The purpose of this dataset is to use as input to hydrological and flow-reactive transport models as meteorological forcing. These datasets are useful as model inputs. Scott retired, but relented two years later for a truly glorious finale with pal Joel McCrea in Sam Peckinpah’s wonderful Ride The High Country.This dataset is a gap-filled meteorological dataset (years 2011-2020) that includes modeled potential evapotranspiration from a station near the pumphouse on the East River (KCOMTCRE2 WeatherUnderground ) near the top of the ridge at the Pumphouse PLM wells. Boetticher directed a few more TV episodes before heading to Mexico for a decade-long dream-nightmare pursuit of a movie about legendary bullfighter Carlos Arruza. This one came in at spot #89, grossing $2,500,000. Yes, it’s still fun for genre fans, but any relation to the real West is purely accidental. posse? Why is it that there’s no backlash over having the Comanches (granted not the friendliest neighbors in history) being portrayed with Mohawk hairstyles (only a few thousand miles and a century off) and somehow wandering from their Texas romping ground to New Mexico (with that state looking like, well, California)? Should not the writer & director be taken to the cultural woodshed? The movie, from the standpoint of reality-the interactions, the standard ride-in-a-circle-and-get-mowed-down fight with the Comanches, the whole thing, really, is a joke. Most of this group are enjoyable- Seven Men From Now, The Tall T and Ride Lonesome are all choice items-but it is amusing that the fawning, which is now practically a given if you read many reviews (the films were not wildly praised at the time), will give a pass to having Nancy Gates get conveniently dunked in a horse trough so that her sopping duds cling to her form for no other reason than injecting sex tease. That’ll be enough for devoted fans of the pocket-sized adventures-this one flits by in 74 minutes-but along with smiling at some of the dialogue exchanges I also have to chuckle over the lengths people will go to praise certain directors for doing things they would sneer at if done-exactly the same way-by others they haven’t chosen to idealize. The formula was played out by now-it feels so similar to Ride Lonesome they’re almost interchangeable. It’s essentially the same setup as others in the Randy-Budd series, and once again the screenplay comes from Burt Kennedy. There are some pretty good horse-falls, and for the era, a couple of fairly grisly deaths. Some great framing of the familiar Sierra Nevada locations (the Alabama Hills to the east of Lone Pine, California, about 250 miles north of Los Angeles), with nary a set-bound shot, and Mischa Bakaleinikoff provides a vigorous score. The trio (Akins, Richard Rust and Skip Homeier) help Cody with the Comanches, but make no secret that they’re after the loot. Meantime, loner ‘Jefferson Cody’ (Scott), for reasons of his own, has already bargained her away from the hostiles, who promptly give chase to the group. Her husband offers $5,000 for her return, which entices a trio of mercenary types to take the risk. Not go around killing them.”Ĭomanches have taken ‘Mrs. My folks brought me up to be kind to a woman. COMANCHE STATION -–last of the seven westerns director Budd Boetticher made with Randolph Scott, this 1960 outing is entertaining thanks to the scenic California desert locales showing up nicely in CinemaScope, and for having the great Claude Akins as the friendly nemesis for Scott’s single-minded man with a mission.
