Torrent Description About The Witcher 2 The player is Geralt of Rivia, a professional monster slayer, a witcher. Entangled in the political turmoil that engulfed Temeria, Geralt helped quell the rebellion of the Order of the Flaming Rose. Soon after, he saved King Foltest’s life when the monarch was attacked by a witcher-like assassin. He continues to protect the king, serving as his bodyguard as Foltest strives to bring peace to his kingdom. The Order’s last bastions have yielded to the royal army, yet one more task remains - the Baroness La Valette announced her secession from the realm, and her fortress must be taken. A month after the attempted assassination, Foltest’s armies stand at the gates of La Valette Castle, preparing for a final assault. Still at Foltest’s side, Geralt is among them, unable to begin his personal quest to discover the mysterious assassin’s origin and identity Thanks to the new, ultra-modern REDengine, The Witcher 2: Assassins of Kings features both beautiful graphics and sophisticated in-game mechanics, drawing players into the most lively and believable world ever created in a video game. Defining new standards for realistic, non-linear game narration, The Witcher 2 spins a mature, thought-provoking tale to produce one of the most complex and unique RPGs ever released on PC. In addition to its epic story, the game features a complex combat system that uniquely combines dynamic action and tactical depth. System Requirements Minimum: • OS: Windows XP/Vista/7 • Processor: Intel 2.2 GHz Dual-Core or AMD 2.5 GHz Dual-Core • Memory: 1.5 GB (Win XP), 2GB (Win Vista/Win 7) • Graphics: GeForce 8800 (512 MB) or Radeon HD3850 (512 MB). Resolution: 1280x720 • DirectX: DirectX 9.29 has to be installed. Recommended: • OS: Windows XP/Vista/7 • Processor: Intel or AMD Quad-Core • Memory: 3 GB (Win XP), 4GB (Win Vista/Win 7) • Graphics: GeForce 260 (1 GB) or Radeon HD 4850 (1 GB). Resolution: 1440x900. • DirectX: DirectX 9.29 has to be installed. The Witcher: Enhanced Edition is a great role-playing game. Developer CD Projekt has corrected almost all of the problems that made the original something of a flawed gem. Download The Witcher 2 Enhanced Edition PC game ^^nosTEAM^^ torrent for free. Fast and Clean downloads from bttorrentz.com a free public file sharing platform. The Witcher 2 Enhanced Edition Torrent Download for FREE - The Witcher 2 Enhanced Edition FREE DOWNLOAD on PC with a single click magnet link. Butchered English dialogue has been rewritten and expanded upon, removing the nonsensical lines that made the plot something of a guessing game last year. Engine performance has been dramatically improved across the board, so the game runs smoother on moderate systems, and you no longer have time to read a magazine while waiting for levels to load. You need for downloading.torrent files. Description The Witcher: Enhanced Edition Free Download PC Game Cracked in Direct Link and Torrent. The Witcher: Enhanced Edition is a great role-playing game. NO GOOD AND NO EVIL – ONLY CHOICES AND CONSEQUENCES Become The Witcher, Geralt of Rivia, a legendary monster slayer caught in a web of intrigue woven by forces vying for control of the world. Make difficult decisions and live with the consequences in an game that will immerse you in an extraordinary tale like no other. Representing the pinnacle of storytelling in role-playing games, The Witcher shatters the line between good and evil in a world where moral ambiguity reigns. The Witcher emphasizes story and character development in a vibrant world while incorporating tactically-deep real-time combat like no game before it. ABOUT THE WITCHER: ENHANCED EDITION: The RPG of the Year (PC Gamer, GameSpy, IGN) is back in a Premium Edition packed with powerful extras! The Witcher: Enhanced Edition takes all of the acclaimed gameplay that garnered the original game more than 90 awards, and perfects it with a number of gameplay and technical improvements. • Superior dialogue and cutscenes – The developers have re-recorded and rewritten more than 5000 lines of dialogue in English and redone the entire German edition to create more a more consistent experience, while adding more than 200 gesture animations to make characters behave more believably in dialogue and cutscenes. • Enhanced inventory – The new inventory system makes item use and organization less complicated by introducing a separate sack for any alchemical ingredients, as well as a simple sort-and-stack function. • Technical improvements – The enhancements made to the technical side of the game are too numerous to list, but a few of the highlights include greatly reduced loading times, greater stability, improved combat responsiveness, faster inventory loading, the option to turn autosave on or off, and more. • Character differentiation system – To add more variety to NPC and monster appearances, we’ve added a new character differentiation system that randomizes the appearance and colors of dozens of in-game models. • In your download you’ll also get: Interactive Comic Book, D’jinni Adventure Editor, Two new adventures offering 5+ hours of gameplay, Official Soundtrack, Music Inspired by The Witcher album, Making-of videos, Official Game Guide, Two Maps of The Witcher’s world. System Requirements Before you start The Witcher: Enhanced Edition Free Download Full Game make sure your PC meets minimum system requirements: Minimum • OS: Windows XP/Vista • Processor: Intel Pentium 4 2.4 GHz or Athlon 64 +2800 (Intel Pentium 4 3.0 GHz or AMD Athlon 64 +3000 recommended) • Memory: 1 GB RAM • Graphics: NVIDIA GeForce 6600 or ATI Radeon 9800 or better (NVIDIA GeForce 7800 GTX or ATI Radeon X1950 XT or better recommended) • Hard Drive: 15 GB available space • DirectX®: Version 9.0c.
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Donor challenge: A generous supporter will match your donation 3-to-1 right now. Your $5 becomes $20! Dear Internet Archive Supporter: Time is Running Out! I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Our work is powered by donations averaging about $41. If everyone chips in $5, we can keep this going for free. For the cost of a used paperback, we can share a book online forever. When I started this, people called me crazy. Collect web pages? Who’d want to read a book on a screen? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. The key is to keep improving—and to keep it free. We have only 150 staff but run one of the world’s top websites. We’re dedicated to reader privacy. We never accept ads. But we still need to pay for servers and staff. The Internet Archive is a bargain, but we need your help. If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive. Donor challenge: A generous supporter will match your donation 3-to-1 right now. We have curated a list of free development & web design books (pdf download) to learn HTML, CSS, JavaScript, jQuery, Bootstrap & WordPress Meta Valuables. Your $5 becomes $20! Dear Internet Archive Supporter: Time is Running Out! I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Our work is powered by donations averaging about $41. If everyone chips in $5, we can keep this going for free. For the cost of a used paperback, we can share a book online forever. When I started this, people called me crazy. Collect web pages? Who’d want to read a book on a screen? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. We’re dedicated to reader privacy. We never accept ads. But we still need to pay for servers and staff. If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive. Donor challenge: A generous supporter will match your donation 3-to-1 right now. Your $5 becomes $20! Dear Internet Archive Supporter: Time is Running Out! I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Our work is powered by donations averaging about $41. If everyone chips in $5, we can keep this going for free. For the cost of a used paperback, we can share a book online forever. When I started this, people called me crazy. Collect web pages? Who’d want to read a book on a screen? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. We’re dedicated to reader privacy. We never accept ads. But we still need to pay for servers and staff. If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive. Donor challenge: A generous supporter will match your donation 3-to-1 right now. Your $5 becomes $20! Dear Internet Archive Supporter: Time is Running Out! I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Our work is powered by donations averaging about $41. If everyone chips in $5, we can keep this going for free. For the cost of a used paperback, we can share a book online forever. When I started this, people called me crazy. Collect web pages? Who’d want to read a book on a screen? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. We’re dedicated to reader privacy. We never accept ads. But we still need to pay for servers and staff. If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive. • Categories • • (109) • (102) • (101) • (93) • (86) • (80) • (78) • (67) • (62) • (61) • (58) • (47) • (46) • (41) • (36) • (28) • (26) • (25) • (25) • (24) • (24) • (23) • (23) • (22) • (21) • (19) • (19) • (19) • (19) • (17) • (17) • (17) • (16) • (16) • (14) • (14) • (11) • (11) • (10) • (10) • (10) • (8) • (8) • (8) • (7) • (7) • (7) • (7) • (6) • (6) • (6) • (5) • (5) • (5) • (5) • (5) • (5) • (4) • (4) • (4) • (3) • (3) • (3) • (3) • (3) • (3) • (3) • (3) • (3) • (2) • (2) • (2) • (2) • (2) • (2) • (2) • (1) • (1) • (1) • (1) • (1) • (1) • (1) • (1) • (1) • (1). Search is everywhere, yet it is one of the most misunderstood functionalities of the IT industry. In Apache Solr Succinctly, author Xavier Morera guides you through the basics of this highly popular enterprise search tool. You’ll learn how to set up an index and how to make it searchable, then query it with a simple enterprise search. Explanations for precision and recall are also included to help you ensure that relevant, accurate results have been returned. Custom UIs using Solritas and SolrNet are also covered. Web design books made from dead trees, eh? Things from the past! Haven't you heard we've got that spangly new internet thing now? But when you've been glued to a screen all day, it can be great to sit back in a comfy chair, armed with a beverage of your choice and a fantastic web design book that can educate and illuminate. Additionally, the finest examples provide advice and insight in a manner that few single-shot website articles can compete with. (Handily, for those who get the shakes when away from a screen for more than two minutes, many web design books are now also available in digital - hurrah!) Here leading designers, developers and web industry folk reveal their favourite web design books. The resulting selection is a collection of the very best insight into cutting-edge design and development techniques, inspirational texts, and beautiful volumes to admire. SPOILER ALERT: Responsive web design features quite prominently. • Also read: 01. Adaptive Web Design By Aaron Gustafson $22 (paperback edition) £6.45 (Kindle edition) Gustafson's web design book helps you understand the history, mechanisms and practical application of progressive enhancement. Jeffrey Zeldman, Happy Cog founder, heartily recommends the book: 'Coined by Steven Champeon of the Web Standards Project in the early 2000s, 'progressive enhancement' is the key idea behind standards-based web design. Both a method and a philosophy, it yields experiences that are accessible to all. Through mastery of progressive enhancement, we stop designing for browsers and start designing for people. No one has done a better, clearer, or more thorough job of illuminating progressive enhancement in all its richness than Aaron Gustafson nor is anyone likely to.' A Practical Guide to Designing for the Web By Mark Boulton £29/[Amazon £29] paperback Boulton's well-known in the web community for his work with layout, and this no-nonsense guide teaches techniques for designing sites using the principles of strong graphic design. Balancing practical tips and inspirational insight, he explores typography, colour and layout from a web design perspective. 