text:
User talk:6birc

[Earliest]

 * Hey, greetings and all that. I'm not sure why, but you left a message at some point on my userpage asking me: What is the difference between secretive, secretory and secret in English? (BTW, for future reference, if you put a question on a person's talk page, they'll respond quicker because there will be an asterisk next to their username on the screen.  I just noticed your question now)

A "secret" is a noun, meaning a fact or opinion or idea that one wants to keep all or certain others from knowing. A person or plan or almost anything else can be described as "secretive", meaning they have a tendency towards keeping secrets.

A "secretary" (I guess this is what you mean by "secretory") is a person who acts as assistant to another, generally answering phones, setting appointments and doing other mundane jobs.

Tokerboy 06:00 Jan 3, 2003 (UTC)

 * On the other hand, "secretory" means related to something that's secreted, like saliva, mucus, tears, bile, or a hormone. Which is probably not what was meant.  -- Someone else 06:10 Jan 3, 2003 (UTC)

 * Oops, I should've scrolled down. You left other messages for me.  The difference between "if he were" and "if he was" is confusing and, really, not terribly important.  "If he were" is subjunctive, meaning you're describing something that was not true.  "If he was" is indicative, describing something that may or may not have been true -- the difference is kind of academic, and many English speakers (at least Americans) use them interchangeably, but that is the technical difference. Tokerboy

 * One can survive with doobage in America, but one must be smart to avoid the five-oh (actually not true, it's damn easy to not get arrested as long as you're white). Tokerboy

 * Thanks!—6birc, 18:06, 23 November 2005 (UTC) (...yes, 2005!—not 2003!)

 * Another 5 years later...

While doing some "archive trawling" today, I found the following passage on Tokerboy's nonexistent-anymore user page:Interesting Fact: A random man on the street recently told me he had been asleep for over four-hundred years. Do you know anybody that was alive before Columbus set sail? I didn't think so, so screw you, jerk. That's interesting indeed! Surely it wasn't me?

That passage dates to [ 21:41, 4 October 2002] and was in existence until [ 06:50, 17 February 2003].

—6birc (talk) 17:50, 20 June 2010 (UTC)

Czemu nie założyłeś konta
...na polskiej Wikipedii? Tak chyba byłoby łatwiej :)

—Preceding unsigned comment added by Ejdzej (talk • contribs) 19:14, 25 November 2005 (UTC)

 * 3 years later...

Przyczyna jest dwojaka:

 * 1) PL:Wikipedysta:Wulfstan/Wikisłownik Wulfstana  ("en.wikipedia Fetysz polskich wikipedystów. Piękny, bo duży – duży, bo piękny. Jak każdy fetysz pociąga bezkrytycznie (...)")
 * 2) Czekałem na: PL:Pomoc:Konto uniwersalne. Skutkiem czego, wiele lat później...

...już mam konto na polskiej Wikipedii!

—6birc (talk) 18:49, 14 July 2008 (UTC)

Account Unjustly Blocked
I have discovered that my account "Happyjoe" is blocked from editing due to some sort of misunderstanding over the Big Spring, TX article. I am uncertain who to contact to have this mistake fixed. Please remove this block so that I may complete necessary editing on other articles. Thank you for your timely assistance in resolving this problem... Happyjoe 69.145.215.206 04:15, 27 February 2006 (UTC)

"...a dice is thrown..."
Why in the world would you change "a die is thrown" to "a dice is thrown" (in memorylessness)? "Dice" is the plural of "die". Two dice may be thrown; "a dice is" is ungrammatical. Michael Hardy 01:40, 30 October 2006 (UTC)

—6birc, 19:04, 31 October 2006 (UTC)
 * I apologise. I didn't know that die was singular for dice in English. I thought that someone missed a letter. Incidentally, I've learned what you're telling me independently from Wikipedia just before reading your message, a few days after editing Memorylessness, and I was about to revert it now.

—6birc, 19:34, 31 October 2006 (UTC)
 * Funny enough, I've just done a language test on my native English friend—and a translator—and he had no clue what throwing a die means. He told me that there is no singular for dice and that we say three dice, two dice, one dice. So it's not just I'm not native English and I didn't know. Apparently not even Englishmen realise that. It's rather that my English has just become one more bit better than that of a native Englishman. (Joking.)

I'm surprised that a translator would say that. The irregularity of this particular plural causes some childish confusion, but one expects translators to be beyond that. Here's what the Oxford English Dictionary says:

I. With plural dice. (The form dice (used as pl. and sing.) is of much more frequent occurrence in gaming and related senses than the singular die.)

1. a. A small cube of ivory, bone, or other material, having its faces marked with spots numbering from one to six, used in games of chance by being thrown from a box or the hand, the chance being decided by the number on the face of the die that turns uppermost. Also, a cube bearing other devices on its faces, or a solid with more or less than six faces (see quots.). b. pl. The game played with these; esp. in phr. at (the) dice.

(α) sing. dee, dye, dy, die. 1393 GOWER Conf. II. 209 The chaunce is cast upon a dee, But yet full oft a man may see [etc.]. c1430 Pilgr. Lyf Manhode I. cv. (1869) 56 Nouht so gret as a as in a dee. 1570 LEVINS Manip. 96/41 A dye, alea. 1589 Pappe w. Hatchet (1844) 23 Hee'le cogge the die. 1610 B. JONSON Alch. II. i, You shall no more deale with the hollow die, Or the fraile card. 1656 STANLEY Hist. Philos. VIII. 85 So to cast the dy that it may chance right. 1680 COTTON Gamester in Singer Hist. Cards 336 He puts one dye into the box. 1705 S. CENTLIVRE Gamester I. i, To teach you the management of the die. 1779-81 JOHNSON L.P., Butler Wks. II. 191 To throw a dye, or play at cards. 1822 HAZLITT Table-t. II. vii. 156 Dependent on the turn of a die, on the tossing up of a halfpenny. 1838 DE MORGAN Ess. Probab. 74 The real probability that 6000 throws with a die shall give exactly 1000 aces. 1872 F. HALL Exempl. False Philol. 68 The cast of a die is absolutely impossible of prediction.

But then the dictionary goes on to say:

(γ) singular dice, plural dices: cf. obs. F. sing. dez. 1388 Act 12 Rich. II, c. 6 §1 Les..jeues appellez coytes dyces, gettre de pere. c1425 Voc. in Wr.-Wülcker 666 Hic talus, dyse. c1440 Promp. Parv. 121/1 Dycyn, or pley wythe dycys, aleo. c1450 Bk. Curtasye 228 in Babees Bk. 306 Ne at the dyces with him to play. 1474 CAXTON Chesse 132 He caste thre dyse and on eche dyse was a sise. 1483 Cath. Angl. 99/1 A Dice, taxillus, alea. 1552 HULOET, Dice or die, alea, talus, thessera. 1677 GALE Crt. Gentiles III. 100 Amongst the Grecians {kappa}{upsilon}{beta}{epsilon}{iota}{alpha} signifies a Dice..the cast of a Dice was most casual and incertain. 1751 MRS. E. HEYWOOD Hist. Betsy Thoughtless IV. 202 Protesting never to touch a card or throw a dice again.

Apparently what I think of as "childish confusion" is old and venerable. Nonetheless, I think that in the present century the first form is standard among literate people. Michael Hardy 19:58, 31 October 2006 (UTC)

—6birc, 04:08, 1 November 2006 (UTC)
 * I've also just noticed that our own Wikipedia deals with this linguistic confusion in a satisfactorily elegant manner by providing a description that's both concise and exhaustive at the same time: Because of this, the singular word "die" is rare, but treating "dice" as interchangeably singular or plural is less common; the plural form "dices" is rarer still. (From Dice.)

Just for amusement, our secretary once "corrected" a version of our observatory report to say that we had several "star atlantes" (not "atlases"). I found that "atlas" had two plurals. "Atlases" for collections of maps or the like, and "Atlantes" for two or more statues of Atlas holding up the Earth! Carrionluggage 09:52, 1 November 2006 (UTC)

Please use the Move tab instead of cut&paste to 'rename' articles
EG Spearmint (chewing gum) to Spearmint (flavour). If you have performed similar moves, please report them to Cut and paste move repair holding pen. Thanks. Ravenna1961 06:11, 29 October 2007 (UTC)

I've got the lesson. Thank you!

—6birc, 20:33, 30 October 2007 (UTC)

Talkback
e-mail

ArbCom elections are now open!
MediaWiki message delivery (talk) 08:52, 23 November 2015 (UTC)

title: User talk:6birc


text:
Debenture

In corporate finance, a debenture is a medium- to long-term debt instrument used by large companies to borrow money, at a fixed rate of interest. The legal term "debenture" originally referred to a document that either creates a debt or acknowledges it, but in some countries the term is now used interchangeably with bond, loan stock or note. A debenture is thus like a certificate of loan or a loan bond evidencing the company's liability to pay a specified amount with interest. Although the money raised by the debentures becomes a part of the company's capital structure, it does not become share capital. Senior debentures get paid before subordinate debentures, and there are varying rates of risk and payoff for these categories.

Debentures are freely transferable by the debenture holder. Debenture holders have no rights to vote in the company's general meetings of shareholders, but they may have separate meetings or votes e.g. on changes to the rights attached to the debentures. The interest paid to them is a charge against profit in the company's financial statements.

The term "debenture" is more descriptive than definitive. An exact and all-encompassing definition for a debenture has proved elusive. The English commercial judge, Lord Lindley, notably remarked in one case: "Now, what the correct meaning of 'debenture' is I do not know. I do not find anywhere any precise definition of it. We know that there are various kinds of instruments commonly called debentures."

Attributes

 * A movable property or assets
 * Issued by a company in the form of a certificate of indebtedness
 * Generally specifying the dates of redemption, repayment of principal and payment of interest
 * May or may not create a charge on the assets of the company
 * Corporations in the US often issue bonds of around $1,000, while government bonds are more likely to be $5,000

Debentures gave rise to the idea of the rich "clipping their coupons", which means that a bondholder will present their "coupon" to the bank and receive a payment each quarter (or in whatever period is specified in the agreement).

There are also other features that minimize risk, such as a "sinking fund", which means that the debtor must pay some of the value of the bond after a specified period of time. This decreases risk for the creditors, as a hedge against inflation, bankruptcy, or other risk factors. A sinking fund makes the bond less risky, and therefore gives it a smaller "coupon" (or interest payment). There are also options for "convertibility", which means a creditor may turn their bonds into equity in the company if it does well. Companies also reserve the right to call their bonds, which mean they can call it sooner than the maturity date. Often there is a clause in the contract that allows this; for example, if a bond issuer wishes to rebook a 30-year bond at the 25th year, they must pay a premium. If a bond is called, it means that less interest is paid out.

Failure to pay a bond effectively means bankruptcy. Bondholders who have not received their interest can throw an offending company into bankruptcy, or seize its assets if that is stipulated in the contract.

Security in different jurisdictions
In the United States, debenture refers specifically to an unsecured corporate bond, i.e. a bond that does not have a certain line of income or piece of property or equipment to guarantee repayment of principal upon the bond's maturity. Where security is provided for loan stocks or bonds in the US, they are termed "mortgage bonds".

