LISTSERV mailing list manager LISTSERV 16.0

Help for ARSCLIST Archives


ARSCLIST Archives

ARSCLIST Archives


[email protected]


View:

Message:

[

First

|

Previous

|

Next

|

Last

]

By Topic:

[

First

|

Previous

|

Next

|

Last

]

By Author:

[

First

|

Previous

|

Next

|

Last

]

Font:

Proportional Font

LISTSERV Archives

LISTSERV Archives

ARSCLIST Home

ARSCLIST Home

ARSCLIST  August 2017

ARSCLIST August 2017

Subject:

Re: FW: [ARSCLIST] classical music LPs to CDs

From:

John Haley <[log in to unmask]>

Reply-To:

Association for Recorded Sound Discussion List <[log in to unmask]>

Date:

Sat, 12 Aug 2017 16:03:08 -0400

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (542 lines)

There are opera records released on London Records where they raised the
pitch a quarter tone to squeeze it all on two LPs.  That does awful things
to the voices and the musical impression, not to mention changing the tone
of various orchestral instruments.

Best,
John


On Sat, Aug 12, 2017 at 3:30 PM, Alan <[log in to unmask]> wrote:

> If you raise the pitch you raise the speed. This the piece is shorter and
> it is easier to cut onto an lp.
>
> Sent from my iPhone
>
> > On Aug 12, 2017, at 3:07 PM, Ron Roscoe <[log in to unmask]> wrote:
> >
> > How does E-flat minor help it to fit on one LP; or is it the "stereo"
> that does it?  [Original Key is D minor].
> > Ron Roscoe
> >
> > -----Original Message-----
> > From: Association for Recorded Sound Discussion List [mailto:
> [log in to unmask]] On Behalf Of Gary A. Galo
> > Sent: Saturday, August 12, 2017 1:39 PM
> > To: [log in to unmask]
> > Subject: Re: [ARSCLIST] FW: [ARSCLIST] classical music LPs to CDs
> >
> > Right - Bob Fine bought the Everest equipment, including the 35 MM mag
> film recorders, and the studio in Bayside, Queens, when Harry Belock closed
> the Everest operation in 1961. So, the Mercury 35 MM recordings were not
> only made on the same kind of equipment as the Everests, it was THE SAME
> EQUIPMENT. Tom can elaborate, as you note.
> >
> > After Everest was sold, it became the shlock reissue outfit that
> collectors came to loath throughout the remainder of the LP era. Records of
> the Belock-era material were cut from 1/4-inch copies of the original 35 MM
> and half-inch three-track masters, and they put out a large quantity of
> mono material that they got from various sources, served up with fake
> reverb and fake stereo. Perhaps their most (in)famous blunder was their
> release of Furtwangler's 1942 Beethoven 9th, which they undoubtedly got off
> a Soviet Melodiya LP, in "stereo" and in E-flat minor so it would fit on
> one LP.
> >
> > Everest had three years as an audiophile record label - after 1961 it
> was all downhill. During the early days of the CD some of the original
> Everest material was reissued on Bescol and Priceless, from the 1/4-inch
> copy tapes. They were horrendous.
> >
> > Best,
> > Gary
> >
> > ____________________________
> >
> > Gary Galo
> > Audio Engineer Emeritus
> > The Crane School of Music
> > SUNY at Potsdam, NY 13676
> >
> > "Great art presupposes the alert mind of the educated listener."
> > Arnold Schoenberg
> >
> > "A true artist doesn't want to be admired, he wants to be believed."
> > Igor Markevitch
> >
> >
> > -----Original Message-----
> > From: Association for Recorded Sound Discussion List [mailto:
> [log in to unmask]] On Behalf Of John Haley
> > Sent: Saturday, August 12, 2017 1:14 PM
> > To: [log in to unmask]
> > Subject: Re: [ARSCLIST] FW: [ARSCLIST] classical music LPs to CDs
> >
> > The guy I corresponded with who was releasing Everest recordings in
