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User talk:GC

It seems you're a new user, so welcome to Wikipedia.

I'm sorry but please don't upload GIF, upload PNG. GIF format is patented in the USA. Ericd

It really isn't that big of a deal. There are patent concerns but their claim that they can charge anybody for using any gif image is dubious. It still would be nice to use png instead of gif if a png is available or you know how to convert the files. If you don't have access to such a version or don't know how to convert the file (I don't either - unless I make a screenshot first and then cut the image from that) then somebody else will come-by later and do the conversion for you. --mav -

Buon giorno, GC. I've updated Switzerland with the template and saw that you had uploaded a nice image of the Swiss cantons, Image:Schweiz.bmp (later converted to Image:Schweiz.png). I have removed the link to it however, since I'm not certain whether we are allowed to use it. It displays an URL at the bottom and the site it mentions does carry a copyright symbol. Are you certain we can use it? Grazie. -Scipius 17:56 Feb 9, 2003 (UTC)

Please consider joining the Wikidocs WikiProject Clinical medicine Kd4ttc 03:28, 22 May 2004 (UTC)

Unverified images
Hi! Thanks for uploading the following image:

 * Image:It-genoa.gif

I notice it currently doesn't have an image copyright tag. Could you add one to let us know its copyright status? (You can use if you release it under the GNU Free Documentation License,  if you claim fair use, etc.) If you don't know what any of this means, just let me know where you got the imagesand I'll tag them for you. Thanks so much. [[User:Poccil|Peter O. (Talk, automation script)]] 01:09, Dec 10, 2004 (UTC)

P.S. You can help tag other images at User:Yann/Untagged_Images. Thanks again.

Unverified images
Hi! Thanks for uploading the following image:

 * Image:Genoa.jpg

I notice it currently doesn't have an image copyright tag. Could you add one to let us know its copyright status? (You can use if you release it under the GNU Free Documentation License,  if you wish to release your own work to the public domain,  if you claim fair use, etc.) If you don't know what any of this means, just let me know at my talk page where you got the images and I'll tag them for you. Thanks so much. [[User:Poccil|Peter O. (Talk, automation script)]] 22:17, Dec 20, 2004 (UTC)

P.S. You can help tag other images at User:Yann/Untagged_Images. Thanks again.

Alto adige
See the discussion for the image tyrol.gif!

c.u. in the net

Martin S., Bolzano

Unverified images
Hi! Thanks for uploading the following image:

 * Image:Lang.gif

I notice it currently doesn't have an image copyright tag. Could you add one to let us know its copyright status? (You can use if you release it under the GNU Free Documentation License,  if you wish to release your own work to the public domain,  if you claim fair use, etc.) If you don't know what any of this means, just let me know at my talk page where you got the images and I'll tag them for you. Thanks so much. Peter O. (Talk, automation script) 06:29, Dec 25, 2004 (UTC)

P.S. You can help tag other images at User:Yann/Untagged_Images. Thanks again.

Lond-flag.gif listed for deletion
An image or media file that you uploaded or altered, Lond-flag.gif, has been listed at Wikipedia:Images and media for deletion. Please look there to see why this is (you may have to search for the title of the image to find its entry), if you are interested in its not being deleted. Thank you. —MetsBot 18:43, 9 December 2006 (UTC) Zscout370 (Sound Off) 30 June 2005 04:33 (UTC)

Ny-flag.gif listed for deletion
An image or media file that you uploaded or altered, Ny-flag.gif, has been listed at Wikipedia:Images and media for deletion. Please look there to see why this is (you may have to search for the title of the image to find its entry), if you are interested in its not being deleted. Thank you. —MetsBot 18:43, 9 December 2006 (UTC) Zscout370 (Sound Off) 30 June 2005 04:41 (UTC)

Category
Placed category physician on your userpage. --Nomen Nescio 10:22, August 27, 2005 (UTC)

Ticino flag
Hi, I've listed the Ticino flag image Image:Ch-ti.gif, uploaded by you, for deletion as it's no longer in use in any article. Hope this is OK. Mysid ( talk ) 12:03, 26 September 2005 (UTC)

Paid Editing Project
Hi: My name is Tess and I work for a global independent research firm in New York. I am interested in hiring you for a Wikipedia editing project, based on your technology and medical experience and expertise. I attempted to email you through your user page. If you received it, please read it over and contact me with any questions. If you did not receive this email, please let me know and I would be more than happy to tell you more about this project. (You can call 512-651-1797 or email tfurman@glgroup.com). Thank you and I hope to hear from you soon! Tess - Gerson Lehrman Group 19:19, 28 September 2005 (UTC)

Unspecified source for Image:Tyrol.gif
Thanks for uploading Image:Tyrol.gif. I notice the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this file yourself, then there needs to be a justification explaining why we have the right to use it on Wikipedia (see copyright tagging below). If you did not create the file yourself, then you need to specify where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

If the file also doesn't have a copyright tag, then one should be added. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media meets the criteria at Fair use, use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following this link. Unsourced and untagged images may be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. Ricky81682 (talk) 05:47, 30 July 2006 (UTC)

Unspecified source for Image:It-genoa.gif
Thanks for uploading Image:It-genoa.gif. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, then you will need to specify the owner of the copyright. If you obtained it from a website, then a link to the website from which it was taken, together with a restatement of that website's terms of use of its content, is usually sufficient information. However, if the copyright holder is different from the website's publisher, then their copyright should also be acknowledged.

As well as adding the source, please add a proper copyright licensing tag if the file doesn't have one already. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media meets the criteria at Fair use, use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following [ this link]. Unsourced and untagged images may be deleted one week after they have been tagged, as described on criteria for speedy deletion. If the image is copyrighted under a non-free license (per Fair use) then the image will be deleted 48 hours after 06:42, 29 January 2007 (UTC). If you have any questions please ask them at the Media copyright questions page. Thank you. Jesse Viviano 06:42, 29 January 2007 (UTC)

Wikiversity Journal of Medicine, an open access peer reviewed journal with no charges, invites you to participate
Hi

Did you know about Wikiversity Journal of Medicine? It is an open access, peer reviewed medical journal, with no publication charges. You can find more about it by reading the article on The Signpost featuring this journal.

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title: User talk:GC


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Productivism

Productivism or growthism is the belief that measurable productivity and growth are the purpose of human organization (e.g., work), and that "more production is necessarily good". Critiques of productivism center primarily on the limits to growth posed by a finite planet and extend into discussions of human procreation, the work ethic, and even alternative energy production.

Arguments for productivism
Although productivism is often meant pejoratively as a general problem in politics and economics, most countries and economies are productivist in nature. While critics of productivism and its political-economic variants, notably capitalism and socialism, challenge the notions of conventional political economy and argue for an economic policy more compatible with humanity, these views are often dismissed as utopian by economists and political scientists, who hold that there is no conflict between the roles of the worker and the citizen. That is, that conventional economics, particularly macroeconomics, already accounts for the relationship between productivity and the freedom to enjoy that productivity.

Criticism of productivism
Anthony Giddens defines productivism as "an ethos in which 'work', as paid employment, has been separated out in a clear-cut way from other domains of life", and further states that work "defines whether or not individuals feel worthwhile or socially valued". Although "productivism" may be considered to be derisive, as the idea is unacceptable to many of the individuals and ideologies that the term is intended to characterise, these same individuals and ideologies often use phrases like "productivity", "growth", "economic sense", and "common sense" (interchangeably) without argument, presupposing the primacy of industry.