'This is a great introductory book that covers design fundamentals, rather than code, tools and techniques,' says developer and author. Adapt: Why Success Always Starts with Failure By Tim Harford £8.99/[£5.39] The premise behind this book is that everything we know about solving problems is wrong, and we should instead learn to rapidly experiment and adapt. Although not directly related to the web industry, Adapt's general themes are beneficial to all, thinks social software consultant and writer: 'Harford provides examples of how trial and error can be a more effective way to solve complex problems, and how trials can be structured to produce the best results. Illustrated with examples such as the development of the Spitfire, and the financial crisis, Harford explores what environments encourage innovation and how that innovation can then be adopted and expanded.' American Graphic Designer 1918-81 By Adrian Shaughnessy £65 This 448-page volume celebrates the legendary Herb Lubalin, one of the foremost graphic designers of the 20th century, who formed a trio of US graphic design greats along with Saul Bass and Paul Rand. 'It's a fantastic book that every designer should own, regardless of the medium they work in,' says graphic designer, adding: 'Aside from Lubalin's stunning design work, this monograph offers great insight into what graphic design can be. Even if you work purely in digital, there's a treasure trove of ideas on innovative and elegant design here.' Content Strategy for Mobile By Karen McGrane $18/$9 (paperback/ebook) Two lines of thinking that this book attempts to eradicate are that you get to decide what platform or device your customers use and that mobile means 'smartphones'. The reality, says McGrane, is mobile is a proliferation of devices, platforms and screen sizes, and content strategy needs to be addressed and adapted accordingly. Mobile strategist recommended the book, stating it did a great job 'showing you how to change the way you think about content and your content management system' for mobile, and outlining why such changes are important. Content Strategy for the Web By Kristina Halvorson £18.99/[£9.50] One of the things so regularly drummed into web designers and developers is that content is king. Get that right and everything else should more easily fall into line, but mess up your content and you've no hope. Halvorson's book provides the means to understand your content and its value, along with learning better processes and techniques. Studio manager Robert Mills says: 'This book is the perfect primer for anyone getting involved in projects where content is finally being taken seriously. It also acts as a good refresher for those that are more experienced. The light-hearted tone makes it an enjoyable read and easy to digest the practical and insightful information which is in abundance.' CSS3 for Web Designers By Dan Cederholm $18/$9 (paperback/ebook) Cederholm's book aims to show how CSS3 is a 'universe of creative possibilities', providing insight into web fonts, advanced selectors and the many visual enhancements the technology can bring to web pages. Eric Meyer, partner and co-founder, says: 'With Dan you know you're getting great visual design with a fun theme, wrapped around great technical information. This book delivers big time.' Meyer also recommends Jeremy Keith's as a companion volume, saying it will 'get you up to speed with HTML5 in no time'. Designing for the Digital Age By Kim Goodwin £40.38 Not so much a web-design tome as a handbook for dealing with an entire industry, Designing for the Digital Age explores how to succeed through a multi-disciplinary approach. Freelance user experience consultant considers it an essential read: 'It's not exactly 'holiday' as in 'take to the beach' reading, but if you've got some time off at home, it's worth getting stuck into this design bible.' Design is a Job By Mike Monteiro $18/$9 (paperback/ebook) Design isn't all about visuals, aesthetics, usability and crafting something beautiful. It's also about all the things that surround that, enabling you to build a business. Monteiro's aim in this volume is to help you do that part of your job better, learning how to deal with clients and contracts. 'After Mike's brilliant ' talk at Creative Mornings, it was a no-brainer to buy his book on the topics of contracts, selling design and dealing with clients – this is a must read,' says creative director. DOM Scripting By Jeremy Keith £24.69 It's increasingly common for websites to be rich in functionality provided by JavaScript. Keith's book is intended to offer designers – rather than programmers – a guiding hand, showing them how to add stylish, usable enhancements to websites. Author and speaker told us: 'Jeremy Keith's book has been out for a while now but I still believe that it provides a great foundation for anybody wanting to get into JavaScript development.' Double Your Freelancing Rate in 14 Days By Brennan Dunn $49 (book, worksheets and interviews) 'If you're a freelancer or consultant, one of the hardest things is pricing. You've got to learn it's all about the value you provide to a client, not what you need to make a living. You're not an employee anymore. I made the same mistake when I was freelancing,' says author and developer. He wishes he'd had Brennan's book to hand back then, because it 'makes excellent points and you can apply the actionable advice in it immediately', adding to your revenue. (Special offer for.net readers: enter NETMAG as the coupon code and you'll get a $10 discount.) 12. Don't Make Me Think! By Steve Krug £14.89 Krug's tight, focused book, subtitled 'A common-sense approach to web usability', remains as relevant today as when it first appeared, back in 2000. 'Anyone who designs, codes, writes, owns, or directs websites should read and memorise this book,' argues Zeldman. 'Whereas earlier usability books are scolding, parental, and anti-creative in tone, Steve makes the case for web usability compelling, friendly, and fun. I naively saw usability as the enemy of design until I read this book. It will work equal wonders for the marketers, developers, project managers, and content folks on your team or for anyone who wants their website to delight its users.' Getting Things Done By David Allen £6.50 'One of the greatest problems faced by web design freelancers is stress. Running your own business and dealing with demanding clients leaves many freelancers lying in bed worrying and feeling completely overwhelmed,' thinks Paul Boag, co-founder of. 'Allen's book proposes a way of organising one's life to strike the balance between work and home. Although not for everybody, it certainly made an enormous difference for me, enabling me to feel in control of my ever-growing workload.' Good Strategy, Bad Strategy By Richard Rumelt £7.01 Rumelt's book on management and strategy aims to differentiate itself from its rivals by not stretching an essay-like argument to hundreds of pages. Instead, says the author, it 'presents views on a range of issues that are fundamental, but which have not been given much daylight'. This gelled with Reichelt: 'It's not exactly a web book, but I wish more web-industry people would read it so that we could spend more time making better things'. Graphic Design for Non-Profit Organizations By Peter Laundy and Massimo Vignelli, in partnership with AIGA This book was published back in 1980, but still provides plenty of relevant advice regarding its subject matter – and more. Muller is a big fan: 'Like the book's title says, it offers advice on best practices for structural design applied to non-profit organisations, but the information on grids, font usage, type hierarchy, layout and presentation are applicable to all, especially when it comes to designing well-structured digital design.' Grid Systems in Graphic Design By Josef Muller-Brockmann £50/[£47.50] Web layout is becoming increasingly complex, and although it's moving away from print-oriented fixed canvases, print-like grids and a strong sense of typography are required now more than ever. ' Grid Systems is my number one go-to book for practical advice on typographic hierarchy and grid systems beyond the web,' says web designer and front-end developer. 'Every page is chock-a-block with examples and reasoning for decisions made, and while the book presents a strong focus on print design, you'll find huge crossovers into the digital realm.' Handcrafted CSS: More Bulletproof Web Design By Dan Cederholm and Ethan Marcotte £17.10 'If my own was catnip to web designers, Handcrafted CSS is heroin,' jokes Zeldman. 