Spybot and Ad-aware find the same thing each time I run them, they say they are removed, I even run them before I startup Windows all of the way, and yet I still have popups comin out of my [bleep]. I use google toolbar as well, the sites are popping up without IE even running. Here is my hijack this logfile. Any help is appreciated!
Edited by mrstephens, 25 April 2005 - 10:13 PM.
Edited by mrstephens, 25 April 2005 - 10:10 PM.
still waiting for some help.... here is the latest log.
How is the computer running now ?


Call it a case of déjà vu, as the newest track from teenage breakout artist Billie Eilish called "&Burn" is actually the second part of her previous song featured here at We Are: The Guard, "Watch." So, what should you expect this time around? Keep reading and find out.
Last time we heard from Billie Eilish was the beginning of summer when she dropped the heavily-anticipated "Watch," a track loaded with character and drama that seemed well beyond her age. Barely in the midst of her teenage years, the musical press is already deeming her a prodigy at the craft, drawing comparisons to former sensation, Lorde. At the tender age of fifteen, Eilish is already beyond the indie world and already signed with Interscope. With a voice that is somewhere located in between MØ and Halsey, her following up rehashing of "Watch" that is renamed "&burn" is sure to be as memorable as the original.
Luckily, Eilish has a credible cameo from just down the 710 Freeway with LBC-based wunderkind, Vince Staples. The slow pace of "&burn" definitely delivers a slow and satisfying experience, where Staples' appearance is a pleasant surprise that somehow flows and drifts across without much disruption. Meant to be an accompanying sequel to "Watch," "&burn" should draw the same sort of praise as the former. But being so similar to the first entry, some patrons might feel a little bit cheated with "&burn" as it sounds more of a remix version than an accompaniment. To each his own.


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Home	Cast And Crew	Turner and Hooch Cast and Crew, Release Date, Story & Wiki
Turner and Hooch Cast and Crew, Release Date, Story & Wiki
by Samson June 24, 2021
written by Samson June 24, 2021
Here are the latest updates of Turner and Hooch Cast and Crew, Release Date, Story, Wiki and more. Disney+ revealed the official trailer for Turner & Hooch, the original series premiering Wednesday, July 21. Turner & Hooch stars Josh Peck as Scott Turner, son of Detective Scott Turner portrayed by Tom Hanks in the 1989 film of the same name. Based on the Tom Hanks-led 1989 comedy film of the same name, the series sees Peck's character, U.S. Marshall Scott Turner Jr., inherit Hooch – a large dog that his late father, Scott Turner Sr. (Hanks), rescued from an animal shelter.
Turner & Hooch is a Disney+ original series produced by 20th Television. Matt Nix is creator, executive producer and writer on the series. McG is an executive producer and directed the series premiere. Michael Horowitz, Robert Duncan McNeill and Mary Viola also serve as executive producers, and Josh Levy serves as co-executive producer. This original series will premiere Wednesday, July 21.
What is the Movie About?
The series also stars as Carra Patterson as Jessica Baxter, Scott's brave, street-smart partner; Brandon Jay McLaren as Xavier Wilson, a cool, enigmatic marine-turned-US Marshal; Anthony Ruivivar as Chief James Mendez, Scott's boss with a secret soft spot for Scott's new dog, Hooch; Lyndsy Fonseca as Laura Turner, Scott's sweet, animal-loving sister; Jeremy Maguire as Matthew Garland, Laura's dog-loving son; and Vanessa Lengies as Erica Mouniere, the quirky head of the US Marshals dog training program. Becca Tobin recurs as Brooke, Scott's former flame; and Reginald VelJohnson reprises his role as Mayor David Sutton. Five French Mastiffs also star as Hooch, Scott's slobbery, loveable French Mastiff.
Turner and Hooch (2021) Cast And Crew
Release Date July 21, 2021
Genre Comedy/ Crime
Star Cast Josh Peck, Lyndsy Fonseca, Carra Patterson, Vanessa Lengies, Anthony Ruivivar, Brandon Jay McLaren and Jeremy Maguire, with Becca Tobin and Reginald VelJohnson
Director Matt Nix
Producer 20th Television
Lyricist TBA
Editor TBA
Writers Matt Nix
Production Company 20th Television
Cinematographer TBA
Music By TBA
Distribution Disney+
Status Post Production & Film Promotion Stage
When an ambitious, buttoned-up US Marshal inherits a big unruly dog, he soon realizes the dog he didn't want may be the partner he needs. Turner & Hooch stars Josh Peck as Scott Turner, son of Detective Scott Turner portrayed by Tom Hanks in the 1989 film of the same name.
Turner & Hooch is a 12-episode TV reboot of the 1989 film with same title. Created by Matt Nix, Turner & Hooch stars Josh Peck, Lyndsy Fonseca, Carra Patterson, Vanessa Lengies, Anthony Ruivivar, Brandon Jay McLaren and Jeremy Maguire, with Becca Tobin and Reginald VelJohnson. The series premieres July 21 on Disney+.
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redpajama_set_name: RedPajamaCommonCrawl


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Google, Apple, and Twitter Established Back-to-Work Policies for Remote Employees
Google, Apple, and Twitter are some of the big tech companies that want their remote employees back in the office. The companies are establishing back-to-work policies to have all their employees working at the office at least one day a week.
While the past two years, companies encouraged remote work to prevent spreading COVID-19, now most of them want their employees back at the office. Big tech companies are demanding that employees come into the office at least some time.
Last week, Tim Cook, Apple CEO, established that starting April 11, Apple employees will be required to work from the office at least one day a week. Then, starting April 23, the requirement will increase to three days a week.
He mentioned during a memo:
"For many of you, I know that returning to the office represents a long-awaited milestone and a positive sign that we can engage more fully with the colleagues who play such an important role in our lives. For others, it may also be an unsettling change."
As of April 4, Google will require its employees to work from the office at least three days per week. The company will provide avenues for a remote work extension, locations switch or will consider petitions to continue working remotely in some cases.
Additionally, the tech giant is no longer mandating vaccines for its in-office employees in the US, and there are no mask mandates or testing requirements for vaccinated employees.
Despite encouraging employees to come back to the office, Twitter still offers them the freedom to choose. The company announced that offices will reopen on March 15, but workers can decide how to work. This means Twitter employees can remain remote, work a couple of days in the offices, or work fully from the office.
Twitter CEO Parag Agrawal said in a letter to employees:
"Wherever you feel most productive and creative is where you will work, and that includes working from home full-time forever. Office every day? That works too. Some days in office, some days from home? Of course."
Remote Internships For College Students Doubled After The Pandemic
According to Hiring Lab research, the Indeed U.S. has doubled remote internships for college students during the pandemic. Last…
German Banks Are Ready To Say Goodbye To The Office
German Banks share their plans for their office reduction. As a result of the global shift to remote…
FTLife: New Co-working Space Concept
FTLife Insurance Company Limited's (FTLife) launches a new co-working space concept. The growing trend around flexible workplaces is leading to…


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Kertosari is een bestuurslaag in het regentschap Pasuruan van de provincie Oost-Java, Indonesië. Kertosari telt 4202 inwoners (volkstelling 2010).

Plaats in Oost-Java

redpajama_set_name: RedPajamaWikipedia


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Won't support GST in present form at any cost: NC
by KH Correspondent
Srinagar/June,14: National Conference on Wednesday said the party would not support the extension of the GST regime to the State of Jammu and Kashmir in its present form at any cost and would leave no stone unturned to protect the State's fiscal and political autonomy.
Addressing a Press Conference on the issue in Srinagar on Wednesday, Senior National Conference Leader and Former Finance Minister Abdul Rahim Rather said the State Government was confused and completely clueless on this very sensitive issue.
"National Conference Core Group met recently in Srinagar and discussed the issue of GST and reached a conclusion that as far as the GST is concerned and of the amendment through which the GST is being implemented, accepting the GST in its present shape and form – it would cause irreparable damage to the State's special status, its fiscal as well as political autonomy," said Rather.
"The State Government has failed to come up with a clear and transparent stand on this issue leading to uncertainty and apprehensions", he said.
"We sought an All Party Meeting with the expectation that the State Government could clarify its stand on GST. Sadly the State Government is completely confused and clueless. Even in the meeting, the State Government could not clear its stand. The stand of National Conference is unambiguously clear – we will not allow the State Government to take any step that would compromise on the State's fiscal autonomy and special status", he said.
KH Correspondent


(Reuters) - World Boxing Council (WBC) heavyweight champion Deontay Wilder's contract to fight unified world champion Anthony Joshua is "still live" and the bout could take place at Wembley in April next year, Joshua's promoter Eddie Hearn has said.
Talks for a showdown between Joshua and Wilder broke down earlier this week after the World Boxing Association (WBA) told the Briton to agree terms for a mandatory title defense against Russia's Alexander Povetkin with "immediate effect" or risk losing his WBA title.
Wilder accused Joshua on social media of not willing to fight for all the world heavyweight titles but Hearn dismissed the claim saying the American was yet to sign the contract.
"The contract is still live, it's still valid, it's sitting on your (Deontray Wilder) manager's desk," Hearn told Sky Sports news.
Hearn stressed on the importance of the bout against Povetkin, calling it a "dangerous" fight which the IBF, WBA and WBO world heavyweight champion will need to be at the top of his game for.
"We want to beat Povetkin, we want it to be the undisputed fight, but this is a tough fight against Alexander Povetkin, but I believe Joshua beats every heavyweight," he added.


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At Flickster you can shop safe in the knowledge that your name, address, credit card details, and other information are all 100% safe. We want our customers to shop with confidence, and to know that we take every possible step to ensure that your data is protected and not misused in any way as a result of using our website.
We have taken all possible steps to secure your credit card details by using high grade Secure Socket Layer (SSL) for all transactions involving information passed between your computer and our server. SSL encrypts the data so that no-one will be able to access the data in its original format. When you are on a secure part of our website, you will see the "padlock" icon in your browser, which confirms that any information you send will be in a secure format. In addition, where possible we use parties who have the highest level of PCI-DSS accreditation to to process your payments. Such parties adhere to best practice standards and are audited on a regular basis to ensure data is being held safely, securely and protected from misuse.
If you need any additional information about our Security and Privacy policies, please contact our Customer Service team via the contact us page.


