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Mark Rothko
American Painter
Movements and Styles: Abstract Expressionism, Surrealism, Color Field Painting
Born: September 25, 1903 - Dvinsk, Russian Empire
Died: February 25, 1970 - New York, New York
Important Art by Mark Rothko
The below artworks are the most important by Mark Rothko - that both overview the major creative periods, and highlight the greatest achievements by the artist.
Artwork Images
Crucifixion (1935)
Artwork description & Analysis: Rothko was among several artists invited by Joseph Brummer to exhibit in Paris at the Galerie Bonaparte in November 1936; Crucifixion was one of the paintings included. French critic Waldemar George noted that Rothko's paintings revealed nostalgia for 14th-century Italian art, and that they displayed "an authentic coloristic value." This painting has thematic ties to Renaissance religious painting, but it also carries references to Rembrandt's Lamentation of the Dead Christ (1637): the two crosses in the extreme foreground; the third isolated in the back; and the figure groupings, all echo Rembrandt's picture. This work is signed Rothkowitz, as he did not officially become Rothko until 1940.
Oil on Canvas - Location Unknown
Artwork Images
Entrance to Subway (1938)
Artwork description & Analysis: This early figurative work demonstrates Rothko's interest in contemporary urban life. The architectural features of the station are sketchily recreated, including the turnstiles and the "N" on the wall. Although the mood of the pictures is softened somewhat by the influence of Impressionism, it reflects many of the artist's feelings towards the modern city. New York City was thought to be soulless and inhuman, and something of that is conveyed here in the anonymous, barely rendered features of the figures.
Oil on canvas - Kate Rothko Prizel Collection
Artwork Images
Oedipus (1944)
Artwork description & Analysis: Greek mythology was an important theme of Rothko's work in the early 1940s. Oedipus, who is said to have solved of the riddle of the Sphinx, was his father's murderer and his mother's lover. His tale has inspired artists and psychologists alike. For Rothko, he embodied the victim of pride and passion, which the artist believed were at the center of man's destructive nature. As in other representational works of this time, Rothko has dismembered and then recombined his figures so intricately that they became a single mass of human conglomeration. In this way, Rothko sought to suggest how mankind is bound together by tragedy. The figures appear oddly huddled in the corner of a room with strange architecture. The blue and green zigzag pattern recurs in several of his mythological pictures. As Rothko said: "If our titles recall the known myths of antiquity, we have used them again because they are the eternal symbols upon which we must fall back to express basic psychological ideas.. …(they) express something real and existing in ourselves."
Oil on linen - Unknown
Artwork Images
Slow Swirl at the Edge of the Sea (1944)
Artwork description & Analysis: Slow Swirl at the Edge of the Sea is a representative example of Rothko's Surrealist period. The influence of Miro is particularly apparent, specifically in Miro's The Family(1924). Rothko's all-over composition of muted colors, strange translucent figures, horizontal lines, angles, and swirls create a vibrant yet veiled picture of an obscure primeval landscape. Painted while courting Mary Beistel, who would become his second wife, this whimsical scene can also be interpreted as a romance within a mythical and magical world, where the figures are enjoying the ocean as a rose colored dawn is breaking on the horizon.
Oil on canvas - Museum of Modern Art, New York City
Artwork Images
No. 9 (1947)
Artwork description & Analysis: Rothko showed eleven paintings at Betty Parsons Gallery in the spring of 1949; No. 9 was among them. Having left behind the figures and landscapes of his earlier work, the "multiforms", of which this is a typical example, featured blurred shapes created from layered washes of paint. The work anticipates Rothko's 1949 breakthrough to the so-called "sectionals". The warm reds, oranges and yellows of No. 9 are disrupted by the strange black mass coming in from the left as well as the brushy swirls of blue in the lower section. The blurred edges, separated color blocks, and beginnings of rectangular registers can be seen, as well as some experiment with size and scale. Far from being merely abstract forms, however, Rothko believed these motifs were objects imbued with his life force - "organisms..with the passion for self-expression."
Oil on canvas - Dr. and Mrs. Jerome Dersh Collection
Artwork Images
Four Darks in Red (1958)
Artwork description & Analysis: In 1969, Rothko exhibited ten paintings at the Sidney Janis Gallery; Four Darks in Red were among those shown. With its dark, restricted palette, the picture exemplifies Rothko's late-period gravitation towards reds and browns. It established a prototype for the dark red/brown/black palette and horizontal composition that he would later use in the uninstalled Seagram Building paintings. Although the imagery of pictures like Four Darks in Red seems far distant from that of Slow Swirl at the Edge of the Sea (1944), Rothko believed that the rectangles merely offered a new way of representing the presences or spirits that he tried to capture in those earlier works. "It was not that the figure had been removed," he once said, "..but the symbols for the figures... These new shapes say.. what the figures said." In this way, Rothko imagined a kind of direct communion between himself and the viewer, one which might touch the viewer with a higher spirituality.
Oil on canvas - Whitney Museum of American Art
Artwork Images
The Rothko Chapel (1965)
Artwork description & Analysis: Set on the campus of St. Thomas Catholic University, the Rothko chapel was funded by John and Dominique de Menil and contains fourteen Rothko mural paintings. There are three triptychs and five individual works. All of these paintings are in hues of dark purple, maroon and black and are of extremely large scale. Rothko worked closely with the architects, having almost complete control over the shape of the building and its meditative environment within. The darkness of the works can be seen as melancholic and expressive of Rothko's mood of his last years. He did not live to see the official opening of the Chapel.
Oil on canvas - Houston, TX
Artwork Images
Untitled, Black on Gray (1969)
Artwork description & Analysis: Rothko invited many of the New York art world elite to his studio to view his latest, and what would be his last, series of paintings, the Black on Grays. While the event was mainly shrouded in silence, it was thought by some that these were premonitions of his death. Others thought that with the prevalence of lunar images in popular culture that they were interpretations of moon landscapes, while others thought they were paintings of photographs taken at night. In general, they were not taken very seriously, which was devastating to Rothko, but also affirming, as he often felt that the interior world of his paintings were comprehensible to him alone. The Black on Grays were painted directly on white canvas and lacked the usual underpainting which Rothko liked to "paint against." Working in two registers only, he severely restricted the colors and scaled down the canvas to a more approachable and intimate size. The extreme contrast of light and dark evokes a sadness that played out like a psychological drama, both mythic and tragic.
Acrylic on canvas - Estate of Mark Rothko
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Related Art and Artists
The Beautiful Bird Revealing the Unknown to a Pair of Lovers (1941)
Artist: Joan Miró
Artwork description & Analysis: In the Constellations series of 1940-41, Miró set about to create new challenges, and figure out new solutions, to his compositions. The The Beautiful Bird Revealing the Unknown to a Pair of Lovers, features a reduced palette, including a solid background that emphasizes the simplified forms and lines that together mimic the appearance of a complex constellation in the night sky. In the midst of producing this series, Miró was forced to flee with his family from France to Mallorca to escape advancing German troops. Evidently the family took little else with them aside from these paintings. The crowded, chaotic feeling of these compositions in some ways echo Miró's feelings regarding the violent upheaval in Europe at the time.
Gouache, charcoal, and oil wash on paper - Museum of Modern Art, New York
Artwork Images
July 4th (1957)
Artist: Willem de Kooning
Artwork description & Analysis: In the late 1950s de Kooning temporarily left aside his preoccupation with women, and began to explore landscape, although there often seem to be few direct references to landscape in these paintings. These works from the late 1950s and early 1960s were made during the period in which de Kooning and Franz Kline shared a relationship of mutual influence, and the structure underlying July 4th is certainly reminiscent of Kline. Notably, Kline, who had long painted in only black and white, began using color in this period.
Oil on paper - National Gallery of Australia, Canberra
Artwork Images
Blues (1962)
Artist: Adolph Gottlieb
Artwork description & Analysis: Beginning in 1956, Gottlieb's monumental Burst paintings developed from the Imaginary Landscapes, focusing on a simplification of space and color from the earlier series. Though the more typical palette for these signature paintings consists of reds and blacks, Blues similarly presents a large, vertically oriented canvas in a field of light color, interrupted only by a glowing disc above a twisted solar shape of thick, dark gestural brushstrokes. Depth and horizon are completely eliminated causing color and form to be the sole focus of the picture's field. The polarities of the colors and forms provide the key to the picture -- below, the thick lines that create a moving, "messy," unresolved mass and above, the mesmerizing glow of the pulsating, celestial blues. In 1962, the date of this painting, Gottlieb spoke about the emotional quality of color in his work. Viewing the painting, one is struck by the range of emotional effects that the artist explores through the color blue - progressing outward from the core, the composition's blue builds from subtle and mysterious meaning to an intense and vibrant statement.
Oil on canvas - Smithsonian
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On January 15, the Big Bug Invasion took over Leu Gardens. An army of enormous ants meet visitors as they enter the gardens.
Created from natural materials, the creatures lurk around every corner.
Despite the fact the insects may stand over twenty feet tall, many remain hidden among the plants.
While others, like the lady bug remain in the open, ready for photo ops.
The 200 pound assassin bug was quite a specimen.
But I have an affinity for spiders and this one camouflaged among the bamboo may have been my favorite sculpture.
The Big Bug Invasion continues at Harry P. Leu Gardens in downtown Orlando until April 15 so there's plenty of time to get acquainted with the garden's newest inhabitants.

subset: commoncrawl


text: Today i made my first bot with win automation (thanks to chenmesika for posting). In that bot i used a software for "twitte*r friend adder ". But i am able to add friends to single account with a single keyword. Is there any way to use list of account and list of keywords.? Please guys Reply.:detective