> hi-def was at Countdown, as outlined by Gary, which I think had been
> acquired by Sony, but Sony definitely owned it.  The guy told me so.
> Madacy, which I would have noticed, had nothing to do with this and was not
> involved, Steve.  That had to have been some kind of other deal.
> >
> > Thanks for all that good explanation, Gary, which is very enlightening.
> >
> > We have to keep in mind that Everest's classical recordings were a
> short-lived venture, lasting only a couple of years before it was all
> sold.  Tom Fine's dad, Robert Fine, acquired Everest's recording equipment,
> some or all of which he presumably used.  I'm sure Tom could elaborate.
> >
> > I contacted the Countdown fellow a couple of years ago to discuss a
> batch of original Everest master tapes that are in my possession (there is
> no doubt about what they are--and Countdown had them listed as "missing").
> > The artist kept the tapes and so probably owned them in the first place.
> > The recordings themselves do not really conform to how Everest did
> things, so I have to assume they were generated by the artist and then
> licensed to Everest for release.  There is no surviving paperwork
> explaining anything.
> > And I am aware that there are some other original Everest releases that
> appear to have been "acquired" as opposed to recorded by Everest's team.
> >
> > Best,
> > John
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >> On Sat, Aug 12, 2017 at 11:58 AM, Steve Smolian <[log in to unmask]>
> wrote:
> >>
> >> It was Madacy.  I worked on a project for them putting together the US
> >> releases of all the labels they controlled at the time so they could
> >> have original cover art.  I was told these Everest releases were in the
> works.
> >> The claimed to have the 35 mm masters.  Columbia, CBS or Sony
> >> werenever uttered in this regard.
> >>
> >> My check said Madacy.
> >>
> >> Steve Smolian
> >>
> >> -----Original Message-----
> >> From: Association for Recorded Sound Discussion List [mailto:
> >> [log in to unmask]] On Behalf Of Gary A. Galo
> >> Sent: Saturday, August 12, 2017 11:25 AM
> >> To: [log in to unmask]
> >> Subject: Re: [ARSCLIST] FW: [ARSCLIST] classical music LPs to CDs
> >>
> >> The company that did the most recent Everest reissues was Countdown
> Media.
> >> I had no idea that they were under the Sony umbrella.
> >>
> >> http://evereststereo.com/
> >>
> >> They’re still available as high-res downloads from HDTracks, as well
> >> as CD-Rs from Amazon. Bernie Grundman had done a bunch of the 35 MM
> >> material for Classic Records, released as high-res DVD-Audio discs. In
> >> those cases, Coundown used his transfers, applying some hiss reduction
> to his work.
> >> Grundman's originals sound better, and those 35 MM films don't need
> >> his reduction, IHMO (granted, someone 40 years younger than me might
> disagree!).
> >>
> >> For the material that Grundman had not already done, Countdown did
> >> fresh transfers, using an Albrecht MB 51 35 MM mag film player. The
> >> Albrecht machine is capstan rather than sprocket driven, which makes
> >> it ideal for playing films that have shrunk. There were some photos on
> >> the internet, which I can't seem to find, that showed a three--section
> >> roller over the play head - one section directly over each of the
> >> three tracks. For the 1/2-inch 3-track tapes, they used an Otari
> >> MX-5050. The results vary - some turned out pretty well, others not so
> >> well. The best of the Everest were really great recordings, but they
> lacked the consistency of the Mercuries.
> >>