According to those who use the term "productivism", the difference between themselves and the promoters of conventional neoclassical economics is that a productivist does not believe in the idea of "uneconomic growth". That is, the productivist believes all growth is good, while the critic of productivism believes it can be more like a disease, measurably growing but interfering with life processes, and that it is up to the electorate, worker, and purchaser to put values on their free time and decide whether to use their time for production or their money for consumption. A key academic critic of productivism is Amartya Sen, winner of the 1999 Nobel Prize in Economics. His theory of "development as freedom" is one of several human development theories that state that the growth of individual capital—that is, "talent", "creativity", and "personal ingenuity"—is more significant than the growth of many other measurable quantities, such as the production of products for commodity markets. In his essays from 1975, the British economist E. F. Schumacher remarked: "Infinite growth in consumption in a world of finite resources is an impossibility. ... When my child grows, I am pleased. When I grow, less so!"

In the 1990s, the American public was told that the United States would become a nation of educated managers and specialists, with industrial labor outsourced to less fortunate countries. Those countries refused to accept that role and Americans have been vying for the few elite roles that were available ever since. According to Samuel P. Huntington, Americans spend more time at work and have worse benefits when compared to similar rich countries. Sleep, repose, and slacking are often marginalized and the environment suffers as a result of a throw-away-society that is supposed to keep people working. Depression and anxiety rates are higher than they were in the 1980s, perhaps because people are working harder to find great jobs that just are not there. Even free time is supposed to be "about something", and compete with everyone else's on social media.

In the United States, people of lower classes are conditioned to believe in meritocracy, despite class mobility in the country being among the lowest in industrialized economies. In the United States, 50% of a father's income position is inherited by his son. In contrast, the amount in Norway or Canada is less than 20%. Moreover, in the U.S. 8% of children raised in the bottom 20% of the income distribution are able to climb to the top 20% as adults, while the figure in Denmark is nearly double at 15%. According to an academic study on why Americans overestimate class mobility, "research indicates that errors in social perception are driven by both informational factors—such as the lack of awareness of statistical information relevant to actual mobility trends—and motivational factors—the desire to believe that society is meritocratic." Americans are more inclined to believe in meritocracy out of the prospect that they will one day join the elite or upper class. Scholars have paralleled this belief to John Steinbeck's notable quote that "the poor see themselves not as an exploited proletariat but as temporarily embarrassed millionaires.” As academic Tad Delay states, "the fantasy of class mobility, of becoming bourgeois, is enough to defend the aristocracy."

People miss the part where it's a zero-sum game for good jobs, good friends, and good partners. For some reason, people's contentment hinges more on relative wealth than absolute wealth, sometimes referred to as the Easterlin paradox. Jobs were not created to be a way of life, they are just clumps of tasks that would not be performed for free because they are too difficult or too boring. Depression is a taboo because it denounces what society has to offer. Depression also suggests the idea that in a society of winners and losers, the losers often can't cope with it, and are simultaneously incapable of becoming winners. The poor are marginalized as are the unemployed for not being productive enough. It’s said that when chased by a bear, you don’t have to outrun the bear; you just have to outrun your friend. Critics have pointed out that “being productive” necessitates unhindered access to the means of production, which people don't have.

Public assistance
Social stigma is prevalent towards recipients of public assistance programs. This includes programs frequently utilized by families struggling with poverty such as Head Start and AFDC (Aid To Families With Dependent Children). The value of self-reliance is often at the center of feelings of shame and the fewer people value self reliance the less stigma affects them psychologically. Stigma towards welfare recipients has been proven to increase passivity and dependency in poor people and has further solidified their status and feelings of inferiority. Caseworkers frequently treat recipients of welfare disrespectfully and make assumptions about deviant behavior and reluctance to work. Many single mothers cited stigma as the primary reason they wanted to exit welfare as quickly as possible. They often feel the need to conceal food stamps to escape judgement associated with welfare programs. Stigma is a major factor contributing to the duration and breadth of poverty in developed societies which largely affects single mothers. Recipients of public assistance are viewed as objects of the community rather than members allowing for them to be perceived as enemies of the community which is how stigma enters collective thought. Amongst single mothers in poverty, lack of health care benefits is one of their greatest challenges in terms of exiting poverty. Traditional values of self reliance increase feelings of shame amongst welfare recipients making them more susceptible to being stigmatized.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Productivism


text:
The Partridge Family Album

The Partridge Family Album is the first of eight studio albums by The Partridge Family. The LP was released in October 1970, a month after the debut of the ABC-TV musical sitcom The Partridge Family starring Shirley Jones and featuring David Cassidy, both of whom feature on the album, as do studio backing vocalists and session musicians. The success of the album – which in early January 1971 reached no. 4 on Billboards Top LP's chart – was bolstered not only by the hit TV show but by the album's one single release, the massive hit "I Think I Love You", which for three weeks in November and December 1970 topped Billboards Hot 100 and which NARM declared best-selling single of 1970.

The album did not chart in the UK – the TV series did not debut in Great Britain until September 1971 – but reached no. 6 in Canada on the RPM 100 national album chart.

The album was produced by Wes Farrell and engineered by Bob Kovach, with arrangements by Mike Melvoin, Billy Strange, Wes Farrell and Don Peake. As with all of the Partridge Family's studio output, the album features musicians associated with iconic Los Angeles–based session players "the Wrecking Crew": Dennis Budimir, Louie Shelton, Tommy Tedesco, Joe Osborn, Max Bennett, Larry Knechtel, Mike Melvoin and Hal Blaine.

Members of overlapping studio groups the Ron Hicklin Singers and the Love Generation – brothers John and Tom Bahler (also spelled Bähler), Ron Hicklin and Jackie Ward – feature prominently as backing vocalists throughout the album, as they do on all successive Partridge Family albums. Also, their blended harmonies dominate the album's two tracks that do not include David Cassidy: "I'm on the Road" and "I Really Want to Know You", both written by Barry Mann and Cynthia Weil. And on "To Be Lovers" they perform the verse, with Cassidy singing only the bridge. Originally the Bahler brothers, Hicklin and Ward were solely responsible for the Partridge Family sound. But with the revelation that David Cassidy could sing professionally, Wes Farrell promoted Cassidy to lead singer.

The album features songs by Tony Romeo, Wes Farrell, songwriting partners Terry Cashman and Tommy West, and afore-mentioned songwriting duo Barry Mann and Cynthia Weil.

The album's cover was designed to look like an old-fashioned photo album. The album's back cover features a picture of the whole TV family alongside solo portraits of David Cassidy and Shirley Jones. Certain copies included a label promoting the LP's inclusion of "I Think I Love You"; this was embedded in the front cover artwork (and not on the protective plastic). The original release of the album included a framed color photograph of the group.

Track listing
All tracks from the album were featured in first-season episodes of the TV show. Curiously, the show's theme song is nowhere to be found on this album or any of the other original albums, only later surfacing on their Greatest Hits album.

