text:
The Kingston Trio is an American folk and pop music group that helped launch the folk revival of the late 1950s to late 1960s. The group started as a San Francisco Bay Area nightclub act with an original lineup of Dave Guard, Bob Shane, and Nick Reynolds. It rose to international popularity, fueled by unprecedented sales of 33⅓ rpm long-playing record albums (LPs), and helped to alter the direction of popular music in the U.S.[1]
The Kingston Trio was one of the most prominent groups of the era's pop-folk boom that started in 1958 with the release of their first album and its hit recording of "Tom Dooley", which sold over three million copies as a single.[2] The Trio released nineteen albums that made Billboard's Top 100, fourteen of which ranked in the top 10, and five of which hit the number 1 spot. Four of the group's LPs charted among the Top 10 selling albums for five weeks in November and December 1959,[3] a record unmatched for more than 50 years,[4] and the group still ranks after half a century in the all-time lists of many of Billboard's cumulative charts, including those for most weeks with a number 1 album, most total weeks charting an album, most number 1 albums, most consecutive number 1 albums, and most top ten albums.[5]
In 1961, the Trio was described as "the most envied, the most imitated, and the most successful singing group, folk or otherwise, in all show business" and "the undisputed kings of the folksinging rage by every yardstick."[6] Music historian Richie Unterberger characterized their impact as "phenomenal popularity",[7] and the Kingston Trio's massive record sales in its early days made acoustic folk music commercially viable, paving the way for singer-songwriter, folk rock, and Americana artists who followed in their wake.[1]
Contents Edit
[hide] *1 Formation, 1954–1957
2 Era of peak success, 1957–61
3 Change and a second phase, 1961–67
4 Hiatus and the New Kingston Trio, 1967–1976
5 The third phase, 1976–present
6 Folk music label
6.1 Initial criticism
6.2 21st-century perspectives
7.1 On folk and pop music
7.2 On musicians
7.3 On the music business
8 Awards and honors
9 On Billboard's album charts
10 Discography and videography
Formation, 1954–1957[edit] Edit
Dave Guard and Bob Shane had been friends since junior high school at the Punahou School in Honolulu, Hawaii where both had learned to play ukulele in required music classes. They had developed an interest in and admiration for native Hawaiian slack key guitarists like Gabby Pahinui.[8] While in Punahou's secondary school, Shane taught first himself and then Guard the rudiments of the six-string guitar,[9] and the two began performing at parties and in school shows doing an eclectic mix of Tahitian, Hawaiian, and calypso songs.
After graduating from high school in 1952, Guard enrolled at Stanford University in Palo Alto, California while Shane matriculated at nearby Menlo College. At Menlo, Shane became friends with Nick Reynolds, a native San Diegan with an extensive knowledge of folk and calypso songs—in part from his guitar-playing father, a career officer in the U.S. Navy.[10] Reynolds was also able to create and sing tenor harmonies, a skill derived in part from family singalongs,[11] and could play both guitar and bongo and conga drums. Shane and Reynolds performed at fraternity parties and luaus for a time, and eventually Shane introduced Reynolds to Guard. The three began performing at campus and neighborhood hangouts, sometimes as a trio but with an aggregation of friends that could swell their ranks to as many as six or seven, according to Reynolds.[12] They usually billed themselves under the name of "Dave Guard and the Calypsonians". None of the three at that time had any serious aspirations to enter professional show business, however,[13] and Shane returned to Hawaii following his graduation in late 1956 to work in the family sporting goods business.[14]
Still in the Bay Area, Guard and Reynolds had organized themselves somewhat more formally into an entity named "The Kingston Quartet" with friends bassist Joe Gannon and vocalist Barbara Bogue, though as before they were often joined in their performances by other friends. At one engagement at Redwood City's Cracked Pot beer garden, they met a young San Francisco publicist named Frank Werber, who had heard of them from a local entertainment reporter. Werber liked the group's raw energy but did not consider them refined enough to want to represent them as an agent or manager at that point, though he left his telephone number with Guard.[15] Some weeks later (and following a brief period in which Reynolds was temporarily replaced in the quartet by Don MacArthur), Guard and Reynolds invited Werber to a performance of the group at the Italian Village Restaurant in San Francisco, where Werber was so impressed by the group's progress that he agreed to manage them provided they replace Gannon, in whose professional potential Werber had no faith.[16] Bogue left with Gannon, and Guard, Reynolds, and Werber invited Shane to rejoin the now more formally organized band.[15] Shane, who had been performing part-time as a solo act at night in Honolulu, readily assented and returned to the mainland in early March 1957.[17]
The four drew up a contract as equal partners in Werber's office in San Francisco, deciding first on the name "Kingston Trio" because it evoked, through its association with Kingston, Jamaica, the calypso music popular at the time, and second on the uniform of three-quarter-length sleeved vertically striped shirts that the group hoped would help their target audience of college students to identify with them.[18]
Era of peak success, 1957–61[edit] Edit
Werber imposed a stern training regimen on Guard, Shane, and Reynolds, rehearsing them for six to eight hours a day for several months, sending them to prominent San Francisco vocal coach Judy Davis to help them learn to preserve their voices, and working on the group's carefully prepared but apparently spontaneous banter between songs. At the same time, the group was developing a varied and eclectic repertoire of calypso, folk, and foreign language songs, suggested by all three of the musicians though usually arranged by Guard[13] with some harmonies created by Reynolds.[19]
The first major break for The Kingston Trio came in late June 1957 when comedienne Phyllis Diller canceled a week-long engagement at the The Purple Onion club in San Francisco. When Werber convinced the club's owner to give the untested Trio a chance, Guard sent out five hundred postcards to everyone that the three musicians knew in the Bay Area[20] and Werber plastered the city with handbills announcing the engagement.[21] When the crowds came, the Trio had been well prepared by months of work, and they achieved such local popularity that the initial week's engagement stretched to six months.[22] Werber built upon this initial success, booking a national club tour in early 1958 for the Trio that included engagements at such prominent night spots as Mister Kelly's in Chicago, the Village Vanguard in New York, Storyville in Boston, and finally a return to San Francisco and its showcase nightclub, the Hungry i, in June of that year.
At the same time, Werber was attempting to leverage the Trio's popularity as a club act into a recording contract. Both Dot Records and Liberty Records expressed some interest, but each proposed to record the Trio on 45 rpm (revolutions per minute) singles only, whereas Werber and the Trio members both felt that 33⅓ rpm albums had more potential for the group's music.[23] Through Jimmy Saphier, agent for Bob Hope who had seen and liked the group at The Purple Onion, Werber contacted Capitol Records, which dispatched prominent producer Voyle Gilmore to San Francisco to evaluate the Trio's commercial potential.[20] On Gilmore's strong recommendation, Capitol signed the Kingston Trio to an exclusive seven-year deal.[20]
The group's first album, Capitol T996 The Kingston Trio, was recorded over a three-day period in February 1958 and released in June that year, just as the Trio was beginning its engagement at the Hungry i. Gilmore had made two important supervisory decisions as producer — first, to add the same kind of "bottom" to the Trio's sound that he had heard in live performance and consequently recruiting Purple Onion house bassist Buzz Wheeler to play on the album, and second to record the group's songs without the secondary orchestral accompaniment that was nearly universal (even for folk-styled records) at the time.[24] The song selections on the first album reflected the repertoire that the musicians had been working on for two years—re-imagined traditional songs inspired by The Weavers like "Santy Anno" and "Bay of Mexico," calypso-flavored tunes reminiscent of the hugely popular Harry Belafonte recordings of the time such as "Banua" and "Sloop John B", and a mix of both foreign language and contemporary songwriter numbers, including Terry Gilkyson's "Fast Freight" and "Scotch and Soda", whose authorship remains unknown as of 2011.[25]
The album sold moderately well—including on-site sales at the Hungry i during the Kingston Trio's engagement there through the summer—but it was DJs Paul Colburn and Bill Terry at station KLUB in Salt Lake City whose enthusiasm for a single cut on the record spurred the next development in the group's history. Colburn began playing "Tom Dooley" extensively on his show, prompting a rush of album sales in the Salt Lake area by fans who wanted to listen to the song, as yet unavailable as a single record.[26] Colburn called other DJs around the country urging them to do the same, and national response to the song was so strong that a reluctant Capitol Records finally released the tune as a 45rpm single on August 8, 1958; it reached the number 1 spot on the Billboard chart by late November, sold a million copies by Christmas, and was awarded agold record on January 21, 1959.[27] "Tom Dooley" also spurred the debut album to a number 1 position on the charts and helped the band earn a second gold record for the LP, which remained charted onBillboard's weekly reports for 195 weeks.[28]
"Tom Dooley" (1958)MENU 0:00 The non-orchestrated acoustic sound of this hit record, which has been recognized as a seminal recording in the history of American popular music by theNational Recording Registry.----
The success of the album and the single earned the Kingston Trio a Grammy award for Best Country & Western Performance for "Tom Dooley" at the awards' inaugural ceremony in 1959. At the time, no folk music category existed in the Grammy's scheme. The next year, largely as a result of The Kingston Trio and "Tom Dooley",[29] the National Academy of Recording Arts and Sciences instituted a folk category and the Trio won the first Grammy Award for Best Ethnic or Traditional Folk Recording for its second studio album At Large.
This was the beginning of a remarkable three-year run for the Trio in which their first five studio albums achieved number 1 chart status and were awarded gold records.[30] By 1961, the group had sold more than eight million records,[31] earning in excess of US$25 million for Capitol,[32] roughly US$190 million in 2014 dollars.[33] The Kingston Trio was responsible for 15 per cent of Capitol's total sales[32] when Capitol also recorded among many other popular artists Frank Sinatra[34] and Nat "King" Cole,[35] both of whom were also producing high-charting profitable albums. One indication of the Kingston Trio's popularity during this era was that for five consecutive weeks in November and December 1959, four Kingston Trio albums ranked in the top ten of Billboard's Top LPs chart,[36][37][38][39][40][41] an accomplishment unmatched by any artist before or since.[4] The Trio also charted several single records during this time, made numerous television appearances, and played upwards of 200 engagements per year.
Change and a second phase, 1961–67[edit] Edit
[1][2]The Kingston Trio's second troupe after Guard's departure: John Stewart,Nick Reynolds, Bob Shane (Summer 1963)
Despite the Kingston Trio's nearly unprecedented success in record sales, by early 1961 a rift developed and deepened between Guard on one side and Shane and Reynolds on the other. Guard had been referred to in the press and on the albums' liner notes as the "acknowledged leader" of the group,[9] a description never wholly endorsed by Shane and Reynolds, who felt themselves equal contributors to the group's repertoire and success. Guard wanted Shane and Reynolds to follow his lead and learn more of the technical aspects of music and to redirect the group's song selections,[42] in part because of the withering criticism that the group had been getting from more traditional folk performers for the Trio's smoother and more commercial versions of folk songs and for the money-making copyrights that the Kingston group had secured for their arrangements of public domain songs.[1] Shane and Reynolds felt that the formula for song selection and performance that they had painstakingly developed and rehearsed still served them well.[42]
Furthermore, over $100,000 appeared to be missing from the Trio's publishing royalties (an accounting error eventually rectified)[42] and that created an additional irritant to both sides: to Guard because he regarded it as inexcusable carelessness and to Shane and Reynolds because it highlighted what they perceived as Guard's propensity to claim individual copyright for some of the group's songs,[43] including "Tom Dooley" (though Guard eventually lost a suit over copyright for that number to Alan Lomax, Frank Warner, and Frank Proffitt)[44] and "Scotch and Soda".[43]
The situation became intolerable for all concerned, and Dave Guard resigned from the Kingston Trio in April 1961, though pledging to fulfill group commitments through November of that year. Shane, Reynolds, and Werber bought out Guard's interest in the partnership for $300,000[32] to be paid over a number of years and moved to replace him immediately. The remaining Trio partners settled quickly on John Stewart, a 21-year-old member of the Cumberland Three, one of the myriad of groups that sprang up hoping to imitate the Kingston Trio's success. Stewart was already well-acquainted with Reynolds and Shane, having sold two of his early songwriting efforts to the Trio, and he was a proficient guitarist, banjoist, and singer who seemed to the partners to be perfectly positioned to replace Guard.[26] Stewart began rehearsing and recording with the group nearly immediately, commencing public appearances with the Trio in September 1961.
According to Shane, "We did nearly as well with John as we did with Dave."[45] Six of the group's next seven albums between 1961 and 1963 continued to place in Billboard's Top Ten and several of the group's most successful singles, including "Where Have All the Flowers Gone?" and "Greenback Dollar", charted as well.[46]
"Greenback Dollar" (1962)MENU 0:00 The second troupe of the Kingston Trio with John Stewart: altered vocal blend as the group moves away from adapted traditional songs and into singer-songwriter covers.----
Beginning in 1964, however, the Kingston Trio's dominance in record sales and popularity began to wane, due partly to the number and popularity of the aforementioned imitators in the pop-folk world but also to the rise of other major commercial folk groups like Peter, Paul and Mary whose music had a decidedly more political bent than the Trio's. In addition, the British Invasion spearheaded by The Beatles, who were signed by Capitol just as the Trio's seven-year contract was running out, depressed sales of acoustic folk albums significantly, and Capitol did not make a serious effort to re-sign the group. Werber secured a generous signing bonus from Decca Records, and the last four albums of the Kingston Trio's first decade were released by that label. Without the production facilities of Capitol, however, and the expertise of Voyle Gilmore and engineer Pete Abbott, the Decca releases lacked the aural brilliance of the Capitol albums,[10] and none of the four sold especially well.
By 1966, Reynolds had grown weary of touring and Stewart wanted to strike out on his own as a singer-songwriter, so the three musicians and Werber developed an exit strategy of playing as many dates as possible for a year with an endpoint determined to be a final two-week engagement at the Hungry i in June 1967.[47] The group followed this strategy successfully, and on June 17, 1967, the Kingston Trio ceased to be an actively performing band.[48]
Hiatus and the New Kingston Trio, 1967–1976[edit] Edit
Following the Hungry i engagement, Reynolds moved to Port Orford, Oregon and pursued interests in ranching, business, and race cars for the next twenty years.[49] Stewart commenced a long and distinguished career as a singer-songwriter, composing hit songs like "Daydream Believer" for The Monkees and "Runaway Train" for Rosanne Cash. He recorded more than 40 albums of his own, most notably the landmarkCalifornia Bloodlines, and found chart success in the top forty with "Midnight Wind", "Lost Her in the Sun", and "Gold", the latter reaching number 5 in 1979.[49]
Bob Shane decided to stay in entertainment, and he experimented with solo work. He recorded several singles, including a well-received but under-marketed version of the song "Honey" that later became a million-seller for Bobby Goldsboro,[50] and with different configurations with other folk-oriented performers. Though finances were not an immediate concern—the Kingston Trio partners Werber, Shane and Reynolds still owned an office building, a restaurant, other commercial real estate, and a variety of other lucrative investments[51]—Shane wanted to return to a group environment and in 1969 secured permission from his partners to use the mutually-owned group name for another band, with Reynolds and Werber insisting only that Shane's group be musically as accomplished as its predecessors and that Shane append "new" to the band's title.[52]