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One-of-a-kind mountain modern beauty! Commanding unparalleled views high above the valley floor and of cascading peaks! Perfect condition with many upgrades plus awe inspiring touches of artistry and class. Perfect entertainer with large outdoor deck, custom patio & fire pit! Great storage and 2-car garage. Don't miss viewing this 4-bedroom home and negotiable pricing!
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text: Miami Tech RefreshMiami: Demo Night 2013 by Adam Boalt 27Jan This past Thursday Refresh Miami, the community of web and new tech professionals, students, and enthusiasts, hosted "Demo Night" on January 24, 2013. The event had an amazing turnout and the Miami Herald reports that nearly 300 people attended. "Demo Night" took place at Wynwood's The Lab. The Lab is a shared space and community of entrepreneurs, artists, freelancers, start-ups, and "change makers." The space...Read full story » 0 comments Code Miami // Hacking Product Development by Adam Boalt 23Jan University of Miami // Wolfson School of Communication // Code Miami was organized by Mauricia Ragland and the event was a great succes which successfully kicked off 2013 Miami's growing tech scene. I learned about the event from a fellow Pipeliner at Pipeline Brickell. Pipeline Brickell, an inspired work community, has really nailed the concept of a coworking space in Miami bring together the perfect community of...Read full story » 0 comments Post navigation « 1 2 RSS


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Posts Tagged 'death'
Grief Over A Lost Friend
4 Comments »
February 17th, 2017 Posted 12:13 pm
Tripawds is a user-supported community. Thank you for your support!It has been almost 2 days since Rockie's spirit left his body. I made the emergent decision to have him put to sleep by the veterinarian after learning that his cancer recurred. The cancer this time was invading the cavity that housed his heart and lungs. There […]
Tags: amputation, cancer, death, fibrosarcoma, grief
Posted in Cancer pet death, Uncategorized


text: Got the phone call from the rep advising against my 21" grey cyclone wheels in inclement weather for the P85D. I was thinking I can always rent a car to drive up if there's serious snowfall on 50 or 80, but I noticed that Tesla sells chains. What are people's thoughts/what do you plan to do?


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Homecoming floats can contain the same old balloon arches and beaming king and queen -- or you can design an eye-catching, powerful and inspirational float using the football as the star of your creation. Your starring football can have one of several roles, all conveying the message that you're ready to flatten the opposing team.
A football transformed into a monster makes a delicious float to show your intention of gobbling up the opposing team. Your football monster needs a large mouth with multiple teeth, menacing eyes and large limbs topped off with equally large claws. Instead of the usual pigskin, cover your monster football with plastic fringe or plastic pieces cut out to resemble scales, either in the traditional brown football color or in your team colors. Finish off your football monster with raised spikes or dragon-like plates where the laces would be. For added effect, make a replica of the opposing team's mascot to place in the monster's mouth.
Transforming a giant football into a giant bomb shows your intention to blow the opposing team away. Make your football bomblike by adding a long tube that serves as a fuse and adding a warning sign saying, "We're going to bomb you." Another option is to set up the giant football in the center of the float surrounded by falling-over buildings and destroyed landscape, as if the bomb just landed to win the game. A humorous touch for the bomb that just landed is a pair of legs sticking out from beneath the football, clad in the opposing team's colors, reminiscent of the house that fell on the Wicked Witch of the West in "The Wizard of Oz."
Rather than a single, large football as the focal point of the float, your float can contain multiple, smaller footballs, each outfitted like a warrior. Use the football shape as the warrior's body, add pairs of legs and arms, and warrior weapons. The float's background can be a football field, an urban alley or jungle infused with greenery. Match your football warriors to their landscape, with urban warriors decked out in leather, the jungle warriors with grass skirts and war paint and the football warriors sporting team jerseys. Use team colors for the warrior outfits and give them weapons that match their environment. Jungle warriors must have spears, for instance.
The backgrounds on your football homecoming float can feature your team colors on the base and borders of the float as well as colorful touches with pompoms, pennants, helmets and other school memorabilia. To add more oomph and further get your point across, add a slogan to your float that matches your theme. Your monster football float, for instance, can sport the slogan, "We'll eat you alive," while the warrior football float can contain the slogan, "We're ready to fight."


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If you see a great photo that would make a perfect entry for one of our Shoot Out photo contests but it was uploaded by another user, now you can enter that photo in the contest and, if it wins, you get to share in the contest winnings.
Like a photo editor, if you've got an eye for great work, find it and submit it to a contest. If it wins, since you staked the entry fee, you'll take home part of the prize (the rest, of course, goes to the member who shot the image).
Collections are a JPG+ feature. You must be a JPG+ member to create new collections and to add photos to collections.
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Please check out the group exhibition that I am privileged to be a part of: Souvenirs. If you do Facebook, please RSVP at our Event page for the exhibition.
4 responses
Sebastien Boncy gave props (10 May 2011):
Cindy Griff said (12 May 2011):
Nice eye!
Thor Rasmussen gave props (16 May 2011):
My favorite part is the shadow of the traffic light.
John Caruso gave props (1 Nov 2011):
Wow! Love those lines!
Also by Jim Hart
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Price £5.00
This WWI real photograph postcard shows eight British soldiers posing in front of their tent. Four of the soldiers are wearing their service caps.
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text: #52FilmsByWomen And there was much rejoicing. I honestly did not believe I'd ever get this far way back in January, but I did and I made it to 52. That kind of means the challenge part is over, so now it's time to find myself some new goals. I could […] 52 Films By Women – September 20161 Oct, 2016 in Film tagged 52 Films By Women / Claire Carré / Clea DuVall / Death is a Caress / Døden er et kjærtegn / Edith Carlmar / Embers / Film / Jericca Cleland / Mami Sunada / Me Before You / Ratchet & Clank / Red Road / Sian Heder / Tallulah / The Intervention / The Kingdom of Dreams and Madness / Thea Sharrock by Bas van Stratum


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Musicradar Website Praises The New Squier 'Classic Vibe' Telecaster
Musicradar.com recently reviewed the new Squier Classic Vibe Telecaster. The Verdict? "Everyone should own a Tele. If you're on a budget but still want a quality version, this is it."
The Squier Classic Vibe Series is proving to be one of the most exciting releases from Squier in years, even giving the Mexican-made Fenders a run for their money. Musicradar.com certainly seemed to think the Classic Vibe Telecaster is an excellent instrument. Here's what they said:
"The Tele's pine body is certainly a more than decent aesthetic substitute for ash as, beneath the off-white Vintage Blonde finish, there's just enough of that characteristic streaky grain on show.
"One assumes that the appearance isn't quite so convincing under the arguably more authentic butterscotch finish but, once again, it is vibe rather that unbending accuracy that's the goal here.
"Pickups comprise a standard Alnico III Telecaster set selected by a barrel-tipped three-way lever switch, and the nickel-plated hardware is laid out in the standard formation.
"The vintage bridge includes three brass barrel saddles to facilitate thru-body stringing. Although in no way as stout as those fitted to a US '52 Reissue, they do their job admirably and, should you desire, are easily changed out for replacements.
"Alnico IIIs tend to drive at lower gains, and they give the '50s Tele a full tone that also benefits from a slightly improved level of warmth. In other words, it gives a markedly more vintage-sounding performance.
"The Telecaster provides no surprises and sounds exactly as you'd expect: plenty of clean zest, high-end brang and higher gain body.
"No-one's pretending that pine is as desirable a tonewood as the more traditional ash but the Classic Vibe acts exactly how any Tele should reasonably be expected to, certainly at this price, with no hint of fuss or struggle. It also stands up to all manner of double-stop and behind the nut bending techniques – just as it should.
"Although Squier's Standard Series (from £209) represents good value, we must now suggest that the Classic Vibe range has become the initial port of call if you're after your first Telecaster.
"The guitar is ripe for upgrading and its construction is more than robust enough to allow for both hardware and pickup upgrades.
"The truth is, however, that even accomplished players may not need to carry out such tasks – the overall quality of the existing fittings is well up to par. There really is no excuse whatsoever for not owning a Fender-style electric with added mojo and vibe. "
For sound samples, please visit the original musicradar.com article.


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Tank Battles
1.0.0 • 12 Aug 2011
Challenge friends to crazy tank battles.
Developer website: Gameloft S.A.
Tank Battles…Take control of your WW2 tank and challenge friends to crazy tank battles!
- A Campaign mode to play solo or with another player cooperatively in 50 missions that require different strategies to destroy your enemies.
- 3 Multiplayer Battle modes (both online and local): Death Match, Team Death Match and Capture the Flag. You can even chat with your opponents while playing!
- Dynamic battlefields composed of destroyable and invincible blocks, moving obstacles, closing doors, a rolling tide, conveyor belts, and more.
- 4 models of World War II tanks, each customizable with 7 skins of different camouflage patterns.
- 4 different weapons with varied range, speed and effects: flame thrower, bullets, rockets and mines.
- Multiple power-ups, including speed-up, invisibility, new weapons and invincibility.
- An innovative 'Turret mode' enables the eliminated tanks to turn into a turret and still influence the outcome of the battle by launching bombs at the survivors."
Mac OS X 10.6.6 or later


text: Progressive Networks changes its name Published on September 29, 1997. Progressive Networks, Seattle, which makes the popular RealAudio and RealVideo Webcasting software, announced Sept. 26 that it is changing its name to RealNetworks. Rob Glaser, chairman and CEO of RealNetworks, said the name change was meant to reinforce the company's product brands. Copyright September 1997, Crain Communications Inc. Most Popular In this article: News


