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Festival Roundup April 2017
This is The Festival Roundup as printed in our April 2017 issue, the most recent Roundup can be found under "Events" in our menu.
REDWOOD COAST MUSIC FESTIVAL (Eureka, Calif.) – March 30-April 2
The Northern California city of Eureka sits amid towering redwood forests south of Arcata Bay, 275 miles north of San Francisco. Eureka's atmospheric Old Town waterfront district stands adjacent to this festival's six venues—The Red Lion Hotel, The Adorni Center, the Eureka Theater, The Sequoia Center, Morris Graves Museum, and Eureka Municipal Auditorium. The 27th annual Redwood Coast Music Festival presents four days of traditional jazz, swing, rockabilly and zydeco and two nights of blues. 2017 performers include Bob Draga & Friends, Jacob Miller & The Bridge City Crooners, Mona's Hot Four, The Au Brothers, Le Jazz Hot, the Grand Street Stompers with Molly Ryan, Jonathan Stout and His Campus Five, Dave Bennett & The Memphis Speed Kings, the Kris Tokarski Quintet with Chloe Feoranzo, Sonny Leyland & Friends, Stompy Jones, Nathan James & The Rhythm Scratchers, Gator Nation, Cocuzzi and Coots Courtet, Dave Stuckey & The Hot House Gang, Two Tone Steiny & The Cadillacs, Gino & The Lone Gunman, Tom Rigney & Flambeau, and Michael Doucet. Blues artists include Duke Robillard, Rick Estrin & The Nightcats and the James Harman Band.
All-event tickets cost $90 in advance, $30 for youth; blues package $60; and daily ticket prices ranged from $30 to $55; opening night dance $10; 523 Fifth St., Eureka, CA 95501; (707) 445-3378; [email protected]; rcmfest.org.
ELEVENTH ANNUAL CHARLES TEMPLETON RAGTIME AND JAZZ MUSIC FESTIVAL (Starkville, Miss.) – March 30-April 1
This ragtime romp is named after the Starkville, Miss. businessman who donated his extensive collection of sheet music, instruments, record players and memorabilia to Mississippi State University in the late-1980s. Charles H. Templeton particularly appreciated ragtime music, a genre that enjoyed its peak popularity between 1895 and 1918, right around the time Machine Gun Kelly was attending Mississippi State during World War I. Although this decade-old festival has academic roots—it's hosted by the University Library and the Charles Templeton Sr. Music Museum as a means of enhancing research of early jazz—it showcases some of the world's best ragtime and stride piano players.
For 2017, Festival Artistic Director Jeff Barnhart, himself a talented pianist, will perform along with keyboardist Brian Holland and Dan Levinson's Roof Garden Jass Band from NYC. Daytime events take place in the Templeton Music Museum, while evening concerts are staged at McComas Hall Auditorium.
All-event tickets cost $50; Friday only $30; Saturday only $30; individual concerts $10; and seniors receive a 20 percent discount; P.O. Box 5408, Mississippi State, MS 39762; (662) 325-6634; Lynda Graham, 662-325-6634, email: [email protected]; library.msstate.edu/ragtimefestival.
PENSACOLA JAZZ FESTIVAL (Pensacola, Fla.) – April 1-2
Now in its 34th year, this free festival is staged April 1 and 2, at the historic Seville Square Gazebo in downtown Pensacola, in Florida's western panhandle. Nicknamed "The City of Five Flags," Pensacola is a seaport city located on Pensacola Bay protected by the barrier island of Santa Rosa. This year West Coast super-trumpeter Wayne Bergeron performs with the Gulf Coast Collegiate All-Star Jazz Band Saturday, April 1, and the Don Snowden Big Band Sunday, April 2; other performers include the Greg Abate Quintet and Annie Sellick & The Hot Club of Nashville; from 2 to 3 p.m. on Saturday and Sunday, guitarist and music therapist Mike Potters hosts a Kids Jazz Jam with kazoos and harmonicas.* Admission is free; jazzpensacola.com; (850) 433-8382.
FRENCH QUARTER FESTIVAL (New Orleans, La.) – April 6-9
Started as a neighborhood gathering more than three decades ago, the French Quarter Festival has since grown into "The World's Largest Block Party" where visitors join locals to enjoy the best of Louisiana music, food and culture, all for free. Featuring more than 800 musicians on 20 stages, more than five dozen food-and-beverage vendors (all dishes are priced in the $3-$5 range), kid-friendly attractions, free tours of hidden French Quarter patios and gardens, a Pirate's Alley art show, the world's largest praline, and fireworks exploding over the Mississippi River. The 34th annual French Quarter Festival will be staged over a half dozen blocks between Bourbon Street and the Mississippi Riverfront, there is no admission and fences do not enclose the site. A second-line parade at 10 a.m. Thursday, April 6, kicks off the festival, and the Opening Night Gala will return that evening to Antoine's Restaurant with music by Player's Ella and Louie Tribute Band.
Festival performers on Thursday include Cha Wa with trombonist Haruka Kikuchi, Chubby Carrier and the Bayou Swamp Band, Aaron Neville, Darcy Malone and The Tangle, Dr. Michael White, Ellis Marsalis, Evan Christopher's Clarinet Road and Mahogany Brass Band; on Friday, Banu Gibson, Meschiya Lake, Charmaine Neville, Amanda Shaw, Panorama Jazz Band, Monk Boudreau & The Golden Eagles, Shannon Powell's Traditional All-Star Band, Storyville Stompers Brass Band, the Dixie Cups, Tuba Skinny, and Washboard Rodeo; on Saturday, Big Chief Bo Dollis, Jr. & The Wild Magnolias, Dukes of Dixieland, Kermit Ruffins & The Barbecue Swingers, King James & The Special Men, Lars Edegran's New Orleans Ragtime Orchestra, New Orleans Classic Jazz Orchestra, New Orleans Moonshiners, Perdido Jazz Band, The Original Pinettes Brass Band, The Pfister Sisters, Red Wolf Brass Band, Tim Laughlin, Tommy Sancton's New Orleans Legacy Band, and the Soul Rebels; on Sunday, Bonerama, Bucktown All-Stars, James Andrews, Wendell Brunious, John Mooney & Bluesiana, Kris Tokarski Band, Leif Pedersen's 1944 Big Band, Leroy Jones & New Orleans' Finest, the New Orleans Jazz Vipers, Steve Pistorius & The Southern Syncopators, Stooges Brass Band.
More than 60 food and beverage booths will be scattered throughout the historic French Quarter. Admission is free; (504) 522-5730; fqfi.org/frenchquarterfest/.
JAZZAFFAIR (Three Rivers, Calif.) – April 7-9
Inspired by its longtime performance hosts – The High Sierra Jazz Band – the Jazzaffair takes place annually in the Central California town of Three Rivers, nestled in the Kaweah River canyon, just above Lake Kaweah, in the Sierra Nevada Mountains not far from Fresno. Festival venues include the Lions Club, the Veterans Memorial Building and the St. Anthony Retreat. Free shuttle busses transport festival goers from place to place. Performers for the 44th annual Jazzaffair will be High Sierra, Tom Rigney, Cornet Chop Suey, Grand Dominion, Blue Street, Bob Draga with Kylie Castro, High Street, pianist Carl Sonny Leyland, the Stardust Cowboys, Titan Hot Seven, the Jerry Krahn Quartet, and the Flip Oakes Quartet.
All-event three-day badge costs $95 if purchased on or before March 15 or $100 after March 15; daily ticket prices range between $25 and $45; children pay half price, and kids age 11 and younger are free with their parents. For info, write Jazzaffair, Box 712, 42490 Kaweah River Drive, Three Rivers, CA 93271; call (559) 561-4549; email [email protected]; or visit jazzaffair.info/.
OAKHURST RAGTIME FESTIVAL (Oakhurst, Calif.) – April 21-23
Before 1912, Oakhurst was known as Fresno Flats. Before 1912, jazz was known as ragtime. This humble celebration of ragtime piano playing is staged at the Oakhurst Community Center, 39800 Road 425-B, south of China Creek and just north of Oakhurst Mobile Home Estates. Oakhurst is located in Central California, in the foothills of the Sierra Nevadas. Performers are Tom Brier, Larisa Migachyov, Jack and Chris Bradshaw, John Reed Torres, and 17-year-old prodigy Diego Bustamante, who plays an ice-cream social concert Saturday afternoon. A donation-only finale will be staged at 1 p.m. Sunday at the Oakhurst Lutheran Church, 39255 Black Road. Weekend passes cost $40; individual concerts tickets range from $6 to $24; RVs can be parked at the Community Center for $15 nightly; facebook.com/oakhurstragtimefestival; (559) 683-7860.
Thousands of music fans from across the country and around the world fill the Fair Grounds Race Course in Mid-City, attending the New Orleans Jazz and Heritage Festival every year. This year's festival showcases hundreds of performers from the Big Easy's own Preservation Hall Jazz Band, Big Chief Donald Harrison, Trombone Shorty, and Dr. Michael White to international pop music stars such as Lorde, Dave Matthews, and Stevie Wonder. (photo courtesy nolajazzfest.com)
NEW ORLEANS JAZZ & HERITAGE FESTIVAL (New Orleans, La.) – April 28-May 7
One of the biggest and best festivals in North America, the New Orleans Jazz and Heritage Festival presents music between 11 a.m. and 7 p.m. during the last weekend of April and first weekend of May, at a dozen different stages all over the Fair Grounds Race Course, in the historic Mid-City neighborhood. Each stage is dedicated to different style of music, and jazz fans pay particular attention to venues such as the Congo Square Stage, the Gospel Tent, the Jazz & Heritage Stage, the Blues Tent, and the Economy Hall Tent. Performers for the 47th annual festival include headliners Stevie Wonder, Tom Petty & The Heartbreakers, Maroon 5, Dave Matthews, and Tim Reynolds, Harry Connick, Jr., Meghan Trainor, Lorde, Snoop Dogg, Alabama Shakes, and Widespread Panic. Many of New Orleans' best-known performers will include Trombone Shorty and Orleans Avenue, Rebirth Brass Band, Ivan Neville, Irma Thomas, Big Chief Monk Boudreaux & The Golden Eagles, Kermit Ruffins, Henry Butler, Big Chief Donald Harrison, James Andrews and the Crescent City All-Stars, John Mooney & Bluesiana, and Dr. Michael White, the Preservation Hall JB, Cyril Neville & SwampFunk, a salute to Louis Armstrong by Hugh Masekela, and a tribute to Pete Fountain featuring Banu Gibson, Tim Laughlin, and Evan Christopher. On the opening day, a tribute to Blue Lu Barker will be performed by Meschiya Lake and Quiana Lynell.
Prices for VIP passes for first weekend range from $600 to $1,200; second weekend VIP prices range from $700 to $1,400; daily ticket prices range between $70 through April 27 or $80 at the gate; children ages 2 through 10 cost $5 each, at the gate only; (504) 410-4100; nojazzfest.com.
St. Louis-native stride pianist Stephanie Trick will be featured at the Capital City Jazz Fest in Fitchburg, Wisc., from April 28 through May 1. (photo by DieBrue; courtesy alchetron.com)
CAPITAL CITY JAZZ FEST (Fitchburg, Wisc.) – April 28-30
Jazz fans from all over the country will converge on Madison to hear non-stop jazz at the 29th annual Capital City Jazz Fest sponsored by the Madison Jazz Society at the Wyndham Garden Hotel, 2969 Cahill Main, in Fitchburg, Wisconsin. More than 400 jazz fans are expected to attend four sessions over the three days of the fest: Friday, April 28, from 6:30 to 11 p.m.; Saturday, April 29 from 11 a.m. to 4 p.m. and 6 to 11 p.m. and Sunday, April 30 from 11:30 a.m. to 4 p.m.