Shane agreed and organized two troupes under the name of "The New Kingston Trio". The first consisted of guitarist Pat Horine and banjoist Jim Connor in addition to Shane and lasted from 1969 to 1973, the second including guitarist Roger Gambill and banjoist Bill Zorn from 1973 until 1976. Shane tried to create a repertoire for these groups that included both the older and expected Kingston Trio standards like "Tom Dooley" and "M.T.A." but that would also feature more contemporary songs as well, including country and novelty tunes. The attempt did not meet with any significant success. The only full-length album released by either group was The World Needs a Melody in 1973 (though 25 years later FolkEra Records issued The Lost Masters 1969-1972, a compilation of previously unreleased tracks from the Shane-Horine-Connor years), and its sales were negligible. Though both troupes of the New Kingston Trio made a limited number of other recordings and several television appearances, neither generated very much interest from fans or the public at large.[53]
The third phase, 1976–present[edit] Edit
[3][4]The 1981 Reunion Concert: Nick Reynolds, Bob Shane, Dave Guard
In 1976, Bill Zorn left the New Kingston Trio to work as a solo performer and record producer in London.[54] Shane and Gambill replaced him with George Grove, a professionally-trained singer and instrumentalist from North Carolina who had been working in Nashville as a studio musician.[55]
The same year, Shane secured from Werber and Reynolds the unencumbered rights to use the band's original name of the Kingston Trio without the appended "new" in exchange for relinquishing his interest in the still-profitable corporation, whose holdings included copyrights and licensing rights to many of the original Trio's songs.[54] Since 1976, the various troupes headed and owned by Shane have performed and recorded simply as the Kingston Trio.
The Shane-Gambill-Grove Kingston Trio existed from 1976 through 1985, when Gambill died unexpectedly from a heart ailment at the age of 45. The nine years of this configuration was to that point the longest period of time that any three musicians had worked together as the Kingston Trio, and the group released two albums of largely original material.[56]
It was during this period as well that PBS producers JoAnne Young and Paul Surratt approached Shane and the other principals of the original group with the idea of arranging a reunion concert that would be taped and used as a fundraiser for the network. Agreement was reached, and on November 7, 1981, Dave Guard, Nick Reynolds, and John Stewart joined the Shane-Gambill-Grove Trio and guest performers Mary Travers of Peter, Paul and Mary, Tom Smothers of the Smothers Brothers, and Lindsey Buckingham of Fleetwood Mac at the Magic Mountain amusement park north of Los Angeles for a show billed as "The Kingston Trio And Friends Reunion."[57] The different configurations of the Trio took turns performing sets of the group's best-known songs with all the artists joining onstage for a finale.
More than twenty years had passed since Dave Guard had left the group, but residual tension surfaced between Guard and Shane in an article in the Wall Street Journal that appeared in March 1982 following the national broadcast of the taped show.[58] Guard implicitly disparaged Shane's current group, and Shane asserted a distaste for performing again with Guard,[58] who had spent the intervening decades living and performing in Australia, touring sporadically as a soloist, and writing about and teaching music. Despite the unpleasantness, Shane and Guard reconciled to a large degree (even to the point of planning a possible reunion tour)[59] prior to Guard's death at age 56 from lymphoma nine years later in March 1991.
[5][6]The Kingston Trio in 2003: George Grove, Bob Shane, Bobby Haworth (bassist Paul Gabrielson).
Following the 1985 death of Roger Gambill, Kingston Trio personnel changed several times, though Shane and Grove remained constants. Bob Haworth, a veteran folk performer who had worked as a member of The Brothers Four for many years, initially replaced Gambill from 1985 through 1988 and again from 1999 through 2005. In 1988, original member Nick Reynolds rejoined the band until his final retirement in 1999. When heart disease forced Bob Shane's retirement from touring in March 2004, he was replaced by former New Kingston Trio member Bill Zorn. A year later, following Haworth's departure, Grove and Zorn were joined by Rick Dougherty, who had performed for a time with Zorn as second-generation members of another popular folk group from the 1960s, The Limeliters.[60]
Both the Grove–Zorn–Haworth and Grove–Zorn–Dougherty troupes of the Kingston Trio have released original CDs and DVDs, and the latter configuration continues to tour extensively under the direction of the only surviving original member Bob Shane, now sole owner of the band. Capitol Records,[61] Decca Records,[62] Collector's Choice Music,[63] and Folk Era Records[64] have released and continue to release compilations of older albums as well as previously-unreleased tapes of both studio and live recordings from the Kingston Trio's first ten years.
Folk music label[edit] Edit
Initial criticism[edit] Edit
Almost from its inception, the Kingston Trio found itself at odds with the traditional music community. Urban folk musicians of the time (to whom Bob Dylan referred in Rolling Stone as "the left-wing puritans that seemed to have a hold on the folk-music community")[65] frequently associated folk music with leftist politics and were contemptuous of the Trio's deliberate political neutrality.[4] Peter Dreier of Occidental College observed that "Purists often derided the Kingston Trio for watering down folk songs in order to make them commercially popular and for remaining on the political sidelines during the protest movements of the 1960s."[4] A series of scathing articles appeared over several years in Sing Out! magazine, a publication that combined articles on traditional folk music with political activism.[66] Its editor Irwin Silber referred to "the sallow slickness of the Kingston Trio"[67] and in an article in the spring 1959 issue Ron Radosh said that the Trio brought "good folk music to the level of the worst in Tin Pan Alley music" and referred to them as "prostitutes of the art who gain their status as folk artists because they use guitars and banjos."[68] Following the Trio's performance at the premier Newport Folk Festival in 1959, folk music critic Mark Morris wrote "What connection these frenetic tinselly showmen have with a folk festival eludes me...except that it is mainly folk songs that they choose to vulgarize."[69]
Frank Proffitt, the Appalachian musician whose version of "Tom Dooley" the Trio re-arranged, watched their performance of his song on a television show and wrote in reaction, "They clowned and hipswung. Then they came out with 'This time tomorrow, reckon where I'll be/If it hadn't a' been for Grayson/I'd a been in Tennessee.' I began to feel sorty sick. Like I'd lost a loved one. Tears came to my eyes. I went out and bawled on the ridge."[70] Proffitt had learned the song from his father and his grandmother, who had known Tom Dula and Laura Foster, the killer and the victim in the actual 1866 murder related in the song.[71] Both Proffitt and fellow North Carolina musician Doc Watson sang the older version of the tune, which had "a lively mocking tempo...that retained some of the ghastliness and moral squalor of an actual murder",[72] according to folk historian Robert Cantwell, who also notes that the Kingston Trio's version of the song left out several verses from the traditional lyric.[73] The slower, harmonized Trio version of the Dooley song and other traditional numbers struck Proffitt as a betrayal of "the strange mysterious workings which has made Tom Dooly live[sic]".[74] As recently as 2006, folk traditionalist and influential banjo master Billy Faier remarked "I hear and see very little respect for the folk genre" in their music and described the Trio's repertoire as "a mishmash of twisted arrangements that not only obscure the true beauty of the folk songs from which they derive, but give them a meaning they never had."[70]
However, Trio members never claimed to be folksingers and were never comfortable with the label. The liner notes for the group's first album featured a quotation from Dave Guard asserting that "We are not folksingers in the accepted sense of the word."[75] Guard later told journalist Richard Hadlock in Down Beat magazine: "We are not students of folk music; the basic thing for us is honest and worthwhile songs that people can pick up and become involved in."[76] Nick Reynolds added in the same article: "We don't collect old songs in the sense that the academic cats do... We get new tunes to look over every day. Each one of us has his ears open constantly to new material or old stuff that's good."[76] Bob Shane remarked years later: "To call the Kingston Trio folksingers was kind of stupid in the first place. We never called ourselves folksingers... We did folk-oriented material, but we did it amid all kinds of other stuff. But they didn't know what to call us with our instruments, so Capitol Records called us folksingers and gave us credit for starting this whole boom."[77]
21st-century perspectives[edit] Edit
Over the years, the Kingston Trio expanded its song selection beyond the rearranged traditional numbers, calypso songs, and Broadway show tunes that had appeared on its first several albums. In an obituary for Nick Reynolds (d. October 1, 2008), Spencer Leigh wrote in Britain's Sunday Independent:
Looking at their repertoire now, it is apparent that the Kingston Trio was far more adventurous than is generally supposed. They introduced "It Was A Very Good Year" in 1961, later a standard for Frank Sinatra, and they were one of the first to spot the potential of English language versions of Jacques Brel's songs by recording "Seasons in the Sun" in 1963. They encouraged young songwriters including Hoyt Axton ("Greenback Dollar"), Rod McKuen ("Ally Ally Oxen Free", "The World I Used to Know") and Billy Edd Wheeler ("Reverend Mr Black"). Best of all, in 1962 they introduced listeners to one of the most poignant songs ever written, the anti-war ballad "Where Have All The Flowers Gone?" by Pete Seeger, formerly with the Weavers.[78]
Further, Peter Dreier points out that "the group deserves credit for helping to launch the folk boom that brought recognition to older folkies and radicals like Woody Guthrie and Pete Seeger, and for paving the way for newcomers like Joan Baez, Bob Dylan and Phil Ochs, who were well-known for their progressive political views and topical songs. By the time these younger folk singers arrived on the scene, the political climate had changed enough to provide a wide audience for protest music."[4] The passage of time may well have made the controversy moot. Writing in the British daily The Guardian, again in an obituary for Reynolds, Ken Hunt asserted that "The Kingston Trio helped to turn untold numbers of people on to folk music... they put the boom in folk boom. The Kingston Trio carried the torch overseas, most notably with their international hit of 1958, Tom Dooley. They were the greatest of the bands to emerge after the McCarthy-era blacklisting of folk musicians and breathed new air into the genre."[79]
Influence[edit] Edit
On folk and pop music[edit] Edit
The Kingston Trio's influence on the development of American popular music has been considerable. According to music critic Bruce Eder writing for Allmusic.com:
In the history of popular music, there are a relative handful of performers who have redefined the content of the music at critical points in history—people whose music left the landscape, and definition of popular music, altered completely. The Kingston Trio were one such group, transforming folk music into a hot commodity and creating a demand—where none had existed before—for young men (sometimes with women) strumming acoustic guitars and banjos and singing folk songs and folk-like novelty songs in harmony. On a purely commercial level, from 1957 until 1963, the Kingston Trio were the most vital and popular folk group in the world, and folk music was sufficiently popular as to make that a significant statement. Equally important, the original trio—Dave Guard, Nick Reynolds, and Bob Shane—in tandem with other, similar early acts such as the Limeliters, spearheaded a boom in the popularity of folk music that suddenly made the latter important to millions of listeners who previously had ignored it.[1]
Discussing his earliest musical influences in a 2001 Rolling Stone interview, Bob Dylan remembered:
There were other folk-music records, commercial folk-music records, like those by the Kingston Trio. I never really was an elitist. Personally, I liked the Kingston Trio. I could see the picture...the Kingston Trio were probably the best commercial group going, and they seemed to know what they were doing.[65]
In his autobiography Chronicles, Dylan added: "I liked The Kingston Trio. Even though their style was polished and collegiate, I liked most of their stuff anyway."[80]
Jac Holzman, co-founder of the originally folk-based Elektra Records, remarked that his formerly struggling company's new-found prosperity in the late 1950s resulted from "The Kingston Trio which has the ability to capture the interest of a large number of people who have never been conscious of folk music before. In this respect, the Kingston Trio has put us on the map."[81] Even some staunch traditionalists from both the urban and rural folk music communities had an affinity for the Kingstons' polished commercial versions of older songs. In her memoir And A Voice To Sing With, singer and activist Joan Baez recalled that "Traveling across the country with my mother and sisters, we heard the commercial songs of the budding folk boom for the first time, the Kingston Trio's 'Tom Dooley' and 'Scotch and Soda.' Before I turned into a snob and learned to look down upon all commercial folk music as bastardized and unholy, I loved the Kingston Trio. When I became one of the leading practitioners of 'pure folk,' I still loved them..."[82] Arthel "Doc" Watson of North Carolina, one of the most respected and influential musicians performing traditional music, remarked, "I'll tell you who pointed all our noses in the right direction, even the traditional performers. They got us interested in trying to put the good stuff out there—the Kingston Trio. They got me interested in it!"[83]
On musicians[edit] Edit
Among the many other artists who cite the Kingston Trio as a formative influence in their musical careers are comedian, actor, and banjo player Steve Martin,[84][85] Lindsey Buckingham of Fleetwood Mac,[86] Timothy B. Schmit[87][88] of The Eagles, pioneering folk-rock artist Gram Parsons,[89] Stephen Stills and David Crosby of Crosby, Stills, and Nash,[90] The Beach Boys' Al Jardine,[91] Big Brother and the Holding Companyfounding member Peter Albin,[92] Denny Doherty of The Mamas and the Papas,[93] banjo master Tony Trischka,[94] pop groups ABBA[95] and The Bee Gees,[96] Jefferson Airplane founding members Marty Balin[97]and Paul Kantner,[98] Buffalo Springfield founding member Richie Furay,[99] Byrds co-founder Gene Clark,[100] roots musician and master mandolin player David Grisman,[101] singer-songwriters Tom Paxton,[77]Harry Chapin,[102] Jimmy Buffett,[103] Tim Buckley,[104] Steve Goodman[105] (composer of "The City Of New Orleans"), Steve Gillette,[106] Michael Smith[107] (composer of "The Dutchman"), and Shawn Colvin,[108] folk-rock group We Five co-founder Jerry Burgan,[109] folk and rock musician Jerry Yester,[110] and progressive jazz vocal group Manhattan Transfer.[111][112]
On the music business[edit] Edit
The C.F. Martin & Company guitar manufacturers has attributed the dramatic rise in demand for its instruments in the early 1960s in large part to the Kingston Trio's use of their guitars,[113] featured prominently and without compensation on nearly all of their album covers.[77] A Martin company press release in 2007 announcing a fourth Kingston Trio commemorative model guitar stated that
...The Kingston Trio changed everything about popular music—and the entire acoustic guitar industry along with it... It was the rise of The Kingston Trio that really established Martin as "America's Guitar"...The Kingston Trio wasn't just a musical group. It was a phenomenon, as influential in its time as The Beatles would become in theirs.[114]
Satirist Tom Lehrer has acknowledged the Trio's pioneering of college concerts, observing that before the Kingstons "there was no real concert circuit...The Kingston Trio started all that,"[115] and in Time magazine, critic Richard Corliss asserted, "In my youth, they changed pop music, and me with it."[115]
Awards and honors[edit] Edit
1959 Best Country and Western Recording – "Tom Dooley"[116]
1960 Best Ethnic or Traditional Folk Recording – At Large[117]
Grammy Hall of Fame Award
"Tom Dooley" 1998[118]
Grammy Lifetime Achievement Award[119]
Awarded December, 2010
Vocal Group Hall of Fame
Inducted in 2000[120]
Hit Parade Hall of Fame
Library of Congress National Registry of Historically Significant Recordings
Billboard Awards
Best New Singing Group 1958[123]
On Billboard's album charts[edit] Edit
All rankings are from "American Album Chart Records 1955–2001"[5]
Most Number 1 Albums: 5 for a Number 10 ranking
Most Weeks Charting a Number 1 Album: 46 for a Number 5 ranking
Most Weeks Charting an Album: 1,262 for a Number 10 ranking
Most Top Ten Albums: 14 for a Number 9 ranking
Most Consecutive Number 1 Albums: 4, tied for a Number 4 ranking
Most Consecutive Top 40 Albums: 17, tied for a Number 6 ranking
Most Total Weeks Albums Charted in One Year: 348 in 1961 for a Number 3 ranking; 284 in 1960 for a Number 6 ranking
Most Weeks Charting An Album by Decade, 1960–69: 1089 for a Number 4 ranking
Most Weeks With a Number 1 Album in a Calendar Year: 22 in 1960, tied for a Number 4 ranking; 18 in 1959, tied for a Number 7 ranking
Most Consecutive Weeks at Number 1 Chart Position: 15, tied for a Number 8 ranking
Retrieved from "https://music.fandom.com/wiki/The_Kingston_Trio?oldid=96238"