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At the Rink: Jets at Maple Leafsby Mike Brophy / NHL.com
TORONTO -- James Reimer and the Toronto Maple Leafs will try to make it two wins in a row when they host the Winnipeg Jets at Air Canada Centre on Wednesday (7 p.m. ET; SN, SN1).
Reimer, 27, was in goal when the Maple Leafs won 4-1 against the Dallas Stars on Monday for their first home win of the season. Following the game Maple Leafs coach Mike Babcock said he'd go back to Reimer against the Jets, and if he wins that game he'll continue to play.
That was music to Reimer's ears.
"Like I have been saying, you want to get the opportunity to in there and play well and win games and get the chance to start again," Reimer said Wednesday. "Whatever the stipulations are you get another chance. And if you play well you hope you get the chance to be there for the boys."
At the start of the season Babcock indicated he was leaning toward goaltender Jonathan Bernier getting most of the starts. But Bernier is 0-6-1 in seven games and is out of the lineup because of a lower-body injury. Antoine Bibeau was recalled Tuesday from Toronto of the American Hockey League to be the backup.
Reimer said he never was worried about his personal situation.
"It is what it is," Reimer said. "I have confidence in my ability and what I can do so when I get in there I just do what I can. I believe in myself and everyone who means anything believes in me. That's all you can count on."
Babcock was pleased with Reimer's performance against Dallas, but was unhappy that the Maple Leafs allowed 44 shots on goal.
"After two periods we had the scoring chances as 10-7 for the Leafs," Babcock said. "It was 7-1 for them in the third so when you get a little careful and you start backing up and giving up too much, that's really not how to do it.
"I thought [Reimer] got better as the game went on. He was nervous early, it appeared, and he got more confidence as the game went on and that is great for him."
The Jets will try to rebound from a 5-1 loss to the Montreal Canadiens on Sunday. Leading scorer Blake Wheeler was held without a point against Montreal but has been one of the hottest scorers in the NHL dating to last season.
The 29-year-old right wing finished last season with 10 goals and 17 points in his final 18 games, and this season has six goals and 14 points in 12 games. As productive as he has been, Wheeler said he is more concerned with playing a two-way game.
"My game is not predicated on whether or not I get points," Wheeler said. "I go out there with the mindset that I am going to compete as hard as I can for 60 minutes. Some nights it works and you get the results you are looking for and some nights it doesn't work. I just find night to night you give yourself and your team the best chance to have the best game possible if you are willing to compete for 60 minutes."
Wheeler said coach Paul Maurice has helped him feel comfortable in the Jets' system, which has been why he has been so productive.
"When Paul came here he made it OK to be comfortable in low-scoring games," Wheeler said. "It helped you not press as much. If you don't have much going on offense you can still make an impact on the game in other areas. Typically when you are doing that you find yourself creating more offense just by playing a complete game."
Here are the projected lineups:
Andrew Ladd - Bryan Little - Blake Wheeler
Mathieu Perreault - Mark Scheifele - Nikolaj Ehlers
Alexander Burmistrov - Adam Lowry - Drew Stafford
Anthony Peluso - Nic Petan - Chris Thorburn
Toby Enstrom - Dustin Byfuglien
Injured: Grant Clitsome (back), Andrew Copp (upper body)
Scratched: Adam Pardy, Paul Postma, Patrice Cormier
James van Riemsdyk - Tyler Bozak - Leo Komarov
Shawn Matthias - Nazem Kadri - Joffrey Lupul
Daniel Winnik - Nick Spaling - PA Parenteau
Michael Grabner - Byron Froese - Brad Boyes
Injured: Stephane Robidas (lower body), Scott Harrington (upper body), Jonathan Bernier (lower body)
Scratched: Rich Clune, Peter Holland
Status report: The Jets called up Cormier from Manitoba of the AHL on Wednesday and placed Copp on injured reserve. … In six AHL games Bibeau is 5-1-0 with a 2.17 goals-against average and .908 save percentage.
Who's hot: With one goal and two assists in a 4-1 win against the Dallas Stars on Monday, Rielly took over the Maple Leafs scoring lead with eight points. … Lupul had two goals against the Stars and leads the Maple Leafs with five. … Wheeler has two goals and three points in his past three games.


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Site Qualidade de MJ | qualidadedemj.com
Listen to all music and sounds of SiteQualidadedeMJ and follow this user by signing in for free.
You can listen to 22 tracks and mixes and follow this user as 11 did before.
This artist liked 5 tracks, followed 11 others and reshared 1 tracks and mixes. 7 other people are following this page too.


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Final Fantasy Dissidia, the recently announced original PSP crossover fighter featuring characters from the Final Fantasy universe, lead off the pack at the Closed Mega Theater video presentation during day one of the Square Enix Party today. We had our Final Fantasy master train his eyes on the trailer to learn everything he could about this new Final Fantasy game, but before our full report, we thought we'd share something that even the casual FFers in the audience were able to pick up on.
The original announcement of Dissidia included confirmation that Warrior of Light from the original Final Fantasy and Zidane Tribal from FFIX would appear as playable characters. It was also revealed that Kuja, a villain from FFIX would make an appearance, although playable or not playable was not confirmed.
Thanks to the trailer, we have a hint about a fourth character. The closing shot of the trailer had a familiar CG scene of a familiar Final Fantasy villain wielding a lengthy sword against a fiery background. That's right, it's Sephiroth! The deliberate drama that surrounded his appearance in the trailer suggests that the FFVII villain will be playable, although we'll of course have to wait for official confirmation to be sure.
Turn back here to IGN shortly for more details on all things Final Fantasy from the Square Enix Party.


text: Yeah I know what your thinking 'No way, that impossible, that a millennium' Yeah i was thinking that to, but the math works. It is a Intresting Story to say the least... Thats right everyone, prepare to be Sued... maybe not today, maybe not next year, maybe not even 10 years after that, BUT THEY WILL GET YOU... eh, Or your Grandchildren... Comeon, this will never work, the RIAA will lose patience and will give up. Just think about it.


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For some, learning to read sheet music is the hardest part of playing an instrument. And that is why Melody Cats has developed a fun and easy sight reading app called Bass Cat. This iOS Education app will help you quickly learn to identify musical notes in the bass clef and improve your sight reading skills.
The Bass Cat sight reading app takes the intimidation out of reading musical notes by using an interactive game format. This iPhone app has 50 entertaining levels that build in difficulty and can be played in 2 different speeds to test your improving skill. The Bass Cat sight reading app challenges you to identify and collect every specified note that passes by on the musical staff, and in a short period of time.
The Bass Cat Music app, by Melody Cats, is a Top-Rated music Education app that usually sells for $2.99, but this iPhone app is free for a limited time. You can download this app using the App Store link below.
Sight Reading App Features
– A game with 50 highly entertaining levels designed to help kids and adults learn how to quickly identify notes in the bass clef
– Will help to effortlessly improve sight reading skills
– Designed and created in collaboration with professional musicians and educators.
What's new
– Optimized for iOS7
– iPhone 5 compatible
– New icon
– General performance improvements


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Blast heard in Peshawar
According to details, the explosion took place outside a house in Wazir Bagh area. No casualties were reported in the incident.
Police and rescue teams rushed to the area after hearing the blast.
It should be noted that at least 23 people were killed and dozen others were wounded in a bomb blast at Parachinar.
Meanwhile, a terror bid was foiled by the law enforcement agencies as explosives were recovered from a house in Mithra area of Peshawar.