Personnel

 * David Cassidy, Shirley Jones – vocals
 * Dennis Budimir, Louie Shelton, Tommy Tedesco – guitar
 * Joe Osborn, Max Bennett – bass
 * Larry Knechtel, Mike Melvoin – keyboards
 * Hal Blaine – drums
 * Ron Hicklin – vocal arrangements, vocals
 * John Bahler – vocals
 * Tom Bahler – vocals
 * Jackie Ward – vocals

Recording dates
May 11, 1970
 * "Somebody Wants To Love You"
 * "I Think I Love You"

May 16, 1970
 * "I Really Want to Know You"
 * "Only a Moment Ago"
 * "I'm on the Road" (See June 11, 1970)
 * "Singing My Song" (See June 11, 1970)

June 11, 1970
 * "I'm on the Road" (Re-Record, see May 16, 1970)
 * "Singing My Song" (Re-Record, see May 16, 1970)

August 4, 1970
 * "Point Me in the Direction of Albuquerque"
 * "I Can Feel Your Heartbeat"
 * "To Be Lovers"

August 5, 1970
 * "Brand New Me"
 * "Bandala"

See recording dates for this and other Partridge Family albums at The Partridge Family Recording Sessions

title: The Partridge Family Album


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Up to Date

Up to Date is the second studio album by The Partridge Family. Released in February 1971, just four months after the group's debut LP, the album entered Billboard's Top LP's chart in early April, having been certified gold on 25 March 1971. In its fourth week on the Top 200, the album improved on its predecessor (a no. 4 peak), reaching no. 3 (behind Janis Joplin's Pearl and Jesus Christ Superstar).

Up to Date yielded the two big pop hits "Doesn't Somebody Want to Be Wanted" (Billboard no. 6/Cash Box number one) and "I'll Meet You Halfway" (Billboard no. 9), which respectively reached the Top Ten of Billboard's Hot 100 in March and June.

In Canada, both "Doesn't Somebody Want to Be Wanted" and its parent album reached number one on the RPM charts.

As with all Partridge Family albums (with the exception of Bulletin Board), Up to Date was produced by Wes Farrell at United Western Recorders, Studio 2 in Los Angeles. And as with the group's first album, it was engineered by Bob Kovach, with arrangements by Mike Melvoin.

Consistent with all of the Partridge Family's studio output, the album features musicians associated with iconic Los Angeles–based session players "the Wrecking Crew": Hal Blaine (drums), Joe Osborn (bass guitar), Mike Melvoin (keyboard), Dennis Budimir (guitar) and Louie Shelton (guitar). And once again, members of overlapping studio groups the Ron Hicklin Singers and the Love Generation – brothers John and Tom Bahler, Ron Hicklin and Jackie Ward – feature prominently as backing vocalists throughout the album.

The album features three songs written by "I Think I Love You" songwriter Tony Romeo, who contributed material to all eight of the Partridge Family's studio albums. The LP also includes five songs co-written by Wes Farrell, including three with prolific lyricist Gerry Goffin (former songwriting partner of Carole King). And two of the songs – including the hit "Doesn't Somebody Want to Be Wanted" – were co-written by Wes Farrell, Mike Appel and Jim Cretecos, whose five Partridge Family songs as a songwriting trio include "I Can Feel Your Heartbeat". Between 1972 and 1975 Appel worked as manager and producer for Bruce Springsteen.

Up to Date features David Cassidy's first contribution as a songwriter. With Wes Farrell he co-wrote the song "Lay It on the Line". The recording introduced a distorted guitar sound to the group's repertoire.

Cassidy publicly despised one of the LP's hits, "Doesn't Somebody Want to Be Wanted", and making it proved to be a very hard task. He didn't think it was a good song at all and hated the idea of his having to talk in the middle of it so much so he refused to do it. This caused consternation with the studio and the record company, prompting the involvement of the heads of both Bell Records and Screen Gems, which at the time were the respective record and television divisions of the major Hollywood studio Columbia Pictures. Production shooting of the TV series was halted in order to provide a place in time where his manager and agent could talk to him over the issue. One of the things they were saying was about how many more copies of the record would be sold if it contained a speaking role from him. They put pressure on him until he caved in and did the record as requested. When it was finished, he was unsuccessful in trying to keep the record shelved in Bell's vaults. His feelings toward the song remained negative: It was horrible, I was embarrassed by it. I still can't listen to that record.

The album's distinctive cover (overseen by Bell Records art director Beverly Weinstein) was designed in the form of a calendar indicating the birth dates of the family (including dog Simone), which were the actual birth dates of the cast members. The album also included a book cover. This was the last album to feature Jeremy Gelbwaks as Chris Partridge on the cover, as he left the show soon after the album's release.

Track listing
All tracks from the album, except "Lay It on the Line" and "Morning Rider on the Road", were featured in the first season of the TV show.

Personnel

 * David Cassidy – vocals
 * Dennis Budimir, Louie Shelton – guitar
 * Joe Osborn – bass
 * Mike Melvoin – keyboards
 * Hal Blaine – drums
 * Bahler Brothers (tracks: A6 to B5), Jackie Ward, Ron Hicklin, Shirley Jones – background vocals
 * John Bahler (tracks: A1 to A5), Stan Farber (tracks: A1 to A5) – uncredited background vocals

Recording dates
May 16, 1970
 * "That'll Be the Day"
 * "She'd Rather Have the Rain"
 * "I'll Leave Myself a Little Time"

November 12, 1970
 * "I'll Meet You Halfway"
 * "You Are Always on My Mind"
 * "Doesn't Somebody Want to Be Wanted"
 * "I'm Here, You're Here"
 * "Umbrella Man"

November 13, 1970
 * "Lay It on the Line"
 * "Morning Rider on the Road"
 * "There's No Doubt in My Mind"

See recording dates for this and other Partridge Family albums at The Partridge Family Recording Sessions

title: Up to Date


text:
Sound Magazine

The Partridge Family Sound Magazine is the third studio album by TV-linked pop project The Partridge Family. Released in August 1971 before the start of the second season of the US TV series, it was their third hit album in ten months. In late September 1971, in its fifth week on Billboard's Top LP's chart, the album reached its no. 9 chart peak. In that same week the album's one hit single release, "I Woke Up In Love This Morning", peaked at no. 13 on Billboard's Hot 100. The LP was certified gold that same month. Sound Magazine is nearly universally regarded – by both fans and critics – as the Partridge Family's consummate pop album.

Sound Magazine was the only Partridge Family album to crack the UK Top 20. It peaked at no. 14 in April 1972, coinciding with the chart climb of David Cassidy's smash double A-sided UK solo debut hit "Could It Be Forever"/"Cherish" (UK no. 2). The album dropped out of the UK Top 40 in the same late May 1972 week in which both that single and its parent album Cherish peaked at no. 2 in their respective charts.

On Billboard's Top LP's chart, Sound Magazine overlapped with the 6 November 1971 – 22 January 1972 Hot 100 chart run of Cassidy's US debut solo hit "Cherish" (US no. 9). The album remained in the Top 30 throughout the single's chart run, then slipped following the single's disappearance from the Hot 100.

Like all of the Partridges' eight studio albums, the record was produced by Wes Farrell for Coral Rock Productions, and released on Bell Records. Farrell arranged the rhythm tracks, and Mike Melvoin arranged the strings and horns. The disc was engineered by Bob Kovach. As with all of the group's releases, the album features some of the era's most highly regarded studio musicians, better known as "the Wrecking Crew": Hal Blaine (drums), Mike Melvoin (piano), Larry Knechtel (piano), Dennis Budimir (guitar), Louie Shelton (guitar) and Max Bennett (bass). And once again members of the Ron Hicklin Singers – brothers John and Tom Bahler, Ron Hicklin and Jackie Ward – feature prominently as backing vocalists throughout the album, with arrangements by John Bahler.

