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Bowerbird

Bowerbirds make up the bird family Ptilonorhynchidae. They are renowned for their unique courtship behaviour, where males build a structure and decorate it with sticks and brightly coloured objects in an attempt to attract a mate.

The family has 27 species in eight genera. These are medium to large-sized passerines, ranging from the golden bowerbird at 22 cm and 70 g to the great bowerbird at 40 cm and 230 g. Their diet consists mainly of fruit but may also include insects (especially for nestlings), flowers, nectar and leaves in some species. The satin and spotted bowerbirds are sometimes considered agricultural pests due to their habit of feeding on introduced fruit and vegetable crops and have occasionally been killed by affected orchardists.

The bowerbirds have an Austro-Papuan distribution, with ten species endemic to New Guinea, eight endemic to Australia, and two found in both. Although their distribution is centered on the tropical regions of New Guinea and northern Australia, some species extend into central, western, and southeastern Australia. They occupy a range of different habitats, including rainforest, eucalyptus and acacia forest, and shrublands. While the females are unequivocally drab, in some species the males have bright golden-yellow and sometimes black markings.

One group with particularly inconspicuous plumage in males as well as females, but loud meowing calls, is known as "catbirds". Note that the ptilonorhynchid catbirds, the grey catbird (Dumetella carolinensis) and black catbird (Melanoptila glabrirostris) from the Americas, and the Abyssinian catbird (Sylvia=Parophasma galinieri) from Africa, are only related by their common name; they belong to different families.

Behaviour and ecology

The Ailuroedus catbirds are monogamous, with males raising chicks with their partners, but all other bowerbirds are polygynous, with the female building the nest and raising the young alone. These latter species are commonly dimorphic, with the female being drabber in color. Female bowerbirds build a nest by laying soft materials, such as leaves, ferns, and vine tendrils, on top of a loose foundation of sticks.

All Papuan bowerbirds lay one egg, while Australian species lay one to three with laying intervals of two days. Bowerbird eggs are around twice the weight of those of most passerines of similar size – for instance eggs of the satin bowerbird weigh around 19 g as against a calculated 10 g for a passerine weighing 150 g. Eggs hatch after 19 to 24 days, depending on the species and are a plain cream color for catbirds and the tooth-billed bowerbird, but in other species possess brownish wavy lines similar to eggs of Australo-Papuan babblers. In accordance with their lengthy incubation periods, bowerbirds that lay more than one egg have asynchronous hatching, but siblicide has never been observed.

Bowerbirds as a group have the longest life expectancy of any passerine family with significant banding studies. The two most studied species, the green catbird and satin bowerbird, have life expectancies of around eight to ten years and one satin bowerbird has been known to live for twenty-six years. For comparison, the common raven, the heaviest passerine species with significant banding records, has not been known to live longer than 21 years.

Courtship and mating
The most notable characteristic of bowerbirds is their extraordinarily complex courtship and mating behaviour, where males build a bower to attract mates. There are two main types of bowers. Prionodura, Amblyornis, Scenopoeetes and Archiboldia bowerbirds build so-called maypole bowers, which are constructed by placing sticks around a sapling; in the former two species these bowers have a hut-like roof. Chlamydera, Sericulus and Ptilonorhynchus bowerbirds build an avenue-type bower made of two walls of vertically placed sticks. Ailuroedus catbirds are the only species which do not construct either bowers or display courts. In and around the bower, the male places a variety of brightly colored objects he has collected. These objects — usually different among each species — may include hundreds of shells, leaves, flowers, feathers, stones, berries, and even discarded plastic items, coins, nails, rifle shells, or pieces of glass. The males spend hours arranging this collection. Bowers within a species share a general form but do show significant variation, and the collection of objects reflects the biases of males of each species and its ability to procure items from the habitat, often stealing them from neighboring bowers. Several studies of different species have shown that colors of decorations males use on their bowers match the preferences of females.

In addition to the bower construction and ornamentation, male birds perform involved courtship displays to attract the female. Research suggests the male adjusts his performance based on success and female response.

Mate-searching females commonly visit multiple bowers, often returning to preferred bowers several times, and watching males' elaborate courtship displays and inspecting the quality of the bower. Through this process the female reduces the set of potential mates. Many females end up selecting the same male, and many under-performing males are left without copulations. Females mated with top-mating males tend to return to the male the next year and search less.

It has been suggested that there is an inverse relationship between bower complexity and the brightness of plumage. There may be an evolutionary "transfer" of ornamentation in some species, from their plumage to their bowers, in order to reduce the visibility of the male and thereby its vulnerability to predation. This hypothesis is not well supported because species with vastly different bower types have similar plumage. Others have suggested that the bower functioned initially as a device that benefits females by protecting them from forced copulations and thus giving them enhanced opportunity to choose males and benefits males by enhancing female willingness to visit the bower. Evidence supporting this hypothesis comes from observations of Archbold's bowerbirds that have no true bower and have greatly modified their courtship so that the male is limited in his ability to mount the female without her cooperation. In tooth-billed bowerbirds that have no bowers, males may capture females out of the air and forcibly copulate with them. Once this initial function was established, bowers were then co-opted by females for other functions such as use in assessing males based on the quality of bower construction. Recent studies with robot female bowerbirds have shown that males react to female signals of discomfort during courtship by reducing the intensity of their potentially threatening courtship. Young females tend to be more easily threatened by intense male courtship, and these females tend to choose males based on traits not dependent on male courtship intensity.

The high degree of effort directed at mate choice by females and the large skews in mating success directed at males with quality displays suggests that females gain important benefits from mate choice. Since males have no role in parental care and give nothing to females except sperm, it is suggested that females gain genetic benefits from their mate choice. However this has not been established, in part because of the difficulty of following offspring performance since males take seven years to reach sexual maturity. One hypothesis for the evolutionary causation of the bower building display is Hamilton and Zuk's "bright bird" hypothesis, which states that sexual ornaments are indicators of general health and heritable disease resistance. Doucet and Montgomerie determined that the male bowerbird's plumage reflectance indicates internal parasitic infection, whereas the bower quality is a measure of external parasitic infection. This would suggest that the bowerbird mating display evolved due to parasite mediated sexual selection, though there is some controversy surrounding this conclusion.

This complex mating behaviour, with its highly valued types and colors of decorations, has led some researchers to regard the bowerbirds as among the most behaviorally complex species of bird. It also provides some of the most compelling evidence that the extended phenotype of a species can play a role in sexual selection and indeed act as a powerful mechanism to shape its evolution, as seems to be the case for humans. Inspired by their seemingly extreme courtship rituals, Charles Darwin discussed both bowerbirds and birds-of-paradise in his writings.

In addition, many species of bowerbird are superb vocal mimics. MacGregor's bowerbird, for example, has been observed imitating pigs, waterfalls, and human chatter. Satin bowerbirds commonly mimic other local species as part of their courtship display.

Bowerbirds have also been observed creating optical illusions in their bowers to appeal to mates. They arrange objects in the bower's court area from smallest to largest, creating a forced perspective which holds the attention of the female for longer. Males with objects arranged in a way that have a strong optical illusion are likely to have higher mating success.

Taxonomy and systematics

Though bowerbirds have traditionally been regarded as closely related to the birds of paradise, recent molecular studies suggest that while both families are part of the great corvid radiation that took place in or near Sahul (Australia-New Guinea), the bowerbirds are more distant from the birds of paradise than was once thought. DNA–DNA hybridization studies placed them close to the lyrebirds; however, anatomical evidence appears to contradict this placement, and the true relationship remained unresolved for long. Cladistic analyses in the mid-2010s usually allied bowerbirds with the Australasian treecreepers (Climacteridae), another Sahul endemic family which is highly adapted to a woodpecker-like lifestyle (woodpeckers being absent from Sahul). This putative superfamily forms part of a large basal radiation of ancient songbirds, with the lyrebirds being part of a more ancestral branch than the bowerbirds and their DNA-DNA hybridization similarities being due to the phenetic methodology which (unlike cladistic analysis) merely assesses overall similarity without accounting for convergent evolution.

Many bowerbirds (in particular New Guinean species) are little known and even less studied. But the hypothesized relationships of 3 roughly equally distinct groups and one peculiar species inferred from courtship behaviour and external appearance are by and large confirmed by molecular phylogenetics,. Some insights from the more recent studies, however, were less expected: The Tooth-billed catbird, with its unique "stagemaker" courtship, was long suspected not to be a true catbird (genus Ailuroedus). As it turned out, this is not only correct, but in fact the Tooth-billed catbird is robustly resolved by the mtDNA data as more closely related to the "maypole"-type bower builders than to Ailuroedus, and certainly warrants separation in genus Scenopoeetes. Also, the enigmatic "maypole-builder" genus Archboldia seems to be merely a Amblyornis with unusually heavy melanin pigmentation as is often found in tropical rainforest birds. On the other hand, the "avenue-builders" also have a hypermelanic lineage, the satin bowerbird, but this seems well separable as a monotypic genus Ptilonorhynchus, as is the "maypole-building" golden bowerbird (as Prionodura). Interestingly, the widely divergent "avenue-builders" may represent the oldest living lineage, with the monogamous true catbirds, which do not build a bower and were traditionally held to be "primitive", as the most derived group among living bowerbirds – the last common ancestor of the living bowerbirds is hypothesized to have been polygynous, with sexually dimorphic plumage – cryptic greenish in the females, and probably dark with a yellow belly in the males. But overall relationships between the true catbirds, the "maypole-builders" and the "avenue-builders" were not definitely resolvable, with only a small outgroup being used and outgroup effects on intra-family relationships not being tested. Even so, it is precisely this uncertainty about inter-group relationships that strongly suggests that the "maypole"/"avenue" bowers are not one ancestral and one derived type, but evolved independent of one another, perhaps from a "clean stage"-type courtship arena which is commonly established by all bower-building species at the start of bower construction, and persists in little-altered form (just adding some remarkable leaves strewn about as decoration) in Scenopoeetes which almost certainly is the most ancient living lineage of the "maypole-builders". Among the catbirds, the white-cheeked group (A.buccoides/geislerorum/stonii) is very likely the most ancient one, which is also in line with the hypothesis that bowerbirds have become more and more drab and inconspicuous as their evolution progressed.

