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Betty McCollum

Betty Louise McCollum (born July 12, 1954) is an American politician serving as the U.S. representative for MN's 4th congressional district, serving since 2001. She is a member of the Democratic-Farmer-Labor Party (DFL). McCollum's district centers on St. Paul, Minnesota's capital city. She is the second woman elected to Congress from Minnesota. McCollum became the dean of Minnesota's congressional delegation in 2021.

Before her election to the U.S. House, McCollum served eight years as a state representative.

Biography
McCollum was born in Minneapolis. She graduated from the College of St. Catherine in St. Paul, Minnesota, in 1976. McCollum has worked as a high school social sciences teacher and as a sales manager.

She first won election to the North St. Paul city council in 1986. In 1992 she was elected to the Minnesota House of Representatives after she defeated an incumbent state representative in the DFL primary. She served four terms in the Minnesota House before being elected to Congress in 2000.

Campaigns
After 4th district Representative Bruce Vento decided not to seek a 13th term due to illness in 2000 (he died before the election), McCollum won the DFL nomination to succeed him. The district is heavily Democratic; among Minnesota's congressional districts, only the neighboring Minneapolis-based 5th district is considered more Democratic. The DFL has held the seat without interruption since 1949.

McCollum's main concern during the campaign wasn't her Republican opponent, State Senator Linda Runbeck, but Independence Party candidate Tom Foley. Foley had previously been county attorney for Ramsey County (almost all of which is in the 4th district) as a Democrat. Many thought Foley might siphon off enough votes from McCollum to allow Runbeck to win. But McCollum defeated Runbeck by 17 points, with Foley in a distant third place. Foley held McCollum to 48% of the vote, making her the only Democrat not to win at least 50% of the vote since Democrats began their dominance in the district. The district has since reverted to form, and McCollum has been reelected nine times with no substantive opposition.

Tenure
According to the McCourt School of Public Policy at Georgetown University, McCollum held a Bipartisan Index Score of -0.1 in the 116th United States Congress for 2019, which placed her 219th out of 435 members. Based on FiveThirtyEight's congressional vote tracker at ABC News, McCollum voted with Donald Trump's stated public policy positions 11.4% of the time, which ranked her average in the 116th United States Congress when predictive scoring (district partisanship and voting record) is used. In the 117th Congress, she voted with President Joe Biden's stated position 100% of the time.

Committee assignments
For the 118th Congress:
 * Committee on Appropriations
 * Subcommittee on Defense (Ranking Member)
 * Subcommittee on Interior, Environment, and Related Agencies

Party leadership, caucus, and other memberships

 * Senior Whip
 * Co-founder of the Congressional Global Health Caucus
 * Co-founder of the Quality Care Coalition
 * Vice Chair of Congressional Native American Caucus (Co-Chair Emeritus)
 * National Council on the Arts
 * Congressional Asian Pacific American Caucus (Associate Member)
 * Congressional Caucus on Global Road Safety
 * International Conservation Caucus
 * Congressional Arts Caucus
 * Afterschool Caucuses
 * Co-Chair United States Congressional International Conservation Caucus
 * Veterinary Medicine Caucus
 * Congressional Coalition on Adoption

McCollum is the first woman elected to Congress from Minnesota since Coya Knutson in the 1950s.

McCollum received a 91% progressive rating from Progressive Punch, a self-described nonpartisan group that provides a "searchable database of Congressional voting records from a Progressive perspective", and a 13% conservative rating from the conservative SBE Council.

Political positions
McCollum is pro-choice and supports Planned Parenthood, NARAL Pro-Choice America, and National Family Planning & Reproductive Health Association. The latter organization aims to provide access to family planning and reproductive health care services and advocates for reproductive freedom. She indicated on the 2002 National Political Awareness Test that she believed abortions should always be legally available, but only within the first trimester of pregnancy.

McCollum has consistently supported the rights of members in the LGBTQ community. The Human Rights Campaign, one of America's largest civil rights organization working to achieve lesbian, gay, bisexual and transgender equality, has continually approved of her voting record. In a speech opposing the proposed Federal Marriage Amendment, McCollum said, "Gay and lesbian Americans are citizens who must never be treated as second-class citizens".

She has supported the interests of the elderly with regard to preserving Social Security. She has backed organizations such as the Alliance for Retired Americans and the National Committee to Preserve Social Security and Medicare, which share the mission to ensure social and economic justice and full civil rights for all citizens so that they may enjoy lives of dignity, personal and family fulfillment and security. In a position paper, McCollum defended her position on Social Security, writing, "We can secure the future of Social Security with common sense and a shared, bipartisan commitment to economic security and fiscal responsibility for all Americans. This is my commitment, and you can count on me to work to protect Social Security and to find a solution that truly protects the retirement security of every American."

McCollum advocates shifting America's energy consumption to cleaner, non-carbon-based sources. Along with Al Franken and Kit Bond, she introduced the Renewable Energy and Efficiency Act, a bill to utilize thermal energy sources and create renewable energy production tax credits. She also voted for the American Recovery and Reinvestment in 2009.

In 2004, McCollum gained national visibility when she and fellow Democrat Jim McDermott of Washington called for Secretary of Education Rod Paige to resign for claiming the National Education Association was "a terrorist organization."

She also introduced amendments in June 2011 and 2012 to cut funding for military bands by $125 million, a proposal opposed by the Fleet Reserve Association and which the National Association for Music Education called "potentially devastating."

McCollum opposes Conceal-and-Carry legislation and voted against Right-to-Carry reciprocity in November 2011.

In July 2019, McCollum voted against a House resolution introduced by Representative Brad Schneider of Illinois opposing the Global Boycott, Divestment, and Sanctions Movement targeting Israel. The resolution passed 398-17. In February 2020, McCollum called AIPAC a hate group and accused it of hate speech.

In April 2021, McCollum introduced the Defending the Human Rights of Palestinian Children and Families Living under Israeli Military Occupation Act, a bill that aims to prohibit Israel from using U.S. aid to detain Palestinian minors, demolish Palestinian homes, or further annex West Bank land. The bill requires the State Department to file an annual report to Congress detailing the extent to which U.S. aid from the previous fiscal year was used to bankroll any of the aforementioned activities.

On July 18, 2023, McCollum voted "present" on a congressional non-binding resolution proposed by August Pfluger that "the State of Israel is not a racist or apartheid state", that Congress rejects "all forms of antisemitism and xenophobia", and that “the United States will always be a staunch partner and supporter of Israel".

On July 19, 2024, McCollum called for Joe Biden to withdraw from the 2024 United States presidential election. .

title: Betty McCollum


text:
User talk:Ann Kyslowski

Hi Ann :) I hope you like the place and choose to stay.

 * It's not a place, it's a web. One can't stay where there isn't any place for a body to sit down and stew.  But I guess I can keep editing. Ann Kyslowski 23:36, 16 Dec 2003 (UTC) (do I have to sign things on my own talk page?  I won't.  If people add things that I like, I'll leave them there ambiguous, and if not, I'll remove them or sign).

And it looks like you already know your way around a wiki

 * You'd be amazed how many people use this software. And how common problems like censoring Talk: pages and attacking people for reasons that have nothing to do with the topic, are.  There are little tin gods everywhere.

-- or perhaps you're just a fast learner! In the latter case, here are some links that may be of use:
 * Welcome, newcomers
 * How to edit a page
 * Village pump - ask questions you may have here, or leave a message on my talk page

 * Village pumps on large wikis are a bad idea - every attempt to say anything more than a sound bite leads to an edit conflict. So no thanks.  I will ask things of people who seem to know what they're talking about on specific topics.  But I'm a member of enough communities that I don't want to join any more.  I'm editing things because people shove Wikipedia articles in my face and act as if what they say is real.  Since Wikipedia is in my face, I might as well get in Wikipedia's face.  Fair?  It's not like I have that much of a choice.

Thanks so much for you're weighing in on Talk:Racism.

 * Hopefully what I added to the article is even more useful. The idea that race has an article about the concept instead of being about racing is offensive to me, frankly.  Racism is real.  Race isn't.  Quote me if you want.

Keep contributing! :) BCorr ¤ Брайен 23:25, 16 Dec 2003 (UTC)

 * Noticing the weird redirect on outing, I dug in the page history to find the most exact version, and I've restored some censored talk. That's the kind of stuff I think is most useful to do.  It sucks to have to look in page history to find useful things, but, that seems to be the way it works on wikis.

Hi again -- just a friendly (I hope!) suggestion. I'm a political activist, and I'm quite used to strongly worded statements and people being very open up front about being offended. However, a lot of people at Wikipedia will not assume good faith if their early interactions feel confrontational. And sarcasm/sarcastic humor doesn't work too well at Wikipedia either, in my experience. For example, I can't tell above for certain if It's not a place, it's a web is meant to make me smile or to be more careful with my language -- but I'm assuming the former. BCorr ¤ Брайен 23:46, 16 Dec 2003 (UTC)

 * No offense, but, text other than poetry is for confrontation and controversy, not for making others feel nice. If you want warm fuzzies, go visit your mother.  Don't send her email.  My correction about "place" is valid, and I don't apologize for it.  If it makes you smile, smile, but don't use slack language with me, I've seen the harm it can do.

 * And people who don't like sarcasm, won't like me, period, so I would rather they learn this up front so we don't waste each other's time.

 * In a phrase, your feelings aren't my problem, nor my concern. Fair?  We're "here", if you insist on this metaphor, to get certain things right not wrong, and do more good than harm.  And if this "assume good faith" thing is a policy here, well then, why do you need an external link to talk about it?