> >> Classic Records bought into the traditional line of crap about Bert
> >> Whyte being the recording engineer on the Everests, as did Omega on
> >> their excellent CD series back in the 1990s. He was not. Most of the
> >> Everests were engineered by Aaron Nathanson or Joe Kane, and they are
> >> generally credited properly on the original LP jackets. Kane did a lot
> >> of the European recordings, and Nathanson did a lot of the US work.
> >> Countdown has given proper credit to the original engineers, though
> >> Whyte is often listen as "Producer". He was not the producer, either.
> >> He's listed on many of the original LPs as "Recording Director", which
> >> is more along the lines of an Executive Producer. He did make
> >> decisions on artists and repertoire, but he could not be a producer
> because he couldn't read a score.
> >>
> >> My original LP release of the Stokowski/Houston Parsifal excerpts -
> >> SDBR-3031, reads as follows:
> >>
> >> Recording Director: Bert Whyte
> >> Technical Director: Robert J. Engler
> >> Musical Director: Raoul Poliakin
> >> Recording Engineer: Aaron Nathanson
> >>
> >> This is typical of how Everest credited the people involved on their
> >> original jackets. We can assume that Poliakin's function was that of
> >> "producer."  He did some conducting of lighter fare for Everest, as
> well.
> >>
> >> The Countdown series stopped after two batches of releases, probably
> >> because sales were lower than expected.
> >>
> >> Best,
> >> Gary
> >>
> >>
> >> -----Original Message-----
> >> From: Association for Recorded Sound Discussion List [mailto:
> >> [log in to unmask]] On Behalf Of John Haley
> >> Sent: Saturday, August 12, 2017 10:41 AM
> >> To: [log in to unmask]
> >> Subject: Re: [ARSCLIST] FW: [ARSCLIST] classical music LPs to CDs
> >>
> >> Alan is correct about E-One being the same as the former Koch.  E-One
> >> was also a distributor for CD's but I believe has gone out of that
> >> business about a year ago.
> >>
> >> The guy who was reissuing the Everest catalog, whose name I can't
> >> think of right now,  was on the ARSC List and I corresponded with him
> >> some several years ago.  His outfit was in Canada as I recall, and it
> >> was owned by Sony.  We can all guess what happened to that enterprise.
> >> He seems to have fallen silent.
> >>
> >> Best,
> >> John Haley
> >>
> >>
> >>
> >>
> >>
> >>
> >>
> >>> On Sat, Aug 12, 2017 at 8:54 AM, Alan Lesitsky <[log in to unmask]>
> wrote:
> >>>
> >>> To add to Dennis' astute comments:
> >>>
> >>> 1. After the death of Seymour Solomon, the Vanguard tapes were sold
> >>> to Artemis Classics, which continued to issue CDs (and even a few
> >>> SACDs) for a few years until they went out of business.
> >>>
> >>> 2. The catalog floundered for a few years; I'm not sure who owned
> >>> them, but they they went to E-one entertainment (I believe a
> >>> rebranding of Koch International). They have been issued as
> >>> on-demand CDRs from both Arkiv Music and Amazon , as well as on
> >>> amazon as "Big-Box" downloads, where you could get several hours of
> >>> music for 99
> >> cents.
> >>>
> >>> 3. While the Big Box downloads remain, it appears that E-one has
> >>> dropped any interest and promotion in their classical catalog, so it
> >>> is again in limbo.
> >>>
> >>> As for Everest, when Vanguard issued them, it was under some sort of
> >>> license (Bernard Solomon had no connection to Seymour and Maynard
> >>> Solomon). Some owns the Everest tapes and has worked on issuing them
> >>> as hi-res downloads, but I am not sure who it is.
> >>>
> >>> Anyone who can provide more detail (or corrections) is more than