Trumpeter/vocalist Bria Skonberg will arrive in Madison before the festival to present workshops for high-school and college students. The Vaché/Coots/Trick Trio will feature clarinetist Allan Vaché, drummer Danny Coots and stride pianist Stephanie Trick and her husband, pianist Paolo Alderighi. Returning to the festival again this year will be Bob Schulz's Frisco Jazz Band. A jazz worship will be staged Sunday morning featuring Bob Schulz, and the Rev. Allan Townsend will conduct the service. The fest's Jazz Mall will sell books, records, CDs, videos, jazz clothing and souvenirs.
All-events passes cost $140; individual session tickets costing $35 per session are available by mail or can be purchased at the door 30 minutes before a session; Madison Jazz Society, P.O. Box 8866, Madison, WI 53708-8866; (608) 850-5400; madisonjazz.com.
BUNNY BERIGAN JAZZ JUBILEE (Fox Lake, Wisc.) – May 19-21
Roland "Bunny" Berigan was one of the most charismatic trumpeters of all time. Now his humble hometown of Fox Lake, Wisc., celebrates his short life with a three-day jubilee. In addition to more than 20 hours of jazz, swing and Dixieland favorites, the event includes presentations covering Berigan's contributions to jazz and swing. The festival stages concerts throughout the quaint city of Fox Lake, located 55 miles north of Chicago, Ill. Venues include Moose's Root Beer Stand, the Fox Lake Community Center, Mullin's Drive-In, and the American Legion Hall. Performers for 2017 are the Bob Schulz Mid-West All-Stars, St. Louis Stompers led by Steve Lilley, Jack's Jubilee Band playing Bunny's music, the Kaye Berigan 5-Tet, the Matt Miller Jazz Trio, and special guest trumpeter Duke Heitger. There will be a Dixieland Graveside Service at Bunny's resting place at 10:30 a.m. at Annunciation Cemetery, with a sermonette delivered by the Rev. Al Townsend, and two Sunday-morning church services by the St. Louis Stompers at First Evangelical Lutheran Church in Beaver Dam.
Weekend passes cost $105 in advance, and daily tickets cost $30. For info, contact jubilee chairperson Julie Fleming at (920) 928-6094; via mail N10472 Chief Kuno Trail, Fox Lake, WI 53933; via email at [email protected]; or visit bunnyberiganjazzjubilee.com.
JACKSONVILLE JAZZ FESTIVAL (Jacksonville, Fla.) – May 25-28
Three stages of live jazz, local food, drinks, shopping and entertainment will fill downtown Jacksonville along the banks of the St. John's River, on Memorial Day Weekend. Since its inception in 1981, the Jazz Fest has become one of the largest festivals in the country with a vibrant street-festival atmosphere, and in 2017 you can experience it on an even larger scale throughout 15 blocks of downtown. The 36th annual festival showcases a wide variety of artists and musical styles, including Bria Skonberg, Gregory Porter, The Rippingtons, Joey Alexander, Jane Monheit, Jazzmeia Horn, Chick Corea, Lisa Kelly, Airmen of Note, the Jax Jazz Collective, and the Lucky Chops.
Admission is free, but VIP packages are available , and three-day VIP passes cost $289 in advance and $319 at the gate; Friday $99; Saturday $139; Sunday $139; tickets to the Jacksonville Jazz Piano Competitions on May 26 cost $10; jacksonvillejazzfest.com/; (904) 630-3690.
The Lodi, California-based Cell Block 7—which, despite its name, often appears as an octet—is led by brassman Bob Romans and features Bob Sakol, Pete Mains, Tim Maihack, Tom Downs, Jack Convery, Coleman Sholl, and Daryl Hosick. The band will appear (contingent on further appeal) at the Sacramento Music Festival from May 26 to 29. (photo courtesy cellblock7.net)
SACRAMENTO MUSIC FESTIVAL (Sacramento, Calif.) – May 26-29
Every Memorial Day Weekend since 1974, Old Sacramento and more than a dozen other downtown venues have hosted one of the area's biggest parties of the year. Originally known as the Old Sacramento Dixieland Jazz Jubilee, the festival has expanded into other styles of music in addition to classic jazz and swing. This will be the 43rd edition of what many people consider the granddaddy of jazz festivals hosted by the Sacramento Traditional Jazz Society. Guest artists this year are Banu Gibson with the Clint Baker All-Stars, drummer Danny Coots, clarinetist Bob Draga and piano prodigy Jason Wanner. Other performers include Cornet Chop Suey, The Zydeco Flames, Crescent Katz, High Street JB, the Pub Crawlers, Sister Swing, Avalon Swing. Igor & Gaylan, Gator Nation, Bill Eddie & Shelley, Black Tuesday JB, Midnight Rose JB, Mumbo Gumbo, Fulton Street JB, stride pianists Stephanie Trick & Paolo Alderighi, The Royal Society Jazz Orchestra, Cell Block 7, Tom Rigney & Flambeau, Beth Duncan, and the STJS All-Star Band.
All-event tickets $99 plus $5.94 fee for a limited time; $125 at gate; $315.99/VIP, limited to 50; daily passes range from $41.94 to $48.24; discounts for students; sacmusicfest.com/; (916) 444-2004.
GRAND INTERNATIONAL RAGTIME-JASSTIME FESTIVAL SPRING FLING (Alexandria Bay, N.Y.) – May 26-28
Located in the heart of the Thousand Islands, on the lovely St. Lawrence River in Upstate New York, the Grand International Ragtime Jazz Festival Spring Fling blooms toward the end of May every year, at Alexandria Bay's Bonnie Castle Resort. Festival directors are husband-and-wife Wayne and Nancy Pauli, from the Kitchener-Waterloo Dixieland Jazz Club, in Kitchener, Ontario, Canada.
This 27th annual Spring Fling features three bands and plenty of piano players. The Chefs of Dixieland, Dinny & The CanAm All-Stars, and the Mardi Gras Spirit Brass Band will entertain and piano soloists will be Prof. Don Burns, Ragtime Rick Grafing, Jon Seiger, and British stride pianist Neville Dickie. This year's theme is "The Joint is Jumpin'" and "Louis, Louis, Louis." Trumpeter Jon Seiger, who is internationally known for his perfect imitations of Satchmo's vocals and horn playing, will present a performance dedicated to Louis Armstrong.
Festival admission costs $135; (519) 744-2665; email [email protected] For room reservations, call the resort at (800) 955-4511 or (315) 482-4511. For festival info, visit alexbayjazz.wordpress.com/.
SCOTT JOPLIN RAGTIME FESTIVAL (Sedalia, Mo.) – May 31-June 3
More than 6,000 people attend the Scott Joplin Ragtime Festival each June, turning downtown Sedalia into a turn-of-the-20th century party. This year the festival at the Liberty Center commemorates the centennial of Joplin's death with a stellar lineup of symposia focusing on the composer and his timeless music. The festival is staged at the historic Hotel Bothwell, which opened in 1926. The Katy Depot Historic Site, one of the largest train depots between Kansas City and St. Louis, is only a mile away. The festival stages several free concerts, while some are ticketed. Seminars include discussions of Joplin's use of counterpoint and ensemble-thinking, the etymology of rag into ragtime, and a look at sheet music covers and photos from the composer's short life. You can learn the steps to the dances such as_the Grizzly Bear, Turkey Trot, Bunny Hug, and Camel Walk, and audience members are invited to show off their piano-playing skills.
This year's featured presenters and pianists are Ed Berlin, Bryan Cather, Bill Edwards, Andrew Greene, Fred Hoeptner, Scott Kirby, David Refkin, and David Thomas Roberts.
Individual concert ticket prices range from $20 to $35; a May 31 Joplin's Footsteps tour costs $20; a June 2 Cakewalk Dance on June 2costs $15; symposia tickets cost $15 each; 826-2271; scottjoplin.org.
COON-SANDERS NIGHTHAWKS FANS' DIXIELAND JAM (Huntington, W.Va.) – June 2-3
These free-wheeling jam sessions celebrate the music of the legendary Coon Sanders Nighthawks Orchestra. The sessions – which have a proud 49-year history – are staged at the Grand Ballroom of the Pullman Plaza Hotel, in Huntington, West Virginia, at the confluence of the Guyanotte and Ohio rivers. Admission is free! Assembled in 1919 in Kansas City by Carleton Coon and Joe Sanders, the 10-piece combo reached its peak between 1926 and 1932. Live performances at the Muehlebach Hotel in K.C. were broadcast over WDAF, a radio station which could be received throughout the United States. In later years, the orchestra held forth at the Blackhawk restaurant in Chicago giving performances that were aired on WGN. The orchestra's top Victor recordings included "Nighthawk Blues" and "Flamin' Mamie." The jam-session format allows musicians to move on and off the stage as they desire, reports President Dale Jones. Musicians for 2017 are TBA. The Pullman Plaza Hotel is located in Huntington at 1001 Third Ave., (304) 525-1001. The entertainment is free and open to the public and will likely run from 6 until 11 p.m. both nights; (304) 633-5241; [email protected]
SYRACUSE JAZZ FESTIVAL (Syracuse, N.Y.) – June 8-10
Staged at a natural grass amphitheater on the campus of Onondaga Community College, in Syracuse, N.Y., this two-day event is considered the largest free jazz festival in the Northeast US. The 35th annual fest presents the Rebirth Brass Band, Asleep at the Wheel, the Ramsey Lewis Quintet, The Mavericks, Todd Rundgren, and UAD: Kings of the Fall, the Soft Spoken Band, 14-year-old Ithaca singer Canen, and trumpet prodigy Nick DiMaria.
Admission is free, and parking charges range from $5 to $10; syracusejazzfest.com; (315) 437-5627.
AMERICA'S CLASSIC JAZZ FESTIVAL (Lacey, Wash.) – June 22-25
The 27th annual festival at the Marcus Pavilion at Saint Martin's University, 5300 Pacific Avenue SE, is hosted by the Greater Olympia Dixieland Jazz Society. Lacey is a suburb of O-Town, in the western part of state of Washington, at the southern end of Puget Sound. The music is staged at four Marcus Pavilion venues—three for dancing, one for listening—and dance lessons by Hal and Georgia Myers will demonstrate the Foxtrot, Balboa, and Charleston. Special features include nearby lodging, on-site RV parking, shuttle service, parasol parades, A Farmers' Market on June 23, a gospel service and After Glow Party on June 25. Pacific Northwest favorites such as Uptown Lowdown from Bellevue will be featured along with jazz greats such as Grand Dominion, High Sierra, Yerba Buena Stompers, Jeff Barnhart & Charlotte's Boys, Bob Schulz Frisco Jazz Band, The Black Swan Classic JB, Tom Hook and His Terriers, Queen City, the Wolverines, Joe Smith's Spicy Pickles, Tom Rigney & Flambeau, Ivory & Gold, the Graystone Monarchs, the Evergreen JB, the Can/U.S. JB, Black Swan with Marilyn Keller, and festival guest artist Dawn Lambeth.
All-event badge prices range from cost $90 to $115; individual event ticket prices range from $15 to $50. Lodging is available at two dozen hotels in the Olympia-Lacey area, and RV parking is available by calling (360) 943-9123; olyjazz.com; (360) 705-3024; [email protected]