Genera and species
True catbirds Genus Ailuroedus
 * Ochre-breasted catbird, Ailuroedus stonii
 * White-eared catbird, Ailuroedus buccoides
 * Tan-capped catbird, Ailuroedus geislerorum
 * Green catbird, Ailuroedus crassirostris
 * Spotted catbird, Ailuroedus maculosus
 * Huon catbird, Ailuroedus astigmaticus
 * Black-capped catbird, Ailuroedus melanocephalus
 * Northern catbird, Ailuroedus jobiensis
 * Arfak catbird, Ailuroedus arfakianus
 * Black-eared catbird, Ailuroedus melanotis

Maypole-builders (including Tooth-billed catbird) Genus Scenopoeetes
 * Tooth-billed catbird, Scenopoeetes dentirostris

Genus Archboldia
 * Archbold's bowerbird, Archboldia papuensis
 * Sanford's bowerbird, Archboldia (papuensis) sanfordi (species status disputed)

Genus Amblyornis
 * Vogelkop bowerbird, Amblyornis inornata
 * MacGregor's bowerbird, Amblyornis macgregoriae
 * Huon bowerbird, Amblyornis germanus
 * Streaked bowerbird, Amblyornis subalaris
 * Golden-fronted bowerbird, Amblyornis flavifrons

Genus Prionodura
 * Golden bowerbird, Prionodura newtoniana

Avenue-builders Genus Sericulus
 * Flame bowerbird, Sericulus ardens
 * Masked bowerbird, Sericulus aureus
 * Fire-maned bowerbird, Sericulus bakeri
 * Regent bowerbird, Sericulus chrysocephalus

Genus Ptilonorhynchus
 * Satin bowerbird, Ptilonorhynchus violaceus

Genus Chlamydera
 * Western bowerbird, Chlamydera guttata
 * Spotted bowerbird, Chlamydera maculata
 * Great bowerbird, Chlamydera nuchalis
 * Eastern great bowerbird, Chlamydera (nuchalis) orientalis (possibly a distinct species)
 * Yellow-breasted bowerbird, Chlamydera lauterbachi
 * Fawn-breasted bowerbird, Chlamydera cerviniventris

Fossil record Bowerbirds have a scant fossil record that nonetheless extends to the Chattian (latest Oligocene), with the fossil species Sericuloides marynguyenae dated to 26 to 23 million years ago. It was found in Faunal Zone A deposits of the White Hunter Site at D-site Plateau of the Riversleigh World Heritage Area. S. marynguyenae was a tiny member of its family, about the same size as the golden bowerbird. It is known from the proximal end of a right carpometacarpus and the proximal end of a left tarsometatarsus. The material, though fragmentary, preserves much detail, and is overall more similar to the "avenue-builders" – in particular Chlamydera – than to the other two main groups. However, the splits between the three main groups of living bowerbirds are presumed to have occurred only in the Miocene, some time after Sericuloides lived. Thus, the fossil species may have belonged to a more basal and now entirely extinct lineage, and/or it may be considered to support the hypothesis that the "avenue-builders" are the most ancient group of bowerbirds and retain many "primitive" features in their anatomy.

Other than S. marynguyenae, as of 2023 only one other prehistoric bowerbird species is known. This has not been named, as it is only known from the distal left ulna piece QM F57970 (AR19857), also found on the D-site Plateau of Riversleigh WHA, but in interval 3 of Faunal Zone B at the Ross Scott-Orr site, in late early Miocene (Burdigalian) sediments dated to 16.55 mya. Even though this piece of fossil bone is merely some 16 mm long, it is excellently preserved, and its features are characteristic of a smallish bowerbird the size of a black-eared catbird. Bowerbird ulnae – to the extent they have been studied – differ little between genera and species, but the Miocene fossil is unlike all living members of the family in one detail or another. If anything, it resembles the presumably more advanced groups ("maypole-builders" and true catbirds) more than the "avenue-builders" and given its age it may well have been one of the earliest members of either of the former two groups.

title: Bowerbird


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Talk:Asian Americans

Map Discrepancy
The lead says that Asians are 6.5% of the US population (5.4% Asian alone), and the map says that Asians are 7.2% of the population. Can we correct the discrepancy between the map and the text? 021120x (talk) 21:58, 15 August 2022 (UTC)

Infobox population figures
, please stop with this. The changes you're making are contrary to the source, which supports the figures as they currently appear. Cordless Larry (talk) 18:49, 25 October 2022 (UTC)
 * Khamarhaqam is now blocked. Cordless Larry (talk) 21:49, 25 October 2022 (UTC)

Chat GPT
Compare this response to the lead section:

The history of Asian Americans in the United States is a long and complex one, and the timeline for the beginning of Asian American history can be traced back to the early 1800s. The first documented arrival of Asian immigrants in the United States was in 1815, when Filipino sailors came to what is now known as Morro Bay, California.

However, the largest wave of Asian immigrants to the United States began in the mid-19th century, when Chinese immigrants arrived in California to work in the gold mines and on the Transcontinental Railroad. Japanese, Korean, and Filipino immigrants followed in the late 19th and early 20th centuries, and many more Asian immigrants came to the United States in the decades that followed.

Throughout their history in the United States, Asian Americans have faced discrimination and persecution, including the Chinese Exclusion Act of 1882, the internment of Japanese Americans during World War II, and ongoing racism and violence against Asian Americans in recent years. Despite these challenges, Asian Americans have made significant contributions to American society and culture and have become an integral part of the country's history. Ishu (talk) 01:52, 25 February 2023 (UTC)

 * Question: "When did Asian American history begin?" Ishu (talk) 03:26, 25 February 2023 (UTC)

Ethnic groups in infobox
I've removed ethnic groups that were not listed in the 2020 U.S census graph. Several of the sources provided as of this version are not from 2020 or the 2020 U.S census. I'm pretty sure "Indo-Caribbean" entries would be included within the Asian Indian number. I doubt the 4.5M Indian-American number was solely from people who were born in or have parents directly from India, and the source is labelled with the year "2007" and retrieved from 2018! How are those numbers accurate to the 2020s decade?

The Taiwanese American number is 213,774 according to the 2020 Census graph for Asian and Pacific Islander Americans.

I'm also seeing a message saying: No Results Found We couldn't find any results that matched your search. on the alleged Hong Kong American search retrieved in 2022. The source provided for the Bhutanese American number in the info graph does not exact numbers for them. The only mention of "Asia" is by region of foreign-birth. Clear Looking Glass (talk) 03:47, 23 March 2024 (UTC)

Can someone please add a table of the Census population for Asian Americans throughout the different Censuses?
Seen on many other articles, somehow not this one. It shows like the population reported during the 2020 Census, 2010 Census,... and so on. Alexysun (talk) 20:24, 24 June 2024 (UTC)

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

title: Talk:Asian Americans


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Neal Hefti

Neal Paul Hefti (October 29, 1922 – October 11, 2008) was an American jazz trumpeter, composer, and arranger. He wrote music for The Odd Couple movie and TV series and for the Batman TV series.

He began arranging professionally in his teens, when he wrote charts for Nat Towles. He composed and arranged while working as a trumpeter for Woody Herman providing the bandleader with versions of "Woodchopper's Ball" and "Blowin' Up a Storm" and composing "The Good Earth" and "Wild Root". He left Herman's band in 1946. Now concentrating on writing music only, he began an association with Count Basie in 1950. Hefti occasionally led his own bands.

Beginnings
Neal Paul Hefti was born October 29, 1922, to an impoverished family in Hastings, Nebraska, United States. He later recalled his family relying on charity when he was a young child. He started playing the trumpet in school at the age of eleven, and by high school was spending his summer vacations playing in local territory bands to help his family make ends meet.

Growing up in, and near Omaha, Hefti was exposed to some of the great bands and trumpeters of the Southwest territory bands. He also was able to see some of the virtuoso jazz musicians from New York who came through Omaha on tour. His early influences all came from the North Omaha scene. He said, We'd see Basie in town, and I was impressed by Harry Edison and Buck Clayton, being a trumpet player. And I would say I was impressed by Dizzy Gillespie when he was with Cab Calloway. I was impressed by those three trumpet players of the people I saw in person... I thought Harry Edison and Dizzy Gillespie were the most unique of the trumpet players I heard.

These experiences seeing Gillespie and Basie play in Omaha foreshadowed his period in New York watching Gillespie play and develop the music of bebop on 52nd Street and his later involvement with Count Basie's band.

In 1939, while still a junior at North High in Omaha, he got his start in the music industry by writing arrangements of vocal ballads for local bands, like the Nat Towles band. Harold Johnson recalled that Hefti's first scores for that band were "Swingin' On Lennox Avenue" and "More Than You Know," as well as a very popular arrangement of "Anchors Aweigh". Some material that he penned in high school also was used by the Earl Hines band.

Two days before his high school graduation ceremony in 1941, he got an offer to go on tour with the Dick Barry band, so he traveled with them to New Jersey. He quickly was fired from the band after two gigs because he could not sight-read music well enough. Stranded in New Jersey because he did not have enough money to get home to Nebraska, he finally joined Bob Astor's band. Shelly Manne, drummer with Bob Astor at the time, recalled that even then Hefti's writing skills were quite impressive:

We roomed together. And at night we didn't have nothing to do, and we were up at this place — Budd Lake. He said, "What are we going to do tonight?" I said, "Why don't you write a chart for tomorrow?" Neal was so great that he'd just take out the music paper, no score, [hums] — trumpet part, [hums] — trumpet part, [hums] — trombone part, [hums], and you'd play it the next day. It was the end. Cooking charts. I never forget, I couldn't believe it. I kept watching him. It was fantastic.

