text:
Ronny & the Daytonas

Ronny & the Daytonas were an American surf rock group, whose members included John "Bucky" Wilkin (aka Ronny Dayton) (songwriting, guitar, vocals), Paul Jensen (vocals, guitar), Thomas Ramey (bass, guitar), Lynn Williams (drums), and Lee Kraft (guitar), with contributions from others such as Larry Butler (organ), Ronny Clark (studio guitarist), and Buzz Cason.

History
The group was formed in Nashville, Tennessee in 1964 when Bill Justis (best known for his hit "Raunchy") became their manager and formed Buckhorn Music with the help of Wilkin's mother, Marijohn Wilkin, a country music writer. Signed to Mala Records, a sublabel of Bell Records, their primary contribution to popular music was in injecting country-sounds into the burgeoning surfrock scene. Their 1964 debut single "G.T.O." reached No. 4 on the Billboard Pop Singles chart. It sold over one million copies, and was awarded a gold disc. A subsequent single, "Bucket T" reached No. 54 on the Billboard chart that same year.

After an album and tour in 1964, Ronny & The Daytonas had another hit in 1965 with a ballad, "Sandy", and an album that reflected a similar country-inflected surfer sound. In 1966 Ronny and The Daytonas switched to RCA Records and released a romantic ballad called "Diane, Diane" and the upbeat "All American Girl", both of which had some success on the charts. The band toured for a short time after this before disbanding.

In 1965, Buzz Cason and John "Bucky" Wilkin recorded the single "Bay City" / "Tiger A-Go-Go" as Buzz and Bucky. The single did not enter the Billboard Hot 100, but peaked at number seven on the Bubbling Under Hot 100 Singles chart.

The mid-1980s saw some interest in re-uniting various band members for a few engagements. The last known appearances of The Daytonas were at a concert in upstate New York on July 4, 1995, at the Woodward Dream Cruise in Michigan in 2000 and 2002, and at The Baby Boomer Legends concert at "The Factory" in Franklin, Tennessee on April 24, 2015.

, Buck Wilkin Music publishing was licensing Ronny & The Daytonas songs for the U.S. and Canada, and occasionally published their music on 180 gram vinyl media in limited production runs.

Singles
1964 1965 1966 1967
 * "G.T.O." / "Hot Rod Baby" (Mala 481) (#4) (CAN #7)
 * "California Bound" / "Hey Little Girl" (Mala 490) (#72) (CAN #37)
 * "Bucket "T"" / "Little Rail Job" (Mala 492) (#54) (CAN #5)
 * "Little Scrambler" / "Teenage Years" (Mala 497)
 * "Beach Boy" / "No Wheels" (Mala 503)
 * "Sandy" / "Sandy" (instrumental) (Mala 513) (#27)
 * "Tiger A-Go-Go" / "Bay City" (Amy 924) (by Buzz and Bucky, John "Bucky" Wilkin with Buzz Cason) (#107)
 * "Somebody to Love Me" / "Goodbye Baby" (Mala 525) (#115)
 * "Antique '32 Studebaker Dictator Coupe" / "Then the Rains Came" (Mala 531)
 * "Dianne, Dianne" / "All American Girl" (RCA 47-8896) (#69) (CAN #73)
 * "I'll Think of Summer" / "Little Scrambler" (Mala 542) (#133)
 * "Winter Weather" / "Young" (RCA 47-9022)
 * "Walk in the Sun" / "The Last Letter" (RCA 47-9107)
 * "Brave New World" / "Hold Onto Your Heart" (RCA 47-9253)
 * "The Girls and the Boys" / "Alfie" (RCA 47-9435)

Albums
1964
 * G.T.O. (Mala 4001) (#122)

1966
 * Sandy (Mala 4002)
 * 1) "Sandy" (Buzz Cason, Wilkin) - 2:47
 * 2) "Hold Me My Baby" (Wilkin) - 2:44
 * 3) "Baby Say No" (Wilkin) - 2:34
 * 4) "When Stars Shine Bright" (Cason, Wilkin) - 2:44
 * 5) "Be Good to Your Baby" (Russell, Wilkin) - 3:06
 * 6) "If I Had My Way" (Russell, Bergen White) - 2:55
 * 7) "Then the Rains Came" (Wilkin) - 2:41
 * 8) "Nanci" (Wilkin) - 3:11
 * 9) "Somebody to Love Me" (Cason, Wilkin) - 2:31
 * 10) "Come Into My Heart" (Cason, Wilkin) - 3:18
 * 11) "I'll Think of Summer" (Cason, Wilkin) - 2:58
 * 12) "So in Love" (Cason, Wilkin) - 2:23

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

title: Ronny & the Daytonas


text:
The Surfaris

The Surfaris are an American surf music band formed in Glendora, California, in 1962. They are best known for two songs that hit the charts in the Los Angeles area, and nationally by May 1963: "Surfer Joe" and "Wipe Out", which were the A-side and B-side of the same 45 rpm single.

The Surfaris were inducted into the Musicians Hall of Fame and Museum in 2019 for their hit instrumental song, "Wipe Out".

Career
The original band members were Ron Wilson (drums, vocals), Jim Fuller (lead guitar), Bob Berryhill (rhythm guitar), and Pat Connolly (bass).

In the fall of 1962, Southern California high school students Jim Fuller and Pat Connolly called friend and guitarist Berryhill for a practice session at Berryhill's house. The trio practiced for about four hours and met drummer Wilson at a high school dance later that evening, whereupon the band was born. "Wipe Out" was written and recorded by the quartet later that winter, with the song reaching #2 nationally in 1963 before becoming an international hit.

Saxophone player Jim Pash joined after their "Wipe Out" / "Surfer Joe" recording sessions at Pal Studios engineer Paul Buff. Band manager John Reisman from the Fuller/Pash lineup of the band in the 80's points out that Jim Pash is on the Wipe Out cover and was a member of the band in 1962. Pash told Reisman that his Pash's mother said he had to stay home and do chores the day the band went to the studio to record Surfer Joe, and that 'Wipe Out' was written on the spot when Paul C. Buff, the engineer, said what are you going to put on the B-side. Fuller wrote the main lick and Ron Wilson added a drum cadence he had been working on for the high school band. In a conversation with Paul Buff, Buff told Reisman that the song 'Wipe Out' was recorded on Dec. 4, 1962.