As with most Partridge Family releases, many well-known songwriters contributed songs to the album, including Paul Anka, Rupert Holmes, Tony Romeo and Bobby Hart. The latter had also contributed songs to The Monkees, a similar project that also combined a prime-time television series about a part-fictional/part-real musical group with a series of music albums.

Wes Farrell co-wrote five of the album's songs including the final track, "Love Is All That I Ever Needed", written with lead vocalist David Cassidy. This was Cassidy's second composition to feature on a Partridge Family album.

In the mythos of Partridge Family lore, they also recorded a watered-down version of the relatively racy "I'll Be Your Magician", penned by Irwin Levine and L. Russell Brown. The track was ultimately discarded and never released, although Danny Bonaduce, who played Danny in the TV series, recorded the song for his 1973 solo album.

Cassidy recorded a reworked version of Sound Magazine's "Summer Days" for his third solo album, Dreams Are Nuthin' More Than Wishes (UK number one, 1973).

The cover of the album was the first to feature child actor Brian Forster, who had replaced Jeremy Gelbwaks as Chris Partridge in the TV series.

In the posthumously broadcast 2018 TV documentary David Cassidy: The Last Session, produced by Left/Right Productions for A&E and documenting the star's final recording session alongside his struggle with alcoholism, a copy of the LP is seen propped up in the studio close to where Cassidy is recording his vocals.

Track listing
All tracks from the album were featured on the TV show, mainly from Season 2

Personnel

 * David Cassidy, Shirley Jones - vocals
 * Dennis Budimir, Louis Shelton - guitar
 * Max Bennett - bass
 * Larry Knechtel, Mike Melvoin - piano
 * Hal Blaine - drums
 * Jackie Ward, John Bähler, Ron Hicklin, Tom Bähler - background vocals

Recording dates
May 4, 1971
 * "Brown Eyes"
 * "Echo Valley 2-6809"
 * "Rainmaker"
 * "I'm on My Way Back Home"
 * "I Would Have Loved You Anyway"

May 5, 1971
 * "One Night Stand"
 * "You Don't Have to Tell Me"
 * "Twenty-Four Hours a Day"
 * "I Woke Up In Love This Morning"

May 11, 1971
 * "Love Is All That I Ever Needed"

May 13, 1971
 * "Summer Days" (see June 7, 1971)

June 7, 1971
 * "Summer Days" (Re-Record, see May 13, 1971)

See recording dates for this and other Partridge Family albums at The Partridge Family Recording Sessions

title: Sound Magazine


text:
Christmas card

A Christmas card is a greeting card sent as part of the traditional celebration of Christmas in order to convey between people a range of sentiments related to Christmastide and the holiday season. Christmas cards are usually exchanged during the weeks preceding Christmas Day by many people (including some non-Christians) in Western society and in Asia. The traditional greeting reads "wishing you a Merry Christmas and a Happy New Year". There are innumerable variations on this greeting, many cards expressing more religious sentiment, or containing a poem, prayer, Christmas song lyrics or Biblical verse; others focus on the general holiday season with an all-inclusive "Season's greetings". The first modern Christmas card was by John Calcott Horsley.

A Christmas card is generally commercially designed and purchased for the occasion. The content of the design might relate directly to the Christmas narrative with depictions of the Nativity of Jesus, or have Christian symbols such as the Star of Bethlehem or a white dove representing both the Holy Spirit and Peace. Many Christmas cards show Christmas traditions, such as seasonal figures (e.g., Santa Claus, snowmen, and reindeer), objects associated with Christmas such as candles, holly, baubles, and Christmas trees, and Christmastime activities such as shopping, caroling, and partying, or other aspects of the season such as the snow and wildlife of the northern winter. Some secular cards depict nostalgic scenes of the past such as crinolined shoppers in 19th century streetscapes; others are humorous, particularly in depicting the antics of Santa and his elves.

History
The first known Christmas card was sent by Michael Maier to James I of England and his son Henry Frederick, Prince of Wales in 1611. It was discovered in 1979 by Adam McLean in the Scottish Record Office. It was hand-made and incorporated Rosicrucian imagery, with the words of the greeting – "A greeting on the birthday of the Sacred King, to the most worshipful and energetic lord and most eminent James, King of Great Britain and Ireland, and Defender of the true faith, with a gesture of joyful celebration of the Birthday of the Lord, in most joyand fortune, we enter into the new auspicious year 1612" –  being laid out to form a rose.

The first commercially available card was commissioned by Sir Henry Cole and designed by John Callcott Horsley in London 1843. The central picture showed three generations of a family raising a toast to the card's recipient: on either side were scenes of charity, with food and clothing being given to the poor. Allegedly the image of the family drinking wine together proved controversial, but the idea was shrewd: Cole had helped introduce the Penny Post three years earlier. Two batches totaling 2,050 cards were printed and sold that year for a shilling each.

Early British cards rarely showed winter or religious themes, instead favoring flowers, fairies and other fanciful designs that reminded the recipient of the approach of spring. Humorous and sentimental images of children and animals were popular, as were increasingly elaborate shapes, decorations and materials. At Christmas 1873, the lithograph firm Prang and Mayer began creating greeting cards for the popular market in Britain. The firm began selling the Christmas card in America in 1874, thus becoming the first printer to offer cards in America. Its owner, Louis Prang, is sometimes called the "father of the American Christmas card." By the 1880s, Prang was producing over five million cards a year by using the chromolithography process of printmaking. However, the popularity of his cards led to cheap imitations that eventually drove him from the market. The advent of the postcard spelled the end for elaborate Victorian-style cards, but by the 1920s, cards with envelopes had returned. The extensive Laura Seddon Greeting Card Collection from the Manchester Metropolitan University gathers 32,000 Victorian and Edwardian greeting cards, printed by the major publishers of the day, including Britain's first commercially produced Christmas card.

The production of Christmas cards was, throughout the 20th century, a profitable business for many stationery manufacturers, with the design of cards continually evolving with changing tastes and printing techniques. The now widely recognized brand Hallmark Cards was established in 1913 by Joyce Hall with the help of brother Rollie Hall to market their self-produced Christmas cards. The Hall brothers capitalized on a growing desire for more personalized greeting cards, and reached critical success when the outbreak of World War I increased demand for cards to send to soldiers. The World Wars brought cards with patriotic themes. Idiosyncratic "studio cards" with cartoon illustrations and sometimes risque humor caught on in the 1950s. Nostalgic, sentimental, and religious images have continued in popularity, and, in the 21st century, reproductions of Victorian and Edwardian cards are easy to obtain. Modern Christmas cards can be bought individually but are also sold in packs of the same or varied designs. In recent decades changes in technology may be responsible for the decline of the Christmas card. The estimated number of cards received by American households dropped from 29 in 1987 to 20 in 2004. Email and telephones allow for more frequent contact and are easier for generations raised without handwritten letters – especially given the availability of websites offering free email Christmas cards. Despite the decline, 1.9 billion cards were sent in the U.S. in 2005 alone. Some card manufacturers now provide E-cards. In the UK, Christmas cards account for almost half of the volume of greeting card sales, with over 668.9 million Christmas cards sold in the 2008 festive period. In mostly non-religious countries (e.g. Czech Republic), the cards are called New Year Cards; they are sent before Christmas and the emphasis (design, texts) is mostly given to the New Year, omitting religious symbols.