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Spinks Named Project Manager For Owen County's Portion Of 'Hoosier Hill Country'
Beginning January 1, Denise Shaw will have some assistance helping to advance tourism in Owen County through the local Chamber of Commerce and Economic Development Corporation in new Tourism Project Manager Mike Spinks.
"Mike has a great skill set that will be a great asset to the office, just overall. I've been in need of someone to help me on a lot of things for a long time," Shaw said. "He's not really working for me, we're working together. The board of directors is also thrilled to have him. It's just a one year assignment at this point, but we'll get a lot done in that year."
Spinks has served the community in various capacities, most recently as president of the Owen Valley Fire Territory Board. He was also previously a member of the Spencer Town Council.
"There were times when we could do things for the community directly, then there were times we had to sit there and listen, because people had valid complaints," Spinks said. "Most of the time, it's just being positive with the community and trying to encourage growth here. I think overall, it's a real great opportunity to reach out to other counties, see what they do best and bring it back here."
Spinks will be taking over tourism responsibilities, working with the counties of Lawrence, Greene, Morgan, Monroe, Putnam and Martin in establishing "Hoosier Hill Country."
"My family and I have lived in the community for more than 40 years, we've watched the area grow and blossom. Working with the Strategic Economic Development Committee that I've been on for a few months, one of the things that came out of there was the opportunity to better develop our tourism industry, which is going to stimulate our economy, too, if we can get it worked out," Spinks explained. "We found there was a group of seven counties, including ours, who want to team together and promote a regional tourism map and brochure to introduce people to this region. It will focus on bringing traffic from each and every one of those through the other, and we can set up a state park trail, where they go to McCormick's Creek, Spring Mill, Lieber, all of the DNR sites within the seven county area. Spencer and Owen County is in the center of that, so we have a great opportunity for traffic through and around. The ideal thing would be to have information available at McCormick's Creek when they stay here. Something there could also bring them to downtown Spencer, as well as Gosport, Coal City or Patricksburg. We are designated as the responsible site for the seven county grouping, so we will keep an updated website, where people can go to. It's unique in that we have very scenic drives; we're equal to and even better than Brown County in a lot of areas. I know Lawrence County has a limestone trail and Putnam County has the cross traffic from the covered bridge."
Spinks also spoke about focusing on the specialities of other locations within the "Hill Country" to help attract visitors as well.
"We have our specialties in Owen County we can map out, possibly a spring map, outlining festivals. We were also thinking along the lines of issuing a passport to people or families. Whenever they visit a site on that trail, they would get a stamp and when they fill out a passport, they would receive a gift, such as a recipe book or t-shirt, something of that nature to reward them," he noted. "We have an opportunity for a golf course trail, or fishing, because there are lakes and ponds in all of our counties. We have opportunities in chalk art, Putnamville has a chalk art contest during the summer. Down at Bloomfield, they also have a chalk art contest and it's great for kids. You designate a certain spot, say on Spencer's square, get permission to block that off and then layout different sizes of chalk art for distribution. They go in, make their drawings, we get some sponsorship for prizes and then we designate our winners. All other counties have places to do this, Gosport could do one during Lazy Days. Then at the end of it, we have a chalk art chalkoff, where we bring all of the winners in to crown a champion. It's one of those things that kind of gelled as we talked amongst ourselves. We do want to encourage youth input into the development of this tourism. At some time, we'd like to put together a committee locally, made up of people from Gosport, Spencer, Coal City and Patricksburg so everyone would have input into this. We'd have to do some interviewing of our businesses to see what their offers are."
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text:
Andy Partridge hails the Dukes, buries XTC, chides Robyn Hitchcock and considers himself done
Here's the almost-uncut version of my interview with XTC's Andy Partridge. Be advised, I'm one of those XTC fanatics, so if you want a more compact version of this chat, please check out Sunday's Arts & Entertainment section.
The ever-melodic, adventurous, underappreciated British band XTC had just come off 1984's coolly digital, low-selling "The Big Express" when they hauled out the Nehru jackets, analog equipment and primitive effects and redubbed themselves the Dukes of Stratosphear.
The head-swirling, exhilaratingly playful six-song EP that resulted, "25 O'Clock" (1985), not only transcended its elements (circa-1966-67 Electric Prunes, Pink Floyd, Move, Tomorrow, Yardbirds, Rolling Stones and Beatles), but also inspired XTC to hit a new artistic and commercial peak the following year with the '60s-tinged album "Skylarking." The Dukes returned in 1987 with a full album, "Psonic Psunspot," that broadened the palette to incorporate the Hollies, Byrds and Beach Boys.
Now, nine years since XTC's last album, band leader Andy Partridge has overseen the just-released, souped-up reissues of "25 O'Clock" and "Psonic Psunspot" as separate remastered CDs on his indie label Ape House. Each is packaged as a colorful board book and supplemented by bonus tracks, such as typically wiggy "Open a Can of Human Beans," the last true Dukes song (on the "25 O'Clock" disc).
This '80s take on '60s psychedelia holds up remarkably well in the '00s, and the rereleases offered an excellent opportunity to check in with Partridge, 55, who lives a far-from-public life in his hometown of Swindon, England. The quick-witted singer-songwriter talked about the Dukes' brief golden era, XTC's squabbles, his vexing collaboration with Robyn Hitchcock and why fans shouldn't hold their breath for new music from him.
Pop Machine: "25 O'Clock" came out when I was in college, and I loved it and that psychedelic era you were sending up. It's hard to think of any year in, say, the last 20 that would merit Dukes-like record.
Partridge: Literally it was like a year or even less than a year when things like that all came together. There's probably not another time in history, although you could do a kind of Sex Dukes or something from '77, not that I want to because I don't particularly have amazingly fond memories of that era, or rather that music. But there's a few times in history when you can do that.
PM: You probably could do some kind of synth-pop New Wave thing.
Partridge: But would people be kind of fond [of it]? Do you know what I mean? I think a lot of the allure of that psychedelic thing and specifically psychedelic singles was that kind of compact magic, all these effects that people hadn't heard before and everybody looking for new ways of mashing up conventional sounds in the studio. And of course these days you'd just lean on a button, and there it is; it's all sampled and pre-screwed-up for you. But then you really would have to play an electric saw at the bottom of a well and then have that spun in backwards and stuff like that.
PM: It's by design this head-swirling music yet it's relatively low-tech.
Partridge: Oh, it's very low tech, yeah. It's lots of echoes, reverbs, which are standard things that have been around since the studio inception pretty much, or certainly since the mid-'50s, and then there were all these little tricks like phasing, which you have to do with three machines. You have to run one copy of the track against another copy of the track slightly out of time, and then you capture the results on a third machine. It's something that people tried to get rid of in the past. It was like an accidental sound that you didn't want on your recordings. In fact you can hear it on a couple of early Beatles singles because they did the vocals to speakers in the studio, and when the backing track's coming back through the speakers and they've got their mics open doing the vocals, the microphones are hearing the backing tracks slightly at a different time, so momentarily on some early Beatles singles you get a little phasing that wasn't intended. It was a sort of thing that was deemed, "Well, we'd better try and get rid of that," not "Let's encourage it." It's all, I think the expression is, mom-and-pop effects.
PM: Movies that have dated effects often seem kind of laughable, but there's something that still sounds really cool about the aural effects on these records.
Partridge: I don't know. I might disagree with you. I guess 1967 psychedelia sonically is equivalent filmwise to somebody like George Melies doing these 13-minute-or-however-long-the-reel-was epics like "Voyage to the Moon"-type thing, and it's all just local girls in circus outfits in great big giant cardboard and wood props that obviously look flat and painted and all that, but there's immense charm about them. And I think there's an immense charm about psychedelic singles because you can tell they're having to cobble up these sounds out of what primitive bits and pieces they've got.
PM: When you look back on these Dukes records, how do you think they hold up compared to the XTC albums?
Partridge: To me they just look like the next XTC records. Because "Skylarking," which happened between the two Dukes releases, is like the missing Dukes album, or vice versa. "Psonic Psunspot" is the missing XTC album after "Skylarking." There's no barrier. The barriers came down; it was like, for goodness sake, we're just the Dukes or XTC, let's have some fun with this.
PM: My feeling at the time was that the Dukes had kind of shaken something loose with you guys creatively—
Partridge: Yeah, I think so.
PM: --and that "The Big Express" had these kind of '80s cold textures to it, and then the Dukes was warmer and livelier.
Partridge: Yeah, I think so. The Dukes was a good excuse to have the costume ball, you know? Or the excuse to dress up crazy and not be yourself. And when you're not being yourself, you probably reveal more about yourself then when you try to be guarded.
PM: And then "Skylarking" after that seemed to be taking that '60s warm vibe and putting it more in the context of an XTC album.
Partridge: I think we had so much fun doing the Dukes, it was like, well, that set a little more of a template of the way to be, I think.
PM: And "Oranges and Lemons" sounds logical after "Psonic Psunspot," too.
Partridge: Yeah, yeah. I think so. But I do see the Dukes records as missing XTC albums now. At the time I thought, wow, this a wild departure, but now looking back at the big picture and the landscape and everything, they're inevitable, and they slot in perfectly.
PM: Do they fit in the top ranks of XTC? Where would you put them personally?
Partridge: I'd put—in fact the pair of them together, when they were put together by Virgin as "Chips from the Chocolate Fireball"—I probably would have rated that as my personal favorite No. 4. My personal favorites would be "Apple Venus Volume 1," "Nonsuch," "Skylarking" and then the Dukes, I think.
PM: All right, what's after that?
Partridge: Then it all goes hazy, and I woke up in a Korean clinic. Let me see, what would be after that. Mmmmmmmm-mmmmmm. That's a tricky one because [big sigh]—you see, I like some parts of "Mummer," but then again there's things on "Big Express" I like a lot, but then there's some things on "English Settlement." Yeah, mmmm. No, that's tough. It all goes hazy after that.
PM: How about "Black Sea"?
Partridge: [laughs] Ha ha ha HA! Yes, a few of those as well. I think the trend was we tended to get better, and that is a weird trend, an unusual trend for a band who usually go ka-boom and then get worse. There are very few bands in history that actually got better, and I think we were one of the few that did truthfully get quite a lot better.
PM: I would mostly agree with that, although I also think that kind of like with the Beatles, there's this period and that period. You have your clanging-guitar period, of which "Black Sea" is a great example—
Partridge: Yeah, but the Beatle lyrics, the first maybe three albums, four albums, Beatle lyrics are rubbish, aren't they. Come on.
PM: Do you think your lyrics are rubbish on those early ones?
Partridge: Yeah. The Beatle lyrics on the first few albums are like "I love you, you love me, oh how happy we will be, girl." And the early XTC lyrics are just sort of a shotgun loaded with sci-fi buzz words and blasted at you, and you think: What the hell is he talking about? It took us maybe three albums to get into writing about reality.
PM: "English Settlement" is doing that.
Partridge: Yeah, I think we were on it by then.
PM: I think sound-wise, though, "Black Sea" is a really sustained attack.
Partridge: Yeah, that's the muscular, height-of-touring album. That the kind of "Out of our way, I'm going to eat my way through this door if you don't open it, I'm coming in."
PM: All right, I'm going to ask the inevitable "What's up with XTC now?" question
Partridge: Well, there is no XTC really—although we haven't officially split. I rather like the idea of just disappearing into the ether, quietly, you know?
PM: My sense of it was that you and Dave Gregory have patched things up, but now Colin Moulding has disappeared?
Partridge: Colin and I fell out increasingly badly over things, and the baddest one, the final nail in the coffin really, was a financial mess that I inherited, but I shouldn't really go into it because I don't want to diss him too much. Things are difficult enough as it is. Let's just say that we started to tail away from each other, and it got to be a nasty male divorce. And right now it's still through the freezing cold sphere at the moment. But Dave and I are pretty good buddies again, actually probably better buddies at the moment than when he was in the band, to be honest. Because I think he felt like he had to do as he was told, and I was the band leader and it was a bit of "yes sir, no sir," and now that dynamic's been removed.
PM: Was the stuff with Colin happening when you were playing together, or is that all after that fact?
Partridge: It was after the fact, because we mutually supported each other when we were playing. We propped each other up in terms of the way to approach an album or how we were going to do things, but when Dave left [during the "Apple Venus" sessions], that was quite a limb wrenched from the band. Basically our arranger and sort of musical conscience probably left. But, you know, we had a good run, making good albums for 25 years. Most bands don't last 25 weeks.
PM: Are you still in Swindon?
Partridge: Yeah.
PM: Is Colin there? Do you run into each other at the grocery store?
Partridge: No, he lives about three or four miles out of town in a village outside the town. We just seem to send each other irate e-mails.
PM: What about Dave?
Partridge: Yeah, I see Dave. He lives about two miles away. I see him occasionally. We go out for something to eat or get together and watch some obscure TV, or I'll go over to his house, and he'll cook dinner, and we'll have mucho wine look at a load of old cranky TV and go, "Hey, what chord's he playing there?" You know, that sort of nerdy stuff.
PM: When were "Open a Can of Human Beans" and "Tin Toy Clockwork Train" [bonus tracks on the "25 O'Clock" disc] recorded?
Partridge: "Open a Can of Human Beans" was done by, and I must use the phrase "ex-friend" because he was a very good friend of mine, and we fell out under really weird circumstances where I thought he was ripping me off, and he thought I was ripping him off. And then a lot of resentment—[laughs] it seems like I'm falling out with everybody here. But before we fell out, he said would I put together the Dukes for an MS charity disc [released in 2003] called "The Wish List," and I wrote the song and got the Dukes together, the original four, to play that. And it did its thing on this charity record, and I thought because it was the Dukes we could use it as an extra track on this.