Turkey's state-run news office says specialists have issued detainment warrants for 105 data innovation specialists associated with supporting a year ago's fizzled overthrow. The warrants were issued Tuesday as Turkey commences seven days of occasions celebrating the July 15 commemoration of the frustrated upset and recollecting around 250 individuals who were killed.
Anadolu Office says 52 of the suspects, who incorporate ex-representatives of Turkey's logical research chamber and of the media communications expert, have been confined up until now. They are blamed for giving specialized help to upset plotters.
Turkey announced a highly sensitive situation following the endeavor — faulted for U.S.- based pastor Fethullah Gulen — and left on a general crackdown, capturing exactly 50,000 individuals for affirmed connects to the upset and expelling more than 100,000 from government occupations. Gulen denies association.


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In 2014, Indians were googling Bhojpuri films as much as they were searching for Tamil and Telugu films. Since then, search interest in Bhojpuri cinema has seen a sharp spike.
Bhojpuri movies beat Bollywood films on Google
3 min read . Updated: 26 Dec 2018, 11:52 AM IST Sriharsha Devulapalli, Vishnu Padmanabhan
Google search interest in Bhojpuri cinema saw a sharp spike in 2018, with Bhojpuri movies racing ahead of Bollywood films in 2018
plain-facts mint-india-wire bhojpuri moviesbollywoodgooglebollywood filmsbhojpuri filmsbhojpuri cinemahindi filmsgoogle searchsunny leonesalman khandeepika padukonepriyanka chopravirat kohlinarendra modipriya varrier wink videotop google searches in 2018
From villages to cities, movies are a big source of entertainment for all Indians. At one point, the cinema hall was the only place to watch movies and newspapers were the only source for information about movies. But with the rise of the Indian internet user, that has changed. Indians now are increasingly turning to the internet to watch movies, read about film news or, simply, ogle at their favourite filmstar.
Data from Google Trends, which measures search interest in different terms and topics queried on Google, shows that film-related searches have increased since 2015 and far outweigh the steadier news- and cricket-related searches.
Over the past five years, most internet film searches have been for Hindi or Bollywood movies. However, last year, Bhojpuri films were searched more than Bollywood films. In 2014, Indians were googling Bhojpuri films as much as they were searching for Tamil and Telugu films. Since then, search interest in Bhojpuri cinema has seen a sharp spike, with Bhojpuri cinema racing ahead of Bollywood in 2018.
Google Trends also shows that a significant portion of searches for Hindi films are for Hindi versions of south Indian films. Google searches confirm a growing trend in the Indian film industry where dubbed versions of films, especially from the South, are becoming popular. For instance, the Hindi version of the Telugu film, Sarrainodu, generated more than 200 million views on YouTube, making it one of the most-watched Indian videos uploaded on YouTube.
One of the most-searched-for films this year was Tamil superstar Rajinikanth's 2.0, which garnered the most search interest in Jharkhand, even more than in Tamil Nadu. While 2.0 has enjoyed great success at the box office, more search interest does not necessarily translate into box office success. For example, of the five highest grossing films in India this year, Baaghi 2 (review) was searched the most but had the lowest box office returns among the five. In contrast, Sanju (review), which was barely searched in comparison, brought in more than double the returns.
Among film stars, Salman Khan is the most Googled. Over the past five years, he has been Googled significantly more than Shah Rukh Khan, Aamir Khan and Akshay Kumar.
He is also more popular than most of his female colleagues, generating more queries than Katrina Kaif, Deepika Padukone and Priyanka Chopra. In fact, Salman Khan is searched even more than Narendra Modi and Virat Kohli.
There are significant differences between the types of searches associated with actors and actresses. For instance, the most common queries for Salman Khan are about his movies or songs. However, with female actresses, queries are overwhelmingly sensual with variations of 'hot/sexy' and 'Deepika/Katrina' the most common searches.
Little wonder then that the actress Googled the most is Sunny Leone. The former pornstar is searched far more than Katrina Kaif, Deepika Padukone or Priyanka Chopra. She is by far the most popular Indian figure in terms of Google searches, generating more interest than even Salman Khan or Modi.
Interest in Leone also highlights how despite Indians' fondness for films, their passion for online porn trumps all other interests, as the second part of this series had shown.
In terms of growth in search interest over the past year, Priya Prakash Varrier, who went viral for a wink in a video, led the race, according to Google's year-end list of top trending personalities. Another increasingly popular figure is Big Boss contestant Sapna Choudhary, who has featured in the Google's list of top trending searches for two consecutive years, and is immensely popular in the Hindi belt.
This is the concluding part of a three-part data journalism series on what Google searches reveal about India's tastes and preferences.
Part 1: What Google reveals about search interest in Indian politics
Part 2: How India's obsession with porn has evolved since 2016


ASW is the single maintenance service provider to all domestic properties and sheltered housing schemes for Newydd.
Newydd Housing Association has more than 2600 properties throughout Mid and South Wales and since December 2013 we have been the sole provider of all 24/7 responsive repair, minor works and void works for this organisation increasing value of works per annum to approximately £600,000.
Reactive and Void Maintenance plus Minor Works and Disabled Adaptations. We are currently the single source supplier for these works to Newydd Housing Association.
Our approach to carrying out maintenance works in multiple occupied properties focusses on a First Visit Fix approach using our own multi-skilled operatives. This helps minimise disruption, waiting times and defects. More importantly, this approach also minimises inconvenience for working tenants who may have to take time away from work and also for vulnerable people who may need family members or carers in attendance.
Newydd Housing Association (1974) Ltd.
Electronic invoicing is achieved using the Newydd Self Billing system. The primary advantages of this system is it can save time and money and that self-billed invoices can be sent electronically as long as the investment is provided in setting up suitable.


text:
class AddColumnToProfiles < ActiveRecord::Migration[4.2]
  def change
    add_column :profiles, :country, :string
  end
end

redpajama_set_name: RedPajamaGithub


There is 1 message totalling 70 lines in this issue.
the list I posted back on the 10th of June.
out a place to read up about them!
that can be jogged, this is what I know about them from various sources.
"Hey, are you calling my friend Anna, 'highly impressionable'?
LaCroix's choice in under-garments (joke faction)."
WHITIES:  "Obsessed with LaCroix's hairdo. (joke faction)"