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Kurt of Gerolstein
AROUND THE WORLD IN TWENTY YEARS: Years One to Twelve.
The Dodds of Randwick
KURT GÄNZL'S "GILBERT AND SULLIVAN: THE PLAYERS AN...
Operetta recording of the year: LA FILLE DE MADAME...
Original Cast Photos ... Princess's Theatre, 1865
Mr Fall of Evandale, Tasmania .. or, I am related ...
The Montevideo Countrywomen's Institute Crochet Ci...
This (would-be?) actor left his photo folio to pos...
Lettie Keyes: piano roller!
People of the Past: Cordelia and Horace
You have only to read the blog
Saw this today. Sydney, eh? Why not investigate, I think ...
Daniel (1861-8 February 1951) and Maggie (1859-22 February 1934) Dodd. Leamington, 22 Young Street, Randwick.
Daniel was born in Leamington, Warwickshire in 1861, the son of an elder Daniel, a labourer in the limepits, and his wife Barbara née Webb. Actually, she wasn't his official wife until Daniel jr was four years-old, but never mind.
Young Daniel also worked in the limepits, until at some stage in the 1880s he upped and off to Australia. There, he married Margaret Doherty in 1888. Margaret may have been locally born, of Irish stock. I know only that she had a sister Jane (Mrs William J Gooch), and a brother Michael ... both of whom lived in New South Wales. Chasing Dohertys is a pretty thankless task..!
It seems that Daniel worked on as a labourer, and later a carter. Margaret bore him six children, five of whom survived. They settled in Young Street, and there they would stay. I see that their home has been Shaynablazed in the 21st century, but it still retains some character, as does the neighbouring no24, into which the family expanded
Combeyne
The five children were
Seymour Michael (1890-1967)
[Marjorie] Eileen (1894-1939)
Annie Elizabeth (1897-1986) clerk
Caroline Ethel (1899-1985) dressmaker
Daniel John (1901-1895) gardener
The last three named remained single, and I imagine it was Annie who installed the gravemarker to her two siblings, and their parents, at South Coogee's Randwick General Cemetery.
If Annie, Caroline and Daniel had no issue, and I am not sure about Eileen (Mrs Charles J Chiswick), Seymour more than made up for them all. He had two wives, and a whole bunch of children ...
For the record, wife 1 was Matilda Victoria Mills (b 3 October 1880; d 6 March 1920), and three years later Seymour married Eileen Henshaw (d 15 June 1982) daughter of Thomas Henshaw and Eliza Farrell. Their children seem to have included a Peg, a Pat, John, Jean, Betty, Bill ...
Unable to find more about the Dodd family, I scouted about to try to track down the Dohertys. Well, I found Jane's father-in-law: Charles Bonnet Gooch 'standard-bearer of the Veteran Soldiers Association', d Randwick, 1916) 'who served in the Crimeans and Chinese wars'. And a few graves full of Gooches. But the rest of the family ...?
Ah well, its dusktime ... so I'll change into my restaurant gear and head off for an apéritif ...
Hopefully a Doddlet or two will see this.
Posted by GEROLSTEIN at 11:05 PM No comments:
KURT GÄNZL'S "GILBERT AND SULLIVAN: THE PLAYERS AND THE PLAYS"
Getting reviews on a new book these days -- as opposed to 30 years ago, when each new book of mine got up to half a page in the quality press -- is hard yakka. Getting a glorious review is almost the impossible dream. Getting that glorious notice in the world's Number One on-line website that deals with one's subject ....
Here is the notice which appeared this week on the site of the Operetta Research Centre ...
I think champage is called for... oh .. iced rosé, yes, better in 30deg and 90% humidity ...
Operetta Research Center
I feel very honoured and flattered to have been asked to write about the most important book to be written on the works of Gilbert and Sullivan, the "Savoy Operas" as they are known, for many years: Kurt Gänzl's Gilbert and Sullivan: The Players and the Plays, published by SUNY Press.
The new "Gilbert & Sullivan: The Players and the Plays" by Kurt Gänzl. (Photo: SUNY Press)
Not only important, but utterly fascinating, thoroughly researched, as you would expect from this source, erudite, and a real pleasure to read! In fact what helps make this book so worthwhile is Kurt Gänzl's prose style: informative, intimate, chatty but precise, almost as if he has written the book especially for you: indeed as if he is actually talking to you.
Stuffy and dry are two words that certainly do not apply to this book. In fact, I found it impossible to put down: having decided that I would 'dip' into the works that most interested me first, I quickly discovered, at 3 am, that I had just gone on reading. One of the real pleasures is Kurt's use of English, and his invention or rare use of words such as "whyever" or "tenorious". Perhaps these are used more in the Antipodes than they are in Europe!
Kurt Gänzl
The 298-page book is set out chronologically in fourteen chapters, one for each of the operas. The circumstances of the first production of each opera are laid out, so we learn, for example, that the character of Hebe in HMS Pinafore was almost expunged because Mrs Paul, who had successfully played Lady Sangazure in The Sorcerer, was very ill, and it was easier to almost obliterate the role rather than find someone else at short notice. Mrs Paul in fact died soon afterwards.
Rutland Barrington as Pooh Bah in "The Mikado," 1885. (Photo: Herbert Rose Barraud, London)
This is followed by biographies of the principal actors/singers in the show. Some of course, are well known to Savoyards, such as George Grossmith and Rutland Barrington, as they reappeared in the cast lists of future productions, but most, such as Fred Clifton, who was The Notary in The Sorcerer, are almost unknown. He nearly became the Sergeant of Police in Pirates, but Barrington begged to play the role, and the rest, as they say, is history. Meanwhile Clifton became a bigamist and fled across the Atlantic where he died in 1903.
There is also a useful conclusion at the end of each chapter, telling us how successful the first run of the show was, and mentioning various cast changes.
Poster for a guest performance of "The Mikado" by the D'Oyly Carte Opera Company at Vienna's Carltheater in 1887. (Photo: Theatermuseum Wien)
What is impressive is that the author has delved into chorus members as well as principal artistes so that the original bridesmaids and gentlemen of the jury in Trial By Jury are also given short biographies, where that has been possible, as well as those playing "The Ruddigorean Picture Gallery".
Scene from the 1921 production of "Ruddigore" at the Princes Theater.
There has often been debate about whether "singers" or "actors" were hired by D'Oyly Carte for the original productions, the answer being both! Many were trained singers, often having honed their craft in Carl Rosa's Opera Company, whereas some were actors who could sing or were simply 'entertainers'. Most appeared in only one or two of Carte's productions before moving on to other work, others worked for him for years, and not only in Gilbert and Sullivan but in other operettas, both in London and on tour.
I found the chapter on the genesis of Thespis particularly interesting, as it enlarges on what we know from Terence Rees' book, and those on the last two Savoy Operas: Utopia Limited and The Grand Duke. Ilka Palmay who played Julia was a megastar in central Europe. Having sung Nanki Poo (!) in Berlin, she played in Der Vogelhändler at Theatre Royal, Drury Lane, in German, where she was seen by Carte and offered a contract, not only in The Grand Duke, but also as Elsie Maynard in a revival of Yeomen, which must have been 'interesting'!
A private photo of Ilka Palmay. (Photo: Rudolf Krziwanek / Theatermuseum Wien)
Are there any caveats? Well, the book is copiously illustrated, but if the paper had been of slightly better quality they might have reproduced rather more clearly, and the volume is bound by being stuck rather than sewn, which is obviously cheaper, but less long-lasting!
In addition, a few of the later original D'Oyly Carte artistes made recordings in the very early 1900s. Some of these were issued on primitive LP transfers by Pearl and it would be interesting to be able to hear them again on, for example, a Truesound CD, so that we can remind ourselves of the style 100 and more years ago!