And then "Tin Toy Clockwork Train" weirdly was something that—and this is a bit of a long story, so I'll try and do the short version. A few years ago a friend of mine sent me some photographs from Waterloo Station in London that he'd taken up on a balcony looking down on the floor in front of the Eurostar entrance for the train that goes to Paris and so on. And an advertising company had stuck a giant album sleeve on the floor, like 50 foot by 50 foot, and it was a parody—very, very close parody—of the "25 O'Clock" sleeve. So it was like, mmm, that's weird—obviously advertising agency has no compunction about stealing it and altering it, using it for Eurostar. And then last year I had a call from an advertising agency in France saying, would I do a Dukes song for another promo for Eurostar in Europe, which they would give away free at stations in France. So I did this song, which was actually a song I had lying around; it was going to be for the bubblegum album we were going to do, but it was a song called "Tin Toy Aeroplane," and I changed the lyrics and added a few things to it and called it "Tin Toy Clockwork Train" because of the railway connotations of Eurostar—and it was the same company that did this giant Dukes sleeve a few years earlier. So it was weirdly tied up in full circles. But it was very strange doing a parody of myself doing a parody of other bands.
PM: Did you record that on your own then?
Partridge: Yeah.
PM: And that was just last year?
Partridge: That was last year, tail end of last year."
PM: So that's the most recent Andy Partridge solo material?
Partridge: No, there's some things I've done with Lighterthief, who is a friend of mine called Stuart Rowe, and you can get them on the Ape site. He's releasing an EP every three months, and I'm playing guitar and singing on a lot of these things, so those are the most recent things I've done. If you go to the Ape site, under the Lighterthief heading there's an EP called "Maximalism."
PM: I heard a song from that on the MySpace page.
Partridge: Oh, right. Well, one of the tracks is called "Falling into the Future," which I wrote, and I also helped him play a few other instruments on that, and helped him mix it. so that's probably the most recent thing.
PM: Was "Human Beans" the last recording featuring Colin, Dave and you together?
Partridge: Well, Dave actually did his contributions 'round at my place. He didn't want to particularly hang out with Colin. It's like Pink Floyd, you know, except Colin's Roger Waters, and I'm Dave Gilmour or something. "Oh, I've got to juggle him because he doesn't like him, so he'd better do his part at my place, but I could do my part over there and da-da da-da," that sort of thing.
PM: You're sort of the Roger Waters but with a David Gilmour personality?
Partridge: [laughs] Yeah.
PM: 'Cause you're still the dominant guy like Roger Waters.
Partridge: I guess so, yeah. It's something to do with nose size or whatever. I don't know. Colin's got the biggest feet, so what does that say?
PM: So what you're really saying is this is a cry to Bob Geldof to get you guys together for the next big charity concert.
Partridge: Oh, dear me, no. [laughs]
PM: That would be a good thing, getting XTC playing live at some big—
Partridge: You know what? I hate it when they put bands back together, and you just see these middle-aged fat old men stumbling around the stage. You think, God, they were great when they were 22, but I don't want to see them now they're all 60. It's horrible.
PM: You weren't moved by the Pink Floyd reunion a little bit?
Partridge: No. Because Pink Floyd for me died when Syd Barrett left.
PM: Well, there you go. So you don't like any of the post-Syd Pink Floyd?
Partridge: No, they got worse and worse in my opinion. There's a few good things on the soundtrack of "More." There's a few good things on "Saucerful of Secrets" and a couple of tracks on "Ummagumma," but largely to me they went downhill and downhill. They just got blander and blander.
PM: Is there an Andy Partridge solo album that's going to come out?
Partridge: Well, I'm going to be truthful with you. I've written so many songs in the last handful of years that I just haven't felt the need to finish them up. I just have literally about 350 parts of songs that I'm kind of thinking, well, what do I need to finish these up for? I'm wrestling with my attitude to music at the moment. I rather like being an enabler and running the Ape label and being the sleeve designer and the A&R man and all that kind of thing. But as far as my own music goes, I'm really wrestling with: Does anybody need any more songs from me? Do we need a lot of the music that's out there? We don't. But it's that human desire to [dump] everywhere, isn't it.
PM: But at the same time you've put out a lot of discs of your demos and reissues and that sort of thing.
Partridge: Yeah, well, the "Fuzzy Warbles Collector's" [box of demo recordings] was great fun to put together, and I think it's kind of a nice package. But I do feel that for us failure was an enormous sort of battery in our back, and it was a great spur to keep going and getting better and better and better. And I think there comes a point where you think: Damnit, we're never going to get recognized here. We're never going to get our due, and you just start to say to yourself—if your window cleaning business was just not happening, you'd say to yourself, "I guess I'm not cut out to be a window cleaner." And I think I'm saying to myself, "I guess I'm not cut out to be a singer-songwriter."
PM: But there are other bands from around the same time as XTC that you don't really think about anymore whereas I feel like the XTC fans play you guys constantly and that you guys really hold up. I do.
Partridge: I get a sense that fans that like our stuff are more—I'm not going to use the word "nutty" but more "fanatical." It's like they distill what we do to a more pure essence, whereas you get seemingly other fans of other bands just say, "Oh, yeah, I quite like them," but they seem to be extra rabid, the ones that get into XTC. And I think that it's probably powered by our obscurity as well, because there's a righteousness to it. They love a band which none of their friends have even heard of.
PM: Well, most of my friends have heard of you.
Partridge: You know what I mean. Not in England. This is how important we are in England. You know Mojo magazine?"
PM: Yes.
Partridge: We were told a few weeks back that we were getting what they called an Inspiration Award at the Mojo Awards, which is a big thing in London for the magazine and da da da da: We were getting this award for inspiration. Colin didn't want to go to pick up the award. I didn't really want to go, but my girlfriend bullied me into agreeing to go. Mojo then sent an e-mail saying, well, if Colin's not going, you're not getting the award. Dave and I thought: Well, that means we deserve it less 'cause Colin's choosing not to go to the ceremony. And then you begin to think: Hang on, they weren't really going to give us this award. It wasn't about our merit. It's about some exclusive photo opportunity for the magazine or something like that. Do you know what I mean? They got pressured by a record company that spends a lot on advertising: "No, we want our band to have this." They made this excuse of if Colin's not going to go, they're not going to give us the award. Don't Dave and I deserve it then?"
PM: Were you supposed to perform at it?
Partridge: No, just pick it up.
PM: That's bizarre, seems like bad form.
Partridge: That's really bad form. That's really morally bad. It's a slap in the fact to myself and Dave.
PM: But that doesn't mean that you shouldn't release your songs or finish them.
Partridge: Mmmm. Maybe I'm sick with music. Because I'm not a musician. I only blundered into music because I figured it was a better way of attracting girls than with a pencil. I was going to have an art career.
PM: But you keep writing songs, though.
Partridge: Yeah, I do. It's like a compulsion. I can't stop. But I kind of think that I don't know if any of them are as good as anything from the last 25 years.
PM: But do you always feel that way?
Partridge: No. It's an age thing, and you also think: Is music a finite art? Do I have an X amount of songs in me, and now those X amount of songs have come out, all I'm left with is the dregs? Should I just be smart enough to stop? And I wish a lot of other people would stop because I hear what they're doing. I'm not going to name any names, but I hear what so-called great musicians or great songwriters are doing, and you think: Jesus, I wish they'd have finished about 15 years ago or 20 years ago when they were on a high, not just this horrible process of seeing them grind down the hill and them being so addicted to fame or so addicted to whatever that they can't stop. I'm left with wishing that a lot more people would say, "You know what? I'm not as good as I used to be. I'm going to stop and do something else."
PM: Do you really think you're not as good as you used to be?
Partridge: Yeah.
PM: So you think these songs that you've written, they just don't have merit?
Partridge: Uh, not as much merit as, say, my favorite of XTC's albums.
PM: But if you think XTC got better and better and "Apple Venus" is your best record, then you don't think that you were on that downward slope at the end.
Partridge: No, I think as soon as the slope started to go down, with some parts of "Wasp Star [Apple Venus Volume 2]." Now in hindsight, it seems weaker. And it's like a case of "Ah, damn, we're going down the slope the other side. We've hit the pinnacle, and now the only way seems down." I know that's really a black-and-white way of thinking, but that's sort of how I keep the world in perspective, I think. But like I say I do wish a lot of other people would stop. They just keep on crapping out substandard material, and a lot of them don't have the thing of saying, "OK, I've done my best work now. Let me try something different."
PM: Do you think McCartney should stop?
Partridge: Mmmm, yeah. But he can call me if he wants some help.
PM: What happened with this collaboration you were doing with Robyn Hitchcock?
Partridge: Well [deep breath], I must admit that I'm not holding out any great hopes for this because Robyn seems to be permanently on tour. We started this a couple of years ago, and he's just been permanently around the globe somewhere, and I think we've had about four get-togethers in two years, which to me that's not hot off the press. I'll ring him up and say, "Look, spare some time to get together?" And he'll say, "Well, I've got a tour of Scandinavia," or "I'm going around America with a matey from R.E.M." or "I'm touring England." He just seems to be permanently out on the road, and I think four days of getting together and trying to write is not intense enough for me. I would have liked to have done like four days a week two years ago for quite a while until we had enough material to say, "Well, let's throw half of that away, and this half is a great album." But right now we have something like four half-finished tracks that are just kind of OK-ish."
PM: Are those demos you were doing?
Partridge: Well, we were sort of recording as we were writing. It's not a process I'm crazy on, because I like to get a song finished up and working as a solid piece of architecture before you're even taken into the studio. So I don't know what's going to happen with that. I actually sent him an e-mail before he went off on his latest U.S. tour saying, "Do you think this is going to happen? Is this thing dying of apathy?" So I'm going to be honest with you. He's going to have to show some phenomenally frightening commitment I think for it to get finished.
PM: What was his response to your e-mail?
Partridge: He left me a phone message which I missed, and then a confused e-mail back from him, and then I got a postcard from him in San Francisco saying, "Hey, when I get off this tour, let's record some more." And I'm thinking: Ohhhhhhh. Can I even remember who he is or what he looked like?
PM: What was the driving force behind that project?
Partridge: I liked him. I got together with him one day to write something for an album of his, and we came up with about six ideas, one of which he finished up, and it was called "['Cause It's Love] Saint Parallelogram," and he put that on an album of his. He is so quick witted, and he is a very creative fella. No sense of rhythm. He's very creative. He just grabs stuff from the air, which I find very stimulating because that's kind of how I tend to work as well. So to some extent it was like dealing with a mirror reflection of myself creatively. Maybe this is why the thing is not happening. Maybe we're too alike.
PM: Except for your work habits.
Partridge: No, no, I like to get in there and get working, and we're doing an album, let's do it. But I think he's addicted to globetrotting by the sound of it. I don't know. Like I said in my e-mail, it could be that thing where it's two forces that get together, one fire and one ice, and all you end up with is lukewarm water.
PM: Right, you and Spinal Tap.
Partridge: Yep. Is that where it came from?
PM: It's Derek Smalls, who is Harry Shearer, the bassist, who says, "He's like fire and he's like ice, and I'm in the middle. I'm lukewarm water." [The actual quote is: "They're two distinct types of visionaries, It's like fire and ice, basically. I feel my role in the band is to be somewhere in the middle of that, kind of like lukewarm water."]
Partridge: [Laughs] I never knew that was where it came from. Damnit [laughs]. Well, scrub that one, then.
PM: Tell me about the decision to run a label at a time when labels are getting their butts kicked.
Partridge: It's suicidal, huh?
PM: It's a fun against-the-grain sort of thing.
Partridge: [laughs] In the six years that it's been going, I think we've made 19,000 pounds, which has all been spend on pressing up the Dukes of Stratosphear board books and so on and going toward the next artist we've got coming out. So at the moment I think it's a beautiful hobby, but it would be nice if it made some money.
PM: Is the Milk & Honey Band just someone you discovered?
Partridge: Yeah, literally. Somebody sent me an album they had out called "Boy from the Moon" on a little record label up in Manchester, and I thought it was great, and then I called him, and he said, "I've got loads more material, and I'm looking for a record deal," and away we went. So yeah, people send me stuff, and if I like it, I'd say one in 100 or one in every 200 is worth following up. A lot of rubbish comes my way, but you're going to have to dig through a lot of coal to find one diamond. But you know what? It's my artistic thing. I love if I can do the sleeves and that kind of stuff. I love the object. We're trying to get into doing vinyl, so now I can do my crazy art thing even larger.
PM: What do you think is the best thing you ever wrote?
Partridge: Umm, I'd say that "Easter Theater" [from "Apple Venus Volume 1"] is a contender, just 'cause it came out exactly how I would have wanted it to come out, and it does say springtime, and it does have a—ooh, can I be really immodest? I think it's as good as a Beatles thing. Yeah, I'm not supposed to say [stuff] like that, am I?
PM: I love that song.
Partridge: Part of the drive for being in a band is to be better than your heroes, and I think "Easter Theater" is on a par—it may not be better, but it's on a par.
PM: Is there one where you think, I don't know why people like that one?
Partridge: Mmm, yeah, there was a single that was a hit in England called "Sgt. Rock (Is Going to Help Me)" which I think is pretty banal. The actual music isn't too bad, but the sentiment and the lyric are pretty crappy. I would've rather forgotten it, but of course Virgin picked out and said, "Hey, here's the single." You say, "Oh, no, they picked that one!"
PM: It's got a good beat.
Partridge: It's got a good beat. The chords are kind of nice. Interesting chords and an interesting sort of groove to it, but the actual song over the top is pretty pathetic.
PM: Are you flummoxed by the idea of what's considered commercial now and what becomes a hit?
Partridge: Yeah, I wouldn't know. But then again to be honest I never did, because things that we put out that were hits I wouldn't have thought they would've been a hit, and things that we put out which I thought might have been a hit weren't, so obviously I have no idea. And I don't think anybody else really has. The way of gauging public tastes, it's like trying to nail smoke to a wall, and if you think you can do, you're going to give yourself a lot of heartache.
PM: I always wonder how much of it is public taste and how much of it is the mechanism of the industry and radio.
Partridge: Exactly. "Stupidly Happy," I thought radio would pick it up and play it, genuinely, because I thought this is so instantaneous. You're singing it before it's half over. But no radio station picked it up, and no radio station as far as I know played it.
PM: I did hear it a bit in Chicago. [Full disclosure: I've heard it on WXRT-FM 93.1, where my wife works.]
Partridge: McDonald's contacted me and said could they use it for an ad campaign, and I thought: OK, millionaire-dom, here I come. And they even storyboarded something out, and then they just dropped the idea. So, oh well.
PM: Was there any song of yours that you were the most disappointed wasn't a hit?
Partridge: Actually maybe that. One of our early singles, "Wait Till Your Boat Goes Down," I thought was very melodic, and it died a death. I know that I was disappointed at the time, but then I was more easily disappointed at the time, being a fragile young man. Now I'm just a big hairy-assed lump. Nothing much disappoints me now.