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Dreams wide awake
By ProgBlog, May 8 2018 10:01PM
Until last month, I'd never been to see a Tangerine Dream performance; the closest I'd ever come to witnessing the TD sound was seeing 'Berlin school' devotees Node at the Royal College of Music in 2015 (a performance that is just about to be released on CD), and I was also present at the rather intimate premiere of the Edgar Froese/Tangerine Dream film Revolution in Sound, part of the Doc 'n' Roll Festival, screened at the Barbican Centre last November.
My appreciation of Tangerine Dream spans back to being introduced to Phaedra (1974) by school friend Alan Lee and I bought 1975's Rubycon shortly after its release based on the promise of its predecessor. I can't remember where I first heard Ricochet which was largely recorded at a gig in Croydon's Fairfield Halls on 23rd October 1975 but I remember not being over-impressed with the next studio release Stratosfear (1976), which I thought made too many concessions towards mainstream rock, including the use of harmonica. I imagine it was becoming ever more difficult to maintain originality and find new things to write in the idiom they'd created but I also think the change in use of the sequencer from pulsed rhythmic intervention to near-rigid substitute electronic drumming had the overall effect of making the group more industry-friendly. I sold my copy of Rubycon some time before I left school in 1978 but regretted it, believing that it remains one of the ultimate albums to listen to in the dark through headphones. I bought a compilation CD From Dawn 'til Dusk 1973 - 1988 in the early 90s, a CD of Phaedra in 2005 and replaced my Rubycon on CD in 2009 and finally replaced both Phaedra and Rubycon CDs with original vinyl last year; over the last couple of years I've bought a second-hand vinyl copy of Ricochet, plus Stratosfear and soundtrack Sorcerer (1977) on CD and I inherited CDs to plug the gap from Encore (1977) to Hyperborea (1983) from friend Neil Jellis as he replaced his original CDs with remasters.
Their brand of electronica was swiftly accepted by the fans of British progressive rock, like myself, who were exposed to the band when Richard Branson signed them to Virgin Records. Though not virtuoso, the application of electronic keyboard-based instrumentation to the thinking of minimalist composers like György Ligeti put them at the forefront of a radical musical movement, with atmospheres created by sonic washes, sequencer pulses and haunting Mellotron, mapping both outer- and inner space.
My favourite line-up is the classic Froese-Franke-Baumann trio, responsible for the early-mid 70's classics, and who performed in some unusual places for a rock band, like the cathedrals at Reims in France, Liverpool and Coventry. The latter two are modern architectural masterpieces but Reims Cathedral (Notre Dame de Reims) is an 81m high gothic building dating from 1211, lacking in facilities for a crowd of rock fans whose behaviour would lead to TD being banned from ever playing in a Catholic church again. The idea to perform electronic meditations in these sacred places, whether or not you hold religious beliefs, was a stroke of genius because as a layperson with an appreciation of architecture, I find this thoughtful, sometimes reflective and often searching music is somehow very fitting for the space.
The journey from Brescia to the gig at the Union Chapel, Islington, was dictated by the easyJet flight schedule from Verona to Gatwick which fortunately ran on time. There were no disasters at Gatwick's railway station, or East Croydon or Victoria and I arrived at the venue to join the end of what was one of the biggest queues I've seen for a long time (that being for Steven Wilson at The Troxy in March 2015). This queue also contained Neil, who happened to be holding my ticket, and who fortuitously called me before he'd reached the entrance and disappeared inside. The one slight drawback with this rush was the rather stark temperature difference between Italy and the UK; it had been 26oC when I boarded my flight but the evening temperature in London was 14oC. I was wearing a T shirt and had no jacket.
The performances at the Union Chapel invited comparisons with the Reims show, and Bianca Froese-Acquaye suggested, as she introduced the evening's proceedings, that Edgar would have approved of the setting. I get the feeling that many of the fans did, too, certainly on the night I attended, Monday 23rd April. Froese-Acquaye had been present at the screening of the documentary at the Barbican, where she read an extract about meeting Jimi Hendrix from her husband's autobiography, Tangerine Dream: Force Majeure which had been published a couple of months before, and held a Q&A session following the film. She had obviously been given instructions that the group should carry on following Edgar's 'change of cosmic address' and the trio with the responsibility for the musical legacy, Thorsten Quaeschning, Ulrich Schnauss and Hoshiko Yamane, proved well qualified to do so, building on the critical acclaim of Quantum Gate (2017). I was a little concerned about the way Edgar Froese was addressed by his widow as she dedicated the performance to 'our master'; this may have been accidental miscommunication but it did come across as though we were being initiated into some form of cult, with Quaeschning named as Froese's 'chosen successor'.
The set list seems to have been comprised mostly from 80's material, plus a couple of tracks from Quantum Gate: It is Time to Leave When Everyone is Dancing and Roll the Seven Twice, compositions I really wasn't familiar with but thoroughly enjoyed because it sounded as though each piece had the right balance of instrumentation despite the reliance on midi-triggers and programming; during the mid 80s Froese reworked some of their tracks and added new layers of keyboard, guitar and rhythm, a move regarded by many as detracting from the stark elegance of the originals. One of the songs in the first set reminded me of Phaedra and I wonder if it was part of the 2005 reworking of that album, which featured Quaeschning, especially as a little research suggests that the selection includes more recent, post-Froese reworkings. The second set was more reminiscent of 70's TD; not only did they play Stratosfear but they also performed an extended improvisation, a Session in TD parlance, like one of the improvised pieces that made up their seminal live albums.
I had thought that the enigmatic Yamane was responsible for very little of the soundscape, as there were lengthy sections where her violin was held by her side, but I'm reliably informed she was responsible for triggering and controlling effects using Ableton Push. There were a few moments where the electronic drums became a little cheesy but the sequencer-driven beats, a trademark of the Berlin School acts, were always imaginative. Some of the projections appeared a little dated, too, though most seemed apt, fitting in with the music and making it difficult to work out whether to watch the band or to watch the lights play over the neo-gothic interior of the chapel. On balance I was probably more impressed with the second set; especially the improvised piece which shifted in unpredictable ways and where the involvement of the whole trio was much more evident.
The whole event was really enjoyable, from the setting to the playing to the music itself. It didn't matter that my preferred era of the band was one where there was less reliance on continuous sequences and the evolution of the tracks seemed more organic and free-form; I love Froese's Mellotron work, rating both Aqua (1974) and Epsilon in Malaysian Pale (1975) as Mellotron classics but their adoption and employment of digital technology can't be faulted, creating multiple layers of sound of uncertain origin that weaved and flowed over the crowd seated on the chapel's pews. Like Froese before him, Quaeschning picked up a guitar during a couple of pieces but I wasn't able to attribute a particular sound to the instrument; perhaps everything will become clear when the DVD is released because the entire performance was filmed.
...It was well worth the dash from Brescia to Islington.
Filed under: Fairfield Halls, Edgar Froese, Ricochet, progressive rock, mellotron, Croydon, Sequencer, Richard Branson, Epsilon in Malaysian Pale, Brescia, Verona, prog rock, Steven Wilson, Barbican centre, Tangerine Dream, Rubycon, Stratosfear, Aqua, Encore, Hyperborea, Phaedra, Virgin Records, Revolution in Sound, Bianca Froese-Acquaye, Doc 'n' Roll, From Dawn 'til Dusk 1973 - 1988, Sorcerer, Froese-Franke-Baumann, Reims cathedral, The Troxy, Thorsten Quaeschning, Ulrich Schnauss, Hoshiko Yamane, Quantum Gate, Ableton Push, prog, Electronica, Berlin school, Node, Royal College of Music, Union Chapel
By ProgBlog, Aug 2 2017 01:05PM
For all the problems with London, the locals' belief that it's the centre of the universe, the ridiculous property prices, the clogged up roads and packed and pricey public transport which make the commute from the outskirts into the centre almost unbearable, there's a lot to do and see. I don't mean it's like Italy where it seems there's a prog gig or festival almost every weekend but if a professional band is going to play anywhere, they are likely to include a date in the capital. When I came down to London as a student I don't believe I ever thought I'd stay but then I didn't really expect to embark on a career in blood and transplantation; if the head of the Transfusion Service in Tooting felt he needed to offer me a job just after I'd graduated, it would have been churlish to refuse and anyway, I though the post, working for the NHS, was really worthwhile. Three years into the job, I'd switched from red blood cells to white and I attempted to follow an opportunity at the Transfusion Centre in Lancaster, a city close to my roots and one I really like; I was shortlisted and interviewed but wasn't offered the post and remained in south London.
Two-thirds of my undergraduate life was based in North Cray, a hamlet in the amorphous London-Kent boundary between Sidcup and Bexley. If getting to and from college was a bit of a drag, getting up to the West End for gigs and exhibitions was even more so but realising that the delights associated with being around the cultural capital of the UK was too good a prospect to ignore, especially with student discount, I travelled up to town almost every weekend. This was the tail end of the golden era of progressive rock so there weren't many good gigs to go to, though a few of early examples of a truly worthwhile shows were Yes at Wembley Arena (28/10/78, matinee performance, a copy of which I'm listening to as I type – thanks for the link @timcwebb); UK's only British performance featuring the Danger Money line-up at Imperial College (3/3/79); and Camel at the Hammersmith Odeon (11/10/79) kicking off the I Can See Your House From Here tour. The final third of being a Goldsmiths' student was spent living in Streatham which, even without the access to a flatmate's car, provided easy routes to both Victoria and London Bridge stations. This period of my life was the only time I'd travel by car into central London for entertainment purposes because parking on Whitehall was free from around lunchtime on a Saturday and there were abundant free spaces behind Oxford Street in the evenings, handy for the 100 Club.
I may have still just been a student when King Crimson reformed in 1981 but I was working when the neo-prog movement started up and though the 80s was generally a poor time for the sort of music I like, throughout my life I've always managed to ensure I get to almost all the gigs which interest me including, in recent years, an increasing number on the European mainland as the incredible world of progressivo Italiano has resurfaced and developed.
Music plays the most important part in my life after family but it's the easy availability of other cultural asides such as Their Mortal Remains or You Say You Want a Revolution at the V&A, the accessibility of a huge variety of architectural forms visited informally with family or as part of the Open London and Walk London programmes, the permanent or special exhibitions at the Design Museum or the Royal Academy, there is always something to do in and around London. This weekend I went to see Into the Unknown – a Journey through Science Fiction at the Barbican Centre.
I've previously mentioned that I used to be a big science fiction fan and the exhibition, covering art, design, film, literature and music included around 800 works some of which had never been shown in the UK before, arranged in four main themes: Extraordinary Voyages; Space Odysseys; Brave New Worlds; and Final Frontiers. The first section included some of the material I'd describe as proto-SF, adventure literature exploring the possibilities provided by the deep ocean and undiscovered lands or islands, including the works of Jules Verne who famously inspired Rick Wakeman with his novel Journey to the Centre of the Earth (1864) and combined his writing with the latest scientific understanding.
The first successful powered flight by the Wright brothers at Kitty Hawk, North Carolina in 1903 opened another chapter for science fiction, celebrated in the second section of the exhibition: Space Odysseys. The early twentieth century writing may have centred on conquering the skies but the use of rockets in WW II, the invention of the atomic bomb and the escalating cold war pushed imagination to the moon and the stars. Many of these stories still relied upon adventure-explorer narratives, some containing West vs. East allegory (cf. The Omega Glory, Star Trek episode #52). The 1953 film of HG Wells War of the Worlds was on TV the night our family moved to a new house when I was about 10 years old and it's the only movie that's ever really frightened me. Jeff Wayne's 1978 musical interpretation was a huge commercial success and though it contained some soft-prog (Justin Hayward's quite pleasant Forever Autumn) it wasn't really to my taste. If there are any progressive rock links to space travel it's the early Pink Floyd period, more linked to psychedelia than prog, with titles such as Astronomy Domine, Interstellar Overdrive and Let There be More Light; Set the Controls for the Heart of the Sun may have a cosmic title but the lyrics are based on Taoist poetry with Roger Waters' own space-rock refrain thrown in; the Floyd performed a live five minute long jam titled Moonhead during the BBC TV programming for the first lunar landing in 1969. The gloomy Negative Earth by Barclay James Harvest also counts as being representative of journeys in space. From 1974's Everyone is Everybody Else, it's a telling of the near-disastrous Apollo 13 mission in April 1970. I say gloomy, but it's a powerful track on an album filled with social commentary.