As far as I know, nobody has done anything to me, so I would not worry too much about repercussions. (I'm referring to something you said on talk: race.) Maybe I'm already dead, however, one never knows. ;-) P0M

 * Anyone kicking racist ass has a friend on this page, that's my only point. Peace.  But not before justice, baby.  Ann Kyslowski 00:18, 17 Dec 2003 (UTC)

You should not edit other people's comments on talk pages as you did here: http://en2.wikipedia.org/w/wiki.phtml?title=Talk:Racism&diff=1979064&oldid=1978982 It is not how things are done on this wiki. See this page: Talk page. BCorr ¤ Брайен 02:19, 17 Dec 2003 (UTC)

 * 1. Maybe something got clobbered in a conflict. If so, it wasn't my intent.

 * 2. If "it is not how things are done on this wiki" then how come talk:economics had useful talk removed from it? I had to restore it before adding my comment, because it was relevant to what I was about to say.  Ann Kyslowski 02:43, 17 Dec 2003 (UTC)

 * 3. If I'm going to have to dig in page histories to find other people's comments, then I'm going to have less time to take special care to respect yours. You want to fix 1, then, fix 2.  Until then, I'll deal with an edit conflict by clobbering.  When there's a real protocol for how to deal with this, with real rules "the people" agree with, I'll follow it.  Until then, every edit for itself.  I don't follow rules that "the man" doesn't follow.  Ann Kyslowski 02:43, 17 Dec 2003 (UTC)

Somebody has edited your main page and has identified you as banned. It wasn't there an hour or so ago. P0M 04:45, 17 Dec 2003 (UTC)

'''This user is the hard banned User:EntmootsOfTrolls and User:142. See also User:142.177.etc.'''

Someone please inform us. I didn't read the story of how you come to conclude this. please reference -- Waveguy 03:00, 22 Dec 2003 (UTC)

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

title: User talk:Ann Kyslowski


text:
James Caulfeild, 1st Earl of Charlemont

James Caulfeild, 1st Earl of Charlemont KP PC (Ire) (18 August 1728 – 4 August 1799), was an Irish statesman.

Early life
The son of James Caulfeild, 3rd Viscount Charlemont, he was born in Dublin, and succeeded his father as 4th Viscount in 1734. His mother was Elizabeth Bernard, daughter of Francis Bernard, MP and judge of the Court of Common Pleas (Ireland) and Alice Ludlow. After his father's death, she remarried Thomas Adderley, and died in childbirth in 1743 at the age of 40, after the birth of her daughter Elizabeth, who later married Major David Ross.

The title of Charlemont descended from Sir Toby Caulfeild (1565–1627) of Oxfordshire, England, who was given lands in Ireland, and created Baron Charlemont (the name of a fort on the Blackwater), for his services to King James I in 1620. The 1st Viscount was the 5th Baron (d. 1671), who was advanced in the peerage by Charles II.

Art and culture
Lord Charlemont was well known for his love of Classical art and culture and spent nine years on the Grand Tour in Italy, Greece, Turkey and Egypt. He promised Giovanni Battista Piranesi money to print the 1756 edition of Le antichità romane. When Charlemont did not provide the funds, Piranesi scratched his name from the dedication print inspired by the Roman practice of damnatio memoriae. The artist pleaded his point in Lettere di giustificazione scritte a Milord Charlemont ("Justification letters written to Lord Charlemont") (1757). He returned to Dublin and employed the Scottish architect Sir William Chambers to remodel his main residence Marino House and the unique Neo-Classical garden pavilion building adjacent, the Casino at Marino, as well as to design his townhouse Charlemont House.

His former townhouse at 14 Jervis Street was gifted to the then fledgling Jervis Street Hospital and opened in 1796.

Politics
Lord Charlemont is historically interesting for his political connection with Henry Flood and Henry Grattan; he was a cultivated man with literary and artistic tastes, and both in Dublin and in London he had considerable social influence. He was the first President of the Royal Irish Academy and was a member of the Royal Dublin Society. He was appointed Custos Rotulorum of County Armagh for life in 1760. For various early services in Ireland, he was made an earl in 1763, but he disregarded court favours and cordially joined Grattan in 1780 in the assertion of Irish independence. In 1783 he was made a founding Knight of the Order of St Patrick.

He was president of the volunteer convention in Dublin in November 1783, having taken a leading part in the formation of the Irish Volunteers; and he was a strong opponent of the proposals for the Union. His eldest son, who succeeded him, was subsequently (1837) created an English Baron.

Personal life
In 1768 Charlemont married Mary Hickman, daughter of Thomas Hickman of Brickhill, County Clare. The marriage is said to have been a very happy one. They had two sons, James and Henry.

His half-sister, Elizabeth Adderley (born 23 May 1743), was the mother of Major-General Robert Ross.

The somewhat inaccurate Memoirs of the Political and Private Life of James Caulfield, Earl of Charlemont, Knight of St. Patrick, by Francis Hardy, appeared in 1810.

title: James Caulfeild, 1st Earl of Charlemont


text:
Pynchon

Pynchon is an English surname. Notable people with the surname include:

 * Thomas Pynchon (born 1937), American novelist
 * George M. Pynchon (1862–1940), American yacht racer
 * William Pynchon (1590–1662), English colonial settler and founder of Springfield, Massachusetts

title: Pynchon


text:
George Steevens

George Steevens (10 May 1736 – 22 January 1800) was an English Shakespearean commentator.

Early life
George Steevens was born at Poplar, on 10 May 1736, the son of a captain and later director of the East India Company. He was educated at Eton College and at King's College, Cambridge, where he remained from 1753 to 1756. Leaving the university without a degree, he settled in chambers in the Inner Temple, moving later to a house on Hampstead Heath, where he collected a valuable library, rich in Elizabethan literature. He also accumulated a large collection of Hogarth prints, and his notes on the subject were incorporated in John Nichols's Genuine Works of Hogarth.

Career
Steevens walked from Hampstead to London every morning before seven o'clock, discussed Shakespearian questions with his friend, Isaac Reed, and, after making his daily round of the booksellers shops, returned to Hampstead. He began his work as a Shakespearean editor with reprints of the quarto editions of Shakespeare's plays, entitled Twenty of the Plays of Shakespeare ... (1766). Samuel Johnson was impressed by this work, and suggested that Steevens should prepare a complete edition of Shakespeare. The result, known as Johnson's and Steevens's edition, was The Plays of Shakespeare with the Corrections and Illustrations of Various Commentators (10 vols., 1773), Johnson's contributions to which were very slight.

This early attempt at a variorum edition was revised and reprinted in 1778, and further edited in 1785 by Reed; but in 1793 Steevens, who had asserted that he was now a dowager-editor, was persuaded by his jealousy of Edmond Malone to resume the task. The definitive result of his researches was embodied in an edition of fifteen volumes. He made changes in the text sometimes apparently with the sole object of showing how much abler he was as an emendator than Malone, but his wide knowledge of Elizabethan literature stood him in good stead, and subsequent editors have gone to his pages for parallel passages from contemporary authors. His deficiencies from the point of view of purely literary criticism are apparent from the fact that he excluded Shakespeare's sonnets and poems because, he wrote, "the strongest act of parliament that could be framed would fail to compel readers into their service."

In the 20 years between 1773 and 1793, Steevens was less harmlessly engaged in criticizing his fellows and playing malicious practical jokes on them. Dr Johnson, who was one of his staunchest friends, said he had come to live the life of an outlaw, but he was generous and to a small circle of friends civil and kind. After Johnson's death in Dec. 1784, he sent a series of anonymous items to the Public Advertiser promoting the claims of James Boswell as Johnson's biographer, mainly in order to vex the official biographer, Sir John Hawkins. He was one of the foremost in exposing the Chatterton-Rowley and the Ireland forgeries. He wrote an entirely fictitious account of the Java upas tree, derived from an imaginary Dutch traveller, which imposed on Erasmus Darwin, and he hoaxed the Society of Antiquaries with the tombstone of Hardicanute, supposed to have been dug up in Kennington, but really engraved with an Anglo-Saxon inscription of his own invention.

Death and legacy
Steevens died at Hampstead on 22 January 1800. A monument to his memory by John Flaxman, with an inscription commemorating his Shakespearian labours, was erected in Poplar Chapel. The sale catalogue of his valuable library is in the British Museum.

Steevens's Shakespeare was re-issued by Reed in 1803, in 21 volumes, with additional notes left by Steevens. This, which is known as the first variorum edition, was reprinted in 1813.

Honours
Steevens was elected a Fellow of the Royal Society in May 1767.

title: George Steevens


text:
I was glad

'I was glad' (Laetatus sum) is an English text drawn from selected verses of Psalm 122. It has been used at Westminster Abbey in the coronation ceremonies of British monarchs since those of King Charles I in 1626.

Text
The text accompanies the monarch's entrance into Westminster Abbey and was formalised in the 1662 Book of Common Prayer. The selected verses (verses 4, 5, 8 and 9 are omitted) form a prayer for the peace and prosperity of Jerusalem, and its use in the coronation service clearly draws a parallel between Jerusalem and the United Kingdom.
 * 1) I was glad when they said unto me : We will go into the house of the Lord.
 * 2) Our feet shall stand in thy gates : O Jerusalem.
 * 3) Jerusalem is built as a city : that is at unity in itself.
 * 4) For thither the tribes go up, even the tribes of the Lord : to testify unto Israel, to give thanks unto the Name of the Lord.
 * 5) For there is the seat of judgement : even the seat of the house of David.
 * 6) O pray for the peace of Jerusalem : they shall prosper that love thee.
 * 7) Peace be within thy walls : and plenteousness within thy palaces.
 * 8) For my brethren and companions' sakes : I will wish thee prosperity.
 * 9) Yea, because of the house of the Lord our God : I will seek to do thee good.