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Law and Order
HideShow resource information
- Created by: ajcoolatboo1
- Created on: 12-01-14 17:31
What are the problems in cowtowns?
The cowboys were paid in cow-towns - they usually spent their money in saloons, leading to a great deal of gunfighting and drunkeness
1 of 9
In what year did Abilene get a lawman?
2 of 9
What was Thomas Smith's job and what did he stop?
He was a town marshal. He stopped firearms being allowed in the town
3 of 9
When was Thomas Smith killed?
He was shot dead in the Autumn after becoming town marshal
4 of 9
What was Wild Bill Hickok's job and what did allow?
He became town marshal in 1871. He allowed cowboys revolvers
5 of 9
How many people did John Wesley Hardin kill?
44 men
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What did John Wesley Hardin do?
He killed someone and left so quick he forgot his trousers so stole some at gunpoint
7 of 9
When did Law and Order improve? Who was banned from Abilene?
It improves in 1872 ....cowboys were banned from Abilene
8 of 9
What happened when the jail in Abilene was built?
A group of cowboys rode in and pulled it down
9 of 9
Other cards in this set
Card 2
In what year did Abilene get a lawman?
Card 3
What was Thomas Smith's job and what did he stop?
Card 4
When was Thomas Smith killed?
Card 5
What was Wild Bill Hickok's job and what did allow?
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text:
The Latest: 1 killed in Kenya police, opposition clashes
- Image 1 of 2
- Image 2 of 2
NAIROBI, Kenya – The Latest on Kenya's disputed election (all times local):
6:10 p.m.
One person has been killed in confrontations between Kenyan police and supporters of opposition leader Raila Odinga as tensions over the disputed presidential election continue.
Police fired live rounds and tear gas to prevent Odinga's convoy from making its way to Nairobi's main park so he could address supporters. Legislator Otiende Amollo said his car was shot at by police.
Police warned earlier this week they would not allow a ceremony to welcome Odinga back from speaking engagements abroad. Opposition legislators had urged supporters come out "more than 1 million strong."
11:30 a.m.
Kenyan police have used tear gas and water cannons to disperse supporters of opposition leader Raila Odinga who are trying to gather near the country's main airport to welcome him back from an overseas trip.
Friday's incident was shown on live television. Opposition supporters are responding to a call to welcome Odinga after speaking engagements in the United States and Britain over Kenya's political turmoil following a court-nullified presidential election and the fresh vote last month.
Odinga boycotted the new vote, saying electoral reforms had not been made.
President Uhuru Kenyatta's win on Oct 26 is being challenged at the Supreme Court by activists and a politician amid claims of irregularities.