'Master sophisticated CSS layout methods powered by a philosophy of 'progressive enrichment'. Create fluid designs that support today's plethora of connected devices, and learn techniques that create a living, textural look and feel without killing your user's bandwidth. Dare to innovate fearlessly and gain tips on persuading your clients to accept your innovations!' HTML5 & CSS3 For The Real World By Estelle Weyl, Louis Lazaris and Alexis Goldstein £31.49/[£24.56] One of a number of books concentrating on the core of new web technologies, HTML5 & CSS3 is all about creating dynamic websites with new toys. Instead of fluff and hype, it concentrates on fun, effective techniques that you can start using immediately. According to Studholme: 'This book manages the impressive task of covering a massive amount of content without being a tome. It's full of useful insights and real-world advice.' Implementing Responsive Design By Tim Kadlec £26.99/[£22.94] According to Grigsby, Kadlec's book essentially 'picks up where Ethan Marcotte's 'Responsive Web Design' leaves off, and provides practical tools for designers'. Like Marcotte's title, Implementing Responsive Design deals with creating sites that work with today's volatile landscape regarding viewports and devices. Kadlec believes RWD isn't just another technique, but 'the beginning of the maturation of a medium and a fundamental shift in the way we think about the web,' and this line of thinking forms the foundation of his teaching on layout, workflow and content. Insites: The Book By Keir Whitaker £23/£9 (paperback/digital) Eschewing code and even typical design tips, Insites is nonetheless a volume that lives and breathes the web industry, owing to it featuring in-depth and deeply personal conversations with the biggest names in the web community. User interface designer is one such name, and says: 'If you've ever wondered how some of your favourite designers and developers got involved in the web industry – the twists, turns, failures and successes that made them who they are today – all wrapped up in a personable, dip-in-and-out read that'll have you hooked from the start, Insites: The Book is for you.' Introducing HTML5 By Bruce Lawson and Remy Sharp £22.99/[£11.50] Lawson and Sharp's Introducing HTML5, now in its second edition, helps you get acquainted with the possibilities of HTML5; it also explores the good and the bad within the spec, along with discussing aspects not yet fully implemented in browsers. 'It is the most down-to-earth, just-the-facts book about HTML5,' reckons Mozilla developer evangelist. 'If you use the demos, they work. And the book works both as a teaching aid and a reference guide when something slips your mind.' JavaScript Enlightenment By Cody Lindley $15 (PDF edition) On his website, Lindley says a lot about what his book is not: a complete reference; targeted at those new to programming and JavaScript; a cookbook of recipes. But what he says it is makes it a must-buy: a book that might transform you from a JavaScript library user into a JavaScript developer. Gustafson is a huge fan: 'Most of us old-timers learned JavaScript by reading other people's code and through blind experimentation, so we missed out on a lot of the fundamentals. In this book, Cody does an amazing job walking through the ECMA spec, detailing the intricacies of the JavaScript language. It made me love JavaScript even more than I already did.' JavaScript Patterns By Stoyan Stefanov £22.99/[£11.50] Although libraries such as jQuery provide the means to work with JavaScript without really knowing a great deal about the language, savvy web developers delve deeper. Developer says 'everyone should have read by now,' and he considers ' JavaScript Patterns an excellent next step towards writing better JavaScript'. Along with boasting plenty of hands-on examples, the book also tells you what to avoid, so you don't hamstring your own creations. Kaizen By Masaaki Imai £81.99/[£77.89] Product designer and developer recognises that Kaizen 'may seem like a strange recommendation for web designers and developers,' given that it focuses on management and operation in the context of Japan's return to industrial success in the decades after World War II. But he explains: 'The Kaizen principles encompass many of the pillars we design and build our modern product on: constant iteration, customer-centric focus, continuous improvement. It is a completely different look at industry than what we're used to seeing in our field, but it contains numerous valuable ideas that are readily applicable for us.' Mobile First By Luke Wroblewski $18/$9 (paperback/ebook) A strategic guide to mobile web design, which asks and answers why you should go mobile first, and how to achieve such goals. 'Read in tandem with Responsive Web Design and you'll know the shape of web design for the next five years,' says web designer, author of, and speaker. Gustafson agrees: 'When you want solid research and statistics on any web-related topic, Luke is your guy. His recent treatise on mobile is packed with incredibly valuable – and sometimes surprising – information that will help you better understand the mobile landscape and better sell its promise to your clients.' Nudge: Improving Decisions About Health, Wealth and Happiness By Richard H Thaler and Cass R Sunstein £13.52 ' Nudge is not strictly a web design book. However, I believe it should be essential reading for any web designer,' says Boag: 'The premise of the book is that psychology can be used to 'nudge' people into making certain choices. While the book focuses on how this could be used to encourage things like more organ donation or saving for a pension, the lessons learned can also be applied to designing a website.' Ordering Disorder: Grid Principles for Web Design By Khoi Vinh £18.99/[£9.50] Khoi Vinh was one of the pioneers of working with typographic grids online, showcasing his talents at NYTimes.com and on his popular blog, Subtraction. His book delivers plenty of insight into the power of grids online. 'It single handedly introduced me to the world of grids in web design,' enthuses Eden. 'Khoi presents ideas and practical knowledge that can be applied to a vast array of design projects, while not getting bogged down in code. It's ideal for anyone looking to expand their theoretical knowledge of design with a specific aim on the web.' Responsive Web Design By Ethan Marcotte $18/$9 (paperback/ebook) Marcotte's book assists you in catering for mobile browsers, tablets, netbooks and also massive widescreen displays, creating sites that anticipate and respond to your users' needs. The book details techniques and principles behind fluid grids, flexible images and media queries. 'Just like web standards, responsive design isn't something you should sit on the fence about, until being asked by a client. Instead, good designers and developers should be thinking responsively about every new project that comes their way,' explains Andy Budd, Clearleft managing director. 'So if you haven't jumped on the responsive-design freight train yet, do so now, with this book to guide you, before you get left behind.' Retinafy Me By Thomas Fuchs $29 Hi-res displays are causing all sorts of headaches for designers, and that's only going to get worse as hardware manufacturers follow Apple's lead. Fuchs he wrote Retinafy Me after discovering useful information on high-res was 'spread out in a gazillion blog posts and forum entries, or hidden deep in Apple's or Google's documentation'. His writing is focused and informative, and designer Jason Zimdars matter-of-factly says: 'If you are considering making your site or app Retina-ready, it would be silly not to own this book.' Rework: Change the Way You Work Forever By Jason Fried and David Heinemeier Hansson £10.99/[£6.12] It's safe to say 37signals is not a typical company, but its success shows there can be a better way to work, without meetings, spending your entire life savings, or working insane hours. Rework provides a glimpse inside the minds of the company's co-founders, and UI designer finds it invaluable: 'The book's a staple when anyone asks me about designing, developing or wanting to create just about anything software-related. The power of Rework lies in how clear-cut all the statements are. It's not a book that contains information that should be taken at face value, but it does give a lot of empowerment and it's a breeze to get through.' Rocket Surgery Made Easy By Steve Krug £15.41 Although Krug is better known for Don't Make Me Think (listed earlier), Boag considers Rocket Surgery Made Easy more useful for the majority of web designers: 'Where the original book focused on the importance of usability testing, the second one talks about the practicalities of setting up regular test sessions. Most of us are already aware of the importance of usability testing and yet find it hard to make it happen. This book will show you how.' Scalable and Modular Architecture for CSS By Jonathan Snook From $15 (Canadian) In this book, which started life as a website, Snook outlines the methodology behind SMACSS (pronounced 'smacks'), a means to examine your design process and fit rigid frameworks into a flexible thought process, thereby resulting in a consistent approach to site development when using CSS. 'Jon has created a free, organic, online book with discussion, and it has great thoughts on architecting maintainable CSS for larger sites,' says developer Stephanie Sullivan Rewis. Now, for people who prefer their web insight on paper or in ebook form, there are those alternative options too. Seductive Interaction Design By Stephen P Anderson £12.46 Most designers at some point will have crafted something amazing and beautiful, but found that no one cares. This book delves into the reasoning behind why people stick around, with an approach to designing sites and interactions based on the stages of seduction. 'I love this book because it explains how to design websites to help invoke behaviour, with lots of emphasis on the psychology behind them as well,' says Parmenter. Steal like an artist By Austin Kleon £7.99/[£6.99] Loomans says that, much like Rework, Kleon's book is about process: 'The book is centred around the lessons that the author learned during his career as a designer. There are many lessons here that are so stupidly obvious, but when they're written down they bring a lot of empowerment to the reader.' The book began life as a list, and then a slide presentation, before becoming a lively, engaging and entertaining book for improving your creative life. Steve Jobs By Walter Isaacson £11.97 Steve Jobs was a private man, and so while many authors have delved inside his thought process, they've done so via assumption, guesswork and through third-parties. Isaacson's book is different, drawn from three years of exclusive interviews with the Apple founder. Clarke recommends it because 'as web professionals, we need to remember to keep doing the work we love and never settle'. Stunning CSS3 By Zoe Gillenwater £16.94 Far too many CSS books are little more than elaborate reference guides, but Gillenwater takes a different approach, helping you learn the power of CSS3 through practical, eye-catching examples. 'I don't think this book has got the promotion and attention it deserves,' says Rewis. 