Official Christmas cards
"Official" Christmas cards began with Queen Victoria in the 1840s. The British royal family's cards are generally portraits reflecting significant personal events of the year.

There is a long-standing custom for the American President and First Lady to send White House Christmas Cards each holiday season. The practice originated with President Calvin Coolidge, who was the first president to issue a written statement of peaceful tidings during the holidays in 1927. President Herbert Hoover was the first to give Christmas notes to the White House staff, and President Franklin Delano Roosevelt was the first president to utilize the card format (rather than the previously used notes or a written statement) that most closely resembles the Christmas cards of today.

In 1953, U.S. President Dwight D. Eisenhower issued the first official White House card. The cards usually depict White House scenes as rendered by prominent American artists. The number of recipients has snowballed over the decades, from just 2,000 in 1961 to 1.4 million in 2005.

Commercial Christmas cards

Many businesses, from small local businesses to multi-national enterprises, send Christmas cards to the people on their customer lists, as a way to develop general goodwill, retain brand awareness and reinforce social networks. These cards are almost always discrete and secular in design, and do not attempt to sell a product, limiting themselves to mentioning the name of the business. The practice harkens back to trade cards of the 18th century, an ancestor of the modern Christmas card.

In September 1964, it was reported that, during the previous eight years, British industry had increasingly stopped sending "official" christmas cards, including Granada, ICI, Schweppes, Shell and Unilver.

Charity Christmas cards

Many organizations produce special Christmas cards as a fundraising tool. The most famous of these enterprises is probably the UNICEF Christmas card program, launched in 1949, which selects artwork from internationally known artists for card reproduction. The UK-based Charities Advisory Trust used to give out an annual "Scrooge Award" to the cards that return the smallest percentage to the charities they claim to support although it is not universally well received by the Christmas card producers. The RSPB produced the first ever charity Christmas card in 1898, selling 4,500 that year

Christmas stamps and stickers
Many countries produce official Christmas stamps, which may be brightly coloured and depict some aspect of Christmas tradition or a Nativity scene. Small decorative stickers are also made to seal the back of envelopes, typically showing a trinket or some symbol of Christmas.

In 2004, the German post office gave away 20 million free scented stickers, to make Christmas cards smell of a fir Christmas tree, cinnamon, gingerbread, a honey-wax candle, a baked apple and an orange.

Collectors items
From the beginning, Christmas cards have been avidly collected. Queen Mary amassed a large collection that is now housed in the British Museum. The University College London's Slade School of Fine Art houses a collection of handmade Christmas Cards from alumni such as Paula Rego and Richard Hamilton and are displayed at events over the Christmas season, when members of the public can make their own Christmas cards in the Strang Print Room. Specimens from the "golden age" of printing (1840s–1890s) are especially prized and bring in large sums at auctions. In December 2005, one of Horsley's original cards sold for nearly £9,000. Collectors may focus on particular images like Santa Claus, poets, or printing techniques. The Christmas card that holds the world record as the most expensive ever sold was a card produced in 1843 by J. C. Horsley and commissioned by civil servant Sir Henry Cole. The card, one of the world's first, was sold in 2001 by UK auctioneers Henry Aldridge to an anonymous bidder for a record breaking £22,250.

Home-made cards
Since the 19th century, many families and individuals have chosen to make their own Christmas cards, either in response to monetary necessity, as an artistic endeavour, or in order to avoid the commercialism associated with Christmas cards. With a higher preference of handmade gifts during the 19th century over purchased or commercial items, homemade cards carried high sentimental value as gifts alone. Many families make the creation of Christmas cards a family endeavour and part of the seasonal festivity, along with stirring the Christmas cake and decorating the tree. Over the years such cards have been produced in every type of paint and crayon, in collage and in simple printing techniques such as potato-cuts. A revival of interest in paper crafts, particularly scrapbooking, has raised the status of the homemade card and made available an array of tools for stamping, punching, and cutting.

Advances in digital photography and printing have provided the technology for many people to design and print their own cards, using their original graphic designs or photos, or those available with many computer programs or online as clip art, as well as a great range of typefaces. Such homemade cards include personal touches such as family photos and holidays snapshots. Crowdsourcing, another trend enabled by the Internet, has allowed thousands of independent and hobbyist graphic designers to produce and distribute holiday cards around the world.

The Christmas card list
Many people send cards to both close friends and distant acquaintances, potentially making the sending of cards a multi-hour chore in addressing dozens or even hundreds of envelopes. The greeting in the card can be personalized but brief, or may include a summary of the year's news. The extreme of this is the Christmas letter (below). Because cards are usually exchanged year after year, the phrase "to be off someone's Christmas card list" is used to indicate a falling out between friends or public figures.

Christmas letters
Some people take the annual mass-mailing of cards as an opportunity to update those they know with the year's events, and include the so-called "Christmas letter" reporting on the family's doings, sometimes running to multiple printed pages. In the UK these are known as round-robin letters. While a practical notion, Christmas letters meet with a mixed reception; recipients may take it as boring minutiae, bragging, or a combination of the two, whereas other people appreciate Christmas letters as more personal than mass-produced cards with a generic missive and an opportunity to "catch up" with the lives of family and friends who are rarely seen or communicated with. Since the letter will be received by both close and distant relatives, there is also the potential for the family members to object to how they are presented to others; an entire episode of Everybody Loves Raymond was built around conflict over the content of just such a letter.

Environmental impact and recycling
During the first 70 years of the 19th century it was common for Christmas and other greeting cards to be recycled by women's service organizations who collected them and removed the pictures, to be pasted into scrap books for the entertainment of children in hospitals, orphanages, kindergartens and missions. With children's picture books becoming cheaper and more readily available, this form of scrap-booking has almost disappeared.

Recent concern over the environmental impact of printing, mailing and delivering cards has fueled an increase in e-cards.

The U.K. conservation charity Woodland Trust runs an annual campaign to collect and recycle Christmas cards to raise awareness of recycling and collect donations from corporate sponsors and supporters. All recycled cards help raise money to plant more trees. In the 12 years that the Woodland Trust Christmas Card Recycling Scheme has been running, more than 600 million cards have been recycled. This has enabled the Woodland Trust to plant more than 141,000 trees, save over 12,000 tonnes of paper from landfill and stop over 16,000 tonnes of CO2 from going into the atmosphere – the equivalent to taking more than 5,000 cars off the road for a year. The scheme has had celebrity supporters including Jo Brand, Dermot O' Leary and Sean Bean and is the longest running scheme of its type in the country.