In the United Kingdom a debenture is usually secured.

In Canada, a debenture refers to a secured loan instrument where security is generally over the debtor's credit, but security is not pledged to specific assets. Like other secured debts, the debenture gives the debtor priority status over unsecured creditors in a bankruptcy.

In Asia, if repayment is secured by a charge over land, the loan document is called a mortgage; where repayment is secured by a charge against other assets of the company, the document is called a debenture; and where no security is involved, the document is called a note or "unsecured deposit note".

Convertibility
There are two types of debentures:

 * 1) Convertible debentures, which are convertible bonds or bonds that can be converted into equity shares of the issuing company after a predetermined period of time. "Convertibility" is a feature that corporations may add to the bonds they issue to make them more attractive to buyers. In other words, it is a special feature that a corporate bond may carry. As a result of the advantage a buyer gets from the ability to convert, convertible bonds typically have lower interest rates than non-convertible corporate bonds.
 * 2) Non-convertible debentures, which are simply regular debentures, cannot be converted into equity shares of the liable company. They are debentures without the convertibility feature attached to them. As a result, they usually carry higher interest rates than their convertible counterparts.

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

title: Debenture


text:
Goldsmiths, University of London

Goldsmiths, University of London, legally the Goldsmiths' College, is a constituent research university of the University of London. It was originally founded in 1891 as The Goldsmiths' Technical and Recreative Institute by the Worshipful Company of Goldsmiths in New Cross, London. It was renamed Goldsmiths' College after being acquired by the University of London in 1904, and specialises in the arts, design, computing, humanities and social sciences. The main building on campus, known as the Richard Hoggart Building, was originally opened in 1844 and is the site of the former Royal Naval School.

According to Quacquarelli Symonds (2021), Goldsmiths ranks 12th in Communication and Media Studies, 15th in Art & Design and is ranked in the top 50 in the areas of Anthropology, Sociology and the Performing Arts. In 2020, the university enrolled over 10,000 students at undergraduate and postgraduate levels. 37% of students come from outside the United Kingdom and 52% of all undergraduates are mature students (aged 21 or over at the start of their studies). Additionally, around a third of students at Goldsmiths are postgraduate students.

Founding
In 1891, the Worshipful Company of Goldsmiths, one of the Livery Companies of the City of London, founded The Goldsmiths' Technical and Recreative Institute (more commonly referred to simply as the "Goldsmiths' Institute" ). The Goldsmiths' Company was established in the 12th century as a medieval guild for goldsmiths, silversmiths, and jewellers. The Livery Company dedicated the foundation of its new Institute to "the promotion of technical skill, knowledge, health and general well-being among men and women of the industrial, working and artisan classes". The original Institute was based in New Cross at the site of the former Royal Naval School; the building, now known as the Richard Hoggart Building, remains the main building of the campus today.

20th century
In 1904, the institute was merged with the University of London and was re-established as Goldsmiths' College (the apostrophe was removed in 1993, and the word 'College' dropped in a rebranding in 2006). At this point Goldsmiths was the largest teacher training institution in the country. Training functions were later expanded to include refresher courses for teachers, the University Postgraduate Certificate in Education and an Art teacher's Certificate course. The college also ran its own Nursery School.

Shortly after the merger, in 1907, Goldsmiths added a new Arts building, designed by Sir Reginald Blomfield, at the back of the main building. During the Second World War it was decided to evacuate the faculty and students of the college to University College, Nottingham, a decision which proved wise both at the time and in hindsight, since the main building was struck by an incendiary bomb and gutted in 1940 (and not finally repaired until 1947).

During the 1960s, Goldsmiths experienced a rapid expansion in student numbers. It is during this period that Goldsmiths began to establish its reputation in the arts and social science fields, as well as offering a number of new teacher training qualifications. The original main building was expanded, and the Lockwood Building, Whitehead Building, Education Building, Warmington Tower and St James's Hall were all built to accommodate the influx of new students. The university also acquired a number of historic buildings in the surrounding area, including the splendid former Deptford Town Hall and Laurie Grove Baths buildings. The Richard Hoggart Building, Deptford Town Hall and the Laurie Grove Baths all retain Grade II listed building status.

In 1988, Goldsmiths became a full College of the University of London and in 1990 received its Royal Charter.

21st century
In 2018, the former boiler house and public laundry of Laurie Grove Baths was refurbished and opened as Goldsmiths CCA.

In August 2019, Goldsmiths announced that it would be removing all beef products from sale and would be charging a 10p levy on bottled water and single-use plastic cups. The changes were introduced as part of the university's efforts to become carbon neutral by 2025.

Financial difficulties and restructuring
In 2019, Goldsmiths ran a deficit and Frances Corner became Warden; Corner's administration was regularly opposed by faculty and students over governance and financial strategy.

In January 2020, Goldsmiths proposed to cut costs by 15% over two years in the "Evolving Goldsmiths" plan by reducing faculty and centralizing administration. According to the Goldsmiths University and College Union (UCU), the plan did not address the causes of the deficit, which it attributed in part to overoptimistic enrolment forecasts and excessive capital expenditures. Furthermore, UCU warned that cuts to faculty would increase the deficit by reducing the income stream of tuition fees, which accounted for 77% of the College's revenue in the 2019-2020 fiscal year. "Evolving Goldsmiths" was "closed" in April 2022. In summer 2020, the UCU proposed selling "underused" property to build cash reserves; this was not done. Goldsmiths consolidated and refinanced its loans through NatWest and Lloyds Bank; the banks required the College to consult KPMG to discover cost saving opportunities.

The 2021 "recovery plan" included elimination of 52 faculty and staff positions. Goldsmiths identified additional costs from COVID-19 and over-staffing caused increased competition for student applications following the removal of limits on student numbers by the government. According to the UCU in March 2022, the Collage refused to stop layoffs although savings from voluntary resignations and maintaining vacancies exceeded the requirements of the banks. Administrative was concentrated into a central hub in 2021-2022; the resulting "chaos" reduced the number of enrolments by international students; international students are a critical revenue steam. Through 2021, Corner also charged the College nearly GB£20000 for taxi fares, with GB£9000 being for personal use.

The "Transformation Programme", announced in early 2024, included the elimination of 132 full-time, or equivalent, positions, or 17% of all staff, with some departments being reduced by 50%. The plan was expected to be completed by September. According to The Guardian, the extent of the cuts would radically change the College's culture.

Campus and location
Goldsmiths is situated in New Cross, a highly populated area of south-east London.

The main building, the Richard Hoggart Building, was originally designed as a school (opened in 1844) by the architect John Shaw, Jr (1803–1870). The former Deptford Town Hall building, designed by Henry Vaughan Lanchester and Edwin Alfred Rickards, acquired in 1998, is used for academic seminars and conferences. In addition to this Goldsmiths has built several more modern buildings to develop the campus, including the RIBA award-winning Rutherford Building completed in 1997, the Ben Pimlott Building designed by Will Alsop and completed in 2005, and the Professor Stuart Hall Building (formerly the New Academic Building), which was completed in 2010.

The library, or the Rutherford Building', has three floors and gives students access to an extensive range of printed and electronic resources. Goldsmiths' students, like all other students in the University of London, have full access to the collections at Senate House Library at Bloomsbury in central London.

The seven-storey Ben Pimlott Building on New Cross Road, complete with its distinctive "scribble in the sky" (made from 229 separate pieces of metal) has become a signature of modern Goldsmiths. It contains studio and teaching space for the Department of Art, as well as housing the Goldsmiths Digital Studios and the Centre for Cognition, Computation and Culture.

The Professor Stuart Hall Building, situated next to the green, is home to the Media and Communications Department and the Institute for Creative and Cultural Entrepreneurship (ICCE). Formerly the New Academic Building), in 2014 it was re-named after cultural theorist Stuart Hall. Facilities include a 250-seat lecture theatre, seminar and teaching rooms, as well as a cafe with outdoor seating.

Art

 * The Head of Department is Richard Noble. Notable alumni include Damien Hirst, Sarah Lucas, Steve McQueen, Gillian Wearing, Fiona Banner, Angela Bulloch and Graham Coxon.
 * The university is also a member of the Screen Studies Group, London.

Design
The Department of Design's approach to design practice grew from a concern for ethical and environmentalist design. This developed alongside research by John Wood, Julia Lockheart, and others, which informs their research into metadesign. TERU, the Technology Education Research Unit, has been instrumental in understanding how design and technology work in schools, how to encourage learners towards creative interventions that improve the made world, and how to help teachers to support that process. The Writing Purposefully in Art and Design Network (Writing-PAD) has its main Centre at Goldsmiths. The Network now spans about 70 institutions across the art and design sector with 6 national and 2 International Writing PAD Centres.

Computing
The Department of Computing lets students develop their creative potential while learning solid computing skills with programs focused on Computer Science, Computer Games Art & Design, Computational Technology, Computational Cognitive Neuroscience, Computer Games Programming, Computational Linguistics, Data Science, User Experience Engineering, and Virtual & Augmented Reality.

Sociology
The Sociology Department include Nirmal Puwar, and Les Back.

Cultural studies
The Media and Communications Department, as well as the Centre for Cultural Studies, include Matthew Fuller, Scott Lash, Angela McRobbie, Nirmal Puwar and (formerly) Sara Ahmed.

Institute for Creative and Cultural Entrepreneurship
The Institute for Creative and Cultural Entrepreneurship delivers entrepreneurship, cultural management and policy education to the creative and cultural sectors.

Anthropology
The Department of Anthropology teaching staff include Keith Hart and (formerly) David Graeber. The department is known for its focus on visual anthropology. The realm of continental philosophy is represented with academics such as Saul Newman, as well as Visiting Professors Andrew Benjamin and Bernard Stiegler. In the area of Psychology there is Chris French who specialises in the psychology of paranormal beliefs and experiences, cognition and emotion. Saul Newman – notable for developing the concept of post-anarchism – is currently leading the department of politics.

English and comparative literature
The English & Comparative Literature Department covers English, comparative literature, American literature, creative writing and linguistics. Current academics include Blake Morrison and Chris Baldick.

Music
The Research Centre for Russian Music, convened by Alexander Ivashkin until his death in 2014, is internationally renowned for its archives devoted to Prokofiev and Schnittke, and unique collections including of music by Stravinsky, and first editions of Russian Piano Music.

Other research centres at the department include the Unit for Sound Practice Research, Contemporary Music Research Group, Asian Music Unit, Afghanistan Music Unit, Fringe and Underground Music Group, and the Centre for Music and Ethnographic Film. The Sonic Scope Journal of Audiovisual Studies is based in the department.

The department curates the annual PureGold festival, which takes place during May and June in venues across South-East London including the Albany Theatre, Deptford. It continues with PureGold [REDUX], which showcases postgraduate students in September, with a final MMus show in November, with work from Creative Practice, Composition, Sonic Arts, Performance & Related Studies and Popular Music students. The department houses two recording studios: Goldsmiths Music Studios, and the Stanley Glasser Electronic Music Studios, established in 1968 by the composer, instrument maker, and musicologist Hugh Davies.