'It is sincerely one of the most practical, informative and lovely CSS3 books out there, due to Zoe using a project-based approach throughout to illustrate the concepts.' The Designful Company By Marty Neumeier £13.59 Another alternative and highly useful take on management, The Designful Company argues that while most managers rely on a two-step process to make decisions – 'knowing' and 'doing' – today's innovation-driven marketplace requires a middle step, 'making', where 'assumptions are questioned, futures are imagined and prototypes are tested'. According to Budd, it's a book folks at Clearleft constantly refer to: 'And combined with his other books, Zag and The Brand Gap, it provides plenty of quotes and animation when having tough design conversations with clients.' The Elements of Content Strategy By Erin Kissane $18/$9 (paperback/ebook) If you're wondering where the idea of 'content strategy' arrived from, what it means and why it matters, you should begrabbing yourself a copy of Kissane's book right now. 'I thoroughly enjoyed reading it,' enthuses Snook. 'And its succinctness should not be mistaken for lack of content – this is a dense read that's chock full of great content, as one might expect from a book on content strategy!' The Elements of Typographic Style By Robert Bringhurst £24.96/[£22.71] Designer states online typography has 'finally got to the point where we can have real control over the way our text is displayed,' and that means designers need to be more aware of the possibilities. ' The Elements of Typographic Style goes into incredible depth and detail, making it indispensable for anyone wanting to make their web typography both legible and beautiful,' she says. Studholme agrees: 'As my boss says, web design is 95 per cent typography, and this is t/ typography book!' The Elements of User Experience By Jesse James Garrett £25.99/[£13] Plenty of web design books age quickly, but that's not always true, according to Kalbag: 'I can't believe that The Elements of User Experience is 10 years old when so many of its guiding principles still hold true. It's the first book I read when I was learning about user experience and it completely shaped the way I think about design projects.' The updated edition goes beyond the desktop, showcasing Garrett's insights into the mobile web and applications. The Happiness Project By Gretchen Rubin £5.49 Are you happy? 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The aim is to 'produce a field guide for the emerging skillset' and enable everyone to 'dream big, apply the lessons to our processes, then go get our hands dirty to shape this world'. According to Eden, it's one of the few books he reads again and again: 'The author speaks in a relatable and passionate way about our process as designers, in a series of truly inspirational stories that are sure to get the creative juices flowing.' The Truth About HTML5 By Luke Stevens £12.99/[£11.69] As designer and developer points out, the title of this book shows this is a rather different take on HTML5: 'It highlights the myths currently in circulation about the spec and also gives some information about the procedures behind creating it.' Green says the book details how people are using new tags but also shows they may have interpreted the spec incorrectly and headed in the wrong direction. 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Copy the contents. Command & Conquer: Red. NOTE – Download this game for ver PC (windows, Mac): Command And Conquer Red Alert: From the days of the PS one, this downloadable game allows you to play the classic original on your PSP handheld system or PS3 home console. Westwood’s alternate history RTS presented unparalleled strategy that perfectly married currently-applicable RTS interface conventions with diverse units to create some utterly compelling gameplay. When taken online or played over LAN, Red Alert simply excelled. Broken alliances and heedless harvester rushes still bring tears to our eyes. It didn’t start the genre, but it probably started the craze. Although still set in the future, the game is set on an Earth where time travel has eliminated Hitler from history and the Second World War never happened. As a result the Western Allies are left facing a powerful USSR with both sides equipped with futuristic technology. The game consists of a series of timed missions. Scenarios and objectives are varied. Objectives range from overrunning the enemy force to more subtle missions such infiltrating. I am so happy when you connect to my website. It created with the purpose is to share free PS3 games for all of you. At the present, more than 2000 free PS3 games are loaded on the website and it has still been in process of building, finishing the contents, so I hope that most of free PS3 games could be updated as soon as possible. To a new website, it does not have much your attention (PS3 players), but I wish you could give me a favour in advertising, introducing it to people by sharing its link for your friends, family members who own PS3 through out Facebook, twitter and other websites. If the website becomes a well – known one, this will a motivation push me to continue updating more free PS3 games, sharing to people. Thanks and best regards!!! A Few Questions 2017-09-17 0 point I followed the steps given and they did work perfectly for me. However can someone please answer a question I have? How should I go about installing yuri's revenge now that I have red alert 2 installed? Specifically, I want to know if all of the files for yuri's revenge should be placed into the folder I have red alert in. Also, do the the image files in yuri's revenge need mounted the same way the files in red alert 2 needed to be, or are there additional steps I need to follow before the game works? Please answer if you can and thank you a lot. IT WORKS JUST FINE 2017-09-13 3 points SO CONFUSED @Andy or anyone who can help. I have followed Andy's steps perfectly, as far as I can tell, up to step five. I do not seem to have any IMG files, namely the soviet and allied files so I cannot mount them and am stuck. Please help me however you can. Dear SO CONFUSED. Like Andy said. Download the RA2 ISO file from this page first (about 1.4GB). Then unzip the file inside. Then go here:. Download the program. The install the program above. Go to the unzipped file, find Ra2 Allied.img and Ra2 Soviet.img. Follow the rest of Andy's instruction. Note: I managed to play this game just fine. I even uninstall it sometimes, and install it again. Because the game too addictive. I can't even focus on my homework. K2Y5 2017-07-25 3 points To clarify the steps above the Multiplayer files are the files you will use to play the game. You only need to download the ISO files from this site in order to obtain the.mix files as mentioned above. This quote below: 'Within the zip file, copy the two files aqrit.cfg and ddraw.dll into the directory where you installed Red Alert 2 Using a text editor, edit aqrit.cfg so that ForceDirectDrawEmulation = 1' Refers to the Multiplayer version you installed NOT the ISO version from this site. Again, when you mount the image files from the ISO version, copy the.mix files to the multiplayer version and make sure it's the.exe files from the multiplayer version that you modify the compatibility options for. Dolby 2017-05-15 2 points I am using Windows 7, 64bit. I can get it to work without putting it into 95/XP mode. I don't have any screen issues requiring additional tools (ddwrapper) either. The only issue i have is, there are no cutscenes. I've downloaded a pirated version from another site, and it worked apart from the cutscenes. Been reading somewhere they only work with a CD, so i downloaded the ISO image from this site on here. Now, i can't get it to install. It prompts me to put in my administrator password for 3-4 times & nothing happens, even with 95/XP mode. Same thing happens with my original disks. So, my question is, does anyone else have cutscenes with the image from this site? Andy 2017-04-26 13 points So I managed to get this working on Windows 10, after following Harv's comment. It works perfectly! Though, there were a few extra steps, so just in case it helps others, I thought I'd write up a clearer set of instructions 1. Download & install the Red Alert 2 Multiplayer file from here: 2. Download ddwrapper.zip: Within the zip file, copy the two files aqrit.cfg and ddraw.dll into the directory where you installed Red Alert 2 Using a text editor, edit aqrit.cfg so that ForceDirectDrawEmulation = 1 3. Follow the instructions here to install a Windows 8/10 compatibility fix. Basically (I'm just repeating what the website says): a. Download files from here: - admin note: file available in the game extras of this page b. Double click on the BAT file which is labelled 'Double Click Me' c. Copy and paste the files from the 'Game Files' folder into the folder that you installed your game in. On the file game.exe - Right click Properties Compatibility Settings Reduced Color Settings = 16-bit Run this program in Compatibility Mode = Windows 7 Run this program as administrator = Checked Disable scaling on high DPI settings = Checked 4. At this stage, try running the game by double clicking game.exe Note - Only game.exe worked for me, ra2.exe and Red Alert 2.exe seemed to freeze soon after running. Try clicking on a Single Player New Campaign but it will display an error. Almost there! Use Virtual CloneDrive to mount the IMG files from this website in the zip. (Ignore the built in IMG mounter in Windows which gives you an error message.) 6. Using Virtual CloneDrive, mount the Ra2 Allied.img file. On the new CD-ROM in your Windows Explorer = Right-Click Open Copy the maps01.mix and movies01.mix into your Red Alert 2 game directory. Allow overwriting of existing files in that directory (those files contain no data) Unmount the Ra2 Allied.img, and now mount the Ra2 Soviet.img file. Now copy the map02.mix and movies02.mix into your Red Alert 2 game directory. Start the game up again using the game.exe file. And hopefully it works! Note: There was no music when I played the game, which was fine with me. I suspect you also need to copy in the music theme.mix file into the game directory which is located here: Thanks to Harv for setting me in the right direction for this. Harv 2016-06-14 12 points So I ran into some problems installing on Windows 10 but I eventually did get them worked out and the game is running smoothly: 1. Use Virtual Clone drive and not the built in Windows 10 img mounter (Thanks Phil) 2. I read through the forum post here: Apparently the CD's came with a specific type of DRM that is no longer supported in the new versions of Windows. I installed the multiplayer only version from the forum post. 