The section which most interested me was Brave New Worlds. The imagined harshness of extra terrestrial conditions brought out the best in SF writers, who carefully crafted viable worlds based on mass, proximity to their sun(s) and orbits, so that climate could be inferred and the development of societies could be explored. The best anthropological studies, including questioning racial and sexual stereotypes, are by Ursula Le Guin whose The Dispossessed (1974) is set in an ambiguous utopia and can be cited as feminist and anarchist literature. The concluding part of The Handmaid's Tale was shown on TV at the weekend and the book was also highlighted in the exhibition as portraying a dystopian near-future. The serialisation of Atwood's novel has come across as essential viewing, originally written at a time when the religious far-right were whispering in Ronald Regan's ear and turned into a TV series as self-confessed sex-pest Donald Trump's presidency displays alarming instability, fuelled by right-wing ideology and cutting the budget for family planning which puts the lives of millions of women at risk. (Maybe it's age or maybe it's the poor sound from our TV, but we watch the program with subtitles and have started to quote from these aids for the hard of hearing: Door opens; door closes.)
The mega-cities of the future are often portrayed as dystopian, whether the product of inequality or destroyed by some natural disaster which is usually traceable to the folly of mankind. The seedy underbelly which exists in our present is massively amplified in the futuristic cities committed to film including Blade Runner, Minority Report and the off-world frontier town in Total Recall (1990). Synthesizer soundtracks were still something of a novelty in the early 80s but Vangelis was a master and his original score for Blade Runner (1982) fits the mood of the film perfectly; equally, Brad Fiedel's score for Terminator (1984) works well, from the haunting main theme to the industrial beat used in chase sequences.
The final thread, Final Frontiers, eschews geography and looks instead at subjects like the enhancement of the human body and other life-forms through techniques like mutation, cloning and prosthetics. Roger Dean's artwork for the Fragile to Yessongs series may have inspired Jon Anderson's Olias of Sunhillow, an album which I think comes close to SF with its tale of planetary disaster and the organisation of the evacuation and search for a new world but I'd class this as fantasy, however original the story and successful it is in being converted from concept to recorded music, but Dean's painting has also touched on the mechanisation of living things, fusing a gull's skull onto the Lockheed SR-71 'Blackbird' fuselage for Budgie's Squawk and the equine enhancements for the cover of Paladin's Charge!
The paradoxes revealed by time travel were also covered, and one of the displays was footage from BBC TV series Dr Who. It was good to see an article about the BBC Radiophonic Workshop in a recent edition of Prog magazine (#78) – where Delia Derbyshire was responsible for the original Dr Who theme tune but also where Paddy Kingsland would write music for The Hitchhiker's Guide to the Galaxy (but not the title tune, which is Journey of the Sorcerer by The Eagles) and some classic children's TV programs like The Changes.
Outside the main exhibition are three 'media pods' where those queuing can play games or listen to 'science fiction' music. I wasn't interested in the games but the music pod featured a diverse range of genres, from Disco, Funk & Hip Hop (there was a series of videos in the main exhibition, mashing classic SF and sci-fi with Sun Ra and Kraftwerk) to Psychedelic and Prog Rock.
One of the first pieces you see as you enter the exhibition is a painting by Chris Foss, Asteroid Collision. Foss was my favourite SF book cover artist (and he did have imitators) where the detail of his spaceships or space architecture matched the sonic designs of my favourite prog bands.
Only a little progressive rock was inspired by SF but for me, the two are inextricably linked. Get to see Into the Unknown if you can.
Filed under: BBC Radiophonic Workshop, progressive rock, Jon Anderson, Barclay James Harvest, The Royal Academy of Arts, V&A, Camel, prog rock, London, Design Museum, Barbican centre, Olias of Sunhillow, UK, Delia Derbyshire, Paddy Kingsland, The Hitchhiker's Guide to the Galaxy, Ursula le Guin, Yes, The Dispossessed, Prog magazine, Roger Dean, Vangelis, Blade Runner, Pink Floyd, Donald Trump, SF, Journey to the Centre of the Earth, Rick Wakeman, prog, Into the Unknown, A Journey through Science Fiction, sci-fi, Extraordinary Voyages, Space Odysseys, Brave New Worlds, Final Frontiers, Wembley Arena, Moonhead, Apollo 13, Negative Earth, Star Trek, War of the Worlds, Jeff Wayne, Justin Hayward, Forever Autumn, Margaret Atwood, The Handmaid's Tale, Total Recall, Terminator, Minority Report, Brad Fiedel, dystopia, utopia, Lockheed SR71, Chris Foss, Jules Verne
Building utopia with prog
By ProgBlog, Sep 13 2015 10:15PM
I was offered, and accepted, a new job this week. There's a redundant section at the bottom of CVs that appears on resume templates: Activities or Interests. In an effort to ensure that all candidates are treated equally, this paragraph is rightly ignored during the interview process but mine is still there and three of the items I list are 'progressive rock', 'bass guitar' and 'architecture'.
This last listing is relatively recent and was put there because my son Daryl did an Architecture degree and I took an interest in his studies. In a curious twist, he blames his parents for setting him down that path; we must have dragged him around every National Trust and English Heritage property in the South East and many more elsewhere. Now, family holidays invariably include seeking out some example of architectural vernacular, some special building or a World Heritage site.
Architecture is one of the most visible displays of wealth. Corporations inhabit huge edifices, the super-rich live in characterless high-rise Thames view apartments and old money resides in country retreats. This is rather ironic because, according to the Architects' Journal (AJ), architects tend to vote Labour. I think the publication itself reads like The New Statesman; last week's edition was singing the praises of Jeremy Corbyn!
I'm particularly fond of modernist architecture which, fairly early in the twentieth century, set out in a radical new direction when Auguste Perret (1874 – 1954) began to build structures out of reinforced concrete without any ornamentation. His idea was for the exterior to reflect the inner structure, rather than hiding it, a concept of design integrity that was initially inspired by William Morris and the Arts and Crafts Movement. Based on the analysis in Music of Yes and Listening to the Future by Professor Bill Martin, I wrote a letter to Prog magazine which was published in issue 24 (March 2012) pointing out the link between progressive rock and socialism, via William Morris.
Brutalism, one of my favoured schools of architecture, has been described as an uncompromisingly modern form of architecture able to generate extreme emotions and heated debate. Characterised by large forms of often asymmetrical proportions, the use of unadorned concrete added to its misplaced reputation for suggesting a bleak, dystopian future. I think this is far from the truth and there are others who agree with me. An item on BBC Breakfast (September 8th) with architect Harriet Harriss and Joe Watson from the National Trust explored this myth; Harriss pointing out the touchy-feely nature of the buildings because of the imprint left on the concrete surfaces by the timber formers and Watson expounding the opinion that this was utopian architecture and that the NT, as an extension of their role, was going to open up these buildings for special tours. Put in context, this was a heroic architecture, with local authorities addressing the requirement for decent housing in the years following the Second World War. The planners and architects were visionaries though it would be foolish to suggest that there weren't failures. Harriss pointed out that this was cutting-edge and that it did involve some experimentation, because of the acute need for housing; issues regarding damp are now able to be addressed and examples of the idiom preserved. The most interesting point was made by Watson, who commented that architecture indicates where political power lies in our society and illustrated this notion by naming the Church and the aristocracy, which agrees with my earlier point about architecture as a display of wealth. He believes that during the 50s and 60s there was a shift in power to the people through local councils and they responded with this heroic, sublime architecture; the accommodation provided indoor bathroom suites, defined kitchen areas, fully wired and ready for appliances, and central heating, things that tenants couldn't previously have imagined. Harriss made the point that the National Theatre (by Denys Lasdun, 1914 – 2001) was successful because it fulfilled one of the main aims of this school of architecture, namely ending the exclusivity of the arts and making it far more accessible, opening it up to a new, wide-ranging audience. The external appearance, with its many decks that can be interpreted as a series of performance platforms, reflects the function of the building. The music that accompanied the archive footage was chosen for its dystopian feel: the Blade Runner soundtrack by Vangelis (1982.)
The connection of this form of architecture to prog is precisely the same as Harriss pointing out why the National Theatre is a success; ending the hegemony of the rich over the arts. The seeds of progressive rock emerged during the 'Massive' period of Brutalism (defined by Alexander Clement as running from 1960 – 1975) when society was changing rapidly spurred on by technological innovation; the technology behind construction was changing and, in music, instrument design and recording techniques were rapidly developing. Not only did concert halls such as the Royal Festival Hall, part of the same South Bank Complex as the National Theatre and the Barbican Centre (officially opened in 1982 during the Brutalist 'Transitional' period) provide culture to a wider range of the population, institutions like the University of East Anglia, a famous Brutalist structure opened in 1963, were attracting a wider social range of students and it was the new Universities and Polytechnics that provided a circuit for touring nascent rock acts which contributed to the success of the genre. My first forays to see bands outside Barrow were at Lancaster University (Barclay James Harvest, 1975; Focus, 1976.)
Prog attempted to take high culture and make it accessible to the masses through the medium of rock music. European art music was critical to the success of proto-progressive acts such as The Nice, the Moody Blues and Procol Harum and these gave rise to symphonic prog bands. This form was initially praised by critics and the budding genre became accepted by some of the more forward thinking institutions; Pink Floyd played the Royal Festival Hall in April 1969 during their experimental The Man and the Journey tour. This relationship with the critics changed when some of the exponents of prog undertook massive projects that were beyond the comprehension of many and led to charges of pretentiousness and overblown self indulgence. This period of prog, the end of the 'golden era' coincides with a rejection of Brutalism by planners and the transition to less monumental forms, an increased use of brick and the uninspiring Neo-vernacular. As prog played out councils were reducing investment in their concrete estates, former beacons of hope for a fairer society, and the misplaced idea of the dystopian landscape took hold. It's good that there has been a re-evaluation of progressive rock and a re-evaluation of this egalitarian architecture.
My local concert hall, Croydon's Fairfield Halls (opened 1962 and based on the Royal Festival Hall) features some great acoustics and was another favoured haunt of successful prog acts during the early 70s as commuter towns developed and grew.
Filed under: Croydon, Fairfield Halls, Procol Harum, progressive rock, Barclay James Harvest, Moody Blues, Prog magazine, William Morris, Barbican centre, Focus, Vangelis, Blade Runner, The Nice, Pink Floyd, Bill Martin, Joe Watson, National Theatre, Denys Lasdun, dystopian, Alexander Clement, South Bank Centre, University of East Anglia, Lancaster University, European Art music, prog, architecture, Brutalism, National Trust, English Heritage, BBC Breakfast, Architects' Journal, AJ, Auguste Perret, Arts and Crafts Movement, Harriet Harriss
Keith Emerson: Three Fates
By ProgBlog, Jul 12 2015 10:43PM
I've just spent another night at a not-your-usual-kind-of gig. I've been signed up to the Barbican Centre's mailing list for almost 18 months now and the kind of show it puts on are often on the fringes of ordinary prog: the Lindsay Cooper tribute last year and Goblin performing a live soundtrack to Profondo Rosso earlier this year are prime examples and mean that appearances by Van der Graaf Generator lie relatively safely within the boundary of the genre. The Keith Emerson Band would have been straightforward crossover prog but for the performance on 10th July they were joined by the BBC Concert Orchestra with conductor Terje Mikkelsen playing The Three Fates Project, an album of orchestrated works by Emerson, largely but not exclusively originally presented as trio pieces with ELP, and also featuring a couple of tracks by guitarist Marc Bonilla. I was personally rather thrilled by the prospect of the concert, imagining it hinted at the Works tour with orchestra in the late 70s which sadly had to be curtailed because of the negative financial impact, so it was good to see Emerson performing with an orchestra.