NX Records, an independent record label, is a collaboration between Matthew Herbert's Accidental Records and the Department of Music.

Educational studies
The Department of Educational Studies teaches undergraduate, masters and doctoral courses, and is home to a large programme of initial teacher education (primary and secondary), based on partnership arrangements with over 1500 schools and colleges.

Additional academic programs
Goldsmiths paired with Tungsten Network in 2015 to develop a research program that explores advanced artificial intelligence techniques for Big Data and business practices. Known as Tungsten Centre for Intelligent Data Analytics, the program is based in the company's London office.

Rankings
QS World University Rankings ranked Goldsmiths' media and communications offerings as second in the UK and eighth worldwide in 2017, and second and eleventh respectively in 2023.

Open access to research by Goldsmiths academics
Goldsmiths Research Online (GRO) is a repository of research publications and other research outputs conducted by academics at Goldsmiths. The repository also holds Goldsmiths' collection of doctoral theses. GRO is part of Goldsmiths Online Research Collections (ORC) which also includes Goldsmiths Journals Online (GOJO), a hosting platform for open access journals and conference proceedings.

Sports, clubs and traditions
Sports teams and societies are organised by the Goldsmiths Students' Union. The Union runs 18 sports clubs, 11 of which compete in either University of London Union or BUCS leagues.

The Students' Union runs 35 societies, ranging from political societies and identity-based societies (for example the Jewish society and the LGBT society) to interest-based societies (the Drama Society and the on-campus radio station Wired) and more.

Student media
Goldsmiths has a long history of student-led media platforms, including Smiths Magazine, The Leopard newspaper, and Wired radio. The student media is run independently by students at the college.

Student housing
Accommodation Services offers accommodation within seven halls:
 * Loring Hall
 * Ewen Henderson Court
 * Quantum Court
 * Town Hall Camberwell
 * Surrey House
 * Chesterman House
 * Raymont Hall

Electricity, internet and gas bills are included in the rent. Further information may be found on the Accommodation Services website.

Students' Union
The union provides, among other things, catering facilities, a chaplaincy, a medical clinic, an advice service on academic and welfare issues and a state of the art gym for students' use.

In October 2014, the union faced critical coverage, from student newspaper The Tab after voting down a proposal to commemorate Holocaust Memorial Day, with Education Officer Sarah El-alfy describing it as "Eurocentric" and "colonialist". El-alfy offered to help put forward a redrafted version of the motion for the following Student Assembly meeting. The Union issued a statement claiming "Redrafting motions and re-entering them at a later date isn't unusual in Students' Unions and shouldn't be misinterpreted as opposition."

In 2015 the student union Welfare and Diversity Officer, Bahar Mustafa, caused a public controversy by banning white people and men from a student union event. Bahar Mustafa caused more public controversy through her justification of the ban, and through her use of the hash tag #KillAllWhiteMen. A group of students petitioned for a vote of no confidence in her, but the petition was signed by less than 3% of the student body and therefore failed to trigger a referendum.

Notable alumni
Alumni of the Department of Art include: • Mark Wallinger

• Damien Hirst

• Antony Gormley

• Sam Taylor-Johnson

• Lucian Freud

• Mary Quant

• Bridget Riley

• Peter Lowe

• Sarah Lucas

• Gary Hume

• Steve McQueen

• Carl Hopgood

• Ely Dagher

• Michael Dean

• Gillian Wearing

• Brian Molko

Alumni of the Department of Music include: • Martyn Brabbins

• Katy B

• James Blake

• John Cale

• A. G. Cook

• Peter Graham

• Robin Haigh

• Rosie Lowe

• Malcolm McLaren

• Benedict Taylor

• Shirley Thompson

• Errollyn Wallen

• Alastair White

• Roger Williams

• Sabrina Fuentes

Other alumni include:
 * TV presenter Dave Myers
 * DJ and producer SHERELLE
 * Bollywood actor Kalki Koechlin
 * Beatie Wolfe
 * Graphic novelist Malik Sajad
 * Mehmet Aksoy, film director and editor in chief of Kurdish Question
 * Stathis Kefallonitis
 * Brian Molko, lead singer of Placebo
 * Alex James and Graham Coxon, founding members of the British rock band Blur
 * Kathak dancer Nighat Chaudhry

title: Goldsmiths, University of London


text:
Yoshinoya

Yoshinoya (𠮷野家) is a Japanese multinational fast food chain, and the second-largest chain of gyūdon (beef bowl) restaurants. The chain was established in Japan in 1899. Its motto is "Tasty, low-priced, and quick".

Etymology and logo
The kanji 吉 (yoshi) means "luck" in Japanese, the kanji 野 (no) means "field", and the kanji 家 (ya) means "house".

The founder of the company, Eikichi Matsuda (松田栄吉), was from the former town of Yoshino (吉野町) in Osaka Prefecture, and a belief predominates that Yoshino is the origin of the name.

In Japan, the nickname of the restaurant is, which is an abbreviation of Yoshinoya's gyūdon (吉野家の牛丼).

The logo of Yoshinoya resembles a bull horn, and was invented by Yoshinoya's founder Eikichi Matsuda. The idea of the bull horn was derived from the initial letter of Yoshinoya's English name, "Y". The rope surrounding the horn represents a in Japanese sumo-wrestling, "Yokozuna" (equivalent to "winner"), representing the quality of the food served in Yoshinoya. The surrounding rope is made up of 27 rice grains. The logo as a whole is meant to suggest that Yoshinoya sells the "best beef bowls".

History
Yoshinoya first opened in 1899 at the Nihonbashi fish market in Tokyo. When the market was devastated by the Great Kantō earthquake, Yoshinoya moved to the new Tsukiji fish market in Tokyo in 1926.

The chain opened its first 24-hour store in 1952.

On December 27, 1958, the chain's business model was changed from self-employed restaurants to a stock company, as an attempt to gain more profit.

In 1965, the chain earned a million dollars in sales, which led to the idea of expanding the chain's operations in Japan.

The chain's first franchised store was opened in Shinsaibashi, in 1968.

In 1975, the first American store of the fast-food chain was opened in Colorado. In the early 2000s, Yoshinoya, along with other chains such as McDonald's, triggered a price war in Japan by introducing a regular beef bowl dish for ¥280, or around US$3.

Locations
Yoshinoya has a chain of stores in Japan, the United States, Cambodia, China, Indonesia, Mongolia, Philippines, Singapore, Taiwan, and Thailand. Its Malaysian branch closed down in 2021.

Japan
In its restaurants in Japan, tables are often counters, and in that case, they take orders over those counters. Chopsticks are provided. The menu includes standard-serving (並盛), large-serving (大盛), or extra-large-serving (特盛) beef bowls, pork bowls (豚丼), raw eggs (to stir and pour on top, sometimes mixed with soy sauce), soft-boiled eggs (半熟玉子), miso soup and pickles (called oshinkō [お新香] in its menu; a kind of asazuke). They also serve red ginger (beni shōga), spice, and Japanese tea (お茶) free of charge. Some menus including raw eggs and miso soup can be taken out.

Some customers make special requests at no extra charge such as: extra gravy sauce (つゆだく), extra onions (ねぎだく), without gravy sauce (つゆ抜き), no onions (ねぎ抜き), egg-yolk only (黄身だけ) and less rice (軽いの).

On June 14, 2011, Yoshinoya in Japan started serving eel bowls (鰻丼) as a standard seasonal menu to be offered until the latter part of July.

United States
Yoshinoya entered the United States opening a corporate office in Denver in 1973, and then its first retail location in Denver in 1975. (This location later became "Kokoro", a similar restaurant run by Mas Torito who had previous experience at a location in Japan.) Yoshinoya is currently only present in California. A location in Las Vegas, Nevada, went out of business in February 2017. A location in Goodyear, Arizona, opened in 2008, but went out of business in December 2011. A Dallas location that opened in June 2011 was Yoshinoya's first venture into Texas, but it went out of business in December of that year. The first location east of the Mississippi River opened on 42nd Street off Times Square, New York City, in 2002. Two more stores opened in other Manhattan locations, but Yoshinoya later filed for Chapter 11 bankruptcy in 2008, and later all the New York City stores went out of business by January 2012.

In March 2020, as a result of the COVID-19 pandemic, indoor dining was temporarily abandoned, with take-away, drive-thru or pick-up service still available.

The main menu in the United States includes the beef bowl, chicken bowl, combo bowl, and shrimp bowl, along with soup and desserts, and has variations such as "beef with vegetables bowls", "teriyaki chicken bowls", and barbecue-style plates. Skinless chicken is available upon request. Tempura bowls are no longer available. The menu of Yoshinoya in the U.S. is similar to that in Japan. At a basic level, both companies serve several recipes over a bowl of rice, which includes the trademark beef bowl with very thinly sliced beef plus light sauce and onions.

Taiwan
Yoshinoya entered the Taiwanese market in 1987 with the establishment of Taiwan Yoshinoya Co., Ltd. through a joint venture. It opened its first Asian branch outside Japan along Guanqian Road in Zhongzheng District, Taipei in 1988.

China
Yoshinoya opened its first Chinese branch at Wangfujing, Beijing in 1992. It was later expanded beginning in 2002, the year of opening of its branches in Shanghai (flagship branch) and Shenzhen.

In 2015, Yoshinoya China Holdings Co., Ltd. was established. As of 2021, there are 390 Yoshinoya branches in China. That same year, Hop Hing Group Holdings, the operator of Yoshinoya and Dairy Queen in China, decided to go private.

Hong Kong
The Hong Kong division of Yoshinoya was founded in 1991. Currently, 50 Yoshinoya food stores are split among three main areas: the Hong Kong branch, the New Territories branch, and the Kowloon branch. Fourteen stores are in the Hong Kong branch, 21 stores are in the New Territories branch, and 22 stores are in the Kowloon branch. Each Yoshinoya food store has five working positions: store manager, supervisor, customer service assistant, crew, and production assistant.

Unlike the Yoshinoya in Japan, stores in Hong Kong do not provide table services. Customers order their food at a cashier and collect their food on a tray there, which is the same as in Western fast-food stores.

Philippines
In 1992, the first Philippine franchisee of Yoshinoya was established, with its first store at Robinsons Galleria, Quezon City that opened on June 12. However, it operated until October 1993. It later changed to direct management.

In 2001, Yoshinoya re-entered the Philippine market through a joint-venture between Yoshinoya and the Century Pacific Group named Yoshinoya Century Pacific Inc. Its first store since re-entry opened in Metro Point Mall, Pasay on December 15, 2001.

In 2021, following the end of the partnership between Yoshinoya and the Century Pacific Group, Yoshinoya formed a new joint-venture with Jollibee Foods Corporation that would serve as the next franchisee of Yoshinoya in the Philippines. Under the new deal, there are plans to open 50 stores in the country in the long-term.

As of 2023, there are seven Yoshinoya stores operating in the Philippines.