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What I did know was that he was caring and altruistic and he created and directed ChoralNet for many years. What I learned and I hope you will get out of his story is a sense of kinship. As choral directors we all share of ourselves, spending more time at work than with out families, involving ourselves in the lives of our singers, fundraising, and hours upon hours of preparation. Does it matter? Does any of it really matter? Architecture, Music, Acoustics (2009), dr uppfrandepraktiska och akustiska frgor behandlas. Denna forskning r samtidigt ett exempel p en frskjutning frn ett produktions- till ett receptionsperspektiv, eftersom den i stor utstrckning undersker lyssnarfrgor och inte framfrande- eller kompositionsfrgor. Projektets akustiska mtningar. Of course it does and Jim is a man we can empathize with and look up to. He did not take the easy path and it has made all the difference! This article is part of a short series to honor our founder. The Composers of Choral Music Community and Our Musical Life Inc. Are hosting a celebration of thanks called the Showcase Dare. Composers, conductors and lyricists are invited to participate and encouraged to show their appreciation for the man that gave us this valuable resource. Comment below with what ChoralNet means to you and participate in the Showcase Dare. More info is available on last Sunday’s or come the Showcase Dare August 2015 community. At ASU, I was in charge of computer applications for the School of Music at a time when very few understood or wanted to understand the potential for data storage and retrieval and communication. At SDSM&T, everyone (well, maybe not the Liberal Arts types so much!) knew that personal computing was about to change the universe of computing which, heretofore, had been reserved to mainframes and computer technicians. I got my hands on the first PCs made available to faculty at this technological school and began to use it for developing a database for my choral reference library and school inventory. Today it seems inconceivable, but at that time only those who had connections to either research institutes or government branches such as the Library of Congress had access to the Internet and its new form of communication – electronic mail. I quickly re-connected with my research advisor, Dr. Reynolds, who had always been one of those who appreciated new technologies – although I have to admit, when I was the first music doctoral candidate in the history of ASU to use a word processor for my dissertation, he was dismayed at how quickly I returned corrected drafts! A good friend, he introduced me via e-mail to others who dealt with musicology and choral music and whose universities were also connected to the Internet (a fairly small crowd). By about 1992, Walter Collins at the University of Colorado and I had become email acquaintances. Walter, a former national president of ACDA and former president of IFCM, was retired from UC, but still very active in the choral world with many colleagues and former student now in positions of importance across the world. His successor at UC-Boulder, Lynn Whitten was at that time the national president-elect of ACDA. We discussed how interesting it would be to find a way to use this technology to develop better communications in the choral world. Rob Reynolds, by this time had already instigated an e-mail discussion/communication forum (AMSlist) for the American Musicological Society, of which Water and I were both members. Rob introduced us to another technology wizard, composer Mark Gresham of Atlanta, who as a non-academic had discovered how to access the Internet and proved invaluable in these discussions. But there was a catalyst that moved this from a discussion into reality. I had never stopped developing my own choral music library, which now exceeded 5500 items each with about 30 key fields. I called it CHOREF (note the name?). Jean Sturm, a brilliant French research chemist and amateur choral director – whose professional chemistry efforts, BTW, helped kick off the human genome database, had developed database software for his chemistry research. It wasn’t long before he adapted it for use for his personal choral reference library, which he labeled MUSICA, and began to develop it into a powerful choral music database. That week was truly epic. The list of people who worked together in Namur became powerful figures in the choral world in years to come. Was the young executive director of the IFCM. Of the was there. Brought his database –numbering at the time about 15,000 items. It was clear that his software and software development expertise had the capability to handle a massive project. As Yugoslavia disintegrated, a young Slovenian woman dodged the bullets flying to make the trip. That young woman,, of fame. A young Filipino conductor was there,, now of the University of the Philippines and a choral force all across the Pacific Rim. A German conductor was there,, who now heads the. I came home and told Walter (an IFCM founder as ACDA president and later an IFCM president) about the week. After spending 1992 in further communication and discussion, Walter convinced Lynn Whitten whom, as incoming ACDA president was the host of the 1993 national ACDA convention, to schedule and announce a meeting at that convention of “those interested in developing an e-mail communications list for choral music.” About twenty-five persons, including Collins, Feiszli, Gresham, and Whitten, attended that meeting. All in attendance expressed a strong desire for some form of Internet-based communication network. Shortly thereafter, Walter and I, using the University of Colorado list processor capabilities, began ACDAlist, the first e-mail list dedicated to choral music with Feiszli as the list owner/manager. A: I was incredibly busy. SDSM&T had no music program when I arrived. I had convinced the university that the emerging brain research indicated that active involvement in music resulted in better thinking. Starting with my arrival at Mines in 1983, I built the music program from the ground up, securing resources, equipment, and scholarships. I took a glee club called the “Singing Engineers” and built it into an award-winning university choir whose performance records are as impressive as those of choirs from universities with accredited music programs. I successfully advocated for academic credit for ensemble music and increased music opportunities by adding new course offerings in applied music and lecture courses. By 1993, there were two fulltime music faculty with three choral ensembles and three instrumental ensembles. (Today there are eight faculty/staff persons, seven instrumental ensembles and three vocal ensembles AND a dedicated facility. When I arrived we had one room, a piano, some music stands, and a handful of instruments. You can check out the program at and ). In September of 1993, I was granted a sabbatical from SDSM&T and went to England to study Gregorian chant with Dr. Mary Berry and her Schola Gregoriana of Cambridge. I approached David Topping, who had been in San Antonio at the ACDA convention meeting and who was one of the original subscribers to the list, to ask him if he would be willing to manage Choralist while I was out of the country. David agreed and thus began a long and fruitful connection with ChoralNet, because when I returned in October I asked him to continue assisting me as co-manager. Now, one must understand the nature of all professional (and volunteer) organizations. The hired staff, from executive directors to secretaries usually wield more power than the elected officers because the former remain in place while latter rotate in and out. In the case of professional organizations, some people run for office to create a credential as well as to serve the organization. It advances their career. The fulltime staff often develop a guardianship mentality for the organization that goes beyond service to the elected leadership. In the case of Gene Brooks, ACDA’s executive director, he had singlehandedly built ACDA from a small, run-out-of-a-closet kind of operation into a powerful and respected national organization. He had secured funding and support to build a national headquarters and created the juggernaut of conferences that we have today. Gene’s opinions matter greatly in the professional choral world. The elected leadership had to listen and, usually, agree with his decisions because of that that he had done so much for the organization and was doing a great job running it. So, I copied the fax into an email and submitted to the subscribers of ACDAlist asking what they thought we should do – kill the list? (Lynn and Walter were both subscribers). First of all, the sender of the fax was angry because he thought I’d been ignoring him, and then he was furious that I would publicize this fax. Some subscribers expressed dismay that the list wasn’t “official” and quit. I, of course, thought it had all been cleared up there somewhere. But the majority of the list subscribers (99% ACDA members, BTW), said, “No matter what, do not kill the list. Change the name if necessary.” So we changed the name to Choralist. Lynn Whitten meanwhile vowed to bring the effort up to the national Board for official sanction. But the damage had been done. The rest of the officers declined to sanction the list and we continued to operate with no official standing. A: As Choralist grew, other services were added. The Choralist Resource Site (CRS) was created late in 1993 using SDSM&T computer services. The CRS provided an online file cabinet (early cloud!) for users of Choralist, with archives of past list messages, compilations of information derived from list discussions, and other information helpful to choral musicians who had access to the Internet. I formed a Choralist Advisory Group (CAG) in early 1994. This CAG was comprised of persons in the choral field from across the globe who used and had interest in developing the use of online computing for the benefit of choral music. Members of every part of the choral world were part of the CAG from the beginning to provide feedback on the growth and interest in Choralist. Another list – CAGlist – was created using SDSM&T list servers to facilitate their communications. From the fall of 1994 to the summer of 1995, Choralist experienced incredible growth and many of the problems that were appearing with e-mail lists of all types across the Internet. Because of the difficulties inherent in the early days of electronic mail communication – no vocal inflection, no body language, no face