Emerson's love of classical music is indisputable and his classical adaptations for a rock group format are legion. He also has a long history of integrating a rock band with an orchestra dating back to his days with The Nice: The side-long title track of Ars Longa Vita Brevis (1968); the commissioned title track from Five Bridges (1970); and ELP's Works (1978) which included his Piano Concerto no.1, the first true formal classical piece he'd written. However, this concert also formed part of the Barbican's Moog Concordance series, marking 50 years since Dr Robert Moog unleashed his modular synthesizer on an unsuspecting world; a modular Moog formed the centrepiece of Emerson's keyboard set-up.
I was accompanied on this sonic adventure by Jim, who pointed out that the recent back-room deal between the BBC and the government, in which the corporation agreed to pay for the cost of free TV licences for the over 75s, estimated at £650 million, was likely to require further cuts to services provided by the BBC, such as their orchestras. The Myerscough report Delivering Quality First from 2012 about the future funding of the BBC, talked about job cuts and rationalisation of Performing Groups: the five full-time orchestras and the BBC Singers. The size of the funding cut was to be of the order of 10 per cent but it swiftly became apparent that this figure was not to be shared out equally: the BBC Symphony Orchestra and the BBC Philharmonic got away with single-figure cuts whereas the BBC Concert Orchestra and the BBC Singers had to bear the brunt of the cuts. Of course I think that the TV licence fee should be reviewed and restructured, as should the current governance structure of the corporation after the awful handling of the last round of negotiations with the government, but the BBC remains an important organisation, largely unbiased, that offers not only some incredible programmes accessible to everyone and facilitates live culture through its Performing Groups, one of which was supporting Keith Emerson. Hands off the BBC!
The show began without Emerson but with the orchestra, drummer Ralph Salmins and bassist Travis Davis who inadvertently created a huge crunching noise over the quiet orchestration at the start of Abaddon's Bolero as he plugged in his guitar. The appearance of Marc Bonilla as the number built to a crescendo drew a burst of applause from the audience which was repeated, louder, when Emerson, replete in a sparkly dark suit appeared to play a few bars on the Moog at the end of the piece. At this juncture Emerson explained a little bit about the concept of The Three Fates and cracked some feeble jokes when he really shouldn't have bothered. He even asked if Rick Wakeman was present in the audience, suggesting that Wakeman should do the jokes. It also appeared that he expected Dream Theater's Jordan Rudess to be in the crowd but it wasn't clear if Rudess was to supply any humorous material... The music fitted the classical treatment really well and it was during the second piece, The Endless Enigma that I realised how Emerson's scoring for strings was quite identifiable, harking back to The Five Bridges Suite. Emerson didn't contribute to Bonilla's American Matador but the composition didn't seem at all out of place, showcasing the guitarist's technique and genuinely providing a Spanish feel. We were sitting quite close to the front of the stalls and over to the left side of the stage close to where the band had set up and from this position, though the full orchestra was distinct, the only part of the band that was consistently audible was the drums. I could hear the cellos and double bass better than I could make out the bass guitar; the volume of the guitar became more acceptable as the concert progressed but the keyboards, with the exception of the grand piano, were for the most part indistinguishable, lost in the swell of the brass, woodwind and strings. It was only when Emerson played solo lines like for the encore Lucky Man that he could be made out clearly.
The weakest songs may have been After All Of This (which Emerson described as also being And all of that) and a piece from a film that never surfaced The Mourning Sun but that might have been due to their relative brevity. It was interesting to hear the performance of an Alberto Ginastera piece other than ELP's version of Toccata, Malambo and the presentation of Fanfare for the Common Man, preceded by a story about asking Copeland for permission to use the piece, was a clever comparison of the score as written followed by a version just featuring the electric group that had originally appeared on Works. The highlight was of course Tarkus in its entirety, which didn't sound out of place as an orchestrated piece.
Emerson took up the conductor's baton for part of the encore and seemed to do fairly well. Lucky Man, dedicated to Greg Lake and featuring the only vocals of the evening, ably provided by Bonilla, brought the event to a close. With ELP never likely to play together again a concert like this was a must not miss occasion. Despite some difficulty with the sound (at least from our seating) the performance was exceptionally enjoyable, far more so than the last rock band and orchestra I went to see – the disappointing Journey to the Centre of the Earth. It's just a bit ironic that there was no attempt to play The Three Fates from the eponymous first Emerson, Lake & Palmer album when the night's performance was dubbed Three Fates.
Filed under: Emerson Lake & Palmer, progressive rock, BBC Concert Orchestra, Terje Mikkelsen, Marc Bonilla, Three Fates, Five Bridges Suite, Works, Dr Robert Moog, Myerscough Report, Delivering Quality First, TV licence fee, Abaddon's Bolero, The Endless Enigma, American Matador, Jordan Rudess, Dream Theater, Lucky Man, Alberto Ginastera, Aaron Copeland, Fanfare for the Common Man, Van der Graaf Generator, BBC, Goblin, Profondo Rosso, Barbican centre, Rick Wakeman, ELP, The Nice, Lindsay Cooper, Henry Cow, Ars Longa Vita Brevis, Journey to the Centre of the Earth, prog, Keith Emerson
Christmas? Bah! Humbug
By ProgBlog, Dec 20 2014 03:33PM
It's mid December and I'm in Bah! Humbug mode. The endless incitement to consume that began gearing up in October is now reaching fever pitch and I'm feeling bad that I feel bad about the whole season. It's not that I don't like giving but I prefer not to be bullied into becoming a slave to this celebration of the unnecessary and shallow. 40 years ago, at the height of the popularity of progressive rock, there was a tug between those promoting commercialisation of Christmas and traditionalists pushing their views on religious significance. In a socio-political context, this was the height of the cold war and the ideological battle was being fought over consumer goods as much as the race to over-stock with nuclear arms; the West was fighting dirty, their propaganda directed at housewives, seducing them with a wide range of appliances and products on supermarket shelves that they were obviously unable to live without. The East failed to deliver promised social equality as money was poured into the military-industrial complex rather than into basics. Despite, or rather because of planned obsolescence, the West won the day; power to the consumer! Power to consume!
I'm not religious but I accept that some people ascribe meaning to this time of year although their belief is being trampled by the out-of-control machine dedicated to profit. My seasonal preference predates the Christian hijacking of Saturnalia, back to the pagan solstice; one where we simply recognise the end of a solar cycle without resorting to over-indulgence in food and alcohol. What do I wish for at this time of year? Peace on earth (yes, really!) and much stronger regulation of the food, drink and advertising industries.
Much of progressive rock owes a debt to church music. In In My Own Time, Kim Dancha's authorised biography, John Wetton spoke of his use of chordal structures based on the harmony and counterpoint found in church music, citing the influence of his elder brother Robert who became a church organist of some accomplishment; Steve Hackett has acknowledged the influence of church music on Genesis material; and Jan Akkermann has referred to Eruption (from Moving Waves) as "patched-up church-y ideas, sacral stuff" describing that he made "blues out of those neoclassical church-like harmonies." Chris Squire was a choir boy at St Andrew's, Kingsbury and has spoken of the influence of church and choral music on his writing; though largely hidden within his co-written Yes-epics, the song-form on Squire's solo album Fish out of Water is steeped in ecclesiastical influences, where he's helped out by former school friend and band mate Andrew Pryce Jackman on keyboards and enlists the help of Barry Rose, the sub-organist from St Paul's cathedral who plays pipe organ.
The cultural significance of the church within progressive rock has been thoroughly covered by academic authors such as Bill Martin and Edward Macan. The genre is peppered with references to liturgy, from the straightforward Credo by Refugee to the psychedelic retelling of Revelations by both Aphrodite's Child (666) and Genesis (Supper's Ready.) Perhaps the most overt church music albums are Mass in F minor (1968) by The Electric Prunes and the first album by Italy's Latte e Miele, Passio Secundum Mattheum (1972). Mass in F minor was not really a full Electric Prunes album and it's not really prog. The music was written by David Axelrod and he felt he had to draft in other musicians from Canadian group The Collectors to complete the project, a mix of acid rock guitar and Gregorian chants, sung in Latin and Greek. It's a strange mix but somehow it works really well. Some critics have labelled Latte e Miele as an ELP clone, partly because of their keyboards/guitar/percussionist line up and partly because they include a Bach quotation that appears almost note-for-note and with the same feeling on The Three Fates (Clotho) from ELP's first album. Such criticism is grossly unfair because 16-year old drummer Alfio Vitanza also adds flute, contributing to a pastoral feel that conjures up suggestions of early Genesis; I'd argue that the inclusion of Mellotron and string synth are the antithesis of ELP. It should be seen as a brave move for a first album and is rightly regarded as being something of a minor RPI classic.
That a band formed in a British public school should display influences from the church is hardly surprising. What is slightly more unexpected is that young musicians, absorbing blues, jazz and rock influences from the US, music born of repression and rebellion, should also exhibit a debt to music that, on reflection, reflects a deeply authoritarian way of life. I suppose it's only symphonic prog, where the prevalent form is European art music, which truly fits this picture. These musicians grew up in a post-war society where religion played an important role in providing spiritual solace in the years following the massive loss of life and wanton destruction. This thinking was challenged by the pointless wars that occurred in faraway countries throughout the 60s and 70s and by the ideals of the counterculture when prog followed the trail of The Beatles and looked eastwards. These outside influences and experiences were revelatory; this wasn't a clash of cultures because individuals were actively seeking alternatives to Western consumerism, leading to the dawn of the understanding that other belief systems were equally valid. The end result was that the prevailing church music, largely based on catholic and protestant doctrines, lost its religious baggage and became spiritual. On Aqualung, Jethro Tull play out a rejection of organised religion and on The Only Way from Tarkus (which describes itself as a hymn), ELP appear to take a humanist stance: "People are stirred, moved by the word/Kneel at the shrine, deceived by the wine/How was the earth conceived? Infinite space/Is there such a place? You must believe in the human race" and "Don't be afraid, man is man made".
During the 70s the church organ became an instrument of the prog keyboard player. Rick Wakeman played the organ at St Giles', Cripplegate, part of London's Barbican complex on The Six Wives of Henry VIII and the organ at St Martin's, Vevey, Switzerland that was used on Going for the One and the solo album Criminal Record, an album that was something of a return to form; Keith Emerson uses St Mark's church organ on Tarkus; Rick van der Linden plays the organ in the church of Maasluis (near Rotterdam) on the eponymous first Trace album and the organ of St Bavo's church in Haarlem on the second album, Birds; on Hamburger Concerto Thijs van Leer plays the organ of St Mary the Virgin, Barnes (the album was recorded at Olympic Sound studios in Barnes.) Hamburger Concerto includes the track La Cathedrale de Strasbourg and when I was presented with the opportunity to visit Strasbourg for a scientific meeting, I took time out to visit the cathedral which is suitably impressive; a gothic masterpiece rising from the cobbles of a fairly densely hemmed-in square.
I like church architecture and the space they contain from a mathematical point of view. I like church music but I disassociate it from worship. Aldo Tagliapietra of Le Orme described how, during La Serenissima, there use to be two choirs in the basilica di San Marco, one on either side of the congregation, singing in stereo. Prog has absorbed bits and pieces of the form and few overt references to a specific god remain. The search for enlightenment, which runs throughout many prog compositions, doesn't come across as religious; it's head music which requires conscious engagement without the requirement for religious baggage. That's something to think about if you receive any progressive rock as a present this Christmas.
Filed under: Cold War, mellotron, Steve Hackett, Chris Squire, Jethro Tull, Yes, Trace, Supper's Ready, Tarkus, Genesis, Aqualung, Vevey, Barbican centre, Rick van der Linden, Strasbourg, cathedral, Basilica di San Marco, Le Orme, Aldo Tagliapietra, St Mary the virgin barnes, Birds, Rick Wakeman, Going for the One, bah humbug, Christmas, consumerism, saturnalia, paganism, solstice, peace on earth, regulation, food industry, drinks industry, advertising industry, in my own time, Kim Dancha, John Wetton, church, public school, sacral music, Focus, Hamburger Concerto, ELP, progressive rock, 666, Moving Waves, Eruption, Fish out of Water, Andrew Pryce Jackman, Barry Rose, St Paul's Cathedral, pipe organ, Bill Martin, Edward Macan, Refugee, Credo, Revelations, Aphrodite's Child, Mass in F minor, Electric Prunes, Latte e Miele, Passio Secundum Mattheum, The Three Fates, Clotho, Criminal Record, Maasluis, prog, Keith Emerson