Hefti, who was classified 4-F (ineligible for military service) during World War II after being hit by a car in New York and breaking his pelvis, would not focus on arranging seriously for a few more years. As a member of Astor's band, he concentrated on playing trumpet.

After an injury forced him to leave Bob Astor, he stayed a while in New York. He played with Bobby Byrne in late 1942, then with Charlie Barnet for whom he wrote the classic arrangement of "Skyliner". During his time in New York, he hung around the clubs on 52nd Street, listening to bebop trumpet master Dizzy Gillespie and other musicians, and immersing himself in the new music. Since he didn't have the money to actually go into the clubs, he would sneak into the kitchen and hang out with the bands, and he got to know many of the great beboppers.

He finally left New York for a while to play with the Les Lieber rhumba band in Cuba. When he returned from Cuba in 1943, he joined the Charlie Spivak band, which led him out to California for the first time, to make a band picture. Hefti fell in love with California. After making the picture in Los Angeles, he dropped out of the Spivak band to stay in California.

First Herd

After playing with Horace Heidt in Los Angeles for a few months in 1944, Hefti met up with Woody Herman who was out in California making a band picture. Hefti then joined Herman's progressive First Herd band as a trumpeter. The Herman band was different from any band that he had played with before. He referred to it as his first experience with a real jazz band. He said:

I would say that I got into jazz when I got into Woody Herman's band because that band was sorta jazz-oriented. They had records. It was the first band I ever joined where the musicians carried records on the road... Duke Ellington records... Woody Herman discs [and] Charlie Barnet V-Discs... That's the first time I sort of got into jazz. The first time I sort of felt that I was anything remotely connected with jazz.

Even though he had been playing with swing bands and other popular music bands for five years, this was the first time he had been immersed in the music of Duke Ellington, and this was the first music that really felt like jazz to him.

One of the first big bands to embrace bebop, First Herd incorporated many bebop ideas in their music. Hefti was instrumental in this development, drawing from his experiences in New York and his respect for Gillespie, who had his own bebop big band. Chubby Jackson, First Herd's bassist, said

Neal started to write some of his ensembles with some of the figures that come from that early bebop thing. We were really one of the first bands outside of Dizzy's big band that flavored bebop into the big band — different tonal quality and rhythms, and the drum feeling started changing, and that I think was really the beginning of it...

I fell in love with it, and I finally got into playing it with the big band because Neal had it down. Neal would write some beautiful things along those patterns. During these years with Herman's band, as they started to turn more and more towards bop ideas, Hefti started to turn more of his attention and effort to writing, at which he quickly excelled. He composed and arranged some of First Herd's most popular recordings, including two of the band's finest instrumentals: "Wild Root" and "The Good Earth".

He contributed to the band a refinement of bop trumpet style that reflected his experience with Byrne, Barnet, and Spivak, as well as an unusually imaginative mind, essentially restless on the trumpet, but beautifully grounded on manuscript paper. He also wrote band favorites such as "Apple Honey" and "Blowin' Up a Storm". His first hand experience in New York, hanging around 52nd Street and listening to the great Dizzy Gillespie, became an important resource to the whole band.

His bebop composition work also started to attract outside attention from other composers, including the interest of neo-classicist Igor Stravinsky, who later wrote "Ebony Concerto" for the band. What first attracted Stravinsky to Herman was the five trumpet unison on "Caldonia," which mirrored the new music of Gillespie... First it had been [Neal Hefti's] solo on Herman's "Woodchopper's Ball", then it became the property of the whole section, and finally, in this set form, it was made part of [Hefti's] arrangement of "Caldonia." Hefti's work successfully drew from many sources. As composer, arranger, and as a crucial part of the Herman ensemble, he provided the Herman band with a solid base which led to their popularity and mastery of the big band bebop style.

Late 1940s
While playing with the First Herd, Neal married Herman's vocalist, Frances Wayne. Playing with the band was very enjoyable for Hefti, which made it doubly hard for him to leave when he wanted to pursue arranging and composing full-time. Talking about Herman's band, Hefti said, The band was a lot of fun. I think there was great rapport between the people in it. And none of us wanted to leave. We were always getting sort of offers from other bands for much more money than we were making with Woody, and it was always like if you left, you were a rat. You were really letting down the team.

The Heftis finally left Woody Herman in late 1946, and Neal began freelance arranging. He wrote charts for Buddy Rich's band, and the ill-fated Billy Butterfield band. He wrote a few arrangements and compositions for George Auld's band, including the composition "Mo Mo." He joined the short-lived Charlie Ventura band as both sideman and arranger (arranging popular songs such as "How High the Moon"). He also arranged for Harry James's bands in the late 1940s.

One of the serendipitous highlights of his work in the late 1940s was the recording of his Cuban-influenced song "Repetition" using a big band and string orchestra, for an anthology collection called The Jazz Scene intended to showcase the best jazz artists around at that time. Hefti had written the piece with no soloist in mind, but Charlie Parker was in the studio while Hefti was recording, heard the arrangement, and asked to be included as soloist. In the liner notes to the original issue, producer Norman Granz wrote: Parker actually plays on top of the original arrangement: that it gels as well as it does, is a tribute both to the flexible arrangement of Hefti and the inventive genius of Parker to adapt himself to any musical surrounding.

The Basie years
In 1950, Hefti began to arrange for Count Basie and what became known as "The New Testament" band. According to Hefti in a Billboard interview, Basie wanted to develop a stage band that could appear on The Ed Sullivan Show. Although the New Testament band was never a show band, it was much more of an ensemble band than Basie's previous orchestras. Hefti's tight, well-crafted arrangements resulted in a new band identity that was maintained for more than twenty years. In his autobiography, Count Basie recalls their first meeting and the first compositions that Hefti provided the new band: Neal came by, and we had a talk, and he said he'd just like to put something in the book. Then he came back with "Little Pony" and then "Sure Thing," "Why Not?" and "Fawncy Meeting You," and we ran them down, and that's how we got married.

Hefti's compositions and arrangements featured and recorded by the orchestra established the distinctive, tighter, modern sound of the later Basie. His work was welcomed by both the band and with audiences. Basie said: "There is something of his on each one of those first albums of that new band."

What has become known as The Atomic Mr. Basie was one of the Basie Orchestra's most successful recordings of the 1950s. Formally titled Basie and subtitled "E=MC²=Count Basie Orchestra+Neal Hefti Arrangements," the album features eleven songs composed and arranged by Hefti, including the ballad "Li'l Darlin" and "Splanky," now standards. Also on the album were "The Kid from Red Bank" featuring a gloriously sparse piano solo that was Basie's hallmark, and other songs that quickly became Basie favorites, such as "Flight of the Foo Birds" with Eddie Lockjaw Davis' flying tenor solo, "Fantail" with Frank Wess's soaring alto solo, and the masterpiece ensemble lines of "Teddy the Toad". These pieces are evidence of both Hefti's masterful hand, and the strong ensemble that Count Basie had put together.

During the 1950s, Hefti did not get as much respect as a musician and band leader as he did as composer and arranger. In a 1955 interview, Miles Davis said: "if it weren't for Neal Hefti, the Basie band wouldn't sound as good as it does. But Neal's band can't play those same arrangements nearly as well." This disparity is not so much a reflection of Hefti's ability (or lack thereof) as a musician, as it is a reflection of his focus as a writer. In the liner notes to Atomic Basie, critic Barry Ulanov says: In a presentation of the Count Basie band notable of its justness, for its attention to all the rich instrumental talent and all the high good taste of this band — in this presentation, not the least of the achievements is the evenness of the manuscript. Neal Hefti has matched — figure for figure, note for note-blower — his talent to the Basie band's, and it comes out, as it should, Basie. Much the same way that Duke Ellington matched his scores to the unique abilities of his performers, Hefti was able to take advantage of the same kind of 'fine-tuning' to bring out the best of the talents of the Basie band. Therefore, it should come as no surprise that when the same charts are played by a different band, even the composer's own, that the result is not as strong.

As composer, Hefti garnered many accolades. In addition to Ulanov's praise, Hefti won two Grammy awards for his composition work on Atomic Basie including "Li'l Darlin," "Splanky," and "Teddy the Toad." The reception this album gained had Basie and Hefti in the studio six months later making another album. Basie recalled: That is the one that came out under the title of "Basie Plays Hefti". All the tunes were very musical. That's the way Neal's things were, and those guys in that band always had something to put with whatever you laid in front of them. Hefti's influence on the Basie sound and his writing for the band was strong enough for Basie to use his talent for arranging even when recording standard jazz tunes with the likes of Frank Sinatra. Basie said, So we went on out to Los Angeles and did ten tunes in two four-hour sessions [with Frank Sinatra]. All of those tunes were standards, which I'm pretty sure he had recorded before (and had hits on). But this time they had been arranged by Neal Hefti with our instrumentation and voicing in mind. Again, by matching the individual parts of the arrangements to the unique abilities of Basie's band, Hefti was able to highlight the best of their talents, and make the most of the ensemble.

Overall, Basie was very impressed with Hefti's charts, but was perhaps too proud to admit the extent of his influence: I think Neal did a lot of marvelous things for us, because even though what he did was a different thing and not quite the style but sort of a different sound, I think it was quite musical.

1950s, 1960s and 1970s
Outside of his work for Basie, Hefti led a big band of his own during the 1950s. In 1951, one of these bands featured his wife Frances Wayne on vocals. They recorded and toured off and on with this and other incarnations of this band throughout the 1950s. Although his own band did not attain the same level of success as the bands he arranged for, he did receive a Grammy nomination for his own album Jazz Pops (1962), which included recordings of "Li'l Darlin," "Cute," and "Coral Reef".