The best way to reach us is to call us direct, toll free. No charge on routine phone calls. All calls are free until we start coaching.
We usually respond to emails with more coaching questions for you to work on getting back to us so our coaching sessions are even more effective. It is important that you email us so we are connected electronically and you can have a free channel into our system before, during, and after our phone sessions.
Getting you back with your loved one is our priority.


I'll let it run again tonight after I run a backup.
Thing is...every time it fails, it goes ahead and starts downloading the update files again.
My last update is from April 24th. Nothing seems to come along.
Although it had claimed to check just hours before, when I did a manual check it offered me the update.
I don't think it attempts to update everybody on the same day. Perhaps by asking for it you forced it.
That's right. I don't take any crap from Microsoft.
You give me that update, and you give it now.
Both machines updated – no problem.
Failed twice on mine. Gets to 87 percent and rolls back. I can't interpret the logs. Allegedly doesn't like some driver. I think I'll upgrade the video card next weekend. I'll be on vacation and will have time to drive myself nuts.
I am sorry, I needed to gloat again.
I have this error also 0xc1900101, I pressed the pause update for 35 days. Should be enough time to order a mac book pro.
What a complete waste of precious this is. I started the update on my desktop after breakfast and it didn't complete till after my lunch, some 7 hours later. I then decided to time the update on what I thought would be the fastest of the 4 family laptops we have, a Lenovo Z50 series. All 4 started the update at the same time. These are the times to the nearest minute: Initializing - 22, Preparing to install – 1 Hour 8 mins, Awaiting install –16, Downloading – 6, Installing – 2 hours 39 mins, Restart, configuring, updating – 1 hour 33 mins, After login - 48 mins. A total of 7 hours 16 minutes. Put into perspective, I could have started this update and assuming someone clicked restart, could have driven 11 miles to my local golf course, played 18 holes, showered, had a beer or two and driven home to find the update still in progress. (To be honest the Asus FX 503 beat the Lenovo Z50 by just under two minutes, the Lenovo Thinkpad X121E was by far the slowest at 8 hours 27 minutes). Totally ridiculous in my view. Can't Windows do better than this or at the very least warn users that the upgrade is so time consuming?
New updates were available today ( ). Downloading + installing (numerous restarts) ~ 1/2 hour.
Mine wants to update but I'm holding off until I am of sound mind.
Funny, I mentioned this to a student for whom reality involves Linux. When I mentioned "Windows 10 latest update" he started laughing hysterically.
Witness wrote: Both machines seem OK.
No crapola apps came back, but some privacy settings got changed.
Windows error log reports that "The Stereo system failed to start."
Now what could have happened to my Stereo system?
Could it be a bit of malware that was removed, but something's still trying to call it?
I don't know of anything in Windows called the "Stereo Service".
I mean, they never fixed my stereos before.
It's something to do with the Nvidia card I have in the system. Seems that it installs an audio driver although I don't think the card has an audio port.