'Vivat" interpolation
Since the coronation of King James II in 1685 an additional non-biblical text is added to the psalm verses used in the Westminster Abbey ceremonies, i.e. the acclamation "Vivat Rex ... " or "Vivat Regina ... " ("Long live King/Queen ..."). By tradition this acclamation is made by King's or Queen's Scholars of Westminster School as the Sovereign passes through the Quire of Westminster Abbey.

"Vivat" pronunciation
The acclamation uses a variant of standard Latin pronunciation known as Anglicised Latin. Scholars of Classical Latin would pronounce the Vivat Regina as ; those of Ecclesiastical Latin would pronounce it. The traditional English pronunciation when referring to the British monarch is. At the coronation of both a king and a queen, the vivat for the queen precedes that for the king.

Musical settings at British coronations

 * 1626: King Charles I, no details
 * 1661: King Charles II, William Child and Thomas Tomkins
 * 1685: King James II, Henry Purcell and John Blow

Pigott

 * 1701: Queen Anne, Francis Pigott
 * 1714: King George I, Francis Pigott
 * 1727: King George II, Francis Pigott

Boyce

 * 1761: King George III, William Boyce

Attwood

 * 1821: King George IV, Thomas Attwood
 * 1831: King William IV, Thomas Attwood
 * 1838: Queen Victoria, Thomas Attwood

Parry

 * 1902: King Edward VII, Hubert Parry
 * Parry indicated in the score a space for an improvisatory fanfare between the King's and the Queen's "Vivat" acclamations
 * At the first performance of Parry's arrangement at the 1902 coronation the director of music Sir Frederick Bridge misjudged the timing and had finished the anthem before the King had arrived, having to repeat it when the right moment came. Bridge was saved by the organist, Walter Alcock, who improvised in the interim.
 * 1911: King George V, Hubert Parry
 * Parry revised his 1902 version by adding an introduction, antiphonal choir effects and brass fanfares
 * 1953: Queen Elizabeth II, Hubert Parry
 * At the coronation of Elizabeth II in 1953, the acclamation took the form of "Vivat Regina Elizabetha"
 * 2023: King Charles III and Queen Camilla, Hubert Parry
 * At the coronation of Charles III and Camilla in 2023 the acclamation took the form of "Vivat Regina Camilla!" and "Vivat Rex Carolus!"

Use at other British royal events
Setting by Hubert Parry:
 * 1945: National service of thanksgiving for VE Day at St Paul's Cathedral
 * 1977: Silver Jubilee of Elizabeth II, national service of thanksgiving at St Paul's Cathedral
 * 1982: Wedding of Prince Charles and Lady Diana Spencer at St Paul's Cathedral
 * 2002: Golden Jubilee of Elizabeth II, national service of thanksgiving at St Paul's Cathedral
 * 2011: Wedding of Prince William and Catherine Middleton at Westminster Abbey.
 * 2022: Platinum Jubilee of Elizabeth II, national service of thanksgiving at St Paul's Cathedral

Other complete or partial settings in English

 * (n.d.): Richard Woodward
 * 1879: John Goss
 * 1902: Henry Marcellus Higgs.
 * This setting was distributed by the Church of England in an order of service for that year's Coronation Day to be used in its churches throughout His Majesty's Empire.
 * 1933: Herbert Howells.
 * 1955: S. Drummond Wolff
 * 1957: Robin Orr
 * 1962: Healey Willan
 * 1971: Peter Hallock

title: I was glad


text:
William Black (novelist)

William Black (13 November 1841 – 10 December 1898) was a novelist born in Glasgow, Scotland. During his lifetime, Black's novels were immensely popular and compared favourably with those of Anthony Trollope. However, his fame and popularity did not survive long into the 20th century.

Biography
William was born to James Black and his second wife Caroline Conning. He was educated to be a landscape painter, a training that influenced his literary life. As a writer, he became known for his detailed, atmospheric descriptions of landscapes and seascapes in novels such as White Wings: A Yachting Romance (1880).

At the age of 23 he went to London, having had some experience with Glasgow journalism. He joined the staff of the Morning Star and later the Daily News, of which he became assistant-editor. He wrote a weekly serial in The Graphic. During the Austro-Prussian War, he acted as a war correspondent.

Black's first novel, James Merle, appeared in 1864, and had little success. Black later disowned it and reputedly bought copies to destroy them. Two further early novels Love or Marriage (1868) and The Monarch of Mincing Lane (1871) did little to advance his career, and all three were omitted from the collected edition of Black's works issued by the publisher Sampson Low from 1892.

The publication of A Daughter of Heth in 1871 at once established his popularity. It tells of a young girl brought up in Catholic France, who comes to live with her more austere Protestant relatives in southern Scotland, and ends with personal tragedy. The travel story The Strange Adventures of a Phaeton followed in 1872. In 1874 A Princess of Thule was another big success, later adapted into a musical play, The Maid of Arran, by a young L. Frank Baum.

From the following year Black devoted himself wholly to fiction. Several collections of short stories and a further 22 novels followed; the last – Wild Eelin – in 1898, just before his death on 10 December of that year.

During his lifetime, Black's novels were immensely popular and were compared favourably with those of Anthony Trollope, though some critics complained that they put too much emphasis on hunting and fishing. However, his fame and popularity did not survive long into the 20th century. His works were bootlegged in the United States, not being protected by copyright laws. He teamed with such well-known authors as Rudyard Kipling, Thomas Hardy and Walter Besant to combat this procedure, resulting in the passing of new laws in 1891, but unlike the others, he held no grudge against those who sold unauthorised copies of his books while it was legal to do so, which made relations easier and friendlier between him and his American publishers. Baum's play was written without regard to copyright courtesy when such was legal: it is uncertain if Black was even aware of its existence, as Reid does not mention it in his biography. (He did not receive credit in the play's advertising or programs, although reviewers often mentioned him.)

His later novels included two further "tragic" tales: Madcap Violet (1876) and Macleod of Dare (1879); Sunrise (1881) a novel of international political intrigue; Shandon Bells (1883) largely set in Ireland; Yolande (1883). in part dealing with drug addiction; Judith Shakespeare (1884) a historical novel featuring the playwright's daughter; and The New Prince Fortunatus (1890) a novel of London theatrical life. Friendship with the actor Mary Anderson resulted in him acting on stage twice, in mute roles known as "thinkers" (in Romeo and Juliet and The Winter's Tale), but his nervousness interrupted the performance. Black also produced the volume Goldsmith (1878) for Morley's English Men of Letters series.

Black is remembered by a lighthouse built in the form of a Gothic tower "on a spot that he knew and loved, by his friends and admirers from all over the world," as recorded on a carved plaque over the door. The building was erected in 1901 and is still in use as a lighthouse. It stands a mile or so south of Duart Castle, at the eastern extremity of the Isle of Mull.

A collection of sketch-stories, including portions of the suppressed James Merle were published posthumously as With the Eyes of Youth, and Other Sketches (1903).

Family
Black's first wife, Augustus Wenzel, died on 14 May 1866 of a fever contracted not long after the birth of their son, Martin. They had only been married since 8 April 1865. Martin then died on 29 March 1871.

Black first met his second wife, Eva Simpson, daughter of Wharton Simpson, a fellow journalist and fellow member of Whitefriars Club, in 1869. He saw her again in 1872 and used her as the basis for Bell in The Phaeton. They were married in April 1874 and she was still alive when Wemyss Reid, who had offered Black a contributor's role on the Leeds Mercury, published his biography.

From 1879 until his death, Black lived at 1 Paston Place, Brighton.

Recognition
A memorial to Black, in the form of a small castle, was built at Duart Point designed by Glasgow architect William Leiper.

Works

 * James Merle (1864)
 * Love or Marriage (1868)
 * In Silk Attire (1869)
 * Kilmeny (1870)
 * The Monarch of Mincing Lane (1871)
 * Mr Pisistratus Brown, M.P., in the Highlands (1871)
 * A Daughter of Heth (1871)
 * The Strange Adventures of a Phaeton (1872)
 * A Princess of Thule (1873)
 * The Maid of Killeena and other Stories (1874)
 * Three Feathers (1875)
 * Madcap Violet (1876)
 * Lady Silverdale's Sweetheart and Other Stories (1876)
 * Green Pastures and Piccadilly (1877)
 * Macleod of Dare (1878)
 * Goldsmith [English Men of Letters] (1878)
 * White Wings (1880)
 * The Beautiful Wretch, The Four MacNicols, The Pupil of Aurelius (1881)
 * Sunrise (1881)
 * Shandon Bells (1883)
 * Yolande (1883)
 * Adventures in Thule (1883)
 * Judith Shakespeare (1884)
 * White Heather (1885)
 * The Wise Women of Inverness and Other Miscellanies (1885)
 * Sabina Zembra (1887)
 * In Far Lochaber (1888)
 * The Strange Adventures of a Houseboat (1888)
 * The Penance of John Logan and Two Other Tales (1889)
 * The New Prince Fortunatus (1890)
 * Stand Fast Craig-Royston! (1890)
 * Donald Ross of Heimra (1891)
 * The Magic Ink and Other Tales (1892)
 * Wolfenberg (1892)
 * The Handsome Humes (1893)
 * Highland Cousins (1894)
 * Briseis (1896)
 * Wild Eelin (1898)
 * With the Eyes of Youth, and Other Sketches (1903) [posthumous]

title: William Black (novelist)


text:
Nitty Gritty Dirt Band

Nitty Gritty Dirt Band (sometimes abbreviated NGDB), known as the Dirt Band from 1978 to 1983, is an American country rock band formed in 1966. The group has existed in various forms since its founding in Long Beach, California. Since 2018, the band has consisted of Jeff Hanna and his son Jaime Hanna, both guitarists and vocalists, along with Jimmie Fadden (drums, harmonica, vocals), Bob Carpenter (keyboards, accordion, vocals), Ross Holmes (fiddle, mandolin, vocals), and Jim Photoglo (bass guitar, vocals).

