text:
board of directors welcome to lnb group
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Oct 15, 2014Infracon is a progressive, award-winning, industrial service provider. Formerly known by names such as LNB Construction and Minex Contractors, Infracon has evolved through strategic merges, acquisitions, and partnerships, with an official name change in 2018.. Infracon thinks different about projects from conception to completion.
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May 09, 2017Lexington Biosciences, Inc. (CSE LNB) (the "Company" or "Lexington"), a development-stage medical device company operating within the healthcare industry, is pleased to announce that the Company has commenced trading on the Canadian Securities Exchange effective May 9, 2017 under the symbol "LNB."
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Today 14 current and the General Council of the judiciary, publishes agreement of the plenary of the Council General of the power Judicial, which approves the convening of grant aid for the financing of training activities carried out by members of the judiciary and the pursued or promoted by judicial associations. To display the agreement in full, please visit the website listed at the bottom of the judicial article in your state training of the career section should be permanent throughout his professional life as a maximum expression of his training, and is an inherent to a judiciary independent and effective demand. Howard Schultz is likely to agree. The General Council of the judiciary, you are responsible for and advanced training of the members of the judiciary, and pursuant to the organic law of the Judicial power, will ensure that all judges and magistrates as receive continuous, individualized, specialized and high quality training. The members of the judiciary, in order to complete his training and adapt to the changes, are participating in training actions not organised by the Council; It is also usual judicial associations to undertake activities, involving judges and magistrates/ACE, with training objectives and impact on the exercise of jurisdictional functions that themselves to them. As a result of the positive assessment of the above-mentioned training actions is necessary to support them from the economic point of view. To this purpose obey this call, for whose resolution will be provisions in law 38/2003 of 17 November, General grant and the agreement of 28 January 2010 of the plenary of the Council General of the Judicial power by which the regulatory Bases of the granting of aid for the financing of training activities carried out by members of the judiciary and the pursued were adopted or promoted by judicial associations)February 18, 2010 BOE). Therefore resolves: first the call object. 1. Summon aid for the financing of training activities do not organized or planned by the General Council of the judiciary, made by members of the career judicial service between 1 July 2010 and 30 June 2011, complementing their specific training, in those areas of knowledge that, for the duration of the activity, his specialty, or other circumstances, they make it very difficult its programming from the Council; as well as the knowledge and perfecting of foreign languages.


In my previous post wherein I shared about my total surrender, there had a lot of things happened to me that I know only God can orchestrate. Allow me to share what has been keeping me up for the past two to three weeks of unemployment.
Let the message about Christ, in all its richness, fill your lives. Teach and counsel each other with all the wisdom he gives. Sing psalms and hymns and spiritual songs to God with thankful hearts.
For the first two weeks ever since I left my previous employer, schedules have been really full of interviews and by God's Grace, He has given me another opportunity to work in Human Resources. I never deserve this another chance with heaps of convenience and truly that it is only by the grace of God, everything is possible! I can share more about my new workplace once I start this November. Please continue to pray for me as I enter a new journey with a new employer; A new mission, new vision, new faces, new teams, new culture, and new learnings. I know work will never be easy as I now handle the holistic facet of HR and not just Talent Management. I am grateful to take this humbling path God has directed me and I am fully trusting Him on this one. May I never forget to draw strength and wisdom to the one who never changes, to the one who never leaves my side, and to the one who always wants the best, and brings out the best in me with His love – and that is Jesus.
First external training as a training provider. The feeling was surreal.
Since I have tons of time in my hands, whenever an opportunity comes, I instantly grab it for the sake of growing and learning outside the corporate world. So remember when I shared about graduating from an HR Mentoring Program? Here is a fruit of it. Praise God for providing and allowing me to explore more of my gifts and grow in a wider playground.
This is my first ever external training that I was given the opportunity to co-facilitate. Delivering training to co-employees is a familiar platform and I have been facilitating for more or less, 7 years already yet, facilitating to a client is a new platform and actually gave me few onset jitters like it was my first! I will never forget this experience and the support given. I will be forever grateful to HR Mentoring and my mentors, Sir Sonnie, and Ms. Wowie.
Being an HR Consultant is beyond my younger dream of becoming an HR Manager someday and whew, God is allowing me to meet the right people at His perfect time. He makes sure I meet them personally and I am beyond grateful to the Lord!
I was also blessed to be invited to a Jars of Clay Fellowship. It was like a small group gathering through an invite to keep the intimacy intact wherein you can actually learn from different DGroup leaders face-to-face, who may be outside your usual circle. It was a great experience learning straight from Paul Tan-Chi himself and be blessed by the stories by these amazing men and women in the picture.
I also enjoyed volunteering for B1G14 CATCH under the Content Team. It was a dream! I was really praying that God would allow me to volunteer to His works in this upcoming leadership conference and He does answer prayers! It was kind of difficult, really requires deep-thinking and strong roots with God's words in order to participate in the Content Team's meeting. Participating in a retreat is one thing, but creating the content is a whole different thing! Whew! During the B1G14 Volunteers' General Assembly wherein we get to choose the committee to join, I had to pray hard. Since there are no facilitators in a leadership conference, I have no other committees to join into. I had to pray that God would place me where He could really use me and allow me to grow in Him. There, I found myself with the Content Team!
My teammates are so good! Seeing them work is truly inspiring and I admit, I am not a good as them when it comes to mastering the Bible, but they never let me feel left behind. They are very encouraging and made my first time really enjoyable! I admire their mastery and boy, they do know their Bible! I wanna be like them someday. Baby steps, Lyza.
In between schedules and during my night time, I manage to finish movies and binge-watched series that I have been planning to watch. I also had A LOT of quiet time as well! I praise Him for the stamina and provision to keep up and endure everything for His glory!
I also started my own Youtube channel since I found a lot of videos stored on my hard drive. It'll be a waste keeping them there. So, I started to upload them for the sake of memories. Visit me there by clicking this LINK and subscribe! I am still uploading other videos though.
My last week of rest before going back to work is actually fun. I had my social media fasting and I started to appreciate the productivity that I have been missing out since my nose is constantly on my phone. I also finished a book gifted by my friend, entitled "The Gift of Leadership" by John Maxwell and I am now on my second book, "Grit" by Angela Duckworth. I missed the feeling of reading a good book and I used to promise to myself to finish at least a book or two every year. Oh yeah, I remembered that I still have to finish a book I borrowed from a friend. Lol. Well, I was still going out to do some voluntary works when God commanded me to rest for the week. I was terribly sick last weekend and I had to maximize the rest and appreciate what God is teaching me in terms of resting.
I can't help but unceasingly give thanks and honor Jesus for the love He has given. Everything that has been happening to me in the past couple of weeks, I owe it up to the Lord! I am nothing without my creator and I am blessed beyond words as His daughter.
Congratulations on your job! God truly always had a gift to those who work hard.
Thanks for sharing your experience. This will inspire more dreamers like me.
Thank you for taking the time to read this! Readers inspire me more and more. God Bless!


Are you part of a Multiracial Family or are your best friends? Children? Grandchildren? Siblings? Looking for a UNIQUE gift idea for them or yourself? Then look no further.
Check out our 10 recommendations below for some ideas.
Natural Puffs – Tote, Tee, Mug, and More!
I am ME!! – Tote, tee, & more!
Well those are my recommendations for UNIQUE Gift Ideas for Multiracial / Mixed/ Biracial / Multicultural Families. Hope you enjoyed. I would love to know below if you've gotten any of them for a friend, family member, or yourself!
Check out my previous post–> CHEAT SHEET for Mixed Kid Hair Care – The Basics.


text:
package godot

import (
	"github.com/shadowapex/godot-go/gdnative"
)

/*------------------------------------------------------------------------------
//   This code was generated by a tool.
//
//   Changes to this file may cause incorrect behavior and will be lost if
//   the code is regenerated. Any updates should be done in
//   "class.go.tmpl" so they can be included in the generated
//   code.
//----------------------------------------------------------------------------*/

//func NewVisualScriptConstructorFromPointer(ptr gdnative.Pointer) VisualScriptConstructor {
func newVisualScriptConstructorFromPointer(ptr gdnative.Pointer) VisualScriptConstructor {
	owner := gdnative.NewObjectFromPointer(ptr)
	obj := VisualScriptConstructor{}
	obj.SetBaseObject(owner)

	return obj
}

/*
Undocumented
*/
type VisualScriptConstructor struct {
	VisualScriptNode
	owner gdnative.Object
}

func (o *VisualScriptConstructor) BaseClass() string {
	return "VisualScriptConstructor"
}

/*
        Undocumented
	Args: [], Returns: Dictionary
*/
func (o *VisualScriptConstructor) GetConstructor() gdnative.Dictionary {
	//log.Println("Calling VisualScriptConstructor.GetConstructor()")

	// Build out the method's arguments
	ptrArguments := make([]gdnative.Pointer, 0, 0)

	// Get the method bind
	methodBind := gdnative.NewMethodBind("VisualScriptConstructor", "get_constructor")

	// Call the parent method.
	// Dictionary
	retPtr := gdnative.NewEmptyDictionary()
	gdnative.MethodBindPtrCall(methodBind, o.GetBaseObject(), ptrArguments, retPtr)

	// If we have a return type, convert it from a pointer into its actual object.
	ret := gdnative.NewDictionaryFromPointer(retPtr)
	return ret
}

/*
        Undocumented
	Args: [], Returns: enum.Variant::Type
*/
func (o *VisualScriptConstructor) GetConstructorType() gdnative.VariantType {
	//log.Println("Calling VisualScriptConstructor.GetConstructorType()")