Hotel Maganas *** - Explore the best destinations!
Welcome to Hotel Maganas, a new complex of 8 fully equipped and comfortable studios. It is located right on the famous and lively beach of Astypalaia, Livadi.
The rooms are designed to accommodate 2 to 3 people and all have their own bathroom, air conditioning, TV and a fully equipped kitchen where you can prepare your breakfast, lunch or dinner.
For your even more relaxing stay toy can wash your clothes such as at each room you will find a small washing machine for your needs.
The Hotel Maganas is located just a few meters from the beach and all rooms have comfortable balconies or a terrace overlooking the sea. The friendly and family atmosphere will make you relax and enjoy your holidays. Close by you will find several tavernas and ouzeries as well as mini markets.
The Hotel Maganas offers you free transfer from / to the airport – harbor, ensuring an even more comfortable and relaxing holiday for you.


Last night in Toronto, American poet Norman Dubie and Canadian — and debut — poet Liz Howard were awarded the prestigious Griffin Poetry Prizes.
Dubie won the International Prize for his collection The Quotations of Bone (Copper Canyon Press), his 29th book of poetry, which has been praised for its "intense moral force".
Infinite Citizen of the Shaking Tent (McClelland & Stewart) is Howard's first collection. It has been called "gorgeously heretical" and was awarded the Canadian Prize.
Judges Alice Oswald, Tracy K. Smith, and Adam Sol read 633 books of poetry, received from 43 countries around the globe, including 25 translations before making their selections. Dubie and Howard each received C$65,000 in prize money.
The awards ceremony, with 300+ guests in attendance, took place the Distillery District's Fermenting Cellar. Scott Griffin, founder of the prize, and trustees Mark Doty, Carolyn Forché, Michael Ondaatje, Robin Robertson, Karen Solie, and David Young hosted the event.
Adam Zagajewski was honoured with The Griffin Trust For Excellence In Poetry's 2016 Lifetime Recognition Award. He performed a reading of his work at the celebration, and 2016 Bilingual Champion of Poetry In Voice/Les voix de la poésie, Marie Foolchand, recited "I am the People, the Mob" by Carl Sandburg.
The Griffin Poetry Prize was founded in 2000 to serve and encourage excellence in poetry. The prize is for first edition books of poetry written in, or translated into, English and submitted from anywhere in the world.
Be sure to check out our interview with all of the nominated poets.


text:
By Matthew Sanders
Walsh drops out of race due to new congressional map
KMIZ
State Rep. Sara Walsh
State Rep. Sara Walsh is dropping out of the Republican primary for Missouri's Fourth Congressional District, she said in a news release Monday.
Walsh had filed in to run in the district in February, before a new Missouri congressional map was drawn. Incumbent Congresswoman Vicky Hartzler is not seeking re-election as she pursues the Republican nomination for U.S. Senate. Under the old map, Walsh lived in the Fourth District but the new map has placed Ashland in the Third District, a seat held by incumbent Republican Rep. Blaine Luetkemeyer.
Missouri's legislature passed the map on its final day. Gov. Mike Parson has said he will sign the bill creating the new map.
"As State Representative for Missouri's House District 50, I currently represent constituents in Southern Boone and portions of Cooper, Moniteau and Cole counties," Walsh said in her statement. "My current constituents are among my strongest supporters and dear friends and I was eagerly looking forward to representing them on a greater scale at the federal level, along with everyone else in Missouri's 4th Congressional District.
"Last week, the General Assembly passed a new congressional map that moved me and all of my current constituents into the 3rd Congressional District. Still, I voted for the map because I believe it was good for conservatives and good for Missouri. However, the newly drawn district that removes my strongest base of support has a severe impact on the chances of success for my campaign."
The new map splits Boone County into the Third and Fourth congressional districts. The map also divides Columbia down Broadway. Cooper and Moniteau counties are also in the Third District on the new map.
Missouri redistricting map
Walsh declared her candidacy last July. Her husband Steve Walsh, who worked for Hartzler, died in August from COVID-19 complications. However, she continued her campaign.
Walsh's exit from the Fourth District race leaves seven Republican candidates to seek the nomination, including one from Boone County -- former county clerk Taylor Burks. Luetkemeyer is facing four Republican challengers in his Third District.
One Democrat, Jack Truman of Lamar, is running for the Fourth District seat. Four Democrats, including Andrew Daly of Fulton, have filed in the Third District.
Walsh encouraged her supporters to research the Republican candidates before voting in the August primary.
Article Topic Follows: Missouri Politics