Ken Forssi, later of Love, played bass with The Surfaris after Pat Connolly left.

"Wipe Out"
Wilson's energetic drum solo made "Wipe Out" one of the best-remembered instrumental songs of the period. "Wipe Out" is also remembered particularly for its introduction. Before the music starts, Berryhill's dad broke a board (imitating a breaking surf board) near the mic, followed by a maniacal laugh and the words "Wipe Out" spoken by band manager Dale Smallin. "Wipe Out" was written in the studio by the four original members (Berryhill, Connolly, Fuller, and Wilson). It was initially issued on the tiny DFS label (#11/12) in January 1963. It was reissued on the tiny Princess label (#50) in February 1963. It was picked up by Dot (45-16479) in April 1963, and later reissued as Dot 45-144 in April 1965. It sold over one million copies and was awarded a gold disc.

Following the death of television personality Morton Downey, Jr., news reports and obituaries incorrectly credited him as the composer of "Wipe Out" (as well as The Chantays' "Pipeline"). , Downey's official website continued to make this claim but it has been changed to state he "also played major roles in the production of the hit surf music era songs 'Pipeline' and 'Wipeout'."

Disbanding and reformation
The band released a series of records, with two other singles, "Surfer Joe" and "Point Panic" (another group-composed instrumental), having an impact on the charts. Point Panic is a renowned surfing venue in Hawaii after which the song was named.

The original 1963 membership remained intact until August 1965 when Connolly departed before their Japanese tour. Ken Forssi replaced him on bass for the tour. Fuller resigned after the tour and the band folded in early 1966. Forssi died from a brain tumor in 1998. Ken Forssi joined the group and was the bass player for their "It Ain't Me, Babe" LP recorded at Capitol Records in Studio A in late Spring and early Summer of 1965.

Pat Connolly left the music business in 1965.

Ron Wilson died of a brain aneurysm on May 12, 1989, one month short of his 45th birthday. Wilson had released an album of his songs, entitled Lost In The Surf, on Bennet House Records of Grass Valley, California, which was recorded in June 1987. A very small number of cassettes of this album were produced. Lost in the Surf included a cover of "Louie Louie", complete with Scottish bagpipes.

Jim Pash, who played saxophone in the earlier formation and was later a guitarist, died April 29, 2005, of heart failure at age 56.

Jim Fuller co-founded the Surfaris in 61' with Connolly. The band reformed in 81' with Pash and Berryhill but in 1983 Berryhill left the band because neither Pash nor Fuller wanted Berryhill's wife to join the band as bassist. By the mid-'80s, Fuller's The Surfaris added new players, such as Kelly Lammers, Robert Watson, Jay Truax, Paul Johnson (Mr. Moto), and Dave Raven, among others. These new band members remain in The Surfaris today.

However, in 1986 John P. Reisman took over management of the Fuller/Pash version of 'The Surfaris'. In 1987, the manager engaged the band with Columbia Pictures 'New Gidget Show' and in 1987 recorded the cut 'Bred to Shred' for the episode (Jim Pash: Producer; John Reisman; Engineer). The full band with the latest lineup appeared in the production. Just prior to that Chris Pritchard was in the lineup on vocals and guitar. During that period the manager focused on fairs and festivals, playing for audiences of ten to one hundred thousand at times. However, the band did continue to play clubs to bring the music to as many venues as possible. Bill Silva Entertainment during this period of management known as Fahn & Silva Entertainment handled the contracting.

Jim Fuller later had another band concurrently with The Surfaris "Jim Fuller and the Beatnik", until his passing on March 3, 2017, in Arcadia, California at age 69.

After leaving the band, Berryhill became a teacher until late 2000, when he created a new band with his family and named it The Surfaris. Now the last original member playing professionally, Berryhill performs worldwide as The Surfaris with his wife Gene Berryhill and sons, Deven and Joel Berryhill. In 2003, Berryhill's band re-recorded "Wipe Out" and eight original songs, which is what he wanted to do for the first "Wipe Out" session in 1962. At the time, the boys just 15 and 17 years old were forced to play other writers' songs, not by The Surfaris, which were later replaced by the company's players while The Surfaris were on tour. Lawsuits ensued in favor of The Surfaris. In 2015, Berryhill recorded and released the album entitled The Surfaris Hurley Sessions.

Members

 * Jim Fuller – lead guitar (1962–1966, 1981–2017; died 2017)
 * Pat Connolly – bass (1962–1965)
 * Ron Wilson – vocals, drums (1962–1966; died 1989)
 * Jim Pash – saxophone, guitar (1963–1966, 1981–2005; died 2005)
 * Bob Berryhill – rhythm guitar (1962–1966, 1981–1983)
 * Ken Forssi – bass (1965–1966)
 * Jay Truax – bass (1984–2017?)
 * Rob Watson - Keyboards
 * Dave Raven - Drums
 * Dusty Watson - Drums
 * Paul Johnson - Lead Guitar
 * Ron Eglit - Rhythm Guitar
 * Kelly Lammers - Guitar (1981?–1984?)
 * Chris Pritchard - Guitar (198*?–1987)
 * Louis Fagenson - Guitar, Slide Guitar, Keyboards (198*?–1987?)
 * Don Murray - vocals, drums (1981–1996)
 * John Mehler - vocals, drums (1986–?)
 * Scott Lash - Guitar (1987–1988)

The Surfaris featuring Jim Fuller and Jim Pash
Jim Pash/Jim Fullers Surfaris managed by John Reisman/Lyra Records & Productions

 * Jim Fuller - vocals, rhythm guitar
 * Jim Pash - vocals, saxophone
 * Don Murray - vocals, drums
 * John Mehler - vocals, drums, percussion
 * Chris Pritchard - vocals, lead/rhythm guitar (198*?–1987)
 * Scott Lash vocals, lead/rhythm guitar (1987–1988)
 * Louis Fagenson - vocals, guitar, slide guitar, keyboards