Impressario Richard D'Oyly Carte (l.) with Gilbert & Sullivan.
In conclusion, I cannot recommend this book too highly. It is something that everyone interested in Gilbert and Sullivan should have, as it greatly expands knowledge of the work of these two men of the theatre – plus, of course, Richard D'Oyly Carte himself.
It is also very reader friendly!
Posted by GEROLSTEIN at 8:51 PM No comments:
Operetta recording of the year: LA FILLE DE MADAME ANGOT from Bru Zane
Once upon a time, not so very long ago a young lady radio or TV 'interviewer' asked me 'what was my favourite musical?'. She was clearly expecting me to reply Les Misérables or The Phantom of the Opéra. I was mean. I told the truth. La Fille de Madame Angot, I said.
I have, alas, never seen it on stage. And then it probably wouldn't live up to the dream production with Desclauzas or Soldene as Lange that has lived half a century in my mind. But, suffice it to say that this 'opéra-comique' has a big place in my musical heart.
Paola Marié and Victor Capoul in an American production
Here's what I wrote about it in my Musical Theatre on Record:
'La Fille de Madame Angot is not one of those works that merely throws up two or three popular pieces from a score that is otherwise just pleasant. It is a finely constructed series of comedy, drama and musical pieces, solos and ensembles, in which every scene is dramatically substantial and every musical section both significant and delightful' before going on to find, of the recordings then available 'all the virtues don't find themselves on the same recording' and opting for the Pathé selections recording with Solange Michel, Michel Dens and a wonderful Clairette in Lina Dachary.
Well, before I go any further with my niceties and niggles, I am straight away going to say that this new recording is now the standard reference.
No, it's not utterly perfect, but ... it's the best.
You're expecting me to go straight to the singers, ar'n't you? I usually do. No. My biggest bouquet goes the conductor, Sébastien Rouland, who kept the whole thing so vivacious and up-tempo from the first notes of the delicious overture, through some magnificent finales, to the hilarious end. Tempi perfect throughout. Orchestra with a perfectly 'under-sized', theatre sound, and chorus .. well, they were a bit 'beautiful' in the opening scenes, but they got more oomph very quickly.
Ideal framework for an ideal performance? Well, everyone has their preferences as to singers and performances. And I only knew (ie had seen, live) one of the artists in this cast. But, by and large, in my opinion ... the whole work is excellently and knowledgeably cast.
Two performances are the equal of those of any of the stars of the past who have recorded this musical.
Firstly, Artavazd Sargsyan as a simply wonderful Pomponnet. A delightful French-style tenorino, with just the right amount of character and humour. Definitely a Charles Burles for the 21st century. I hope we get to hear much more of him in the opéra-bouffe and opéra-comique repertoire.
Pomponnet
The other triumph is the Clairette of Anne-Catherine Gillet. Once again, an absolute perfect encapsulation of the role and its music, from the sweet but never soppy 'Je vous dois tout' to the sparks of the Chanson Politique and 'Vous aviez fait de la dépense' and the ultimate catfight of the Quarrelling Duet, she hits every mood and moment dead right. And the voice simply sparkles.
Act I finale: Clairette arrested
Ange Pitou, here, is a tenor. Fine. Either tenor or baritone is OK. Baritone gives a little more contrast with Pomponnet. Baritenor is probably a good compromise. But the original, Mario Widmer,
was a tenor, so ... Mathias Vidal is extremely effective in the role, especially when inter-acting with the other characters. I particularly liked his duet with Larivaudière (Matthieu Lécroart). Good tenors with the ability to play comedy are a rare commodity. There's one in France!
Ange Pitou
Henry Nordblom as Ange Pitou (London)
This is the place to say that the entire company gave their spoken lines with ice clear diction, one and all. Even though I (in lockdown) had to listen merely on the speakers of my computer, I didn't miss a line of dialogue.
In fact, the fourth principal of the cast, Véronique Gens (Lange) was so good in the acting bits that she, there, almost outshone a slightly uneven singing performance. Mdlle Gens I had seen before. 20 April 2013, as Agathe in a perfectly awful Der Freischütz at the Berlin Staatsoper. I then noted '[she] produced some beautiful gentle sounds, but ... also sang shiveringly out of tune'. Here, she was on a very, very much better day. She was at her best in the Quarrelling Duet and in such lively and characterful parts of the score as [the original] 'Raisonnons politique' (one of the crowning highlights of the disc). Somehow, the glorious Act II finale, swirling and rhythmique, didn't quite grab me as it usually does. Maybe too 'polite', too 'sung'.
Mlle Lange
Tournez, tournez!
Let's just say that there are other Lange performances I have preferred. Some, in fact, too dominating, in what is, after all, a romantic triangle. And I think I do prefer a mezzo Lange -- a Suzanne Lafaye or a Solange Michel --, even though I know Desclauzas was (well, started off as), a soprano.
Marie Desclauzas as Lange
All the other players were à la hauteur of the occasion, notably a very fine Matthieu Lécroart as Larivaudière, in his thoroughly sung comic duets with Pitou and Pomponnet, and of course Flannan Obé in the traditionally scene-stealing role of Trénitz.
Larivaudière
I had forgotten that Amaranthe appeared quite so much in the course of the score, but what I have not forgotten is the performance of Mathilde Casadesus (on the Phillips selection) in the part. Ingrid Perruche sang the role nicely, and made an effort at the lustiness, but I missed the 'couilles' of Casadesus.
Emily Soldene as Lange
All in all, as I said: if not 'perfect' (but what is?), then pretty damned near! And it will be on the front of my shelf as my Angot of reference from now on. I am already playing it for the fifth time in three days ...
Yes, it's still my favourite musical ..
Posted by GEROLSTEIN at 4:39 PM 1 comment:
A few years back, I was thrilled to come upon (and blog) original cast photos from the 1860s and 1870s ..
Today, here are more. From the hit Princess's Theatre production of Dion Boucicault's Arrah na pogue (1865)
The play opened 22 March, but these photos were not taken until May of the year ...
How do I know that? Why, easy ...
Mr Edwards BA (Cantab) was the son of the vicar of Barrow-on-Trent, born November 1862, and educated at Leicester's Collegiate School and St Peter's College, Cambridge. He, however, turned, on graduation, to photography and, with his 'BA (Cantab)' glued prominently to his name in his advertisements and puff paragraphs, started a career as a society photographer with some volumes (Portraits of Men of Eminence) of cartes de visite of 'notables'. Thackeray was a notable early victim.
The venture into the theatre seems to have been a one off trick, and he returned to photographing worthy celebrities and aristocrats, and illustrating books by learned gents -- from the glaciers of the Bernese Oberland, to photos for a book on 'Shakespeare's birthplace', to the paintings in the royal collections. He did not remain long at the address of 20 Baker Street, where these photos were taken. In 1870 he took up the French photo-method known as Heliotypography and improved it sufficiently to make it commercially viable. Soon after (1872), he quit England for America, where he lived (8th Street, Brooklyn) until his death in 1903.
Unfortunately he doesnt seem to have issued his Arrah-na-pogue photos with a key. Nor with a tally. How many were there in the set? Here are some more ...
More recognisable, these ones. John Brougham (Colonel Bagenal O'Grady), Pattie Oliver (Fanny Power), Charles Seyton (Sergeant), Henry Vandenhoff (Beamish McCoul) ...
I think the lady in the top picture is playing the role of the crazy woman, here called Katty. If she is, she is not a woman. Katty was played by a Mr Andrews.
