautiful window decorations, manages workspaces or virtual desktops and natively supports multi screen mode. It provides its own compositing manager (from the X.Org Composite extension) for true transparency and shadows. The Xfce window manager also includes a keyboard shortcuts editor for user specific commands and basic windows manipulations and provides a preferences dialog for advanced tweaks.
Tiling window managers
- Bspwm — bspwm is a tiling window manager that represents windows as the leaves of a full binary tree. It has support for EWMH and multiple monitors, and is configured and controlled through messages.
- EXWM — EXWM (Emacs X Window Manager) is a full-featured tiling X window manager for Emacs built on top of XELB. It features fully keyboard-driven operations, hybrid layout modes (tiling & stacking), dynamic workspace support, ICCCM/EWMH compliance, RandR (multi-monitor) support, and a built-in system tray.
- Herbstluftwm — Manual tiling window manager for X11 using Xlib and Glib. The layout is based on splitting frames into subframes which can be split again or can be filled with windows (similar to i3/ musca). Tags (or workspaces or virtual desktops or …) can be added/removed at runtime. Each tag contains its own layout. Exactly one tag is viewed on each monitor. The tags are monitor independent (similar to xmonad). It is configured at runtime via ipc calls from herbstclient. So the configuration file is just a script which is run on startup. (similar to wmii/musca).
- i3 — Tiling window manager, completely written from scratch. i3 was created because wmii, the developers' favorite window manager at the time, did not provide some features we wanted (multi-monitor done right, for example), had some bugs, did not progress for quite some time, and was not easy to hack at all (source code comments/documentation completely lacking). Notable differences are in the areas of multi-monitor support and the tree metaphor. For speed the Plan 9 interface of wmii is not implemented.
- Larswm — A tiling window manager based on 9wm.
- LeftWM — A tiling window manager written in Rust.
- https://leftwm.org || leftwmAUR
- Notion — Tiling, tabbed window manager for the X window system that utilizes 'tiles' and 'tabbed' windows.
- Tiling: you divide the screen into non-overlapping 'tiles'. Every window occupies one tile, and is maximized to it
- Tabbing: a tile may contain multiple windows - they will be 'tabbed'.
- Static: most tiled window managers are 'dynamic', meaning they automatically resize and move around tiles as windows appear and disappear. Notion, by contrast, does not automatically change the tiling.
- Notion is a fork of Ion3.
- https://notionwm.net/ || notion
- Ratpoison — Simple Window Manager with no fat library dependencies, no fancy graphics, no window decorations, and no rodent dependence. It is largely modeled after GNU Screen which has done wonders in the virtual terminal market. Ratpoison is configured with a simple text file. The information bar in Ratpoison is somewhat different, as it shows only when needed. It serves as both an application launcher as well as a notification bar. Ratpoison does not include a system tray.
- Stumpwm — Tiling, keyboard driven X11 Window Manager written entirely in Common Lisp. Stumpwm attempts to be customizable yet visually minimal. It does have various hooks to attach your personal customizations, and variables to tweak, and can be reconfigured and reloaded while running. There are no window decorations, no icons and no buttons. Its information bar can be set to show constantly or only when needed.
- ZWM — A minimalistic tiling window manager written in C, it uses the XCB api to communicate with Xorg server. It supports multi-monitors, supports a subset of EWMH specs, and offers extensive configurability.
Dynamic window managers
- awesome — Highly configurable, next generation framework window manager for X. It is very fast, extensible and licensed under the GNU GPLv2 license. Configured in Lua, it has a system tray, information bar, and launcher built in. There are extensions available to it written in Lua. Awesome uses XCB as opposed to Xlib, which may result in a speed increase. Awesome has other features as well, such as an early replacement for notification-daemon, a right-click menu similar to that of the *box window managers, and many other things.
- dwm — Dynamic window manager for X. It manages windows in tiled, monocle and floating layouts. All of the layouts can be applied dynamically, optimising the environment for the application in use and the task performed. Does not include a system tray or automatic launcher, although dmenu integrates well with it, as they are from the same author. It has no text configuration file. Configuration is done entirely by modifying the C source code, and it must be recompiled and restarted each time it is changed.
- https://dwm.suckless.org/ || dwmAUR
- echinus — Simple and lightweight tiling and floating window manager for X11. Started as a dwm fork with easier configuration, echinus became full-featured re-parenting window manager with EWMH support. It has an EWMH-compatible panel/taskbar, called ouricoAUR.
- http://plhk.ru || echinusAUR
- FrankenWM — Basically monsterwm with floating done right. Features that are added on top of basic mwm include: more layouts (fibonacci, equal stack, dual stack), gaps (and borders) are adjustable on the fly, minimize/maximize single windows, hide/show all windows, resizing master and stack individually, invert stack.
- spectrwm — Small dynamic tiling window manager for X11, largely inspired by xmonad and dwm. It tries to stay out of the way so that valuable screen real estate can be used for much more important stuff. It has sane defaults and is configured with a text file. It was written by hackers for hackers and it strives to be small, compact and fast. It has a built-in status bar fed from a user-defined script.
- Qtile — Full-featured, hackable tiling window manager written in Python. Qtile is simple, small, and extensible. It is easy to write your own layouts, widgets, and built-in commands.It is written and configured entirely in Python, which means you can leverage the full power and flexibility of the language to make it fit your needs.
- Wingo — Fully featured true hybrid window manager that supports per-monitor workspaces, and neither the floating or tiling modes are after thoughts. This allows one to have tiling on one workspace while floating on the other. Wingo can be scripted with its own command language, is completely themeable, and supports user defined hooks. Wingo is written in Go and has no runtime dependencies.
- xmonad — Dynamically tiling X11 window manager that is written and configured in Haskell. In a normal WM, you spend half your time aligning and searching for windows. Xmonad makes work easier, by automating this. XMonad is configured in Haskell. For all configuration changes, xmonad must be recompiled, so the Haskell compiler (over 100MB) must be installed. A large library called xmonad-contrib provides many additional features.


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Conveniently transform client-centered web services with highly efficient convergence. Compellingly harness covalent total linkage before dynamic alignments. Rapidiously scale intermandated results after global supply chains. This is a preview of OUTDENTED CONTENT here.
Automatically outdented H2
Appropriately cultivate value-added users vis-a-vis world-class channels. Globally strategize dynamic networks whereas web-enabled applications.
Energistically fashion seamless infrastructures via parallel results. Credibly transition ubiquitous testing procedures with enabled mindshare. Uniquely engage proactive methodologies before an expanded array of processes.

subset: commoncrawl


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Bill Nye first took the world by storm in the 1990s with his informative, yet fun television show "Bill Nye the Science Guy." With his catchy theme song (which kids today would likely call a "bop") and his down-to-earth explanations of complex scientific phenomena, Nye produced a recipe for success.
Today, Nye is cooking up new segments — only this time he's sharing his expertise on the social media platform TikTok. He's made a number of viral videos lately about the importance of wearing face masks as well as their effectiveness in reducing the spread of COVID-19.
His most recent video, though, is a little less serious. In fact, it looks more like Nye might be trying to break into a new genre of content: cooking segments. Of course, he still shows his trademark science slant and dry humor in the new TikTok video. But, this time he's sharing his expertise in making something tasty: pizza!
@billnyeConsider the following… cooking is ##science! ##TikTokFood ##LearnOnTikTok ##TikTokPartner⬠original sound – Bill Nye
More than 20 million people have viewed the viral video, which started with Nye using some unorthodox cooking container to start his pizza dough. Instead of a bowl, he used a plastic water bottle to mix water, sugar and fast-acting yeast.