The Surfaris featuring Bob Berryhill
The lineup of Berryhill's Surfaris has been stable since its 2000 founding.
 * Bob Berryhill – lead guitar
 * Deven Berryhill – vocals, v guitar
 * Gene Berryhill – bass
 * Joel Berryhill – vocals, drums

Albums

 * 1963: Wipe Out (Dot DLP-3535/DLP-25535)
 * 1963: Play (Decca DL-4470/DL-74470)
 * 1964: Hit City '64 (Decca DL-4487/DL-74487)
 * 1964: Fun City U.S.A. (Decca DL-4560/DL-74560)
 * 1965: Hit City '65 (Decca DL-4614/DL-74614)
 * 1965: It Ain't Me, Babe (Decca DL-4683/DL-74683)
 * 1983: Surf Party! The Best of The Surfaris Live! [rec. 1981] (Koinkidink KWK-102; CD reissue: GNP Crescendo GNPD-2239, 1994)
 * 2003: Basic Tracks by Jim Fuller's Surfaris (Got It Records #0101)
 * 2005: Wipe Out by Bob Berryhill's Surfaris (Calvary Chapel Music #6021)
 * 2006: Street Party by Jim Fuller's Surfaris (Heyday Records #35753)
 * 2015: Hurley Sessions by Bob Berryhill's Surfaris (Salt Talk Music #41662)

Singles

 * 4/63: "Wipe Out" // "Surfer Joe" (DFS 11/12; Princess 50; Dot 16479)
 * 9/63: "Point Panic" // "Waikiki Run" (Decca 31538)
 * 11/63: "Santa's Speed Shop" // "A Surfer's Christmas List" (Decca 31561)
 * 12/63: "Scatter Shield" // "I Wanna Take a Trip to the Islands" (Decca 31581)
 * 3/64: "Go Go Go for Louie's Place" // "Murphy the Surfie" (Decca 31605)
 * 6/64: "Dune Buggy" // "Boss Barracuda" (Decca 31641)
 * 10/64: "Karen" // "Hot Rod High" (Decca 31682)
 * 1/65: "Beat '65" // "Black Denim" (Decca 31731)
 * 5/65: "Theme Of The Battle Maiden" // "Somethin' Else" (Decca 31784)
 * 7/65: "You Can't Sit Down" // "Surfer Joe" (Dot 16757)
 * 8/65: "Catch a Little Ride With Me" // "Don't Hurt My Little Sister" (Decca 31835)
 * 4/66: "So Get Out" // "Hey Joe Where Are You Going" (Decca 31954)
 * 8/66: "I'm a Hog for You" // "Wipe Out" (Decca 32003)
 * 10/66: "Show Biz" // "Chicago Green" (Dot 16966)
 * 4/67: "Search" // "Shake" (Dot 17008)

Compilations

 * 1973: Yesterday's Pop Scene: The Surfaris – Wipe Out!
 * 1974: Wipe Out, Surfer Joe and Other Great Hits
 * 1976: Surfers Rule
 * 1977: Gone with the Wave
 * 1978: Shut Down – Music from the original soundtrack
 * 1982: The History of Surf Music – Vol. 1: The Instrumental Hits 1961–1963
 * 1984: Wipe Out: 20 Instrumental Greats
 * 1987: Wipe Out (The Singles Album 1963–1967)
 * 1987: The Best of 60s Surf (Original Master Recordings)
 * 1989: Surfin' Hits
 * 1989: Surfin' Sixties (Baby Boomer Classics)
 * 1990: Fun City U.S.A. / Play (Repertoire)
 * 1991: Guitar Player Presents...Legends Of Guitar: Surf – Vol. 1
 * 1994: Wipe Out! The Best of the Surfaris
 * 1994: Rock Instrumental Classics – Vol. 5: Surf
 * 1995: Pulp Rock Instros – Vol. 1
 * 1995: Surfaris Stomp
 * 1995: Revenge of the Surf Instrumentals
 * 1996: Cowabunga! The Surf Box Set
 * 1996: Teen Beat – Vol. 3
 * 1996: Let's Go Trippin' (Classic Tracks from the Surf & Hot Rod Era)
 * 1996: Surf Crazy: Original Surfin' Hits
 * 1996: Jenny McCarthy's Surfin' Safari
 * 1997: Guitar Heroes
 * 1997: Hot Rod Presents...Big Boss Instrumentals
 * 1997: Kahuna Classics: A Collection of Surf Music
 * 1998: Hard Rock Cafe – Surf
 * 1998: Surf! Sand! Sun!
 * 1998: Surfers Rule / Gone with the Wave (BGO)
 * 1999: Wipe Out / Play (BGO)
 * 2000: KFJC 89.7 – Water Logged
 * 2000: Teen Beat – Vol. 5
 * 2003: Lost Legends of Surf Guitar – Vol. 2: Point Panic!
 * 2005: Hit City '64 / Fun City U.S.A. (BGO)

title: The Surfaris


text:
Talk:Writing system

Runic systems
How come "Runic Futhark" and "Anglo-Saxon Futhorc" both gets mentioned? The Old English variant is a bit different, I agree, but so is Slovene and Hungarian and German, you don't see them listed with special entries?? --Gabbe 00:07 Jan 10, 2003 (UTC)

 * I belive the Anglo-Saxon runes are are considered disctinct from the Germantic runes due to the addition of a number of letters (seven in all, if I remember correctly). Wether this justifies listing as a seperate writing system is debateable, but the Anglo-Saxon runes are a not simply specific usage of Germantic runes. -- Levi Aho 2004-12-21 13:32:27 (UTC)

Syllabaries vs. abugidas
I've always found this thing confusing. As I see it, in syllabaries, every syllable is represented by a grapheme, with usually no visual correspondence between related syllables. Whereas, in abugidas, there's a base syllable which is "modified" by markers, such as those for vowels in Devanagari. So why is it a given that abugidas have to have an inherent vowel (acc. to the article)? Why can't it be that the base grapheme in an abugida represents only the consonant? Or if such a writing system is termed something different, what would it be? Ambarish 29 June 2005 06:57 (UTC)

 * That's a bit of a philosophical difference: are we simply not bothering to write /a/ (as most vowels are treated in an abjad), or do we have a bunch of true /pa ta ka/ etc. syllables that are modified for other vowels? I guess you could ask the same thing about tone in the Latin alphabet: if the three tones of a language are written á a à, does that mean that we simply aren't bothering to write mid tone, or does a have an inherent mid tone that is modified by adding diacritics? Not so straightforward.