And the other lads? With the bulk-buy waistcoats. The 'chorus'. Messrs Reynolds, Dowling, Bentley, or even J Andrews and Burke?
The man with the satchel? David Fisher as 'the Secretary? Or Mr Chapman, the valet ...
So now we just need to dig up the stars of the affair -- Mr and Mrs Boucicault -- the villain, Dominick Murray -- and Fred Charles as Major Coffin.
I'll keep my eyes open ...
Posted by GEROLSTEIN at 5:00 AM No comments:
Mr Fall of Evandale, Tasmania .. or, I am related to Henry Russell!
This morning, I lit upon this photo of a nice old gentleman from Tasmania. Since it was labelled I thought I'd investigate a touch ...
Thomas FALL. Ah, Jewish?
Well, it turned out that Mr Fall was really easy to find out a bit about. What was he? Why, a pubkeeper! But not just that. Since his arrival in Van Dieman's Land in the1830s he had indeed been landlord of several pubs -- the Portland Inn at Long Meadow, Magpie Hill, then the Patriot King William IV at Evandale and finally the Clarendon in the same town, where he remained for over 40 years. But Thomas was smart. I see, from 1836, him buying and/or leasing property in the Evandale area ...
Clarendon in 1915
Thomas married in Tasmania (12 February 1838), Miss Elizabeth Russell, and they had two daughters: Elizabeth 1838-1931 and Kate (1842-1935, Mrs William Hartnoll). Mrs Fall died 19 October 1874, Thomas 4 September 1888. And the press gave him a fine obituary:
'The deceased gentleman will be greatly missed on the township, as he was a resident of 50 years. There were very few houses here when he came to make Evandale his home, he was a large property holder here and in Launceston, and having only had two in family, they are left well provided for. He arrived in the colony in the barque Portland in 1832 (sic), the late Mr and Mrs J. Cox, of Clarendon, being also amongst the passengers. The vessel, it will be remembered, was wrecked at the Fourteen Mile Bluff. The deceased succeeding in saving Mrs Cox from a watery grave, but her son was lost, the remains afterwards being interred at George Town. Mr Fall lost all he possessed by the wreck, but he commenced business in Launceston, and removed to Franklin Village, and finally settled at Evandale. After being in the colony a few years, he married a Miss Russell, cousin of Henry Russell, the celebrated composer and song writer. Although deceased had reached the age of 89 years, he could read without spectacles and write freely within a few days of his death. He never took an active part in politics, but was a shrewd observer and criticiser of passing events, and was charitable in his disposition.'
The wreck of the Portland (385 tons)? 1 October 1833. Had left Sydney (Captain: D G Coghill) 17 September. Councillor [William] James Cox was an Esq, MLC. And it wasn't a son, but an infant daughter who was drowned. Rebecca or Mary or Georgina. Oddly, though, the passenger list of those listed to sail, or those reported 'saved' doesn't include Mr Fall.
Dr Charles Inches (ship's surgeon), Edward Lord, newly-wed John Samuel Uther, Miss Blandford, and Mrs Thompson with two children and servant, John MacMahon, Andrew Gallagher, John Davis, James Murray, John Murray, Michael Power, Henry Tully, John Stewart. Strange, that. The 50 horses, 30 cattle, and Mr Cox's collection of imported seeds and plants were all lost. The Launceston press seemed more worried about the goods, especially Mr Cox's 'nearly L1000 worth' and the cedar wood, than the people. But Tasmania should perhaps be glad that the 'seeds and plants' that Mr Cox was trying to 'introduce' to the island got drowned.
I don't see the 'everything' that Mr Fall was supposed to have lost on the manifest ... maybe the fifteen cases of claret? And anyway, part of the cargo was saved by the good ship Ann and brought ashore at Launceston and put up for sale ..
A letter being carried by the Portland from London was found on the beach ...
The legend of Thomas's (actual or imaginary) shipwreck went down in history, decorated with the usual historical improvements ...
But this little item suggests that the Portland had originated its voyage in England, in which case Thomas was only then, at over 30, emigrating ... yes, there it is berthing at Sydney in June 1833, bearing the London papers up to Febuary 18th .. the ship Portland, Captain William Ascough, from Cork, with 184 male prisoners arrived [26 June] .. having sailed 21st February ... a convict ship? 'The guard consists of 29 rank and file of the 21st Fusiliers, accompanied by four women and 11 children under command of Captain Frazer of the 26th regiment. Passengers: Lieutenant Wallace 16th Reg, D A C G Brackenbury Esq, Mrs Brackenbury, Miss Brackenbury and Miss Fraser'. Still no Mr Fall. 'The ship touched at Lisbon -- three men died of cholera -- six more of other diseases ... carrying 'three free passengers'. Well, Mr Fall wasn't one of those. The prisoners were offloaded at Sydney, so he wasn't one of those. Crew? Soldier? But they soldiers surely got off when the convicts did ...
And Portland Head was thus named before the wreck. Ah! Journalism.
My first official sighting of him comes in 1837 ... tiens! I wonder if that's the same auctioneer Underwood who sold off the hulk of the Portland for L145.00. Anyhow, he's taken up Mr Moore's business in cattle and horse trading, seemingly on the Perth Road ...
Running a sales yard? But by October he's at the Portland Inn ... and on his way, as a wheeler-dealer publican ..
And he is married. Cousin of Henry Russell? Really? THE great Henry Russell of 'Cheer Boys Cheer' and 'The Maniac' fame? Well, yes, he was Jewish ... from Sheerness in Kent. Born 1812. Elizabeth was born in 1804 ... in Sheerness ..? Well, damme, it's true! Henry was the son of Moses Russell, and Elizabeth was the daughter of Moses's brother Philip .. blow me down! And oh dear ...
Geni says Catherine Keila [Uri Feiss] Russell is your great uncle's brother's wife's sister's ex-husband's uncle's wife's brother's wife's second cousin's wife's first cousin's husband's grandmother. Catherine was Elizabeth's mother.
So, I'm infintesimally related by a network of Jewish (and occasionally not) marriages to ... Henry Russell! Well, to Thomas Fall, too, but .. Henry Russell!
Dr Fritz Eduard Ganzl (father)
Rudolfine Josefine Ganzl (his mother)
Hermine Maria (Minna) Stojetz
her sister
Richard Michael Stern
her husband
Ing. Joseph Stern
his brother
Margarethe Grete Stern
Stefanie Fleischner - Füchsl
Otto Fleischner
her ex-husband
Max Fleischner
Moritz Fleischner
Adele Fleischner
Dr. Friedrich Gans
Emily Gans
Catherine Spier
Hannah Hyam
Frances Myers
Mitchell Myers
George Myers
his son
Elizabeth Solomon
Rachel Abrahams
Elizabeth Russell
her daughter
Joseph Russell
Michael John Russell,
→Catherine Keila Uri Feiss / Russell
No one seems to have said where Thomas came from. That trip (or not) on the Sydney to Tasmania Portland is his 'first appearance'. But he was undoubtedly from England, and there is one thus named who seems to fit the bill and, indeed who has been claimed on Familysearch. He was the first-born son of Thomas Fall (Coventry 25 December 1776), from Warwickshire, and his wife Johanna née Archer, and he was christened in Coventry in November 1799. Round about that time, the family moved to Southwark, where Johanna produced a run of further children, of whom two other sons survived infancy, before dying of dropsy in 1812, at the age of 33. Father Fall remarried, and his second wife, seemingly Elizabeth née Gunn, gave him several more children. It was a large, sprawling family of which some remnants can be seen at 22 Charles Street, Stepney, in 1851: Thomas, baker, two unmarried daughters (Joanna and Elizabeth), and two nephews ... but it all gets rather muddly in 1853 when Thomas Fall (baker) son of Edward Fall (carpenter), marries this Johanna Fall, (1817-1883) daughter of Thomas Fall (carpenter) ...
By then, of course, our Thomas was at the other end of the world.
I see that in 1838 his assigned convict servant, Frederick Bond, had his transportation extended by three years for stealing .. a roll of ribbon?!
Here he is in the early 1840s ...
and forty years later
End of story. What other (very) distant relations shall I find ...
But did he or didnt he sail on the last voyage of the Portland ... what do you think?