redpajama_set_name: RedPajamaCommonCrawl


text:
The Nexus Route
Sci Fi blog and fan community
by Firebird
Doctor Who : The Lazarus Experiment
May 28, 2014 in Dr Who by Firebird
The TARDIS arrives at Martha's flat the morning after she'd left. She's a little surprised, but the Doctor did say "just one trip" even if it sort of escalated. On TV Martha's sister Latisha is standing behind an old man who boasts that he's going to change what it means to be human. The after they say goodbye the TARDIS dematerialises and then a couple of seconds later returns because the Doctor can't ignore that sweeping statement on the TV.
Professor Lazarus is discussing the up coming publicity stunt when Latisha walks in. Lazarus, despite being a decrepit old man tries to come on to Latisha which she's naturally a bit creeped out by.
Later that day the Doctor accompanies Martha to the event. It's black tie and the Doctor has had to dress up. They meet first her sister and then her mother and brother. Mum does not take to the Doctor. Before it can get any worse Professor Lazarus takes the stage making some very grand pronouncements about the importance of what he's about to demonstrate. He climbs into a cabinet which is activated with some rather TARDIS-like effects. The system starts to overload and the Doctor jumps in to shut it down before it takes out the whole building.
When it stops they open the door of the cabinet and a young man steps out. It's Professor Lazarus!
After being congratulated by almost everyone Lazarus suddenly gets an attack of the munchies and starts stuffing down the canapés. The Doctor walks up behinds him "energy deficit" he says. He quickly makes it clear that he understands the theory behind what just happened and that he doesn't think Lazarus can have accounted for all the variables, after all the whole thing nearly blew up, but Lazarus remains smug and unconcerned. He kisses Martha's hand and leaves with his elderly business partner Lady Thaw.
The Doctor and Martha go searching for a lab to look at the DNA sample she's just 'collected'. Upstairs Lazarus and Thaw remeniss.
The Doctor and Martha discover that Lazarus's DNA is mutating. His machine effectively hacked into his DNA telling it to rejuvenate him but something has gone wrong and it hasn't stopped. It's trying to turn him into something else.
An argument starts between Lazarus and Thaw but then he starts to convulse and falls to the floor. Something stands up and Thaw screams.
Martha's mum is talking to her sister and brother, she wants to know more about The Doctor, she's not happy. Lazarus walks in and leads Latisha away. The Doctor and Martha enter Lazarus's office where they find the desiccated corpse of Thaw. The Doctor is sure that it was Lazarus, the transformations requires energy and Thaw provided it. He may do it again. Just as the lift doors close behind them going down another pair open to reveal Lazarus and Latisha going up to the roof.
Discovering where Lazarus has gone the Doctor and Martha rush off after him, knocking Martha's mother aside in the process. She's even more unhappy and as she wiped off the spilled wine a man approaches and suggest that her daughter be more careful about her choice of friends.
Up on the roof the Doctor and Martha arrive and Lazarus changes. They grab Latisha and run.
The building security system goes into lockdown sealing everyone inside. The monster Lazarus arrives and feeds on one of the party guests. The Doctor leads him away with insults while Martha gets her family and everyone else out, but she then insists on returning to help him.
The Doctor blows up a lab with Lazarus in it but it seems to annoy him more than anything and certainly doesn't slow him down. He runs into Martha who returns his sonic screwdriver and they both run. There's an awful lot of running!
Outside the man who spoke to Martha's mother approaches her again and tells her that the Doctor is dangerous. He whispers something else in her ear.
The Doctor and Martha reach Lazarus's machine and hide inside it, on the basis that he won't destroy it, even to get at them. While the Lazarus monster paces outside the Doctor start messing with the circuitry and not a moment too soon as Lazarus decides to activate it, but now it reflects energy out. When the Doctor and Martha emerge, unharmed they find a naked and human looking Lazarus lying dead on the floor.
Accompanying the body outside they find Martha's family. Mum marches up and slaps the Doctor hard and tells him to keep away from her daughter. She then tries to warn Martha that he's dangerous.
There's a bang from inside the ambulance that Lazarus's body had been loaded into. The Doctor runs over, followed by Martha and Latisha. There are two desiccated corpses in the ambulance but no sign of Lazarus. The sonic tracks Lazarus to Southwark Cathedral.
Lazarus talks about his fight to overcome death but the transformation starts to come over him. He's going to need to feed again. Martha and Latisha lead him up to the top of the bell tower, acting as bait, while the Doctor uses the Cathedral organ and his sonic screwdriver to generate sound waves that knock Lazarus out of the bell town and transform him back. This time he stays dead.
Back at Martha's flat the Doctor is about to leave. Martha doesn't want to be just a passenger any more and the Doctor agrees. After a moment of misunderstanding they leave. As the TARDIS dematerialises mum calls and leaves a message on the answer phone again warning Martha that the Doctor is dangerous. This information she says, comes from Harold Saxon himself.
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Doctor Who: Initial Reactions to Heaven Sent
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Fives on Big Finish: The Diary of River Song
michael kemp on Sapphire and Steel : Assignment 6
sparrow on Star Trek : Let That Be Your Last Battlefield
Richard Freeman on Dr Who: The Planet of the Spiders
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Throughout 2016 Instagram has become the front runner when it comes to social platforms for lifestyle brands. In 2017, Instagram is set to grow by 15.1%, compared to just 3.1% growth for the social network sector as a whole.
The photo-sharing platform is becoming an increasingly effective marketing tool for lifestyle brands. This month Instagram is introducing shoppable products, but only to a select few. Kate Spade and JackThreads and among those who are able to alpha test the new feature, which enables brands to promote products and allow users to shop through the app. The feature will increase the importance of Instagram marketing even further for brands, and so getting a head start in creating an account with a high number of relevant followers and engagement is key at this stage.
Increase your user interaction with the Repost app, making it simple to repost content from users that you want to engage with. When you come across content you want to repost, simply tap the button and the app shares the content immediately for you.
Grow your following in the most simple and strategic way using Crowdfire. This handy little app allows you to white list the most important accounts, enabling you to follow and track accounts that don't follow you back, ensuring you build your following without unnecessarily following accounts that don't add value. Crowdfire also reports on who your most engaged followers are, so that you can work to keep them engaged and utilise this to grow your following further.
Make photos taken on your iPhone look amazing in seconds with this photo editing app, to create images that look like they have been shot by a professional. High quality images are essential to the success of your Instagram marketing campaign, the quality of your posts is what matters most when it comes to connecting with potential buyers.
Snapseed allows you to take editing that one step further, so that when you do add your content to Instagram and apply filters, your post looks truly amazing.
For anyone who has been working on brand marketing through Instagram for some time now, you'll be well aware that despite the app introducing business profiles recently, you still only get one clickable link on Instagram, so you'll want to make the most out of it. With Soldsie you're able to generate real-time reports on customer conversion and clicks from the link in your bio, so that you can better understand how well your campaigns are working.
Make Instagram analytics simple with Iconosquare. Measure, understand and improve every aspect of your Instagram activity with the easy to digest reports generated by Iconosquare. In addition to reporting, Iconosquare also has management features, including scheduling options, conversion tracking and monitoring and tools to increase engagement too. Iconosquare is a pretty good all-rounder.
Combined or used alone, each of these apps can go a long a way towards supercharging your Instagram marketing efforts, and as Instagram becomes more and more powerful as a marketing tool, creating an amazing Instagram campaign becomes every more essential!
Are there any Instagram tools or tips that you swear by? Comment and let me know.


text:
Q: Dojo 1.6 Custom Build Error - invalid propery id I'm trying to use a dojo custom build for my app and set up a standard profile for it. When I run the build.sh I get this:
(...)
release:      ../../release/dojo/dojox/layout/resources/FloatingPane.html
release:  Optimizing (shrinksafe) file: ../../release/dojo/dojo/k11CustomDojo.js
js: line 42106: invalid property id

js:         this.loadingPane = dojo.create("div", {class:"chart-preloader"}, this.containerNode, "last");
js: .........................................^

It seems to complain about the dojo.create() call!? Can someone point me in the right direction?

A: class is a reserved word in javascript.
Put class in quotes
this.loadingPane =
  dojo.create("div", {"class":"chart-preloader"}, this.containerNode, "last");

http://jsfiddle.net/cswing/twbfs/

redpajama_set_name: RedPajamaStackExchange


A FHA 203k loan covers the purchase or refinancing and rehabilitation of a home that is at least one year old. A portion of the proceeds is used to pay the seller, or, if a refinance, to pay off the existing mortgage, and the remaining funds are placed in an escrow account and released as rehabilitation is completed. The cost of the rehabilitation must be at least $5000 but the total value of the property must still fall within the FHA mortgage limit for the area. The value of the property is determined by either: Whichever is less.
The value of the property before rehabilitation plus the cost of rehabilitation.
*** All properties financed under the FHA 203k loan program must meet certain basic endure efficiency and structural standards.
The first type of FHA 203k Loan is the FHA Streamline 203k Loan where the maximum construction amount is capped at $35,000. You cannot do any structural changes or room additions with a FHA 203k Streamline Loan, however you can do other improvements such as basement remodeling, attic remodeling, new windows, new siding, new roofing, new kitchens, new bathroom, new HVAC systems and new appliances. The second type of FHA 2o3k Loan is a full FHA 203k where you can do everything that you can with a Streamline FHA 203k loan plus do structural changes, room additions, and any other type of repairs including a total renovation.
Whether a borrower currently has a USDA Loan, VA Loan, Conventional Loan or even a current FHA Loan a FHA 203k Loan can be done. A borrower and FHA approved bank or Mortgage lender must follow all FHA Guidelines to include meeting the minimum credit score requirements and debt to net income requirements. Most lenders have FHA Lender Overlays, an overlay is an additional more stringent guideline above the FHA minimum guideline. For example, most FHA 203k mortgage lenders will require a 640 credit score and will have debt to income ration cap of no greater than 43% DTI. Many mortgage lenders will want n collection accounts or charge off accounts on FHA 203k mortgage event though FHA does not require that you pay off outstanding collection accounts or charge off accounts. The GREAT news is the Larry Stepp Team at The Money Store do not have any mortgage overlays on FHA Loans and minimal overlays on FHA 203k Loans.
The Larry Stepp Team at Gustan Cho Associates is available 7 days a week, weekends and holidays.


text:
La cattedrale di Béziers, ufficialmente cattedrale dei Santi Nazario e Celso (in francese: cathédrale Saint-Nazaire-et-Saint-Celse), è una chiesa in stile gotico situata a Béziers nel dipartimento francese dell'Hérault e nella regione dell'Occitania. Si trova nella parte occidentale del centro storico medievale, su un ampio promontorio che domina la piana del fiume Orb alla stessa altezza del Liceo Henri IV (1598); il tutto costruito sui contrafforti degli antichi bastioni della città dell'Hérault. La vista permette di abbracciare la pianura della Linguadoca e i paesi circostanti fino ai massicci della Montagne Noire, del Caroux e dei Pirenei che si profilano all'orizzonte.