 * It's probably best to consider how the script is conceived of by the people who use it. Being raised with a (true) alphabet, it's easy for us to see abugidas as alphabetical. However, Ethiopic (the prototypical abugida) is learned and treated as a syllabary: each CV combination is learned and read as a separate syllable; similarities between syllables are simply convenient mnemonics. Thus the old label "alphasyllabary": alphabetic in conception, but syllabic in use. Something similar occurs with Hangul: its conception may be featural, but it's learned and used just like an alphabet.

 * I don't know how Indian abugidas are conceived of by their users. However, given the natural human bias toward syllabaries, I wouldn't be surprised if each basic letter were considered an inherent syllable by most users. kwami 20:23, 2005 July 16 (UTC)

Grapheme vs Character
This article treats the terms grapheme and character as synonymous, but the article on graphemes does not mention "character" at all. Please see my comment on Talk:Grapheme. I am mainly interested in providing as much disambiguation as possible between this usage of "character" and character (computing). Thanks —mjb 9 July 2005 03:37 (UTC)

Question on external link
I don't understand the relevancy of the link "A Typographic Outcry: a curious perspective". Can someone elaborate? The link also exists in Logogram and Chinese character.

Atzin contreras cruz xv
Hold iglish leters 24.11.124.223 (talk) 18:50, 1 February 2023 (UTC)

618670092
Cabdimaxamedmuxumd 197.220.90.39 (talk) 19:33, 11 March 2023 (UTC)

Wiki Education assignment: Linguistics in the Digital Age
— Assignment last updated by Jacobtristano (talk) 02:40, 9 May 2023 (UTC)

Gkvibvykxuykf bhi
fjvyfxukxinb

Gibib Hknbk 36.37.197.33 (talk) 06:53, 9 August 2023 (UTC)

General properties of writing material
General properties of writing material 39.50.226.1 (talk) 05:21, 11 October 2023 (UTC)

Library science
General properties of writing material 39.50.226.1 (talk) 05:22, 11 October 2023 (UTC)

 * 39 39.50.226.1 (talk) 05:22, 11 October 2023 (UTC)

Asaba
Asaba Mahammad — Preceding unsigned comment added by 196.191.61.153 (talk) 17:00, 10 January 2024 (UTC)

Chinese characters
In |this edit, user:Remsense changed this
 * A similar debate exists for the Chinese script, which developed around 1200 BC.

into this
 * Chinese characters were developed independently c. 1200 BC in the Yellow River valley. There is no evidence of contact between China and the literate peoples of the Near East, and the Mesopotamian and Chinese approaches to logography and phonetic representation are distinct.

without changing the source. I do not have access to the source, but it looks like we now may have text not supported by the source given. Can someone please either verify, possibly replace the source, or revert the change? Nø (talk) 10:06, 14 February 2024 (UTC)

 * I am taking another pass as we speak, thank you for your vigilance. Remsense  诉  20:54, 14 February 2024 (UTC)
 * @Nø, Bagley's chapter does not imply any actual debate among experts that Chinese characters may have been inspired by existing writing from Mesopotamia or Egypt. Remsense  诉  21:14, 14 February 2024 (UTC)
 * Of course, if the current text correctly reflects the source, all is good - thank you! Nø (talk) 11:02, 15 February 2024 (UTC)

Split into Glossary
There's a lot of vertical space in this article that could potentially be fashioned into a WP:Glossary article, maybe Glossary of writing systems. thoughts? Remsense 诉  23:35, 14 February 2024 (UTC)

“Representation” in lede
Before February, the first sentence was: "A writing system is a method of visually representing verbal communication based on a script and an orthography or set of rules regulating its use." Currently it is: "A writing system comprises a particular set of symbols, called a script, as well as the rules by which the script represents a particular spoken language." Representing “verbal communication” is something different than “a particular spoken language” – and the former better describes what a writing system actually does. — Christoph Päper 09:03, 19 February 2024 (UTC)

 * [Representing verbal communication] better describes what a writing system actually does
 * Not as far as I can tell from sources. While this is one of the stickiest wickets imaginable, writing tends to be defined by linguists and lexicographers as representing spoken language. Remsense  诉  10:02, 19 February 2024 (UTC)
 * As far as I can see, the two versions say the same, except for one thing: Where the old says "verbal communication", the new says "a particular spoken language". In reality, I suppose "verbal communication" means "spoken language" (what else?), and a script representing it will represent a "specific language" (what else?), making this difference rather unimportant. I kind of dislike both definitions; I think writing could exist without link to spoken language, e.g., ideograms unrelated to phonetic value. Even if that is rare-to-nonexistent in the real world, a hypothetical pure ideogram system should and would be considered writing, I think. But what I think does not matter; sources and experts do. So I ask: Is there any real difference in the circumscription of "writing" implied by the two versions? Nø (talk) 11:32, 20 February 2024 (UTC)
 * There is an incredible gap between "communication" and "language"—for one thing, many non-human animals are capable of the former but have never satisfactorily demonstrated the latter. "Verbal communication" is a needlessly roundabout way to say "language", and may be more easily conflated with "vocal communication".
 * Relatedly, the ability to represent spoken language is indeed present in most coherent definitions of "writing" and "writing system" I've read in the literature. Due to the first difference being enormous, this too is an enormous difference. Remsense  诉  11:36, 20 February 2024 (UTC)
 * The current wording simply sounds like phonocentrism. While some scholars subscribe to it, it’s not consensus at all.
 * You cannot have a writing system without a language, but can even have multiple ones (e.g. Chinese). Every human language has a spoken form, which can be vocal-aural or gestural-visual. Some languages have multiple written forms, which are usually visual or tactile.
 * What I have an issue with is the notion that a writing system governs how a written language represents a spoken language, because in reality their relationship is always way more complex and by no means unidirectional. Meanwhile, “spoken” has been removed from the sentence, which makes it a lot bette already. — Christoph Päper 17:49, 21 February 2024 (UTC)
 * I agree that "represents" creates that connotation, which I myself also have the same issue with. What do you suggest to improve it? Remsense  诉  23:09, 21 February 2024 (UTC)
 * I've been thinking about this, and would replacing "language" with "written language" suffice? It feels a bit tautological to me, but I'm not sure how else to get across that writing represents and is in itself language. Remsense  诉  15:37, 22 February 2024 (UTC)

title: Talk:Writing system


text:
Calgary Outlaws (baseball)