International Christmas greetings
The traditional English greeting of "Merry Christmas and a Happy New Year" as it appears in other languages:

 * Gëzuar Krishtlindjet dhe Vitin e Ri
 * Gabon Zoriontsuak eta urte berri on
 * Nedeleg laouen na bloavezh mat
 * Весела Коледа и Честита Нова Година
 * Bon Nadal i Feliç Any Nou
 * Chinese Simplified (China, except Hong Kong): 圣诞快乐，新年进步
 * Chinese Traditional (Hong Kong & Taiwan): 聖誔快樂
 * Nadelik Lowen, Bledhen Nowyth Da.
 * Čestit Božić i sretna Nova godina
 * Veselé vánoce a šťastný nový rok. But mostly used is secular 'P.F.' standing for French 'Pour féliciter' (literally 'For happiness in the year...').
 * Glædelig jul og godt nytår! or simply God jul
 * Prettige kerstdagen en een gelukkig nieuwjaar
 * Häid jõule ja head uut aastat
 * Gajan kristnaskon kaj feliĉan novan jaron
 * Maligayang Pasko at Manigong Bagong Taon
 * Hyvää joulua ja onnellista uutta vuotta
 * Joyeux Noël et Bonne Année
 * Bo Nadal e Feliz Aninovo
 * გილოცავთ შობა-ახალ წელს
 * Fröhliche Weihnachten und ein glückliches/gutes Neues Jahr
 * Καλά Χριστούγεννα και ευτυχισμένος ο Καινούριος Χρόνος
 * Kellemes karácsonyi ünnepeket és boldog új évet or simply B. ú. é. k.
 * Gleðileg jól og farsælt nýtt ár
 * Selamat Hari Natal dan Tahun Baru
 * Nollaig Shona Duit
 * Buon Natale e Felice Anno Nuovo
 * Wiesołëch Gòdów i szczestlewégò Nowégò Rokù
 * Korean : 메리 크리스마스
 * Japanese: メリークリスマスそしてよいお年を
 * Priecīgus Ziemassvētkus un laimīgu Jauno gadu
 * Linksmų šventų Kalėdų ir laimingų Naujųjų metų
 * Среќна Нова Година и честит Божиќ
 * Selamat Hari Krismas dan Tahun Baru
 * Il-Milied Hieni u s-Sena t-Tajba
 * Mongolian: Зул сар болон Шинэ жилийн баярын мэнд хүргье
 * God jul og godt nyttår
 * Persian: کریسمس و سال نو مبارک
 * Wesołych Świąt i Szczęśliwego Nowego Roku
 * Feliz Natal e um Feliz Ano Novo
 * Crăciun Fericit și La mulți ani
 * С Новым годом и Рождеством Христовым!
 * Срећна Нова година и срећан Божић / Srećna Nova godina i srećan Božić
 * Sinhala: Suba naththalak wewa, suba aluth aurudhak wewa
 * Veselé Vianoce a Štastný Nový rok
 * Vesel Božič in Srečno Novo Leto
 * Feliz Navidad y próspero Año Nuevo
 * God Jul och Gott Nytt År
 * Chúc mừng Giáng Sinh và chúc mừng Năm mới (acute accent over ơ in "mơi")
 * Веселих свят! (Happy Holidays!) / З Новим роком і Різдвом Христовим!
 * Urdu:آپکو بڑا دن اور نیا سال مبارک ہو
 * Nadolig Llawen a Blwyddyn Newydd Dda

title: Christmas card


text:
Shopping Bag

Shopping Bag is the fifth studio album by TV-linked pop project The Partridge Family. Released in March 1972, just as the second season of the TV series was finishing in North America, the album entered Billboard's Top LP's chart in late March, peaking at no. 18 in late April. The album remained in the Top 200 for 17 weeks and was certified gold. The vinyl release of the album contained a novelty plastic shopping bag.

Consistent with all of the Partridges' eight studio albums, the record was produced by Wes Farrell for Coral Rock Productions, and released on Bell Records. Farrell arranged the rhythm tracks, and Mike Melvoin arranged the strings and horns. The disc was engineered by Bob Kovach, with assistant engineer Winston Wong. As with all of the group's releases, the album features some of the era's most highly regarded studio musicians, better known as "the Wrecking Crew": Hal Blaine (drums), Mike Melvoin (keyboards), Dennis Budimir (guitar), Louie Shelton (guitar), Larry Carlton (guitar), Tommy Tedesco (guitar) and Max Bennett (bass). And once again members of the Ron Hicklin Singers – brothers John and Tom Bahler, Ron Hicklin and Jackie Ward – feature prominently as backing vocalists throughout the album, with arrangements by John Bahler.

As with most Partridge Family releases, several known songwriters contributed songs to the album including duo Tommy Boyce and Bobby Hart – best known for major hits written for The Monkees, a similar project which also combined a prime-time television series about a part-fictional/part-real musical group with a series of music albums – and two other songwriting duos: Irwin Levine and L. Russell Brown ("Knock Three Times", "Tie a Yellow Ribbon Round the Ole Oak Tree"), and Terry Cashman and Tommy West. Producer Wes Farrell co-wrote four of the album’s songs, and Shopping Bag ’s one big hit single, It's One of Those Nights (Yes Love) (US no. 20/UK no. 11), was written by Tony Romeo, who had written the Partridge Family’s signature hit, the 1970 US number one I Think I Love You".

The album’s one other US single release, “Am I Losing You”, stalled at no 59, with seven weeks on Billboard's Hot 100.

Lead singer David Cassidy contributed one song, "There'll Come a Time" – his third composition to feature on a Partridge Family album. It was also his last, as Cassidy's later songwriting efforts all would be reserved for his solo albums. 1972 was a watershed year for Cassidy in terms of his phenomenal solo career in the UK, where “It’s One of Those Nights (Yes Love)” was the first of four consecutive major Partridge Family hits, coinciding with even bigger UK solo hits for Cassidy during 1972 and 1973.

Track listing
All tracks from the album were featured on the TV show, mainly in Seasons 2 and 3

Recording dates
25 August 1971
 * "Last Night"
 * "Hello, Hello"
 * "Ev’ry Little Bit o’ You"

4 September 1971
 * "If You Ever Go"
 * "It's One Of Those Nights (Yes Love)"
 * "Every Song Is You"

16 December 1971
 * "Something New Got Old"
 * "There’ll Come A Time"
 * "It’s All in Your Mind"
 * "Girl, You Make My Day"

See recording dates for this and other Partridge Family albums at The Partridge Family Recording Sessions

title: Shopping Bag


text:
Notebook

A notebook (also known as a notepad, writing pad, drawing pad, or legal pad) is a book or stack of paper pages that are often ruled and used for purposes such as note-taking, journaling or other writing, drawing, or scrapbooking.

History
The earliest form of notebook was the wax tablet, which was used as a reusable and portable writing surface in classical antiquity and throughout the Middle Ages. As paper became more readily available in European countries from the 11th century onwards, wax tablets gradually fell out of use, although they remained relatively common in England, which did not possess a commercially successful paper mill until the late 16th century. While paper was cheaper than wax, its cost was sufficiently high to ensure the popularity of erasable notebooks, made of specially-treated paper that could be wiped clean and used again. These were commonly known as table-books, and are frequently referenced in Renaissance literature, most famously in Shakespeare's Hamlet: "My tables,—meet it is I set it down, That one may smile, and smile, and be a villain."