Once he combined all the three ingredients, he shook them up, and then he capped it off with a balloon to demonstrate the carbon dioxide gas created from the chemical reaction between the water, sugar, and yeast. And, it wouldn't be a Bill Nye the Science Guy segment without all those fun sound effects.
After that scientific demonstration, Nye skipped directly into showing the audience some risen dough. We're not exactly sure the ingredients he added to his yeast and sugar mix, but the dough looked fantastic.
From there, he wrapped up his culinary science video by baking and showing off his complete pizza.
"It's not magic, people," Nye concluded. "It's science!"
We do think his veggie and salmon pizza pie topped with crème fraîche looked pretty magical, though. Wouldn't you agree?
Would you consider making a pizza like this to show your kids the science behind cooking and baking? It looks like a fun way to get the young ones to help in the kitchen.
This story originally appeared on Simplemost. Checkout Simplemost for additional stories.


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2008 Smart Fortwo – Conceived by Swiss watchmaker Swatch and designed in conjunction with Daimler, parent company of Mercedes-Benz, the Smart Fortwo microcar has been all the rage in traffic-choked European cities since its introduction in 1998. Smart has recently redes Source: cars.about.com
Ten Fifteen cheapest new cars you can buy – I love hearing the talking heads on television debate whether or not the economy is in a recession. Recession or not, anyone living in the real world knows that things... Source: cars.about.com
Thinking Small: Koenigseder wide-body Smart ForTwo – Filed under: Aftermarket, Tuners, SMARTClick for a hi-res gallery of the Koenigseder Smart ForTwo "Wide-body" is a relative term. An SUV or a supercar decked out with a wide-body kit? Pimpin'. But a smart ForTwo? Well, it's wider, sure. Koenigseder i Source: feeds.feedburner.com
Phone booths? Bah! How many people can you fit inside a smart? – Filed under: Etc., SMART, Green DailyClick on the image for a high-res gallery of the stuntThe smart fortwo can legally seat only two people. But you would be amazed at the amount of nonsense people you can fit inside. Up to thirteen people! The stun Source: feeds.feedburner.com
Roger Goldammer: Official World Champion of Custom Bike Building – Filed under: Motorsports, Motorcycles, Special/Limited EditionsClick above for more images of Roger Goldammer's GoldmemberThere seems to be a new trend in custom bike building, and it's one we're happy to see. The best designers are creating machines Source: feeds.feedburner.com
Smart Forums – The SMART CAR OF AMERICA community is a social utility that connects you with fellow Smart enthusiasts. Source: www.smartcarofamerica.com


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A bank robbery in Woodland, California, was stopped thanks to the actions of a Good Samaritan. Michael Armus Sr. told Good Morning America that he was depositing checks at the bank when a man walked in and handed the teller a note demanding money.
Armus recognized the suspect as a former neighbor and decided to get involved.
"Like 25, 20 years ago, he lived in an apartment complex I did. I didn't know him, but I have seen him around. He was a friend of my daughter's. That broke the ice for me," Armus explained to KCRA.
"The thing was, I seen something else. He seemed to be depressed, the way he was talking," Armus added. "So, I just approached him, and I asked him, I said, 'What's wrong?' I said, 'You don't have a job?' He said, 'There's nothing in this town for me. Nothing in this town for me. I just want to go to prison.'"
Armus convinced the man, 42-year-old Eduardo Placensia, to step outside, where they embraced in a hug as officers showed up at the bank.
"So, I took him outside, and I give the man a hug right here at the doors," Armus said. "He started crying, and then I stepped away from him and swoop, here come all the cops. No sirens just lights everywhere."
Placensia was arrested by Woodland police officers and taken to jail, where he was booked on charges of attempted burglary.


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Columns Retired Columns & Blogs |
I have a copy of this catalog number- how does one tell whether it's a pre or post 1977 pressing?
and I agree about the Vieux Telegraph- i have a '98 in my cellar.
The pick in question is the recording, "remastered at Abbey Road" and bound as a book, of David Oistrakh playing the Brahms Violin Concerto and Double Concerto and Beethoven's Triple Concerto, with cellist Mstislav Rostropovich, pianist Sviatoslav Richter, George Szell and the Cleveland Orchestra (Brahms), and Herbert von Karajan and the Berlin Philharmonic (Beethoven) (2 SACD/CDs, EMI Signature Collection 9 55978 2).
Why take back an R2D4? I will explain. First, some necessary background:
I think the informed consensus is nearly universal that, had Iosef "Jascha" Ruvinovich Heifetz (19011987, though he may have been born in 1899) never appeared on the scene, David Fyodorovich Oistrakh (19081974; né Kolker, he early adopted his stepfather's surname) would have been considered the greatest violinist of the 20th century.
Without doubt, Heifetz brought unprecedented technical facility to bear on major works that previously had not been fully realized in concert performances, most notably the concertos of Tchaikovsky and Sibelius, and Chausson's Poäme for violin and orchestra. That said, Heifetz's legendary "silken tone" was often at the service of interpretations that critic Virgil Thomson once called "silk-underwear music."
As time went on, Heifetz seemed to revel in playing as fast as possible for the sake of speed itself. He also was not above "improving" masterworks that perhaps he felt were not showy or violinistic enough for his agenda. An example of the latter was his adding to the violin part at the end of Franck's Sonata (in a recording with Artur Rubinstein, no less) notes that Franck never wroteI think, in order to keep the piano from having the last musical word. Heifetz also turned the trill at the end of the Ciaccona, from J.S. Bach's Partita 2, in d, into a double trillbut perhaps that can be excused as a nod to the baroque ethos of improvised ornamentation.
My default posture re: Heifetz has always been to debunk the hype. However, I would never want to be without his (mono) recording of the Ciaccona spuriously attributed to Tommaso Antonio Vitali (16631745), which is one of the most thrilling of all violin recordings. I also must say that I was rather shocked at how lyrically unrushed and soulful is Heifetz's 1938 recording of the Glazunov concerto, with John Barbirolli and the London Philharmonic Orchestra. I can only speculate as to why. Was Heifetz temporarily under the spell of Barbirolli's compelling musicality? Or did Heifetz think that while Americans might understand only the fast and the loud, British audiences needed to be conquered with lyricism?
Listen to the Heifetz-Barbirolli Glazunov for yourself; it's available here, or on CD (EMI 61591). It certainly doesn't sound like the Heifetz of the post-WWII RCA recordings. But please keep in mind that I am showing Heifetz in his best light with that.
I think it's fair to say that Heifetz is today remembered more as a paragon of violin technique than as a supremely important and broad-ranging interpreter. There is more to interpretation than just precision of execution. As far as I'm concerned, with Heifetz there is almost always a sense of forward propulsion, sometimes to an uncomfortable degree; with Oistrakh, there is always a sense of musical flow.
Career-wise, Heifetz had the good luck to decamp for greener pastures before the Russian Revolution, ending up in New York City. His 1917 Carnegie Hall debut, at a claimed age of 16, was legendary. Heifetz's performing career in the US was well established before the stock-market crash of 1929 and the ensuing Great Depression.
In 1939, Heifetz costarred in the film They Shall Have Music, playing himself in a story about a struggling music school for the poor; it's worth seeing once. After WWII, and with the advent of the 331/3rpm LP, Heifetz was an undisputed icon of aspirational culture. Along with Einstein's, Heifetz's is one of the few surnames that have become almost common nouns, as in "He's no Heifetz." Heifetz continued to perform and record until the early 1970s; thereafter, he continued to teach for almost 15 years.