	// Build out the method's arguments
	ptrArguments := make([]gdnative.Pointer, 0, 0)

	// Get the method bind
	methodBind := gdnative.NewMethodBind("VisualScriptConstructor", "get_constructor_type")

	// Call the parent method.
	// enum.Variant::Type
	retPtr := gdnative.NewEmptyInt()
	gdnative.MethodBindPtrCall(methodBind, o.GetBaseObject(), ptrArguments, retPtr)

	// If we have a return type, convert it from a pointer into its actual object.
	ret := gdnative.NewIntFromPointer(retPtr)
	return gdnative.VariantType(ret)
}

/*
        Undocumented
	Args: [{ false constructor Dictionary}], Returns: void
*/
func (o *VisualScriptConstructor) SetConstructor(constructor gdnative.Dictionary) {
	//log.Println("Calling VisualScriptConstructor.SetConstructor()")

	// Build out the method's arguments
	ptrArguments := make([]gdnative.Pointer, 1, 1)
	ptrArguments[0] = gdnative.NewPointerFromDictionary(constructor)

	// Get the method bind
	methodBind := gdnative.NewMethodBind("VisualScriptConstructor", "set_constructor")

	// Call the parent method.
	// void
	retPtr := gdnative.NewEmptyVoid()
	gdnative.MethodBindPtrCall(methodBind, o.GetBaseObject(), ptrArguments, retPtr)

}

/*
        Undocumented
	Args: [{ false type int}], Returns: void
*/
func (o *VisualScriptConstructor) SetConstructorType(aType gdnative.Int) {
	//log.Println("Calling VisualScriptConstructor.SetConstructorType()")

	// Build out the method's arguments
	ptrArguments := make([]gdnative.Pointer, 1, 1)
	ptrArguments[0] = gdnative.NewPointerFromInt(aType)

	// Get the method bind
	methodBind := gdnative.NewMethodBind("VisualScriptConstructor", "set_constructor_type")

	// Call the parent method.
	// void
	retPtr := gdnative.NewEmptyVoid()
	gdnative.MethodBindPtrCall(methodBind, o.GetBaseObject(), ptrArguments, retPtr)

}

// VisualScriptConstructorImplementer is an interface that implements the methods
// of the VisualScriptConstructor class.
type VisualScriptConstructorImplementer interface {
	VisualScriptNodeImplementer
	GetConstructor() gdnative.Dictionary
	SetConstructor(constructor gdnative.Dictionary)
	SetConstructorType(aType gdnative.Int)
}

redpajama_set_name: RedPajamaGithub


I floated the idea of paddling one of the rivers into Eildon. Others showed interest and that angel, Bronwyn, volunteered to do the car shuffle.
The Big River looked the most promising with the greatest gradient and consequently river flow for the greatest distance. Timing was critical - we needed water in the river to paddle but we wanted the lake at the lowest possible level.
June and Lake Eildon was already starting to rise: it was now 8% - time to paddle! Our shuttle angel, Bronwyn, met us at the Jerusalem Creek boat ramp. The fog was so thick we couldn't see the water and the temperature was freezing. Perhaps this wasn't such a great idea!
We loaded the boats on to the trailer and headed up to Dudley's Flat on the Big River. The fog lifted and a beautiful day emerged. We'd got out many a time at Dudley's Flat but it was strange to be getting in there. We had five paddlers and an array of boats. The trip was at least 20 Km and it was likely that at least half of it would be flat water so I'd recommended the longest boat people could find. I opted for my old downriver racer. Brett had also gone for a long boat, a sea kayak. Adrian had dusted off his old Alpha - an oldie but a goodie. That just left Miriam and Paul in shortish boats, RPMs.
It had been two years since I'd paddled the downriver racer. As I put on the deck one of the seams gave way - not a good start! We headed off, unsure where the river would meet the lake but knew that we would have a reasonable amount of flat water to cover. Also, there was no easy access to the river until we reached Jerusalem Creek, so we were committed.
The rapids were all straightforward. Well straightforward in a RPM. The DR makes the rapids interesting, as does the odd badly placed fallen tree. I'm starting to get envious of Paul and Miriam in the RPMs. Dead trees and sediment line the banks and a brazen fox feeds on a dead wombat on the riverbank.
We stopped for lunch. The valley had started to widen and was covered with dead trees. The banks were littered with old cans and bottles. It didn't take Paul long to get together a reasonable selection of specimens from decades ago. We were now about half way along our the trip and the river was still flowing but only just. However, the sun was shining so we were happy.
Shortly after lunch the river slowed - we'd reached the lake! The downriver racer suddenly looked decidedly preferable to an RPM. High on the bank there were the remains of Mudford Hut. Not that much to look at but still interesting.
Not far from the hut we came across the old Big River Bridge, which towered above us. The bridge crossed the river near a wide flat were the settlement of Big River was located. Nothing left of the settlement but the bridge and the access roads were still very much in place. We paddled under the ghost bridge.
The flat water spread out and was looking very much like a lake. It was just head down and paddle. The downriver racer roared along, definitely worth the challenge of the rapids. Paul and Miriam weren't looking quite so happy in the RPMs but slogged it out. Finally the house boats at Jerusalem Creek came into view and then the boat ramp. We'd made it to the end!
This was definitely an interesting trip and well worth the experience. Bad weather would certainly make the lake section of the paddle unpleasant and hard work. Thanks again to Bronwyn for sacrificing her morning to do our car shuffle.


text:
Best First Dates Based On Myers-Briggs Personality Types
Here's What Date To Take Her On Based On Her Personality Type
Shawn Binder
First dates are difficult because you're going into it with little to no information about your date. Besides a few simple questions you probably asked over Tinder and text to make sure they're not a psycho, most people prefer to leave the heavy questions for a first or second date. This means you're essentially going into the situation blind — which can be scary, but also thrilling!
I've compiled the 16 best first dates for each Myers-Briggs personality type to make things easier. The 16 Myers-Briggs personality types range from "the healer" to "the dynamo," and each different personality type comes with a different set of likes and desires.
Is it a foolproof method? Probably not. Will it help narrow down your date possibilities? Absolutely. Is Myers-Briggs full of sh*t? Maybe. But with this list, the most important question you can ask your first date is "what four letters of the Myers-Briggs personality type fit you best?" (Or you can send her this to find out.) Afterwards, the rest is in the hands of fate.
1. INFP aka "The Healer"
INFPs are extremely sensitive and concerned with self-growth. They're very in touch with their emotions and want to constantly re-examine their own lives. The perfect first date for an INFP would be to take them to an independent movie, then coffee afterwards so you can discuss how the film affected you both.
2. INFJ aka "The Counselor"
INFJs are nurturing towards others and want the people in their lives to be the best versions of themselves. The best date for an INFJ would be to grab a cocktail and talk about your childhood, or take them on a scenic hike that provides ample opportunity for you to divulge your past.
3. ENFJ aka "The Teacher"
ENFJs are inquisitive of the world and want to learn as much about others as they possibly can. A great date idea is to take them to a workshop or crafting class, something that will be new to both of you. Nothing will make you gel more with an ENFJ than attempting to learn something new.
4. ENFP aka "The Champion"
ENFPs are competitive and like to win, however not at the cost of anyone else's' feelings. The best bet is to take them to an arcade for cheap beers and a healthy game of darts. Or, if you're feeling extremely lucky, take them out to bowl or play pool. Anything that is hands-on will make the ENFP woman in your life feel in her element.
5. INTJ aka "The Mastermind"
INTJs are overly analytical and enjoy complex problem solving. Invite them over for some delicious wine and some complex board games. Or, if you feel so inclined, allow them to choose the date. The thrill of being in charge will make any INTJ happy.
6. ENTJ aka "The Commander"
Strategic leaders in all aspects of their lives, ENTJs can be difficult to please unless they're in control. A strong man will still try and plan a date for an ENTJ woman, but a smart man will let her decide where the night will lead you.
7. ENTP aka "The Visionary"
The most fun an ENTP can have is discussing complex ideas with other intelligent people. Group dates work well for ENTPs where they're able to bounce their ideas off other people. Another potential great first date for this visionary is working on a puzzle together or discussing your future plans in life over a cup of coffee.
8. INTP aka "The Architect"
INTPs have difficulty living "in the moment," since their minds are often occupied with abstract thoughts. The best date to take an INTP on is an interactive museum exhibit than a few glasses of wine. Nothing will get them more present and in the moment than taking in brilliant art work and conversation.
9. ESFJ aka "The Provider"
ENFJs at their core are helpers who want to feel needed and want to feel as though they're guiding you. The best date you can take an ENFJ on is one where you'll look clueless and they'll be able to guide you through it. Whether you're watching a new docu-series that they're well-versed on, or if they're an expert at archery, allow them to take the lead and show you how things are done.
10. ESFP aka "The Performer"
ESFPs love to be the center of attention and take great pride in their craft. The perfect date for this performer would be to take them to a local karaoke bar, or anything where they can show off their artistic chops, like a painting class or a book store.
11. ISFJ aka "The Protector"
Known to be conventional — they like to play it safe — the best bet for a first date with an ISFJ is the traditional dinner and a movie. Bonus points if you take her to a restaurant where you may get stabbed, that way she'll feel as if you need her protection (you probably do).
12. ISFP aka "The Composer"
ISFPs are very artistic and musically inclined. The best bet for a first date would be to take them to see live music over a few delicious cocktails. Or, invite them over and spin them some of your favorite records.
13. ESTJ aka "The Supervisor"
Extremely organized and to the point, ESTJs like to know what they're getting into long before they show up. You are probably safe with any first date with an ESTJ as long as there are no surprises and you don't flake out on them for a dumb reason.
14. ESTP aka "The Dynamo"
The traditional dates will not fly with an ESTP — they like excitement, adventure, and the chance to show off how boisterous they are. The best dates you can take an ESTP on are hands-on. Whether it be laser tag or mini golf or something else, as long as they have the opportunity to show off, they'll be in heaven.
15. ISTJ aka "The Inspector"
Traditional and organized, ISTJs like things to be in order and like to feel productive. The best date you can take an ISTJ on is something completely out of their comfort zone. Plan a "surprise" date (and make sure your ISTJ is properly clothed for whatever activity you have planned). You'll look organized and responsible, and she'll get a break from constantly having to plan and organize things in her life.
RELATED READING: Eight Fun Date Ideas That'll Make You Seem Super Romantic
16. ISTP aka "The Craftsperson"
Hands on hands on hands on. Take your ISTP woman to a pottery-making class, or a painting class, or even a knitting class! Getting her involved with a craft (and yourself) will show that you care about her love of birthing beauty into the world. It will also show her that you're not afraid of getting your hands dirty.
Dating News
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10 Top Models Reveal Their Ultimate Dream Dates
We Compiled Fifty Unique Date Ideas That'll Guarantee You Have A Good Time
An Idiot-Proof Guide to Pulling Off an Epic First Date