The Calgary Outlaws were an independent minor league baseball team in the Canadian Baseball League. Based in Calgary, Alberta, they shared Foothills Stadium with the Calgary Dawgs. In 2003, the only Canadian Baseball League season, they had the best record when the league was suspended at the All-Star break and were thus awarded the Jenkins Cup.

title: Calgary Outlaws (baseball)


text:
Memoir

A memoir is any nonfiction narrative writing based on the author's personal memories. The assertions made in the work are thus understood to be factual. While memoir has historically been defined as a subcategory of biography or autobiography since the late 20th century, the genre is differentiated in form, presenting a narrowed focus, usually a particular time phase in someone's life or career. A biography or autobiography tells the story "of a life", while a memoir often tells the story of a particular career, event, or time, such as touchstone moments and turning points in the author's life. The author of a memoir may be referred to as a memoirist or a memorialist.

Early memoirs
Memoirs have been written since the ancient times, as shown by Julius Caesar's Commentarii de Bello Gallico, also known as Commentaries on the Gallic Wars. In the work, Caesar describes the battles that took place during the nine years that he spent fighting local armies in the Gallic Wars. His second memoir, Commentarii de Bello Civili (or Commentaries on the Civil War) is an account of the events that took place between 49 and 48 BC in the civil war against Gnaeus Pompeius and the Senate. The noted Libanius, teacher of rhetoric who lived between an estimated 314 and 394 AD, framed his life memoir as one of his literary orations, which were written to be read aloud in the privacy of his study. This kind of memoir refers to the idea in ancient Greece and Rome, that memoirs were like "memos", or pieces of unfinished and unpublished writing, which a writer might use as a memory aid to make a more finished document later on.

The Sarashina Nikki is an example of an early Japanese memoir, written in the Heian period. A genre of book writing, Nikki Bungaku, emerged during this time. In the Middle Ages, Geoffrey of Villehardouin, Jean de Joinville, and Philippe de Commines wrote memoirs, while the genre was represented toward the end of the Renaissance, through the works of Blaise de Montluc and Margaret of Valois, that she was the first woman to write her Memoirs in modern-style.

Until the Age of Enlightenment encompassing the 17th and 18th centuries, works of memoir were written by Anthony Ashley-Cooper, 1st Earl of Shaftesbury; François de La Rochefoucauld, Prince de Marcillac of France; and Louis de Rouvroy, duc de Saint-Simon, who wrote Memoirs at his family's home at the castle of La Ferté-Vidame. While Saint-Simon was considered a writer possessing a high level of skill for narrative and character development, it was not until well after his death that his work as a memoirist was recognized, resulting in literary fame.

From the eighteenth century
Over the latter half of the 18th through the mid-20th century, memoirists generally included those who were noted within their chosen profession. These authors wrote as a way to record and publish their own account of their public exploits. Authors included politicians or people in court society and were later joined by military leaders and businessmen. An exception to these models is Henry David Thoreau's 1854 memoir Walden, which presents his experiences over the course of two years in a cabin he built near Walden Pond.

Twentieth-century war memoirs became a genre of their own, including, from the First World War, Ernst Jünger (Storm of Steel) and Frederic Manning's Her Privates We. Memoirs documenting incarceration by Nazi Germany during the war include Primo Levi's If This Is a Man, which covers his arrest as a member of the Italian Resistance Movement, followed by his life as a prisoner in Auschwitz; and Elie Wiesel's Night, which is based on his life prior to and during his time in the Auschwitz, Buna Werke, and Buchenwald concentration camps.

Memoirs today
In the early 1990s, memoirs written by ordinary people experienced a sudden upsurge, as an increasing number of people realized that their ancestors' and their own stories were about to disappear, in part as a result of the opportunities and distractions of technological advances. At the same time, psychology and other research began to show that familiarity with genealogy helps people find their place in the world and that life review helps people come to terms with their own past.

With the advent of inexpensive digital book production in the first decade of the 21st century, the genre exploded. Memoirs written as a way to pass down a personal legacy, rather than as a literary work of art or historical document, are emerging as a personal and family responsibility.

The Association of Personal Historians was a trade association for professionals who assisted individuals, families, and organizations in documenting their life stories. It dissolved in 2017.

Collections
With the expressed interest of preserving history through the eyes of those who lived it, some organizations work with potential memoirists to bring their work to fruition. The Veterans History Project, for example, compiles the memoirs of those who have served in a branch of the United States Armed Forces – especially those who have seen active combat.

Terminology
Memoirs are usually understood to be factual accounts of people's lives, typically from their early years, and are derived from the French term mémoire, meaning "reminiscence" or "memory." However, some works, which may be called free memoirs, are less strictly bound to remembered facts: "One type of life story is the free memoir, a form of nonfiction that, in presenting the past, deviates from factual and literal accuracy. This play of truth distinguishes the free memoir from the memoir per se, the word 'free' meaning what it does in free translation, that is, 'not literal or exact.'”