Jeff Hanna and Fadden founded the band in 1966 with a lineup initially consisting of Bruce Kunkel, Ralph Barr, Les Thompson, and Jackson Browne, who quit early on and was replaced by longtime member John McEuen (vocals, guitar, banjo). The band had its first hit single in 1967 with "Buy for Me the Rain", followed by their biggest pop single, a cover of Jerry Jeff Walker's "Mr. Bojangles" in 1970. They also had pop hits with "An American Dream" and "Make a Little Magic", both from 1980. Their earliest work featured jug band and traditional folk elements, while by the end of the 1970s they began recording soft rock. In 1976, they became the first American act to tour the Soviet Union.

Starting in 1983, the band began a shift toward country music, led off by the singles "Shot Full of Love" and "Dance Little Jean". By this point, the band consisted of Jeff Hanna, McEuen, Fadden, Carpenter, and Jimmy Ibbotson (bass guitar, vocals). This lineup recorded several country albums for Warner Records throughout the 1980s and charted multiple singles on the Billboard Hot Country Songs. Of these, "Long Hard Road (The Sharecropper's Dream)", "Modern Day Romance", and "Fishin' in the Dark" all went to number one. After leaving Warner, the band recorded for a number of other labels afterward. The band has collaborated with a number of artists, including Doc Watson, Linda Ronstadt, John Denver, and Steve Martin. In addition, Hanna co-wrote Rascal Flatts's 2005 single "Bless the Broken Road", which was originally recorded by Nitty Gritty Dirt Band.

Nitty Gritty Dirt Band has released three collaborative albums: Will the Circle Be Unbroken (1972), Will the Circle Be Unbroken: Volume Two in 1989, and Will the Circle Be Unbroken, Volume III in 2002. They have also won three Grammy Awards. The band's sound draws influence from country, pop, rock, bluegrass, and folk music, and has seen overall generally positive critical reception.

History
Nitty Gritty Dirt Band was founded in Long Beach, California, in 1966. Founding guitarist Jeff Hanna was born and raised in Detroit, Michigan, but his family had moved to Long Beach four years prior. While in high school, he befriended guitarist Bruce Kunkel, and the two played in a local duo called the New Coast Two. As they wanted to form a larger group, the two began playing impromptu jam sessions at a Long Beach music shop called McCabe's Guitar Shop. Through these performances, they recruited four other musicians. These were Jimmie Fadden, who at the time played washtub bass, harmonica, and guitar, along with Ralph Barr (guitar, clarinet), Les Thompson (guitar, mandolin), and Jackson Browne (guitar). All six members also served as vocalists. Browne quit the group after only a few months and was replaced by John McEuen, who contributed on guitar, mandolin, banjo, and washtub bass. They briefly called themselves the Illegitimate Jug Band, due to their playing jug band music without actually having a member who played the jug. Soon afteward, they selected Nitty Gritty Dirt Band as a name. This name was inspired by their observation that many bands at the time had names that were considered long and unusual, such as Strawberry Alarm Clock.

1967–1971: Early years
John's older brother William E. McEuen served as the band's manager, helping to book them as opening acts for artists such as Joan Baez. He also helped the band sign a contract with Liberty Records, who released the band's self-titled debut album in 1967. "Buy for Me the Rain" was released as a single from this project, and it reached number 45 on the Billboard Hot 100. The band released another album for Liberty, Ricochet, later in 1967. After this album, Kunkel quit over creative differences in the band's sound, and was replaced by multi-instrumentalist Chris Darrow, formerly a member of Kaleidoscope. Of their style at the time, Mary Campbell of the Associated Press noted the band's use of acoustic instruments and rudimentary traditional folk instruments such as washtub bass, kazoo, and comb and paper. She also noted that their clothing and song choices, such as a cover of "Teddy Bears' Picnic", reflected the music and mindset of the 1920s.

Their third album, 1968's Rare Junk, was their first to feature electric guitar, electric bass, and drums. Although Browne had left the band by this point, they covered his "These Days" on it. Johnny Sandlin contributed on drums. Bob Talbert of The State praised the album for the variety of instruments used, noting that said variety allowed influences of jazz and country music on top of the group's existing jug band sound. A year later, Liberty released a live album titled Alive, recorded at the Troubadour in West Hollywood, California. That same year, the band contributed the song "Hand Me Down That Can o' Beans" to the soundtrack of the movie Paint Your Wagon, starring Lee Marvin. The band briefly broke up in late 1969. During this hiatus, Hanna and Darrow briefly founded a country rock band called the Corvettes, who recorded one session with Michael Nesmith of the Monkees as producer.

Nitty Gritty Dirt Band reunited in 1970, although Darrow and Barr declined to rejoin. Both were replaced by Jimmy Ibbotson, who played bass guitar, drums, piano, and accordion. After reuniting, the band issued its fourth Liberty album Uncle Charlie & His Dog Teddy that same year. Colin Larkin, in the Virgin Encyclopedia of Country Music, wrote that this album marked a shift in the band's sound from "jokey elements" to a more country rock sound. It featured a cover of Jerry Jeff Walker's "Mr. Bojangles". The band's version of the song was their first major hit, reaching number nine on the Hot 100. Also charting from the album were covers of Kenny Loggins's "House at Pooh Corner" and Nesmith's "Some of Shelly's Blues". Richie Unterberger of AllMusic wrote of this album, "The group moved into a more accessible rock-oriented fusion of country, bluegrass, pop, and rock & roll, relying primarily on smartly chosen covers...Few bands had incorporated instruments more commonly associated with country and bluegrass, particularly mandolin and banjo, as comfortably into a rock setting prior to this release, and their well-crafted harmonies help put the songs over for those not-steeped-in backwoods sounds."

1972–1977: United Artists Records and Will the Circle Be Unbroken
Liberty Records merged with United Artists Records in 1972. The band's first project for this label was 1972's All the Good Times. The album had further cover songs on it, including Hank Williams's "Jambalaya (On the Bayou)" and Doug Kershaw's "Diggy Liggy Lo", as well as another Jackson Browne cover, "Jamaica". The former of these was issued as a single, but peaked in the lower end of the Hot 100. Hartford Courant writer Henry McNulty found the cover songs superior to the original cuts on the album, but criticized the band for including fake applause between tracks.

Also in 1972, the band traveled to Nashville, Tennessee, to record the album Will the Circle Be Unbroken. This was a collaborative three-disc album featuring a number of country and bluegrass artists, such as Roy Acuff, Maybelle Carter, Earl Scruggs, and Doc Watson. Writing for The Los Angeles Times, Robert Hillburn thought that the band showed appreciation for the music of the collaborators, and that the album would appeal to music fans who did not like the then-contemporary Nashville sound. The album also accounted for the band's first entries on the Billboard Hot Country Songs charts: a cover of Hank Williams's "I Saw the Light" and the original "Grand Ole Opry Song", respectively featuring guest vocals from Roy Acuff and Jimmy Martin. Following the commercial success of Will the Circle Be Unbroken, the band began touring across the United States and internationally. McEuen also began recording as a solo artist at this point while maintaining his membership with the band. Larkin noted that critical reception of Will the Circle Be Unbroken "played an important role in breaking down mistrust between country's establishment and the emerging 'long hair' practitioners." Similarly, Watson later attributed the album's success to renewed interest in his music, particularly among fans of rock music who did not typically listen to folk and bluegrass. The "I Saw the Light" cover accounted for the band's first Grammy Award nomination, in the category of Best Country Performance by a Duo or Group with Vocal; a year later, the album itself was nominated in the same category. In 1997, the project became the band's first album to be certified platinum by the Recording Industry Association of America (RIAA).

Their next album for United Artists was 1974's Stars & Stripes Forever. By this point, Thompson had left as well, leaving the band as a quartet. A cover of Johnny Horton's "The Battle of New Orleans" charted from this project. The album, composed of both live and studio recordings, also featured interview segments by fiddle player Vassar Clements. Bruce Eder thought these elements made the album "more than its money's worth" and capable of showing the band's mix of country and rock influences. A year later, they released Symphonion Dream, led off by a cover of the Everly Brothers' "All I Have to Do Is Dream". The album featured guest contributions from Linda Ronstadt, Leon Russell, and actor Gary Busey. Eder found influences of psychedelic rock and bluegrass in the instrumentation, highlighting the instrumentals, as well as in the other cover songs on the album such as Hank Williams's "Hey, Good Lookin". Ibbotson left the band after this album, after which point John Cable and Jackie Clark joined. These two alternated as bassists and guitarists. Soon after they joined, Nitty Gritty Dirt Band toured in the Soviet Union, becoming the first American act to do so. The United States Department of State oversaw the tour, which lasted for 28 days. This was followed by their first greatest-hits package, Dirt, Silver and Gold, also in 1976.