Indonesia
In October 1993, Yoshinoya signed a franchise contract with a leading Indonesian company. The first Indonesian branch opened at Pondok Indah Mall, South Jakarta. However, it operated until July 1998.

In 2009, Yoshinoya re-entered the Indonesian market through another franchise agreement, this time with Multirasa Nusantara Co., Ltd. In October 2010, its first branch since re-entry opened at Grand Indonesia Shopping Town, Central Jakarta. As of 2023, there are 146 Yoshinoya stores in Indonesia in the Greater Jakarta Metropolitan Area, Surabaya, Bandung, Bali, Semarang, Yogyakarta, Medan, Solo, Malang, Makassar, Palembang, Banjarmasin, Lampung, Cikarang, Karawang, Kudus, Madiun, Kediri, Sidoarjo, Mojokerto, Gresik, and Jember.

Singapore
In 1997, Yoshinoya entered the Singaporean market through a franchise agreement with Wing Tai Investment & Development Pte. Ltd. In the same year, it opened its first two branches; the first is located at Ngee Ann City and the second one is at Scott's Picnic. In 2016, Wing Tai sold the whole shares of the Singaporean franchise to Asia Yoshinoya International Sdn. Bhd. to make it as a subsidiary. As of 2023, there are 11 Yoshinoya stores in Singapore.

Cambodia
In 2013, the first Yoshinoya franchise in Cambodia opened on King's Road in Siem Reap with a franchise agreement signed with Meas Development Co., Ltd.

There are currently around two Yoshinoya stores in Cambodia as of September 2022, with both of them being located in Phnom Penh International Airport and Siem Reap International Airport.

Controversies
In late 2001, a domestic bovine spongiform encephalopathy (BSE) incident critically damaged beef bowl sales. In late 2003, Japan suspended imports of American beef due to a BSE incident in Washington, cutting off Yoshinoya's main source of short plate (fatty beef) that is the main component of its beef bowl. This forced Yoshinoya to terminate beef bowl sales in Japan for the first time in its history on February 11, 2004.

News of the removal of this item from Yoshinoya's menu caused its fans and non-fans alike to queue in massive lines at its restaurants all around Japan to taste what might be their last beef bowl for a long time. Yoshinoya then switched to serving pork bowl (butadon) instead of beef. However, its restaurants in the United States continued to serve the beef bowl using American short plate. From December 2, 2004, restaurants in Japan started serving "beef yakiniku bowls" (牛焼肉丼), which use Australian beef, a different sauce, and additional vegetables. These bowls differed from original "beef bowls", which use American beef.

In December 2005, Japan agreed to remove the restriction on importing beef from the United States. A letter to customers was then put up in restaurants, promising that the beef bowl would return in a few months. In January 2006, imports stopped again because inspectors found banned cattle parts in a veal shipment from the United States. In June 2006, Japan lifted the ban on imports again, and on July 31, 2006, Yoshinoya reposted the letter promising to resume serving the beef bowl in about two months.

On September 18, 2006, Yoshinoya brought back their beef bowl for one day as "the beef bowl revival festival" (牛丼復活祭). This "revival", however, meant that its beef bowls would be available only the first five days of the month in October and November. On December 1, 2006, they began serving beef bowls daily, albeit at limited hours. These hours were extended once during special campaigns in February and December 2007. By March 17, 2008, Yoshinoya announced that they would resume 24-hour sales of the beef bowl, rolling out through their then 1040 stores nationwide through March 20, 2008. An announcement of banned cattle products in a Californian beef import on April 21, 2008, did not halt the company's plans, as they felt they had enough stock from other sources to avoid a recall.

In August 2008, three Yoshinoya employees in Hong Kong including the store's manager were arrested after gang-raping another employee. Footage of the incident was uploaded to the internet.

In 2019, Yoshinoya outlets in Hong Kong were targeted to be boycotted and vandalized by anti-government protesters during 2019–20 Hong Kong protests. Hop Hing Group, based in Hong Kong, is the licensed franchise of Yoshinoya in the city and Mainland China (Beijing and the cities in Southeast China). Its CEO, Marvin Hung, was criticized by protesters for attending a rally for Hong Kong police organized by pro-Beijing camps.

Another major reason that caused the boycott of Yoshinoya is an advertisement posted on Facebook in July 2019. The advertisement featured a traditional Japanese food, chikuwa; in Cantonese, the word sounds similar to "dog that tears paper". As this advert was published after police removed messages on a Lennon Wall in Tai Po, the advertisement was then regarded as poking fun at the police. The staff from Social Strategy Hong Kong who helped create the advertisement was sacked afterwards. Hence, protestors thought that Yoshinoya was politically biased and suppressed freedom of speech. Citizens in support of the protests then started boycotting Yoshinoya.

On April 16, 2022, Yoshinoya managing director Masaaki Itō attracted controversy over his statements as an instructor during a Waseda University marketing course. During the first class while covering marketing strategies for young female consumers Itō reportedly described a "drug-addled virgins strategy" stating: "You have these women straight out of the countryside who don't know left or right, while they're virgins you get them hooked on gyudon like a methamphetamine addiction. Once a man starts paying for their expensive dinners they'll never eat with us again." Students' shocked reactions were uploaded to Facebook and attracted fierce criticism online. One user wrote "Let's deconstruct this remark – he showed contempt for women, young people, people from rural areas and his own company's products. In short, he pretty much insulted most of his company's customers." The course tuition reportedly cost 36,500 yen over 29 days. On April 18, 2022, Yoshinoya issued a public apology, calling Itō's statements "profoundly inappropriate". Itō joined the company in 2018, previously vice-president at Procter & Gamble. On April 19, 2022, the company announced Itō's dismissal, calling that his statements "could not be tolerated from the point of view of human rights and gender issues". The controversy led to Yoshinoya suspending an upcoming marketing campaign starring Nicole Fujita and rollout of a new product that took 10 years to develop.

title: Yoshinoya


text:
Chart

A chart (sometimes known as a graph) is a graphical representation for data visualization, in which "the data is represented by symbols, such as bars in a bar chart, lines in a line chart, or slices in a pie chart". A chart can represent tabular numeric data, functions or some kinds of quality structure and provides different info.

The term "chart" as a graphical representation of data has multiple meanings:
 * A data chart is a type of diagram or graph, that organizes and represents a set of numerical or qualitative data.
 * Maps that are adorned with extra information (map surround) for a specific purpose are often known as charts, such as a nautical chart or aeronautical chart, typically spread over several map sheets.
 * Other domain-specific constructs are sometimes called charts, such as the chord chart in music notation or a record chart for album popularity.

Charts are often used to ease understanding of large quantities of data and the relationships between parts of the data. Charts can usually be read more quickly than the raw data. They are used in a wide variety of fields, and can be created by hand (often on graph paper) or by computer using a charting application. Certain types of charts are more useful for presenting a given data set than others. For example, data that presents percentages in different groups (such as "satisfied, not satisfied, unsure") are often displayed in a pie chart, but maybe more easily understood when presented in a horizontal bar chart. On the other hand, data that represents numbers that change over a period of time (such as "annual revenue from 1990 to 2000") might be best shown as a line chart.

Features
A chart can take a large variety of forms. However, there are common features that provide the chart with its ability to extract meaning from data.

Typically the data in a chart is represented graphically since humans can infer meaning from pictures more quickly than from text. Thus, the text is generally used only to annotate the data.

One of the most important uses of text in a graph is the title. A graph's title usually appears above the main graphic and provides a succinct description of what the data in the graph refers to.

Dimensions in the data are often displayed on axes. If a horizontal and a vertical axis are used, they are usually referred to as the x-axis and y-axis. Each axis will have a scale, denoted by periodic graduations and usually accompanied by numerical or categorical indications. Each axis will typically also have a label displayed outside or beside it, briefly describing the dimension represented. If the scale is numerical, the label will often be suffixed with the unit of that scale in parentheses. For example, "Distance traveled (m)" is a typical x-axis label and would mean that the distance traveled, in units of meters, is related to the horizontal position of the data within the chart.

Within the graph, a grid of lines may appear to aid in the visual alignment of data. The grid can be enhanced by visually emphasizing the lines at regular or significant graduations. The emphasized lines are then called major gridlines, and the remainder is minor grid lines.

A chart's data can appear in all manner of formats and may include individual textual labels describing the datum associated with the indicated position in the chart. The data may appear as dots or shapes, connected or unconnected, and in any combination of colors and patterns. In addition, inferences or points of interest can be overlaid directly on the graph to further aid information extraction.

When the data appearing in a chart contains multiple variables, the chart may include a legend (also known as a key). A legend contains a list of the variables appearing in the chart and an example of their appearance. This information allows the data from each variable to be identified in the chart.

Common charts
Four of the most common charts are:

Less-common charts
Examples of less common charts are:

This gallery shows:
 * A bubble chart is a two-dimensional scatterplot where a third variable is represented by the size of the points.
 * A polar area diagram, sometimes called a Coxcomb chart, is an enhanced form of pie chart developed by Florence Nightingale.
 * A radar chart or "spider chart" or "doi" is a two-dimensional chart of three or more quantitative variables represented on axes starting from the same point.
 * A waterfall chart also known as a "Walk" chart, is a special type of floating-column chart.
 * A tree map where the areas of the rectangles correspond to values. Other dimensions can be represented with color or hue. Smaller areas go to the bottom right corner.
 * A streamgraph, a stacked, curvilinear area graph displaced around a central axis
 * A GapChart, a time series chart showing evolving gaps and equalities between series. Other dimensions can be represented with color or hue.

Field-specific charts
Some types of charts have specific uses in a certain field

This gallery shows:
 * Stock market prices are often depicted with an open-high-low-close chart with a traditional bar chart of volume at the bottom.
 * Candlestick charts are another type of bar chart used to describe price movements of an equity over time.
 * A Kagi chart is a time-independent stock tracking chart that attempts to minimise noise.
 * Alternatively, where less detail is required, and chart size is paramount, a Sparkline may be used.

Other examples:
 * Interest rates, temperatures, etc., at the close of the period are plotted with a line chart.
 * Project planners use a Gantt chart to show the timing of tasks as they occur over time.

Well-known named charts
Some of the better-known named charts are:

Some specific charts have become well known by effectively explaining a phenomenon or idea.
 * An Allele chart is a chart originating from the study of genetics to show the interaction of two data points in a grid.
 * A Gantt chart helps in scheduling complex projects.
 * The Nolan chart and the Pournelle chart classify political philosophies according to two axes of variation.
 * A PERT chart is often used in project management.
 * The Smith chart serves in radio electronics.