text:
Cette page regroupe les évènements concernant les Croisades qui sont survenus en 1232 :
 28 janvier : mort de Pierre de Montaigu, grand maître de l'Ordre du Temple.
 3 mai : Jean d'Ibelin et les barons du royaume de Chypre sont battus par Filangieri à Casal-Imbert.
 15 juin : Jean d'Ibelin et les barons du royaume de Chypre battent Filangieri et les fidèles de l'empereur Frédéric II près d'Agridi.

Références

Chronologie des croisades


text:
\section*{Введение и основные результаты}

В работе строится квадратичный алгоритм распознавания вложимости графа с дополнительной структурой в ленту Мёбиуса. История вопроса излагается в замечании \ref{c:hist}. Основным результатом работы является теорема \ref{t:main}. Следующая алгебраическая лемма тесно с ней связана.

\begin{lemma}\label{l:main}
Пусть $M$ - симметричная матрица, элементами которой являются нули и единицы. Тогда следующие условия эквивалентны:

\begin{enumerate}

    \item Можно сделать такую одинаковую перестановку строк и столбцов\footnote{Это означает, что строки и столбы последовательно занумерованы числами от $1$ до $n$ и выбрана перестановка~$f$ этих чисел; строки и столбцы переставляются так, что $i,j$-ый элемент становится $f(i),f(j)$-ым.} матрицы $M$ и изменить некоторые элементы на главной диагонали таким образом, что в верхнем левом углу полученной матрицы будет стоять подматрица, заполненная единицами, вне которой стоят нули.

    \item
Нельзя сделать такую одинаковую перестановку строк и столбцов матрицы $M$, что в верхнем левом углу полученной матрицы будет стоять подматрица вида
    $$P = \begin{pmatrix}
    *& 1& 1\\
    1& *& 0\\
    1& 0& *
\end{pmatrix}
{\rm \text{ или } }
Q = \begin{pmatrix}
    *& 1& 0& 0\\
    1& *& 0& 0\\
    0& 0& *& 1\\
    0& 0& 1& *\\
\end{pmatrix},
$$ где через $*$ обозначены произвольные (возможно, различные) элементы
\footnote{Условиям (1)-(2) эквивалентно следующее условие: изменением некоторых элементов на главной диагонали можно из матрицы $M$ получить матрицу, ранг которой не превосходит $1$. Равносильность этого условия условию (1) очевидна.}
\end{enumerate}
\end{lemma}

Импликация $(1) \Longrightarrow (2)$ легко следует из того, что при любой расстановке нулей и единиц на главной диагонали каждой из матриц $P$ и $Q$ верхняя строка и нижняя строка полученной матрицы будут ненулевыми и различными.

Импликация $(2) \Longrightarrow (1)$  леммы \ref{l:main} фактически доказана при доказательстве импликации $(4) \Longrightarrow (3)$ теоремы \ref{t:main},  см. замечание \ref{r:tl}.

\bigskip
Назовем \textbf{иероглифом} циклическое
слово длины $2n$ из
$n$ различных букв, в котором каждая буква встречается дважды
(стандартные термины: хордовая диаграмма или мультиграф с вращениями, имеющий одну вершину).
Возьмём выпуклый многоугольник на плоскости.
Отметим на ограничивающей его ломаной непересекающиеся отрезки и
обозначим их буквами из слова в том порядке, в каком эти буквы следуют в слове.
Для каждой буквы соединим соответствующие два отрезка ленточкой
(не обязательно в плоскости) так, чтобы
различные ленточки не пересекались.
(Ленточки могут быть и перекрученные, и нет.)
Любой из полученных таким образом объектов будем называть \textbf{диском с ленточками}, соответствующим данному иероглифу, см. рис. \ref{f:ababcdcd_1}.

\begin{figure}[ht]
    \center{\includegraphics[scale=0.5, width=250pt]{ababcdcd_sample_2.png}}
    \caption{Пример диска с ленточками, соответствующего иероглифу $ababcdcd$}
\label{f:ababcdcd_1}
\end{figure}

Назовем иероглиф \textbf{слабо реализуемым} на ленте Мёбиуса, если из неё можно вырезать некоторый диск с ленточками, соответствующий данному иероглифу (ср. с замечанием \ref{c:hist}).

\begin{theorem}[доказана далее]\label{t:alg}
Существует квадратичный алгоритм проверки слабой реализуемости иероглифа на ленте Мёбиуса.
\end{theorem}

Будем говорить, что две различные буквы $a$ и $b$ иероглифа \textbf{перекрещиваются}, если они идут в этом иероглифе в чередующемся порядке ($abab$, а не $aabb$).

Иероглифы считаются равными, если получаются один из другого взаимно однозначной заменой букв или осевой симметрией.

\begin{theorem}\label{t:main}
Пусть $H$ --- иероглиф. Следующие условия эквивалентны:
\begin{enumerate}
    \item
Иероглиф $H$
слабо реализуем на ленте Мёбиуса.
    \item Буквы иероглифа $H$ можно раскрасить в красный и синий цвета так, что любые две красные буквы перекрещиваются, а никакая синяя буква не перекрещивается ни с какой другой буквой.
    \item
Операциями
удаления пар одинаковых букв, таких, что каждая из этих букв не перекрещивается ни с какой другой буквой иероглифа $H$, можно
свести $H$
к
иероглифу вида
$a_1 a_2 ... a_m a_1 a_2 ...a_m$ (возможно, $m=0$).
    \item Из $H$ операциями удаления пар одинаковых букв нельзя получить иероглифы $abcacb$ и $ababcdcd$.
    \footnote{Условиям (1)-(4) эквивалентно следующее условие: найдется такая матрица над $\mathbb{Z}_2$ ранга не более $1$ размера $n\times n$, где $n$ - число различных букв
в иероглифе
$H$, что в
клетках
вне главной диагонали матрицы стоит $0$, если соответствующие буквы иероглифа $H$ не перекрещиваются, и $1$ в противном случае. Равносильность этого условия и условия (1) является частным случаем теоремы \ref{t:mohar} Мохара, сформулированной далее.}
\end{enumerate}
\end{theorem}

В теореме \ref{t:main} импликации  (3) $\Longleftrightarrow$ (2)$\Longrightarrow$ (1) очевидны. Импликации (1) $\Longrightarrow$ (4) $\Longrightarrow$ (3) доказаны далее.

\begin{comment}[\textbf{история проблемы}]\label{c:hist}
Базовые ссылки по данной теме: \cite{MT01},{\cite[$\S 2$]{Sk20}}, \cite{LZ}. По поводу обобщения на произвольные графы см. \cite{MT01},{\cite[$\S 2$]{Sk20}}, \cite{LZ} и \cite{Ko20}
. По поводу связи с интегрируемыми гамильтоновыми системами см. \cite{BFM90}.