La cattedrale è stata classificata monumento storico nel 1840.

Storia della costruzione
La cattedrale è dedicata ai Santi Nazario e Celso. Sul luogo dell'attuale cattedrale esistevano una chiesa romanica e un vecchio cimitero. Era stata costruita sul sito di un antico tempio romano dedicato ad Augusto e alla moglie Livia.

Una scritta menziona l'esistenza di un edificio già nell'VIII secolo. Durante il massacro di Béziers, il 22 luglio 1209, un incendio provocò la completa distruzione dell'edificio. I lavori di ricostruzione della cattedrale iniziarono a metà del XIII secolo.

Esterno

Aspetto generale
La cattedrale è dominata da una torre quadrata alta 48 metri sormontata da una torretta che ospita un campanile in ferro con campana della fine del XVIII secolo. La parte superiore (del XV secolo) è decorata con colonne, ciascuna base delle quali rappresenta un volto umano. Il campanile contiene una campana di 4 tonnellate (chiamata Marie) fusa da François Granier, la seconda campana più grande della regione dopo quella della cattedrale di Montpellier.

Le pareti della cattedrale sono decorati con numerosi doccioni, alcuni da ristrutturare. Inferriate riccamente lavorate, del XIV secolo, proteggono le vetrate del coro.

Sagrestia
La sagrestia costruita sotto Guillaume de Montjoie, che confina con l'abside, più bassa di quest'ultima, risale al XV secolo. Ha una balaustra e i cancelli in ferro battuto risalgono al XIII secolo.

Facciate
La facciata ovest dell'edificio domina il fiume Orb ed è sormontata da due torrioni e da una merlatura. Una torre circolare, in posizione arretrata, è una vera torre di avvistamento merlata. La facciata è decorata con un rosone di 10 metri di diametro. In basso si trova il cancello d'ingresso (oggi non più utilizzato) sormontato da una merlatura. Le sculture sulla facciata sono state quasi tutte distrutte. Rimangono solo due statue, poste ai lati del portale, che rappresentano la Sinagoga e la Chiesa di Cristo (Ecclesia e Sinagoga).

Sulla facciata nord del transetto si trova il portone d'ingresso (realizzato nel XVII secolo), sormontato da un architrave ligneo che rievoca il martirio dei santi Nazario e Celso.

Interno

Dimensioni
L'interno della cattedrale è a croce greca e misura:

 50 metri in lunghezza
 la navata è larga 14 metri
 il transetto è largo 33 metri
 l'altezza massima della volta della navata è di 32 metri.

Dettagli degli interni
Sono presenti:
 colonne e capitelli romanici, resti della cattedrale antica. La maggior parte delle colonne risale al periodo gotico. Gli archi trasversali che sorreggono la volta sono del XIV secolo.
 i sostegni delle gallerie, posti nella navata centrale, in prossimità del coro, presentano fregi con triglifi e metope. Questi fregi sono imitazioni del degenerato stile gallo-romano, risalenti al periodo romanico (XII secolo).
 il coro contiene antiche vetrate di epoca gotica. Fu profondamente rimaneggiato nel XVIII secolo in stile barocco con un colonnato di marmo rosso lungo la parete dell'abside che incornicia le statue dei Quattro Evangelisti, una gloria e un altare in marmo policromo. Sopra gli stalli si trovano 6 grandi dipinti. Tre sono firmati Thierry e rappresentano scene della vita di Mosè, mentre gli altri tre sono opere del pittore di Montpellier, Raoux, e mostrano scene della vita di Costantino e di sua madre, Sant'Elena.
 la sagrestia, costruita nel 1443, dal vescovo Guillaume de Montjoie, contemporaneamente alla sala capitolare.
 le pareti sono in parte ricoperte da antichi affreschi, restaurati nel 1917. Questi furono gravemente danneggiati durante le guerre di religione, poi ricoperti da calce che venne rimossa in seguito. Sono datati al XIV e XV secolo e adornano le pareti di numerose cappelle (la Cappella dello Spirito Santo e la Cappella dei Morti in particolare).
 il grande rosone, del diametro di dieci metri.

Chiostro

Il chiostro incompiuto confina a sud con la cattedrale. La galleria superiore non fu mai realizzata. Gli intagli nelle volte risalgono al XIV secolo. La fontana che ne adornava il centro si trova ora in Place de la Révolution. Il chiostro ospita i resti di una collezione lapidea, i cui pezzi più pregiati sono stati trasferiti al Museo Biterrois. Rimane però a terra un busto di statua romana e alle pareti sono presenti alcune statue di arte sacra. Sigillati in queste mura, si possono notare in particolare elementi di epigrafia medievale e moderna, e lapidi, oltre a due frammenti di sarcofago tardoantico tipici delle manifatture aquitaine.

Sotto il chiostro si trova l'Orto del Vescovo. In questo giardino si apre un panorama che permette di abbracciare la piana dell'Orb, i ponti (Ponte Vecchio risalente al XIII secolo e Ponte Nuovo, ponte sul canale) e le chiuse di Fonserannes.

Il grande organo

Il grande organo è installato su una piattaforma in fondo alla navata. La cassa in stile Luigi XIII e opera di William Martois, datata al XVII secolo. La parte strumentale risale in parte al XVII e al XVIII secolo (William Poncher 1633, Jean de Joyeuse 1678 e Joseph Isnard 1785) e un'altra parte al XIX secolo (ricostruzione nel 1868 di Théodore Puget che modificò completamente l'armonizzazione, cioè il suono generale dello strumento, per renderlo conforme al gusto romantico). Questo strumento è stato restaurato nel 1993.

Le campane
La cella campanaria della cattedrale di Béziers ha 6 campane. Sul tetto del campanile, in una cella in ferro battuto, è collocata una campana datata 1788 fusa da Claude Brenel. Tutte le campane sono disposte in una cella metallica all'interno del campanile.

Note

Bibliografia
 L. Noguier, Saint-Nazaire de Béziers, dans Bulletin monumental, 1873, V série, tome 1, pp. 238-251 (online)
 Constant Blaquier, Cathédrale Saint-Nazaire de Béziers. Guide historique (1923), II édition (1933);
 Pierre Lablaude, Saint-Nazaire de Béziers, dans Congrès archéologique de France. 108° session. Montpellier. 1950, Société française d'archéologie, Paris, 1951, pp. 323-338
 Sous le direction de Jean-Marie Pérouse de Montclos, Cathédrale Saint-Nazaire, dans Le guide du patrimoine Languedoc Roussillon, Hachette, Paris, 1996, pp. 159-166

Altri progetti

Collegamenti esterni
Paroisse Cathédrale Saint-Nazaire Cœur de Ville
  Le campane della cattedrale di Béziers (video)
L'œuvre de maître Gervais à la cathédrale de Béziers - Persée
Les Témoins du passé - La Cathédrale Saint Nazaire et Saint Celse de Béziers - Jean-Marie Borghino
La cathédrale Saint Nazaire - Les grandes orgues su Les orgues de France
Le sous-sol de la cathédrale Saint-Nazaire de Béziers - su Premier millénaire

Architetture di Béziers
Chiese dedicate ai santi Nazario e Celso

redpajama_set_name: RedPajamaWikipedia


text:
package org.zalando.catwatch.backend.model;

import io.swagger.annotations.ApiModel;
import io.swagger.annotations.ApiModelProperty;

import java.util.Date;

import javax.persistence.EmbeddedId;
import javax.persistence.Entity;

import com.fasterxml.jackson.annotation.JsonProperty;

@Entity
@ApiModel(description = "A contributor is a (GitHub) user that may have contributed to projects. "
		+ "Equals to a GitHub acocunt. See https://developer.github.com/v3/users/#get-a-single-user")
public class Contributor {

	@EmbeddedId
	private ContributorKey key;

	private String name = null;
	private String url = null;
	private Integer organizationalCommitsCount = null;
	/**
	 * todo
	 */
	private Integer personalCommitsCount = null;
	private Integer personalProjectsCount = null;
	private Integer organizationalProjectsCount = null;
	private String organizationName = null;

	public Contributor() {
		super();
	}

	public Contributor(long id, long organizationId, Date snapshotDate) {
		super();
		this.key = new ContributorKey(id, organizationId, snapshotDate);
	}

	public ContributorKey getKey() {
		return key;
	}

	@ApiModelProperty(value = "the GitHub User ID of the Contributor. Part of the primary key. See official GitHub REST API guide.")
	@JsonProperty("id")
	public long getId() {
		return key == null ? 0: key.getId();
	}

	@ApiModelProperty(value = "the GitHub ID of the organization. Part of the primary key. See official GitHub REST API guide.")
	@JsonProperty("organizationId")
	public long getOrganizationId() {
		return key == null ? 0: key.getOrganizationId();
	}
	/**
	 * Name of contributor
	 **/
	@ApiModelProperty(value = "Name of contributor")
	@JsonProperty("name")
	public String getName() {
		return name;
	}

	public void setName(String name) {
		this.name = name;
	}

	/**
	 * URL of contributor
	 **/
	@ApiModelProperty(value = "URL of contributor")
	@JsonProperty("url")
	public String getUrl() {
		return url;
	}

	public void setUrl(String url) {
		this.url = url;
	}

	/**
	 * Count of organizational commits.
	 **/
	@ApiModelProperty(value = "Count of organizational commits.")
	@JsonProperty("organizationalCommitsCount")
	public Integer getOrganizationalCommitsCount() {
		return organizationalCommitsCount;
	}

	public void setOrganizationalCommitsCount(Integer organizationalCommitsCount) {
		this.organizationalCommitsCount = organizationalCommitsCount;
	}