In contrast, David Oistrakh was a late bloomer, first on the viola, then the violin. He caught almost every bad career break he couldfrom coming in behind Ginette Neveu in the first International Henryk Wieniawski Violin Competition, in 1935, to being stuck in the Soviet Union through the Stalin years, WWII, and the Cold War. Oistrakh also ran the risk of being too good a friend to the politically "unreliable" Dmitri Shostakovich. Further, while Heifetz was darkly handsome (after a fashion, at least in his youth), by the time Oistrakh's fame had spread beyond the USSR's borders, he looked like a potato farmer or a Soviet bureaucrat. But the guy sure could playand play not just the violin, but music. An iconic Oistrakh Bach performance from 1952 can be heard here.
The hallmarks of an Oistrakh performance were a warmly centered tonal beauty, unfailing accuracy of pitch, interpretive humility, understated stylistic elegance, and a nobly monumental conception of the music's architecture. American audiences did not hear him in concert until 1955, at Carnegie Hallhis debut was the climax of a day that had heard both Elman and Milstein play on the same stage. Autodidact culture vulture Marilyn Monroe was in the audience.
On his first US tour, Oistrakh recorded with Eugene Ormandy and the Philadelphia Orchestra, and soon recorded with Dimitri Mitropoulos and the New York Philharmonic, as well as Charles Munch and the Boston Symphony. Oistrakh's recording with Mitropoulos was the first of Shostakovich's magisterial Violin Concerto 1, which was dedicated to him.
Oistrakh recorded the Brahms Violin Concerto at least four times in studio settings: with Kiril Kondrashin (Moscow, 1952), Franz Konwitschny (Dresden, 1954), Otto Klemperer (Paris, 1960), and Szell (Cleveland, 1969). (As many as 10 live recordings, in varying degrees of sound quality, have also been available over the years.) I've always thought the recording with Szell was the best of the bunch. First, it's in stereo (as is the Klemperer). Second, in 1969 the Cleveland Orchestra was at its peak under the legendary, and legendarily difficult, Szell. And while Oistrakh was then in his 61st year, his technique was still effortlessly solid. And in 1966, he had finally settled on the 1705 "Marsick" Stradivari as his ideal instrument.
Scratch One R2D4
So it seemed to me a no-brainer to name the SACD remastering of the Brahms-Oistrakh-Szell-Cleveland (BOSC) recording as one of my R2D4s for 2014 (though I knew it was from a PCM transfer, and not a direct DSD transfer). But as soon as the February 2014 issue hit the mailboxes, things began to unravel. Sharp-eyed reader and former broadcast engineer Richard Lane e-mailed to say that he'd noticed that the inside-cover log sheet of the tape box pictured in the SACD booklet (see photo) stated that the tape in that box was a replacement "Re-Mix" that was "Now the Master." Yikes!
Lane wanted to know whether that March 1973 master-tape substitution was perhaps the cause of the overloads he heard in orchestral tuttis. I had always heard the momentary overloads in the tuttis, but had assumed they were artifacts of the master tape. For me, at least, they didn't detract from the beauty of Oistrakh's tone in the solo passages, or make this bargain-priced ($20) two-SACD set, on the whole, less recommendable. But . . . hmm.
I scanned and blew up that page of the booklet, and was horrified to see a smaller notation: the tape had seemed musically sharp to one EMI engineer, with concert A at 445, not 440Hzwhich therefore made the entire performance not only sharp but too fast. A directive in reply, dated 2011, stated that there were to be no speed adjustments, in that the "LP=445." Double Yikes!
That was when I began to suspect there was something not quite kosher in Denmark. My violin teacher at Brown, Professor Kowalski, once asked me to guess when A=440 had been established as the international tuning standard. I guessed the 1860s or 1880s. He replied that it had been 1936. Indeed, the International Organization for Standardization (ISO) did not establish 440Hz as the international standard until 1955.
Before 1936, concert pitch was usually (but not always) A=432Hz. The notion that Oistrakh was tuning to A=445 or higher struck me as absurd. And the idea that the Cleveland Orchestra would tune to A=445 struck me as even more ridiculous, given that the Boston Symphony was always regarded as out of step with other American orchestras for tuning as high as A=442.
I consulted with classical recordist and world-class Mahlerian Jerry Bruck, who advised me to enlist the aid of the Historical Committee of the Audio Engineering Society. Tom Fine, an engineer in his own right as well as the son of C. Robert and Wilma Cozart Fine, the couple responsible for producing and engineering the Mercury Living Presence recordings, responded with an open-ended offer of help. I'll bet he had no idea how long this would drag on.
My next step was to phone the Cleveland Orchestra and speak with archivist Deborah Hefling, who promised to ask current and retired players. The answer quickly came back: The Cleveland Orchestra has always tuned to A=440. Therefore, the EMI SACD whose CD layer I had, measured as A=446.4 or 446.5Hz, using the Amadeus Pro II app, was from a "corrupt source." The result was the same with the 24-bit/96kHz hi-rez download.
Then as now, I was less concerned about the digitized tape's not being the "original master" as I was about the tonal and interpretative misrepresentation of the music resulting from its being played back faster and sharper than these musicians had performed it during the recording. On the speeded-up SACD, the first movement ends about 20 seconds faster than it must have in real life. I think that's a nontrivial musical difference.
I have a copy of this catalog number- how does one tell whether it's a pre or post 1977 pressing?
and I agree about the Vieux Telegraph- i have a '98 in my cellar.
I believe that if your pressing has a scribing in the dead wax area something like S 1 36033 A 1 or S 1 36033 B 1 or S 1 36033 C 1, it was cut from the original edited stereo mixdown true master tape.
The Angel, "Mastered By Capitol" (a stamping in the dead wax area) pressing I bought in Nashville in 1977 is scribed S 1 36033 F 13 #2, from which I infer but it is only an inference that its source was an acetate that was the sixth ("F") US cutting. Because it too is fast, I conclude that at or about the same time the UK master was replaced the US master was replaced too.
So now we just have to hope that the original US master was not thrown out or recorded over.
is what mine says- what does the 4, or 13 #2 signify?
in any event, it sounds the same to me as the Classic reissue. i Heifetz SACD, and Perlman/Giulini CD, and Grumiaux/Davis on vinyl. as a performance my preference has always been Perlman/Giulini, which i prefer to his later recording w/ barenboim.
The LP replication process goes (1) cut acetate, (2) negative master, (3) matrix or mother, and (4) stamper.
As far as I know, a cut acetate makes one negative master which makes one matrix which can make several stampers before it wears out and a new cutting is required.
So I believe that the stamper that stamped your LP was the fourth stamper made from the sixth acetate. Seeing as that acetate is the same as my LP's, that should mean that your LP is fast and sharp too.
That might provide the answer as to what happened to the original. Producers might recall these kinds of things where the labels and label archivists do not.
As for getting the music properly re-done (assuming the better sources can indeed be found) the only person I've read about who's had success where others have not is Chad Kassem. My understanding is that he shows the labels a combination of cash and perseverance other people don't. And that gets answers, at least.
That said, apart from pitch, the overloading is the main sonic problem? Let's say overloading isn't due to the 2nd or 3rd gen ('73) tape. Pitch and speed can be corrected with software but of course that's not the sort of homework a buyer should be expected to do for a R2DF candidate.
The first thing that you must understand is that the company EMI no longer exists. It was broken up and the classical division went to Warner; I have had no luck getting a response from anyone at Warner or at Capitol Studios. I have also reached out to some former employees who either ignored me or had no information.
Two, as a general rule, in a big label (unlike a small label) once the recording is in manufacturing, the recording engineer moves on and the producer moves on. In this case the recording engineer died some time ago. Tom Fine shared with me much information about Carson Taylor's work methods at the time, and the Cleveland Orchestra scanned copies of a logistics and scheduling document, but that was all 1969, NOT at the time of the master tape substitution.