Известны полиномиальные алгоритмы распознавания вырезаемости конкретного двумерного многообразия из ленты Мёбиуса, например, использующие эйлерову характеристику или теорему \ref{t:mohar} Мохара.

Однако из существования этих алгоритмов не следует существование полиномиального алгоритма распознавания слабой реализуемости иероглифа на ленте Мёбиуса. Действительно, каждому иероглифу с $n$ парами букв соответствует не одно, а $2^n$ двумерных многообразий (дисков с ленточками), так как каждая ленточка может быть либо перекрученной, либо нет. Слабая реализуемость иероглифа на ленте Мёбиуса эквивалентна вырезаемости из ленты Мёбиуса хотя бы одного из них.
\end{comment}

\section*{Доказательства и нерешённая проблема}

\begin{proof}[\textbf{Доказательство импликации (4) $\Longrightarrow$ (3) теоремы \ref{t:main}}]
    Пусть для иероглифа $H$ выполняется условие (4). Обозначим через $H_1$ иероглиф, получаемый из иероглифа $H$ удалением всех таких букв, которые не перекрещиваются ни с одной другой. Условие (4) выполняется и для иероглифа $H_1$. Предположим, что в иероглифе $H_1$ есть пара не перекрещивающихся букв $a$ и $c$.

    Если найдется буква $b$, перекрещивающаяся и с $a$, и с $c$, то, удалив из $H_1$ все буквы, кроме $a$, $b$ и $c$, получим иероглиф $abacbc$, равный иероглифу $abcacb$,  что дает противоречие с условием (4). Значит, любая буква, отличная от $a$ и $c$, перекрещивается не более чем с одной из них.

Следовательно,
в силу того, что
в иероглифе
$H_1$ любая буква перекрещивается хотя бы с одной другой, найдутся две различные буквы $b$ и $d$ такие, что $b$ перекрещивается с $a$, но не перекрещивается с $c$, а $d$ перекрещивается с $c$, но не перекрещивается с $a$. Поэтому если буквы $b$ и $d$ не перекрещиваются, то, удалив все буквы, кроме $a$, $b$, $c$ и $d$, получим иероглиф $ababcdcd$. Если же $b$ и $d$ перекрещиваются, то, удалив все буквы, кроме $a$, $b$ и $d$, получим иероглиф $badbda$, равный иероглифу $abcacb$. Во всех случаях получили противоречие с тем, что $a$ и $c$ не перекрещиваются. Значит, любые две буквы иероглифа $H_1$ перекрещиваются,
и тогда
он имеет вид $a_1 a_2 ... a_n a_1 a_2 ... a_n$. Следовательно, иероглиф $H$ удовлетворяет условию (3).

\end{proof}

\textbf{Матрицей перекрещиваний} диска с $n$ ленточками $D$ называется матрица размера $n \times n$, у которой

$\bullet$ на главной диагонали стоит $1$, если соответствующая ленточка перекручена, и $0$
в противном случае,
и

$\bullet$ вне главной диагонали на пересечении строки $i$ и столбца $j$ стоит $0$, если соответствующие ленточки
не перекрещиваются, и $1$ в противном случае.

Например, матрицей перекрещиваний любого диска с ленточками, соответствующего иероглифу $abcacb$, является матрица вида $P$ (см. лемму \ref{l:main}), в которой элементы на главной диагонали зависят от перекрученности ленточек.
\notpaper{
$$\begin{pmatrix}
*& 1& 1\\
1& *& 0\\
1& 0& *
\end{pmatrix}$$
(элементы на главной диагонали зависят от перекрученности ленточек.)}

\begin{figure}[h]
\center{\includegraphics[scale=0.5, width=200pt]{Scop.png}}
\caption{Диск с тремя лентами Мёбиуса}
\label{f:disk}
\end{figure}

\textbf{Диском с $m$ лентами Мёбиуса} (см. рис. \ref{f:disk}) называется объединение круга и $m$  ленточек,
в
котором

$\bullet$ каждая ленточка приклеивается двумя отрезками к граничной окружности $S$
круга, а
направления на этих
отрезках, задаваемые произвольным направлением на~$S$, <<сонаправлены вдоль ленточки>>,

$\bullet$ ленточки
<<отделены>>,
т. е. приклеены к $2m$ попарно не пересекающимся отрезкам на~$S$.

\textbf{Рангом над $\mathbb{Z}_2$} матрицы из нулей и единиц будем называть размерность пространства ее строк над полем $\mathbb{Z}_2$.

 Следующая теорема была сформулирована и применена в \cite{Mo89}.

\begin{theorem}\label{t:mohar}
Диск с ленточками можно вырезать из диска с $m$ лентами Мёбиуса тогда и только тогда, когда ранг над $\mathbb{Z}_2$ матрицы перекрещиваний этого диска с ленточками не превосходит $m$.
\end{theorem}

 Теорему \ref{t:mohar} можно доказать, например, несложным применением формы пересечений двумерного многообразия.  См. также {\cite[утв. 2.8.8(с)]{Sk20}} и {\cite[утв. 6.7.7]{Sk20}}.

\begin{proof}[\textbf{Доказательство импликации (1) $\Longrightarrow$ (4) теоремы \ref{t:main}}]
При любой расстановке нулей и единиц на главной диагонали каждой из матриц $P$ и $Q$ из леммы \ref{l:main} две верхние строки полученной матрицы будут ненулевыми и различными.
Матрицы $P$ и $Q$ являются матрицами перекрещиваний дисков с ленточками, соответствующих иероглифам $abcacb$ и $ababcdcd$. Поэтому, по теореме Мохара, иероглифы $abcacb$ и $ababcdcd$ не являются слабо реализуемыми на ленте Мёбиуса.
\end{proof}

\begin{comment}[\textbf{связь леммы \ref{l:main} и теоремы \ref{t:main}}]\label{r:tl}

Теорема \ref{t:main} является топологической версией леммы \ref{l:main}. При этом условие (1) леммы аналогом условия (2) теоремы, условие (2) леммы является аналогом условия (3) теоремы. Матрицы перекрещиваний любых дисков с ленточками, соответствующих иероглифу $H$ из теоремы, получаются друг из друга одинаковыми перестановками столбцов и изменением некоторых элементов на главной диагонали. Произвольной из этих матриц можно поставить в соответствие матрицу $M$ из леммы. Тогда применение к иероглифу $H$ нескольких операций удаления одинаковых букв соответствует взятию левого верхнего угла некоторой матрицы, полученной из $M$ одинаковыми перестановками столбцов и изменением некоторых элементов на главной диагонали. Каждая буква иероглифа соответствует симметричным относительно главной диагонали строке и столбцу матрицы $M$. Матрицы $P$ и $Q$ в пункте $(2)$ леммы являются аналогами иероглифов $abcacb$ и $ababcdcd$ в пункте $(4)$ теоремы. Доказательство импликации $(2) \Longrightarrow (1)$  леммы \ref{l:main} аналогично доказательству импликации $(4) \Longrightarrow (3)$ теоремы \ref{t:main}.

\end{comment}

\begin{proof}[\textbf{Доказательство теоремы \ref{t:alg}}]
Условие (3) из теоремы \ref{t:main} проверяется за квадратичное (относительно длины иероглифа) время. Докажем это. Построим граф $G$, вершины которого соответствуют буквам иероглифа $H$,
а две
вершины соединены ребром, если соответствующие буквы перекрещиваются. Эта процедура занимает квадратичное относительно длины иероглифа время. Тогда условие (3) эквивалентно тому, что $G$ есть объединение клики и, возможно, нескольких изолированных вершин. Проверка всех вершин на изолированность занимает квадратичное время. После этого проверка того, что все не изолированные вершины образуют клику, также занимает квадратичное время.
\end{proof}

\begin{problem}\label{problem}
Пусть дана матрица $M$ размера $n \times n$ из нулей и единиц, на диагонали которой
стоят нули.
Обозначим через $R(M)$ наименьший ранг над $\mathbb Z_2$ матрицы, полученной из $M$ изменением
каких-нибудь
диагональных элементов. Найти быстрый (по $n$) алгоритм, вычисляющий $R(M)$.
\end{problem}

\begin{corollary}[из теоремы \ref{t:mohar}]\label{c:R}
Диск с $n$ ленточками с матрицей перекрещиваний $M$ реализуем на диске с $m$ лентами Мёбиуса тогда и только тогда, когда $R(M) \leq m$.
\end{corollary}

В статье {\cite{Ko20}} для каждого фиксированного целого неотрицательного $m$ дан полиномиальный (по $n$) алгоритм, проверяющий
неравенство
$R(M)\leq m$. Этот и другие близкие результаты приводятся в  \cite{VGDNPS}.