Despite the apparent ubiquity of such table-books in Shakespeare's time, very few examples have survived, and little is known about their exact nature, use, or history of production. .The earliest extant edition, bound together with a printed almanac, was made in Antwerp, Belgium, in 1527. By the end of this decade, table-books were being imported into England, and they were being printed in London from the 1570s. At this time, however, it appears that the concept of an erasable notebook was still something of a novelty to the British public, as the printed instructions included with some books were headed: "To make clean your Tables when they be written on, which to some as yet is unknown." The leaves of some table-books were made of donkey skin; others had leaves of ivory or simple pasteboard. The coating was made from a mixture of glue and gesso, and modern-day experiments have shown that ink, graphite and silverpoint writing can be easily erased from the treated pages with the application of a wet sponge or fingertip. Other types of notebook may also have been in circulation during this time; 17th-century writer Samuel Hartlib describes a table-book made of slate, which did "not need such tedious wiping out by spunges [sic] or cloutes [sic]".

The leaves of a table-book could be written upon with a stylus, which added to their convenience, as it meant that impromptu notes could be taken without the need for an inkwell (graphite pencils were not in common use until the late 17th century). Table-books were owned by all classes of people, from merchants to nobles, and were employed for a variety of purposes:

The use of table-books for trivial purposes was often satirized on the English stage. For example, Antonio's Revenge by John Marston (c. 1600) contains the following exchange: Matzagente: I scorn to retort the obtuse jest of a fool.
 * [Balurdo draws out his writing tables, and writes.]

Balurdo: Retort and obtuse, good words, very good words.

Their use in some contexts was seen as pretentious; Joseph Hall, writing in 1608, describes "the hypocrite" as one who, "in the midst of the sermon pulls out his tables in haste, as if he feared to lose that note". The practice of making notes during sermons was a common subject of ridicule, and led to table-books becoming increasingly associated with Puritanism during the 17th century.

By the early 19th century, there was far less demand for erasable notebooks, due to the mass-production of fountain pens and the development of cheaper methods for manufacturing paper. Ordinary paper notebooks became the norm. During the Enlightenment, British schoolchildren were commonly taught how to make their own notebooks out of loose sheets of paper, a process that involved folding, piercing, gathering, sewing and/or binding the sheets.

Legal pad
According to a legend, Thomas W. Holley of Holyoke, Massachusetts, invented the legal pad around the year 1888 when he innovated the idea to collect all the sortings, various sorts of sub-standard paper scraps from various factories, and stitch them together in order to sell them as pads at an affordable and fair price. In about 1900, the latter then evolved into the modern, traditionally yellow legal pad when a local judge requested for a margin to be drawn on the left side of the paper. This was the first legal pad. The only technical requirement for this type of stationery to be considered a true "legal pad" is that it must have margins of 1.25 inches (3.17 centimeters) from the left edge. Here, the margin, also known as down lines, is room used to write notes or comments. Legal pads usually have a gum binding at the top instead of a spiral or stitched binding.

In 1902, J.A. Birchall of Birchalls, a Launceston, Tasmania, Australia-based stationery shop, decided that the cumbersome method of selling writing paper in folded stacks of "quires" (four sheets of paper or parchment folded to form eight leaves) was inefficient. As a solution, he glued together a stack of halved sheets of paper, supported by a sheet of cardboard, creating what he called the "Silver City Writing Tablet".

Binding and cover
Principal types of binding are padding, perfect, spiral, comb, sewn, clasp, disc, and pressure, some of which can be combined. Binding methods can affect whether a notebook can lie flat when open and whether the pages are likely to remain attached. The cover material is usually distinct from the writing surface material, more durable, more decorative, and more firmly attached. It also is stiffer than the pages, even taken together. Cover materials should not contribute to damage or discomfort. It is frequently cheaper to purchase notebooks that are spiral-bound, meaning that a spiral of wire is looped through large perforations at the top or side of the page. Other bound notebooks are available that use glue to hold the pages together; this process is "padding." Today, it is common for pages in such notebooks to include a thin line of perforations that make it easier to tear out the page. Spiral-bound pages can be torn out, but frequently leave thin scraggly strips from the small amount of paper that is within the spiral, as well as an uneven rip along the top of the torn-out page. Hard-bound notebooks include a sewn spine, and the pages are not easily removed. Some styles of sewn bindings allow pages to open flat, while others cause the pages to drape.

Variations of notebooks that allow pages to be added, removed, and replaced are bound by rings, rods, or discs. In each of these systems, the pages are modified with perforations that facilitate the specific binding mechanism's ability to secure them. Ring-bound and rod-bound notebooks secure their contents by threading perforated pages around straight or curved prongs. In the open position, the pages can be removed and rearranged. In the closed position, the pages are kept in order. Disc-bound notebooks remove the open or closed operation by modifying the pages themselves. A page perforated for a disc-bound binding system contains a row of teeth along the side edge of the page that grip onto the outside raised perimeter of individual discs.

Preprinting
Notebooks used for drawing and scrapbooking are usually blank. Notebooks for writing usually have some kind of printing on the writing material, if only lines to align writing or facilitate certain kinds of drawing. Inventor's notebooks have page numbers preprinted to support priority claims. They may be considered as grey literature. Many notebooks have graphic decorations. Personal organizers can have various kinds of preprinted pages.

Uses

Artists often use large notebooks, which include wide spaces of blank paper appropriate for drawing. They may also use thicker paper, if painting or using a variety of mediums in their work. Although large, artists' notebooks also are usually considerably light, because they usually take their notebooks with them everywhere to draw scenery. Similarly composers utilize notebooks for writing their lyrics. Lawyers use rather large notebooks known as legal pads that contain lined paper (often yellow) and are appropriate for use on tables and desks. These horizontal lines or "rules" are sometimes classified according to their space apart with "wide rule" the farthest, "college rule" closer, "legal rule" slightly closer and "narrow rule" closest, allowing more lines of text per page. When sewn into a pasteboard backing, these may be called composition books, or in smaller signatures may be called "blue books" or exam books and used for essay exams.

Various notebooks are popular among students for taking notes. The types of notebooks used for school work are single line, double line, four line, square grid line etc. These notebooks are also used by students for school assignments (homeworks) and writing projects.

In contrast, journalists prefer small, hand-held notebooks for portability (reporters' notebooks), and sometimes use shorthand when taking notes. Scientists and other researchers use lab notebooks to document their experiments. The pages in lab notebooks are sometimes graph paper to plot data. Police officers are required to write notes on what they observe, using a police notebook. Land surveyors commonly record field notes in durable, hard-bound notebooks called "field books."

Coloring enthusiasts use coloring notebooks for stress relief. The pages in coloring notebooks contain different adult coloring pages. Students take notes in notebooks, and studies suggest that the act of writing (as opposed to typing) improves learning.

Notebook pages can be recycled via standard paper recycling. Recycled notebooks are available, differing in recycled percentage and paper quality.

Electronic successors
Since the late 20th century, many attempts have been made to integrate the simplicity of a notebook with the editing, searching, and communication capacities of computers through the development of note taking software. Laptop computers began to be called notebooks when they reached a small size in the mid-1990s. Most notably Personal digital assistants (PDAs) came next, integrating small liquid crystal displays with a touch-sensitive layer to input graphics and written text. Later on, this role was taken over by smartphones and tablets.

Digital paper combines the simplicity of a traditional pen and notebook with digital storage and interactivity. By printing an invisible dot pattern on the notebook paper and using a pen with a built in infrared camera the written text can be transferred to a laptop, mobile phone or back office for storage and processing.

title: Notebook


text:
Crossword Puzzle

Crossword Puzzle is the seventh and penultimate studio album by The Partridge Family. Released in June 1973, it was the last Partridge Family album to chart in the US, entering Billboard's Top LP's chart in July and peaking at no. 167 in its second of just five weeks in the Top 200. Bell Records, losing faith in the group after oversaturating the market with product, chose not to release a US single from the album, though "Sunshine" was released as a single in Japan.