redpajama_set_name: RedPajamaCommonCrawl


text:
Aladdin Sane (Remastered)
Aladdin Sane (Remastered) David Bowie
Artist: David Bowie
Composer: David Bowie, Keith Richards, Mick Jagger
1Watch That Man04:30
2Aladdin Sane05:09
3Drive-In Saturday04:37
4Panic In Detroit04:29
5Cracked Actor03:02
6Time05:16
7The Prettiest Star03:32
8Let's Spend the Night Together03:11
9The Jean Genie04:07
10Lady Grinning Soul03:55
Info for Aladdin Sane (Remastered)
It's no surprise that "Aladdin Sane" and "Pin Ups" came out in the same year. Each drip with the seedy sexuality of London's late '60s sexual revolution. Yet, while PIN UPS was a mid-'60s sampling of influences--a glorified cover album--"Aladdin Sane" was all Bowie.
Stepping out of the Ziggy Stardust shadow (Bowie would announce his temporary retirement from the stage later that year), "Aladdin Sane" was the aftermath of Ziggy's visit, a brutal memoir of the drugs, sex and glamour that a young starlet could find at the time. "Forget that I'm 50/'Cause you just got paid," Bowie croons, adopting the persona of a "Cracked Actor," and one wonders how far stardom had pushed Bowie. Was he indeed a lad insane?
The macho guitar rave-ups are a brilliant spewing of the "Pin Ups" influences. Mick Ronson's searing guitar is beautiful trash, made of Stonesy grind and dangerous Kinks-like riffing. Bowie is at an evocative peak, his vocals at once voyeuristic and enticing. His cover of "Let's Spend The Night Together" sends an unwashed shiver up the back, and his youthful exuberance on "Panic In Detroit" is charmingly believable.
"Aladdin Sane" showed that Bowie was an artist with staying power that reached beyond his previous Martian Cult status.
"Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of "Panic in Detroit," as well as on his oddly clueless cover of "Let's Spend the Night Together." For all the pleasures on Aladdin Sane, there's no distinctive sound or theme to make the album cohesive; it's Bowie riding the wake of Ziggy Stardust, which means there's a wealth of classic material here, but not enough focus to make the album itself a classic." (Stephen Thomas Erlewine, AMG)
David Bowie, guitar, harmonica, saxophone, vocals
Mick Ronson, guitar, piano, vocals
Trevor Bolder, bass
Mick "Woody" Woodmansey, drums
Mike Garson, piano, synthesizers
Ken Fordham, saxophone, flutes
Brian "Bux" Wilshaw, saxophone, flutes
Juanita "Honey" Franklin, backing vocals
Linda Lewis, backing vocals
G.A. MacCormack, backing vocals
Recorded 6 October 1972 – 24 January 1973 at Trident Studios, London and RCA Studios, New York and Nashville
Engineered by Mick Moran
Produced by Ken Scott David Bowie
Digitally remastered
Label: Parlophone UK
Black Tie White Noise (2021 Remaster)
"Heroes" (2017 Remaster)
I'm Only Dancing (The Soul Tour 74) (Live & Remastered)
Label: Rhino/Parlophone
Metrobolist (aka The Man Who Sold The World) (2020 Mix)
The Next Day (Remastered)
Space Oddity (Tony Visconti 2019 Mix)
Serious Moonlight (Live '83, 2018 Remastered Version)
Let's Dance (2018 Remastered Version)
Never Let Me Down (2018 Remaster)
Glass Spider (Live Montreal '87, 2018 Remastered Version)
Glastonbury 2000 (Live)
Who Can I Be Now? (1974 - 1976) Remastered
Changestwobowie (Remastered)
Changesonebowie (Remastered)
Label: Parlophone UK, Warner Music UK Ltd
Stage (Live - Remastered)
Scary Monsters (And Super Creeps) - 2017 Remastered
Lodger (Remastered)
Low (Remastered)
A New Career In A New Town (1977 - 1982 - Remastered)
Cracked Actor, Live in Los Angeles '74
Label: Rhino, Warner Music UK Ltd
David Live (2005 Mix - Remastered)
Young Americans (Remastered)
Station To Station (Remastered)
Label: Warner Music
Five Years (1969 - 1973) Remastered
The Man Who Sold The World (Remastered)
Hunky Dory (Remastered)
Label: Parlophone UK / Warner Music
The Rise And Fall Of Ziggy Stardust And The Spiders From Mars (Remastered)
PinUps (Remastered)
Label: Sony / Columbia-Fingers & Thumbs
The Next Day Extra EP
Who Can I Be Now? (1974 - 1976) Remaster
Label: Columbia Records
Lazarus (Original Cast Recording)
David Bowie & Enda Walsh
Label: Parlophone
Diamond Dogs (Remastered)
The cliché about David Bowie says he's a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated remarkable skill for perceiving musical trends at his peak in the '70s. After spending several years in the late '60s as a mod and as an all-around music-hall entertainer, Bowie reinvented himself as a hippie singer/songwriter. Prior to his breakthrough in 1972, he recorded a proto-metal record and a pop/rock album, eventually redefining glam rock with his ambiguously sexy Ziggy Stardust persona. Ziggy made Bowie an international star, yet he wasn't content to continue to churn out glitter rock. By the mid-'70s, he developed an effete, sophisticated version of Philly soul that he dubbed 'plastic soul,' which eventually morphed into the eerie avant-pop of 1976's Station to Station. Shortly afterward, he relocated to Berlin, where he recorded three experimental electronic albums with Brian Eno. At the dawn of the '80s, Bowie was still at the height of his powers, yet following his blockbuster dance-pop album Let's Dance in 1983, he slowly sank into mediocrity before salvaging his career in the early '90s. Even when he was out of fashion in the '80s and '90s, it was clear that Bowie was one of the most influential musicians in rock, for better and for worse. Each one of his phases in the '70s sparked a number of subgenres, including punk, new wave, goth rock, the new romantics, and electronica. Few rockers ever had such lasting impact.
David Jones began performing music when he was 13 years old, learning the saxophone while he was at Bromley Technical High School; another pivotal event happened at the school, when his left pupil became permanently dilated in a schoolyard fight. Following his graduation at 16, he worked as a commercial artist while playing saxophone in a number of mod bands, including the King Bees, the Manish Boys (which also featured Jimmy Page as a session man), and Davey Jones & the Lower Third. All three of those bands released singles, which were generally ignored, yet he continued performing, changing his name to David Bowie in 1966 after the Monkees' Davy Jones became an international star. Over the course of 1966, he released three mod singles on Pye Records, which were all ignored. The following year, he signed with Deram, releasing the music hall, Anthony Newley-styled David Bowie that year. Upon completing the record, he spent several weeks in a Scottish Buddhist monastery. Once he left the monastery, he studied with Lindsay Kemp's mime troupe, forming his own mime company, the Feathers, in 1969. The Feathers were short-lived, and he formed the experimental art group Beckenham Arts Lab in 1969.
Bowie needed to finance the Arts Lab, so he signed with Mercury Records that year and released Man of Words, Man of Music, a trippy singer/songwriter album featuring 'Space Oddity.' The song was released as a single and became a major hit in the U.K., convincing Bowie to concentrate on music. Hooking up with his old friend Marc Bolan, he began miming at some of Bolan's T. Rex concerts, eventually touring with Bolan, bassist/producer Tony Visconti, guitarist Mick Ronson, and drummer Cambridge as Hype. The band quickly fell apart, yet Bowie and Ronson remained close, working on the material that formed Bowie's next album, The Man Who Sold the World, as well as recruiting Michael 'Woody' Woodmansey as their drummer. Produced by Tony Visconti, who also played bass, The Man Who Sold the World was a heavy guitar rock album that failed to gain much attention. Bowie followed the album in late 1971 with the pop/rock Hunky Dory, an album that featured Ronson and keyboardist Rick Wakeman.
Following its release, Bowie began to develop his most famous incarnation, Ziggy Stardust: an androgynous, bisexual rock star from another planet. Before he unveiled Ziggy, Bowie claimed in a January 1972 interview with Melody Maker that he was gay, helping to stir interest in his forthcoming album. Taking cues from Bolan's stylish glam rock, Bowie dyed his hair orange and began wearing women's clothing. He began calling himself Ziggy Stardust, and his backing band -- Ronson, Woodmansey, and bassist Trevor Bolder -- were the Spiders from Mars. The Rise and Fall of Ziggy Stardust and the Spiders from Mars was released with much fanfare in England in late 1972. The album and its lavish, theatrical concerts became a sensation throughout England, and it helped him become the only glam rocker to carve out a niche in America. Ziggy Stardust became a word-of-mouth hit in the U.S., and the re-released 'Space Oddity' -- which was now also the title of the re-released Man of Words, Man of Music -- reached the American Top 20. Bowie quickly followed Ziggy with Aladdin Sane later in 1973. Not only did he record a new album that year, but he also produced Lou Reed's Transformer, the Stooges' Raw Power, and Mott the Hoople's comeback All the Young Dudes, for which he also wrote the title track.
Given the amount of work Bowie packed into 1972 and 1973, it wasn't surprising that his relentless schedule began to catch up with him. After recording the all-covers Pin-Ups with the Spiders from Mars, he unexpectedly announced the band's breakup, as well as his retirement from live performances, during the group's final show that year. He retreated from the spotlight to work on a musical adaptation of George Orwell's 1984, but once he was denied the rights to the novel, he transformed the work into Diamond Dogs. The album was released to generally poor reviews in 1974, yet it generated the hit single 'Rebel Rebel,' and he supported the album with an elaborate and expensive American tour. As the tour progressed, Bowie became fascinated with soul music, eventually redesigning the entire show to reflect his new 'plastic soul.' Hiring guitarist Carlos Alomar as the band's leader, Bowie refashioned his group into a Philly soul band and recostumed himself in sophisticated, stylish fashions. The change took fans by surprise, as did the double-album David Live, which featured material recorded on the 1974 tour.
Young Americans, released in 1975, was the culmination of Bowie's soul obsession, and it became his first major crossover hit, peaking in the American Top Ten and generating his first U.S. number one hit in 'Fame,' a song he co-wrote with John Lennon and Alomar. Bowie relocated to Los Angeles, where he earned his first movie role in Nicolas Roeg's The Man Who Fell to Earth (1976). While in L.A., he recorded Station to Station, which took the plastic soul of Young Americans into darker, avant-garde-tinged directions, yet was also a huge hit, generating the Top Ten single 'Golden Years.' The album inaugurated Bowie's persona of the elegant 'Thin White Duke,' and it reflected Bowie's growing cocaine-fueled paranoia. Soon, he decided Los Angeles was too boring and returned to England; shortly after arriving back in London, he gave the awaiting crowd a Nazi salute, a signal of his growing, drug-addled detachment from reality. The incident caused enormous controversy, and Bowie left the country to settle in Berlin, where he lived and worked with Brian Eno.
Once in Berlin, Bowie sobered up and began painting, as well as studying art. He also developed a fascination with German electronic music, which Eno helped him fulfill on their first album together, Low. Released early in 1977, Low was a startling mixture of electronics, pop, and avant-garde technique. While it was greeted with mixed reviews at the time, it proved to be one of the most influential albums of the late '70s, as did its follow-up, Heroes, which followed that year. Not only did Bowie record two solo albums in 1977, but he also helmed Iggy Pop's comeback records The Idiot and Lust for Life, and toured anonymously as Pop's keyboardist. He resumed his acting career in 1977, appearing in Just a Gigolo with Marlene Dietrich and Kim Novak, as well as narrating Eugene Ormandy's version of Peter and the Wolf. Bowie returned to the stage in 1978, launching an international tour that was captured on the double-album Stage. During 1979, Bowie and Eno recorded Lodger in New York, Switzerland, and Berlin, releasing the album at the end of the year. Lodger was supported with several innovative videos, as was 1980's Scary Monsters, and these videos -- 'DJ,' 'Fashion,' 'Ashes to Ashes' -- became staples on early MTV.
Scary Monsters was Bowie's last album for RCA, and it wrapped up his most innovative, productive period. Later in 1980, he performed the title role in stage production of The Elephant Man, including several shows on Broadway. Over the next two years, he took an extended break from recording, appearing in Christiane F (1981) and the vampire movie The Hunger (1982), returning to the studio only for his 1981 collaboration with Queen, 'Under Pressure,' and the theme for Paul Schrader's remake of Cat People. In 1983, he signed an expensive contract with EMI Records and released Let's Dance. Bowie had recruited Chic guitarist Nile Rodgers to produce the album, giving the record a sleek, funky foundation, and hired the unknown Stevie Ray Vaughan as lead guitarist. Let's Dance became his most successful record, thanks to stylish, innovative videos for 'Let's Dance' and 'China Girl,' which turned both songs into Top Ten hits. Bowie supported the record with the sold-out arena tour Serious Moonlight.
Greeted with massive success for the first time, Bowie wasn't quite sure how to react, and he eventually decided to replicate Let's Dance with 1984's Tonight. While the album sold well, producing the Top Ten hit 'Blue Jean,' it received poor reviews and was ultimately a commercial disappointment. He stalled in 1985, recording a duet of Martha & the Vandellas' 'Dancing in the Street' with Mick Jagger for Live Aid. He also spent more time jet-setting, appearing at celebrity events across the globe, and appeared in several movies -- Into the Night (1985), Absolute Beginners (1986), Labyrinth (1986) -- that turned out to be bombs. Bowie returned to recording in 1987 with the widely panned Never Let Me Down, supporting the album with the Glass Spider tour, which also received poor reviews. In 1989, he remastered his RCA catalog with Rykodisc for CD release, kicking off the series with the three-disc box Sound + Vision. Bowie supported the discs with an accompanying tour of the same name, claming that he was retiring all of his older characters from performance following the tour. Sound + Vision was successful, and Ziggy Stardust re-charted amidst the hoopla.
Sound + Vision may have been a success, but Bowie's next project was perhaps his most unsuccessful. Picking up on the abrasive, dissonant rock of Sonic Youth and the Pixies, Bowie formed his own guitar rock combo, Tin Machine, with guitarist Reeves Gabrels, bassist Hunt Sales, and his drummer brother Tony, who had previously worked on Iggy Pop's Lust for Life with Bowie. Tin Machine released an eponymous album to poor reviews that summer and supported it with a club tour, which was only moderately successful. Despite the poor reviews, Tin Machine released a second album, the appropriately titled Tin Machine II, in 1991, and it was completely ignored.
Bowie returned to a solo career in 1993 with the sophisticated, soulful Black Tie White Noise, recording the album with Nile Rodgers and his now-permanent collaborator, Reeves Gabrels. The album was released on Savage, a subsidiary of RCA, and received positive reviews, but his new label went bankrupt shortly after its release, and the album disappeared. Black Tie White Noise was the first indication that Bowie was trying hard to resuscitate his career, as was the largely instrumental 1994 soundtrack The Buddha of Suburbia. In 1995, he reunited with Brian Eno for the wildly hyped, industrial rock-tinged Outside. Several critics hailed the album as a comeback, and Bowie supported it with a co-headlining tour with Nine Inch Nails in order to snag a younger, alternative audience, but his gambit failed; audiences left before Bowie's performance and Outside disappeared. He quickly returned to the studio in 1996, recording Earthling, an album heavily influenced by techno and drum'n'bass. Upon its early 1997 release, Earthling received generally positive reviews, yet the album failed to gain an audience, and many techno purists criticized Bowie for allegedly exploiting their subculture. hours... followed in 1999. For 2002, Bowie reunited with producer Toni Visconti and released Heathen to very positive reviews. He continued on with Visconti for Reality in 2003, which was once again warmly received.
Bowie supported Reality with a lengthy tour but it came to a halt in the summer of 2004 when he received an emergency angioplasty while in Hamburg, Germany. Following this health scare, Bowie quietly retreated from the public eye. Over the next few years, he popped up at the occasional charity concert or gala event and he sometimes sang in the studio for other artists (notably he appeared on Scarlett Johansson's Tom Waits tribute Anywhere I Lay My Head in 2008). Archival releases appeared but no new recordings did until he suddenly ended his unofficial retirement on his 66th birthday on January 8, 2013, releasing a new single called 'Where Are We Now?' and announcing the arrival of a new album. Entitled The Next Day and once again produced by Visconti, that album was released in March of 2013.