Later in the 1950s he abandoned trumpet playing altogether to concentrate on scoring and conducting. He had steady work conducting big bands, backing singers in the studio during recording sessions, and appearing on the television shows of Arthur Godfrey, Kate Smith, and others. He worked with Della Reese to adapt and arrange 12 songs for her 1960 album Della, which was nominated for a Grammy Award.

Hefti moved back to Los Angeles in 1960. Around this time, he began working for the Hollywood film industry and he enjoyed tremendous popular success writing music for film and television. He wrote much background and theme music for motion pictures, including the films Sex and the Single Girl, How to Murder Your Wife (1965), Synanon, Boeing Boeing (1965), Lord Love a Duck (1966), Duel at Diablo (1966), Barefoot in the Park (1967), The Odd Couple (1968), and Harlow (1965), for which he received two Grammy nominations for the song "Girl Talk". While most of his compositions during this period were geared to the demands of the medium and the directors, there were many moments when he was able to infuse his work with echoes of his jazz heritage.

In 1961, Hefti became the chief artists and repertoire representative of Reprise Records. That year, he joined with Frank Sinatra on his Sinatra and Swingin' Brass album, where Hefti was credited as arranger and conductor of the album's 12 cuts.

Also in 1961, Hefti composed a big band arrangement of Sir Edward Elgar's Pomp and Circumstance for Don Everly, who released it under the pseudonym Adrian Kimberly on The Everly Brothers' Calliope Records label.

He also wrote background and theme music for television shows, including Batman and The Odd Couple. He received three Grammy nominations for his television work and received one award for his Batman television score. His Batman title theme, a simple cyclic twelve-bar blues-based theme, became a Top 10 single for The Marketts and later for Hefti himself. His theme for The Odd Couple movie was reprised as part of his score for the television series of the early 1970s, as well as in a more R&B urban style for the 1982 updated version, and a jazzier version for the 2015 updated version. He received two Grammy nominations for his work on The Odd Couple television series.

Following his wife's death in 1978, Hefti gradually withdrew from active music making. In later years, he concentrated on "taking care of my copyrights".

Death
Hefti died of natural causes on October 11, 2008, at his home in Toluca Lake, California, at the age of 85. Neal Hefti was survived by his son; his daughter Marguerita, a physician, predeceased him.

Awards
Grammy nominations
 * Nomination for Jazz Pops (Li'l Darlin', Cute, Coral Reef) as artist.
 * Two awards for Basie, aka Atomic Basie (Li'l Darlin', Splanky, Teddy the Toad) as composer.
 * Three nominations (one award) for the Batman TV score.
 * Two nominations for the Harlow movie score ("Girl Talk").
 * Two nominations for The Odd Couple TV score.

Academy of Television Arts & Sciences
 * Nomination for Outstanding Individual Achievement in Music - 1968  "The Fred Astaire Show" as conductor

American Society of Composers, Authors and Publishers
 * Jazz Wall of Fame 2005

Albums

 * Swingin' on Coral Reef (Coral, 1953)
 * Clifford Brown with Strings (Verve, 1955)
 * Hefti, Hot and Hearty (Epic, 1955)
 * Presenting Neal Hefti and His Orchestra (RCA, 1955)
 * The Band with Young Ideas (Coral, 1956)
 * Concert Miniatures (Vik, 1957)
 * Pardon My Doo-Wah (Epic, 1958)
 * Hollywood Songbook (Coral, 1958)
 * Music USA (Coral, 1959)
 * A Salute to the Instruments (Cora, 1960)
 * Light and Right (Columbia, 1960)
 * Jazz Pops (Reprise, 1962)
 * Themes from TV's Top 12 (Reprise, 1962)
 * The Leisurely Loveliness of Neal Hefti and His Orchestra / Li'l Darlin (Movietone, 1964) / (20th Century Fox, 1965)
 * Sex and The Single Girl soundtrack (Warner Bros., 1964)
 * How To Murder Your Wife soundtrack (United Artists, 1965)
 * Harlow soundtrack (Columbia, 1965)
 * Lord Love a Duck soundtrack (United Artists, 1966)
 * Boeing Boeing soundtrack (RCA Victor, 1966)
 * Lord Love a Duck soundtrack (United Artists, 1966)
 * Duel at Diablo soundtrack (United Artists, 1966)
 * Hefti in Gotham City (RCA Victor, 1966)
 * Batman Theme & Other Bat Songs (RCA Victor, 1966)
 * Batman soundtrack (1966)
 * Definitely Hefti! (United Artists, 1967)
 * Barefoot in The Park soundtrack (Dot, 1967)
 * Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feelin' So Sad (RCA, 1967)
 * The Odd Couple soundtrack (Dot, 1968)

As composer and arranger with Count Basie
 * The Count! (Clef, 1952 [1955])
 * Dance Session (Clef, 1953)
 * Dance Session Album (Clef, 1954)
 * Basie (Clef, 1954)
 * April in Paris (Verve, 1956)
 * The Atomic Mr. Basie (Roulette, 1957) aka Basie and E=MC2
 * Basie Plays Hefti (Roulette, 1958)
 * On My Way & Shoutin' Again! (Verve, 1962)

As composer and arranger with Harry James
 * Harry James and His Orchestra 1948–49 (Big Band Landmarks – Vol. X & XI, 1969)
 * The New James (Capitol, 1958)
 * Harry's Choice (Capitol, 1958)
 * Harry James Plays Neal Hefti (MGM, 1961)

Film scores

 * 1964: Sex and the Single Girl
 * 1965: Boeing Boeing
 * 1965: How to Murder Your Wife
 * 1965: Harlow
 * 1965: Synanon
 * 1966: Lord Love a Duck
 * 1966: Duel at Diablo
 * 1967: Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad
 * 1967: Barefoot in the Park
 * 1968: The Odd Couple
 * 1968: P.J.
 * 1971: A New Leaf
 * 1972: Last of the Red Hot Lovers
 * 1976: Won Ton Ton, the Dog Who Saved Hollywood

title: Neal Hefti


text:
Christopher Stone (broadcaster)

Major Christopher Reynolds Stone, D.S.O., M.C. (19 September 1882 – 22 May 1965) was the first disc jockey in the United Kingdom.

He was the youngest son of Eton College's assistant master and Stonehouse preparatory school's founder Edward Daniel Stone. Christopher Stone was educated at Eton and served in the Royal Fusiliers. In 1906 Stone published a book of sea songs and ballads and in 1923 he wrote the history of his old regiment. He became the London editor of The Gramophone, a magazine started by his brother-in-law Compton Mackenzie.

Stone approached the BBC himself with the idea for a record programme, which the corporation initially dismissed. Stone managed to convince them though and on 7 July 1927 he started playing records on air. His relaxed, conversational style was exceptional at a time when most of the BBC's presentation was extremely formal, and his programmes became highly popular as a result. He wore a dinner jacket and tie when he presented.

In 1934 Stone joined the commercial station Radio Luxembourg (for 5,000 pounds a year) and was barred by the BBC in consequence. He wrote a column reviewing new popular records for the Sunday Referee newspaper and appeared in advertisements for Bush radio sets. In 1937, as "Uncle Chris", he presented the first daily children's programme on commercial radio, Kiddies Quarter Hour on Radio Lyons. Stone later rejoined the BBC and caused a major row in 1941. On 11 November he wished King Victor Emmanuel of Italy a happy birthday on air, adding "I don't think any of us wish him anything but good, poor soul." This good wish towards the head of a state with which Britain was at war at the time led to the sacking of the BBC's Senior Controller of Programmes and tighter government control over all broadcasts.

Stone was an avid record collector; in the mid-1930s he already owned over 12,000. When he turned 75 in 1957 the magazine Melody Maker praised his pioneering work: "Everyone who has written, produced or compered a gramophone programme should salute the founder of his trade."

title: Christopher Stone (broadcaster)


text:
Surcharge

A surcharge may refer to:

 * An extra fee added onto another fee or charge
 * Bunker adjustment factor, sea freight charges which represents additions due to oil prices
 * Surcharge (payment systems), charged by merchants when receiving payment by cheque, credit, charge or debit card
 * An overprint that affects the value of a postage stamp
 * A surcharge (sanction) against a public servant who has abused public funds
 * Surtax, extra tax levied upon tax
 * Surcharge (soil load), vertical loads applied to the ground surface on the uphill side of a retaining wall
 * Surcharge, or hydraulic head

title: Surcharge


text:
Talk:Pottery

External links modified
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Excessive tendency to islamsie everything - Secular pottery has islamic religion?
The poterry is classified in subheadings by regions of the world and not by the religion. Why do Muslim editors have this obsession with inserting Islam in every things, including in the secular topics. Really? Renaming Pottery subheading under the regionally-classified higher-level heading to Pottery. Pottery in that region existed before Islam, Chinese influenced them and Islamist invaders might have taken taken it elsewhere, but it is essentially Chinese-influenced Middle-Eastern/Persian pottery that might have traveled elsewhere, in short Middlestern pottery or far west pottery. 202.156.182.84 (talk) 12:40, 25 April 2018 (UTC)
 * Except that technically Chinese and Middle-Eastern/Persian pottery could not be more different, and the influence in the decorative traditions has travelled east as well as west. Islamic decoration is distinctive.  "Far West Asia" is not a term with any currency, and certainly never applied to Islamic pottery. We follow WP:RS. Johnbod (talk) 18:05, 25 April 2018 (UTC)
 * You are completely right. Muslim editors are erasing all the cultures that predates Islam in regions conquered by them. It is a worrying trend in wikipedia as most of this so-called Islamic contributions were done by other cultures. --Pliers123 (talk) 12:20, 7 October 2023 (UTC)

strength and solidity
Definition of "solidity": the quality or state of being firm or strong in structure. Definition of "strength": the quality or state of being physically strong. If we take the primary meanings of these two words (one can split hairs about their secondary meanings) they cannot apply to or describe a "shape" as in the phrase: "increase the strength and solidity of the object's shape", because while a shape is abstract or subjective, it is neither structural nor physical. A user has stated incorrectly that the latter view is nonsense. Rather the phrase reduces the lede's prose to baby language. Sometimes as a shorthand people may say "a triangle is a strong / the strongest shape", but that refers to an physical body's resistance to deformation under external forces, due to its shape. As the pot's shape doesn't change during baking, nothing occurs to make it a stronger or weaker shape in that sense. Neither can the solidity of the shape change at all, because the shape hasn't changed to start with. It is the internal structure that changes from weak to strong, the rest is constant. JMK (talk) 20:59, 17 February 2019 (UTC)
 * In pottery, "shape" is always the term for the overall form of a piece. Pots are not buildings, and "structure" is only used in discussing microscopic or sub-microscopic levels of the material. It is unhelpful to mix the two up.  And pottery is fired, not "baked" - no baby language please! Johnbod (talk) 01:36, 18 February 2019 (UTC)