In theory, there might be a paper trail in dead storage wherever EMI ancient history is stored, but in fact all that might have been sent to the landfill or recycling. The session producer died some time ago, again, not surprising, as recording Soviet musicians with an American orchestra was the most important thing EMI had going on at the time, so they used their top people, whose careers had started in the 1950s. The in-machine Cleveland master tape, if it still exists, is more than 45 years old. Visualize the final scene of the first Indiana Jones movie, and you will not be far from what my experience has been.
Over and above that the trail is cold, the reason why there was a "remix" that resulted in a master tape replacement ultimately is only academic because it was wrong. The troubling word is "re-mix." To me, that indicates that there is a strong possibility that someone somewhere went back to the in-machine Cleveland master and did a new stereo mixdown. So, to get at the sonic truth, we need either (1) the in-machine Cleveland master and either a working Dynatrack playback setup or a means to effect those "Boosted-to-NAB (and back)" track changeovers in the digital domain, or (2) Carson Taylor's original, correct-speed stereo mixdown razor-blade-edited master tape. In an ideal world. I'd prefer the first option because that would allow a more natural balancing between soloist and orchestra.
I have discussed this recording with Chad Kassem several times. He is not interested, and I can understand why. Chad is a Blues guy. More importantly, this is not a sonic blockbuster like Scheherazade or Symphonic Dances. It is core classical repertory. There are at least 80 violinists represented on non-historical discs, with many, like Oistrakh, having more than one performance (4 studio, as many as 10 live). So Arkivmusic.com lists 195 Brahms Violin Concertos. Now, what an entrepreneur could do is Kickstart the project and not pull the trigger and collect the money until the One True Master Tape is found. But that is not Chad's business model and I have no hard feelings.
I don't know why you say "Let's say overloading isn't due to the 2nd or 3rd gen ('73) tape." I have not heard a pre-1973 pristine LP on a good system. I rather doubt that Carson Taylor would have approved an overloaded stereo master--and he, I am told, did his own editing, which, back then, was razor blade and splicing tape. My assumption (yes, it is an inference from established facts) is that in 1973 they played the Cleveland in-machine back not realizing that it required special playback electronics, which is why there is a notation somewhere (I was told by Abbey Road) that there was a tape box in the archives marked "Unplayable." Whether they kludged from that or had some other Plan B, I do not claim to have a clue.
One would think that with all the audiophile-reissue formats this performance has appeared in, there would be remaining demand. But the conventional business model has a break-even at or over 4,000 units, which is why I believe, based on 30 years in the recording business, that Kickstarting is the only solution. As far as I can see, only that gives you a handful of cash to wave in the face of Warner and say, we are ready to prepay the license fees so you don't have to trust us or chase us.
Great article. What was the vintage of this Chateauneuf?
Hi-I was really not paying attention to the vintages. I went to a wine store and asked if I could pose a bottle with the SACD book and take some pictures. I liked the dramatic high-contrast label and the designation "La Crau," which was as close as one can get to the crow I had to eat.
Ah I see. It is a terrific wine nonetheless and indeed if a crow pie were served up it would pair perfectly. I see one reader below with some 1998 in his cellar which is drinking beautifully.
I'm just getting into SACD down here in the deepest, darkest Rhone Valley (Department de l'Ain), but Chateauneuf? A €5 wine on a €20 budget one might say, whatever the domaine. It's ok if you don't mind your wine tasting like molasses (but then it is a molasse of 13 seppages), but a bog-standard mis-en-bouteille 'Vieux Papes' shows it a clean pair of heels for 1/10th of the cost (I doubt that you'll get it over the pond, mind). Still, in a milieu where people justify paying 10,000s for an ethernet cable or a mains lead, Each To Their Own...
HI. Thanks for posting. The web version omits some aspects of the print version, in this case, the headline "Which Wine Goes Best With Crow?" Although that thought recurs at the very end of the text too.
So, Eating Crow was on my mind when I stopped in at a fancy wine shop downtown and asked to pose a bottle with the SACD book and take some pictures. I chose that bottle because of the designation "La Crau." Given the major expense of that bottle, and the fact that I don't have Sam Tellig's credit card number memorized, I did not buy it.
For my next act I will build and market a mains lead made from worn-out Pirastro Eudoxa Olive Rigid violin G and D strings that were used only on pre-1800 Cremonese violins. Harmonic richness such that you can imagine you are smelling all 13 (or 14) distinct grape varieties in a great CTNDP!!! A bargain at USD10,000 per 2-meter mains lead! Send me your money before someone else does!
Tee hee.
Congratulations on a splendid article and brilliant detective work combined with academic rigour. And yes - the 440Hz snippet sounds much more natural.
Next, you will be telling us that Richter actually recorded his famous 1970/19S73 Schloß Klesheim Melodiya recording of the Bach Preuldes and Fugues at 440Hz too ... even though they sound almost a semitone sharp ! (something I have never understood).
It would be disappointing if it transpires that some engineers back in 1973 thought it 'cool' to tweak recordings to make artists appear, say, more virtuosic ... the way people today might photoshop a photo today to tweak it. Ooh - look what we can do with this fancy-shmancy tape deck machine!!! ....
Separately, as I commented on your original article, I found the SACD transfer by EMI of the Brahms to be highly distorted ... for whatever reason. Unfortunately, the EMI engineers did not simply do a tape to DSD transfer, but ran a whole bunch of artificial digital filters, cleaners and disinfectants over the source file to de-hiss it, ... which rather kills the whole point of transferring it to SACD (which is to keep things au naturel).
I really doubt an engineer took into his head to replace an LP cutting tape prepared by Carson Taylor or under his direction with a speeded up "remix" just because he thought it was a good idea.
One possible explanation is that because Oistrakh had recorded the Brahms in Paris for EMI in 1960, and in 1969 also recorded the Beethoven Triple in Berlin for EMI, the Cleveland tapes were the Odd Men Out in terms of pitch, and some executive decided to speed up the Cleveland tapes so they would sound more similar in pitch to the European tapes, but in so doing they truly distorted the pacing and phrasing.
I am keeping at this; I am trying to get Warner Brothers to do a vault search in California and in England. If a non-corrupt stereo mixdown master is located, or even the multitrack session tapes, then at least a reissue outfit like Mobile Fidelity can evaluate it as a business proposition, and if not, some ambitious person can Kickstart it.
I fail to see why a recording that was classified as R2D4 should be downgraded because it might have been speeded-up. I would have thought that the R2D4 was awarded for what was heard on the recording - and that has not changed.
It is always tricky to determine the pitch at which something was played when the original recording was on analogue tape. This is because there was seldom a good absolute frequency reference, such as we now have with digital recordings.
John Marks makes an assumption that because it is thought that the Cleveland orchestra always tuned to A440 then that must have been the actual pitch used. I have analyzed a few of Oistrakh's recordings and they are mostly pitched higher than A440.
The recording I have of the Brahms concerto featuring Oistrakh with Kondrashin is at A447, the recording I have of the Brahms concerto featuring Oistrakh with Klemperer is at A445. The Brahms double concerto I have featuring Oistrakh and Rostopovich with the Cleveland orchestra under Szell is at A447. I also looked at Oistrakh playing Mozart and found it to be at A447 as well. The fundamental question is does anybody know with absolute certainty which pitch Oistrakh asked conductors/orchestras to tune to when accompanying him.
It is, of course, possible that most of the Oistrakh recordings that I have (no matter what the label) have been speeded-up by playing the tape a little faster and it is, of course, possible that the original release of the Brahms concerto had been slowed-down by somebody who thought that the Cleveland always tuned to A440. It is also possible that the directive to keep the higher pitch on re-issue had come from performer input after having heard the original release.
The spread of Oistrakh's movement timings, from his various recordings, is significantly greater than 1% (if I remember correctly his spread was greater than 7%).