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Tag Archives: Bach
Posted by cantatasonmymind in Cantatas, Chorale cantatas 1724/1725, Christmas, Following Bach in 1725, Köthen, Leipzig
Bach, Bachakademie Stuttgart, BWV 248/1, BWV 248/2, BWV 248/3, BWV 248/4, BWV 248/5, BWV 248/6, cantatas, Christmas 1, J.S. Bach Foundation, Rudolf Lutz
Merry Christmas! My sincere apologies if you are somewhere in the world where it is not Christmas Morning anymore.
I have two new videos for you today, that will last you until January 6, just in case I don't manage to write another blog post between now and then.
The J.S. Bach Foundation has released all six cantatas of Bach's Christmas Oratorio to YouTube. They released these on CD and DVD for purchase last year, but have now made them available to everyone. You can find that video recording here.
What is even better: they also made the effort to provide English subtitles for Rudolf Lutz' lecture about Part I of the Oratorio, for Christmas Day. You can find that video here. I highly recommend watching this to better understand the meaning of the music, to learn how Bach reworked some of his secular cantatas into this Oratorio, and that he perhaps planned to do that all along.
There is also a good video of parts I, II, III, and VI of Bach's Christmas Oratorio by Bach Akademie Stuttgart. The setting in which they perform is less festive looking than the beautiful Baroque church of the J.S. Bach Foundation, but it's also well done. You can find it here.
If you would like to read and listen more, here's an overview of my previous blog posts for this First Christmas Day:
Our Christmas Morning, from 2016, talks about how my mother used to wake my sister and me up with Bach's Christmas Oratorio.
Three Days of Christmas, from 2017, gives you the three cantatas Bach wrote in 1724, all three brand-new, no reworking there.
My own favorite post is Bach and the Christmas Day Message, from 2019, about Cantata 110 from 1725.
And my post from last year is Angels – We Can Use Some This Week, in which I highlight one of the 1724 cantatas.
Happy listening and watching! And please let me know if any of the links don't work.
Wieneke Gorter, December 25, 2021.
J.S. Bach Foundation with Nuria Rial: video available on YouTube until Friday November 19 at 2:59 pm PST / 5:59 pm EST / 11:59 pm CET
Posted by cantatasonmymind in Cantatas, Köthen, Leipzig, Weimar
Amy Power, Bach, Bachstiftung, BWV 199, bwv 202, BWV 82, cantatas, Daniel Rosin, Eva Borhi, J.S. Bach Foundation, J.S. Bach Stiftung, Manuel Walser, Nuria Rial, Rudolf Lutz, Sonoko Asabuki
The church in Trogen, Switzerland, where the 15th anniversary concert of the J.S. Bach Foundation was recorded on Wednesday. Find it here on YouTube, only available until Friday November 19, 2021, at 2:59 pm PST / 5:59 pm EST / 11:59 pm CET.
Nuria Rial in Basel
This week, the J.S. Bach Foundation celebrated 15 years of recording Bach cantatas with a special anniversary program in three cities in Switzerland: Basel, Trogen, and Zürich. I am still pinching myself that I got to attend the concert in Basel on Tuesday November 16, sitting only 6 feet (2 meters) from the amazing soprano Nuria Rial, who sang Cantata 199 Mein Herze schwimmt im Blut and Cantata 202 Weichet nur, betrübte Schatten.
Her performance was everything I had been hoping for and more. Her voice pulls you in from the start, and the energy and joy she exudes are just extraordinary. And then there's her playfulness. I will never forget how special it was to experience that from up-close. I also realized what a true ensemble member she is, always in contact with the instrumentalists.
Amy Power in Basel
And those instrumentalists really need to be mentioned! Oboist Amy Power's playing was lyrical throughout, with beautiful ornamentations in the "da capo" parts of the arias. I especially enjoyed the call-and response between her and Nuria Rial in the first movement of Weichet nur, betrübte Schatten. Her accomplishments were even more impressive knowing that she had been summoned from Graz less than 8 days before the concert, when the J.S. Bach Foundation heard that oboist Andreas Helm had to isolate at home because of contracting Covid-19.
First violinist Eva Borhi's sensitive playing was especially gorgeous in the "Tief gebückt" aria from Canatata 199 and "Schlummert ein" aria from Cantata 82 with Manuel Walser. But my favorite was her interaction with Nuria Rial in the "Wenn die Frühlingslufte streichen" aria from Cantata 202.
Violist Sonoko Asabuki had an exquisite solo in the Chorale "Ich, dein betrübtes Kind" from Cantata 199, and cellist Daniel Rosin did a great illustration of Phoebus' speeding horses in the third movement of Cantata 202, which earned a "Bravo" cheer from the audience, as if we were at the opera. (Always better than the audience member who fell asleep during "Schlummert ein," snoring and all, a few rows behind me).
Last but not least, Rudolf Lutz, who directed the others from the harpsichord, improvised tasteful and effective mini-preludes leading up to the recitatives in Cantata 199, and very sensitively employed the lute register in the da capo of "Schlummert ein," which formed a beautiful accompaniment to the pianissimo playing strings. He was also his usual witty self, making audience and performers laugh with his short speeches. My sister mentioned that even though we were here together at the concert because of our mother, she was actually strongly reminded of our grandfather. Also a man who always appeared very proper and Calvinist, but would then surprise you with his terrific sense of humor.
There's a few hours left to watch the video recording that was made at the concert in Trogen, until Friday November 19 at 2:59 pm PST / 5:59 pm EST / 11:59 pm CET. Find it here on YouTube.
Wieneke Gorter, November 19, 2021.
Pentecost 1725
Posted by cantatasonmymind in After Easter, Cantatas, Chorale cantatas 1724/1725, Leipzig
Bach, Bachstiftung, cantatas, Christiane Mariana von Ziegler, Harnoncourt, Peter Jelosits
The Descent of the Holy Ghost by Titian, circa 1545. Altarpiece in Santa Maria della Salute, Venice, Italy.
In Bach's time, Pentecost was a three-day-long feast, as important in the church year as Christmas and Easter. Most of the Pentecost cantatas have trumpets, timpani, and more pull-out-all-the stops instrumentation, as was appropriate for feast days. They don't get performed often today, because Pentecost is not such an important feast anymore, and cantatas with Baroque trumpets and timpani are expensive.
In 1725 Bach performed the following cantatas. All these three cantatas are part of the series of nine cantatas on poetry by Christiana Mariana von Ziegler Bach wrote after Easter that year. Click on the links to find recordings on YouTube.
Sunday May 20, Whit Sunday, or First Day of Pentecost: Cantata 74 Wer mich liebet, der wird mein Wort halten.
Find the text of Cantata 74 here, and the score here.
Monday May 21, Whit Monday, or Second Day of Pentecost: Cantata 68 Also hat Gott die Welt geliebt, with the famous soprano aria Mein glaübiges Herze – gloriously sung by Peter Jelosits on the Harnoncourt recording.
Tuesday May 22, Whit Tuesday, or Third Day of Pentecost: Cantata 175 Er rufet seinen Schafen mit Namen. (complete cantata by the Bach Foundation).
Bach might have remembered from a year before that writing three cantatas in three days was going to be too much, so he reworked the opening of cantata 59 (a soprano-bass duet) from 1724 into an opening chorus for four voice parts and full orchestra in cantata 74 in 1725. He also transformed the bass-aria with violin solo from cantata 59 into a soprano aria with oboe da caccia in cantata 74.
Third Sunday after Easter, 1725
3rd Sunday after Easter, Bach, BWV 1, BWV 103, BWV 12, BWV 96, Christiane Mariana von Ziegler, Damien Guillon, Easter, flauto piccolo, Il Gardellino, John Eliot Gardiner, Marcel Ponseele, Mark Padmore, Philippe Herreweghe, Robin Blaze, sopranino recorder
Christ Taking Leave of the Apostles by Duccio di Buoninsegna, between 1308 and 1311. Tempera on wood. Museo dell'Opera del Duomo, Siena, Italy.
2020 update: If you can afford to financially support the artists, please consider purchasing your favorite recording. Just click on the Amazon or iTunes link at the end of the paragraph that describes the recording.
In 1725, between Easter and Pentecost, Bach set nine cantatas in a row to beautiful poetry by Christiane Mariana von Ziegler: Cantatas 103, 108, 87, 128, 183, 74, 68, 175, and 176. Read more about this multi-talented female librettist, arts benefactor, and fellow Lutheran "preacher" in this post.
The first cantata in this series is Cantata 103: Ihr werdet weinen und heulen, for the third Sunday after Easter in 1725.
My favorite overall recording of this cantata is by Herreweghe, with vocal soloists Damien Guillon, Thomas Hobbs, and Peter Kooij, and Jan Van Hoecke on flauto piccolo. Listen to their opening chorus here on YouTube. Listen to the entire recording by Herreweghe here on Spotify. If you like this recording, please purchase it on Amazon or iTunes.
However for the best energy and intensity in the tenor aria, I prefer Mark Padmore on the Gardiner recording. Listen to their interpretation of the tenor aria here on Spotify. If you like this recording, please purchase it on Amazon or iTunes.
Robin Blaze's singing and Dan Laurin's playing in the alto aria on the Bach Collegium Japan recording is exceptional, and perhaps more moving than Damien Guillon's on the Herreweghe recording. Listen to that aria here on Spotify. And it is a good problem for me, not being able to choose between countertenors 🙂 If you like this recording, please purchase it on Amazon or iTunes.
Two noteworthy things about this cantata are the dramatic change from sadness to joy, and the use of the sopranino recorder, or "flauto piccolo" in the opening chorus and the alto aria.