Other charts
There are dozens of other types of charts. Here are some of them:

One more example: Bernal chart

Chart software
While charts can be drawn by hand, computer software is often used to automatically produce a chart based on entered data. For examples of commonly used software tools, see List of charting software.

title: Chart


text:
Talk:Rebel

Merge and redirect notice
Hi. I notice that most of the synonyms for rebel and rebellion have pages of their own, which makes for a bit of mess. See Insurgent, Freedom fighter, Asymmetric warfare, etc . I put a little paragraph on my talk page with my thoughts on how it's nearly impossible to find what you want if you are looking for something related to irregular warfare. I've taken it on myself to do some cleanup, and would like to start by melding participant-event articles into the event article. I am therefore planning on merging and redirecting this article into rebellion unless I hear an objection. Cheers, BanyanTree 06:35, 12 Dec 2004 (UTC)

"Rebel(film)" listed at Redirects for discussion
The redirect [//en.wikipedia.org/w/index.php?title=Rebel(film)&redirect=no Rebel(film)] has been listed at redirects for discussion to determine whether its use and function meets the redirect guidelines. Readers of this page are welcome to comment on this redirect at  until a consensus is reached. Utopes (talk / cont) 05:20, 4 February 2024 (UTC)

title: Talk:Rebel


text:
IBM Series/1

The IBM Series/1 is a 16-bit minicomputer, introduced in 1976, that in many respects competed with other minicomputers of the time, such as the PDP-11 from Digital Equipment Corporation and similar offerings from Data General and HP. The Series/1 was typically used to control and operate external electro-mechanical components while also allowing for primitive data storage and handling.

Although the Series/1 uses EBCDIC character encoding internally and locally attached EBCDIC terminals, ASCII-based remote terminals and devices could be attached via an I/O card with a RS-232 interface to be more compatible with competing minicomputers. IBM's own 3101 and 3151 ASCII display terminals are examples of this. This was a departure from IBM mainframes that used 3270 terminals and coaxial attachment.

Series/1 computers were withdrawn from marketing in 1988 at or near the introduction of the IBM AS/400 line.

A US government asset report dated May 2016 revealed that an IBM Series/1 was still being used as part of the country's nuclear command and control systems.

Models
Initially, model 1 (4952, Model C), model 3 (IBM 4953) and model 5 (IBM 4955, Model F ) processors were provided. Later processors were the model 4 (IBM 4954) and model 6 (IBM 4956). Don Estridge had been the lead manager on the IBM Series/1 minicomputer. He reportedly had fallen out of grace when that project was ill-received.

Software support
The Series/1 could be ordered with or without operating system. Available were either of two mutually exclusive operating systems: Event Driven Executive (EDX) or Realtime Programming System (RPS). Systems using EDX were primarily programmed using Event Driven Language (EDL), though high level languages such as FORTRAN IV, PL/I, Pascal and COBOL were also available. EDL delivered output in IBM machine code for System/3 or System/7 and for the Series/1 by an emulator. Although the Series/1 is underpowered by today's standards, a robust multi-user operating environment (RPS) was available along with several additional high level languages for the RPS OS. The EDX operating system was originally ported from the System/7. Series/1 was also the first computer that IBM supported for Unix.

Systems without an operating system were intended for users needing dedicated applications that did not require the full capabilities of either OS. Applications were built using a set of standalone programs, called the Base Program Preparation Facilities, consisting of a macro assembler, a link editor and some basic utilities. A set of modules, called Control Program Support (CPS), was linked with the application to provide task management, data processing input/output support and initial program loading for both disks and diskettes.

Applications of the Series/1
The Series/1 was also widely used in manufacturing environments, including General Motors assembly plants. Example systems and applications included Manufacturing Information Database (MIDB), Vehicle Component Verification System (VCVS) and Assembly Line Diagnostic Link (ALDL). These systems were connected to plant floor devices and used in the realtime manufacture of vehicles. There was also a Time and Attendance (T&A) system connected to badge readers and employee turnstiles. Series/1 computers were also utilized in the early development of GM's Manufacturing Automation Protocol (MAP)

Commercial applications of customized Series/1 computers included an application by State Farm as an intelligent remote terminal in agents' offices. The processing unit was built into a desk.

The Kmart Corporation also used the Series/1 computer initially for its Kmart Information Network (KIN) which handled the store's ordering, invoicing, payroll, inventory, cash, and headquarters to store communications. A separate Series/1 computer was later added in the early phases of its POS roll-out networked with IBM 3683 registers. The Series/1 used for POS systems was short lived as it was quickly replaced by two IBM PC AT computers running either IBM 3683 or IBM 4683 registers.

The Deluxe Corporation also used a bank of Series/1 IBM 4956 computers for each check printing facility which handled the plant's business and personal check sales orders and printing operations. Various serial peripherals were attached: Printronix bar-coding printers, MICR Readers, IBM ASCII Terminals. Parallel devices were also used for phototypesetting machines, plate makers and Teletype BRPE punch creating Punched tape; all connecting to the IBM integrated DI/DO digital in/out card. The Series/1 was a good work horse for its day and was operational around the clock in an industrial environment.

Severn Trent Water Authority used a number of Series/1 computers running the RPS operating system to collect and process river telemetry outstation data. It polled each outstation every 6 hours and fed data to applications running on their ICL 2900 mainframe. Unusually, the communications link between the IBM Series/1 machines and the ICL 2900 machine used the ICL CO3 protocol rather than one of the (de facto standard) IBM communication protocols.

Shared Medical Systems (SMS Corp.) in the 1980s used the Series/1 (running EDX) as a channel-attached front-end communications processor for its IBM mainframe-based MVS/CICS hospital information system. In this environment the Series/1 provided customized interfaces to diverse (and generally non-IBM) minicomputer-based hospital systems using asynchronous or binary synchronous communications then commonly found in the laboratory, pharmacy, and other departments. Where necessary, the Series/1 also provided batch connectivity to a centralized TCAM host at SMS headquarters in Malvern, PA. Finally, the Series/1 provided a cost-effective method for remote support of the distributed mainframes using inexpensive ASCII terminals and modems, or IBM PCs equipped with light pens (emulating the 3278/9 terminals). The Series/1 was selected for this application due to challenges with MVS/VTAM and the 37x5 supporting straightforward non-SNA/SDLC communications. These Series/1 systems were connected to the mainframe using the Series/1 to System/370 channel attach module, and connected to non-IBM systems using the Feature-Programmable Multi-line Controller and Adapter.

Internally, IBM used banks of Series/1 computers as communications front end systems on their IBM Information Systems commercial network although back end processing was done with System/370 architecture computers. Also, in some IBM locations, the Series/1 was employed for building access security using ID card readers.

Series/1 in the Marine Corps
The United States Marine Corps was a major Series/1 customer in the late 1970s and into the early 1980s. IBM created a ruggedized, portable version with a green plastic and metal housing for field and shipboard use known as the IBM Series I Model 4110. The central processor unit boasted twin 1 megabyte 8 inch floppy disk drives, an 8-inch green monitor with 25 × 80 character resolution (and seldom-used graphics capability) and 16 kilobytes of RAM which was upgraded to 32 kilobytes in 1984. Each standard 'suite' included the CPU unit, a keyboard, and a 132 column dot-matrix printer with a separate cooling-fan base. This suite was transported in two green, foam-lined, waterproof, locking plastic cases; each weighing over 100 pounds loaded. Among the optional pieces of equipment was a paper tape punch and a magnetic tape reader. Each of these also came with its own case.

The official nomenclature for this equipment was the 'Automated Data Processing Equipment for the Fleet Marine Force' (ADPE-FMF), but it was universally known as the 'Green Machine'.

The initial rollout of the equipment was on the west coast at Camp Pendleton in 1981, where the 1st FSSG Information Systems Management Office (ISMO) was formed to develop software and support the new equipment. ISMOs were also formed at 2nd FSSG at Camp Lejeune, 2nd MAW Cherry Point and 3rd FSSG and 1st MAW on Okinawa and were staffed with computer programmers (MOS 4063/4066) whose responsibilities included training of end users, hardware and software troubleshooting and development of local computer applications. Systems development offices were also established at Marine Corps Central Design and Programming Activities (MCCDPA) at the Marine Corps Finance Center, Kansas City, Missouri, at Marine Corps Base Quantico, and at Marine Corps Logistic Base Albany, Georgia. These offices specialized in (respectively) financial, personnel and logistical applications.

The 'Class I' systems were classified as mainframe systems – and the Series/1 systems that provided field input to them – that were maintained at and distributed from the three CDPAs. The chief among these were JUMPS/MMS (Joint Uniform Military Pay System/Manpower Management System), SASSY (Supported Activities Supply SYstem), and MIMMS (Marine Corps Integrated Maintenance Management System).

Designed primarily as a Source Data Automation (SDA) device for the enhancement of input into 'Class I' logistics and personnel computer systems, the ADPE-FMF Series/1 provided the power of a minicomputer to the battalion/squadron commander. However, left in the hands of young Marine Corps programmers eager to explore the capabilities of their new equipment, the Series/1 soon proved to be a valuable and flexible workhorse for all manner of tasks at all organizational levels.

Dozens of 'Class II' systems were locally developed and maintained at the GSUs (General Support Units), later known as ISMOs (Information Systems Management Offices), providing undreamed-of functionality even as far as the company and deployed unit level. Systems developed included the waggishly named 'Standardized Wing Overseas Operation Passenger System' (SWOOPS – developed to generate Air Force passenger manifests from personnel databases) and 'Universal Random Integrity News Extract' (URINE – developed to provide names picked randomly from personnel databases for urinalysis screening), FLEAS (FLight Evaluation Administration System).

Although a COBOL compiler was available as part of the software package sold to the Marine Corps with the Series/1, most Class I and Class II systems development was in EDL.

In the middle 1980s, the ADPE-FMF equipment was gradually phased out in favor of IBM-PC class microcomputers running off-the-shelf software and Marine Corps developed applications written in Ada.

As part of U.S. nuclear weapon command and control systems
In May 2016 the United States Government Accountability Office released a document that covered the need to upgrade or replace legacy computer systems within Federal Agencies. According to this document, there is still a Series/1 that "Coordinates the operational functions of the United States' nuclear forces, such as intercontinental ballistic missiles, nuclear bombers, and tanker support aircraft." This system still uses 8-inch floppy disks, however the agency plans to update some of the technology by the end of the 2017 fiscal year.

title: IBM Series/1


text:
Earl Palmer

Earl Cyril Palmer (October 25, 1924 – September 19, 2008) was an American drummer. Considered one of the inventors of rock and roll, he is a member of the Rock and Roll Hall of Fame.

Palmer was one of the most prolific studio musicians of all time and played on thousands of recordings, including nearly all of Little Richard's hits, many of Fats Domino's hits, "You've Lost That Lovin' Feelin'" by the Righteous Brothers, and a long list of classic TV and film soundtracks. According to one obituary, "his list of credits read like a Who's Who of American popular music of the last 60 years".

Biography
Born into a show-business family in New Orleans and raised in the Tremé district, Palmer started his career at five as a tap dancer, joining his mother and aunt on the black vaudeville circuit in its twilight and touring the country extensively with Ida Cox's Darktown Scandals Review. His father is thought to have been the local pianist and bandleader Walter "Fats" Pichon. Palmer was raised Catholic.

Palmer was 12 when he headlined a floor show at the Rhythm Club in New Orleans, "a very beautiful spot where one can enjoy a floor show, headed by Alvin Howey and Little Earl Palmer".