redpajama_set_name: RedPajamaCommonCrawl


text:
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Opposition to McDonald's and Aldi in Helston at Hospital Cross
An environmental group has called for greater "transparency" from Helston's councillors and urged them to honour their climate pledge over plans to develop land at the top of town into a retail park.
Last week the Packet reported how a public consultation had begun on a proposed development of land at Hospital Cross into an Aldi supermarket, Range store with garden centre and a McDonald's.
Linked to this would be the redevelopment of the former Co-op/Budgens store in Trengrouse Way into a "community facility for public use."
The land is owned by the Downsland Trust, which supports local groups with grants, with the trustees historically made up of serving town councillors.
An "option to buy" agreement is in place with the development company, which has until July 23 next year to apply for planning permission and then until 2022 to take up the option.
However, in an open letter, the Helston Climate Action Group said it "notes with dismay" the proposals, adding that it will oppose plans that members believe will cause long term harm to Helston's community and the environment.
The group said: "We are particularly alarmed at the lack of transparency by Helston town councillors in arranging this sale, as trustees of the Downsland Trust.
"We call on Helston town councillors to honour the commitments they made when declaring a climate emergency in March 2019 and declaring Helston an Earth Protector Town in December 2019, and reverse course on this sale.
"The announcement trumpets the supposed financial benefits to Helston, but ignores the costs, which the Downsland Trustees appear not to have considered."
Members highlight the "irreparable environmental damage", pointing out that currently the fields are sequestering (capturing) carbon and "literally decreasing Helston's carbon footprint."
The proposed site plan for Hospital Cross
They cited figures provided by Duchy College that suggest grassland can hold anywhere between 150 and 500 tonnes of carbon per hectare, with Hospital approximately two hectares.
Another concern was the inevitable use of concrete – one of the greatest sources of greenhouse gases, said the group – and it would increase vehicular traffic.
The group's letter goes on to address the "relentless decline in the heart of our town", adding: "The proposed businesses will directly compete with some of the few local retailers we retain in Helston.
"It is hard to imagine the business of local eateries being unaffected by the arrival of McDonald's. How will The Range impact on Bowdens Home Hardware?
"We have a fledgling nursery in Helston that has made great efforts to support the local community; how will they be unaffected by a new garden centre?
"And if we truly needed a fourth supermarket in Helston, wouldn't the Co-op – and later Budgens – have fared better? We're unaware of any studies that show out of town developments bringing new business into traditional high streets, and would caution against wishful thinking in that regard."
Members questioned the transparency of the Downland Trust, saying it "holds no public meetings and is not subject to any public scrutiny," adding: "If this deal is so beneficial to the people of Helston, why has there never been any consultation with our community?"
And they also questioned a potential conflict of interest. "As councillors, they are legally prevented from having a say on planning applications made by the developers, because they essentially own the land. They will be unable, as a council, to raise any objections whatsoever to anything the developers propose.
"It will be for us, the community of Helston, to engage with the planning process while the people democratically placed to represent us are forced to sit on their hands," they said.
"We do not think this state of affairs can continue. We propose that the Downsland Trust immediately review its constitution to bring in independent members of the Helston community and relevant stakeholders, so that important decisions like this can be made with transparency and some semblance of independence."
The Packet has contacted the Downsland Trust for a response.
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Q: Sum of multiple columns in SQL I have a report like this
ID     Score 1     Score 2     Sum     Average
1        5            5         10        5
2        7            6         13       6.5
3        4            8         12        6
.        .            .          .        .
.        .            .          .        .
.        .            .          .        .
Total    16           19        35       17.5

I have Score 1 and Score 2, but I need to get Sum, Average, and Total through Stimulsoft.
How can I use sum for getting summation of two columns in each row?

A: Since no one seems to be answering, i'll give this a try. I'm not sure that what you need is an sql query or Stimulsoft consultance. I'll try the former:
Select cast(id as varchar(max)), score1, score2, score1+score2 as sum, (CONVERT(DECIMAL(10,2),score1)+score2)/2 as average
from yourtable
UNION ALL
Select 'Total', (select sum(score1) from yourtablename) as Score1Total,(select sum(score2) from yourtablename) as Score2Total, (select sum(score1)+sum(score2) from yourtablename) as TotalSum, (select (CONVERT(DECIMAL(10,2),sum(score1))+sum(score2))/count(*)) from yourtablename as TotalAverage

Should return what you posted. However, returning the last row (Total) as part of the query is bad design, to say the least. That should be done in the next step, when you actually display/generate a report file.

A: Hope this Sql query helps:
Select CAST(ID AS VARCHAR(10)) AS [ID], Score1, Score2, (Score1 + Score2) AS [SUM], ((Score1 + Score2)/2) AS [AVG] from Yourtable
UNION ALL
Select 'Total', SUM(Score1), SUM(Score2), SUM((Score1 + Score2)), SUM(((Score1 + Score2)/2)) from Yourtable

You can also look into computed column for sum and average columns if its a frequently used query.

A: You should use next expression in text component:
{Sum(Score1+Score2)}

A: Assuming these are all numerics, no null cells,  and not character data try something like this to get column sum, avg and totals:
SELECT col1, col2, (col1 + col2) AS thesum, ((col1 + col2)/2) AS theavg FROM sometable;

Chain it with another select to get total over rows
SELECT sum(col1) as TC1, sum(col2) as TC2, sum(thesum), sum(theavg) from
   (SELECT col1, col2, (col1 + col2) AS theism, ((col1 + col2)/2) AS theavg
    FROM some table);

Note, if you have more than two columns to average, you can just chain selects.

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text:
The Morphology and Dynamics of Galaxies from LCDM Models
PARRY, OWEN,HUW (2011) The Morphology and Dynamics of Galaxies from LCDM Models. Doctoral thesis, Durham University.
The formation and evolution of galaxies is studied using two alternative modelling techniques within the context of the LCDM cosmogony. In particular, we consider the capacity of the models to reproduce the fundamental components and internal structure of galaxies.
We begin by outlining the theoretical basis for the study, describing the standard paradigm for structure formation and the details of the modelling techniques we employ. The extent of our current understanding of the processes responsible for morphological transformation is explored and we discuss what the structure of the Milky Way and its satellites can reveal about the wider pictures of galaxy formation and cosmology.
Using data from two semi-analytical models, we investigate the origin of the disks and spheroids that represent the coarse-grain detail of galactic structure. Major galaxy mergers, which have long been regarded as the main mechanism by which elliptical galaxies and spiral bulges are generated, are found to play only a minor role in spheroid formation for all but the most massive systems. The models make similar predictions in many respects but disagree on the importance of gravitationally unstable disks in forming spheroids, serving to illustrate the uncertainty that remains in modelling morphology even at this basic level.
We go on to introduce a smoothed particle hydrodynamics code which includes models for radiative gas heating and cooling, the structure of the interstellar medium, star formation and evolution, chemical enrichment and feedback from supernovae. We present a set of simulations that focus on a single Milky Way-mass galaxy and its local environment and summarise its bulk properties and formation history. We also show results from a code comparison project, which aims to quantify the effects of different physical mechanisms and modelling approaches on the formation of a galaxy disk.
Our simulations also resolve the formation of a population of satellite galaxies which have a luminosity function similar to those found around the Milky Way. Through comparison with a dissipationless version of the same simulation, we determine that the baryonic component in each satellite has little effect on the structure of its
dark matter halo. We also find a statistically significant discrepancy between the central mass densities of the simulated and observed satellites.
Finally, we consider the formation of the haloes of hot gas and stars which surround the main galaxy disk. We find qualitative agreement with several observed properties of the Milky Way's stellar halo and with recent theoretical studies of the two components in the literature.
Galaxy Formation;Cosmology;Smoothed Particle Hydrodynamics;Numerical;Simulations;Milky Way