> welcome.
> >>>
> >>>
> >>>> From: Dennis Rooney <[log in to unmask]>
> >>>> Reply-To: Association for Recorded Sound Discussion List
> >>>> <[log in to unmask]>
> >>>> Date: Fri, 11 Aug 2017 17:14:55 -0400
> >>>> To: <[log in to unmask]>
> >>>> Subject: Re: [ARSCLIST] FW: [ARSCLIST] classical music LPs to CDs
> >>>>
> >>>> Reading through the thread, I should point out that Dr. Michael
> >>>> Naida, prior to launching MHS, was the co-founder, with James
> >>>> Grayson and Kurt List, of Westminster Recording Corp. Its
> >>>> distinguished catalogue included many licensed items, mainly from
> >> French labels Erato, Vega, and Selmer.
> >>>> Following the sale of Westminster to ABC, Naida founded MHS, whose
> >>>> catalogue was almost all licensed material. Lp mastering was
> >>>> generally of high quality as well as the pressed product. In the
> >>>> early 70s, MHS
> >>> licensed
> >>>> a large number of items from the British label Lyrita, a label
> >>>> previously available only as a direct import. But remember, all
> >>>> MHS licensed
> >>> releases
> >>>> derived from tape submitters.
> >>>>
> >>>> Seymour Solomon bought back all the Vanguard classical catalogue
> >>>> from
> >>> Welk
> >>>> and converted much of it to CD. The classical reissues of the Welk
> >>>> era
> >>> are
> >>>> considerably inferior to the subsequent Vanguard releases. I do
> >>>> not know what became of the Vanguard tapes after Seymour's death,
> >>>>
> >>>> DDR
> >>>>
> >>>>> On Thu, Aug 10, 2017 at 1:17 PM, David Lewis <[log in to unmask]>
> wrote:
> >>>>>
> >>>>> Well, Vanguard has changed hands as I thought it might:
> >>>>>
> >>>>> http://www.concordmusicgroup.com/news/concord-music-group-
> >>>>> acquires-famed-independent-labels-vanguard-sugar-hill-welk-music-
> >>>>> gr
> >>>>> oup/
> >>>>>
> >>>>> best,
> >>>>>
> >>>>> UD
> >>>>>
> >>>>> On Thu, Aug 10, 2017 at 1:06 PM, Steve Smolian
> >>>>> <[log in to unmask]>
> >>> wrote:
> >>>>>
> >>>>>> Two further search threads.
> >>>>>>
> >>>>>> Concert Hall was owned by fitst name? Josefowitz.  Their
> >>>>>> European
> >>> branch
> >>>>>> issued two Seefried LPs which I own- I'm a very big fan.  I
> >>>>>> believe the violinist Lila Josefowicz (various spellings) is
> related.
> >>>>>>
> >>>>>> Some years ago I was involved in a reissue project involving the
> >>>>>> Period label and similar- Stradavarius, Oxford, etc., though
> >>>>>> much of it never
> >>>>> came
> >>>>>> out.  This was through a connection to the late Bernie Solomon
> >>>>>> of excruciating Everest fame who claimed he had permission to
> >>>>>> issue this
> >>>>> stuff
> >>>>>> but on a non-exclusive basis and had the paper work to back up
> >>>>>> this
> >>>>> claim.
> >>>>>> In the course of this project, I had conversations with a
> >>> representative
> >>>>> of
> >>>>>> the Canadian company, Madacy (?) who claimed the Period and
> >>>>>> Remington
> >>>>> tapes
> >>>>>> were in their possession, as were masters of lots of the other
> >>>>>> early classical mono LP labels, including Everest.  They
> >>>>>> reissued a group of Everest items though some were for deluxe
> >>>>>> download only,
> >> as I recall.
> >>> At
> >>>>>> some point in the proceedings, contact between this company and
> >>>>>> myself ceased from their end-- no more phone calls or emails
> >>>>>> from them and no response to any from my side.  It felt as if
> >>>>>> lawyers had stepped in
> >>> but I
> >>>>>> couldn't confirm this.  The Florida company for which I had
> >>>>>> worked went
> >>>>> on
> >>>>>> to other things.
> >>>>>>