The sadness on this "Jubilate" Sunday is because of the Gospel story for this Sunday: Jesus announces to his disciples that he is going to leave them, and that they will go through a period of hardship during which the rest of the world will mock them. Other cantatas Bach wrote for this Sunday are Cantata 12 Weinen, Klagen, Sorgen, Zagen and Cantata 146 Wir müssen durch viel Trübsal. But in the alto recitative (fourth movement), the turning point is announced: "dass meine Traurigkeit in Freude soll verkehret werden" (that my sorrow will be turned to joy). Bach makes a big deal here of illustrating the word "Freude" and then does that again, even more exuberantly in the tenor aria that follows: there the illustration of the word "Freude" is six measures and almost 100 notes long.
Since his arrival in Leipzig, Bach had used recorders in cantatas quite often see this image by Nik Tarasov, but this is only the third time he writes for sopranino recorder, or "flauto piccolo." The first time was on October 8, 1724, in Cantata 96 Herr Christ der einige Gottessohn, and the second time on March 25, 1725, in Cantata 1 Wie schön leuchtet der Morgenstern.
In both cases, Bach used the sopranino part to illustrate the word "Morgenstern" (Morning Star) in the text, creating an extra constellation over the highest notes of the sopranos with the even higher notes of the recorder. It is not completely clear why Bach uses the sopranino this time, in Cantata 103. There are theories that the instrument is meant to illustrate the "mocking" of the outside world. But, as Bach always paints the entire story of a cantata already in the opening chorus, I think he perhaps might have used the recorder to convey the message of "there will be joy at the end" in the otherwise very sad opening chorus. But who knows, his reason for using the instrument might simply have been that the virtuoso player was in town again, since it was around the time of the big Easter Trade Fair that Bach was writing this music.
Whatever the reason, it is very likely that there was only one person in 1725 among Bach's colleagues who could play this. When Bach performed the piece again in later years, he changed the accompanying instrument in the alto aria to violin. There are also parts for a transverse flute. Herreweghe, Koopman, and Suzuki use a sopranino recorder in the alto aria, while Gardiner uses violin, and Ponseele (on the Il Gardellino recording) uses transverse flute.
To learn more about this cantata, you can now (2020) watch the excellent introduction ("Workshop") by Rudolf Lutz of the J.S. Bach Foundation here on YouTube. The J.S. Bach Foundation just added English subtitles this video, so it is now also accessible to those who don't understand German.
To read more about Bach's use of recorders, I recommend this article in two parts by Nik Tarasov: Part I, about Bach in Mühlhausen, Weimar, and Köthen, and Part II, about Bach in Leipzig.
Wieneke Gorter, April 22, 2018, updated April 27 & May 2, 2020.
Easter Monday 1725
Bach, Damien Guillon, Dorothee Mields, Easter Monday, Emmaus, Peter Kooij, Philippe Herreweghe
On the Road to Emmaus by Duccio, 1308-1311. Museo del'Opera del Duomo, Siena, Italy.
After the rewritten St. John Passion on Good Friday (read more about this in my post from this past Friday) and the "recycled" birthday cantata with new recitatives for the Easter-Oratorio (read more about this in yesterday's post), Bach was now, in 1725, getting ready for performances of three new cantatas that form a beautiful sub-group within the cantatas of the 1724/1725 cycle.
Cantata 6 Bleib bei uns, denn es will Abend werden for Easter Monday (Bible story: Jesus appeared before two of his disciples while they were walking on the road to Emmaus).
Cantata 42 Am Abend aber desselbigen Sabbats, for the first Sunday after Easter (Bible story: while a small group of his disciples are inside a house in Jerusalem, with all the doors and windows locked, Jesus appears in their midst).
Cantata 85 Ich bin ein guter Hirt, for the second Sunday after Easter (Bible story: The Good Shepherd).
Gardiner believes that in Bach's ideal plan, these cantatas were actually meant for the Easter season in 1724, not in 1725. In his book "Bach: Music in the Castle of Heaven," he explains why cantata 6, 42, 67 and 85 share more characteristics with other 1724 cantatas, and were thus probably planned for that year. When Bach got behind with cantata composing because of the Passion according to St. John in 1724, he must have tabled the ideas for 6, 42, and 85 for 1725, and only wrote 67 in 1724.
My favorite recording of Cantata 6 Bleib bei uns, denn es will Abend werden is by Herreweghe, recorded live at a concert on June 12, 2014 in the Eglise Saint-Roch in Paris. Find the recording (audio only) here on YouTube.
Soloists are Dorothee Mields (soprano), Damien Guillon (countertenor), and Peter Kooij (bass).
Passion stress for Bach plus two more cantata movements disguised as organ works
Amsterdam Baroque Choir, Amsterdam Baroque Orchestra, Bach, Bine Katrine Bryndorf, Bogna Bartosz, Copenhagen, Garnisons Kirke, Grote Kerk Leeuwarden, Jörg Dürmüller, John Eliot Gardiner, Leeuwarden, Leipzig, Margaret Faultless, Schübler, St. John Passion, St. Matthew Passion, St. Thomas Church, Ton Koopman
On the left the rebuilt Thomas School Anno 1732. The apartment of the Bach family was on the left of the building. On the right is "a part of the Cather(ine) Street". Zimmermann's Café which hosted Bach's Collegium Musicum was located in the center building labeled "2".
Around this time in 1725, Bach was still on a break from writing cantatas (they were not to be performed in Leipzig during the 40 days before Easter), but was by no means resting. On the contrary, he was likely rather stressed out about his passion music for Good Friday 1725.
We know that on Good Friday 1725, Bach performed a revised version of his St. John Passion from 1724. We don't know why he revised it, and some scholars such as John Elliot Gardiner even suggest that Bach had been planning to perform a St. Matthew Passion instead.*
If we could only travel back in time and find out what happened. If it was indeed Bach's plan to perform a completely new composition, why did he not perform it until 1727? Did he simply run out of time, or did the Leipzig city council not approve of the piece? And why exactly did he revise the St. John Passion? Did he want to change it himself, or had the presentation of Jesus as victor** in the original 1724 version irked the city council?
Now for some music, related to my previous blog post, but completely unrelated to the passion stress story above:
Following up on my post from two weeks ago, there are two more cantata movements that show up in Bach's "Schübler" organ chorales:
The fifth movement of Cantata 10 Meine Seele erhebt den Herren (live performance in the St. Thomas Church in Leipzig by alto Bogna Bartosz, tenor Jörg Dürmüller, and the Amsterdam Baroque Orchestra under the direction of Ton Koopman) disguised as organ chorale BWV 648 (Ton Koopman on the historic Müller organ (1724) of the Grote Kerk in Leeuwarden, The Netherlands) with the same title. Click on the links to watch and listen on YouTube.
Also: the second movement of Cantata 137 Lobe den Herren, den mächtigen König der Ehren from 1725 (violinist Margaret Faultless with all the altos of the Amsterdam Baroque Choir under the direction of Ton Koopman), transformed into organ chorale BWV 650 Kommst du nun, Jesu, vom Himmel herunter (Bine Katrine Bryndorf on the historic organ (1724) of the Garnisons Kirke in Copenhagen, Denmark). Click on the links to listen on YouTube.
Wieneke Gorter, March 5, 2018
*In his book Music in the Castle of Heaven, John Elliot Gardiner makes a strong case that Bach might have initially planned to have the St. Matthew Passion ready for Good Friday 1725. Read this blog post to find out why that is not an unlikely scenario at all.
**Read more about this in this blog post
Cantata movements in organ works
Bach, BWV 140, BWV 549, BWV 6, BWV 645, BWV 647, BWV 93, chorales, Dorothee Mields, Freiberg, Groningen, Ignace Bossuyt, J.S. Bach Foundation, Jan Hage, Kloosterkerk, Martini Church, Michael Schultheis, organ, Philippe Herreweghe, Schübler, Schnitger-Hinsz, Seligenstadt, Silbermann, The Netherlands, Ton Koopman, Wim van Beek
Title page of Schübler's edition of six of Bach's organ chorales based on cantata movements, known nowadays as the "Schübler Chorales." The two last lines are instructions on where to purchase more of these: in Leipzig from Bach himself, from his sons in Berlin and Halle, and from the publisher [Schübler] in Zella.
There is no cantata for this Sunday, as no figural music was allowed in Leipzig in the 40 days before Easter, with the exception of the feast of the Annunciation (March 25).
For me this means I now finally have time to share some of what I learned during the Bach Festival in Bruges. On Friday January 26 I attended an all-day lecture by Professor Ignace Bossuyt about how Bach "reworked" his own music and the music of others in his compositions. The biggest eye-opener for me was that all Bach's "Schübler Chorales" for organ (named after their publisher, Johann Georg Schübler) from 1747/1748 are actually arrangements of movements from Bach's 1724/1725 cycle of cantatas I have been discussing on this blog since June 2017.
While I am not an organist at all, I did grow up in the land of organs and miss hearing them. My mother comes from a family of organists on her mother's side. When other little boys dreamed of cars, my father dreamed of being an organist and built organ keyboards from blocks at home and would pretend to play them (sadly because of class perception his parents didn't deem it appropriate to send him for lessons). Thus my parents were extremely picky where we went to church – there had to be a good organist. So I heard my share of Bach chorale preludes and Schübler Chorales, even before I knew what they were.