The LP cover featured a crossword puzzle, with the answers given inside on one side of the dust sleeve. As with previous release The Partridge Family Notebook, the American album cover of Crossword Puzzle included no group photo, but did feature small black-and-white photos of Shirley Jones (at left) and David Cassidy (at right).

In 2003 the album was released on CD on Arista's BMG Heritage Records label.

Track listing
All tracks, except "It's A Long Way To Heaven", "Now That You Got Me Where You Want Me" and "Let Your Love Go", were featured on the TV show (mainly from Season 3).

Personnel

 * John Bahler - vocal arrangement, background vocals
 * Tom Bahler - background vocals
 * Stan Farber - background vocals - uncredited (A6)
 * Jerry Whitman - background vocals - uncredited (B2)
 * Max Bennett - bass
 * Hal Blaine - drums
 * Dennis Budimir - guitar
 * Larry Carlton - guitar
 * David Cassidy - vocals
 * Pete Ciccone - re-design
 * Wes Farrell - rhythm arrangements
 * Elliott Federman - mastering
 * Mike Hartry - digital transfers
 * Ron Hicklin - background vocals
 * Jeremy Holiday - production coordination
 * John Hudson - product manager
 * Shirley Jones - vocals
 * Larry Knechtel - keyboards
 * Bob Kovach - engineer
 * Mike Melvoin - string and horn arrangements, keyboards
 * Joe Osborn - bass
 * Rob Santos - re-issue producer
 * Louie Shelton - guitar
 * Lisa Sutton - liner notes
 * Tommy Tedesco - guitar
 * Jackie Ward - background vocals
 * Beverly Weinstein - art direction
 * Winston Wong - assistant engineer

Track information and credits adapted from AllMusic

Releases

 * CD	Crossword Puzzle Buddha Records	 2001
 * CD	Crossword Puzzle BMG Heritage	 2003
 * CD	Crossword Puzzle Sbme Special Mkts.	 2008
 * CD	Crossword Puzzle BMG Heritage

Recording dates
4 September 1971
 * "As Long As There's You"
 * "Come On Love"

1 May 1972
 * "One Day at a Time"
 * "It Means I'm in Love with You" (see 23 May 1972)
 * "It Sounds Like You're Saying Hello"
 * "It's You"

23 May 1972
 * "It Means I'm In Love With You" (Re-Record, see 1 May 1972)

4 September 1972
 * "Sunshine"
 * "Let Your Love Go"

22 September 1972
 * "It's a Long Way to Heaven"
 * "Now That You've Got Me Where You Want Me"
 * "I've Got Your Love All Over Me"

See recording dates for this and other Partridge Family albums at The Partridge Family Recording Sessions

title: Crossword Puzzle


text:
Bulletin Board (album)

Bulletin Board is the eighth and final studio album by The Partridge Family, released by Bell Records (catalog number 1137) in October 1973. The album was recorded between July and September 1973. Bulletin Board was the first Partridge Family album to fail to chart on Billboard's Top LP's chart. "Looking for a Good Time" b/w "Money Money" was released as a single in November 1973 (catalog number Bell 45-414), but failed to chart. This was the last regular U.S. Partridge Family single.

The album cover featured a handwritten track listing pinned to a bulletin board, as well as a "family" photograph and a memo detailing the show's new Saturday night time slot. According to the liner notes for the CD release, the album cover was created within only a few hours due to time constraints. While Wes Farrell is credited as producer on the album, in fact it was produced and arranged by John Bahler (also spelled as Bähler), a member of late-1960 pop group the Love Generation and, later, the Ron Hicklin Singers, several members of whom provided backing vocals on all of the Partridge Family albums. Bulletin Board is the only Partridge Family album recorded in a studio different from the preceding albums (which had all been recorded at Western Recorders, Studio 2 in Los Angeles).

Reviewer Dave Thompson of AllMusic gave the album a rating of 3½ stars out of 5, claiming it was more representative of David Cassidy's solo material than the typical Partridge Family album: "the performances all lean a lot closer towards the Cassidy solo ideal – soft ballads, tight rockers – than the all-for-one harmonies and joy that characterized the Partridges' earlier releases." Howard Pattow, a member of the Partridge Family tribute band Sound Magazine, states that "the music here is groovy and funky, a definite reflection of pop music's embrace of disco ... overall, the music on Bulletin Board is quite different from previous Partridge Family efforts ... [and] features musicians that had previously not appeared on a Partridge record."

In September 2008 Collectors' Choice Music reissued the album on CD. Initially the disc was available exclusively through the company's website. The disc contains two bonus tracks: both sides of the Bones Howe-produced Shirley Jones single "Ain't Love Easy"/"Roses in the Snow", originally released in October 1972.

Track listing
All tracks from the original album, except "Where Do We Go From Here", were featured in the fourth and final season of the TV show

Personnel
Produced by Wes Farrell for Coral Rock Productions, Inc.
 * Partridge Family vocals by Shirley Jones and David Cassidy
 * Hal Blaine - drums
 * Max Bennett, Jim Hughart - bass
 * Larry Carlton, Richard Bennett, Ben Benay, Dean Parks - guitar
 * Chuck Findley, Tom Bahler - horns
 * Lou McCreary, George Bohanon - trombone
 * Bill Perkins, Jackie Kelso, Bob Hardaway - saxophone
 * Gary Coleman, Joe Porcaro - percussion
 * Michael Omartian, Larry Muhoberac - keyboards
 * John Bahler, Tom Bahler, Jackie Ward, Ron Hicklin - backing vocals

Bonus tracks produced by Bones Howe.

Recording dates
July 25, 1973:
 * "Money, Money"
 * "I'll Never Get Over You"
 * "Alone Too Long"
 * "Oh No Not My Baby"

July 26, 1973:
 * "I Wouldn't Put Nothing Over On You"

September 4, 1973:
 * "I Heard You Singing Your Song"
 * "Roller Coaster"
 * "Looking For A Good Time"
 * "How Long Is Too Long"

September 5, 1973:
 * "That's The Way It Is With You"
 * "Where Do We Go From Here"

title: Bulletin Board (album)


text:
The World of the Partridge Family

The World of the Partridge Family is a greatest hits compilation album by The Partridge Family released in April 1974. This was their only two-record set as well as their last release on the Bell label, featuring 20 songs from the previous albums (except Christmas Card and Crossword Puzzle), including all their charted hits.

Shortly after this release, which did not chart, Bell Records was sold and renamed Arista. The album was renumbered as Arista 4021, but no new copies were printed. Existing copies were merely shipped under the new Arista code number. Only albums released in 1974 were renumbered; likewise, David Cassidy solo LP's were also renumbered.

Track listing
All tracks in this compilation were featured on the TV show

Production

 * Wes Farrell – Producer
 * Robert L. Heimall – Art Direction
 * Richard Mantel – Design
 * Gene Trindle – Photography
 * Titles formerly on Bell 6050, 6059, 6064, 1107, 1111 and 1137.

Track information and credits adapted from the album's liner notes.

title: The World of the Partridge Family