Academia
The term 'memoir' is used in some academic contexts to describe an essay on a learned subject. Examples include explanatory texts accompanying geologic maps.

title: Memoir


text:
Twin Earth thought experiment

Twin Earth is a thought experiment proposed by philosopher Hilary Putnam in his papers "Meaning and Reference" (1973) and "The Meaning of 'Meaning (1975). It is meant to serve as an illustration of his argument for semantic externalism, or the view that the meanings of words are not purely psychological. The Twin Earth thought experiment was one of three examples that Putnam offered in support of semantic externalism, the other two being what he called the Aluminum-Molybdenum case and the Beech-Elm case. Since the publication of these cases, numerous variations on the thought experiment have been proposed by philosophers.

The thought experiment
Putnam's original formulation of the experiment was this: We begin by supposing that elsewhere in the universe there is a planet exactly like Earth in virtually all aspects, which we refer to as "Twin Earth". (We should also suppose that the relevant surroundings are exactly the same as for Earth; it revolves around a star that appears to be exactly like our sun, and so on). On Twin Earth, there is a Twin equivalent of every person and thing here on Earth. The one difference between the two planets is that there is no water on Twin Earth. In its place there is a liquid that is superficially identical, but is chemically different, being composed not of H2O, but rather of some more complicated formula which we abbreviate as "XYZ". The Twin Earthlings who refer to their language as "English" call XYZ "water". Finally, we set the date of our thought experiment to be several centuries ago, when the residents of Earth and Twin Earth would have no means of knowing that the liquids they called "water" were H2O and XYZ respectively. The experience of people on Earth with water and that of those on Twin Earth with XYZ would be identical.

Now the question arises: when an Earthling (or Oscar for simplicity's sake) and his twin on Twin Earth say 'water', do they mean the same thing? (The twin is also called 'Oscar' on his own planet, of course. Indeed, the inhabitants of that planet call their own planet 'Earth'. For convenience, we refer to this putative planet as 'Twin Earth', and extend this naming convention to the objects and people that inhabit it, in this case referring to Oscar's twin as Twin Oscar.) Ex hypothesi, they are in identical psychological states, with the same thoughts, feelings, etc. Yet, at least according to Putnam, when Oscar says 'water', the term refers to H2O, whereas when Twin Oscar says 'water' it refers to XYZ. The result of this is that the contents of a person's brain are not sufficient to determine the reference of terms they use, as one must also examine the causal history that led to this individual acquiring the term. (Oscar, for instance, learned the word 'water' in a world filled with H2O, whereas Twin Oscar learned 'water' in a world filled with XYZ.)

This is the essential thesis of semantic externalism. Putnam famously summarized this conclusion with the statement that meanings' just ain't in the head."

Criticism
In his original article, Putnam had claimed that the reference of the twins' "water" varied even though their psychological states were the same. Tyler Burge subsequently argued in "Other Bodies" (1982) that the twins' mental states are different: Oscar has the concept H2O, while Twin Oscar has the concept XYZ. Putnam has since expressed agreement with Burge's interpretation of the thought experiment. (See Putnam's introduction in Pessin and Goldberg 1996, xxi.)

A number of philosophers have argued that "water" for both Oscar and Twin Oscar refers to anything that is sufficiently water-like (i.e. the term's extension includes both H2O and XYZ). They reject, therefore, the contention that "water" is a rigid designator referring to H2O. John Searle, for example, argues (Intentionality: An Essay in the Philosophy of Mind) that, once we discover that our water is H2O, we have the choice of either redefining it as H2O (a classical reduction redefinition) or continuing to allow the term water to refer to anything with the basic properties of water (transparency, wetness, etc.). Searle suggests that in the Twin-Earth example, the second seems more plausible, since if Twin Earth doesn't have water, then all its water-based products will also be different. Twin ice cream, for example, will be constitutionally different, yet we will still be tempted to call it ice cream. Searle, along with others, considers this sufficient argument to "solve" the thought experiment altogether; others, such as Donald Davidson, feel that variations on the experiment can be used to draw some of the same conclusions.

Paul Boghossian raised an objection to the class of Twin-Earth-style arguments for externalism in the form of an argument that aims to show that externalism is incompatible with privileged self-knowledge. Here, privileged self-knowledge is taken to be the idea that one can know the content of one's thoughts without having to investigate the external world (for empirical evidence). Although this type of argument does not directly disprove externalism, it is pressing because of the intuitive plausibility of privileged self-knowledge's existence.

Some philosophers believe that such science-fiction thought experiments (like the Twin-Earth) should be examined carefully. They argue that when a thought experiment describes a state of affairs that is radically different from the actual one (or what we think it to be), our intuitions can become unreliable, and hence the philosophical conclusions drawn from them may also be unreliable. Daniel Dennett calls Twin Earth and other experiments like it "intuition pumps", as they are designed in such a way to allow the thinker to use their intuition to guide them through the problem. Some philosophers take the Twin-Earth thought experiment/intuition pump to engage faulty intuitions, and hence lead to faulty conclusions. Phil Hutchinson, for example, notes that a) if one looks at Putnam's own later criticisms of others (for example his criticisms of Jaegwon Kim in his book The Threefold Cord) one finds that implicitly he criticises his own earlier self; and b) that the persuasive power of the Twin Earth thought experiment/intuition pump relies on our turning a blind eye to aspects of the experiment in order that it establish that which Putnam claims it to. In short, the thought experiment is set up in such a way that one's intuitions will be pumped in the desired direction.

John McDowell, in his paper "Putnam on Mind and Meaning", criticised Putnam for still having in play a latent commitment to a picture of the mind as modelled on the brain and located in the head. Putnam has since conceded the point and subscribes to McDowell's neo-Wittgensteinian therapeutic invocation of the mind as a structured system of object involving abilities (what Putnam has since defended as a neo-Aristotelian picture of mind ). Phil Hutchinson has since argued that this concession to McDowell means that the distinction which Putnam wishes to operationalize, between intension and extension, is now problematized.

John Dupré, in a number of papers and mainly in his paper "Natural Kinds and Biological Taxa", has demonstrated that the theory of natural kinds, which many have taken to be established and/or supported by Putnam's Twin Earth thought experiment does not find support in the practice of scientific classification. Avrum Stroll has produced probably the most comprehensive critique of the program of natural kind semantics (both Putnam's and Kripke's) in his book Sketches of Landscapes. Putnam, who is well known for changing his philosophical positions on a variety of issues, criticized the experiment later in life because it is anti-functionalist.

title: Twin Earth thought experiment


text:
Gospel music

Gospel music is a genre of Christian Music that spreads the word of God and a cornerstone of Christian media. The creation, performance, significance, and even the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. Gospel music is characterized by dominant vocals and strong use of harmony with Christian lyrics. Gospel music can be traced to the early 17th century.