text:
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Introducing Azure Mobile Engagement
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text:
Drummer Mike Clark, perhaps best known for his work with and without Herbie Hancock as a member of the Headhunters, is part of a new band now — the dazzlingly improvisational Wolff and Clark Expedition, with longtime friend Michael Wolff.
Together, they have produced an organic eponymous effort that defies categorization as either jazz or funk, much in keeping with Clark's work since bursting on the scene as a cornerstone of Hancock's 1974 album Thrust. Clark was subsequently part of Brand X, the UK-based jazz-fusion band that also featured Genesis' Phil Collins on drums. Along the way, he's performed with Chet Baker, Fred Wesley, Les Claypool, Vince Guaraldi and Charlie Hunter, even while continuing his association with the Headhunters, who issued the well-received Platinum in 2011.
Clark joined us to talk about this new Expedition recording, available on February 19, 2013 via Random Act Records, as well as the Headhunters, Brand X, Herbie Hancock — and his take on becoming one of the most sampled drummers in the history of hip hop …
NICK DERISO: You've known Michael Wolff for years. What finally prompted you to solidify your working relationship in a new band with its own name?
MIKE CLARK: We've been playing together and discussing concepts of music, just as friends and bandmates. We seemed to have a similar understanding, a similar path that we're both interested in. One day, we were having one of usual conversations about this type of thing, and one of us said: 'Since we're playing together a lot anyway, and we're looking at similar goals, why don't we start a band?' So, we did. That's about as simple as it was. It sounded like a good idea, and I'm really glad that we did it.
[SOMETHING ELSE! INTERVIEW: Michael Wolff discusses the lasting joys of Julian "Cannonball" Adderley, what he learned about song from Nancy Wilson, and parenting the Naked Brothers Band.]
NICK DERISO: You can certainly hear that symbiosis on the album.
MIKE CLARK: We really like playing together. I understand Michael's language, and he understands mine. We're pretty much at the point where you don't have to worry about anything throwing a log in the middle of the road when you are involved with something. You don't have those adjustments that you normally have to make when you just go on a gig with a bunch of guys. You have to do that so that everything doesn't sound like a train wreck, or so that everybody is comfortable. We've been playing together for so long that I can get right to my personal way of playing — whether it's a ballad or whether we are burning it. I'm digging it.
NICK DERISO: Expedition is also intriguing in that it moves from pop to funk to jazz, and then back again – almost like a typical jam session. Was that the genesis of this date?
MIKE CLARK: We all had suggestions, and somebody would throw out a tune. I don't think anybody ever said no. Then we'd get a skeleton arrangement together, nothing to strict, and then fill it out the way we wanted to. We were careful not to play it in the same way as whoever wrote it or make it famous. We just gave them all of our own treatments. So, it was really, really a creative and spontaneous moment. I'm at the point now where I don't care what the beat is, or what the name of the tune is — whether it's a standard tune or an original, or if there are a lot of changes or it's modal. It doesn't matter. I feel fairly open to start accessing what I know about the history through playing drums, immediately, as soon as the tune starts. I'm not hampered by the things that used to both me, especially in this band.
[ONE TRACK MIND: Mike Clark's longtime bandmate Bill Summers joined us to talk about key moments from projects with Herbie Hancock, the Headhunters, and the percussionist's funky, funky solo career.]
NICK DERISO: You guys just tore it up on soul favorites like "Mercy Mercy Mercy" and "For the Love of Money," but at the same time there is a delicate swing to "Song for My Father."
MIKE CLARK: I don't think this was all conscious, but as the date unfolded, we were addressing a lot of things that we grew up on, and we gave them our own treatment. You're right; I'm glad you heard it that way, because on certain things you just want to play, from my point of view. It feels good just to lay the pocket and swing, and stay out of the way and enjoy the groove. On other times, it good to get busy. (Laughs.) The thing unfolded for me, just like you hear it. Somebody would call a tune, we'd discuss an arrangement, and then we'd play. At the end of the day, when we heard the tape back, we liked it. So, that confirmed the let's-start-a-band thing. We were just going in there to experiment, and then when we heard what it was sounding like, and we knew. This was a kick-off album.
NICK DERISO: The most recent Headhunters album, Platinum, included a few elements of hip hop. What has been your reaction to sampling? After so many years, and so many songs with lifts from your records, has your attitude evolved?
MIKE CLARK: My feeling is this, straight up: If you're going to use my stuff, please pay me. That's the only thing. I spent my life learning to play, and I'm still learning how to play. You never stop learning. I've devoted my life to this, so it's not an ego thing. I'm flattered that my name is attached to a lot of big-selling records, but I never saw any money for it. And I like to be paid just like everybody else does that works. That's my feeling on that.
[SOMETHING ELSE! REWIND: On a project filled with big names, Mike Clark was the real hero on Herbie Hancock's 1974 album 'Thrust.' We dug into one of its forgotten deep cuts, 'Butterfly.']
NICK DERISO; I love the sense of outsized adventure on those initial collaborations with Hancock, as if nothing was off limits. All of that imaginative brilliance seemed to come from a very collaborative place. What made the Headhunters so special?
MIKE CLARK: Herbie Hancock, when you play with him — at least at that time; I haven't played with him in years — he heard everything that you did. It was like being tracked by some kind of radar mechanism. He heard every breath that you took while you were playing, he felt all of the vibes. It was amazing how sensitive this guy was. I'm like that as well, but being with him made me even more like that. You were forced to really focus, and really tune in. It wasn't because of any pressure, though. He just made that a natural part of every day life. It came easy to me. My roots are in bebop and post bop, and not in funk. I played a lot of funk as a young man, I played a lot of blues to make a living. But the bulk of my drumming is straight-ahead jazz, so that informed the funk thing that I did with Herbie. I would comment on the things he was saying, but he was the main speaker. I was in the conversation as well, with both feet!
NICK DERISO: The template for what you're talking about, combining bebop lines into funk, can be found on the very first collaboration, "Actual Proof" from Hancock's 'Thrust.' That's such a huge sound.
MIKE CLARK: It was very much like playing a straight-ahead jazz piece, but I used a big funk set — it had a big sound. If I had played on an 18-inch drum, on a small bebop kit, it would have sound more like jazz. That gave it a different spin, and plus the beat was not swing, it was funk. So, that's the whole deal. I would have done a whole album like that, but they had a producer who was more concerned with making money. So, a lot of my stuff was watered down more than I would have cared for. It's not a lament; it is what it is. I had a great time.
[SOMETHING ELSE! INTERVIEW: Percussionist Bill Summers took us inside his long-awaited 2011 reunion project with drummer Mike Clark, as the Headhunters released the titanic groover 'Platinum.']
NICK DERISO: You mentioned not getting paid. Do you think the Headhunters will ever get their due for contributions to those 1970s-era Herbie Hancock records? Does it bother you?
MIKE CLARK: Nothing egotistically bothers me about whose name is where. I don't feel I'm owed anything. That experience enriched my life in more ways than just playing. Herbie taught me about Buddhism, which I practice to this day. I saw the world from the stage, and from the main stage at that time. I'm totally grateful for the opportunity, and what happened. My only issue is with sampling. If I ask somebody to do a job for me, I'm going to pay them. We all need money. If we didn't, I say: 'Hey, sample whatever.' I think it's disrespectful. That's just the code I live by.
NICK DERISO: At the same time, you were part of the underrated Brand X. What was your reaction to the idea of splitting the group apart into a mainstream outfit featuring Phil Collins and a more adventurous lineup that found you at the drums?
MIKE CLARK: I was called to do the gig, and I came to New York and auditioned by playing my style to the music they were playing. I never played rock 'n' roll. I wasn't one of those guys. We played jazz, even in junior high school. There were no rock gigs at that time. Then, in the 1960s, I started playing soul, and jazz and blues. I never did a garage rock band, interestingly enough. The type of rock 'n' roll that came up in the 1960s, like those bands from England, I never dug that music. I still don't care for it. I'm not saying it no good, it just doesn't strike me. So, I never had that experience, and these guys were totally that. I went on tour with them. We were having a good time, and it was very creative. It was open. They were very aware of Coltrane and, obviously, Hendrix. There was a vibe. But when it came time to do the records, there were some politics. I wasn't part of that. I was like, 'if you want me to play, I'll play. It's no problem for me.' Part of the band wanted me to play, and some others wanted Phil to play. So then someone said, let's have them both play.
[ONE TRACK MIND: Michael Wolff talks about key career intersections with Julian "Cannonball" Adderley, Warren Zevon, Charlie Hunter, Joe Zawinul and his band Impure Thoughts.]
NICK DERISO: And yet the Expedition album begins with the Beatles' "Come Together." What was that like?
MIKE CLARK: As he was saying one, two, three, four — I had no idea of what I was going to do. I just didn't know much about that tune. I remember that song on the radio driving around in the 1960s, and I kinda dug it. So I was really enjoying the moment. It was full of surprises. Nobody knew who was going to solo first. We were all just vibing off of each other. You're on the high wire, and you don't want to fall. I like that.
NICK DERISO: So, despite your lengthy time together with Michael Wolff, there still moments when you were taken aback as the Expedition sessions unfolded — these a-ha moments?
MIKE CLARK: I like the challenge of that. That's who this record went. One of the first things we did was 'What Is This Thing Called Love,' and I believe we did two takes and we knew we had it. It was like going down the hill on a roller coaster — extremely exhilarating, physically and emotionally. I was really enjoying the take, while it was going down. It was just a natural thing.
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Nick DeRiso
Latest posts by Nick DeRiso (see all)
- Nick DeRiso's Best of 2015 (Rock + Pop): Billy Gibbons, Toto, Death Cab for Cutie, Joe Jackson - January 18, 2016
- Nick DeRiso's Best of 2015 (Blues, Jazz + R&B): Boz Scaggs, Gavin Harrison, Alabama Shakes - January 10, 2016
- Nick DeRiso's Best of 2015 (Reissues + Live): John Oates, Led Zeppelin, Yes, Faces + others - January 7, 2016