Следующий факт показывает, что задача о реализуемости иероглифа на ленте Мёбиуса сводится лишь к частному случаю проблемы \ref{problem}.

\begin{claim}\label{c:matrix}
Не любая матрица из нулей и единиц является матрицей перекрещиваний
какого-нибудь
диска с ленточками.
\end{claim}

\begin{proof}[\textbf{Доказательство}]
Рассмотрим матрицу смежности графа $G$, изображенного на рис. \ref{f:matrix}.
\begin{figure}[h]
    \center{\includegraphics[scale=0.5, width=150pt]{graph3.png}}
    \caption{К утверждению \ref{c:matrix}}
    \label{f:matrix}
\end{figure}
Его вершины $A$, $B$, $C$ попарно не соединены. Если существует диск с ленточками, матрица перекрещиваний которого равна матрице смежности графа $G$, то концы ленточек, соответствующих вершинам $A$,$B$,$C$, расположены в нём в одном из $4$ следующих циклических порядков: $aabbcc, abccba, acbbca, baccab.$ В случае циклического порядка $aabbcc$ ленточка, соответствующая вершине $G$, не может перекрещиваться со всеми тремя ленточками, соответствующими вершинам $A,B,C$. В случае циклического порядка $abccba$ ленточка, соответствующая вершине $F$, не может одновременно перекрещиваться с ленточками, соответствующим вершинам $A$ и $C$ и не перекрещиваться с ленточкой, соответствующей вершине $B$. Аналогично для остальных двух случаев. Получаем противоречие.
\end{proof}

Любые два диска с ленточками, у которых совпадают матрицы перекрещиваний, гомеоморфны, однако, они могут соответствовать разным иероглифам
---
например, диски с ленточками, соответствующие иероглифам $aabbcc$ и $abbacc$ соответственно (у каждого из них любые две буквы не перекрещиваются).

\section*{Приложение: прямое доказательство импликации (1) $\Longrightarrow$ (4) теоремы \ref{t:main}}

Иероглифы $abcacb$ и $ababcdcd$ не являются слабо реализуемыми на ленте Мёбиуса в силу теоремы
\ref{t:betty}
Бетти и леммы \ref{l:curve}.

\begin{theorem}\label{t:betty} Объединение любых двух различных
замкнутых ломаных
на ленте Мёбиуса разбивает её.
\end{theorem}

\begin{proof}[\textbf{Доказательство}]

Теорема \ref{t:betty} следует из неравенства Эйлера для ленты Мёбиуса \cite[2.8.2]{Sk20} и теоремы Римана для ленты Мёбиуса \cite[2.8.3.(b)]{Sk20}. Приведем детали.

Объединение двух попарно не пересекающихся ломаных разбивает ленту Мебиуса в силу теоремы \cite[2.8.3.(b)]{Sk20}.

Пусть данные ломаные пересекаются. Можно считать, что вершины и ребра этих ломаных образуют связный граф.
Для любого связного графа с $V$ вершинами и $E$ рёбрами, изображённого без самопересечений на ленте Мёбиуса и разбивающего её на $F$ граней, выполнено неравенство Эйлера: $V-E+F\geq 1$. Легко проверить, что в данном случае $V<E$, поэтому $F>1$, значит, эти ломаные разбивают ленту Мёбиуса.

\end{proof}

\begin{lemma}\label{l:curve}
На любом диске с ленточками, соответствующем иероглифу $abcacb$ или $ababcdcd$, найдутся две кривые, пересекающиеся в конечном числе точек, которые не разбивают этот диск с ленточками.
\end{lemma}

\begin{lemmaproof}
На рис. \ref{f:abcacb} и рис. \ref{f:ababcdcd} показаны примеры таких пар кривых на дисках с неперекрученными ленточками, соответствующих иероглифам $abcacb$ и $ababcdcd$. Покажем, что если заменить одну или несколько ленточек любого из этих дисков с ленточками на перекрученную, то соответствующие пары кривых по-прежнему не будут разбивать полученные диски с ленточками.

\begin{figure}[h]
    \center{\includegraphics[scale=0.5, width=250pt]{top1.png}}
    \caption{Диск с ленточками, соответствующий иероглифу $abcacb$, и
две кривые
на нём.}
\label{f:abcacb}
\end{figure}

Пусть в диске с ленточками, изображенном на рис. \ref{f:ababcdcd}, некоторые ленточки заменены на перекрученные. Очевидно, ленточка $c$ находится в одной компоненте связности дополнения
кривых до диска с ленточками.
Тогда области $I$ и $II$ лежат в этой компоненте.
Следовательно,
в ней целиком лежит ленточка
$a$.
Значит, все области $I,II,III,IV$ лежат в этой компоненте. Тогда
в ней лежит и ленточка
$b$.
Значит, кривые не разбивают диск с ленточками.

\begin{figure}[h]
    \center{\includegraphics[scale=0.5, width=250pt]{ababcdcd.png}}
    \caption{Диск с ленточками, соответствующий иероглифу $ababcdcd$, и две кривые на нем.}
\label{f:ababcdcd}
\end{figure}

Для иероглифа $ababcdcd$ и диска с ленточками, изображённого на рис. \ref{f:ababcdcd}
, выполнено следующее. Если
заменить ленточку $b$ на перекрученную, а ленточку $a$ не заменять, то каждая из частей ленточки $a$, на которые её разбивает кривая, лежит в одной компоненте связности с центром
диска. Таким образом,
ленточка $a$ целиком лежит в одной компоненте связности, тогда и ленточка $b$ тоже (каждая её часть не отделена от какой-то из частей ленточки $a$).
То же верно,
если заменить ленточку $a$ на перекрученную, а ленточку $b$ не заменять. Если же обе ленточки $a$ и $b$ заменить на перекрученные, то связность обеих ленточек можно проверить непосредственно. Для ленточек $c$ и $d$ можно провести полностью аналогичное рассуждение.

\end{lemmaproof}

redpajama_set_name: RedPajamaArXiv


Advantage provides our clients with a New Construction Inspection.
They are conducted during the construction process and are intended to identify oversights, omissions, work not conforming to generally accepted standards and practices. New construction inspections are just as important as an inspection for a pre-owned home.
New construction inspections are quite honestly more valuable to the new home buyer than inspections performed on older homes, since virtually 100% of the defects and problems are usually addressed and repaired for the new home owner / buyer at no cost, by the builder, with no further negotiations necessary. The main goal is to insure that you get everything you expect and deserve from your builder, prior to moving in, instead of fighting with the warranty department after the fact.
New construction inspections are aimed exclusively on the identification of defects, and are often performed during the various phases of the structures construction process. A phase inspection involves various site visits and inspection or evaluation of the work in progress as the different phases of the home are completed, and is usually required for the bank which is financing the purchase / project. The three most common construction inspections are the foundation inspection, the pre-sheetrock inspection and of course, the final inspection. Inspections of the grading, footings, plumbing, electrical wiring and duct installations, roof structure, roofing surface and framing are all typically included.
Inspections are continually conducted on a project from the initial foundation inspection through to the final inspection where the required Certificate of Occupancy or TCO is issued. A private home inspector can be much more thorough with a new construction home inspection, and the county/city inspector cannot get into the general quality issues during his inspection. Meeting the minimum standards does not ensure quality, because workmanship is never a factor in code inspections.
With some complicated foundations, you should have an engineer look over the construction as it progresses. In all other cases, a licensed inspector can certainly do the job. Usually, city inspectors are expected to do a layout inspection, making sure the foundation does not overlap the building lines. Whether or not you are in a city requires this would need to be looked into. Ask for a copy of the "forms survey", assuming the builder has one. If a forms survey has not been done, carefully assess and precisely measure from the property lines. If there is any doubt about whether the structure encroaches over the building lines, have a professional survey done before proceeding. In addition to the layout, the inspector will verify the steel content, depth of footings, post tension cables, as well as other parts of the new foundation.
Most builders invite the client to do a walk through after framing is complete, HVAC and plumbing rough-ins, and electrical wiring are all complete. This is a great time to look at your outlet locations and window / door placements. Make sure that any new alterations to the plans have been identified and addressed, by the sub contractors.
While you check layout items, your home inspector can take a closer look at the construction. His report may include: broken plumbing, improper or inadequate flashing, damaged, cut or bowed studs, insufficient bracing, beams that over-span their load bearing capacity, A/C ducts that are damaged, etc. These items are easy to fix at this point, prior to sheetrock installation.
It is not realistic to expect everything to check out perfectly. Just about every builder in every price range will have some punch list items to correct, both from the city and the third party home inspector. Advise your builder that you will provide him with the report as soon as it becomes available to you, so that he can address the items before any walls are closed up.
You will need to have all of the utilities on in order to properly complete this inspection. Normally, the builder requests a "walk-thru" inspection with you when the house is substantially complete. If utilities are on, you could schedule your inspector at this time. You can focus on paint and touch up items, while your inspector conducts a more thorough inspection, checking for leaks, non functional outlets, final grading of the lot, flashing problems, appliance operation, voids in mortar, etc.
Eventually you will sell your home, and the buyer will likely have it inspected. Some of the items the inspector finds may seem minor today, but these minor issues may come up later in your buyer's home inspection if they are not corrected. It is in your best interest to have everything done properly from the start. If there are items that cannot be fixed before the closing, and you cannot postpone the closing, have the builder sign a written list of the items to be repaired, replaced or completed in a timely manner.
Building a new construction home can be an very exciting and rewarding experience. A new home can deliver to your likes and expectations. It is a difficult project and a very large investment of time, money and heart. The support, advice and information that you will gain from a third party inspection will be without a doubt, invaluable. Do not leave out this most important step in the building process. It will be well worth your investment.


Altruism, defined by Seelig & Rosof (2001) as, "a range of both normal and pathological behaviors that are consciously intended to, and actually may, benefit another," is characteristic of most, if not all, analysts and therapists. The problematic initial request for consultation and reanalysis of a highly caring and altruistic therapist (Mrs A) who is involved in an ongoing boundary violation with a borderline patient is presented. The complex clinical, professional, ethical and potentially legal ramifications of Mrs A's boundary violation, its meaning as an enactment of the transference/countertransference between her and her patient, the transference/countertransference between Mrs A and the author, and Mrs A's traumatic early life history and prior analysis are discussed.