Inconsistencies regarding oldest samples
"The Venus of Dolní Věstonice is a Venus figurine, a statuette of a nude female figure dated to 29,000–25,000 BC (Gravettian industry). Sherds have been found in China and Japan from a period between 12,000 and perhaps as long as 18,000 years ago. As of 2012, the earliest pottery found anywhere in the world, dating to 20,000 to 19,000 years before the present, was found at Xianrendong Cave in the Jiangxi province of China."

From the History by Region section I've (partially) reproduced the first two paragraphs. None of the sources seem to acknowledge the existence of the other. How can this be reconciled? FallingOutsideTheNormalMoralConstraints (talk) 20:14, 30 May 2021 (UTC)

 * The Venus of Dolni Vestonice (abd other Paleolithic European ceramic venuses) are the oldest ceramic objects. But the pottery from Asia is the oldest in terms of ceramic vessels (ceramic was not used to make pottery in Paleolithic Europ as faf as we know). And, as mentioned in the article, pottery was also invented independantly in various other regions (West Africa, the Americas, the Middle East, etc.). Regarding the contradictions regarding early pottery in Asia you mention, I might rephrase the passage you quoted somewhat as follows:
 * "The Venus of Dolní Věstonice is a Venus figurine, a statuette of a nude female figure dated to 29,000–25,000 BC (Gravettian industry) and among the oldest human-made ceramic objects.
 * Pottery herds have been found in China and Japan from a period between 12,000 and perhaps as long as 20,000 years ago. As of 2012, the earliest pottery (ceramic vessels) found anywhere in the world, dating to 20,000 to 19,000 years before the present, were found at Xianrendong Cave in the Jiangxi province of China."
 * Skllagyook (talk) 22:27, 30 May 2021 (UTC)

Article contradicts itself
The top of the "History" section says the oldest known pottery is from China and dates to 20,000 BC while a little further down the "Beginnings of pottery" section says the earliest pottery found anywhere in the world... [dates] to 20,000 to 19,000 years before the present. I'm guessing this is the somewhat well-known confusion of "BP" with "BC", meaning that the latter is correct and the former is wrong, but would someone more familiar with this topic mind addressing this? Hijiri 88 ( 聖やや ) 04:30, 17 July 2021 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 03:48, 4 July 2022 (UTC)
 * Red cup, Earthenware, Early Neolithic period, Xinglongwa Culture, 紅陶杯 IMG 3965 03.jpg

Gif in
@nksb jein a 103.38.68.184 (talk) 14:50, 2 July 2024 (UTC)

title: Talk:Pottery


text:
Woody Herman

Woodrow Charles Herman (May 16, 1913 – October 29, 1987) was an American jazz clarinetist, saxophonist, singer, and big band leader. Leading groups called "The Herd", Herman came to prominence in the late 1930s and was active until his death in 1987. His bands often played music that was cutting edge and experimental; their recordings received numerous Grammy nominations.

Early life and career
Herman was born in Milwaukee, Wisconsin, on May 16, 1913. His parents were Otto and Myrtle (Bartoszewicz) Herrmann. His mother was born in Poland. His father had a deep love for show business and this influenced Woody at an early age.

As a child, Woody Herman worked as a singer and tap-dancer in vaudeville, then started to play the clarinet and saxophone by age 12. In 1931 he met Charlotte Neste, an aspiring actress; the couple married on September 27, 1936. Woody Herman joined the Tom Gerun band and his first recorded vocals were "Lonesome Me" and "My Heart's at Ease". Herman also performed with the Harry Sosnick orchestra, Gus Arnheim and Isham Jones. Jones wrote many popular songs (including "It Had to Be You") and at some point was tiring of the demands of leading a band and wanted to live off the residuals of his songs. Herman saw the chance to lead his former band and eventually acquired the remains of the orchestra after Jones' retirement.

The Band That Plays the Blues, 1936–43
Herman's first band became known for its orchestrations of the blues, and was sometimes billed as "The Band That Plays the Blues". This band recorded for the Decca label, at first serving as a cover band, doing songs by other Decca artists. The first song recorded was "Wintertime Dreams" on November 6, 1936. In January 1937, George T. Simon ended a review of the band with the words: "This Herman outfit bears watching; not only because it's fun listening to in its present stages, but also because it's bound to reach even greater stages." After two and a half years on the label, the band had its first hit, "Woodchopper's Ball" recorded in 1939. Herman remembered that "Woodchopper's Ball" started out slowly. "[I]t was really a sleeper. But Decca kept re-releasing it, and over a period of three or four years it became a hit. Eventually it sold more than five million copies—the biggest hit I ever had." In January 1942, Herman would have his highest rated single (No. 1 in the Billboard charts), singing Harold Arlen's "Blues in the Night" backed by his orchestra. Other hits for the band include "Blue Flame" and "Do Nothin' Till You Hear from Me". Musicians and arrangers that stood out included Cappy Lewis on trumpet and saxophonist/arranger Deane Kincaide. "The Golden Wedding" (1941), arranged by James "Jiggs" Noble, featured an extended (34 bars) drum solo by Frankie Carlson.

Be-bop and the First Herd, 1944–46
The trumpeter Dizzy Gillespie wrote three arrangements for Herman, "Woody'n You", "Swing Shift" and "Down Under". These were arranged in 1942. "Woody'n You" was not used at the time. "Down Under" was recorded July 24, 1942. Herman's commissioning Gillespie to write arrangements for the band and hiring Ralph Burns as a staff arranger heralded a change in the style of music the band was playing.

In February 1945, the band started a contract with Columbia Records. Herman liked what drew many artists to Columbia, Liederkranz Hall, at the time the best recording venue in New York City. The first side Herman recorded was "Laura", the theme song of the 1944 movie. Herman's version was so successful that it made Columbia hold from release the arrangement that Harry James had recorded days earlier. The Columbia contract coincided with a change in the band's repertoire. The 1944 group, which he called the First Herd, was known for its progressive jazz. The First Herd's music was heavily influenced by Duke Ellington and Count Basie. Its lively, swinging arrangements, combining bop themes with swing rhythm parts, were greatly admired. As of February 1945, the personnel included Sonny Berman, Pete Candoli, Bill Harris, Flip Phillips, Billy Bauer (later replaced by Chuck Wayne), Ralph Burns, and Davey Tough. On February 26, 1945, in New York City, the Woody Herman band recorded "Caldonia".

Neal Hefti and Ralph Burns collaborated on the arrangement of "Caldonia" that the Herman band used. "Ralph caught Louis Jordan [singing "Caldonia"] in an act and wrote the opening twelve bars and the eight bar tag." "But the most amazing thing on the record was a soaring eight bar passage by trumpets near the end." These eight measures have wrongly been attributed to a Gillespie solo, but were in fact originally written by Neal Hefti. George T. Simon compares Hefti with Gillespie in a 1944 review for Metronome magazine saying, "Like Dizzy [...], Hefti has an abundance of good ideas, with which he has aided Ralph Burns immensely".

In 1946, the band won DownBeat, Metronome, Billboard and Esquire polls for best band, nominated by their peers in the big band business.

Classical composer Igor Stravinsky wrote the Ebony Concerto, one in a series of compositions commissioned by Herman with solo clarinet, for this band in 1945. Herman recorded the work at Belock Recording Studio in Bayside, New York. Herman called it a "very delicate and a very sad piece." Stravinsky felt that the jazz musicians would have a hard time with the various time signatures. Saxophonist Flip Philips said: "During the rehearsal [...] there was a passage I had to play there and I was playing it soft, and Stravinsky said 'Play it, here I am!' and I blew it louder and he threw me a kiss!" Stravinsky observed the massive amount of smoking at the recording session: "the atmosphere looked like Pernod clouded by water." Ebony Concerto was performed live by the Herman band on March 25, 1946, at Carnegie Hall.

Despite the Carnegie Hall success and other triumphs, Herman was forced to disband the orchestra in 1946 at the height of its success. This was his only financially successful band; he left it to spend more time with his wife and family. During this time, he and his family had just moved into the former Hollywood home of Humphrey Bogart and Lauren Bacall. One reason Herman may have disbanded was his wife Charlotte's growing alcoholism and pill addiction. Charlotte Herman joined Alcoholics Anonymous and gave up everything she was addicted to. Woody said, laughing: "I went to an AA meeting with Charlotte and my old band was sitting there." Many critics cite December 1946 as the actual date the big-band era ended, when seven other bands, in addition to Herman's, dissolved.