1978–1981: The Dirt Band and shift to soft rock
In 1978, both Clark and Cable left the band, which by this point had shortened its name to just the Dirt Band. McEuen said that the decision to become just the Dirt Band was due to disc jockeys not being comfortable with the longer name. Conversely, music writer Tom Roland attributed the name change to Chuck Morris, who had taken over as the band's manager due to William E. McEuen becoming overwhelmed by the role. Also according to John McEuen, Clark left voluntarily, while he believes that Hanna "got rid" of Cable because he felt "threatened" by Cable's songwriting ability. Joining Hanna, John McEuen, and Fadden as members were drummer Merel Bergante, bassist Richard Hathaway, and multi-instrumentalist Al Garth. The band's first release under the shortened name was 1978's The Dirt Band. "In for the Night" reached the lower regions of the Hot 100 as a single from this project. Stephen Thomas Erlewine of AllMusic thought the album marked a shift in the band's sound to a soft rock style. He thought the songs on the album were consistent in quality, but also thought that the album would not appeal to fans of their earlier works. Also during 1978, the band appeared under the pseudonym the Toot Uncommons as backing musicians on comedian and actor Steve Martin's novelty hit single "King Tut". This appearance was due to William E. McEuen serving as producer on the track.

Their second album as the Dirt Band was 1979's An American Dream. The album's title track, written by Rodney Crowell, charted as a single in 1980. The song featured a backing vocal from Linda Ronstadt. It accounted for their second-highest Hot 100 peak of 13, and was also their first appearance on the Billboard country music charts since 1973. During the release of this album, Michael Buono took over for Bergante on drums, while Bob Carpenter joined as keyboardist. Next was 1980's Make a Little Magic. Featuring backing vocals from Nicolette Larson, its title track was a number 25 hit on the Hot 100. Ken Paulson of the Fort Myers, Florida, News Press noted that unlike their previous albums, it contained only one cover song; specifically, Cidny Bullens's "Anxious Heart". He thought that by focusing more on original material, the album showed the band members' strengths as songwriters and performers, and considered it their best album yet.

After this album, EMI eliminated the United Artists label and reopened Liberty Records, transferring the band back to that label after a decade. Their first release upon returning to Liberty was 1981's Jealousy. Most of the band members wrote the songs on the album by themselves and Hanna co-produced the album. Also by this point, Vic Mastrionni had become the band's drummer. "Fire in the Sky" was released as a single. The title track was as well, but it did not chart. The album featured guest vocals from Rosemary Butler and Kenny Loggins. An uncredited review in the New Jersey Daily Record panned the album's soft rock sound and lack of variety between tracks, as well as the songs on which Carpenter sang lead vocals. Likewise, Erlewine thought that the band "never quite mustered" the soft rock sound of the album, and criticized many of the songs for lacking hooks.

1983–1984: Shift to country
In 1983, the band reverted its name to Nitty Gritty Dirt Band. Al Garth and Vic Mastrionni both quit the band at this point and Ibbotson rejoined as a vocalist and bass guitarist; as a result, Fadden began playing drums in addition to his existing role as harmonica player. At this point, the band began finding success in country music, a move which McEuen attributed to changing tastes among fans of rock and pop music. Roland also attributes the shift in sound and reversion of their name to Morris; McEuen also attributed both of these and the return of Ibbotson to the lineup as being decisions made by Morris. The first release to be successful on the country charts was "Shot Full of Love", which went to number 19 on the Hot Country Songs charts in 1983. This was followed by Ibbotson's composition "Dance Little Jean", which went to number nine. Both were included on the album Let's Go, their last after rejoining Liberty. This album was produced by Norbert Putnam and Richard Landis.

The band began recording their next album, Plain Dirt Fashion, while still on Liberty. However, Morris was uncertain if the label would promote the album properly, as it was the last one in their contract. As a result, the band transferred to Warner Records, who released it in 1984. Furthering their move to country music, they also switched booking agents, which resulted in them opening shows for Ricky Skaggs and Hank Williams Jr. Paul Worley and Marshall Morgan served as producers on the project. According to Ibbotson, the band chose to switch producers after moving to Warner, as they thought Putnam and Landis, despite working in country music, "thought they had to cover all bases." In addition to the five members of the band, other contributors included Skaggs and Jerry Douglas. The project also included a cover of Bruce Springsteen's "Cadillac Ranch". The lead single was another Rodney Crowell composition, "Long Hard Road (The Sharecropper's Dream)", which in 1984 became the band's first number-one single on the Billboard country charts. Also issued as singles were "I Love Only You" (written by Dave Loggins and Don Schlitz) and "High Horse" (written by Ibbotson), both of which were top-five country hits between late 1984 and early 1985. Writing for the Mattoon, Illinois, Journal Gazette, Rickey Ferguson thought that the album showed a country influence through its the "storytelling lyrics" of "Long Hard Road".

1985–1987: Middle years with Warner
Next on Warner was Partners, Brothers and Friends in 1985. The album's lead single was "Modern Day Romance", written by Kix Brooks, who would later become one-half of Brooks & Dunn. Upon release, this song became Nitty Gritty Dirt Band's second number-one on the Billboard country charts. Although Hanna or Carpenter usually sang lead vocals on singles, "Modern Day Romance" was one of several in this timespan to feature Ibbotson on lead vocals instead. Worley noted that the song had originally been submitted to the band for inclusion on Plain Dirt Fashion but was rejected, and they chose to record it after it was submitted to them a second time. Also charting in the top ten from this album were "Home Again in My Heart" and the title track, which Hanna and Ibbotson co-wrote. While not released as a single, the album track "Telluride" (also written by Ibbotson) was made into a music video. Robert K. Oermann of The Tennessean noted that the lyrics of "Partners, Brothers and Friends" contained several references to the band's career up to that point. Holly Gleason of The Miami Herald reviewed the album favorably, praising Hanna's and Ibbotson's lead vocals as well as the lyrics of the title track. Following in 1986 was the band's second greatest-hits package, Twenty Years of Dirt. It was accompanied by an anniversary concert tour of the same name, featuring a 10,000-person show in Denver, Colorado, with Michael Martin Murphey. The album included the new song "Stand a Little Rain"; both this and the a re-release of the original 1981 recording of "Fire in the Sky" were issued as singles, and peaked within top ten on the country charts.

This was followed in 1987 by Hold On, led off by the single "Baby's Got a Hold on Me". It reached number two on the country charts upon release. Following it was their third and final number one, "Fishin' in the Dark", written by Wendy Waldman and Jim Photoglo. Ed Bruce had recorded the song a year prior. For this album, the band again switched producers to Josh Leo. He found "Fishin' in the Dark" when searching for songs, and upon hearing Photoglo's demo of the song, immediately suggested the band record it. Hanna later described it as the band's signature song and a popular song to play during the summertime. The song was certified gold as a music download in 2011, and increased to platinum in 2014. Writing for the Palm Beach Post, Holly Gleason praised Leo's "perfectly pretty production" and Ibbotson's vocals on "Fishin' in the Dark", while also finding influences of country rock and Cajun music on individual tracks. She also compared the track "Joe Knows How to Live" (later a number-one single for Eddy Raven ) to "An American Dream".

1988–1989: Departure of John McEuen and Will the Circle Be Unbroken: Volume Two

During promotion for Hold On, McEuen quit the band and was replaced by Bernie Leadon, formerly of the Eagles and Flying Burrito Brothers. Leadon's only in-studio appearance with the band was on 1988's Workin' Band. This project charted three singles within the top ten of the Billboard country charts: "Workin' Man (Nowhere to Go)", "I've Been Lookin'", and "Down That Road Tonight". Fadden wrote the former, while Hanna co-wrote the latter two. Leadon left after this album as well, reducing the band to a quartet of Fadden, Hanna, McEuen, and Ibbotson. An uncredited review in The Tennessean praised the use of acoustic instruments and the "crisp" nature of Josh Leo's production style, as well as the "urgency" of the singing.

In 1989, the band transferred to Universal Records, then a new country label started by producer Jimmy Bowen. Their only release for the label was Will the Circle Be Unbroken: Volume Two, a sequel album to their 1972 album Will the Circle Be Unbroken. Like its predecessor, it featured a large number of guest musicians, including Johnny Cash, Earl Scruggs, Bruce Hornsby, Levon Helm, Marty Stuart, and Vince Gill. Many of the guests appeared on the title track, a cover of A. P. Carter's "Will the Circle Be Unbroken". Earl Scruggs's son, Randy, produced the album. The album featured over 200 guests in total, and was recorded between December 1988 and January 1989. Universal simultaneously released three songs as lead singles from the project. These were a cover of Bob Dylan's "You Ain't Going Nowhere", as well as the original compositions "Turn of the Century" and "And So It Goes", the latter a collaboration with John Denver. The Dylan cover, credited solely to McGuinn and Hillman, peaked at number six on the country charts upon release. The other two singles were less successful, but follow-up "When It's Gone" peaked at number ten, becoming the band's last top-40 country single to date. Released last from the project was "One Step over the Line", featuring guest vocals from Rosanne Cash and John Hiatt. The album won the Grammy Award for Best Country Performance by a Duo or Group with Vocal, the track "The Valley Road" (a collaboration with Hornsby) won Best Bluegrass Recording, and the title track was nominated for Best Country Collaboration with Vocals, at the 32nd Grammy Awards in 1990. Will the Circle Be Unbroken also won Album of the Year from the Country Music Association, their only win from that organization.