While I don't have the recordings or software on hand to check these, the fact that Oistrakh's pitch seems to be higher than 440 on several other noted recordings would suggest that this was a habit for him. I would also note that, while the first movement's length of 22:35 would appear to be potentially 20 seconds shorter than it would be if the tape were re-pitched to 440, it barely differs from the 22:36 of his recording with Klemperer, and is slightly slower than the 22:30 of his version with Kondrashin (all timings courtesy of Tidal). Now, maybe every version of Oistrakh's Brahms concerto (along with, as noted above, several other of his recordings), all coming from different companies over the course of several decades, happened to be coincidentally and accidentally sped up by about the same amount. On the other hand, I would have to wonder if, perhaps, the "no speed adjustment" directive, rather than coming from some apathetic EMI "suit" with no expertise in the matter, might indeed have come from a source that had knowledge that the original recording was, in fact, made at 445?
I mention this open question because I notice that you've paired with the folks at HDTT to produce a "pitch-corrected" version of this recording -- a laudable enterprise if the original is, indeed, running too fast, but an unnecessary version if it isn't. Pity HDTT didn't release an album -- simple to do with a download-only company -- offering both versions of their transfer, so that buyers could compare for themselves.
My previous skeptiucal comments on this subject were based on the running time of the 1969 first movement compared with the similar timings on Oistrakh's previous recordings. This timing of 22:35 was taken from the EMI "Great Recordings of the Century" CD release of 2003. As JM commented above, he knew that the SACD was sourced from "a PCM transfer." In the interest of using a higher-res master, I always assumed that the PCM source in question was the 24/96 transfer available at HDtracks, among others. Since, as I understood it, the GRotC series usually made 24/96 transfers and converted them to Redbook for CD release, I always assumed that the GRotC and hi-res versions were from the same remaster. My mistake! Examining the hi-res download version, I see that it came from a different transfer made in 2011. But that was only the first surprise. While the GRotC CD clearly had a timing of 22:35 for the first movement, the same track on the 24/96 had a timing of...22:23. "Triple Yikes!" as JM might say.
This, fortunately, became an easy matter to research further. Ripping the CD, and converting the 24/96 track to Redbook resolution, it was a simple task to open the two together in Audacity. And there it was...from first non-zero sample to last, the CD track had a length of approximately 22:26.261. By comparison, the 24/96 length was 22:12.200...more than fourteen seconds shorter. If that was the source used for the SACD, no wonder it would sound rushed and unnatural! (And here's the kicker: if this issue was caused by something odd in the digital transfer itself, it likely wouldn't even manifest itself as being sharp, since digital manipulation would affect the speed but not the pitch.)
The bottom line here appears to be that, all other issues from the '70s aside, there is something drastically wrong with the 2011 24/96 transfer that constitutes a significant corruption over any previous version. Unfortunately, it would appear that the current "Warner Classics" CD is likely sourced from that corrupted transfer, leaving the EMI GRotC CD as the last "official" release without this problem...glad I own a copy! (IMHO, samples I've heard of the "speed-corrected" HDTT suggest that the reel-to-reel tape used is several steps away from the master tape, with noticeable degradation of sound quality.)
I usually find track lengths to be somewhat unreliable in determining the lengths of the actual music. I always analyze the frequency content of tracks and determine the centre frequency of the "A".
...it doesn't change the fact that, when you have two transfers ostensibly from the same master tape, and the length of the music, from first note to last, on one is twelve seconds shorter than the other, it's pretty much proof-positive that at least one of those transfers has a serious flaw -- and that remains true no matter what the pitch used (as I pointed out, if the problem was in the digital transfer, the length -- and thus the apparent pace -- would be drastically different, but the pitch would be unchanged).
And note that I didn't just use "track lengths" (which can be deceptive due to extra silence at the beginning or end); I loaded both tracks into an audio editor and measured them from first non-zero sample to last, thus ensuring that any additional silence in one or the other had no bearing on the results.
Kickstart it, and let's spread the word.
Post it on the forums. 4000 records shouldn't be that big an ask?? Especially for such a legendary performance like this which will not happen again ever.


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Associated Press writer Monika Scislowska contributed to this report.


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A collection of reviews of films from off the beaten path; a travel guide for those who love the cinematic world and want more than the mainstream releases.
Friday, January 25, 2013
Film Comment Selects 2013 Titles Announced
Here's the llst of titles being shown at Lincoln Center's film Comment Selects. Its a great bunch of films.
Tickets are on sale to Film Society Members Tuesday and the general public Thursday.
All screenings will take place at the Film Society of Lincoln Center's Elinor Bunin Munroe Film Center, 144 West 65th Street (between Broadway and Amsterdam). Visit www.FilmLinc.com for additional information.
Films, Descriptions & Schedule
SIMON KILLER (2012) 105m
Director: Antonio Campos
Country: U.S.
An American in Paris, only dark. Very dark. Afterschool writer-director Antonio Campos crosses the Atlantic to descend into the unraveling psyche of a charming young sociopath at loose in the City of Lights. On the rebound from a troubling breakup, sketchy and possibly unhinged Simon (Brady Corbet) becomes fixated on prostitute Victoria (Mati Diop)—and from there a chilling, claustrophobic, and unpredictable dance of death unfolds. This ostensible portrait of a serial killer in the making makes for tense, compulsive viewing, in no small part due to Corbet's fearless performance, while Campos's evocative location shooting perfectly captures the textures and sleazy ambience of Paris by night. An IFC Films release.
Monday, February 18 at 8:15pm
THE WE AND THE I (2012) 103m
Director: Michel Gondry
Country: U.S.
Michel Gondry's delightful and wholly unexpected lo-fi experiment is a mobile kammerspiel set entirely on a crowded bus wending its way through the Bronx as it takes its high-school student passengers home on the last day of school. The film was developed by the unpredictable French director and his ensemble cast in an after-school arts-and-activism workshop—the latest in a series of site-specific open-participation film projects undertaken by Gondry between directing everything from Hollywood blockbusters to intimate personal documentaries. At first glance The We and the I might come off like an experiment in realism or ethnography, but Gondry is much more invested in celebrating the individuality of each member of his young multiethnic cast (all playing themselves) and the way the dynamics within and across its different subgroups and cliques shift and play out in a free-form setting that's by turns raucously funny, poignantly tender, and gently observant. Moreover any notion that this is an exercise in naturalism are dispelled when you begin to notice how Gondry takes mischievous liberties with time and place (this is the longest bus ride in cinema history, and day turns to night before everybody gets home!). One of the most winning films of the year!
Thursday, February 28 at 8:30pm
A BORROWED LIFE (1994) 167m
Director: Wu Nien-jen
Country: Taiwan
A deeply felt, epic father-and-son drama chronicling the tumultuous life and times of a provincial mining-town family in the 1950s, A Borrowed Life is one of New Taiwanese Cinema's masterpieces, and listed among Martin Scorsese's 10 favorite films of the Nineties, yet has nevertheless remained largely unseen. Actor and novelist-turned-writer-director Wu's 1994 film presents a dual portrait of coal miner Sega, a failed patriarch doomed to stand on the sidelines of his own life, and Wen Jian, his young son who bears witness from his own painful remove. It's one of Taiwanese cinema's most clear-eyed explorations of family dynamics—a distinction it shares with Edward Yang's Yi Yi, which introduced Wu to Western audiences in the role of yet another discontented father figure. Few films have so vividly re-created the sensation of having known another human being for one's entire life, while simultaneously evoking the suspicion that all along one has loved a stranger. Print courtesy of George Eastman House.