text:
Where Are They Now? 'American Idol' Girls
8. Leah LaBelle
Then: Leah was voted off early in the third season of American Idol but the public has not forgotten her name. In 2011, Pharrell and Jermaine Dupri signed to her to So So Def/I Am Other Records.
Now: In 2012, LaBelle premiered her new video for her song "Sexify," which charted on Billboard R&B charts. Look out for her debut album coming soon.
Photo Credit: Getty Images


text:
What a s.mile
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Charity's Generous with Her Pussy
Featuring: Charity Crawford
Date: September 20th, 2017
Duration: 10:38
What's the kinkiest thing you've done? "One time I was in a car with a bunch of girlfriends, and we were all getting pretty hyped up and rowdy. I don't remember how it started, but we all started making out with each other. We were all taking turns kissing each other. And then it turned into all of us in a five-way kiss! It was like an orgy of making out. Tongues and lips everywhere! It was pretty sloppy, but it was so hot! I mean, I'm still totally into guys, but girls are such good kissers that it's nice to play with them." Have you ever had sex in public? "Yes, lots of times. [Laughs] I got caught every time! I would never have anywhere to do it with guys, so we'd have sex in ditches or briers. I go for older guys now. They have their own places, and we don't have to do it in the dirt!".


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For millions of Americans, ''All Things Considered'' and ''Morning Edition'' are not only informative radio news programs but indispensable guides to what is happening in the world at large. Taken together, they underscore the commitment to excellence that has marked so much of National Public Radio's broadcasting. The issue now to be resolved by all Americans who believe that radio should be more than just a medium for entertainment is how to ensure that the federally funded network not only survives its financial difficulties, but is able to maintain the integrity and quality of its programming.
Late last week the network and the Corporation for Public Broadcasting reached agreement on a CPB loan of up to $8.5 million to help pay off NPR's $9.1 million deficit. Such an agreement buys time for NPR, which provides programs for 281 noncommercial radio stations. But it still represents only the first step in what will have to be a series of belt-tightening efforts taken by network officials. It also brings the issue of publicly financed radio back to where it properly belongs - the network's listeners.
Who listens to public radio? By some estimates, up to 10 million persons a month. But there are perhaps as many as 5 million to 8 million people who listen on a regular basis. It seems only fitting that they should want to help NPR out of its current financial woes.
National Public Radio will be conducting a fund-raising campaign the first three days of this week, August 1-3. The tax-deductible listener contributions, mailed to local NPR stations, will first be used to pay off each station's voluntary donation to NPR. The network's local stations have agreed to give $1.6 million of their own funds to NPR. Any listener contributions over and above the amount of the local-station contribution will be split on a 50-50 basis between the station and the network.
Such private donations, important as they are, will not solve NPR's larger financial challenges, which include a budget of $18 million for next year, compared to the current $26 million budget. That is why it is so vital that NPR officials follow through on their promised belt-tightening. Meantime, an in
vestigation now under way by the General Accounting Office is important in attempting to pinpoint exactly why financial matters got so out of hand. Congressional hearings, scheduled for later this year, should help identify areas where the network could be run on a sounder basis. The American people have every right to expect that public monies will be wisely spent.
At the same time, Congress and the CPB would be remiss in looking for scapegoats in the network's current difficulties, or in so ''decentralizing'' the network (by turning more funds over to local stations) as to in effect destroy NPR's ability to function. Many lawmakers have long been unsympathetic to public broadcasting, arguing that it unfairly competes with commercial broadcasting, or, that it somehow reflects ''liberal'' viewpoints.
Yet, from the outset of public radio back in 1969, the network's objective has been that of bringing diverse programming to all parts of the United States - including areas where such programming is nonexistent. In that sense the network has succeeded.
With sounder management controls, combined with greater support by its listeners, there is no reason why NPR should not continue to broadcast programming of the finest quality.


text:
Front Page
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Happy Independence Day!
Riding a bike gives us independence from so many things. Bicycles are freedom machines that allow us to go where we want, when we want — and the only fuel they require is our own muscles.
Hope you get a chance to ride today — whether that's to a street party, parade, BBQ, or whatever.
We'll see you back here tomorrow morning.
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By Jonathan Maus (Publisher/Editor) on July 3rd, 2018 at 12:12 pm
WashCo Bikes' new logo and new ED Joe Kurmaskie (as seen at an anti Columbia River Crossing rally in 2009).(Photo: Jonathan Maus)
Bike advocacy on the other side of the west hills from Portland has gone through a lot of changes in the past few months.
The nonprofit Washington County Bicycle Transportation Coalition
changed their name to WashCo Bikes
back in May and this week they've announced their first-ever executive director.
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By Madi Carlson (Family Biking Columnist) on July 3rd, 2018 at 11:19 am
Trailer bikes are great for when they're too big for balance bikes but not yet ready to be on their own. (Photo: Jonathan Maus)
Our Family Biking column is sponsored by Clever Cycles .
➤ Read past entries .
I was taught to bike the old-fashioned way. My mother tossed me and a little red bike off the end of the pier by our house and I pedaled with all my might for land — and I was a competent bicyclist by the time a wave swept me onto the sandy shore. Or something like that.
Kids these days have it much easier with lots of nifty options that don't involve the Pacific Ocean, avoid scraped elbows and knees, and aren't uphill both ways. This week I'll share what I've learned about balance bikes, tricycles and trailer bikes. [Read more…]
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By Jonathan Maus (Publisher/Editor) on July 3rd, 2018 at 9:06 am
Latest iteration of how TriMet will design eight new stations on outer SE Division.
After months of feedback from partner agencies and advisory committees, and "recalibrating" due to a budget shortfall, TriMet has released its latest designs for how bicycle riders will pass through its new bus stations as part of the Division Transit project. An
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Latest new protein entered: 07 七月 2018 at 21:45 PDT. Last database update: 07 七月 2018 at 21:47 PDTNew Structures:
include proteins of same type from different species. For example, photosynthetic reaction centers from and are considered unique. Structures of mutagenized versions of proteins already in the database are excluded as unique. Proteins that differ only by substrate bound or by physiological state are also excluded. Structures 'obsoleted' by the PDB are not included.
Total number of PDB coördinate files, including those for unique proteins. This number reflects the fact that published reports of structures often include several coördinate files describing, for example, the protein in different crystal forms, or with different bound substrates.
The table above is initially presented in a collapsed form, and the user can expand different sections of the table, or the entire table, and bookmark different sections of the table, or a fully expanded table version of the page, using the , , , and icons on the left margin of the table section headers.
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data are derived from the UniProt Knowledgebase , which is based on the FitFlop Womens Strata Slide Sandal Taupe Snake wVDNW15
. These taxa can be searched for using ' Text Search of Table ', above. The following icons are used in the table, as appropriate:
The table provides useful information about integral membrane proteins whose crystallographic, or sometimes NMR or cryo-EM, structures have been determined to a resolution sufficient to identify TM helices of helix-bundle membrane proteins (typically 4 - 4.5Å). Reference is made to all of the protein types whose structures have been determined. We have attempted to make the database as inclusive as possible. If you find errors or omissions, please send a message to Stephen White .
Exploring is the parent company of several unique, trailblazing Atlanta-based companies. Our companies span a range of industries, from the exhibit and event industry to hospitality, commercial, retail, architectural, automotive, museum, and other markets.
What each Exploring company has in common, however, is a ceaseless focus on discovering truly innovative solutions and value for clients. In fact, that focus is what we look for when adding new companies to the Exploring family.
And we're growing! We're pleased to announce the addition of GCI Graphics.
Our metro Atlanta businesses work with clients across the country and on projects around the globe.
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If you are running the Windows 8.1 Preview recently released to the public, Microsoft has also just made some updates available. While you don't have to jump out to get these yourself because they will be available through Microsoft's automated update service, it's nice to have a menu of links and information to see what is high on Microsoft's fix-it-first list.
Updates already? You might ask.
Microsoft will be steadily improving the Windows 8.1 Preview software as the month's progress toward a full, official and (hopefully) safe release. Considering that Preview software, though made available to the general public, isn't the most polished piece of software, you should expect frequent updates.
Here's what's been made available so far:
- Compatibility update for Windows RT 8.1 Preview and Windows 8.1 Preview: June 2013 (KB2863312)– This compatibility update improves the compatibility experience in Windows RT 8.1 Preview and in Windows 8.1 Preview. Microsoft regularly releases Windows compatibility updates to improve the overall user experience. This compatibility update is dated June 2013.
- Windows Store apps crash on launch in Windows 8.1 Preview (KB2864247)– An update is available for Windows 8.1 Preview. This update resolves an issue in which some Windows Store apps crash when you start them.
- Update improves the robustness of data files in Windows 8.1 Preview (KB2864713)– An update is available for Windows 8.1 Preview. This update improves the robustness of data files.
- Can't sign in to a Google account through certain applications in Windows 8.1 Preview (KB2864806)– You cannot sign in to your Google account through Picasa in Windows 8.1 Preview. Therefore, you cannot perform actions that require that you sign in, such as sharing photos through Gmail. This issue might also occur when you use other applications to sign in to a Google account.
- Can't resume a download in Internet Explorer 11 Preview (KB2864808)– When you start and then pause a download in Internet Explorer 11 Preview on a Windows 8.1 Preview-based computer, the download cannot be resumed.
Still tentative about installing the Preview release? You can still learn about the updated OS here:
Learn About the Windows 8.1 Preview without Installing It
Not sure the difference between Preview and Beta? Learn the difference here:
The Difference Between Preview and Beta is Not What You Think