Hymns and sacred songs were often performed in a call and response fashion, heavily influenced by ancestral African music. Most of the churches relied on hand-clapping and foot-stomping as rhythmic accompaniment. Most of the singing was done a cappella. The first published use of the term "gospel song" appeared in 1874.

The original gospel songs were written and composed by authors such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby. Gospel music publishing houses emerged. The advent of radio in the 1920s greatly increased the audience for gospel music. Following World War II, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate.

Black and Southern gospel music are largely responsible for gospel's continued presence in contemporary Christian music, with soul music by far the best-known popular music variant. The styles emerged from the African-American music and American folk music traditions and have evolved in various ways over the years, continuing to form the basis of Black church worship even today. It has also come to be used in churches of various other cultural traditions (especially within Pentecostalism) and, via the gospel choir phenomenon spearheaded by Thomas Dorsey, has become a form of musical devotion worldwide. Southern used all-male, tenor-lead-baritone-bass quartets. Progressive Southern gospel has grown out of Southern gospel over the past couple of decades. Christian country music, sometimes referred to as country gospel music, is a subgenre of gospel music with a country flair. It peaked in popularity in the mid-1990s. Bluegrass gospel music is rooted in American mountain music. Celtic gospel music infuses gospel music with a Celtic flair, and is quite popular in countries such as Ireland. British black gospel refers to Gospel music of the African diaspora produced in the United Kingdom.

History
According to Yale University music professor Willie Ruff, the singing of psalms in Scottish Gaelic by Presbyterians of the Scottish Hebrides evolved from "lining out"—where one person sang a solo and others followed—into the call and response of gospel music of the American South. Another theory notes foundations in the works of Isaac Watts and others.

Moreover, the genre arose during a time when literacy was not a guarantee, utilizing a great deal of repetition (which, unlike more traditional hymns, allowed those who could not read the opportunity to participate).

18th century
Perhaps the most famous gospel-based hymns were composed in the 1760s and 1770s by English writers John Newton ("Amazing Grace") and Augustus Toplady ("Rock of Ages"), members of the Anglican Church. Starting out as lyrics only, it took decades for standardized tunes to be added to them. Although not directly connected with African-American gospel music, they were adopted by African-Americans as well as white Americans, and Newton's connection with the abolition movement provided cross-fertilization.

Holiness-Pentecostal era (19th century)
The first published use of the term "Gospel song" probably appeared in 1874 when Philip Bliss released a songbook entitled ''Gospel Songs. A Choice Collection of Hymns and Tunes''. It was used to describe a new style of church music, songs that were easy to grasp and more easily singable than the traditional church hymns, which came out of the mass revival movement starting with Dwight L. Moody, whose musician was Ira D. Sankey, as well as the Holiness-Pentecostal movement. Prior to the meeting of Moody and Sankey in 1870, there was an American rural/frontier history of revival and camp meeting songs, but the gospel hymn was of a different character, and it served the needs of mass revivals in the great cities.

The revival movement employed popular singers and song leaders, the most famous of them being Ira D. Sankey. The original "gospel" songs were written and composed by authors such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby. As an extension to his initial publication Gospel Songs, Philip Bliss, in collaboration with Ira D. Sankey issued no's. 1 to 6 of Gospel Hymns in 1875. Sankey and Bliss's collection can be found in many libraries today.

The popularity of revival singers and the openness of rural churches to this type of music (in spite of its initial use in city revivals) led to the late 19th and early 20th century establishment of gospel music publishing houses such as those of Homer Rodeheaver, E. O. Excell, Charlie Tillman, and Charles Tindley. These publishers were in the market for large quantities of new music, providing an outlet for the creative work of many songwriters and composers.

The advent of radio in the 1920s greatly increased the audience for gospel music, and James D. Vaughan used radio as an integral part of his business model, which also included traveling quartets to publicize the gospel music books he published several times a year. Virgil O. Stamps and Jesse R. Baxter studied Vaughan's business model and by the late 1920s were running heavy competition for Vaughan. The 1920s also saw the marketing of gospel records by groups such as the Carter Family.

Emergence of Black gospel (1920s–1970s)
The Pentecostal movement quickly made inroads with churches not attuned to the Europeanized Black church music that had become popular over the years since Emancipation. These congregations readily adopted and contributed to the gospel music publications of the early 20th century. Sister Rosetta Tharpe, pioneer of rock and roll, soon emerged from this tradition as the first great gospel recording artist. The first person to introduce ragtime to gospel (and the first to play piano on a gospel recording) was Arizona Dranes.

The 1930s saw the rise of Black gospel quartets such as the Five Blind Boys of Mississippi and the Five Blind Boys of Alabama. In addition to these high-profile quartets, there were many Black gospel musicians performing in the 1920s and 30s, usually playing the guitar and singing in the streets of Southern cities.

In the 1930s, in Chicago, Thomas A. Dorsey turned to gospel music, establishing a publishing house. It has been said that 1930 was the year traditional black gospel music began, as the National Baptist Convention first publicly endorsed the music at its 1930 meeting. Dorsey was responsible for developing the musical careers of many African-American artists, such as Mahalia Jackson (best known for her rendition of his "Precious Lord, Take My Hand").

Meanwhile, radio continued to develop an audience for gospel music, a fact that was commemorated in Albert E. Brumley's 1937 song, "Turn Your Radio On" (which is still being published in gospel song books). (In 1972, a recording of "Turn Your Radio On" by the Lewis Family was nominated for Gospel Song of the Year.)

In 1964, the Gospel Music Association was established, which in turn began the Dove Awards (in 1969) and the Gospel Music Hall of Fame (in 1972). Both of the latter two groups began primarily for Southern gospel performers, but in the late 1970s, began including artists of other subgenres, which brought in many Black artists. Also in 1969, James Cleveland established the Gospel Music Workshop of America, a Black gospel outlet.