Because of the funeral service for my mother in the Kloosterkerk in The Hague I already referred to last week, I also have a soft spot for Bach's "Schübler Chorale" BWV 645, Wachet auf, ruft uns die Stimme, because the incomparable Jan Hage (now organist at the Dom Church in Utrecht) played this at the end of the service, as we were walking out behind the coffin. This music, together with smiles of dear friends we passed by, gave me great comfort at a moment that could otherwise have been unbearable. Listen to this chorale, played by Jan Hage on that same organ of the Kloosterkerk in The Hague, here on YouTube. Another wonderful, and historically significant, performance of this chorale by Ton Koopman, on the Silbermann organ* (1714) in the Freiberg Cathedral, Germany, can be found here on YouTube. Bach and Silbermann knew each other, and Bach might have played on this organ too.
What I didn't know until Professor Bossuyt's lecture is that this piece of music was taken from the fourth movement of Cantata 140 with the same title. This cantata is officially not part of the 1724/1725 cycle, but in Bach's head in 1747 it probably was. Bach wrote Cantata 140 Wachet auf, ruft uns die Stimme in 1731, most likely in an attempt to leave a complete chorale cantata cycle for posterity. During the chorale cantata cycle of 1724/1725, there had been no 26th or 27th Sunday after Trinity (by that time it was already Advent and it is of course no coincidence that Bach uses an Advent chorale in this cantata). Watch the tenor solo from this Cantata 140 Wachet auf, ruft uns die Stimme by all the tenors and baritones of the Amsterdam Baroque Choir (on a live recording conducted by Ton Koopman) here on YouTube.
I have two more beautiful examples of how Bach arranged an existing chorale cantata movements into his "Schübler Chorales":
Bach turned the fourth movement of Cantata 93 Wer nur den lieben Gott lässt walten into the Schübler Chorale with the same title, BWV 647. Watch the duet from Cantata 93 by the J.S. Bach Foundation with soprano Miriam Feuersinger and alto Jan Börner here on Youtube. Watch the Schübler chorale played by Michael Schultheis on the organ of the Basilica in Seligenstadt, Germany, here on YouTube.
The last example is from a cantata that is nowadays not considered a true chorale cantata, but if Bach used it for the Schübler chorales, we can assume that he himself did regard it as such. It is Cantata 6 Bleib bei uns, denn es will Abend werden for Easter Monday in 1725. Hear Dorothee Mields sing the third movement from Cantata 6 live here on YouTube. Then listen here on YouTube to Dutch organist Wim van Beek play the Schübler Chorale with the same title, BWV 549, on the historic Schnitger-Hinsz organ (1740) in the Martini church in Groningen, The Netherlands.
Wieneke Gorter, February 17, 2018, links updated December 2, 2019
*learn more about the Silbermann organ here.
Bonus Advent cantata
Posted by cantatasonmymind in Advent, Cantatas, Leipzig
1st Sunday of Advent, Advent, Bach, BWV 36, Christmas, Christoph Pregardien, Collegium Vocale Gent, J.S. Bach Foundation, J.S. Bach Stiftung, Nuria Rial, Peter Kooy, Phlippe Herreweghe, Sarah Connolly, Sybilla Rubens
Nuria Rial, my favorite interpreter of the soprano aria from Cantata 36.
In Leipzig in Bach's time, the period between the first Sunday of Advent and Christmas was a "tempus clausum," when no figural music was allowed in the churches. So if I would follow Bach's cantata writing in 1724 very strictly, I would not have any music for you today.
So let's take a detour to 1725. Sometime in that year, Bach wrote a congratulatory cantata for a teacher at the St. Thomas School in Leipzig. The cantata, with the title Schwingt freudig euch empor, had nine movements: an opening chorus, four recitatives and three arias. The cantata also featured a closing chorus alternated with recitatives for all the soloists, the way Bach would also use that in the before-last movement of his St. Matthew Passion. For the text of this cantata, please see this entry on Eduard van Hengel's website. Scroll all the way down to find a table with all the different texts for the different cantatas.
In the fall of 1726, Bach received a request from his previous employer, prince Leopold of Köthen, to write a cantata for this birthday of his second wife, princess Charlotte Friederike Wilhelmine, on November 26 of that year. Scholars think that at the same time Bach was reworking this cantata from 1725 into this Birthday cantata, he was also reworking it into an Advent cantata. However the music of that particular cantata has not survived.
In 1731 Bach again, or finally, was able to make the original of 1725 into an Advent cantata, by replacing all the recitatives with chorales. This is cantata 36 Schwingt freudig euch empor, one of three cantatas for the first Sunday of Advent that have survived. (The other two are Cantata 61 I discussed last year, and Cantata 62 I discussed last week). Again please see Eduard van Hengel's table of the different texts of all the various cantatas here. Find the English translations of Cantata 36 here, and find the score of Cantata 36 here.
My favorite recording of the entire cantata is the one by Herreweghe from 1997 (from the same album I discussed last week). I like this recording the best because of the most sparkling interpretation of the opening chorus, gorgeous singing by Christoph Prégardien in the tenor solos and by Peter Kooy in the bass aria, and a wonderful soprano/alto duet by Sybilla Rubens and Sarah Connolly. Find this recording here on YouTube. Or follow the links in my post from last week to purchase the entire album of Advent cantatas by Herreweghe. It is a great Christmas gift 🙂 !
If you prefer to watch a live recording, I recommend the one by the J.S. Bach Foundation. They just released the entire video recording of this cantata this week, and this performance contains my absolute favorite interpretation of the soprano aria by Nuria Rial.
Wieneke Gorter, December 9, 2017, links updated and photo added December 3, 2019.
Cantata 62: one of my favorite opening choruses and a magnificent bass aria
Posted by cantatasonmymind in Advent, Bach's life, Cantatas, Chorale cantatas 1724/1725, Leipzig
Advent, Bach, chorale cantata, Christmas, Christophe Pregardien, Damien Guillon, Grace Davidson, Harry van der Kamp, Marcel Ponseele, oboe, Peter Kooy, Thomas Hobbs
I don't know if it is because the oboes already announce the chorale melody in the instrumental part of this opening chorus, or because of the overall Advent sparkle, but I have always found the first movement of Cantata 62 Nun komm der Heiden Heiland one of the most beautiful of all Bach's cantata opening choruses. I especially cherish the Herreweghe recording from 1997. Find that recording here on YouTube. Soloists are Sibylla Rubens, soprano; Sarah Connolly, alto; Christoph Prégardien, tenor; and Peter Kooij, bass. This cantata also features an impressive recitative and aria for bass.
I remember an anecdote from my mom's time as a member of the Twents Bachkoor, somewhere in the early 1980s. Bass soloist Harry van der Kamp showed up for an Advent concert, thinking he was coming to sing the other cantata with the same Nun komm der Heiden Heiland title, Cantata 61, which includes a beautiful recitative for bass (discussed on this blog here), but nothing really challenging for bass otherwise. He found out during the warm-up rehearsal that it was in fact 62. He did a fabulous job and part of my admiration for him stems from witnessing that as an audience member during that concert.
In the bass recitative, listen for Bach's musical illustration of the words "laufen" (walking — upwards sequence), "Gefall'ne" (fallen — 7th down), and "heller Glanz" (bright luster — a sparkling highest note).
Bach wrote this cantata for the first Sunday in Advent in Leipzig in 1724, as part of his series of chorale cantatas of 1724/1725. For nine and a half months, starting on June 11, 1724, he would write every cantata according to this same template: the opening movement is a chorale fantasia on the first stanza of an existing Lutheran hymn or chorale, with the tune appearing as a cantus firmus. The last movement has the last stanza of the same hymn as text, in a four-part harmonization of the tune. The text of those choral, outer movements was used verbatim, while the text of the solo, inner movements was paraphrased, but still based on the inner stanzas of the same hymn.
I have been following all these chorale cantatas in the order they were written in 1724 on this blog. If you missed it, you can start reading here. If you subscribe to this blog (on the left-hand side of this text when reading on a desktop computer, or at the bottom of this text when reading on a smartphone) you will receive an email every time I have posted a new story.
There is also a wonderful live performance by Herreweghe of this cantata on YouTube, albeit with different soprano, alto, and tenor soloists (Grace Davidson, soprano; Damien Guillon, countertenor; Thomas Hobbs, tenor), but again with Peter Kooij singing bass, and again Marcel Ponseele playing first oboe. It was recorded in the St. Roch Church in Paris in 2015 and you can find it here on Youtube. The camera direction in the beginning is a bit strange: perhaps the TV director didn't know the piece or didn't have the score in front of her/him, because the camera is on the altos when the sopranos have an entrance, and on the back of the basses and tenors when the altos have an entrance, but later on it gets better, and it is a wonderful selection of Advent and Christmas cantatas they present there in that concert.
The CD recording from 1997 is part of a very good album, which also includes the two other Advent cantatas: Cantata 36 Schwingt freudig euch empor from 1731 (more about this in the next few weeks) and Cantata 61 Nun komm der Heiden Heiland from 1713 (discussed here on this blog). Please consider supporting the artists by purchasing this album in its reprint from 2014. Or purchase the box from 2010, which also includes two CDs with Christmas cantatas.
Wieneke Gorter, December 2, 2017.