The Immigration and Refugee Protection Regulations (IRPR) prescribe those inadmissibility grounds for which removal orders are to be issued by the Immigration Division of the Immigration and Refugee Protection Board (IRB) and those for which removal orders are to be issued by the Minister's Delegate (i.e. a Canada Border Services Agency or Immigration, Refugees and Citizenship Canada official). The IRPR will be reviewed.
This review is required given, for instance, new inadmissibility provisions that have emerged in relation to unilateral sanctions by Canada under the Special Economic Measures Act and the newly created Justice for Victims of Corrupt Foreign Officials Act (Sergei Magnitsky Law). These new inadmissibility provisions were brought into force in October 2017 through Private Member's Bill S-226. Currently, the IRB has the sole authority to issue removal orders to individuals who are subjected to these new sanctions-related inadmissibility grounds, despite the straightforward determination process. Regulatory amendments are being considered that would transfer jurisdiction for these inadmissibility grounds to the Minister's Delegate, a change that would be consistent with how other straightforward inadmissibility grounds are determined. In this regulatory review, consideration would also be given to whether other grounds may be appropriately issued by the Minister's Delegate as opposed to the IRB.
On June 8, 2018, the CBSA launched online public consultations on these proposed regulations and informed key stakeholders of this opportunity. The public consultation period closed on July 7, 2018.


text:
Hanns Johst (8 July 1890 – 23 November 1978) was a German poet and playwright, directly aligned with Nazi philosophy, as a member of the officially approved writers' organisations in the Third Reich. The statement "When I hear the word culture, I reach for my gun", variously misattributed to Heinrich Himmler, Joseph Goebbels and Hermann Göring, was in fact a corrupted version of a line in his play Schlageter.

Background
Hanns Johst was born in Seerhausen as the son of an elementary school teacher. He grew up in Oschatz and Leipzig. As a juvenile he planned to become a missionary. When he was 17 years old he worked as an auxiliary in a Bethel Institution. In 1910 he earned his Abitur in Leipzig and then started studying medicine and philosophy and—later—history of art. He volunteered for the army in 1914. In 1918 he settled down in Allmannshausen (part of Berg) at the Starnberger See.

Early work
His early work is influenced by Expressionism. Examples include Der Anfang (The Beginning) (1917) and Der König (The King) (1920). Later, he turned to a naturalist philosophy in plays such as Wechsler und Händler (Money changers and Traders) (1923) and Thomas Paine (1927).

Bertolt Brecht's first play Baal was written in response to Johst's play Der Einsame (The Lonely), a dramatization of the life of playwright Christian Dietrich Grabbe. In 1928 Johst joined Alfred Rosenberg's "Kampfbund für deutsche Kultur" (Militant League for German Culture) designed to combat Jewish influence in German culture. In 1932 he joined the Nazi party, explaining his agreement with Hitler's ideology in the essay "Standpunkt und Fortschritt" ("Standpoint and Progress") in 1933.

Schlageter
When the Nazis achieved power in 1933, Johst wrote the play Schlageter, an expression of Nazi ideology which was performed on Hitler's 44th birthday, 20 April 1933, to celebrate his victory. It was a heroic biography of the proto-Nazi martyr Albert Leo Schlageter. The famous line "When I hear the word culture, I reach for my gun", often associated with Nazi leaders, derives from this play. The actual line in the play is, however, slightly different: "Wenn ich Kultur höre … entsichere ich meinen Browning!" "When I hear 'Culture'... I release the safety catch on my Browning!" (Act 1, Scene 1). It is spoken by another character in conversation with the young Schlageter. In the scene Schlageter and his wartime comrade Friedrich Thiemann are studying for a college examination, but then start debating whether it is worthwhile doing so when the nation is not free. Thiemann argues that he would prefer to fight rather than study.

The line is frequently misattributed, sometimes to Hermann Göring and sometimes to Heinrich Himmler. In December 2007, historian David Starkey misattributed it to Joseph Goebbels in comments criticizing Queen Elizabeth II for being "poorly educated and philistine". It has also been adapted by, for example Stephen Hawking as "When I hear of Schrödinger's cat, I reach for my pistol" and by filmmaker Jean-Luc Godard in his 1963 film Le Mépris, when a producer says to Fritz Lang: "Whenever I hear the word culture, I bring out my checkbook." Lang evokes the original line when he answers "Some years ago—some horrible years ago—the Nazis used to take out a pistol instead of a checkbook." Songwriter Clint Conley of Mission of Burma titled a song he wrote in 1981 "That's When I Reach for My Revolver".
In 1994, Tuli Kupferberg wrote the book When I Hear the Word 'Culture' I Reach for My Gun. In 2008 he wrote a book, Cartoons Collages and Perverbs [sic] with a cartoon in it reading "WHEN I HEAR THE WORD 'GUN' I REACH FOR MY CULTURE".

Role in Nazi Germany

In 1933, Johst signed the Gelöbnis treuester Gefolgschaft, a declaration of loyalty to Hitler by pro-Nazi writers. Succeeding Hans-Friedrich Blunck in 1935, Johst became the President of the Reichsschrifttumskammer (writer's union) and of the Deutsche Akademie für Dichtung (poetry academy), powerful organisations for German writers. In the same year the last prominent Jewish writers, e.g. Martin Buber, were expelled from the Reichsschrifttumskammer. By this time these organisations restricted membership to writers whose work was either explicitly pro-Nazi or at least approved of by the Nazis as non-degenerate. Johst achieved other positions of importance within the Nazi state, and he was named in the Gottbegnadeten list of September 1944 as one of the Reich's most important artists. During the war he held various positions within the SS, which Thomas Mann stated was the reason that several charges of pedophilia and abuse of children were dropped against Johst in the winter of 1944.

Quotations

Post-war
After the war Johst was interned and on July 7, 1949, a Munich denazification tribunal classified him as a "fellow traveler". An appeal process ended in 1949 with his reclassification as a "main culprit" and a three and a half year labor camp sentence (the time Johst had already served). After his release from prison and further denazification proceedings in 1951, he was classified as "incriminated". In 1955, Johst obtained an overturning of this decision and the termination of the proceedings at the public expense. He was thus effectively rehabilitated.

In the Soviet Occupation Zone, many of his works were placed on the banned books list, with the exception of Der Anfang. Roman (1917), Der Ausländer (1916), Ave Eva (1932), Lieder der Sehnsucht. Gedichte (1924), Der junge Mensch. Szenarium (1916), Mutter. Gedichte (1921), Mutter ohne Tod. Begegnung (1933), Stroh (1916), Die Stunde der Sterbenden (1914), Torheit einer Liebe. Roman (1931) and Wegwärts. Gedichte (1916).

In the Federal Republic of Germany, Johst could no longer gain publication as a writer but, after 1952, he wrote poems under the pseudonym "Odemar Oderich" for the Edeka supermarkets customer magazine, "Die kluge Hausfrau". Johst attempted to publish a book in 1953, which he had completed and revised at the end of 1943, but failed to find a publisher. He died on November 23, 1978, in an old people's home in Ruhpolding.

Works

Novels, stories, novellas
 Der Anfang, 1917 [The Beginning]
 Der Kreuzweg, 1921 [Stations of the Cross]
 Consuela, 1924
 Consuela. Aus dem Tagebuch einer Spitzbergenfahrt, 1925 [Consuela: Excerpts From a Diary About a Trip to Spitsbergen]
 So gehen sie hin, 1930 [So They Vanish]
 Die Begegnung, 1930 [The Encounter]
 Die Torheit einer Liebe, 1931 [The Foolishness of a Love]
 Ave Maria, 1932
 Mutter ohne Tod. Die Begegnung, 1933 [Mother Without Death (i.e. undying). The encounter]
 Maske und Gesicht, 1935 [Mask and Face]
 Erzählungen, 1944 [Stories]
 Gesegnete Vergänglichkeit, 1955 [Blessed Mortality]

Drama
 Stunde der Sterbenden, 1914 [Hour of the Dying]
 Strof, 1915
 Der junge Mensch, 1916 [The Young Person]
 Der Ausländer, 1916 [The Foreigner]
 Stroh, 1916 [Straw]
 Der Einsame, 1917 [The Lonely]
 Der König, 1920 [The King]
 Propheten, 1922 [Prophets]
 Wechsler und Händler, 1923 [Money Changers and Traders]
 Die fröhliche Stadt, 1925 [The Happy City]
 Der Herr Monsieur, 1926 [Mister Monsieur]
 Thomas Paine, 1927
 Schlageter, 1933
 Fritz Todt. Requiem, 1943