Palmer served in the United States Army during World War II and was posted in the European theatre. His biographer wrote,

"Most Negro recruits were assigned to noncombatant service troops: work gangs in uniform. "They didn't want no niggers carrying guns," says Earl; they carried shovels and garbage cans instead. Earl's job, loading and handling ammunition, was relatively technical, but his duty was clear: to serve white infantrymen."

After the war ended Palmer studied piano and percussion at the Gruenwald School of Music in New Orleans, where he also learned to read music. He started drumming with the Dave Bartholomew Band in the late 1940s. Palmer was known for playing on New Orleans recording sessions, including Fats Domino's "The Fat Man" and "I'm Walkin" (and several more of Domino's hits), "Tipitina" by Professor Longhair, "Tutti Frutti" by  Little Richard (and most of Richard's hits), "Lawdy Miss Clawdy" by Lloyd Price, and "I Hear You Knocking'" by Smiley Lewis.

His playing on "The Fat Man" featured the backbeat that has come to be the most important element in rock and roll. Palmer said, "That song required a strong afterbeat throughout the whole piece. With Dixieland you had a strong afterbeat only after you got to the shout last chorus…It was sort of a new approach to rhythm music." Reportedly, he was the first to use the word funky, to explain to other musicians that their music should be made more syncopated and danceable.

Palmer left New Orleans for Hollywood in 1957, initially working for Aladdin Records. He soon started working with the Wrecking Crew, a loose-knit group of session musicians who recorded nonstop during their heyday from 1962 to 1968.

The musicians union tracked Palmer playing on 450 dates in 1967 alone.

For more than 30 years he played drums on the soundtracks of many movies and television shows. Amongst the many artists he worked with were Glenn Yarbrough, Frank Sinatra, Phil Spector, Ricky Nelson, Bobby Vee, Ray Charles, Sam Cooke, Eddie Cochran, Ritchie Valens, Bobby Day, Don and Dewey, Jan and Dean, The Beach Boys, Larry Williams, Gene McDaniels, Bobby Darin, Neil Young, The Pets, The Byrds when they were still known as The Beefeaters, and B. Bumble and the Stingers. He also played in jazz sessions with David Axelrod, Dizzy Gillespie, Earl Bostic, Onzy Matthews, and Count Basie, and he contributed to blues recordings by B.B. King.

He remained in demand as a drummer throughout the 1970s and 1980s, playing on recordings for albums by Randy Newman, Tom Waits, Bonnie Raitt, Tim Buckley, Little Feat and Elvis Costello.

In 1982, Palmer was elected treasurer of the Local 47 of the American Federation of Musicians. He served until he was defeated in 1984. He was re-elected in 1990.

A biography, Backbeat: Earl Palmer's Story, by Tony Scherman, was published in 1999.

In later years, Palmer played with a jazz trio in Los Angeles.

Palmer is interviewed on screen and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performs "Rip It Up" with guest vocalist Ivan Neville and house band.

Palmer is also interviewed in the 2008 documentary film about Los Angeles session musicians, The Wrecking Crew.

Palmer died in September 2008, in Banning, California, after a long illness. He is buried at Riverside National Cemetery in Riverside, California.

Personal life
Palmer married four times and had seven children. At the time of his death, he was survived by his children Earl Cyril Palmer Jr., Donald Alfred Palmer, Ronald Raymond Palmer and Patricia Ann Palmer from his marriage to Catherine Palmer; Shelly Margaret Palmer and Pamela Teresa Palmer from his marriage to Susan Joy Weidenpesch; and Penny Yasuko Palmer from his marriage to Yumiko Makino. He married his fourth wife, Jeline, in 2004.

Quotations

 * "You could always tell a New Orleans drummer the minute you heard him play his bass drum because he'd have that parade beat connotation."
 * Late in his career, Palmer appeared in a music video with the band Cracker on the song "I Hate My Generation". As Addicted to Noise tells the story, "According to Cracker leader David Lowery, when Palmer was asked if he would be able to play along with the songs, he gave Lowery a look and said, 'I invented this shit.'"
 * "I've been asked if people could borrow my drums because they like their sound. What the hell, they think the drums play themselves? I said, 'You really want 'em? Really? Okay. Cost you triple scale and cartage.'"
 * When asked by Max Weinberg what more of the recording sessions he'd played on Palmer replied, "Don't ask me which ones I played on. I should have done like Hal [Blaine]. Hal used to get gold records for all the things he played on. I never did that, you know. I would like to have a room with all those things in them. It would have been nice—show my grandchildren when they grow up so they don't say, 'Oh shut up old man and sit down.' I could just say, 'Look. I don't have to tell you nothing. There it is.'"

Awards
In 2000, Palmer became one of the first session musicians to be inducted into the Rock and Roll Hall of Fame.

As leader

 * Drumsville (Liberty Records, 1961)
 * Percolator Twist (Liberty Records, 1962)

As sideman
With David Axelrod
 * Song of Innocence (Capitol, 1968)
 * Songs of Experience (Capitol, 1969)
 * Earth Rot (Capitol, 1970)
 * Strange Ladies (MCA, 1977)
 * Marchin' (MCA, 1980)
 * David Axelrod (Mo' Wax, 2001)

With The Beach Boys
 * The Beach Boys Today! (Capitol, 1965)
 * Sunflower (Reprise, 1970)
 * L.A. (Light Album) (CBS, 1979)

With Glen Campbell
 * The Astounding 12-String Guitar of Glen Campbell (Capitol, 1964)
 * Hey Little One (Capitol, 1968)
 * The Glen Campbell Goodtime Album (Capitol, 1970)

With Sam Cooke
 * Twistin' the Night Away (RCA Victor, 1962)
 * Mr. Soul (RCA Victor, 1963)
 * Ain't That Good News (RCA Victor, 1964)

With Bobby Darin
 * Venice Blue (Capitol, 1965)
 * Bobby Darin Sings The Shadow of Your Smile (Atlantic, 1966)

With Fats Domino
 * This Is Fats Domino! (Imperial, 1956)
 * Fats Domino Rock and Rollin' (Imperial, 1956)
 * Here Stands Fats Domino (WaxTime, 1957)
 * Fats Is Back (Reprise, 1968)

With José Feliciano
 * 10 to 23 (RCA Victor, 1969)
 * That The Spirit Needs (Of Muse And Man) (RCA Victor, 1971)

With Bobbie Gentry
 * Ode to Billie Joe (Capitol, 1967)
 * The Delta Sweete (Capitol, 1968)

With Lightnin' Hopkins
 * Lightnin' Strikes (Verve Folkways, 1966)
 * Something Blue (Verve Forecast, 1967)

With B.B. King
 * Blues in My Heart (Crown, 1962)
 * L.A. Midnight (ABC, 1972)
 * Let the Good Times Roll (MCA, 1999)

With Peggy Lee
 * Blues Cross Country (Capitol, 1962)
 * Make It With You (Capitol, 1970)
 * Norma Deloris Egstrom from Jamestown, North Dakota (Capitol, 1972)

With Ketty Lester
 * Love Letters (Era, 1963)
 * Ketty Lester (Records By Pete, 1969)

With Harvey Mandel
 * Righteous (Phillips, 1969)
 * The Snake (Janus, 1972)

With Teena Marie
 * Wild and Peaceful (Motown, 1979)
 * Irons in the Fire (Gordy, 1980)

With The Monkees
 * The Birds, The Bees & The Monkees (Colgems, 1968)
 * Head (Colgems, 1968)

With Maria Muldaur
 * Waitress in a Donut Shop (Reprise, 1974)
 * Sweet Harmony (Reprise, 1976)

With Della Reese
 * I Like It Like Dat! (ABC, 1965)
 * On Strings of Blue (ABC, 1967)
 * I Gotta Be Me... This Trip Out (ABC, 1968)
 * Let Me in Your Life (People, 1973)

With Little Richard
 * Here's Little Richard (Speciality, 1957)
 * Little Richard (Speciality, 1958)
 * The Fabulous Little Richard (Speciality, 1959)
 * The Second Coming (Reprise, 1972)

With Howard Roberts
 * Color Him Funky (Capitol, 1963)
 * H.R. is a Dirty Guitar Player (Capitol, 1963)

With Lalo Schifrin
 * Music from Mission: Impossible (Dot, 1967)
 * There's a Whole Lalo Schifrin Goin' On (Dot, 1968)
 * Ins and Outs (Palo Alto, 1982)

With others
 * Arthur Adams, Home Brew (Fantasy, 1975)
 * Cannonball Adderley, Accent on Africa (Capitol, 1968)
 * J. W. Alexander, Raw Turntips & Hot Sauce (Thrush, 1970)
 * Lisa Hartman Black, Lisa Hartman (Kirshner, 1976)
 * Tim Buckley, Look at the Fool (Discreet, 1974)
 * Keith Carradine, I'm Easy (Asylum, 1976)
 * David Clayton-Thomas, David Clayton-Thomas (Columbia, 1972)
 * Climax, Climax Featuring Sonny Geraci (Rocky Road, 1972)
 * Buddy Collette's Swinging Shepherds, At the Cinema! (Mercury, 1959)
 * Priscilla Coolidge, Gypsy Queen (Sussex, 1970)
 * Elvis Costello, King of America (F-Beat, 1986)
 * Dick Dale, Mr. Eliminator (Capitol, 1964)
 * Bobby Day, Rockin' With Robbin (Class, 1959)
 * Neil Diamond, Tap Root Manuscript (Uni, 1970)
 * The 5th Dimension, Living Together, Growing Together (Bell, 1973)
 * Willie Dixon, Hidden Charms (Capitol, 1988)
 * Deke Dickerson, In 3-Dimensions (Major Label, 2003)
 * Donovan, 7-Tease (Epic, 1974)
 * Duane Eddy, Twistin' And Twangin' (RCA Victor, 1962)
 * Harry Edison, Sweets for the Sweet Taste of Love (Vee-Jay, 1964)
 * Phil Everly, Star Spangled Springer (RCA, 1973)
 * The Everly Brothers, Roots (Warner Bros., 1968)
 * Gil Fuller, Gil Fuller & the Monterey Jazz Festival Orchestra featuring Dizzy Gillespie (Pacific Jazz, 1965)
 * Gale Garnett, Gale Garnett Sings About Flying and Rainbows and Love and Other Groovy Things (RCA Victor, 1967)
 * Lowell George, Lightning-Rod Man (Bizarre, 1993)
 * Lorne Greene, Lorne Greene's American West (RCA Victor, 1965)
 * Tim Hardin, Tim Hardin 1 (Verve, 1966)
 * Al Hirt & Lalo Schifrin, Latin in the Horn (RCA Victor, 1966)
 * Milt Jackson, Memphis Jackson (Impulse!, 1969)
 * Jan and Dean, Surf City (and Other Swinging Cities) (Liberty, 1963)
 * Dr. John, N'Awlinz: Dis Dat or d'Udda (Blue Note, 2004)
 * Plas Johnson, This Must Be the Plas (Capitol, 1959)
 * Gloria Jones, Share My Love (Motown, 1973)
 * Eddie Kendricks, The Hit Man (Tamla, 1975)
 * Sarah Kernochan, Beat Around the Bush (RCA, 1974)
 * Clydie King, Brown Sugar featuring Clydie King (Chelsea, 1973)
 * Al Kooper, Easy Does It (Columbia, 1970)
 * Little Feat, Down on the Farm (Warner Bros., 1979)
 * Julie London, Julie...At Home (Liberty, 1960)
 * Jon Lucien, Romantico (Zemajo, 1980)
 * Taj Mahal, The Natch'l Blues (Columbia, 1968)
 * The Mamas & the Papas, People Like Us (Dunhill, 1971)
 * Barry Mann, Survivor (RCA Victor, 1975)
 * Michael Martin Murphey, Swans Against the Sun (Epic, 1975)
 * Michael Nesmith, The Wichita Train Whistle Sings (Dot, 1968)
 * Randy Newman, Sail Away (Reprise, 1972)
 * Wayne Newton, Pour Me a Little More Wine (Chelsea, 1973)
 * Harry Nilsson, The Point (RCA Victor, 1971)
 * Van Dyke Parks, Song Cycle (Warner Bros., 1967)
 * Billy Preston, Greazee Soul (Soul City, 1963)
 * Bonnie Raitt, Takin' My Time (Warner Bros., 1973)
 * The Righteous Brothers, Back to Back (Philles, 1965)
 * Leon Russell, Looking Back (Olympic, 1973)
 * Frank Sinatra, Sinatra and Swingin' Brass (Reprise, 1962)
 * Sonny & Cher, Look at Us (Atco, 1965)
 * Splinter, Harder to Live (Dark Horse, 1975)
 * Barbra Streisand, Stoney End (Columbia, 1971)
 * The Strollers, Swinging Flute in Hi-Fi (Score, 1958)
 * The Sugar Shoppe, The Sugar Shoppe (Now Sounds, 1968)
 * Gene Summers, The Ultimate School of Rock & Roll (Crystal Clear Sound, 1997)
 * Jim Sullivan, U.F.O. (Monnie, 1969)
 * Big Joe Turner, Life Ain't Easy (Pablo, 1983)
 * Ike & Tina Turner, River Deep – Mountain High (London, 1966)
 * Sarah Vaughan, A Time in My Life (Mainstream, 1971)
 * Eddie "Cleanhead" Vinson, The Original Cleanhead (BluesTime, 1970)
 * Tom Waits, Blue Valentine (Asylum, 1978)
 * Joe Williams, With Love (Temponic, 1972)
 * Paul Williams, Someday Man (Reprise, 1970)
 * Neil Young, Neil Young (Reprise, 1969)