to connect to words – these early users of lists tended to understand and react to e-mail differently than they would to normal face-to-face or even telephone conversation. “Flame wars” begin when parties insist on redressing perceived grievances in a public forum. Serious users of the lists became disgusted and left. Attempts to mediate or mitigate were perceived as censorship. List traffic began to degenerate as serious users left and casual or uninformed users dominated the e-mail messages. By the summer of 1995, Choralist had close to 2000 subscribers – a very large list for any kind of focused use. We found it difficult to maintain any type of medium that would satisfy even a majority of subscribers. Looking back now in this age of texting (and auto-correct!) this all seems so ridiculous, but it was a huge problem. So in November 1995, after much debate among the CAG, Choralist was transformed into ChoralNet, which included Choralist, the CRS, CAGlist, and CHOREF (by then an on-line choral music database because Jean Sturm had steadfastly refused to place MUSICA online – another story!). Choralist’s purpose and operation was modified so that it could become the one common bulletin board for the online choral world. It became a moderated list – meaning that all messages sent to Choralist went first to a moderator, who would then approve or disapprove its posting to the list. Two new e-mail lists were begun to provide forums for the two basic groups of online choral musicians who had been using Choralist: ChoralAcademe – designed for choral music researchers and professionals, and ChoralTalk –a forum for more informal and extended discussion of choral music topics on a more general plane. ChoralTalk was also linked via an electronic gateway at Loma Linda University in California to rec.music.makers.choral – a Usenet newsgroup. Finally, as the capstone to this new enterprise, the ChoralNet Web Site (CWS) was created, running on SDSM&T webservers. At this juncture, Feiszli retained list management of ChoralAcademe and CAGlist and created and maintained the CWS, CRS, and CHOREF, while Topping moderated and managed Choralist and ChoralTalk. In early 1996 IFCM, having decided to expand their presence on the Internet, approached me about a merger of efforts. I traveled to Namur to meet with Jean-Claude Wilkens, Claude Tagger (president), and others of the IFCM management. After returning to the U.S. And consultations with Topping and the CAG, it was decided that ChoralNet would be designated an official project of the IFCM. Some official professional recognition! ChoralNet became the website for IFCM and Feiszli their webmaster. As more and more webpages became required for the operation of ChoralNet, David Topping became more involved in those aspects of the ChoralNet operation as well, eventually taking over more of Feiszli’s work so that he could focus on political and managerial aspects of ChoralNet. 1997 and 1998 were tumultuous years for ChoralNet as Topping and Feiszli began to see their work become ever more central to the global online choral community but also realizing that they could not continue to operate alone as they had been doing. Finally, in early 1997, ACDA came to see that this Internet thing was not going to go away. We were approached and asked to develop and host the official ACDA website. ACDA would establish funding for a ChoralNet Manager, which David Topping filled. ChoralNet also worked with Chorus America and the European Federation of Young Choirs to develop other services, among them the web message boards EuroChoralTalk – modeled after the original ChoralTalk, and Foro de Musica Coral Latinoamericana – a Spanish-language forum for the Latin American choral community. In November 1998, John Vucurevich, a businessman from Rapid City, South Dakota, issued a $5000.00 challenge grant to ChoralNet to provide an impetus for further development of ChoralNet operations. The first result of this grant was a fund drive which netted ChoralNet another $7000.00 from ChoralNet users. By July 1999, ChoralNet had filed and received approval as a non-profit corporation in the state of South Dakota and set up its own dedicated web server. The ChoralNet Board of Directors held their first meeting in August, extending over a period of ten days and held completely online, during which they • ratified a constitution and bylaws • approved an organizational structure • elected officers • assigned members to specific tasks. The ChoralNet corporate structure provided for four sub-committees to operate and oversee ChoralNet operations, each headed by a Vice-President. The Vice-Presidents as well as a Treasurer, Secretary, and President were elected by the Board. Those eight persons formed an Executive Committee to which the Manager is also an ex-officio member. This change, from an operation which was largely the province of two people, to a jointly-owned consortium of many people began to lay the groundwork to ensure the viability of ChoralNet for the future. ChoralNet filed for and received non-profit, tax-exempt status as a 501(c)3 corporation from the U.S. Government in 2000. In early 2001, Chorus America became the third major association to join the ChoralNet consortium and discussion was underway with Europa Cantat by summer of that same year. The needs of such a consortium created an ever-larger and complicated technical demand on the ChoralNet webserver causing ChoralNet to upgrade to more expensive options. The association partners responded by paying $2000.00 each towards the server costs. This large Board of Directors, all volunteers, was designed to be a working Board with each member assigned to fulfill specific tasks. Such a structure caused problems when real world obligations interfered with ChoralNet work. ACDA, which had made an initial commitment of two years for the Manager funding, was still funding the Manager position – a situation which made David Topping ACDA’s employee, rather than ChoralNet’s. He served as ACDA’s webmaster in addition to his ChoralNet duties. The addition of Chorus America to the consortium created additional work for the Manager and for Allen Simon, ChoralNet’s Vice-President for Website Management. Although by this time, most or all of the list moderation was being done by members of the List and Forum Management committee, it was becoming impossible for ChoralNet to attempt to provide a unified portal for the choral world and simultaneously provide services to the associations at the same time. A: For the majority of these years I spent 20 hours a week on ChoralNet business. I was the registered agent for the organization and had to submit papers to the state and the IRS every year. Did the trademark registrations, ran the meetings, oversaw everyone else, maintained the administrative website, etc. I was the elected president for all but two years when I was the secretary instead, allowing Michael Shasberger (the ACDA representative) to be president just to ease our always-prickly connection with Lawton. I was the official IFCM representative through most of these years and an advisor to IFCM, Europa Cantat, and MUSICA. A: Advancing myself professionally, I guess. One might say that I garnered quite the reputation for ChoralNet but, unfortunately, no one seemed to think of me as choral conductor, especially as I teach at an institution where there is no music major. I’m actually pretty good. Took my choirs to international competition in Ireland in 2006 and brought back three first-place trophies. But I wasn’t spending time doing self-promotion. I also had little time to spend with my original research as a wannabe musicologist. A “project” of IFCM merely meant that they gave us some financial support and official recognition in return for creating their first website and maintaining it for a couple of years. As with most organizations, the executive director of IFCM eventually wanted their website to be under their direct control at their headquarters in Europe (after web editing and hosting became universally available) and so ChoralNet ceased maintaining IFCM’s webiste. ChoralNet, however, continued to be listed as a project of IFCM’s until the non-profit dissolved in 2011 when we became absorbed by ACDA. I remained IFCM’s representative on the ChoralNet Board of Directors until that time. NAI is a non-profit organization that is the leading self-regulatory association dedicated to responsible data collection and its use for digital advertising. Since 2000, we have been working with the leaders in online advertising to craft policies that help ensure responsible data collection and use practices. The result is the development of high standards that are practical and scalable to benefit everyone. 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Reprinted from Wax Poetics Issue 3, Fall 2002: “Man, patience is a virtue!” Harry Whitaker is reflecting on the long-awaited release of his first album as a leader, recorded when he was thirty-four years old. Now a well-seasoned fifty-nine (“I’m older, not more mature,” he clarifies), he is savoring the fruits of a philosophy that guided him throughout a rich career spent supporting a galaxy of headliners. An archetypal behind-the-scenes accompanist and arranger best known through his association with Roberta Flack, he was a cornerstone of Roy Ayers’s landmark ensemble Ubiquity. When looking beyond the marquee and delving into key players in R&B, jazz, and that area where they intersect, his name quickly becomes, well, ubiquitous. A piano player who was in the thick of the New York City independent jazz milieu of the ’70s, yet concurrently contributed to countless commercial and “pop” sessions, his arrangements are instantly recognizable (“We Live in Brooklyn,” “Feel Like Makin’ Love”) but his name remains obscure to most. With the rerelease of his only album as a leader, a soul-jazz gem of heart-palpitating rarity, this may soon change. I spoke to Whitaker at a recent gig and found his tastefulness and gift for hip understatement in clear evidence in both his piano playing and personality. Born in Pensacola, Florida, in 1942, Whitaker was raised in the musically fertile soil of Detroit. His first professional gig was with rhythm-and-blues sensation Lloyd “Mr. Personality” Price. “It was a great band, very hip,” Whitaker recalls, listing members Slide Hampton, Kenny Dorham, Calvin Newborn, and Pat Martino. After graduating from high school he moved to New York City, where he paid his dues working the “chitlin circuit” with a Fort Greene, Brooklyn-based band called the Eddy Jacobs Exchange. Typically, the band played an assortment of Top 40 tunes, and Whitaker cites this experience