Sunday, February 24 at 2:00pm
CALL GIRL (2012) 140m
Director: Mikael Marcimain
Country: Sweden
Based on a true story, and subject of a major controversy in Sweden last year, this inevitably semi-lurid but never exploitative drama is about the corruption of a 14-year-old girl lured into a prostitution ring catering to the political establishment in the 1970s. Partly a hard-knocks coming-of-age story and partly a political thriller, the movie's action centers on Iris (Sofia Karemyr), who routinely sneaks out of her group foster home, drawn like a moth to the flame by the bright lights of Stockholm at night. She finds a kind of mother figure in the form of Dagmar Glans (Pernilla August), a madam who initiates her latest catch into the life and its perks, and soon what starts out as a boundary-testing adventure becomes an intoxicating thrill—until things quickly get too much for our young heroine. Enter Sandberg (Simon J. Berger), the only honest vice cop on the force, who, against the backdrop of an impending general election, starts to expose the ring and finds that its links go all the way to the top. It's only a matter of time before these two characters cross paths and start attracting the kind of attention that gets people killed. Having served as an second unit director on Tomas Alfredson's Tinker Tailor Soldier Spy, Marcimain is completely at ease in this Seventies period setting and takes care to underline the irony of politicians appearing on television and delivering campaign speeches extolling the virtues of the government's progressive policies regarding women's equality and evolving sexual mores. Based on an actual scandal in which assassinated Prime Minister Olof Palme was implicated and which was brushed under the carpet for many years by the Swedish authorities.
Wednesday, February 20 at 9:00pm
Thursday, February 21 at 3:30pm
DORMANT BEAUTY (2012) 115m
Director: Marco Bellocchio
Country: Italy
Isabelle Huppert and Toni Servillo star in Italian master Bellocchio's compelling, somber ensemble drama in which a characters in three interrelated storylines struggle with the moral impasses and compromises of modern life. The film's point of departure is a real-life right-to-euthanasia case that became a national controversy in 2008, culminating in a Parliamentary vote. (The film's title might more precisely be "Sleeping Beauty.") Against this backdrop Bellocchio attempts to encompass the differing values and outlook of young and old, reactionary and idealistic: that of a senator (Servillo) with a passionately pro-life daughter (Alba Rohrwacher) preparing to cast his vote on the issue; a retired actress and devout Catholic (Huppert) who tends to her own comatose daughter; and a troubled young doctor (Bellocchio's brother, Pier Giorgio) who tries to help a suicidal methadone addict (Maya Sansa). Bellocchio takes an X-ray of the lingering malaise of late-Berlusconi Italy and its frightening intellectual and psychological confusion—and certainly touches a nerve.
Wednesday, February 20 at 6:30pm
Friday, February 22 at 4:00pm
Sunday, February 24 at 5:15pm
ELECTRA GLIDE IN BLUE (1973) 114m
Director: James William Guercio
Country: U.S.
Record producer James William Guercio's first and last film is a visually extravagant, behaviorally loopy story of an Arizona motorcycle cop named "Big" John Wintergreen (Robert Blake) who aspires to be a big-shot Los Angeles detective. Longer on mood and sun-soaked atmosphere than narrative complication, the film revels in the antics of its twitchy, hyped-up cast, a motley crew of character actors which includes Billy Green Bush as Blake's partner, Mitchell Ryan, and Elisha Cook Jr. Stunningly shot by the legendary Conrad Hall, Electra Glide in Blue features a bravura final shot, a capper to the film's Easy Rider-in-reverse ending. Print courtesy of Park Circus.
Saturday, February 23 at 9:45pm
FROM THE LIFE OF THE MARIONETTES (1980) 104m
Director: Ingmar Bergman
Country: Germany
Never available on DVD, Bergman's rarely screened film investigates the underlying emotional and psychological causes that lead an ordinary German business executive to murder a prostitute. After confessing to the crime, impeccably middle-class Peter (Robert Atzorn) is held in custody, while the police question those closest to him—his wife (who shares her name with Peter's victim), his psychoanalyst, his mother, his wife's gay fashion business partner—each of whom attempt to account for Peter's actions while revealing their own hidden emotional agendas and blind spots, which inadvertently combine to make the tragedy inevitable. Stylistically cold and stark, its narrative articulated in a nonlinear fashion that shifts back and forth in time, and clinical in its detachment, this is one of Bergman's bleakest visions of emotional disconnect and the emptiness of modern European life—but it's never less than mesmerizing. Print Courtesy of The Swedish Film Archive.
Tuesday, February 19 at 6:30pm
GEBO AND THE SHADOW (2012) 95m
Director: Manoel de Oliveira
Countries: France/Portugal
Struggling to keep his family intact and fed, an impoverished government accountant faces a slow-burning crisis in this brooding nighttime kammerspiel starring Michael Lonsdale, Claudia Cardinale, Jeanne Moreau, and Oliveira axioms Leonor Silveira and Ricardo Trêpa. Now 104 and going strong, Portugal's greatest living director once again explores the interplay of cinema and theater, adapting a 1923 modernist stage play by Raul Brandão. A prodigal son (Trêpa) returns to the bosom of his family with a hidden agenda, taking advantage of a mother (Cardinale) who idealizes him and a father (Lonsdale) who keeps his uneasy half-suspicions to himself.
Monday, February 18 at 6pm
Tuesday, February 19 at 4:30pm
HEARTS OF THE WEST (1975) 103m
Director: Howard Zieff
Country: U.S.
Jeff Bridges, Alan Arkin, Blythe Danner, and Andy Griffith star in this affectionate, underrated, often hilarious comedy about a naïve youth's Tinseltown rite of passage. Set in a poverty row studio grinding out B-Westerns for Depression-era audiences, Howard Zieff's nimble, laid-back comedy stars Bridges as a would-be novelist who accepts work as a stuntman after a run in with two grifters, while insisting he's the next Zane Grey, and is taken under the wing of a wise old pro (Andy Griffith) who may not be as benign as imagined. Bridges's canny performance balances broadness and subtlety, while Griffith wears his character's sad, threadbare duplicity like a medal rather than a wound, oozing pride instead of blood. One of the highlights of the Seventies Hollywood's nostalgia trend, Hearts of the West has as much vitality, originality, and craft as any classic from the Thirties and Forties. Print courtesy of BFI Distribution.
Thursday, February 21 at 6:30pm
SLITHER (1973) 96m
Director: Howard Zieff
Country: U.S.
In this little-known, rarely screened, not-to-be-missed comedy written by future Adventures of Buckaroo Banzai director W.D. Richter, bemused car thief James Caan, fresh from prison, hits the road to track down his murdered friend's stash of embezzled cash. After hitching a ride with a fast talking, pistol-packing kook (Sally Kellerman), he teams up with rec-vehicle enthusiast Peter Boyle and wife Louise Lasser and soon the trio find themselves pursued across Northern California by two mysterious black mobile homes. Amidst the deadpan, rambling, low-key comedy and increasingly absurd circumstances (watch out for the Bingo Hall fight sequence), Caan reveals his genius for double-taking comic befuddlement, more than holding his own against the antics of Boyle, Kellerman, Allen Garfield, et al. A glorious piece of Seventies oddball Americana.
Thursday, February 21 at 8:25pm
HERE COMES THE DEVIL (2012) 97m
Director: Adrían García Bogliano
Country: Mexico
In Adrían García Bogliano's unnerving, bracingly lo-fi chiller, a Mexican family outing goes bad when two children disappear overnight and return strangely altered by their misadventure. Although this is the sixth feature by unpredictable Argentinean genre specialist Bogliano (Penumbra, Rooms for Tourists), it's put together in an almost primitive rough-and-ready manner in every respect. Regardless of the unrefined style, make no mistake: the director's definitely in control of his material, its tale of possession, revenge, and steadily encroaching supernatural malevolence underpinned by a sense of sexual unrest will keep you guessing all the way from the WTF prologue to the WTF kicker. A Magnet Films release.