Late 20th-century musicians such as Elvis Presley, Jerry Lee Lewis, and the Blackwood Brothers were also known for their gospel influences and recordings.

Contemporary Black gospel and gospel rap (1970s–present)
Urban contemporary gospel emerged in the late 1960s and early 70s with Walter Hawkins highly popular "Oh Happy Day" which is still performed worldwide in the 2000. Artists such as James Cleveland, Aretha Franklin, the Clark Sisters, Andraé Crouch and Richard Smallwood followed crossing over musically and gaining notoriety, and this pattern would repeat itself in subsequent decades, with new artists like Yolanda Adams and Kirk Franklin making increasingly more bold forays into the secular world with their musical stylings. The current sphere of Black gospel recording artists is almost exclusively of the urban contemporary bent.

Also of note is the rise of Christian (or gospel) rap/hip-hop, which has gained increasing popularity since the days of the Gospel Gangstaz and The Cross Movement. Often considered a subgenre of urban contemporary gospel, Christian rap has become dominated in present times by artists from Reach Records, who have seen perhaps the most commercial success of any artists in the gospel genre; Lecrae (the label's founder and preeminent artist) has charted in the top 10 of on the Billboard 200 three times, with his 2014 album "Anomaly" debuting at No. 1.

Traditional
Traditional Black gospel music is the most well-known form, often seen in Black churches, non-Black Pentecostal and evangelical churches, and in entertainment spaces across the country and world. It originates from the Southeastern United States ("the South"), where most Black Americans lived prior to the Great Migration. This music was highly influenced by the hymnody of the spirituals and of Watts and, later, the musical style and vision of Dorsey. Whereas northern Black churches did not at first welcome Dorsey's music (having become accustomed to their own more Eurocentric flavorings), after the Southern migrants' new churches became more popular, so did gospel music, gospel choirs, and the general trend toward exclusive use of this music in Black churches. Dorsey, Mahalia Jackson, the Mississippi Mass Choir, and the Georgia Mass Choir are but a few notable examples.

Urban contemporary
Developing out of the fusion of traditional Black gospel with the styles of secular Black music popular in the 70s and 80s, Urban Contemporary gospel is the most common form of recorded gospel music today. It relies heavily on rhythms and instrumentation common in the secular music of the contemporary era (often including the use of electronic beats), while still incorporating the themes and heritage of the traditional Black gospel genre. Kirk Franklin is the foremost (and by far the bestselling) individual in this genre, while Andrae Crouch, the Clark Sisters, and Yolanda Adams are also very popular and noteworthy.

British
British black gospel refers to gospel music of the African diaspora in the UK. It is also often referred to as "UK gospel". The distinctive sound is heavily influenced by UK street culture with many artists from the African and Caribbean majority black churches in the UK. The genre has gained recognition in various awards such as the GEM (Gospel Entertainment Music) Awards, MOBO Awards, Urban Music Awards and has its own Official Christian & Gospel Albums Chart.

Southern gospel music
Southern gospel music comes from the Southeastern United States and is similar in sound to Christian country music, but it sometimes known as "quartet music" for its traditional "four men and a piano" set up. The genre, while remaining predominantly White, began to integrate Black gospel stylings in the 1960s. It has evolved over the years into a popular form of music across the United States and overseas, especially among baby boomers and those living in the South. Like other forms of music the creation, performance, significance, and even the definition of southern gospel varies according to culture and social context. It is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace.

Christian country music
Christian country music, sometimes referred to as country gospel music, is a subgenre of gospel music with a country flair, is also known as inspirational country. Christian country over the years has progressed into a mainstream country sound with inspirational or positive country lyrics. In the mid-1990s, Christian country hit its highest popularity. This popularity was such that mainstream artists like Larry Gatlin, Charlie Daniels and Barbara Mandrell, just to name a few, began recording music that had this positive Christian country flair. These mainstream artists have now become award winners in this genre.

Comparison to other hymnody
Some proponents of "standard" hymns generally dislike gospel music of the late 19th and early 20th centuries, believing that it emphasizes emotion over doctrine. For example, Patrick and Sydnor complain that commercial success led to a proliferation of such music, and "deterioration, even in a standard which to begin with was not high, resulted." They went on to say, "there is no doubt that a deterioration in taste follows the use of this type of hymn and tune; it fosters an attachment to the trivial and sensational which dulls and often destroys sense of the dignity and beauty which best befit the song that is used in the service of God."

Gold reviewed the issue in 1958, and collected a number of quotations similar to the complaints of Patrick and Sydnor. However, he also provided this quotation: "Gospel hymnody has the distinction of being America's most typical contribution to Christian song. As such, it is valid in its inspiration and in its employment."

Today, with historical distance, there is a greater acceptance of such gospel songs into official denominational hymnals. For example, the United Methodist Church made this acceptance explicit in The Faith We Sing, a 2000 supplement to the official denominational hymnal. In the preface, the editors say, "Experience has shown that some older treasures were missed when the current hymnals were compiled."

Archival sources

 * USC Gospel Music History Archive
 * Finding aid to Camille Taylor collection of Black Music Caucus Gospel Choir Competition recordings at Columbia University. Rare Book & Manuscript Library.
 * Guide to the Gospel Sheet Music Collection, Center for Black Music Research, Columbia College Chicago

Professional organizations

 * Gospel Music Association – Acknowledges all forms of gospel/Christian music
 * Gospel Viu – Gospel Without Borders
 * Gospel Wire – Primarily urban contemporary gospel
 * Pacific Gospel Music Association – Known for Southern gospel
 * Southern Gospel Music Association
 * Gospel Music Information
 * Festival Lumen – the biggest gospel music festival in central Europe

Media outlets

 * Black Family Channel
 * Bobby Jones Gospel
 * Christian Broadcasting Network
 * Daystar Television Network
 * Gospel Music Channel
 * The Inspirational Network
 * Trinity Broadcasting Network

title: Gospel music