as his training in writing and arranging. “None of the guys could read [music], so every week I would take whatever song was hot at the time—Joe Tex or Otis Redding, say—and arrange it.” The band, which also included future heavyweight Leon Pendarvis on bass, released a couple 7-inches on Columbia Records with the support of Al Kooper, whom they had opened for. Now one of the most sought-after major label funk 45s, the first single features Whitaker’s composition “Pull My Coat,” a wicked slice of JB’s-inspired hard funk. “In 1969 or so we were playing at Wilt Chamberlain’s club in Harlem,” Whitaker recalls. “[Drummer] Al Mouzon came in and asked me if I could make a rehearsal with Roy Ayers,” who had recently arrived from California. The band turned out to be the fledgling Ubiquity, and with Whitaker’s presence the group gelled solidly. The first LP Ayers’s new lineup recorded was 1970’s He’s Coming, a bellwether of the era’s impending melding of jazz, soul, and funk. Set Cover Independent Music Box Sets Classical Music Intelligent Dance Music Sound Art Future. Today Records: funk/soul/jazz/latin from. Sarmanto: bass. Artist: Adham Zahran, Relic & Rarity Title: Soul. OurMindCrew, Afro Brotherz – Slimazo Bass. E-Man – It’s Jazz [United Music Records] 230 views. “‘We Live in Brooklyn’ was my song,” Whitaker notes. “I was living in Brooklyn at the time, so I came up with this little thing, very simple really, and Roy wanted to record it.” With a bemused grin, he adds, “A lot of people remember that one.” Unfortunately but not unexpectedly, some of those who remembered the song forgot to credit its creator, and it is here that we come to the familiar refrain of uncleared samples, record company subterfuge, and so on. Sampled prominently in Mos Def’s 1999 Rawkus LP Black on Both Sides, the label did not clear the usage. “With Warner Brothers [taking over Rawkus] I am just now getting something from it. I got a lot of catching up to do!” Whitaker is far from a bitter old-timer however, more a playful spirit delighted at seeing how the ripples of his music have spread. “Roy and I did the score for the Coffy movie with Pam Grier. It was 1972, the company was trying to get the group War to do it but they wanted more money so we got the job. In 1997 Quentin Tarantino ended up using one of our arrangements [from Coffy] in Jackie Brown. I knew nothing about it until I went to the movies, heard it, and was like, ‘Whoa! That’s my song!’” He has since retained the services of a lawyer he describes as “a pirahna.” Whitaker has a connection to yet another rare-groove treasure. Though later in his career he would become well known as an arranger, his first official gig in that capacity was a 1970 session for his friend Gene McDaniels. Entitled Headless Heroes of the Apocalypse, the much-sampled and sought-after result gained some of its distinctive sound from a clever arrangement Whitaker worked out: “They didn’t have enough money for horns so I used two bass players to do the lines.” The interplay of Miroslav Vitous (acoustic bass) and Gary King (electric bass) on the cut “Headless Heroes” showcases the unexpectedly powerful result. “Jagger the Dagger”’s eerie and immediately distinctive groove, conspicuously sampled by A Tribe Called Quest and the Gravediggaz, is largely derived from Whitaker’s arrangement of electric piano and bass. Also present at the session was a close friend of McDaniels, a young singer by the name of Roberta Flack. Taken by Whitaker’s skills, she asked him to join her group. “I had just gotten with Roy so I told her that I wasn’t interested at that time,” Whitaker recalls. Four years later, the time was right. Beginning with the blockbuster Feel Like Makin’ Love in 1975, (the title track written by Gene McDaniels and reprised on Ubiquity’s Change Up the Groove LP) Whitaker worked with Flack through 1981 as musical director, playing on hits like “The Closer I Get to You,” “And the Feeling’s Good,” and “Back Together Again.” Though the money and exposure was great, Whitaker wasn’t wholly satisfied, and felt he was losing depth and subtlety in his playing. “I was starting to sound like a jingle. I had to make a decision whether I wanted the money or my creativity. Working with Roberta was taking up all of my time. So I chose to be creative and be poor for a while.” In spite of his commitments to Flack, Whitaker had always kept bands together, gigging in New York City when he was not on tour. After several years with Flack’s band, “I was making good bread so I booked some time and went in and did my own project,” he remembers. Black Renaissance was recorded on Dr. Martin Luther King Jr.’s birthday, January 15th, 1976, at Sound Ideas Studio on West 46th Street in New York City. The same locale had already given birth to Weldon Irvine’s first solo recordings, Stanley Cowell’s Illusion Suite, and Shamek Farrah’s First Impressions. Whitaker’s project was to live up to these high standards, both in musical terms and ultimately as an elusive rare groove treasure. “It was never put out over here. I tried to get a deal with it but couldn’t,” Whitaker remembers. “It’s really not a commercial record.” He spoke to a representative of a Japanese label, Baystate. “I didn’t trust them, so I gave them a tape, not the masters.” Baystate ended up issuing the album in 1977, neglecting to notify (or pay) Whitaker, and misprinting the auspicious recording date as June 15th. “It was a handshake agreement with somebody who did not turn out to be trustworthy,” he summarizes. Fortunately for those who have an interest in soul-jazz and haven’t been able to track down this extremely rare pressing, the serendipitously named U.S. Label Ubiquity has reissued it, though they did not have the luxury of working from the original tapes: “I had the masters with a friend and the building burnt down about eighteen years ago.” He shakes his head and shrugs. “What Baystate had was a rough mix; I never had the money to finish it and get it mixed properly—but it sounds pretty good!” The currently available pressing was mastered from the Baystate issue, and he’s right, it sounds great. Catchily described as a free-jazz What’s Going On, the album has some of the same Afrocentric, free-flowing soulfulness, encouraged by the large crowd of friends and family present at the session. Whereas Gaye’s album was carefully orchestrated however, both tunes that comprise Black Renaissance were unrehearsed. “It was spontaneous, moment to moment,” Whitaker states. “The piano vamp ties it together and Buster brings it in with the bass.” Without question, Buster Williams’s rich-toned acoustic figures are prominent, hooky and ripe for the creative samplist. As the pulse of the twenty-three-minute A-side ebbs and flows, the listener is treated to three long solo sections (Azar Lawrence, Woody Shaw, and David Schnitter), each anchored by Buster Williams’s slinky bass and Whitaker and Billy Hart’s solid accompaniment. Especially vivid is Shaw’s solo, which builds from sparse ragged statements to a blistering, almost distorted rampage, and the dubby echoed interplay of the multi-lingual poets and vocalists. “Two of my ex-wives are on there, saying poetry,” Whitaker proclaims straight-faced. Obviously the man must know something about harmony! The cool rhythmic bed remains solid throughout, and the song ends with a coda where everyone gets loose, aptly illustrating Whitaker’s description of the piece as “Dixieland, circa 1976.” The fifteen-minute B-side “Magic Ritual” has a loping, heavier percussive 6/8 feel to it, reminiscent of some Ghanian rhythms. Whitaker’s block chords again guide the assembled cast through the sinuous and trancelike progression. This time the horns trade thirty-two-bar solos before vocalists take turns riffing over a modal plateau. Samplists and DJs alike will certainly enjoy the mid-song breakdown introduced by the chant “Beat the drum for today and tomorrow Beat the drum for the start of the magic ritual.” The heavy percussion obeys the command, stomping and shaking with a fury before Buster Williams finally gets a chance to let loose over light clave and shaker accompaniment. “Everybody told me it’s ahead of its time,” Whitaker laughs. “With the poets on there, it’s really a rap record if you think about it!” Aficionados may get a chance to hear another intriguing session, heretofore unearthed, that Whitaker put together in 1981. Featuring Gary Bartz and Terumasa Hino, the sound is “much different than Black Renaissance.” Intriguingly, Sybil Thomas is the featured vocalist. The daughter of Stax legend Rufus, her much-loved releases on West End Records include the Garage anthem “Do It to the Music,” recorded under the Raw Silk moniker. “It’s heavy,” Whitaker promises. The consummate accompanist, Whitaker has never lacked for work. When asked for notable sessions he’s contributed to, the surprises keep coming. “Gary Bartz, Norman Connors, the Spinners, Stephanie Mills, Bobbi Humphrey, Gwen Guthrie,” He pauses. “Oh yeah, Madonna.” Madonna? “Yeah, I remember she was real shy, had black hair then. I played on a tune called ‘Starlight’ or something” A quick check of the album notes doesn’t turn up his name on “Lucky Star,” but credited or not, his generous contribution to the jazz and R&B canon is indisputable. Whitaker currently holds down a trio gig at a neighborhood tavern in Greenwich Village, polishing off standards and cheerfully accompanying vocalists, all the while throwing in witty musical allusions (such as the chords to Zawinul’s “In a Silent Way” rising over the clatter of pizza trays in one beautifully surreal instance). “I’m having fun, this is the best time of my life. I love music and I’m passionate about it. It took me a long time to realize this is what I want to do, I just need to keep working on it. Money is no problem, it’s about how do you want to make the money.” Whitaker laughs, warming to his subject. “I’m a runaway slave. I ain’t in the kitchen, I ain’t in the fields picking cotton, I ran away and they have to come and get me! I’m doing what I want to do.” Patience is indeed a virtue. 