Friday, February 22 at 10:15pm
IN THE FOG (2012) 128m
Director: Sergei Loznitsa
Countries: Ukraine/Germany
This quietly spellbinding follow-up to 2010's My Joy is a gritty yet deliberately paced behind-enemy-lines Word War II drama. Sushenya, a railway worker suspected of collaboration (having inexplicably been set free by the Germans after a case of attempted sabotage) finds himself marooned deep in the woods with the two Soviet resistance fighters charged with executing him. Too late, Sushenya realizes that he is the bait, and that a trap is closing in on all three of them. A vigorous, masterfully directed, and yet strangely placid vision that both honors the venerable Soviet genre of the partisan war film while refracting it through a perhaps more cynical contemporary lens, in which one cruel irony follows another and the dirty business of war is anything but glorious. A Strand Releasing release.
Sunday, February 24 at 7:45pm
Tuesday, February 26 at 4:00pm
LESSON OF THE EVIL (2012) 128m
Director: Takashi Miike
Country: Japan
Japan's most notorious and unpredictable filmmaker returns to what he knows best in this sensationally violent thriller about a popular and seemingly model teacher who has his own special way of dealing with bullying and overbearing "monster parents." Mr. Hasumi (heartthrob star Hideaki Ito) works at an elite high school where his adolescent students, on the verge of adulthood, bond, mope and tentatively flirt with each other. Hasumi wins their affection and his colleagues' respect for his smooth way of dealing with the daily problems of school life. But he's not what he seems—for a start, what's he doing living in a shack in the woods with two crows for company (like the Norse god Odin, we are told in voiceover)? Slowly it becomes clear that Hasumi is the proverbial teacher from hell, and after blackmailing two teachers who are having affairs with students, he turns to murder to cover his tracks. The action slowly builds for the first hour, and then Miike pulls out all the stops as the mayhem escalates and Harumi becomes a calculating killing machine. But wait: Miike assures you there's a message in the madness: "The superficiality of the peacefulness within the classroom is a reflection of Japanese society. It's not a true peace. And in the film, I express what actually happens when the illusion on the surface begins to fall apart."
Tuesday, February 26 at 8:30pm
Wednesday, February 27 at 9:30pm
MISS LOVELY (2012) 100m
Director: Ashim Ahluwalia
Countries: U.S./India
There's no business like sleaze business in this tale of low-rent filmmaking in the illicit demimonde of gangster-controlled Bollywood exploitation film production. If you're looking for Hindi song-and-dance, you've come to the wrong neighborhood. The first narrative feature by Ashim Ahluwalia (director of 2005's call-center documentary John & Jane), takes us deep into the gangland precincts of Bombay's cutthroat, cut-rate filmmaking scene, Eighties style. Keeping softcore porn and horror films fed with fresh meat under varying degrees of duress, director Vikky shoots writhing young things in titillating sex scenes while humoring the whims of his producer-gangster boss—until his hapless gofer brother Sonu gets the idea to make his own grindhouse effort starring the girl of his dreams, and soon gets in over his head. After an off-kilter, at times delirious first hour, Miss Lovely settles into a pungent story of jealousy, betrayal, and doomed love.
Tuesday, February 19 at 9:00pm
Wednesday, February 20 at 4:00pm
MOTORWAY (2012) 89m
Director: Soi Cheang
Country: Hong Kong
In this kinetic fuel-injected thriller produced by Soi Cheang's mentor, Johnnie To, a secret high-speed-pursuit unit of the Hong Police called the Stealth Riders battle with underworld getaway drivers through the city's nocturnal maze of streets and highways. Overconfident unit newcomer Cheung (Shawn Yue) arrests notorious getaway driver Sun (Gu Xiaodong) but soon finds he's been taken for a ride when Sun stages a breakout to free his partner Huang (Li Haitao). The humbled Cheung, in the time-honored sifu-disciple tradition, takes lessons from veteran cop and master driver Lo (Anthony Wong) to gain the skills and knowhow he needs to nail his formidable adversary. State-of-the-art filmmaking and inspired, white-knuckle stuntwork once again prove that the Hong Kong action movie still lives—and need we say fasten your seatbelts? Print courtesy of Media Asia Films.
Saturday, February 23 at 1:00pm
Tuesday, February 26 at 6:30pm
NIGHTS WITH THEODORE (2012) 67m
Director: Sébastien Betbeder
Country: France
A romantic connection blossoms between two young Parisians during a succession of dreamlike nocturnal visits to a singular, beguiling park. Sébastien Betbeder's haunting and delicate film is a decidedly sui generis affair that is truly enchanting. Anna meets Theodore at a party, and together they impulsively climb the fence and enter the nearby Parc des Buttes-Chaumont, an unusual and striking hillside public garden in Paris's 19th arrondissement (if you've ever been there, you'll never forget it). The two part in the morning but find themselves drawn back the following night, and, falling in love under the park's spell, embark on nightly explorations of its topographic mysteries, gradually discovering that they are not the only ones drawn to this perhaps magical place. Ingeniously, Betbeder annotates his scenario with archival footage and anecdotes (perhaps invented) relating to the park and its history. A very special film that introduces a writer-director of great promise and originality.
Friday, February 22 at 6:30pm
Thursday, February 28 at 4:45pm
PENANCE (2012) 278m
Director: Kiyoshi Kurosawa
Country: Japan
After a four-year hiatus, Kiyoshi Kurosawa returns with this five-part made-for-television psychological drama/murder mystery that tests viewer endurance, and truly rewards it. Penance tells the stories of four women who have been shaped by a burden of guilt from 15 years ago, when they witnessed the abduction of a classmate who was later murdered. In the first four chapters, the carefully ordered and widely contrasting lives of the women are disturbed by a crisis that involves each one committing an act of aggression on a male victim. The film's final segment focuses on the dead girl's mother, who has turned up like a ghost from the past in all of the preceding sections, still searching for closure—and for the identity of her daughter's killer. Filmed in the familiar placid-but-uneasy Kurosawa style, Penance marks a return to his roots.
Monday, February 18 at 1pm
SIGHTSEERS (2012) 89m
Director: Ben Wheatley
Country: U.K.
A country caravan tour spins horribly out of control when a very English couple embark on a romantic getaway that gradually escalates into all-out killing-spree in this blackly funny new outing from rising indie star Ben Wheatley, the man who, in collaboration with co-writer and partner Amy Jump, unleashed Kill List and Down Terrace on the world. Continuing to mine the irrational violence lurking just beneath the surface of unremarkable, everyday Englishness, Wheatley follows the progress of aspiring writer Chris (Steve Oram) and dog-lover Tina (Alice Lowe) as they visit the Keswick Pencil Museum, the Crich National Tramway Museum, and the Lake District's majestic Ribblehead Viaduct. And you better believe it—Chris is not about to let litterbug tourists, obnoxious teenagers, and booked-up camping sites spoil things for them. Winner of the British Independent Film Award for Best Screenplay, this new thriller recently screened at Cannes, Toronto and Sundance Film Festivals. An IFC Midnight release.
Thursday, February 28 at 6:30pm
STEMPLE PASS (2012) 121m
Director: James Benning
Country: U.S.
Investigating another, deeply troubling facet of rugged American individualism, James Benning gives us four landscape shots containing a painstakingly constructed replica of Unabomber Ted Kaczynski's cabin, one shot per season. On the soundtrack, Benning himself reads extracts from Kaczynski's journals from the early 1970s, recording his progress at hunting and gathering, and his connection to the Montana wilderness; a hand-written folded sheet of paper detailing his acts of "monkey wrenching" and first attempts at planting bombs; two notebooks written in numerical code in 1985 and decoded by Benning in 2011; two excepts from Industrial Society and Its Future by "FC" (aka the Unabomber Manifesto) as published in its entirety (35,000 words) in The New York Times and The Washington Post in 1995; and a 2001 interview with Kaczynski by J. Alienus Rychalski, special correspondent for the Blackfoot Valley Dispatch.