	/**
	 * Count of personal commits.
	 **/
	@ApiModelProperty(value = "Count of personal commits.")
	@JsonProperty("personalCommitsCount")
	public Integer getPersonalCommitsCount() {
		return personalCommitsCount;
	}

	public void setPersonalCommitsCount(Integer personalCommitsCount) {
		this.personalCommitsCount = personalCommitsCount;
	}

	/**
	 * Count of personal projects of contributor.
	 **/
	@ApiModelProperty(value = "Count of personal projects of contributor.")
	@JsonProperty("personalProjectsCount")
	public Integer getPersonalProjectsCount() {
		return personalProjectsCount;
	}

	public void setPersonalProjectsCount(Integer personalProjectsCount) {
		this.personalProjectsCount = personalProjectsCount;
	}

	/**
	 * Count of organization projects of contributor.
	 **/
	@ApiModelProperty(value = "Count of organization projects of contributor.")
	@JsonProperty("organizationalProjectsCount")
	public Integer getOrganizationalProjectsCount() {
		return organizationalProjectsCount;
	}

	public void setOrganizationalProjectsCount(Integer organizationalProjectsCount) {
		this.organizationalProjectsCount = organizationalProjectsCount;
	}

	/**
	 * Organization of the Contributor.
	 **/
	@ApiModelProperty(value = "Organization of the Contributor.")
	@JsonProperty("organizationName")
	public String getOrganizationName() {
		return organizationName;
	}

	public void setOrganizationName(String organizationName) {
		this.organizationName = organizationName;
	}

	/**
	 * Contributor snapshot date.
	 **/
	@ApiModelProperty(value = "Contributor snapshot date. Part of the primary key.")
	@JsonProperty("snapshotDate")
	public Date getSnapshotDate() {
		return key == null ? null : key.getSnapshotDate();
	}

	@Override
	public String toString() {
		StringBuilder sb = new StringBuilder();
		sb.append("class Contributor {\n");

		sb.append("  id: ").append(getId()).append("\n");
		sb.append("  organizationId: ").append(getOrganizationId()).append("\n");
		sb.append("  name: ").append(name).append("\n");
		sb.append("  url: ").append(url).append("\n");
		sb.append("  organizationalCommitsCount: ").append(organizationalCommitsCount).append("\n");
		sb.append("  personalCommitsCount: ").append(personalCommitsCount).append("\n");
		sb.append("  personalProjectsCount: ").append(personalProjectsCount).append("\n");
		sb.append("  organizationalProjectsCount: ").append(organizationalProjectsCount).append("\n");
		sb.append("  organizationName: ").append(organizationName).append("\n");
		sb.append("  snapshotDate: ").append(getSnapshotDate()).append("\n");
		sb.append("}\n");
		return sb.toString();
	}
}

redpajama_set_name: RedPajamaGithub


text:
Q: DLLImport with char * arguments. Only one character being passed I have written a C++ DLL with the following function exported
extern "C" BOOL WINAPI SetUserPassword(const char* u, const char* p)

When calling this from C# I am using the following code
[DllImport("mydll.dll")]
private static extern int SetUserPassword(String user, String password);

Now when SetUserPassword is called I only get the first letter of each parameter.  I did some googling and found that String was perhaps not the best to use so tried using IntPtr and Marshal.StringToBSTR() but this didn't work either.
How should this be structured correctly? I am able to modify the C++ DLL if required.

A: The only thing that makes sense is that your C# code is actually:
[DllImport("mydll.dll", CharSet = Unicode)]
private static extern int SetUserPassword(String user, String password);

When you do this you pass a wide character based string to your C++ code and since it expects single byte characters it interprets the 0 byte in the second half of the first two byte character as a string terminator.
You should write:
[DllImport("mydll.dll", CharSet = Ansi)]
private static extern int SetUserPassword(String user, String password);

Or in fact you could write it exactly as in your question because Ansi is the default.

And in fact it turns out that you are on CE which does not support Ansi character set and so the only reasonable solution is to make your C++ code accept wide character strings.


text:
Scholz takes over as German chancellor, ending Merkel era By Reuters
2/2 © Reuters. Designated German Chancellor Olaf Scholz reacts after being elected as new chancellor during a session of the German lower house of parliament Bundestag, in Berlin, Germany, December 8, 2021. REUTERS/Annegret Hilse 2/2 By Michael Nienaber BERLIN (Reuters) -German lawmakers elected Social Democrat Olaf Scholz as chancellor on […]
© Reuters. Designated German Chancellor Olaf Scholz reacts after being elected as new chancellor during a session of the German lower house of parliament Bundestag, in Berlin, Germany, December 8, 2021. REUTERS/Annegret Hilse
By Michael Nienaber
BERLIN (Reuters) -German lawmakers elected Social Democrat Olaf Scholz as chancellor on Wednesday, ending 16 years of conservative rule under Angela Merkel and paving the way for a pro-European government that has promised to boost green investment.
Scholz, 63, who over the past four years served as vice chancellor and finance minister in coalition with Merkel, got a clear majority of 395 votes from lawmakers in the lower house of parliament, Bundestag President Baerbel Bas said.
Wearing a black face mask, Scholz waved as he received a standing ovation from lawmakers and lavish bouquets of flowers and a basket of apples from the leaders of the parliamentary parties.
Scholz was formally nominated by President Frank-Walter Steinmeier in the nearby Bellevue Palace before returning to parliament to take the oath of office in front of lawmakers and become Germany's ninth chancellor since the end of World War Two.
Scholz swore, among other things, to devote his energies to the welfare of the German people. But he did not ask for God's help, a phrase that is usually included in the oath of office and was spoken by Merkel.
Back in Bellevue Palace, the ministers of the new cabinet received their appointment certificates from the president.
In the afternoon, Merkel will officially hand over the chancellery to Scholz as the country faces a brutal fourth wave of coronavirus infections and challenges to its democratic order from authoritarian governments.
With his down-to-earth and no-nonsense manner, Scholz has positioned himself as Merkel's natural successor and a safe pair of hands to steer Europe's largest economy through challenges ranging from tackling the climate crisis to dealing with a more confrontational Russia and increasingly assertive China.
Scholz will lead an unprecedented three-way ruling coalition on the federal level with the pro-spending, environmentalist Greens and the fiscally more conservative, libertarian Free Democrats (FDP) – unlikely political bedfellows in the past.
Scholz is an experienced negotiator and veteran politician who as SPD party secretary general from 2002 until 2004 defended controversial labour market reforms and social welfare cuts under former Chancellor Gerhard Schroeder.
As labour minister from 2007-2009 in Merkel's first ruling coalition, Scholz pushed for a generous short-time work scheme that helped protect millions of workers from the fallout of the global financial crisis.
After being mayor of the northern port city of Hamburg from 2011-2018, Scholz returned to Berlin as Merkel's finance minister – a role in which he got rid of the goal of balanced budgets and enabled record new borrowing to shield companies and employees from the impact of the coronavirus pandemic.
On the European level, he worked closely with France and persuaded Merkel to support a debt-financed European Recovery Fund worth 800 billion euros ($900 billion) to help EU member states hit hardest by COVID-19.
Merkel, 67, a lover of opera and hiking in the little spare time she has had in the last 16 years, has given few clues about what she plans to do in retirement.
($1 = 0.8861 euros)
2021 Brampton Farmers' Market
Wed Dec 8 , 2021
Content The Week Ahead Borough Market Recipe Bins Trading Household Values, Consistent High Quality, & Neighborhood Centered Read as a lot as potential in regards to the firm's business and operations earlier than investing in an IPO. Finance executives at German blue-chip firms are dealing with stricter oversight and governance necessities […]
Buffett's Berkshire Hathaway boosts operating profit, cash hoard sets record By Reuters
Factbox-The global background of Deutsche Bank's new chair By Reuters
World powers test Iran's commitment to talks, Iran stays firm By Reuters
WHO cautions against imposing travel restrictions due to new variant By Reuters
Honduras votes, leading leftist bids to end conservatives' 12-year rule By Reuters
G20 leaders final statement offers few commitments on climate By Reuters


text:
US Sending Patriots To Ukraine Under $1.85B Aid Package
The Associated Press,
WASHINGTON (AP) — The Biden administration announced Wednesday that it will provide $1.85 billion in military aid to Ukraine, rolling out funding for a Patriot missile battery as Ukrainian President Volodymyr Zelenskyy is arriving in Washington for his first known trip out of his country since Russia invaded in February.
The White House announcement came just hours before Zelenskyy was expected to arrive. The package includes $1 billion in weapons and equipment from Pentagon stocks, including the Patriot battery for the first time, and $850 million in funding through the Ukraine Security Assistance Initiative. Part of the USAI will be used to fund a satellite communications system, which likely will include the crucial SpaceX Starlink satellite network system owned by Elon Musk.
"As Russia continues its brutal attacks against critical infrastructure in Ukraine, the United States welcomes President Volodymyr Zelenskyy to Washington, D.C. today to underscore our enduring commitment to the people of Ukraine," Secretary of State Antony Blinken said in a statement, adding that the U.S. will be providing "critical new and additional military capabilities to help Ukraine defend itself from Russia's ongoing brutal and unprovoked assault."
Zelenskyy and other Ukrainian officials have pressed Western leaders to provide more advanced weapons, including the Patriots, to help their country in its war with Russia. The Patriot would be the most advanced surface-to-air missile system the West has provided to Ukraine to help repel Russian aerial attacks.
Categories: News, News – Latest News, US & World News


text:
No Man's Sky 4.0 trailer shows off streamlined UI and new relaxed mode
hitzgh October 7, 2022 No Comments
Sci-fi adventure No Man's Sky makes its debut on the Nintendo Switch today, and alongside that launch comes the next major update, bringing the game up to version 4.0.
Dubbed "Waypoint," it's the 21st free update for the game (it's available across all platforms, not just the Switch), and it includes a number of notable features like a streamlined save system, improved inventory, a new relaxed mode, and an increased level cap for longtime spacefarers. Many of the changes are designed to make the game easier to pick up and play, given its new portable home. In an interview with The Verge earlier this week, Hello Games' Sean Murray described the update as a chance to "focus on some of the fundamentals" of the game.
You can check out all of the details in the above trailer, as well as get a glimpse of the Switch version in action in the clip below:
The "waypoint" expansion is just one of many updates to the game just this year, including the addition of space whales, gigantic freighters, and big changes for combat. It's enough to make me want to start up my No Man's Sky diary again.
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text:
The Ministry of Colleges and Universities is the ministry of the Government of Ontario responsible for administration of laws relating to post-secondary education. This ministry is one of two education ministries, the other being the Ministry of Education (responsible for primary and secondary schools across Ontario). The Ministry's offices are in downtown Toronto. The current minister is Jill Dunlop.