10 Responses • listened to this on youtube. Cant believe that this cat did not record extensively in the post bop genre. pat anderson • R.I.P. I was able to jam in the studio with him a few times. Me and his son Mark (R.I.P.) were friends. Me and Mark use to jam at his crib on Warren street in Brooklyn. Miss both you guys. Larry Smith • Rest in peace Harry. To set the record straight, I contacted him and indeed got the permission from him to use the song in Jackie Brown. I have a hand-written letter from him, in fact. His beef may have been with the music publishing company. He was a gifted artist and I’m glad to have been able to connect with him. – Mary Ramos, Music Supervisor “Jackie Brown” Mary Ramos. NOTE: Your browser is not recognized and the Dusty Groove website may not function properly. The following might help you find what you're looking for: • Enable cookies and Javascript on your device. • If you are using a mobile device, visit the site from a desktop machine. • If you are using an old version of your operating system or browser, upgrade to the current supported version. • You can try using the. You may try to continue using the Dusty Groove website, and if you have any trouble placing your order online we suggest you make a list of the items you wish to buy order by phone at Monday through Friday, 10am–4pm, Central Time. Review: Taken from their superb spring album Miami, 'Broken Pieces' features the vocal delights of Jamie Lidell. And if that's not enough to grab your lugholes, the layered percussion and techno brutality of the rhythm most certainly will be. Remix-wise Dolkraut space the groove out with a shuffle twist while Mouse On Mars trips the groove out with post-trap fracturism. 'Skiffle It Up' maintains the trip-factor with abstract time signatures and spooked out string cries and sirens. For a final remix hoot Max Graef adds a sense of electro boogie sexiness. Releases don't come much more far-reaching and progressive. Review: The Budabeats imprint is a welcomed addition to the funk and soul reissue game, and this third instalment from the label is exactly what we need to be hearing right now - something upbeat, tropical and rare in its original format. On Side A, you got 1971's 'O Telefone Tocou Novamente' by the Brazilian Singers, and it's a wavy, magical psych-funk bombshell in the same vein as Marcos Valle's best work. On the flip, there's a special surf-rock-inspired song by Peru's Los Belkings and, yes, it's from 1969 and still sounding like a total monster almost forty years later. Review: Mythstery Records is the new label from Mr Beatnick, one of London's finest selectors and producers, with the debut release coming from Breakplus, a Swiss artist he shares a long affiliation with. A decade ago Beatnick and Breakplus issued a joint 12' of dusty beat science under the Thieves of Time alias, and whilst the former may well be more well-known now, the latter is a superb producer on the basis of this Instant Bull 12'. Described as a 'hip hop tribute to Anatolian rock', the seven track 12' largely lives up to this billing with Breakplus laying down some serious mid-tempo MPC heat. Those seeking some dancefloor thrust will certainly be satisfied with B-side tracks 'Silver Bangle' and 'An Atol Alien'. A very promising start for Mythstery. Review: Mr Beatnick's Mythstery label returns with 002 after an excellent first outing from Breakplus, whose 12' was vey much to our desire when it dropped late last year. The two actually go head-to-head on this 12' and, much like the twisted disco of artists like Black Devil Disco Club, this is some straight-up sexy gear, disjointed and unadulterated for maximum pleasure. Breakplus' weirdo boogie on 'Le Train Inflamme' is our kinda joint, the sort of fuming, acid-laced glitz that'll appeal to the disco-heads and house-nerds alike; Mr Beatnick's 'Achilles Heel' is just as eerie and roughed-up, but the vibe on here is darker, moodier, and drenched in a deep electronic edge. Very highly recommended. Review: Fifth in the series of previously unreleased James Brown recordings. Side 1 is a previously unreleased long version of 'Can I Get Some Help', which adds an extra 3 minutes of this dancefloor and much sampled classic. Hip hop jams to use this break include Tim Dog on 'F--k Compton', Schooly D on 'Peace To The Nation', Ice T on 'Freedom Of Speech' and Kool G Rap + DJ Polo on 'Play It Cool'. Side 2 is a funk classic recorded in 1967 and previously only issued in much shorter form, in which JB for the first time gives each band member some due and Brown's sign off at the end wasn't just an ad libbed cue for the engineer. He really had to 'Open the door and leave': immediately ahead lay advance promotion for the next nights gig! Faithfully reproduced as it would have looked if it was released in the 60's! Review: Get on Down conclude the series of deluxe 7' reissues from the vaults of Mr James Brown on their People Records sub label with a real gem from the Godfather Of Soul himself! A highlight of the Hot Pants LP, 'Escapism' also holds historical importance as the record that launched Brown's People Records label in 1971 (from which Get on Down took the name for their own sublabel). The three part track will be instantly familiar with any JB scholars out there with the excitable funk frontman doing his trademark grunts and call and response patter over a parping sax and taut breakbeat. Review: Soul collectors have long considered Melvin Brown and James Matthews' 'Love Stormy Weather' to be a slept-on classic. Initially released (and largely ignored) in 1976, it sits somewhere between the acoustic soul of Terry Callier, the dewy-eyed goodness of Rotary Connection, and the sumptuous jazz-funk that was all the rage in the late 1970s. Don't take our word for it, though: check out the sound clips for yourself. On the flipside you'll find a previously unheard gem from the duo: the impassioned, tear-jerking torch song 'Crying For Your Love'. Naturally it's a little fuzzy round the edges (the masters were probably sat in someone's loft for 30-odd years), but still sounds powerful and emotional. Review: Revivalist Latin funk-rock combo Brownout has an impressive track record. Previously, they've delivered killer albums and singles on Freestyle, Ubiquity and Kept Records, amongst others. This, though, is their first outing on Fat Beats. A-side 'Evolver' is in some ways typical of their output. While fuelled by a saucy Latin-funk groove, the song also includes subtle nods towards psychedelic-era dream pop and Sly Stone style funk-rock. It's a rather tasty combination. B-side 'Things You Say' is a slightly more straightforward affair, with the long-serving band peppering a heavy funk groove with riotous horn solos and righteous vocals. Review: Sidiku is an impressive gentleman. A Ghanaian athlete turned musician with over 16 albums to his name he shook his country's music industry up as the chairman of the Ghanaian Copyright Society and now president of the Musicians Union of Ghana and the vice president of International Federation Of Musicians. He can also lay down a mean hook; 'Anokwar (Truth)' is a firing slice of late 70s synth-infused afrofunk while 'Music' comes a little later in the 80s with its rapid synth boogie groove and big Fanti chants. Review: A serious self-press rarity from the heart of Clarksville, Suggs never achieved the recognition he deserved during his tenure as a band leading soul man. Still in Clarksville and now a missionary, the sentiments of this recording history peak resonate with what he does now: 'Everything That Looks Good' is a JB style message on the lure of temptation while 'You Don't Deserve', an instrumental that sees Bubba switching his vocals for equally commanding sax, is a moment for poignant, soul-searching reflection. Lord have mercy. Review: The Bugalu Foundation collective are not to be messed with when it comes to funky Afro-Latin soul-funk. Taking inspiration from many different genres between South America and Africa, this is some truly dope material, and a little bit of a breath of fresh air. 'Rocksteady Bugalu' is the ultimate hybrid, a tune that starts off with a Cuban swing jazz but that quickly develops a noticeable dubwise twist which takes us back to Jamaica. 'La Cadrena' is a more traditional Cuban-style ballad, complete with blasting trumpets, those utterly additive piano keys and vocals that just call for you to hop on a plane and cross that pond over to the Caribbean. Review: It would be fair to say that the Afro Synth label has dug deep for this latest reissue. Little is known about Burnin Beat, an obscure South African disco outfit who released their sole 12', It's Hot, on RPM way back in 1979. They're a great example of an outfit that, for whatever reason, fell through the cracks. The title track, a lolloping, 11-minute disco workout rich in fluid synth lines, rubbery slap bass, sparring instrument solos and the powerful vocals of Olive Masigna, is something of a long-lost gem. Original flipside 'Searchin' is almost as good, with Masigna adding a touching vocal to a backing track that pushes the band's favourite Moog synthesizer to the fore. Review: Byron The Aquarius resurfaced earlier this year after a nine-year absence, delivering the future jazz/deep house fusion of High Life on Sound Signature. This speedy follow-up on Kyle Hall's Wild Oats label is, if anything, even better. Warm, rich, soulful and evocative, it includes six superb cuts. These variously touch on off-kilter modern soul ('Co$mic $hit'), Herbie Hancock-influenced deep house (the jazz-funk synths, woozy chords and smooth beats of 'Moments In Life'), intergalactic hip-hop beats (the impeccable 'Space N Time'), blissfully Balearic house (the hazy positivity of 'The Sun'), and jazz-influenced house rollers ('Better Tomorrow'). Review: The seventh release for Parisian label Sampling As An Art comes courtesy of Atlanta's Byron The Aquarius with the Euphoria EP. If you checked Byron's prior 2016 releases for Sound Signature and Wild Oats, you'll know to expect a diverse range of styles all produced with consummate expertise and that's exactly what we have on the Euphoria EP. There's some dusty hip hop joints like on 'Intro', Coming To Detroit' and 'The Essence' but there's also some real proper deep house. Like when we get treated with the wonderful 'The Love Below' which is reminiscent of Fresh 'N Low and the rather KDJ sounding collaboration with S3A 'Nights In Tokyo'. Review: Since going solo last year, former Onra collaborator Byron Blaylock has yet to put a foot wrong. Each successive 12' has brought with it a swathe of killer new jams straddling the blurred lines between soul, jazz, hip-hop, deep house and jazz-funk. There's more of the same on Leaving This Planet, the Alabama-raised producer's first EP for the mighty Eglo. So while opener 'Song for a Friend' is a superior, jazz-flecked deep house bumper smothered in killer electric piano solos, the track that follows, 'Mind, Body & Soul' is a squelchy tech-jazz masterpiece. It's the same story on the flip, as floor-friendly jazz-breaks ('Blow Your Mind') make way for a heady trip into intergalactic jazz-funk territory ('SSDP'). As the worn-out old saying goes, this is 'all killer, no filler'. |
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