1990s
After Universal closed, Nitty Gritty Dirt Band transferred to MCA Nashville Records for 1990's The Rest of the Dream. Randy Scruggs also produced this project, and Carpenter observed that the track "Wishing Well" was the first time all four members of the band wrote a song together. Serving as lead single was another Bruce Springsteen cover, this time of "From Small Things (Big Things One Day Come)". Neither this song nor "You Make Life Good Again" was successful on the charts. Hanna later stated that covering "From Small Things" and recording a song written by every member of the band were both objectives of his for nearly a decade prior. Bruce Mason of The Province praised the use of mandolin in the production, as well as the number of John Hiatt cover songs. This project was followed in 1992 by Live Two Five, a live album recorded a year prior in Alberta, Canada. The band returned to Liberty a third time for 1992's Not Fade Away, titled after a cover of the Buddy Holly song "Not Fade Away". Suzy Bogguss provided guest vocals on the track "Don't Underestimate Love". This project charted the singles "I Fought the Law" (a Sonny Curtis cover) and "One Good Love".

Next on Liberty was 1994's Acoustic, composed entirely of acoustic songs. Jim Newsom of AllMusic called the album "refreshingly unadorned" and praised the use of instruments such as Dobro and accordion. Entertainment Weekly writer Bob Cannon was less favorable, writing, "They’re always competent, with shimmering three-part harmonies and stellar musicianship, but that doesn’t compensate for their generally forgettable songwriting." Closing track "Bless the Broken Road", which Hanna wrote with Bobby Boyd and Marcus Hummon, was later recorded by Hummon, Melodie Crittenden, Geoff Moore, and Rascal Flatts, whose version was a number-one single on the country charts in 2005.

The band released no further projects until 1997's The Christmas Album on Rising Tide Records. This project contained a mix of traditional Christmas songs and new material mostly written by the band members. While on Rising Tide, they recorded another album titled Bang Bang Bang, whose title track charted ahead of the album's release. However, the album was delayed due to the closure of Rising Tide and transferred to Decca Records, which also closed before it could be released. It was ultimately issued in 1998 through DreamWorks Records, which also re-released "Bang Bang Bang" and caused it to chart a second time. An uncredited review of the album in Billboard called the project "entertainingly quirky". George Hauenstein of Country Standard Time spoke favorably of the variety of songwriters, which included Jim Lauderdale, Dennis Linde, and Hanna's wife, Matraca Berg. He also thought that "record label trouble" had kept the band from being more successful in the 1990s.

21st century: Will the Circle Be Unbroken, Volume III, membership changes, and farewell tour
McEuen rejoined the band in 2001, shortly before the release of their third collaborative album, Will the Circle Be Unbroken, Volume III, in 2002. This album featured further guests such as Dwight Yoakam, Tom Petty, and Iris DeMent. Collaborators from the previous Will the Circle Be Unbroken Albums returned as well, such as Doc Watson and Johnny Cash. Robert L. Doerschuk of AllMusic thought the album felt less collaborative than the previous two, due to a lack of chemistry between certain performers. Correspponding with both this album's release and the 30th anniversary of the first Will the Circle Be Unbroken album, the band joined Earl and Randy Scruggs, Vassar Clements, and Jerry Douglas for a live concert aired on PBS and titled Will the Circle Be Unbroken: Farther Along. All of the artists performed a live rendition of "Earl's Breakdown". This rendition accounted for Nitty Gritty Dirt Band's third Grammy Award win, in the category of Best Country Instrumental Performance.

Next in 2004 was Welcome to Woody Creek on Dualtone Records. This album was recorded at a studio owned by Ibbotson in Woody Creek, Colorado. Dan MacIntosh of Country Standard Time wrote, "Such an idyllic setting may well have inspired the warmth and friendliness of this bluegrass-tinged album." Ibbotson left the band just before 2009's Speed of Life, a self-released project. George Massenburg and Jon Randall produced the album. In Ibbotson's absence, session musician Glenn Worf played bass, while Randall and Berg were among the backing vocalists. A review for Country Standard Time said of this album that it "isn't breaking much new ground, but it sounds like an album the boys in the band had a lot of fun making, and that fun translates well to the listening."

To honor their 50th anniversary, the band played a special concert at the Ryman Auditorium in Nashville. The concert was also released as a live album and DVD titled Circlin' Back: Celebrating 50 Years. It included guests John Prine, Sam Bush, Vince Gill, Jerry Jeff Walker, Alison Krauss, Rodney Crowell, Byron House, Jerry Douglas, and Jackson Browne in addition to former member Ibbotson. The special also aired on PBS and was later packaged as a live CD and DVD titled Circlin’ Back: Celebrating 50 Years in 2016. An uncredited Los Angeles Times review stated that the original release "helped knock down barriers then separating the traditional country and rock music communities, setting the stage for the eventual emergence of what came to be known as Americana music".

Following the end of their anniversary tour in 2017, McEuen exited the band again, leaving just Hanna, Carpenter, and Fadden. In response to this, they hired three new members in 2018. These were Ross Holmes on fiddle and mandolin, Jeff Hanna's son Jaime Hanna on guitar and vocals, and Jim Photoglo on bass guitar and backing vocals. Prior to joining the band, Jaime Hanna had been a touring guitarist for the Mavericks; he also performed with John McEuen's son Jonathan in the duo Hanna-McEuen, and later as a member of Gary Allan's road band. Photoglo had been a friend of the band for several years prior, and wrote "Fishin' in the Dark" almost 30 years before he joined. With this lineup in place, the band recorded a Bob Dylan covers album, Dirt Does Dylan, with Ray Kennedy as producer. The album featured guest vocals from Steve Earle, Jason Isbell, and the War and Treaty.

In January 2024, Nitty Gritty Dirt Band began their farewell tour For the Good Times, starting with a concert in Bowling Green, Kentucky, and lasting througout 2024. Several stops on the tour include Jason Isbell as an opening act.

Musical styles
Nitty Gritty Dirt Band's music encompasses a wide variety of styles. Colin Larkin, in The Virgin Encyclopedia of Country Music, wrote that their early albums contained jug band and Vaudeville influences, while by the release of Uncle Charlie and His Dog Teddy, the band "abandoned the jokey elements...[and] pursued a career as purveyors of superior country rock." Mark Deming spoke similarly of their early material, noting influences of bluegrass in the "Mr. Bojangles" cover as well as the tracks from the first Will the Circle Be Unbroken album. He also defined the band's late-1970s output as soft rock, and that their 1990s and 21st-century material was indebted to American folk music. On the same site, Stephen Thomas Erlewine also noticed influences of soft rock on The Dirt Band. Rickey Ferguson thought the band's country influences were more evident on Plain Dirt Fashion due to the use of instruments such as Dobro, fiddle, and mandolin. Holly Gleason noted the twang evident in Hanna's and Ibbotson's singing voices, and thought the band's rhythm sections were stronger than usual for a country band.

During the release of Will the Circle Be Unbroken, the band members were noted for their long-haired appearance, which at the time was considered counter to the appearances of country music acts at the time. Bill Monroe was said to have refused an offer to appear on the album, and Roy Acuff was initially apprehensive before joining. The band said that an impetus behind their shift to country music in the 1980s was the lack of a successful pop song after "An American Dream" and "Make a Little Magic", followed by a realization that members of the country music community in Nashville were still fans of their music. They also thought that the first two Will the Circle Be Unbroken projects helped to "dim the lines" between pop and country, especially since the genre of country rock was still new when the first one was recorded. Walter Tunis of the Lexington Herald-Leader thought that the band was an early example of the California-based country rock movement of the 1970s furthered by bands such as the Flying Burrito Brothers and Eagles, and that such a comparison was furthered when former Eagles member Bernie Leadon joined. He also thought that the band's success in country in the 1980s was more indebted to marketing and changes in taste from listeners more so than a shift in sound within the band itself. Leadon also stated that he heard influences of the Eagles within the Nitty Gritty Dirt Band's songs. Jim Wensits of The South Bend Tribune described the band as a "coming force in country rock" during the success of "Mr. Bojangles", and added that they "confounded critics by refusing to be categorized." He also thought that the band's sound during the 1970s was comparable to the Eagles, and that some songs such as their cover of "Jambalaya" featured influences of Cajun music.

In a 2022 concert review, Jeffrey B. Remz of Country Standard Time opined that Jeff Hanna's "voice was well intact at 75" and that he had "an affable, easy going stage presence." He also noted that Jaime Hanna, Carpenter, and Fadden occasionally sang lead vocals as well. He also praised the use of fiddle and mandolin in their live settings.

Members
Current members
 * Jeff Hanna – vocals, guitar (1965–present)
 * Jimmie Fadden – drums, harmonica, vocals (1966–present)
 * Bob Carpenter – keyboards, accordion, vocals (1979–present)
 * Jim Photoglo – bass guitar, vocals (2018–present)
 * Jaime Hanna – guitar, vocals (2018–present)
 * Ross Holmes – fiddle, mandolin (2018–present)

Discography

 * The Nitty Gritty Dirt Band (1967)
 * Ricochet (1967)
 * Rare Junk (1968)
 * Uncle Charlie & His Dog Teddy (1970)
 * All the Good Times (1972)
 * Will the Circle Be Unbroken (1972)
 * Stars & Stripes Forever (1974)
 * Symphonion Dream (1975)
 * The Dirt Band (1978)
 * An American Dream (1979)
 * Make a Little Magic (1980)
 * Jealousy (1981)
 * Let's Go (1983)
 * Plain Dirt Fashion	(1984)
 * Partners, Brothers and Friends (1985)
 * Hold On	(1987)
 * Workin' Band (1988)
 * Will the Circle Be Unbroken: Volume Two (1989)
 * The Rest of the Dream (1990)
 * Not Fade Away	(1992)
 * Acoustic (1994)
 * The Christmas Album	(1997)
 * Bang, Bang, Bang	(1999)
 * Will the Circle Be Unbroken, Volume III (2002)
 * Welcome to Woody Creek (2004)
 * Speed of Life (2009)
 * Dirt Does Dylan (2022)

title: Nitty Gritty Dirt Band


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Analysis of covariance

Analysis of covariance (ANCOVA) is a general linear model that blends ANOVA and regression. ANCOVA evaluates whether the means of a dependent variable (DV) are equal across levels of one or more categorical independent variables (IV) and across one or more continuous variables. For example, the categorical variable(s) might describe treatment and the continuous variable(s) might be covariates or nuisance variables; or vice versa. Mathematically, ANCOVA decomposes the variance in the DV into variance explained by the CV(s), variance explained by the categorical IV, and residual variance. Intuitively, ANCOVA can be thought of as 'adjusting' the DV by the group means of the CV(s).