> >>>>>> Madacy is related to record company in Hamburg that recorded and
> >>>>>> owns
> >>> or
> >>>>>> owned the 101 strings (25-1/4 instruments?) catalog and thus
> >>>>>> presumably these masters.  I forget the German company name at
> >>>>>> the
> >> moment.
> >>> Anyway,
> >>>>>> this is a rabbit hole thatneeds exploring.
> >>>>>>
> >>>>>> Steve Smolian
> >>>>>>
> >>>>>> ----Original Message-----
> >>>>>> From: Association for Recorded Sound Discussion List [mailto:
> >>>>>> [log in to unmask]] On Behalf Of John Haley
> >>>>>> Sent: Thursday, August 10, 2017 10:51 AM
> >>>>>> To: [log in to unmask]
> >>>>>> Subject: Re: [ARSCLIST] FW: [ARSCLIST] classical music LPs to
> >>>>>> CDs
> >>>>>>
> >>>>>> Gary is right about MHS.  They licensed any number of
> >>>>>> distinguished European recordings, but I believe that they also
> >>>>>> made some of their
> >>> own
> >>>>>> recordings early on.  As I recall, the company was founded by a
> >>>>>> cellist named something like Naida, who appears as a player on
> >>>>>> some of the
> >>>>> earlier
> >>>>>> chamber music recordings.  I had a lot of MHS recordings in my
> >>>>>> youth
> >>>>> (still
> >>>>>> have them) and loved many of them.  It was an education in
> >>>>>> baroque
> >>> music,
> >>>>>> with the likes of Kurt Redel, Marie-Claire Alain, Jean Pierre
> >>>>>> Rampal,
> >>>>> Karl
> >>>>>> Ristenpart (fantastic conductor!), I solisti Veneti, and many
> >>>>>> more very great musicians.  I bought the MHS Goberman Vivaldi
> >>>>>> recordings, which I still have somewhere, but too many of them
> >>>>>> are clearly rough sight-reading.  The quality of the pressings
> >>>>>> was almost always
> >>>>> excellent. I
> >>>>>> know someone who is a friend of one of the descendants of the
> >>>>>> owner of
> >>>>> the
> >>>>>> label, and this thread reminds me to follow up about what
> >>>>>> happened to
> >>> the
> >>>>>> MHS master tapes.
> >>>>>>
> >>>>>> As for Remington and related labels, I have followed that trail
> >>>>>> some
> >>>>> years
> >>>>>> ago.  With a few exceptions, the masters are lost.  The owner of
> >>>>>> the
> >>>>> label
> >>>>>> died and his widow sold everything to a guy who was indicted and
> >>>>> convicted
> >>>>>> for fraud.  The Feds seized all the assets, including the
> >>>>>> Remington masters, and they were never seen again, undoubtedly
> >>>>>> destroyed (one
> >>>>> cannot
> >>>>>> find that out).  A few of them survived because they were loaned
> >>>>>> out
> >>> and
> >>>>>> not returned, and about a dozen of those were later reissued in
> >>>>>> fine pressings on Varese Sarabande. I don't know where those
> >>>>>> masters are now--the guy who did the reissues, with whom I
> >>>>>> spoke, won't say and
> >>> won't
> >>>>>> let anyone access them.  .
> >>>>>>
> >>>>>> Dave, don't you think that the Concert Hall label and assets
> >>>>>> were
> >>> simply
> >>>>>> bought by someone in the UK?  It would be wonderful to find out
> >>>>>> where
> >>>>> those
> >>>>>> master tapes went.
> >>>>>>
> >>>>>> Best,
> >>>>>> John Haley
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>> On Thu, Aug 10, 2017 at 9:46 AM, Gary A. Galo
> >>>>>> <[log in to unmask]>
> >>>>> wrote:
> >>>>>>
> >>>>>>> Everything MHS issued was legitimate and under license. They
> >>>>>>> never used pseudonyms.
> >>>>>>>
> >>>>>>> Gary
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>> -----Original Message-----
> >>>>>>> From: Association for Recorded Sound Discussion List [mailto:
> >>>>>>> [log in to unmask]] On Behalf Of Nick Morgan
> >>>>>>> Sent: Thursday, August 10, 2017 9:42 AM
> >>>>>>> To: [log in to unmask]