"The Four Brothers Band" and more Herds, 1947–69
In 1947, Herman organized the Second Herd. This band was also known as "The Four Brothers Band". This derives from the song recorded December 27, 1947, for Columbia Records, "Four Brothers", written by Jimmy Giuffre, featuring the saxophone section of Zoot Sims, Serge Chaloff, Herbie Steward, and Stan Getz. The other musicians of this band included Al Cohn, Gene Ammons, Lou Levy, Oscar Pettiford, Terry Gibbs, and Shelly Manne. Among this band's hits were "Early Autumn", and "The Goof and I". The band was popular enough that they went to Hollywood in the mid-1940s. Herman and his band appear in the movie New Orleans (1947) with Billie Holiday and Louis Armstrong.

In 1947, Herman was Emcee and also played at the third Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin, Sr. on September 7, 1947. The Valdez Orchestra, The Blenders, T-Bone Walker, Slim Gaillard, The Honeydrippers, Johnny Otis and his Orchestra, Sarah Vaughn and the Three Blazers also performed that same day.

Herman's other bands include the Third Herd (1950–56) and various later editions during the 1960s. In the 1950s, the Third Herd successfully toured Europe. He was known for hiring the best young musicians and using their arrangements. In the early and mid 1960s, Herman fronted a Herd featuring Michael Moore, drummer Jake Hanna, tenor saxophonist Sal Nistico, trombonists Phil Wilson and Henry Southall and trumpeters like Bill Chase, Paul Fontaine and Duško Gojković. By 1968, the Herman library came to be heavily influenced by rock and roll. He was also known to feature brass and woodwind instruments rarely associated with jazz, such as the bassoon, oboe and French horn.

In concert, as the evening wore on and the crowd started dissipating, Herman would often leave the stage and let the band continue the last set on its own; but Terry Gibbs confirmed that the band never sounded the same without Herman being present.

"The Young Thundering Herds", 1970–87
In the early 1970s, he toured frequently and began to work more in jazz education, offering workshops and taking on younger sidemen. For this reason, he got the nickname Road Father and the bands were known as the "Young Thundering Herds." In January 1973, Herman was one of the featured halftime performers at Super Bowl VII. In 1974, Woody Herman's band appeared without their leader for Frank Sinatra's television special The Main Event and album The Main Event – Live. Both were recorded mainly on October 13, 1974, at Madison Square Garden in New York City. On November 20, 1976, a reconstituted Woody Herman band played at Carnegie Hall in New York City, celebrating Herman's fortieth anniversary as a bandleader.

By the 1980s, Herman had returned to more straight-ahead jazz but augmented with rock and fusion. Herman signed a recording contract with Concord Records around 1980. In 1981, John S. Wilson reviewed one of Herman's first Concord recordings Woody Herman Presents a Concord Jam, Vol. I. Wilson's review says that the recording presents a band that is less frenetic than his bands from the forties to the seventies. Instead, it takes the listener back to the relaxed style of Herman's first band of the thirties that recorded for Decca.

Last years
Herman continued to perform into the 1980s, after the death of his wife and with his health in decline, chiefly to pay back taxes that were owed because of his business manager's bookkeeping in the 1960s. Herman owed the IRS millions of dollars and was in danger of eviction from his home. With this added stress, Herman still kept performing. In a December 5, 1985, review of the band at the Blue Note jazz club for The New York Times, John S. Wilson pointed out: "In a one-hour set, Mr. Herman is able to show off his latest batch of young stars—the baritone saxophonist Mike Brignola, the bassist Bill Moring, the pianist Brad Williams, the trumpeter Ron Stout—and to remind listeners that one of his own basic charms is the dry humor with which he shouts the blues." Wilson also spoke about arrangements by Bill Holman and John Fedchock for special attention. Wilson spoke of the continuing influence of Duke Ellington on Woody Herman bands from the 1940s to the 1980s. Before Woody Herman died in 1987 he delegated most of his duties to leader of the reed section, Frank Tiberi. Tiberi leads the current version of the Woody Herman orchestra. Tiberi said at the time of Herman's death that he would not change the band's repertoire or library. Herman died on October 29, 1987, and had a Catholic funeral on November 2 at St. Victor's in West Hollywood, California. He is interred in a niche in the columbarium behind the Cathedral Mausoleum in the Hollywood Forever Cemetery.

Awards won by the Woody Herman orchestras with major publications: "Voted best swing band in 1945 DownBeat poll; Silver Award by critics in 1946 and 1947 Esquire polls; won Metronome poll, band division, 1946 and 1953.

A documentary film titled Woody Herman: Blue Flame – Portrait of a Jazz Legend was released on DVD in late 2012 by the jazz documentary filmmaker Graham Carter, owner of Jazzed Media, to salute Herman and his centenary in May 2013.

Gold records and charts (singles and albums)
Gold Records
 * 1939 Woodchopper's Ball (Decca Records) instrumental
 * 1945 Laura (Columbia Records) vocal by Woody Herman

Hits as charted singles
(Songs that reached the top of the US or UK charts)

Between 1937 and 1956, Herman had numerous hits on Billboard's charts.

Hits as charted albums
(Albums charting history with Billboard magazine)

Grammy Awards
Grammy Awards (albums)

 * rowspan="2"|
 * rowspan="2"|Encore: Woody Herman, 1963
 * Best Performance by an orchestra – for dancing
 * Nominated
 * rowspan="14"|Best Jazz Performance – Large Group (Instrumental)
 * Won
 * Woody Herman '64
 * Nominated
 * Woody's Winners
 * Nominated
 * Woody Live – East And West
 * Nominated
 * Concerto For Herd
 * Nominated
 * Light My Fire
 * Nominated
 * Woody
 * Nominated
 * Giant Steps
 * Won
 * Thundering Herd
 * Won
 * The 40th Anniversary, Carnegie Hall Concert
 * Nominated
 * Live At The Concord Jazz Festival 1981
 * Nominated
 * World Class
 * Nominated
 * 50th Anniversary Tour
 * Nominated
 * Woody's Gold Star
 * Nominated
 * Giant Steps
 * Won
 * Thundering Herd
 * Won
 * The 40th Anniversary, Carnegie Hall Concert
 * Nominated
 * Live At The Concord Jazz Festival 1981
 * Nominated
 * World Class
 * Nominated
 * 50th Anniversary Tour
 * Nominated
 * Woody's Gold Star
 * Nominated
 * Live At The Concord Jazz Festival 1981
 * Nominated
 * World Class
 * Nominated
 * 50th Anniversary Tour
 * Nominated
 * Woody's Gold Star
 * Nominated
 * 50th Anniversary Tour
 * Nominated
 * Woody's Gold Star
 * Nominated
 * Woody's Gold Star
 * Nominated

Grammy Lifetime Achievement Award

 * 1987 ||| Woody Herman || Lifetime Achievement Award || Inducted
 * 1987 ||| Woody Herman || Lifetime Achievement Award || Inducted

Further awards and honors

 * Honored on the Hollywood Walk of Fame (Recording – 6805 Hollywood Blvd.)
 * Woody Herman Music Archives established at the University of Houston School of Music, 1974
 * Honorary doctorate, Berklee College of Music, 1977.

Studio albums

 * Blues On Parade (Decca, 1940)
 * Sequence In Jazz with the First Herd (Columbia, 1948)
 * Swinging with the Woodchoppers with the First Herd (Dial, 1950)
 * Blue Prelude (Coral, 1950)
 * At Carnegie Hall, 1946 Vol. I with the First Herd (MGM, 1952)
 * Woody Herman Goes Native (Mars, 1953)
 * Four Shades of Blue (Columbia, 1953)
 * The 3 Herds (Columbia, 1954)
 * Men From Mars (London, 1954)
 * Music For Tired Lovers (Columbia, 1955)
 * Ridin' Herd (Columbia, 1955)
 * The Woody Herman Band! (Capitol, 1955)
 * Road Band! (Capitol, 1955)
 * HI FI-ing Herd (MGM, 1955)
 * Jackpot! (Capitol, 1956)
 * Blues Groove (Capitol, 1956)
 * Hi-Fi Drums (Capitol, 1956)
 * Twelve Shades of Blue (Columbia, 1955)
 * Songs For Hip Lovers (Verve, 1957)
 * Woody Herman '58 featuring The Preacher (Verve, 1958)
 * Jazz, The Utmost! (Columbia, 1958)
 * Moody Woody (Everest, 1958)
 * Herman's Heat & Puente's Beat! (Everest, 1958)
 * The Herd Rides Again – in Stereo (Everest, 1958)
 * Woody Herman Sextet At The Roundtable (Roulette, R-25067 Forum F 9016 1959)
 * The Fourth Herd (Jazzland, 1960)
 * The New Swingin' Herman Herd (Crown, 1960)
 * Woody Herman's Big New Herd – At The Monterey Jazz Festival (Atlantic, 1960)
 * Swing Low, Sweet Clarinet (Philips, 1962)
 * Woody Herman–1963 (Philips, 1962)
 * Encore Woody Herman–1963 (Philips, 1963)
 * Hey! Heard The Herd? (Verve, 1963)
 * Woody Herman: 1964 (Philips, 1964)
 * The Swinging Herman Herd-Recorded Live (Philips, 1964)
 * Woody's Big Band Goodies (Philips, 1965)
 * Woody's Winners (Columbia, 1965)
 * My Kind of Broadway (Columbia, 1965)
 * The Jazz Swinger (Columbia, 1966)
 * Woody Live East And West (Columbia, 1967)
 * Jazz Hoot (Columbia, 1967)
 * Concerto for Herd – At the Monterey Jazz Festival (Atlantic, 1968)
 * Light My Fire (Cadet, 1968)
 * Somewhere (Cadet, 1969)
 * Heavy Exposure (Cadet, 1970)
 * Woody (Cadet, 1970)
 * Brand New (Fantasy, 1971)
 * The Raven Speaks (Fantasy, 1972)
 * Giant Steps (Fantasy, 1973)
 * Thundering Herd (Fantasy, 1974)
 * Herd At Montreux (Fantasy, 1974)
 * Children of Lima (Fantasy, 1975)
 * King Cobra (Fantasy, 1976)
 * The 40th Anniversary, Carnegie Hall Concert (RCA, 1977)
 * Road Father (Century, 1978)
 * Flip Phillips/Woody Herman – Together (Century, 1978)
 * Chick, Donald, Walter, and Woodrow (Century, 1978)
 * Woody Herman Presents A Concord Jam Volume 1 (Concord, 1981)
 * Feelin' So Blue (Fantasy, 1981)
 * Aurex Jazz Festival '82 (Eastworld/Toshiba, 1982)
 * Live At The Concord Jazz Festival (Concord, 1982)
 * Presents Volume 2 ...Four Others (Concord, 1982)
 * Rosemary Clooney/Woody Herman – My Buddy (Concord, 1983)
 * World Class (Concord, 1984)
 * 50th Anniversary Tour (Concord, 1986)
 * Woody's Gold Star (Concord, 1987)