Singles

 * "The Fat Man" – Fats Domino (1949)
 * "Messy Bessy" – Dave Bartholomew (1949)
 * "Lawdy Miss Clawdy" – Lloyd Price (1952)
 * "I'm Gone" – Shirley and Lee (1952)
 * "Doin' the Hambone" b/w "Thinkin' 'Bout My Baby" – James Booker (1954)
 * "In the Night" – Professor Longhair (1954)
 * "I Hear You Knockin" – Smiley Lewis (1955)
 * "Blue Monday" – Fats Domino (1955)
 * "The Girl Can't Help It", "Rip It Up", "Long Tall Sally",  "Slippin' and Slidin'", "Ready Teddy" – Little Richard (1956)
 * "Chicken Shack Boogie" – Amos Milburn (1956)
 * "Ooh-Wee-Baby" – Art Neville (1956)
 * "Let the Good Times Roll" – Shirley and Lee (1956)
 * "Red Hot" – Bob Luman (1957)
 * "You Send Me" – Sam Cooke (1957)
 * "I'm Walkin'" – Fats Domino (1957)
 * "I'm Leaving It Up to You" – Don and Dewey (1957)
 * "Little Bitty Pretty One" – Bobby Day and Thurston Harris (1957)
 * "Busy, Busy", "My Heaven" – Dan Bowden (1958)
 * "Donna" – Ritchie Valens (1958)
 * "Summertime Blues" – Eddie Cochran (1958)
 * "Slow Down", "Dizzy Miss Lizzy", "Bony Moronie" – Larry Williams (1958)
 * "Polly Molly", "Forever and a Day" – 5 Masks (1958)
 * "Patricia Darling", "Whatta You Do" – Ray Willis (1958)
 * "Nervous", "Gotta Lotta That", "Twixteen", "Crazy Cat Corner" – Gene Summers (1958)
 * "Rockin' Robin" – Bobby Day (1958)
 * "Willie and the Hand Jive" – Johnny Otis (1958)
 * "La Bamba" – Ritchie Valens (1959)
 * "Hippy Hippy Shake" – Chan Romero (1959)
 * "Made In The Shade" – Jimmy & Alton (1959)
 * "Walking to New Orleans" – Fats Domino (1960)
 * "Percolator Twist" – Billy Joe And The Checkmates (1961)
 * "The Lonely Bull" – Herb Alpert (1962)
 * "High Flyin' Bird" – Judy Henske (1963)
 * "Please Let Me Love You" – The Beefeaters (who later became the Byrds) (1964)
 * "The Little Old Lady from Pasadena", "Dead Man's Curve" – Jan and Dean (1964)
 * "You've Lost That Lovin' Feelin'" – The Righteous Brothers (1964)
 * "Please Let Me Wonder" – The Beach Boys (1965)
 * "Hold Me, Thrill Me, Kiss Me" – Mel Carter (1965)
 * "River Deep - Mountain High" – Ike & Tina Turner (1966)
 * "I'll Be Back Up On My Feet", "We Were Made for Each Other", "Magnolia Simms" – The Monkees (1968)
 * "The Old Laughing Lady", "I've Loved Her So Long" – Neil Young (1969)
 * "She Gets Me Where I Live", "God Sheds His Grace on Thee" – Al Kooper (1970)
 * "It's About Time" - The Beach Boys (1970)
 * "Whistlin' Past the Graveyard", "Sweet Little Bullet From a Pretty Blue Gun" – Tom Waits (1978)

Film scores
Palmer was the session drummer for a number of film scores, including:

1961
 * Judgment at Nuremberg, score by Ernest Gold

1963
 * Hud, score by Elmer Bernstein
 * It's a Mad, Mad, Mad, Mad World, score by Ernest Gold

1964
 * Baby the Rain Must Fall, score by Elmer Bernstein
 * Ride the Wild Surf, score by Stu Phillips
 * Robin and the Seven Hoods, score by Nelson Riddle

1965
 * Boeing Boeing, score by Neal Hefti
 * Harlow, score by Neal Hefti
 * How to Stuff a Wild Bikini, score by Les Baxter
 * A Patch of Blue, score by Jerry Goldsmith

1967
 * Pretty Polly, score by Michel Legrand
 * Cool Hand Luke, score by Lalo Schifrin
 * In the Heat of the Night, score by Quincy Jones

1968
 * A Dandy in Aspic, score by Quincy Jones

Television scores
Palmer was also the session drummer for a number of television show themes and soundtracks, including:

 * The Flintstones
 * M Squad
 * 77 Sunset Strip
 * Bourbon Street Beat
 * Hawaiian Eye
 * Peyton Place
 * I Dream of Jeannie
 * The Man from U.N.C.L.E.
 * Green Acres
 * Ironside
 * The Outsider
 * It Takes a Thief
 * The Leslie Uggams Show
 * The Brady Bunch
 * Delta
 * The Partridge Family
 * The Odd Couple
 * The Pearl Bailey Show
 * M*A*S*H
 * The Midnight Special
 * Mannix
 * Mission: Impossible

title: Earl Palmer


text:
Scotty Moore

Winfield Scott Moore III (December 27, 1931 – June 28, 2016) was an American guitarist who formed The Blue Moon Boys in 1954, Elvis Presley's backing band. He was studio and touring guitarist for Presley between 1954 and 1968.

Rock critic Dave Marsh credits Moore with inventing power chords, on the 1957 Elvis hit "Jailhouse Rock", the intro of which Moore and drummer D.J. Fontana, according to the latter, "copped from a '40s swing version of 'The Anvil Chorus"." Moore was ranked 29th in Rolling Stone magazine's list of 100 Greatest Guitarists of All Time in 2011. He was inducted into the Rock and Roll Hall of Fame in 2000, the Musicians Hall of Fame and Museum in 2007, and the Memphis Music Hall of Fame in 2015. the Rolling Stones' guitarist Keith Richards said of Moore:"When I heard 'Heartbreak Hotel', I knew what I wanted to do in life. It was as plain as day. All I wanted to do in the world was to be able to play and sound like the way Scotty Moore did. Everyone wanted to be Elvis, I wanted to be Scotty."

Biography
Winfield Scott Moore III was born near Gadsden, Tennessee, to Mattie (nee Hefley) and Winfield Scott Moore II, as the youngest of four boys by 14 years. He learned to play the guitar from family and friends at age eight. Although underage when he enlisted, Moore served in the United States Navy in China and Korea from 1948 through January 1952.

Moore's early background was in jazz and country music. A fan of the guitarist Chet Atkins, Moore led a group called the Starlite Wranglers before Sam Phillips at Sun Records put him together with then-teenage Elvis Presley. The trio was completed with double bass player Bill Black, who brought a "rhythmic propulsion" that much pleased Phillips. In 1954, Moore and Black accompanied Elvis on what would become the first Presley hit, the Sun Studios session cut of "That's All Right", a recording regarded as a seminal event in rock and roll history.

This session, held on the evening of July 5, 1954, proved entirely unfruitful until late in the night. As they were about to give up and go home, Presley took his guitar and launched into a 1946 blues number, Arthur Crudup's "That's All Right". Moore recalled,"All of a sudden, Elvis just started singing this song, jumping around and acting the fool and then Bill picked up his bass and he started acting the fool too, and I started playing with them. Sam, I think, had the door to the control booth open...he stuck his head out and said, 'What are you doing?' And we said, 'We don't know.' 'Well, back up,' he said, 'try to find a place to start and do it again.' Phillips quickly began taping as this was the sound he had been looking for."During the next few days, the trio recorded a bluegrass number, Bill Monroe's "Blue Moon of Kentucky", again in a distinctive style and employing an echo effect that Sam Phillips called "slapback". A single was pressed with "That's All Right" on the A side and "Blue Moon of Kentucky" as the B-side.

Phillips' rhythm-centered vision led him to steer Moore away from Chet Atkins' style, the one which had been adopted by Merle Travis's finger-picking style, now dubbed as "travis picking", which he deemed fine for pop or country but not for the simple, gutsy sound Phillips was aiming at. Simplify was the keyword.

By his performance at the Louisiana Hayride in October 1954, Presley, Black and Moore were called the Blue Moon Boys.

For a time, Moore served as Presley's personal manager. They were later joined by the drummer D.J. Fontana.