History
In May 1964, the Department of University Affairs Act was passed establishing the Department of University Affairs. The department was charged with administering the government's support programs for higher education, previously the responsibility of the Department of Education. Bill Davis, the inaugural minister, was the Minister of Education at the time and continued to hold the position after the department's establishment.

In addition to jurisdiction over higher education, the department also had financial jurisdiction over the Royal Ontario Museum, the Royal Botanical Gardens and the Art Gallery of Ontario. In October 1971, the department's size was doubled by the addition of the Applied Arts and Technology Branch of the Department of Education. In light of this expansion of functions, the name of the department was changed to the Department of Colleges and Universities.

It was renamed the Ministry of Colleges and Universities in 1972 as part of a government-wide restructuring. In 1975, various cultural programs and institutions of the ministry were transferred to the newly created Ministry of Culture and Recreation.

In 1985, a separate Ministry of Skills Development was created. In 1993, the Ministry of Colleges and Universities, the Ministry of Education and the Ministry of Skills Development were combined to form the Ministry of Education and Training.

In June 1999, the responsibilities for post-secondary education and skills development were again given to a standalone ministry, named the Ministry of Training, Colleges and Universities.  Briefly between 2016 and 2018, it was renamed the Ministry of Advanced Education and Skills Development.

In October 2019, training and skills development was moved to the Ministry of Labour and the ministry was renamed the Ministry of Colleges and Universities.

Governance

The Minister of Colleges and Universities is a member of the Executive Council of Ontario (or cabinet) reporting to the Premier and held accountable by the Legislative Assembly of Ontario. The deputy minister manages the operations of the ministry that includes five main divisions. As a whole, the ministry has responsibility for administration of laws relating to post-secondary education and skills training in Ontario. The divisions cover employment and training, post-secondary education, strategic policy and programs, corporate management and services, and French-language education and educational operations. The divisions report to the deputy minister who then reports to the minister. The ministry works with several external advisory bodies to assist in the governance of the higher education system in Ontario.

Function
In addition to being responsible for the administration of policies, laws, and funding relating to Ontario's 24 colleges and 22 universities, the Ministry of Colleges and Universities is also responsible for the registration of private career colleges as well as financial aid through the Ontario Student Assistance Program (OSAP).

Ministry Agencies

 Higher Education Quality Council of Ontario
 Ontario Research Fund Advisory Board
 Postsecondary Education Quality Assessment Board
 Training Completion Assurance Fund Advisory Board

Reports

Rae Report, 2005

The Rae Report, officially titled Ontario: A Leader in Learning, called for deregulation of tuition fees, income-contingent loan repayments, and an increase in public funding.

List of ministers

See also
Higher education in Ontario

References

Notes

Citations

Colleges and Universities
1999 establishments in Ontario
Ontario
Higher education in Ontario
Ontario, Colleges and Universities


On Dial-in via the mobile phone or a fixed-line phone, the number has to be registered in 'my numbers' in your fonworld-account. This is needed to assign the number to your account.
You register your number. Next, you call the PING callback-number (+49 69 22 77 94 87) in Germany.
After a short message we disconnect the call which you will not be charged for.
Now, you'll called back from our System.
Example costs: GREECE mob = 4,24 ct./Min.
After the callback you enter the phone number of the desired conversation partner. Now, you are calling via the fonworld network.
Example costs: GERMANY = 1,87 ct./Min.
For Example: Total costs 4,24 ct./Min. + 1,87 ct./Min. = 6,11 ct./Min.
The total costs on a callback call results in the tariffs from the two connected countries.
If you call via the web phone, you will only have to pay costs for guiding the relevant target country.
Example: If you call the German landline network using the web phone from Spain, you will only have to pay the German tariff, fonworld/web phone section. You can find a cost example for the callback procedure further down the page.
You can also use your telephone book for dialling. Please dial +49 69 22 77 94 87 + the according speed-dial-number. Please type in the speed-dial-number subsequently (no plus sign).
You receive a callback on the line you have called from. Then you'll be connected to the participant of the speed-dial number without to have to enter the complete destination number.


Gifts from individuals, combined with Basic Mission Support funds from congregations, enable Presbyterian mission personnel to work in approximately 50 countries. As church wide mission funding continues to change, we cannot keep dedicated mission workers in service unless Presbyterians support us with gifts over and above their congregational giving. Presbyterian World Mission will send as many mission workers as the church will support. Your financial gift blesses our sisters and brothers in countries all across the globe by expanding World Mission's capacity to respond to urgent requests for mission personnel. Please send your generous gift today.


Natasha has been crafting exceptionally creative work in almost every medium imaginable for almost her entire life. With a belief that the whole world is a potential canvas, she has made her mark by taking the everyday world and altering it into something more fantastic. Her style is vibrant, colorful, and creative. With her seemingly insatiable drive to create and the incredible depth of the worlds she paints every day, one can't help but wonder if she is not actually tapped into another realm altogether. A world where the standard rules of physics, shape and color simply don't apply. A world so rich you will see something new appear every time you view it. As a live performer, her canvases are transformed at an incredible pace. With body painting, her subject drastically changes form becoming a creature that has walked straight out of one of her paintings, bringing you one step closer to her realm as it moves closer to you.
Art is very powerful and beautiful thing. I see it changing and influencing lives every day.
I love to make happy art full of positive energy and feelings.
To inspire, to move, to raise questions in the audience.
Art is my life, my heart beat, my best friend and I could not live without it.


Five in a Row Forums > Family Room > The Family Room > Friday Feasts!
View Full Version : Friday Feasts!
Happy Friday! Tonight I am giving myself a break and ordering pizza. What is cooking at your house?
We're having ham, leftover mac and cheese and mashed potatoes, and probably green beans.
About 4 years ago there was a recipe in Family Fun magazine for gourmet camping recipes. One was for a German style packet. I make it now in the oven at 425 for an hour. Cut up red potatoes, smoked sausage, yellow squash, carrots, a can of butter beans and mix. Mix some Dijon mustard, oil (like canola) and lemon juice and pour over the rest. Bake.
Took a break here too. We went for burgers after seeing the movie Max.


Today is St. Peter's day - one of the most honored Orthodox feasts in Bulgaria. The rituals observed today aim to protect houses and farmer's land from fire. Traditionally, there is a rooster or chicken on the table. In the orthodox tradition roosters measure time and signify the power of sun. They are accepted as a symbol of fertility and harvest abundance. We are not huge chicken eaters in our home, but this is one of the recipes, which make chicken disappear in minutes. Think about crispy skin which crackles between teeth. Tender succulent meat which fills mouth with heavenly juices. A well roasted chicken does not need anything else. OK, probably the subtle additional flavor of rosemary for instance. Or thyme. According to the Internet, this recipe originated in Zuni cafe in San Francisco. I wish to go there in order to taste the original as soon as I can, but until then I will only use their know-how at home.
Pat dry chicken very well after rinsing - the wet skin will make it steam into the oven and this will make the skin soft.
Salt chicken a day or two in advance - this will 'lock' the moisture inside and will improve the taste (I never have the patience to obey this requirement and the chicken is also perfect, so you can skip this step).
Choose your favorite herb - rosemary, thyme or salvia and slip some sprigs under the skin of the chicken. This will provide it with lots of flavor.
Do not use any oil or butter for roasting the chicken - its own fat will do the things.
Preheat the skillet into the oven very good, so to allow the chicken to sizzle when you put it into the skillet. This will prevent the skin from sticking to the pan.
Put the chicken breast side up first.
Rinse and pat dry the chicken very well. Rub the skin with salt from all sides, put some salt into the cavity.
Preheat oven to 250°C (475° F). Put an oven-proof roasting pan into the oven and heat it well (at least 15 minutes). The pan shoud be clean and empty - no butter or oil is required.
Make two little pockets under the skin of the chicken from the breast side and put two sprigs of rosemary. Flip chicken and put some sprigs of rosemary under the skin below the wings.
Put the chicken into the pan breast side up. The bird will sizzle when its skin touches the skillet. Flip the bird after 30 minutes and roast for additional 20 minutes. Turn again one more time for 15 minutes and take out of the oven. Let the chicken rest for 5 minutes before serving - this will help retain the juices and will make it more succulent.
Thanks for linking in Meli. We now have a great collection of chicken recipes - now over 70 and still coming in!
Everytime I make chicken I do it like this now. It turns out good every time!
Hi, we've cooked the chicken this way tonight and it turned out super good.
Kudos to the chicken too which was raised organically, but this recipe is a winner!


Piano score printing and binding: insert blank pages where necessary to ensure that the even-numbered pages are on the left. This will give the least inconvenient page-turns.
Collected selection of Senaille Sonatas for intermediate violin students.
Now contains 9 sonatas. Op.1 4 and 5 added.
Apart from the favorite Allegro Spiritoso (from Op.4, No.4), only a few individual sonatas are in print (Durand, O.U.P, Schott, Simrock etc) along with the complete Op.3 from Cornetto.