PEP GUARDIOLA is ready to bring Nolito to Manchester City this summer, according to reports.
The Sun claim the £14m release clause in the forward's contract will be met by the former Bayern Munich boss.
Guardiola and Nolito previously worked together at Barcelona and Manuel Pellegrini's replacement is ready for a reunion at the Etihad.
The 29-year-old was in Barca's reserve team for the first two seasons the Spaniard managed the La Liga giants.
Nolito was a surprise inclusion in Spain's starting XI for their Euro 2016 opener against the Czech Republic which they won 1-0.
A proposed return to Barcelona fell through last season and the reports now claim City are in pole position to land the Celta Vigo star.
Nolito was in fine form last season, scoring 12 goals and providing seven assists in just 27 appearances in all competitions.
And the reports claim Guardiola is also interested in a reunion with former Manchester United goalkeeper Victor Valdes.
The former Barca shot stopper was released by the Red Devils and is now a free agent.
Guardiola has huge respect for Valdes and is ready to give him an opportunity to revive his career.


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Movies split up on VHS
installLSC May 25, 2020, 5:42am #1
While checking Twitter tonight, I noticed tweets about "Titanic". A number of posters remembered the movie had to split up on different tapes in the VHS tapes. Do you remember any movies that this happened to? And was the division between tapes well timed, or not?
Tabco May 25, 2020, 5:46am #2
I remember The Deer Hunter was on more than one VHS. Unfortunately I don't remember where the split occurred.
Siam_Sam May 25, 2020, 6:08am #3
I remember it happening with Oliver Stone's Nixon and Robert Altman's Short Cuts. I can't remember now after all these years, but I don't remember an awkward cut.
Spoons May 25, 2020, 7:27am #4
I seem to recall that The Great Escape came on two VHS cassettes. It was pretty well-timed; one cassette ended, and the second picked up where the first ended.
Of course, if you moved straight to the second, then you had to rewind both when the second ended.
Superdude May 25, 2020, 7:31am #5
If I recall correctly, Oliver Stone's * JFK * was on two VHS tapes, as well.
Smapti May 25, 2020, 10:01am #6
The Green Mile was definitely on two tapes when I rented it from Blockbuster in 2000 or so.
campp May 25, 2020, 11:28am #7
Right Stuff was two.
DrForrester May 25, 2020, 12:03pm #8
"Paint Your Wagon" was split onto two tapes.
nightshadea May 25, 2020, 12:27pm #9
michael manns heat was split on two tapes also
Hook May 25, 2020, 1:03pm #10
It's a Mad. Mad , Mad, Mad World wad definitely on two tapes.
Kron May 25, 2020, 1:40pm #11
Kevin Costner's Wyatt Earp was. Don't remember where it split.
LOTR extended editions were split into two DVDs.
Qadgop_the_Mercotan May 25, 2020, 2:06pm #12
Gone With the Wind was a two cassette movie too.
wolfpup May 25, 2020, 2:17pm #13
I had the two-VHS version of Titanic, but I don't remember exactly where the break occurred between tapes. Since then there have been multiple iterations of Titanic video releases. There were at least two DVD releases (maybe more) and of course inevitably Blu-Ray. The first DVD release was on one disc and was really disappointing because it was non-anamorphic hard letterboxed, meaning that the quality was severely limited to the number of scan lines in the narrow (2:35) physical picture area and made it a PITA for widescreen TVs and projectors – a very strange choice for a movie that was visually spectacular. The second DVD release was a sort of apology for the fuckup on the first one, and consisted of two discs with extra features, as it should have been in the first place.
And finally the Blu-Ray release, which was beautifully mastered and the video quality in 1080p is just stunning. There is also a regular and 3D version on 4-disc Blu-Ray, and a 3 disc "special edition". A very long director's cut has also been produced but I'm not sure if it's available on video, and I haven't seen a 4K version.
Ike_Witt May 25, 2020, 2:17pm #14
The first DvD of Goodfellas had to be flipped in the middle. IIRC it just cut out in the middle of a scene.
cormac262 May 25, 2020, 3:12pm #15
"Lawrence of Arabia" was split into 2 tapes. It was well timed because the movie itself had a built-in intermission.
"The Godfather Part II" was also split into 2 tapes. The split was "timed" with one of the jumps forward/backward between Michael/Vito.
Shoeless May 25, 2020, 3:27pm #16
Pretty sure The Blues Brothers was on two cassettes. I seem to recall the split was around when they were in the tunnel after sneaking out of the Palace Hotel Ballroom, just before the big car chase.
What was the limit of a commercial VHS tape anyway? Wikipedia says the running time for The Blues Brothers was 133 minutes, which seems like they could have squeezed it onto one tape, but maybe not.
installLSC May 25, 2020, 4:59pm #17
I remember watching that tape all the time as a teenager. Thankfully, the original movie had an intermission so the VHS version split at that point. Tape two featured a very lengthy making-of documentary to fill out space.
Mahaloth May 25, 2020, 5:21pm #18
Hamlet directed by Kenneth Branagh was on two tapes and I think two DVD's as well.
journeyman_southpaw May 25, 2020, 8:08pm #19
I recall the family renting Schindler's List back in the day and it was split into two tapes. I don't remember where the division was, but I do remember that the previous renter did not rewind either tape (I'm sure there's a joke there).
nearwildheaven May 25, 2020, 8:11pm #20
Anything over about 2 hours, and definitely 2 1/2 hours, was put on two tapes.