The ANCOVA model assumes a linear relationship between the response (DV) and covariate (CV):

$$y_{ij} = \mu + \tau_i + \Beta(x_{ij} - \overline{x}) + \epsilon_{ij}.$$

In this equation, the DV, $$y_{ij}$$ is the jth observation under the ith categorical group; the CV, $$x_{ij}$$ is the jth observation of the covariate under the ith group. Variables in the model that are derived from the observed data are $$\mu$$ (the grand mean) and $$\overline{x}$$ (the global mean for covariate $$x$$). The variables to be fitted are $$\tau_i$$ (the effect of the ith level of the categorical IV), $$B$$ (the slope of the line) and $$\epsilon_{ij}$$ (the associated unobserved error term for the jth observation in the ith group).

Under this specification, the categorical treatment effects sum to zero $$\left(\sum_i^a \tau_i = 0\right).$$ The standard assumptions of the linear regression model are also assumed to hold, as discussed below.

Increase power
ANCOVA can be used to increase statistical power (the probability a significant difference is found between groups when one exists) by reducing the within-group error variance. In order to understand this, it is necessary to understand the test used to evaluate differences between groups, the F-test. The F-test is computed by dividing the explained variance between groups (e.g., medical recovery differences) by the unexplained variance within the groups. Thus,

F = \frac{MS_{between} }{MS_{within}} $$ If this value is larger than a critical value, we conclude that there is a significant difference between groups. Unexplained variance includes error variance (e.g., individual differences), as well as the influence of other factors. Therefore, the influence of CVs is grouped in the denominator. When we control for the effect of CVs on the DV, we remove it from the denominator making F larger, thereby increasing our power to find a significant effect if one exists at all.

Adjusting preexisting differences
Another use of ANCOVA is to adjust for preexisting differences in nonequivalent (intact) groups. This controversial application aims at correcting for initial group differences (prior to group assignment) that exists on DV among several intact groups. In this situation, participants cannot be made equal through random assignment, so CVs are used to adjust scores and make participants more similar than without the CV. However, even with the use of covariates, there are no statistical techniques that can equate unequal groups. Furthermore, the CV may be so intimately related to the categorical IV that removing the variance on the DV associated with the CV would remove considerable variance on the DV, rendering the results meaningless.

Assumptions
There are several key assumptions that underlie the use of ANCOVA and affect interpretation of the results. The standard linear regression assumptions hold; further we assume that the slope of the covariate is equal across all treatment groups (homogeneity of regression slopes).

Assumption 1: linearity of regression
The regression relationship between the dependent variable and concomitant variables must be linear.

Assumption 2: homogeneity of error variances
The error is a random variable with conditional zero mean and equal variances for different treatment classes and observations.

Assumption 3: independence of error terms
The errors are uncorrelated. That is, the error covariance matrix is diagonal.

Assumption 4: normality of error terms
The residuals (error terms) should be normally distributed $$\epsilon_{ij}$$ ~ $$N(0, \sigma^2)$$.

Assumption 5: homogeneity of regression slopes
The slopes of the different regression lines should be equivalent, i.e., regression lines should be parallel among groups.

The fifth issue, concerning the homogeneity of different treatment regression slopes is particularly important in evaluating the appropriateness of ANCOVA model. Also note that we only need the error terms to be normally distributed. In fact both the independent variable and the concomitant variables will not be normally distributed in most cases.

Test multicollinearity
If a CV is highly related to another CV (at a correlation of 0.5 or more), then it will not adjust the DV over and above the other CV. One or the other should be removed since they are statistically redundant.

Test the homogeneity of variance assumption
Tested by Levene's test of equality of error variances. This is most important after adjustments have been made, but if you have it before adjustment you are likely to have it afterwards.

Test the homogeneity of regression slopes assumption
To see if the CV significantly interacts with the categorical IV, run an ANCOVA model including both the IV and the CVxIV interaction term. If the CVxIV interaction is significant, ANCOVA should not be performed. Instead, Green & Salkind suggest assessing group differences on the DV at particular levels of the CV. Also consider using a moderated regression analysis, treating the CV and its interaction as another IV. Alternatively, one could use mediation analyses to determine if the CV accounts for the IV's effect on the DV.

Run ANCOVA analysis
If the CV×IV interaction is not significant, rerun the ANCOVA without the CV×IV interaction term. In this analysis, you need to use the adjusted means and adjusted MSerror. The adjusted means (also referred to as least squares means, LS means, estimated marginal means, or EMM) refer to the group means after controlling for the influence of the CV on the DV.

Follow-up analyses
If there was a significant main effect, it means that there is a significant difference between the levels of one categorical IV, ignoring all other factors. To find exactly which levels are significantly different from one another, one can use the same follow-up tests as for the ANOVA. If there are two or more IVs, there may be a significant interaction, which means that the effect of one IV on the DV changes depending on the level of another factor. One can investigate the simple main effects using the same methods as in a factorial ANOVA.

Power considerations
While the inclusion of a covariate into an ANOVA generally increases statistical power by accounting for some of the variance in the dependent variable and thus increasing the ratio of variance explained by the independent variables, adding a covariate into ANOVA also reduces the degrees of freedom. Accordingly, adding a covariate which accounts for very little variance in the dependent variable might actually reduce power.

title: Analysis of covariance


text:
R. D. Blackmore

Richard Doddridge Blackmore (7 June 1825 – 20 January 1900), known as R. D. Blackmore, was one of the most famous English novelists of the second half of the nineteenth century. He won acclaim for vivid descriptions and personification of the countryside, sharing with Thomas Hardy a Western England background and a strong sense of regional setting in his works. Blackmore, often referred to as the "Last Victorian", was a pioneer of the movement in fiction that continued with Robert Louis Stevenson and others. He has been described as "proud, shy, reticent, strong-willed, sweet-tempered, and self-centred." Apart from his novel Lorna Doone, which has enjoyed continuing popularity, his work has gone out of print.

Biography
Richard Doddridge Blackmore was born on 7 June 1825 at Longworth in Berkshire (now Oxfordshire), one year after his elder brother Henry (1824–1875), where his father, John Blackmore, was Curate-in-charge of the parish. His mother died a few months after his birth – the victim of an outbreak of typhus which had occurred in the village. After this loss John Blackmore moved to Bushey, Herts, then to his native Devon, first to Kings Nympton, then Culmstock, Tor Mohun and later to Ashford, in the same county. Richard, however, was taken by his aunt, Mary Frances Knight, and after her marriage to the Rev. Richard Gordon, moved with her to Elsfield rectory, near Oxford. His father married again in 1831, whereupon Richard returned to live with him. Having spent much of his childhood in the lush and pastoral "Doone Country" of Exmoor, and along the Badgworthy Water (where there is now a memorial stone in Blackmore's honour), Blackmore came to love the very countryside he immortalised in Lorna Doone.

Scholarly career
In 1837, Blackmore entered Blundell's School in Tiverton. He excelled in classical studies, and later won a scholarship to Exeter College, Oxford, where he took his degree in 1847. During a university vacation he made his first attempt at writing a novel. This was the beginning of The Maid of Sker – not, in fact, completed until many years later, and eventually published in 1872 - which he himself would come to consider his finest novel.

After leaving Oxford and spending some time as a private tutor, Blackmore decided on a career in law. He entered the Middle Temple in 1849 and was called to the Bar in 1852. Ill-health, however, prevented him from continuing legal work as a full-time occupation and in 1854, he took the post of classics master at Wellesley House Grammar School, Hampton Road, Twickenham. In later years this became the Metropolitan and City of London Police Orphanage and then Fortescue House School. Soon after accepting this position, he moved from London to No. 25 Lower Teddington Road, Hampton Wick – where he lived until he moved to his new home in Teddington.

Marriage
Blackmore was married on 8 November 1853 at Trinity Church, Holborn, to Lucy Maguire. She was 26, a Roman Catholic and said to be somewhat delicate; they never had any children. They were both fond of her sister Agnes' four children and often had them to stay. As well as helping with their education, the Blackmores seem to have adopted Eva when she was 7. Theirs was described by Blackmore's sister as a "happy marriage."

Move to the country
In September 1857, Blackmore's uncle, the Rev. H.H. Knight, Rector of Neath, Glamorgan, died and left his nephew a sum of money which enabled him to realise a long-held ambition of possessing a house in the country encompassed by a large garden. Blackmore's father encouraged him in the scheme and helped him to carry it into effect.