Poetry

 Wegwärts, 1916 [Way-Bound]
 Rolandruf, 1918 [Roland's Call]
 Mutter, 1921 [Mother]
 Lieder der Sehnsucht, 1924 [Songs of Longing]
 Briefe und Gedichte von einer Reise durch Italien und durch die Wüste, 1926 [Letters and Poems About a Journey Through Italy and the Desert]
 Die Straße. Gedichte und Gesänge, 1941. [The Road: Poems and Songs.]
 Im Tal der Sterne. Liebeslieder. Mutterlieder, 1943. [In the Valley of Stars: Love Songs, Mother-Songs]

Essays, speeches, propaganda articles et al.
 Dramatisches Schaffen, 1922 [Dramatic Creativity]
 Wissen und Gewissen, 1924 [Knowledge and Conscience]
 Ich glaube! Bekenntnisse, 1928 [I believe! Declarations of Faith]
 Meine Erde heißt Deutschland, 1938 [My World is Called Germany]
 Ruf des Reiches, Echo des Volkes, 1940 [Call of the Reich, Echo of the People]
 Hanns Johst spricht zu dir (Sammelausgabe), 1942 [Hanns Johst Talks to You. Combined edition]

References

External links

German text of Schlageter Schauspiel

1890 births
1978 deaths
People from Meissen (district)
People from the Kingdom of Saxony
Nazi Party members
Writers from Saxony
German male dramatists and playwrights
20th-century German dramatists and playwrights
20th-century German male writers
Militant League for German Culture members
German Army personnel of World War I
SS-Gruppenführer
German prisoners of war in World War II

redpajama_set_name: RedPajamaWikipedia


Each test has at least 10 latent prints and a varying number of tenprint known cards and known palm cards.
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The original latent print images have been captured at 1000 ppi or higher, and all of the livescan prints are captured at 500ppi. The latent print image is printed using high quality industry leading printers which accurately renders a 1,000 ppi image. We are able to provide this extremely high level of quality due to our significant investment in the latest printer technology.
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Title Creating and displaying a simple dialog box, modeless and modal.
Summary This simple tutorial will guide you the process of adding and displaying a simple dialog / form in your application. It covers both modal and modeless dialogs.
Forms / Dialogs are a fundamental part of most applications. Here we will show how to build, display and interact with a dialog. It will be built using both Modal and Modeless types. This is a very simple task so don't get lost in the details.
The following steps will create a Form (Dialog) in your current project. The dialog will have an OK button and a edit box.
Using Visual Studio.NET open the the project you want to add the Dialog to.
In Categories select Local Project Items (default).
In the Name field type the name of the class to call the form. include a .cs extension. It is nice to prefix the name with Frm ie FrmOpenFile. If you have trouble thinking of names look into using Hungarian notation.
In Templates select Windows Form.
Select OK. The Form will appear.
Drag a Text box onto the new form.
Right click on the text box and select properties.
From the Toolbox drag a Button onto the form.
Right click on the button and select properties.
Displaying a Modal Dialog box.
A Modal dialog takes control of the applications user interface requiring the dialog to be dealt with and closed before other views of the application are able to receive input from the user. For example the File Open dialog prohibits the user doing anything with that application until the dialog is cancelled or a file is selected for opening.
The following creates the dialog box, but does not display it. The m_tbAddress property is set. This will pre-fill the data. ShowDialog displays the dialog and waits for the dialog to close before continuing. If the return code from the Show is OK the data is read back from the dialog and displayed.
Displaying a Modeless Dialog box (Popup).
A Modeless dialog allows both the owner and sub windows to receive user input. The owner window can be forced to always appear beneath the Modeless window by calling AddOwnedForm. However, if this is not called the modeless window can appear in front of behind the owner window depending on who has focus. An example of a owned modeless dialog would be a tool bar when it is not docked.
The modeless window is slightly more difficult to process because it must notify the parent when it has been destroyed. If you fail to do this you should check if the form is Visible or Disposed before doing any thing with it.
The following code creates a modeless dialog that is toggled into existence. When first called it is created. The next time it is called it is destroyed.
// Declared as a member variable for the Dialog.
To get the modeless to disappear when the OK button is pressed we need to add the following code to the form code. Open the form in design mode and double click on the OK button. This will take you to the code view. Insert Dispose() as shown. Note: I have named the button "m_btnOK" in place of the default "button1"
Usually we would also add some code to inform the owner that we are done with the form. Remember, always take the time to name your variables intuitively. A few extra characters here and there can make the difference between happiness and a bawled head 3 months later when you return to add a feature.
I`m interested in a brief example of how to tell the parent window that the modeless child has closed. Can you refer me to an example somewhere or post one yourself?
I have two modless windows that a messagbox opens on top of them. The modal message box does not dispose of them. Checking the dispose of property in the debugger the dispose of property is false. I don`t understand why they disapper. Any insight into this problem?


text:
Square Enix Announce FourFourTwo - Planet Football App
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Pokémon Video Game Championship Series Coming Soon!
by Adam Cook on April 28, 2011
Even after all these years, the Pokémon brand is still going very strong indeed, and if you've read our Pokémon Black Nintendo DS review, you'll know that the games are also still rather excellent!
On the heels of the record-breaking and critically acclaimed release of Pokémon Black Version and Pokémon White Version video games for systems in the Nintendo DS family, The Pokémon Company International today announced additional details about the highly anticipated 2011 Pokémon Video Game Championship Series featuring the blockbuster new titles. Pokémon Trainers will descend on Pokémon Video Game Championship Series' locations across Europe from June 4th and the United States from May 14th to battle in intense head-to-head competition with one goal in mind—securing a place to at the 2011 Pokémon World Championships August 12th–14th in San Diego, California.
The 2011 Pokémon Video Game Championship Series kicks off in the U.S. on May 14th in Seattle, Washington, before making five more stops in major cities across the country. At each location, the top 16 players from each division will earn invitations to compete at the 2011 Pokémon U.S. National Championships July 8th-10th in Indianapolis, Indiana. Players at the National Championships will battle to secure a top eight finish over the weekend, and in return, receive a guaranteed competitor slot at the 2011 Pokémon World Championships.
"We're looking forward to a fun, competitive Pokémon Video Game Championships Series this year," said J.C. Smith, director of Consumer Marketing for The Pokémon Company International. "The excitement generated from the recent launch of the Pokémon Black Version and Pokémon White Version video games will make for a memorable and intriguing tournament season."
For Europe, 2011 brings an increase in the overall number of competitor slots, along with a new age division and revised age brackets. The divisions now separate into three age categories: Junior (players born in 2000 or later), Senior (players born in 1996, 1997, 1998, or 1999), and Masters (players born in 1995 or earlier). Competitor slots have been increased this year to 256 for the Junior division, 256 for the Senior division, and 512 for the Masters division. All are based on a first come, first served basis. Players competing in Europe will need to play the European versions of Pokémon Black Version or Pokémon White Version video games, and can only use Pokémon from the Unova Pokédex to battle (from No. 001–148, and No.151).
2011 Pokémon Video Game National Championships: European Dates and Locations:
June 4th, Birmingham, United Kingdom—National Exhibition Centre, Hall 8
June 11th, Rome, Italy—Fiera Roma, Hall 12, Ingresso Nord
June 18th, Madrid, Spain—IFEMA, Hall 1, Feria de Madrid
June 25th, Paris, France—Espace Grande Arche, Parvis de La Défense
July 2nd, Cologne, Germany—EXPO XXI Köln GmbH, Gladbacher Wall 5
At all European National locations, Junior and Senior Division lines open at 8:00 a.m. and close at 8:30 a.m. The Masters Division line opens at 12:30 p.m. and closes at 1:00 p.m.
2011 Pokémon Video Game Championship Series: U.S. Dates and Locations:
May 14th, Seattle, WA—Washington State Convention Center, Hall 4B
May 21st, San Jose, CA—San Jose Convention Center, Exhibit Hall 2
May 28th, Dallas, TX—Arlington Convention Center, Grand Hall
June 4th, Atlanta, GA—Gwinnett Center, Hall A and B
June 11th, Washington, D.C.—Dulles Expo Center, South Hall
June 18th, Newark, NJ—Meadowlands Exposition Center
2011 Pokémon World Championships:
August 12th–14th, San Diego, CA*—Hilton San Diego Bayfront
*Last Chance Qualifier for the 2011 Pokémon World Championships will be held August 12th at the Hilton San Diego Bayfront.
One Direction on Tour – The Pokémon Diaries Episode 1
One Direction, the X Factor sensation who helped launch Pokémon Black and White earlier this year by giving an exclusive performance for their fans on 4 March 2011 talk about their passion for Pokémon Black and White.
Follow One Direction on the X Factor tour as they talk about Pokemon Black and White and how they enjoy playing it at each opportunity.
championshipPokemon
Adam Cook
Biggest Ever Indie Bundle Launched by GamersGate
First Ever Call Of Duty United Kingdom Championship Will Commence This August
Re-Live 1980's Football In Championship Manager 80's Legends
Championship Manager 2011 Review