As sideman

 * With Buck Clayton
 * How Hi the Fi (Columbia, 1954)
 * Jumpin' at the Woodside (Columbia, 1955)

title: Woody Herman


text:
Think aloud protocol

A think-aloud (or thinking aloud) protocol is a method used to gather data in usability testing in product design and development, in psychology and a range of social sciences (e.g., reading, writing, translation research, decision making, and process tracing).

Description
Think-aloud protocols involve participants thinking aloud as they are performing a set of specified tasks. Participants are asked to say whatever comes into their mind as they complete the task. This might include what they are looking at, thinking, doing, and feeling. This gives observers insight into the participant's cognitive processes (rather than only their final product), to make thought processes as explicit as possible during task performance. In a formal research protocol, all verbalizations are transcribed and then analyzed. In a usability testing context, observers are asked to take notes of what participants say and do, without attempting to interpret their actions and words, and especially noting places where they encounter difficulty. Test sessions may be completed on participants own devices or in a more controlled setting. Sessions are often audio- and video-recorded so that developers can go back and refer to what participants did and how they reacted.

History
The think-aloud method was introduced in the usability field by Clayton Lewis while he was at IBM, and is explained in Task-Centered User Interface Design: A Practical Introduction by Lewis and John Rieman. The method was developed based on the techniques of protocol analysis by K. Ericsson and H. Simon. However, there are some significant differences between the way Ericsson and Simon propose that protocols be conducted and how they are actually conducted by usability practitioners, as noted by Ted Boren and Judith Ramey. These differences arise from the specific needs and context of usability testing; practitioners should be aware of these differences and adjust their method to meet their needs while still collecting valid data. For example, they may need to prompt for additional information more often than Ericsson and Simon would allow, but should take care not to influence what participants say and do.

Process
A typical procedure of think-aloud protocols would include:

 * Design the study and write the guide: Determine the number and type of participant for the study. Generally 5 participants would be sufficient. The next step is to write a guide that ask the participants to complete the tasks intended with clear step-by-step instructions. In the script, there should be reminders to participants to say their thoughts out when performing tasks.
 * Recruit participants: The team should set up a screener for eligibility of participants. After contacting the person of interest and setting up meeting details such as time and location, the team could also provide additional information to help participant better prepare for the activity.
 * Conduct think-aloud protocol: After stating the purpose and asking for consent, the team should proceed by giving instructions to the participant. Ask open-ended questions and follow-up questions. The team should avoid asking leading questions or giving clues.
 * Analyze the findings and summarize insights: The team should use notes taken during the sessions to generate insights and to find common patterns. Based on the findings, the design team could then decide directions to take action on.

As Kuusela and Paul state, the think-aloud protocol can be distinguished into two different types of experimental procedures. The first is the concurrent think-aloud protocol, collected during the task. The second is the retrospective think-aloud protocol, gathered after the task as the participant walks back through the steps they took previously, often prompted by a video recording of themselves. There are benefits and drawbacks to each approach, but in general a concurrent protocol may be more complete, while a retrospective protocol has less chance to interfere with task performance. Nonetheless, some concurrent protocols have not produced such interference effects, suggesting that it may be possible to optimize both completeness and authenticity of verbal reports.

Benefits
The think-aloud method allows researchers to discover what users genuinely think of your design.

Related method
A related but slightly different data-gathering method is the talk-aloud protocol. This involves participants only describing their actions but not other thoughts. This method is thought to be more objective in that participants merely report how they go about completing a task rather than interpreting or justifying their actions (see the standard works by Ericsson & Simon).

title: Think aloud protocol


text:
Talk:New Imperialism

What to include in the timeline
I have recently removed some points about activities under Argentine flag in Califonia, Peru and Manila (?) in the 1810s and 1820s. These events are clearly related to the Spanish American wars of independence and not part of an expansionist scheme by Argentina, which was by then a very fragmented country. The question is what things to include and which not. For example, the Chilean annexation of Easter Island is very much aking to the annexations of the Great Powers in Oceania, and I argue thus that it should be included. But then question is should the Argentine occupation and the British invasion of the Falklandsin the 1820s and 1830s be included, and if so, why not Ecuador's occupation Galapagos be? How do we select which events fall under the category of New Imperialism? Dentren | Talk 15:56, 9 January 2021 (UTC)
 * There is unfortunately much in this article which is wildly ahistorical. New Imperialism is much narrower in meaning than the article appears to suggest and refers principally to the British and French empires from the 1880s. For example, there is almost nothing relevant in the section on Indonesia. And why do we discuss 1930s' appeasement? At the same time, we have almost nothing on the French empire in Africa or the Fashoda incident. The section on Chilean imperialism (!) is actually longer than that on British colonial expansion in Africa. It really needs to be junked entirely. —Brigade Piron (talk) 16:19, 9 January 2021 (UTC)
 * I agree in that Chilean stuff can be trimmed down, but before that happens information about German, French, US and British colonial adventures in Oceania should be added. It is not the ordinary procedure in Wikipedia to delete content to give due weight, but rather to add content to the underepresented subject. Dentren | Talk 18:41, 9 January 2021 (UTC)
 * That's not necessarily true (WP:UNDUE) but I'm not proposing to delete it. The ideal thing would be for someone to entirely re-write it! —Brigade Piron (talk) 18:55, 9 January 2021 (UTC)
 * Most of the content in in Oceania fits much better in the article maritime history of Chile. I do think however that Chile's and other small powers and nations roles in New Imperialism should not be overlooked, but should be streamlined to fit a narrative dually centered on the nations subject to the "New" imperialism and the Great Powers. Dentren | Ta<b style="color: Green">lk</b> 16:41, 10 January 2021 (UTC)

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 23 August 2021 and 3 December 2021. Further details are available on the course page. Student editor(s): Cdmarte.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 05:11, 17 January 2022 (UTC)

Boer War
The present text says bluntly that 'In 1899, Britain set out to complete its takeover of the future South Africa, which it had begun in 1814 with the annexation of the Cape Colony, by invading the gold-rich Afrikaner republics of Transvaal and the neighboring Orange Free State.' I think it is not disputed that the Second Boer War, which began in 1899, was initiated by attacks by the Boers (Afrikaners) on British settlements. The Wiki article on the War says 'The conflict broke out in 1899 after the failure of the Bloemfontein Conference and Boer irregulars and militia attacked colonial settlements in nearby British colonies. Starting in October 1899, the Boers placed Ladysmith, Kimberley, and Mafeking under siege, and won a string of victories at Colenso, Magersfontein and Stormberg. In response to these developments, increased numbers of British Army soldiers were brought to Southern Africa, and mounted largely unsuccessful attacks against the Boers'. Does this sound like Britain 'setting out to complete its takeover of the future South Africa'? I know that there were British interests, led by Cecil Rhodes, who wanted to occupy the Boer territories. Moreover, after a long and bloody conflict, Britain did in fact obtain control of the whole of what is now South Africa, though not long after that it also conceded a large measure of self-government to the colony. However, if that was the intention of the British policy all along, I think a source should be cited. 2A00:23C8:7907:4B01:D451:20E:657E:8FD8 (talk) 21:14, 7 May 2022 (UTC)

The "Humanitarian" section is really quite bad.
Under the section "Motivations", the first listed is "Humanitarian", written with what I feel can be pretty evidently observed as an obvious bias toward colonizer rhetoric, being extremely generous in some cases and outright uncritical in others. Notably there are no citations in the entire paragraph to support the supposed "humanitarian" effort of african colonization beyond the literal and rather infamous piece of white supremacist propaganda "The White Man's Burden", which has long been analyzed as being both an excuse and apologetics for conquest. The piece in the paragraph where the author states that "this had positive effects" especially is not only laughable, but quite frankly deeply troubling. Again, not only is there no citation of these supposed "positive effects", but as far as i'm knowledgeable, it's actually rather agreed upon that european colonization did far, far more damage to their colonies than any positive.

Looking through the history I see a "HawkNightingale175" reverted an attempted revision as being "biased information", which is quite funny and also frustrating considering how obviously biased the section is already--not even to mention the part where the author erroneously refers to those who present evidence that this was not a "humanitarian mission" but instead good 'ol white supremacy, as "Historical Revisionists", which is just...kind of wow. I suppose you could say that it's "Historical Revisionism" in the absolute most generous of terms, but I feel that this is clearly loaded phrasing.