Fruit-growing business
The land selected was a 16 acre plot at Teddington which Blackmore had seen and admired for some time. Here he built his new house – completed in 1860 – in which he lived for the rest of his life. He called it Gomer House after one of his favourite dogs, a Gordon Spaniel. In the extensive grounds he created an 11 acre market garden specialising in the cultivation of fruit. The grounds were surrounded by high walls which served to keep out thieves and to aid the ripening of tender fruit. His knowledge of horticulture was extensive, but through competition and other factors, the business was not a very lucrative enterprise except in his supply of pears to Covent Garden. However, he is believed to have held the view that he preferred to be remembered as the winner of first prize for swedes than as the author of Lorna Doone.

Fight for environment
At the time Blackmore came to Teddington, the railway had not yet disturbed its quiet rural atmosphere. Before long, however, plans were in hand for the purchase of land and the construction of lines. In 1868, Blackmore won a fight against the claims made on his property by the London and South Western Railway Company, but he was unable to prevent the building of the railway station almost directly opposite his house.

His works, his reputation, and death
Blackmore began a career as writer by publishing collections of poetry, before turning to novel-writing. His third novel, which became his best known and most successful, Lorna Doone (1869), established him in the front rank of British novelists of that time. With it, he pioneered a new romantic movement in English fiction. The novel's overwhelming popularity was only secured when it appeared as a one-volume edition, as distinct from the unsuccessful three-volume form in which it was originally published. However, Blackmore was of the view that it had become popular quite by accident when a book reviewer had incorrectly stated that the book was about the forefathers of Lord Lorne who had recently married Princess Louise. Hardy would write to Blackmore expressing his appreciation of the book; but the two men were divided by a certain rivalry as well as differences in temperament and opinions. Various attempts were made to dramatise Lorna Doone, but Blackmore only authorised one and that was from the pen of Horace Newte.

Blackmore followed Sir Walter Scott in often setting his characters against a significant historical background, as with Springhaven (1887) and the Napoleonic Wars; his descriptive powers perhaps exceeded his narrative structures.

Some local residents in Teddington regarded Blackmore as somewhat unsociable, if not misanthropic. Charles Deayton, a Teddington merchant, is recorded as stating to a visitor –

"He is not a social man, and seems wedded to his garden in summer and his book writing in winter. That is all I know about him; except that he keeps the most vicious dogs to protect his fruit, and I would advise you to avoid the risk [of visiting him]."

This statement gives a rather distorted picture of Blackmore's character. Although he was of a retiring disposition, preoccupied with the demands of writing and fruit growing, he did, in fact, have a number of very intimate friends whom he met regularly. His works had a wide following in the United States and during his life he formed many friendships with Americans.

His wife's health began to deteriorate and became critical by the beginning of January 1888, and she died at the end of that month. The funeral was held on 3 February 1888 in Teddington Parish Church, and she was buried in Teddington Cemetery. After her death, Blackmore was looked after by her nieces, Eva and Adalgisa Pinto-Leite. Blackmore died at Teddington on 20 January 1900 after a long and painful illness, and was buried next to his wife, as per his request. His final letter was to his sister Ellen, who likewise was suffering a terminal illness. Blackmore movingly ended his short Christmas letter of 1899 as follows:

"'I have fallen away during the last month, having taken obstinate chills, & caring neither to eat nor drink, nor speak. All my energy & spirit are abated, & often I know not where I am. – E. & D. join me in kindest love, & I am always'"

"'PS Frost coming, I fear – don't like the look of it[.]'"

Upon his death at the age of 74, a well-attended funeral in Teddington Cemetery, conducted by his old friend, the Reverend Robert Borland, was held in his honour. Four years after his death, in April 1904, a memorial to him was established in Exeter Cathedral. The result of work by a committee including his good friend, Thomas Hardy, Rudyard Kipling, and James Barrie, it bore an address written by another writer from Devon, Eden Phillpotts, and the portrait was carved by Harry Hems of Exeter. A reduced copy of the memorial was also mounted in Oare Church in Somerset, where Lorna Doone was married; above it in the cathedral was a stained glass window depicting David, Jonathan, and Samson – the archetypes of courage, love, and strength, respectively. John Ridd and Lorna Doone are cast at the top of the window, not far from Carver Doone.

After death
Blackmore's two nieces continued to live in Gomer House; Amelia died in 1911 and was also buried in the Blackmore grave. Then in October 1938 there was an auction of all its contents, which included Blackmore's own library containing first editions of his works. The house itself was later demolished and Doone Close, Blackmore's Grove and Gomer Gardens were built, referencing the novelist's associations with Teddington. The end of Doone Close marks the approximate site of Gomer House. Blackmore's market garden covered the area between the present Station Road and Field Lane.

Works
• Poems by Melanter (1854)

• Epullia and other poems (1854)

• The Bugle of the Black Sea (1855)

• The Fate of Franklin (1860)

• Farm and Fruit of Old: an illustration in verse of the first and second Georgics of Virgil (1862)

• Clara Vaughan: a novel (1864)

• Cradock Nowell: a tale of the New Forest (1866)

• Lorna Doone: a romance of Exmoor (1869)

• The Maid of Sker (1872)

• Alice Lorraine: a tale of the South Downs (1875)

• Cripps the Carrier: a woodland tale (1876)

• Erema; or, my father's sin (1877)

• Mary Anerley: a Yorkshire tale (1880)

• Christowell: a Dartmoor tale (1882)

• Sir Thomas Upmore (1884)

• Springhaven: a tale of the Great War (1887)

• Kit and Kitty: a story of west Middlesex (1890)

• Perlycross: a tale of the western hills (1894)

• Fringilla: a tale in verse (1895)

• Tales from a Telling House, or Slain by the Doones: four short stories (1895)

• Dariel: a romance of Surrey (1897)
 * Slain by the Doones or Tales from the Telling House (1895). Collection of four short stories that includes 1. Slain by the Doones; 2. Frida, or, The Lover's Leap; 3. George Bowring, a Tale of Cader Idris; 4. Crocker's Hole.
 * Uncollected Story: Leila, the Golden Fleece. (1896, 29 Nov & 6 Dec), in The Daily News, Denver, Colorado, and other US newspapers on these and later dates.

title: R. D. Blackmore


text:
Talk:Range

In the computer programming example I am using a 16 bit integer. I don't think this needs explaining in the text as it is outside the scope of this article, but if it causes confusion an explanation could be added. HappyDog 23:47, 16 Dec 2003 (UTC) - a range is a mathematical word to tell someone what the variety of numbers are. —Preceding unsigned comment added by 75.73.127.79 (talk) 22:34, 28 April 2009 (UTC)

Circular definition!
Range is an interval, a range... 84.16.123.194 (talk) 22:00, 13 May 2009 (UTC)

Range (architecture)
When trying to disambiguate the link to Range from Scotney Castle, I found it was using a definition that was neither in this disambiguation page nor in the appropriate wiktionary page. Due to visiting many old houses, I was already aware that Range could refer to a section of a building, but I don't know what it means in that case and it doesn't appear that the internet does either. I'm a new editor, so I don't know what should be done in this instance. Escapepea (talk) 15:53, 25 January 2011 (UTC)

Spaceflight/launching, etc?
I am listening to a webcast of the impending launch of a ULA rocket. The launch is in an indefinite hold due to "range" being red. I'm unclear was to what "range" means in this sense, and whether it can/should be added to this disambig page. YellowAries2010 (talk) 07:56, 2 August 2012 (UTC)

title: Talk:Range


text:
Soyuz 28

Soyuz 28 (Союз 28, Union 28) was a March 1978 Soviet crewed mission to the orbiting Salyut 6 space station. It was the fourth mission to the station, the third successful docking, and the second visit to the resident crew launched in Soyuz 26.

Cosmonaut Vladimír Remek from Czechoslovakia became the first person launched into space who was not a citizen of the United States or the Soviet Union. The other crew member was Aleksei Gubarev. The flight was the first mission in the Intercosmos program that gave Eastern Bloc and other communist states access to space through crewed and uncrewed launches.

Mission parameters

 * Mass: 6800 kg
 * Perigee: 198.9 km
 * Apogee: 275.6 km
 * Inclination: 51.65°
 * Period: 88.95 minutes

Mission highlights
The Soyuz 28 mission was the first Intercosmos flight, whereby military pilots from Soviet bloc nations were flown on flights of about eight days to a Soviet space station. Pilots from other nations would eventually also fly. The program was a reaction to American plans to fly Western Europeans on Space Shuttle missions.

Vladimir Remek, the first non-Soviet, non-American to travel to space, was launched aboard Soyuz 28 on 2 March 1978, after a three-day delay of unspecified cause. The Soyuz commander was Soviet cosmonaut Aleksei Gubarev. The crew docked with the orbiting Salyut 6 space station, and greeted the occupants Georgi Grechko and Yuri Romanenko who had arrived on Soyuz 26 in December. Gubarev and Grechko had previously flown together on Soyuz 17 to the Salyut 4 space station in 1975.

The day after the docking, the Soyuz 26 crew celebrated their breaking of the space endurance record of 84 days, set by the Skylab 4 crew in 1974.

While the mission had a political purpose, scientific experiments were carried out, including one which monitored the growth of chlorella algae in zero gravity, another which used the on-board Splav furnace to melt glass, lead, silver, and copper chlorides, and an experiment called Oxymeter which measured oxygen in human tissue.

On 10 March, the Soyuz 28 crew prepared for their return to Earth, packing experiments and testing systems. They undocked from the station and landed 310 km west of Tselinograd later that day.

A joke appeared soon after the mission that Remek's hand had mysteriously turned red. He informed the doctors, the joke goes, that this was because every time he went to touch something, the Soviet crewmembers would slap his hand and yell, "Don't touch that!"

title: Soyuz 28