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He was artist-in-residence 1969-1970 at the University of Ottawa and also taught summer courses at the Vleeshuis museum in Antwerp from 1971 to 1982 and in Haarlem, Holland (from 1973). Each summer, he is a guest professor at the Accademia Chigiana in Siena, Italy. That year, he became professor of harpsichord at the Cons de Paris, the first Canadian to hold such a post. In 1988, he began to teach at the Mozarteum in Salzburg. He gave master-classes in several European cities in many universities in the USA including Berkeley, Michigan, Florida and Birmingham. Kennet Gilbert taught from 1957 to 1974 at the Conservatoire de musique du Québec from 1964 to 1972 at McGill University (Honoraru D MUS in 1981) from 1969 to 1976 at Laval University, and, as guest professor from 1971 to 1974 at the Royal Flemish Cons in Antwerp. A resident of France in the 1970's, he gave recitals there (and in Germany, England, and Switzerland) and a series of joint recitals with the violinist Robert Kohnen for Radio France. In 1967, with Robert Koff in Montreal, he played all the J.S. He was a soloist several times with the Chicago Symphony Chorus and performed with the Montreal Symphony Orchestra, Orchestre Symphonique de Québec, Toronto Symphony Orchestra, National Arts Centre Orchestra, and Vancouver Symphony Orchestra. has there been such a fruitful coincidence of the scholar's mind and the performer's fingers in this field'. He does so by harnessing the discipline of scholarship to his flair for performing the music. is to rescue the music from a small circle of connoisseurs and to make it. Stephen Plaistow in Gramophone (May 1973) said: 'Kenneth Gilbert's achievement. He became widely admired for his concerts, broadcasts, and recordings. In 1968, he gave his first recital in London and undertook an international career. Reflecting his editorial interests, Kenneth Gilbert's performance after 1965 was devoted almost completely to harpsichord playing. With Élizabeth Gallat-Morin, he produced a annotated edition of the Livre d'orgue de Montréal published in three volumes at the Éditions Jacques Ostiguy (1985, 1987, 1988). Couperin's complete works for L'Oiseau-Lyre (Monaco). In 1980, he began to prepare a re-issue of F. Bach's Goldberg Variations ( BWV 988) (Salabert 1979), Girolamo Frescobaldi's first and second books of toccatas (Zanibon 1979, 1980) and Rameau's complete harpsichord works (Heugel 1979). Moreover, he prepared new editions of J.S. Couperin (Broude 1973) and edited the complete harpsichord works of Jean-Henri d'Anglebert (Heugel 1975). Gilbert also prepared a fasimile edition of the complete harpsichord works of F. The research was subsidized in part by the Gulbenkian Foundation in Lisbon and the Canada Council. 11 volumes were published by Heugel (1971-1984). Following the international success of the Couperin edition, Gilbert began the monumental task of preparing a new edition (from existing editions) of the 555 sonatas of Domenico Scarlatti. This edition excited much admiration for its scholarly approach, posited on a scrupulous re-examination of the original engraved scores. Heugel agreed to publish Gilbert's four volumes of the edition as part of its early-music series, Le Pupitre (1969-1972). While in Paris (1965) on a Québec government grant, doing research on François Couperin in preparation for a CBC series (and subsequent RCI recording) of the composer's complete works for harpsichord, Kenneth Gilbert suggested that a new edition would be appropriate to honour the F. The society Ars Organi, in the formation of which Gilbert played a leading role, also influenced organ performance standards in eastern Canada. von Beckerath of Hamburg) and Gilbert's performances on it strongly influenced subsequent organ building practice in Canada. Back in Canada he designed and in 1959 supervised the installation at Queen Mary Road of the first major modern tracker organ in Canada. In 1955 he gave a recital of Canadian organ music for the RTF (Radio France). Though he was on leave in 1953-1955 for these studies, he remained officially the organist and music director from 1952 to 1967 at Queen Mary Road United Church (now Rosedale Queen Mary United Church) in Montreal. His harpsichord teacher in France was Italian-born Wanda Landowska protégé Ruggero Gerlin. Gilbert won the 1953 Prix d'Europe for organ and studied for two years in Europe with Nadia Boulanger (composition), Gaston Litaize and Maurice Duruflé (organ), and Sylvie Spicket (harpsichord). The Canadian harpsichordist, organist, musicologist, teacher, Kenneth, Gilbet, studied with Conrad Letendre (organ) and, at the Conservatoire de musique du Québec, with Yvonne Hubert (piano) and Gabriel Cusson (harmony and counterpoint). Today, the profession of photojournalism as we know it is threatened by technological transformation, by the rise of video, by fragmentation of the media. Photojournalism Technology and Ethics: What’s Right and Wrong Today Photographing people, places, or things that you love may be all you need to get you over this hump. Stop shooting ANYTHING that doesn’t excite you. While this may or may not be helpful, know that you aren’t alone in this problem. It happens to just about everyone at some point in time. The problem can be exacerbated if you put a lot of pressure on yourself to overcome the lack of motivation. What is it about this scene that makes you want to make a photograph? What moves you or attracts your eye? 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