Beginning in July 1954, the Blue Moon Boys toured and recorded throughout the American South. Subsequently, Elvis's popularity rose amongst teenage girls, they began touring nationwide, appearing on distinguished programs such as The Ed Sullivan Show, which, at the time, was the hallmark for success for young artists. On April 3, 1956, they performed "Shake, Rattle and Roll," "Heartbreak Hotel," and "Blue Suede Shoes" on The Milton Berle Show. Elvis and the band appeared on The Steve Allen Show in a comedy sketch performing "Hound Dog" to an actual hound dog. Presley was prohibited from doing the gyrations that elicited screams from the audience, which would produce good reviews, but those were nothing compared to the scandals Elvis and the band would face. Elvis never understood why the girls screamed out of control when he sang. It was Moore who told him why. "It's your leg, man. The way you shake your left leg."

Moore played on many of Presley's most famous recordings, including "That's All Right," "Good Rockin' Tonight," "Milkcow Blues Boogie," "Baby Let's Play House" (where Elvis introduced the vocal stutter to the music pundits), "Heartbreak Hotel," "Mystery Train," "Blue Suede Shoes," "Hound Dog," "Too Much,""Jailhouse Rock," and "Hard Headed Woman." He called his solo on "Hound Dog" "ancient psychedelia."

During the filming and recording of Loving You in Hollywood in early 1957, Moore and Black drove boredom away by jamming with Presley between takes but they usually saw little of Presley, although he stayed only a couple of floors away from them. They grew hurt and resentful at the separation, which they came to perceive as willfully organized.

They did not accompany Presley on the soundtrack recordings for his first movie, Love Me Tender, because 20th Century Fox had refused to allow him to use his own band, with the excuse that the band could not play country. By December 1956, they were experiencing financial difficulties because there had been few performances since August. When there were performances, they received $200 a week (US$0 in dollars), but only $100 (US$0 in  dollars) when they were not performing. Moore and his wife were forced to move in with her three sisters and brother-in-law. In an interview with the Memphis Press-Scimitar that December, they spoke about their lack of performances and contact with Presley himself. The interview was the vehicle for their announcement that management had given them permission to record an instrumental album of their own, which RCA Victor would release, permission which was needed in order for them to appear as a group without Presley.

During Presley's 1957 tour of Canada, the concert promoter Oscar Davis offered to represent them as their manager. Moore and Black, who had seen Presley become a millionaire while they were still earning $200 or $100 a week themselves, were willing to work with Davis but the backing vocalists, the Jordanaires, were not amenable, because they did not trust Davis. They had usually been living off $100 a week since 1956, as had Elvis; however, once Hollywood had been introduced, Presley's salary experienced a dramatic rise, while Moore and Black continued at $100 a week. They only received one raise in two years and with the lack of personal appearances it was getting to be too financially difficult.

Tension hit a breaking point right after the September 1957 sessions for Presley's first Christmas album. Moore and Black had been promised an opportunity to jam with Elvis after the session, on Presley's studio time. Yet when the session was over, they were told to pack up and leave. That same evening, the duo wrote a letter of resignation.

They deduced (correctly) the Colonel was working against them. They had been denied virtually all access to Presley and felt as if "they were no longer even permitted to talk to him". Colonel Parker didn't interfere but RCA Victor executive Steve Sholes, who had little regard for the ability of Presley's band, hoped the separation would be permanent. Back in Memphis, a journalist found out about the split and interviewed the duo. Presley responded to the article with a press statement wishing them good luck, saying things could have been worked out if they had come to him first instead of bringing it to the press. In an accompanying interview, Presley revealed that during the previous two years, people had tried to convince him to get rid of his band so from his point of view he had stayed loyal to them.

Presley was scheduled to appear in Tupelo within the next two weeks and started to audition new musicians. He performed with Hank Garland on guitar and D.J. Fontana's friend, Chuck Wiginton, on bass, but despite their musical ability, it didn't feel the same to him. The week after his Tupelo engagement he hired back Moore and Black on a per diem basis. In the meantime, the duo had played "a miserable two-week engagement at the Dallas State Fair." Moore declared there were no hard feelings, though Presley himself, according to biographer Guralnick, seems to have taken a more melancholic view. One day, Guralnick writes, Presley heard "Jailhouse Rock" on the radio "and declared, 'Elvis Presley and his one-man-band,' with a rueful shake of his head."

Moore and the Blue Moon Boys performed (and had additional small walk-on and speaking roles) with Presley in four of his movies (Loving You, Jailhouse Rock, King Creole, and G.I. Blues) filmed in 1957, 1958, and 1960.

Early in 1958, when Presley was drafted, Moore began working at Fernwood Records and produced a hit record, " Tragedy," for Thomas Wayne Perkins, the brother of Johnny Cash's guitarist Luther Perkins.

In 1960, Moore commenced recording sessions with Presley at RCA Victor and also served as production manager at Sam Phillips Recording Service, which involved supervising all aspects of studio operation. Moore played on such Presley songs as "Fame and Fortune," "Such a Night," "Frankfort Special," "Surrender," "I Feel So Bad," "Rock-A-Hula Baby", "Kiss Me Quick," "Good Luck Charm," "She's Not You", "(You're the) Devil in Disguise", and "Bossa Nova Baby." Moore remained as a guitarist for the majority of the songs recorded after Presley's work was dominated by Hollywood sessions. Moore mostly played rhythm guitar, however, with his last lead guitar work occurring by 1962 with "(You're the) Devil in Disguise". Moore also played on sessions for Roy Orbison (most notably on “Crying”) and others.

In 1964, Moore released a solo album on Epic Records called The Guitar That Changed the World, played using his Gibson Super 400. Phillips was initially unaware of the project, and once he got wind of it, Moore was fired. He reunited with Fontana and Presley for the NBC television special known as the '68 Comeback Special, again with his Gibson Super 400, which was also played by Presley. This special was the last time these musicians would play with Presley, and for Moore, it was the last time he ever saw him.

Style and influence
Moore's playing on his Gibson with his unique finger-picking style using a thumbpick, as on the Sun and early RCA Victor recordings, represented a move of the Chet Atkins style into a more rockabilly mode.

Of Presley's first single "That's All Right," the critic Dave Marsh wrote that "Moore's guitar—especially the solo—toughens the song up and forces it to rock." Though Marsh credits Presley with introducing "the vocal stutter" on "Baby Let's Play House," Marsh states, "Other than that, it's guitarist Scotty Moore's show and he sets a few precedents of his own." Of the other Sun recordings, Marsh cited the "urgent Scotty Moore guitar lick" as a standout element of "Mystery Train," while "Good Rockin' Tonight" displays his "stinging guitar."

In Marsh's description, the teamwork of Moore and other musicians turned the 1957 single and movie title song "Jailhouse Rock" into an "enduring smash for at least three reasons: the great walking bass, Scotty Moore's invention of power chording, and D.J. Fontana's drumming, which is halfway between strip joint rhumba and the perfect New Orleans shuffle."

On the 1961, post-Army Presley single "Little Sister," "Scotty Moore comes up with his greatest post-Sun guitar lick and not only converts a comparatively humdrum Pomus-Shuman teen love triangle number into the best of Elvis's early sixties hits but (together with D.J. Fontana's heavy-footed thunderation) gives more than a few pointers toward the metallic rock to come." According to Presley discographer Ernst Jorgensen, however, Hank Garland was the lead guitarist on the song, while Moore played acoustic guitar.

Moore is given credit as a pioneer rock 'n' roll lead guitarist, though he characteristically downplayed his own innovative role in the development of the style. "It had been there for quite a while," recalled Moore. "Carl Perkins was doing basically the same sort of thing up around Jackson and I know for a fact Jerry Lee Lewis had been playing that kind of music ever since he was ten years old." Paul Friedlander describes the defining elements of rockabilly, which he similarly characterizes as "essentially... an Elvis Presley construction:" "the raw, emotive, and slurred vocal style and emphasis on rhythmic feeling [of] the blues with the string band and strummed rhythm guitar [of] country." In "That's All Right," the Presley trio's first record, Moore's guitar solo, "a combination of Merle Travis–style country finger-picking, double-stop slides from acoustic boogie and blues-based bent-note, single-string work, is a microcosm of this fusion."

Although some lead guitarists and vocalists, such as Chuck Berry and the blues legend B. B. King, had gained popularity by the 1950s, Presley rarely played his own lead while performing, instead providing rhythm guitar and leaving the lead duties to Moore. As a guitarist, Moore was a noticeable presence in Presley's performances despite his introverted demeanor. He became an inspiration to many subsequent popular guitarists, including George Harrison, Jeff Beck, and Keith Richards of the Rolling Stones. While Moore was working on his memoir with co-author James L. Dickerson, Richards told Dickerson, "Everyone else wanted to be Elvis—I wanted to be Scotty." Richards has stated many times (in Rolling Stone magazine and in his autobiography, Life) that he could never figure out how to play the "stop time" break and figure that Moore played on "I'm Left, You're Right, She's Gone" (Sun) and that he hopes it will remain a mystery.

Equipment
Earlier on, Scotty used a '52 Telecaster, which he traded at the Houck Piano Company in Memphis for the now-iconic gold-colored Gibson ES-295 (nicknamed "The Guitar That Changed the World"). He made some modifications to the guitar, mainly he was unhappy with the Les Paul style bridge, which he replaced with a Melita-Synchro Sonic model with adjustable saddles, which enabled fine-tuning of each string; but this bridge further required a different tailpiece--Scotty opted for a Kluson trapeze model as utilized by Gibson on the ES-125. This is the guitar heard on all but the later Sun sessions with Elvis. In July 1955, Scotty traded this guitar for a blonde-finish 1954 Gibson L-5 CESN, with which he recorded the last Sun sessions (including "Mystery Train"), as well as several RCA cuts, and in 1957 he switched to a Gibson Super 400. This Super 400 was the guitar heard on the Jailhouse Rock and King Creole soundtracks, as well as the earlier post-army sessions.

One of the key pieces of equipment in Moore's sound on many of the recordings with Presley, besides his guitars, was the Ray Butts EchoSonic, first used by Chet Atkins, a guitar amplifier with a tape echo built in, which allowed him to take his trademark slapback echo on the road. It is important to note, however, that this amplifier was not used until 1955--which means that the earlier Sun sessions (including That's All Right Mama) were not recorded with this amplifier.

Last years and death
Moore had to give up playing guitar a few years before his death because of arthritis. Quite likely his last appearance on a recording came as a guest on the 2011 album 61 & 49 by the Mike Eldred Trio. That group's leader, guitarist Mike Eldred, had been a friend of Moore's since the early 1990s. As a member of Lee Rocker's Big Blue, Eldred also helped bring Moore (then semi-retired) aboard as a guest on that group's first album.

Moore died on June 28, 2016, in Nashville, Tennessee, at the age of 84.

Songwriting
Scotty Moore co-wrote the songs "My Kind of Carrying On" and "Now She Cares No More" which were released as Sun 202 on Sun Records in 1954 when he was a member of the group Doug Poindexter and the Starlite Wranglers with Bill Black as the double bass player. He co-wrote the instrumental "Have Guitar Will Travel" in 1958 with Bill Black, which was released as a 45 single, 107, on the Fernwood Records label.

Awards
For his pioneering contribution, Moore has been recognized by the Rockabilly Hall of Fame. In 2000, he was inducted into the Rock and Roll Hall of Fame.

title: Scotty Moore