Saturday, February 23 at 3:00pm
3 (2012) 199m
Director: Pablo Stoll
Country: Uruguay
A low-key and unexpected melancomédie from the co-director of Whisky. A middle-aged dentist with a quietly unraveling life makes repeated and poignantly ineffectual efforts to renew his relationship with his ex-wife and adolescent daughter. The two remain as oblivious to his approaches as they are to one another, caught up in their own burgeoning romantic and sexual entanglements. While setting up a refreshingly eccentric tempo through an episodic construction consisting of very brief scenes, Stoll never undercuts the pathos that gradually begins to emerge. Slight and unassuming, 3 is small but beautiful, full of wry observations and little heartbreaks.
Saturday, February 23 at 5:30pm
Wednesday, February 27 at 4:30pm
WISH YOU WERE HERE (2012) 89m
Director: Kieran Darcy-Smith
Country: Australia
Kieran Darcy-Smith's feature debut is a calmly devastating exploration of how one misjudged moment in life has the potential to cause everything to fall to pieces. Dave (Joel Edgerton) reluctantly travels to Cambodia with his pregnant wife (co-writer Felicity Price) and her younger sister and new boyfriend, and after a night of partying the boyfriend disappears without a trace. The others are left to return to their lives, each bearing differing degrees of knowledge about what happened. Delivering doses of information bit by bit, the film's meticulously edited, nonlinear disclosure of events is transfixing—as are the superb performances. An eOne release.
Saturday, February 23 at 7:45pm
WHITE EPILEPSY (2013) 68m
Director: Philippe Grandrieux
Country: France
The man behind Sombre, La Vie Nouvelle, and Un Lac returns in person with his newest foray into the realm of the liminal. Derived from an installation piece, White Epilepsy pushes the limits of the visible and sheds all vestiges of narrative to enter a state of total immersion that's at once disembodied yet deeply physical, metaphysical yet grounded in the primordial reality of the body. In the cinema of consciousness, Grandrieux continues to find ways to make darkness visible and embody mysterious states of becoming.
Friday, February 22 at 8:30pm
Public Screening Schedule
Screening Venue:
The Film Society of Lincoln Center – Elinor Bunin Munroe Film Center
144 West 65 Street, between Broadway & Amsterdam
Monday, February 18
1pm Penance (270m)
6pm Gebo and the Shadow (95m)
8:15pm Simon Killer (105m)
Tuesday, February 19
4.30pm Gebo and the Shadow (95m)
6:30pm From the Life of the Marionettes (104m)
9:00pm Miss Lovely (115m)
Wednesday, February 20
4:00pm Miss Lovely (115m)
6:30pm Dormant Beauty (115m)
9:00pm Call Girl (140m)
Thursday, February 21
3:30pm Call Girl (140m)
6:30pm DOUBLE FEATURE: Hearts of the West (103m) & Slither (96m)
Friday, February 22
4:00pm Dormant Beauty (115m)
6:30pm Nights with Theodore (67m)
8:30pm White Epilepsy (68m)
10:15 Here Comes the Devil (97m)
Saturday, February 23
1:00pm Motorway (90m)
3:00pm Stemple Pass (121m)
5:30pm 3 (119m)
7.45pm Wish You Were Here (89m)
9.45pm Electra Glide in Blue (113m)
Sunday, February 24
2:00pm A Borrowed Life (165m)
5.15pm Dormant Beauty (115m)
7:45pm In the Fog (128m)
Monday, February 25
No Film Comment Selects screenings
Tuesday, February 26
4:00pm In the Fog (128m)
6:30pm Motorway (90m)
8.30pm Lesson of the Evil (128m)
Wednesday, February 27
4:30pm 3 (119m)
9:30pm Lesson of the Evil (128m)
Thursday, February 28
4:45pm Nights with Theodore (67m)
6:30pm Sightseers (89m)
8:30pm The We and the I (103m)
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Hosts: Tom Merritt, Sarah Lane, Iyaz Akhtar and Alex Gumpel
Barnes and Noble's last Nook gasp, the US Army shakes up mobile market, Square wants to take out Foursquare.
Guest: Darren Kitchen
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Running time:: 0:44:48


text:
Laundering Durability Food Processing Clothing Washable For Industrial Cleanroom
1.Product information:
Name | Anti static ESD garment reusable gown in SMT workshop |
Gender | unisex |
Style | straight open button lapel gown |
Collar | Lapel collar |
Sleeves/Legs | Finished with elastic hem |
Waist | Without elastic adjustment |
Loop | Left chest in front |
Pen pocket | Left arm |
Pockets | down on both sides in front |
Fabric Material | 98% polyester fiber and 2% conduct fiber |
Unit weight | 0.36kg/set |
Package | 1 set/bag,50 bags/CTN |
Carton size | 54*52*34cm(0.096CBM) |
2.Technical data:
GSM | 108g/m ±5% |
MVTR | -18.1db |
Mullen burst | 280/V |
Air permeability | 1MM.73 |
Surface resistance | 10E6-10E9 |
Particle barrier efficiency | (0.3μ-0.5μ)92%-95% |
Tensile strength weft | 20KG |
Fabric charge density | 1.2μc/m |
Fabric friction pressure | <300V |
A.Cleanliness: no fumes, no fiber and dust particles made.
B.Barrier performance: the fabric is refined, with low dust penetration rate, which can effectively block particles with particle size above 0.5 micron and effectively control the pollution of human body to the clean area;At the same time, it can effectively prevent harmful substances from harming human body and protect human safety.
C.Durability: the fabric is made of high quality filament fiber with excellent tensile and aging resistance, ensuring that it can meet the requirements after 100 times of washing in a clean room.
D.Safety and comfort: the selected raw materials are environment-friendly and high quality raw materials. Some main materials are imported electronic grade raw materials, which have been specially treated to meet the requirements of electrostatic control procedures and are comfortable to wear.
A,Are you manufacturer or trader company?
Hanyang Clean is one of the best manufacturers for clean room products and also the most professional for cleaning solutions.We have been this industry for over 12 years,you could trust us.
B,How about your samples policies,and free samples?
Free samples available,such as garments,footwear,wipes,and other related accessories,but mops.
Usually,we offer one unit or one full size unit samples to confirm quantity and quality for end users.
C,What's your payment terms?
Commonly,we accept T/T,L/C,Money gram,Western union,Paypal,etc.
D,How long is the warranty period for anti static ESD garments?
Generally,products can replace free under conditions within 1 months after sale, in the precondition of non-artificial damage. We charge the freight for domestic market.
Products can replace free within one year after sale if it cannot use due to the quality
problems, in the precondition of non-artificial damage. We pay for the freight only for the of
domestic market.
E,Can we visit your factory?
You're welcomed,please kindly inform us before your scheduling so that we could arrange.
And our head office located in Songjiang district,Shanghai city,but our factory is in Huai'an city,Jiangsu province,about 4 hours' driving between two places.
F,What's your production capacity?
Pls see as below:
Garments:60,000 sets/week
Footwear:45,000 pairs/week
Mops:22,000 sets/week
Wipes:15,000 packs/week
G,Do you have any certifications for your products?
Actually,we've got many certifications,such as SGS,CE,ISO9001,CIC,etc.
H,Can you offer OEM or ODM service?
For garments,OEM&ODM service available.
For footwear,only OEM service available.
Contact Us at Any Time