> >>>>>>> Subject: [ARSCLIST] FW: [ARSCLIST] classical music LPs to CDs
> >>>>>>>
> >>>>>>> Living in the UK, we don't see as many MHS LPs (or CDs) as you,
> >>>>>>> but I have seen many of the European discs they originated
> >>>>>>> from, and I've never seen any name changes beyond those deemed
> >>>>>>> necessary to make maybe unfamiliar European ensemble names more
> >>>>>>> transparent to US
> >>> buyers.
> >>>>>>>
> >>>>>>> I'm no expert on the history of MHS - I wish I was - but I
> >>>>>>> don't believe they would have needed to use pseudonyms, as they
> >>>>>>> didn't (to my knowledge) issue European radio tapes which might
> >>>>>>> have fallen off the back of a lorry, but licensed commercial
> >>>>>>> European originations on a totally legit (and always
> >>>>>>> acknowledged) basis. I'd welcome any correction.
> >>>>>>>
> >>>>>>> I believe MHS also originated material itself, or at least
> >>> co-produced.
> >>>>>>> One example is the Bach Cello Suites recorded by Nikolaus
> >>>>>>> Harnoncourt; another is his Marin Marais LP. Both were licensed
> >>>>>>> by Harmonia Mundi France, and are often assumed to be HM
> >>>>>>> originations - but I don't think that's right. Seems odd, I
> >>>>>>> know, that MHS should have a hand in these but in fact it had
> >>>>>>> issued some of his earlier recordings made in Europe by
> >>>>>>> Metronome and Amadeo. I'd love to know more but I fear that
> >>>>>>> MHS's paper archive, if there was one, may already have bitten
> >>>>>>> the
> >>>>> dust.
> >>>>>>>
> >>>>>>> In fact, I'd love it if ARSC could look into the feasibility of
> >>>>>>> a register of record company archives, not to mention master
> >>>>>>> tapes
> >>>>>>> - which would also include a register of known losses and
> >> destructions.
> >>>>>>> But I realise that's a very big, erm... ask.
> >>>>>>>
> >>>>>>> Nick
> >>>>>>> -----Original Message-----
> >>>>>>> From: Association for Recorded Sound Discussion List [mailto:
> >>>>>>> [log in to unmask]] On Behalf Of Richard L. Hess
> >>>>>>> Sent: 10 August 2017 13:53
> >>>>>>> To: [log in to unmask]
> >>>>>>> Subject: Re: [ARSCLIST] classical music LPs to CDs
> >>>>>>>
> >>>>>>>> On 2017-08-10 12:55 AM, Paul Stamler wrote:
> >>>>>>>>
> >>>>>>>> Tracing what became of the 1950s labels (and their master
> >>>>>>>> tapes) might make a nice article for the ARSC Journal.
> >>>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>> And that brings to my mind, what happened to Musical Heritage
> >> Society?
> >>>>>>> I lost track of them when I left NYC in 1981 (if not before),
> >>>>>>> but I understand that they moved from their over-stuffed
> >>>>>>> Broadway office to some place in New Jersey. I have a bunch of
> their LPs.
> >>>>>>> They offered an interesting way to explore music at reduced cost.
> >>>>>>> Of course you always had to send that blasted coupon back every
> >>>>>>> month or you got something you didn't want!
> >>>>>>>
> >>>>>>> My understanding was that many of their recordings were
> >>>>>>> repurposed European recordings. Were they guilty of changing
> >>>>>>> the names of the players/ensembles like some others?
> >>>>>>>
> >>>>>>> Cheers,
> >>>>>>>
> >>>>>>> Richard
> >>>>>>> --
> >>>>>>> Richard L. Hess                   email: [log in to unmask]
> >>>>>>> Aurora, Ontario, Canada                             647 479 2800
> >>>>>>> http://www.richardhess.com/tape/contact.htm
> >>>>>>> Quality tape transfers -- even from hard-to-play tapes.
> >>>>>>>
> >>>>>>
> >>>>>
> >>>>
> >>>>
> >>>>
> >>>> --
> >>>> 1006 Langer Way
> >>>> Delray Beach, FL 33483
> >>>> 561.265.2976
> >>>
> >>
>