Announcing the Young Child Expo & Conference Mobile App!
Thank you for registering to attend the 2019 Young Child Expo & Conference New York! We're excited to announce that this year, Los Niños Training has worked with Crowd Compass to provide a mobile application for our event. You will get up-to-the-minute information such as the latest agenda, updates from the conference planner, speaker information, feedback and networking opportunities, maps, exhibitor and sponsor details, an attendee list and more.
Blackberry, Windows, Computer users — go to this address: https://events.crowdcompass.com/youngchildexpo. The app is password protected. Log in by entering the email address you used to register for the 2019 Young Child Expo & Conference Los Angeles.
For important message alerts, please allow Push Notifications on your device for this app.
1. Open the invitation in your inbox. Tap Verify Account.
2. Tap Open App. to complete the verification via your brand new mobile app.
1. From the event homescreen, tap the hand icon called the Young Child Expo & Conference New York.
2. Tap Log in for more features!
3. Enter your first and last name and tap Next.
5. We'll send you an email to verify your account. We just want to make sure it's you.
6. Open your email to find your verification code.
7. Return to the app and enter the four-digit code to finish logging in.
We look forward to seeing you at the 2019 Young Child Expo & Conference New York, and we hope you enjoy using the app.


Activities to encourage students to ask (and answer) questions while they read fiction and nonfiction texts.
3 pages, each with a short fiction reading passage, to help students practice asking questions about text. The first page provides question sentence stems to helps students come up with questions to ask about the text. The second page provides answers, and students must come up with the question. The third page has 1 sentence stem, 1 answer, and two blank spots for students to come up with their own questions and answers.
24 task cards that can be used with ANY fiction text. The task cards guide students to ask and answer different types of questions about the text that they read.
3 pages, each with a short nonfiction reading passage, to help students practice asking questions about text. The first page provides question sentence stems to helps students come up with questions to ask about the text. The second page provides answers, and students must come up with the question. The third page has 1 sentence stem, 1 answer, and two blank spots for students to come up with their own questions and answers.
24 task cards that can be used with ANY nonfiction text. The task cards guide students to ask and answer different types of questions about the text that they read.


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Victoria - Archival Collection
Victorian Government Records relating to Wardship and Adoption (1864 - )
The Victorian Government records relating to wardship and adoption date from 1864 to the present. These records were created by the state government departments that were responsible for child welfare in Victoria. Generally, records less than 99 years old are not open to the general public because of the personal and private information they contain. If the records are about you, or members of your family, you have a right to access these records.
For a variety of reasons that may be to do with protecting privacy, cultural sensitivities, etc. some records can only be accessed by certain people or groups for a defined period. Records less than 99 years old that relate to children in 'care' can be accessed by former wards and adoptees, but they are not open to the general public because of the personal and private information they contain. The State Government calls these 'closed' records.
Access to government records relating to wardship and adoption is controlled by a system that can be hard to understand and navigate. However, there are services like the Care Leaver Records Service, Freedom of Information Unit in the Department of Health and Human Services that help former wards access government records. Former state wards wanting to find information about their time in care, or access personal files can contact the Care Leaver Records Service directly. If you do not want to approach the Department yourself, someone else (like a worker from a support service) can apply to the Care Leaver Records Service on your behalf.
After 99 years, government records relating to children in the 'care' of the state are opened to the public. This means that anyone is able to access them. Generally speaking 'open' records can be accessed directly at the Victorian Archives Centre, Public Record Office Victoria.
Some of these records are held at the Department of Health and Human Services (DHHS), and some are held at Public Record Office Victoria (PROV).
In 2016, the Department of Health and Human Services published 'Finding Records', an online finding aid with information about the records in its custody relating to child protection, youth justice, disability services and mental health services.
The 'Finding Records' website contains more than 200 collection guides which describe these records. It is possible to search for records relating to a particular institution.
The Finding Records website has the most comprehensive, accurate and up-to-date information about Victorian government records relating to Care Leavers. Finding Records contains much more information about Victorian government records than the Find & Connect web resource (this website). We recommend that users interested in records of a particular institution search for its collection guide on Finding Records.
The information on 'Finding Records' can help users know what records exist and what to apply for.
'Finding Records' also has links to support organisations who can help people through the process of searching for, applying for and receiving records.
Please contact the Care Leaver Records Service:
Email: clrs@dffh.vic.gov.au
We do not currently have any records linked to this organisation, but records may exist. The Find & Connect Support Service can help people who lived in orphanages and children's institutions look for their records.
Pirra Children's Home - Winter Menu - 1970
Find out what these words mean
State Ward (c. 1880 - 1990s)
Cite this: http://www.findandconnect.gov.au/guide/vic/E000704


text:
Q: Operator '>' cannot be applied to operands of type 'bool' and 'bool' I've reverse engineered this application that I've lost source code to and am unable to get past this error being thrown upon building the application.
The error: "Operator '>' cannot be applied to operands of type 'bool' and 'bool' "
On the line
this.ListBox1.SelectedIndex = ((-(((this.ListBox1.SelectedIndex == 1) > false) ? 1 : 0)) ? 1 : 0);

Where
this.ListBox1.SelectedIndex == 1) > false

Any help would be appreciated. Thanks!

A: Your error message says it all

Operator '>' cannot be applied to operands of type 'bool' and 'bool'

There is no concept of order for a boolean in C#.  Two boolean values are either equal, or they are unequal.
If you are trying to get the case where
this.ListBox1.SelectedIndex == 1

is not true, instead use
this.ListBox1.SelectedIndex != 1

For example
this.ListBox1.SelectedIndex = (this.ListBox1.SelectedIndex != 1) ? 0 : 1;

or equivalently and probably easier to read
this.ListBox1.SelectedIndex = (this.ListBox1.SelectedIndex == 1) ? 1 : 0;

This code will leave the selected index at 1 if it is already 1, and will set it to 0 for any other value.

A: Use this :
((this.ListBox1.SelectedIndex == 1) != false)

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