I'll be blunt, this is in my eyes a disgusting, and frankly a-historical framing to present this period of brutal colonization and enslavement as in any way "humanitarian"; It would be like framing Germany's actions in WW2 as "defensive". I'm more of a history nerd rather than an actual historian, but if no one else touches up this section within the near future, I'll probably set aside some time to completely revise that section with citations, but i'd like it if a Historian, Anthropologist, and/or Sociologist could put their expertise and academic resources to this section in my stead. IntoDaDark (talk) 07:48, 2 July 2024 (UTC)

 * I have tagged the section in question for lacking sources and neutrality. – Gluonz  talk contribs 14:14, 2 July 2024 (UTC)

title: Talk:New Imperialism


text:
List of rock types

The following is a list of rock types recognized by geologists. There is no agreed number of specific types of rock. Any unique combination of chemical composition, mineralogy, grain size, texture, or other distinguishing characteristics can describe a rock type. Additionally, different classification systems exist for each major type of rock. There are three major types of rock: igneous rock, metamorphic rock, and sedimentary rock.

Igneous rocks

 * – Basaltic lava with a crumpled appearance
 * – Basaltic lava with a flowing, often ropy appearance
 * – An ultramafic, ultrapotassic intrusive rock dominated by mafic phenocrysts in a feldspar groundmass
 * – A silica-undersaturated form of andesite
 * – An ultramafic rock, essentially a peridotite
 * – A silica-undersaturated granite with <5% normative quartz
 * – a plutonic rock with <5% normative quartz
 * – A silica-undersaturated plutonic rock of nepheline and alkali feldspar
 * – A silica-undersaturated plutonic rock with >90% nepheline
 * – A hypersthene-bearing gabbro
 * – A silica-undersaturated volcanic rock; essentially similar to nepheline syenite
 * – A volcanic rock with a composition between phonolite and tephrite
 * – An olivine-bearing basalt
 * - a coarse grained plutonic rock composed of >90% pyroxene
 * – A diorite with >5% modal quartz
 * – An intermediate plutonic rock, essentially a monzonite with 5–10% modal quartz
 * – An intrusive rock composed mostly of quartz
 * – A felsic volcanic rock which is intermediate between a rhyolite and a dacite
 * – a plutonic rock
 * – A coarse-grained carbonatite rock
 * – A plutonic rock dominated by orthoclase feldspar; a type of granitoid
 * – Essentially a basaltic glass
 * – A volcanic rock with a composition between phonotephrite and phonolite
 * – A silica-undersaturated volcanic rock
 * – A plagioclase-dominant granitoid
 * – An alkaline intermediate volcanic rock
 * - sodic trachyandesite
 * – A volcanic rock with a composition between basalt and trachyte
 * – a sodic type of trachybasalt, typically formed by ocean island (hot spot) volcanism
 * – A silica-undersaturated volcanic rock; essentially a feldspathoid-bearing rhyolite
 * – A plutonic ultramafic rock containing olivine, pyroxene and plagioclase
 * – A form of tonalite where plagioclase-group feldspar is oligoclase
 * – A type of pyroxenite, composed of clinoproxene and orthopyroxene
 * - An ultramafic plutonic or cumulate rock, a type of peridotite, composed of olivine and clinopyroxene
 * – An ultramafic, ultrapotassic intrusive rock dominated by mafic phenocrysts in a feldspar groundmass
 * – A silica-undersaturated form of andesite
 * – An ultramafic rock, essentially a peridotite
 * – A silica-undersaturated granite with <5% normative quartz
 * – a plutonic rock with <5% normative quartz
 * – A silica-undersaturated plutonic rock of nepheline and alkali feldspar
 * – A silica-undersaturated plutonic rock with >90% nepheline
 * – A hypersthene-bearing gabbro
 * – A silica-undersaturated volcanic rock; essentially similar to nepheline syenite
 * – A volcanic rock with a composition between phonolite and tephrite
 * – An olivine-bearing basalt
 * - a coarse grained plutonic rock composed of >90% pyroxene
 * – A diorite with >5% modal quartz
 * – An intermediate plutonic rock, essentially a monzonite with 5–10% modal quartz
 * – An intrusive rock composed mostly of quartz
 * – A felsic volcanic rock which is intermediate between a rhyolite and a dacite
 * – a plutonic rock
 * – A coarse-grained carbonatite rock
 * – A plutonic rock dominated by orthoclase feldspar; a type of granitoid
 * – Essentially a basaltic glass
 * – A volcanic rock with a composition between phonotephrite and phonolite
 * – A silica-undersaturated volcanic rock
 * – A plagioclase-dominant granitoid
 * – An alkaline intermediate volcanic rock
 * - sodic trachyandesite
 * – A volcanic rock with a composition between basalt and trachyte
 * – a sodic type of trachybasalt, typically formed by ocean island (hot spot) volcanism
 * – A silica-undersaturated volcanic rock; essentially a feldspathoid-bearing rhyolite
 * – A plutonic ultramafic rock containing olivine, pyroxene and plagioclase
 * – A form of tonalite where plagioclase-group feldspar is oligoclase
 * – A type of pyroxenite, composed of clinoproxene and orthopyroxene
 * - An ultramafic plutonic or cumulate rock, a type of peridotite, composed of olivine and clinopyroxene
 * – A volcanic rock with a composition between phonotephrite and phonolite
 * – A silica-undersaturated volcanic rock
 * – A plagioclase-dominant granitoid
 * – An alkaline intermediate volcanic rock
 * - sodic trachyandesite
 * – A volcanic rock with a composition between basalt and trachyte
 * – a sodic type of trachybasalt, typically formed by ocean island (hot spot) volcanism
 * – A silica-undersaturated volcanic rock; essentially a feldspathoid-bearing rhyolite
 * – A plutonic ultramafic rock containing olivine, pyroxene and plagioclase
 * – A form of tonalite where plagioclase-group feldspar is oligoclase
 * – A type of pyroxenite, composed of clinoproxene and orthopyroxene
 * - An ultramafic plutonic or cumulate rock, a type of peridotite, composed of olivine and clinopyroxene
 * - An ultramafic plutonic or cumulate rock, a type of peridotite, composed of olivine and clinopyroxene

Sedimentary rocks

 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals
 * – A non-detrital sedimentary rock that contains high amounts of phosphate minerals

Metamorphic rocks

 * – A rock formed by faulting
 * – A mafic metamorphic rock dominated by green amphiboles
 * – A type of hornfels found in the Scottish Highlands
 * – Nepheline syenite gneiss
 * – a metamorphosed limestone
 * – A metamorphic rock formed by shearing
 * – A metamorphic rock with a protolith of clay-rich (siltstone) sedimentary rock
 * Metapsammite – A metamorphic rock with a protolith of quartz-rich (sandstone) sedimentary rock
 * – A low grade metamorphic rock composed mostly of micaceous minerals
 * – A glass formed by melting within a fault via friction
 * – A metamorphosed sandstone typically composed of >95% quartz
 * - A low grade metamorphic rock formed from shale or silts
 * – A rock formed by partial melting during a meteorite impact
 * – A metamorphosed ultramafic rock with talc as an essential constituent; similar to a serpentinite
 * – Essentially a talc schist
 * – A rock whose fabric reflects the history of its deformation
 * – A high pressure metamorphic rock containing talc and kyanite
 * – A glass formed by melting within a fault via friction
 * – A metamorphosed sandstone typically composed of >95% quartz
 * - A low grade metamorphic rock formed from shale or silts
 * – A rock formed by partial melting during a meteorite impact
 * – A metamorphosed ultramafic rock with talc as an essential constituent; similar to a serpentinite
 * – Essentially a talc schist
 * – A rock whose fabric reflects the history of its deformation
 * – A high pressure metamorphic rock containing talc and kyanite
 * – Essentially a talc schist
 * – A rock whose fabric reflects the history of its deformation
 * – A high pressure metamorphic rock containing talc and kyanite

Specific varieties
The following are terms for rocks that are not petrographically or genetically distinct but are defined according to various other criteria; most are specific classes of other rocks, or altered versions of existing rocks. Some archaic and vernacular terms for rocks are also included.

 * – A variety of quartz monzonite
 * – A group of varieties of lamprophyre, mostly rich in hornblende
 * – A variety of nepheline syenite from Loch Borralan, Scotland
 * – A hematite-silica metasomatite analogous to a skarn
 * - A variety of phonolite, first found on Mount Kenya
 * - A rock composed of lazurite and other minerals
 * – A metamorphosed nepheline syenite occurrence near Litchfield, Maine
 * – A hypabyssal rhyolite with microcline and blue quartz phenocrysts from the Llano Uplift in Texas
 * Minette – A variety of lamprophyre
 * – A type of chert found in Oklahoma, Arkansas, and Texas
 * – A chemical analogue considered to theoretically represent the Earth's upper mantle
 * – A type of latite with euhedral rhombic phenocrysts of feldspar
 * – A mafic rock metasomatized by serpentinization fluids
 * – melitilic and kalsititic rocks
 * – A silica undersaturated, analcime bearing gabbro
 * – A nepheline gabbro
 * – An altered granite
 * – A variety of lamprophyre
 * – A rock rich in manganese oxide or manganese hydroxide
 * Minette – A variety of lamprophyre
 * – A type of chert found in Oklahoma, Arkansas, and Texas
 * – A chemical analogue considered to theoretically represent the Earth's upper mantle
 * – A type of latite with euhedral rhombic phenocrysts of feldspar
 * – A mafic rock metasomatized by serpentinization fluids
 * – melitilic and kalsititic rocks
 * – A silica undersaturated, analcime bearing gabbro
 * – A nepheline gabbro
 * – An altered granite
 * – A variety of lamprophyre
 * – A rock rich in manganese oxide or manganese hydroxide
 * – A silica undersaturated, analcime bearing gabbro
 * – A nepheline gabbro
 * – An altered granite
 * – A variety of lamprophyre
 * – A rock rich in manganese oxide or manganese hydroxide
 * – A variety of lamprophyre
 * – A rock rich in manganese oxide or manganese hydroxide

title: List of rock types