Top of Message | Previous Page | Permalink

Advanced Options


Options

Log In

Log In

Get Password

Get Password


Search Archives

Search Archives


Subscribe or Unsubscribe

Subscribe or Unsubscribe


Archives

March 2024
February 2024
January 2024
December 2023
November 2023
October 2023
September 2023
August 2023
July 2023
June 2023
May 2023
April 2023
March 2023
February 2023
January 2023
December 2022
November 2022
October 2022
September 2022
August 2022
July 2022
June 2022
May 2022
April 2022
March 2022
February 2022
January 2022
December 2021
November 2021
October 2021
September 2021
August 2021
July 2021
June 2021
May 2021
April 2021
March 2021
February 2021
January 2021
December 2020
November 2020
October 2020
September 2020
August 2020
July 2020
June 2020
May 2020
April 2020
March 2020
February 2020
January 2020
December 2019
November 2019
October 2019
September 2019
August 2019
July 2019
June 2019
May 2019
April 2019
March 2019
February 2019
January 2019
December 2018
November 2018
October 2018
September 2018
August 2018
July 2018
June 2018
May 2018
April 2018
March 2018
February 2018
January 2018
December 2017
November 2017
October 2017
September 2017
August 2017
July 2017
June 2017
May 2017
April 2017
March 2017
February 2017
January 2017
December 2016
November 2016
October 2016
September 2016
August 2016
July 2016
June 2016
May 2016
April 2016
March 2016
February 2016
January 2016
December 2015
November 2015
October 2015
September 2015
August 2015
July 2015
June 2015
May 2015
April 2015
March 2015
February 2015
January 2015
December 2014
November 2014
October 2014
September 2014
August 2014
July 2014
June 2014
May 2014
April 2014
March 2014
February 2014
January 2014
December 2013
November 2013
October 2013
September 2013
August 2013
July 2013
June 2013
May 2013
April 2013
March 2013
February 2013
January 2013
December 2012
November 2012
October 2012
September 2012
August 2012
July 2012
June 2012
May 2012
April 2012
March 2012
February 2012
January 2012
December 2011
November 2011
October 2011
September 2011
August 2011
July 2011
June 2011
May 2011
April 2011
March 2011
February 2011
January 2011
December 2010
November 2010
October 2010
September 2010
August 2010
July 2010
June 2010
May 2010
April 2010
March 2010
February 2010
January 2010
December 2009
November 2009
October 2009
September 2009
August 2009
July 2009
June 2009
May 2009
April 2009
March 2009
February 2009
January 2009
December 2008
November 2008
October 2008
September 2008
August 2008
July 2008
June 2008
May 2008
April 2008
March 2008
February 2008
January 2008
December 2007
November 2007
October 2007
September 2007
August 2007
July 2007
June 2007
May 2007
April 2007
March 2007
February 2007
January 2007
December 2006
November 2006
October 2006
September 2006
August 2006
July 2006
June 2006
May 2006
April 2006
March 2006
February 2006
January 2006
December 2005
November 2005
October 2005
September 2005
August 2005
July 2005
June 2005
May 2005
April 2005
March 2005
February 2005
January 2005
December 2004
November 2004
October 2004
September 2004
August 2004
July 2004
June 2004
May 2004
April 2004
March 2004
February 2004
January 2004
December 2003
November 2003
October 2003
September 2003
August 2003
July 2003
June 2003
May 2003
April 2003
March 2003
February 2003
January 2003

ATOM RSS1 RSS2



LISTSERV.LOC.GOV

CataList Email List Search Powered by the LISTSERV Email List Manager