text:
Language poets

The Language poets (or L=A=N=G=U=A=G=E poets, after the magazine of that name) are an avant-garde group or tendency in United States poetry that emerged in the late 1960s and early 1970s. The poets included: Bernadette Mayer, Leslie Scalapino, Stephen Rodefer, Bruce Andrews, Charles Bernstein, Ron Silliman, Barrett Watten, Lyn Hejinian, Tom Mandel, Bob Perelman, Rae Armantrout, Alan Davies, Carla Harryman, Clark Coolidge, Hannah Weiner, Susan Howe, James Sherry, and Tina Darragh.

Language poetry emphasizes the reader's role in bringing meaning out of a work. It plays down expression, seeing the poem as a construction in and of language itself. In more theoretical terms, it challenges the "natural" presence of a speaker behind the text; and emphasizes the disjunction and the materiality of the signifier. These poets favor prose poetry, especially in longer and non-narrative forms.

In developing their poetics, members of the Language school took as their starting point the emphasis on method evident in the modernist tradition, particularly as represented by Gertrude Stein, William Carlos Williams, and Louis Zukofsky. Language poetry is an example of poetic postmodernism. Its immediate postmodern precursors were the New American poets, a term including the New York School, the Objectivist poets, the Black Mountain School, the Beat poets, and the San Francisco Renaissance.

Language poetry has been a controversial topic in American letters from the 1970s to the present. Even the name has been controversial: while a number of poets and critics have used the name of the journal to refer to the group, many others have chosen to use the term, when they used it at all, without the equals signs. The terms "language writing" and "language-centered writing" are also commonly used, and are perhaps the most generic terms. None of the poets associated with the tendency has used the equal signs when referring to the writing collectively. Its use in some critical articles can be taken as an indicator of the author's outsider status. There is also debate about whether or not a writer can be called a language poet without being part of that specific coterie; is it a style or is it a group of people? In his introduction to San Francisco Beat: Talking With the Poets (San Francisco, City Lights, 2001 p.vii) David Meltzer writes:  "The language cadres never truly left college.  They've always been good students, and now they're excellent teachers.  The professionalization and rationalization of poetry in the academy took hold and routinized the teaching and writing of poetry." Later in the volume (p. 128) poet Joanne Kyger comments: "The Language school I felt was a kind of an alienating intellectualization of the energies of poetry.  It carried it away from the source.  It may have been a housecleaning from confessional poetry, but I found it a sterilization of poetry."

Online writing samples of many language poets can be found on internet sites, including blogs and sites maintained by authors and through gateways such as the Electronic Poetry Center, PennSound, and UbuWeb.

History
The movement has been highly decentralized. On the West Coast, an early seed of language poetry was the launch of This magazine, edited by Robert Grenier and Barrett Watten, in 1971. L=A=N=G=U=A=G=E, edited by Bruce Andrews and Charles Bernstein, ran from 1978 to 1982, and was published in New York. It featured poetics, forums on writers in the movement, and themes such as "The Politics of Poetry" and "Reading Stein". Ron Silliman's poetry newsletter Tottel's (1970–81), Bruce Andrews's selections in a special issue of Toothpick (1973), as well as Lyn Hejinian's editing of Tuumba Press, and James Sherry's editing of Roof magazine also contributed to the development of ideas in language poetry. The first significant collection of language-centered poetics was the article, "The Politics of the Referent," edited by Steve McCaffery for the Toronto-based publication, Open Letter (1977).

In an essay from the first issue of This, Grenier declared: "I HATE SPEECH". Grenier's ironic statement (itself a speech act), and a questioning attitude to the referentiality of language, became central to language poets. Ron Silliman, in the introduction to his anthology In the American Tree, appealed to a number of young U.S. poets who were dissatisfied with the work of the Black Mountain and Beat poets.

The range of poetry published that focused on "language" in This, Tottel's, L=A=N=G=U=A=G=E, and also in several other key publications and essays of the time, established the field of discussion that would emerge as Language (or L=A=N=G=U=A=G=E) poetry.

During the 1970s, a number of magazines published poets who would become associated with the Language movement. These included A Hundred Posters (edited by Alan Davies), Big Deal, Dog City, Hills, Là Bas, MIAM, Oculist Witnesses, QU, and Roof. Poetics Journal, which published writings in poetics and was edited by Lyn Hejinian and Barrett Watten, appeared from 1982 to 1998. Significant early gatherings of Language writing included Bruce Andrews's selection in Toothpick (1973); Silliman's selection "The Dwelling Place: 9 Poets" in Alcheringa, (1975), and Charles Bernstein's "A Language Sampler," in The Paris Review (1982).

Certain poetry reading series, especially in New York, Washington, D.C., and San Francisco, were important venues for the performance of this new work, and for the development of dialogue and collaboration among poets. Most important were Ear Inn reading series in New York, founded in 1978 by Ted Greenwald and Charles Bernstein and later organized through James Sherry's Segue Foundation and curated by Mitch Highfill, Jeanne Lance, Andrew Levy, Rob Fitterman, Laynie Brown, Alan Davies, and The Poetry Society of New York; Folio Books in Washington, D.C., founded by Doug Lang; and the Grand Piano reading series in San Francisco, which was curated by Barrett Watten, Ron Silliman, Tom Mandel, Rae Armantrout, Ted Pearson, Carla Harryman, and Steve Benson at various times.

Poets, some of whom have been mentioned above, who were associated with the first wave of Language poetry include: Rae Armantrout, Stephen Rodefer (1940–2015), Steve Benson, Abigail Child, Clark Coolidge, Tina Darragh, Alan Davies, Carla Harryman, P. Inman, Lynne Dryer, Madeline Gins, Michael Gottlieb, Fanny Howe, Susan Howe, Tymoteusz Karpowicz, Jackson Mac Low (1922–2004), Tom Mandel, Bernadette Mayer, Steve McCaffery, Michael Palmer, Ted Pearson, Bob Perelman, Nick Piombino, Peter Seaton (1942–2010), Joan Retallack, Erica Hunt, James Sherry, Jean Day, Kit Robinson, Ted Greenwald, Leslie Scalapino (1944–2010), Diane Ward, Rosmarie Waldrop, and Hannah Weiner (1928–1997). This list accurately reflects the high proportion of female poets across the spectrum of the Language writing movement. African-American poets associated with the movement include Hunt, Nathaniel Mackey, and Harryette Mullen.

Poetics of language writing: Theory and practice
Language poetry emphasizes the reader's role in bringing meaning out of a work. It developed in part in response to what poets considered the uncritical use of expressive lyric sentiment among earlier poetry movements. In the 1950s and 1960s, certain groups of poets had followed William Carlos Williams in his use of idiomatic American English rather than what they considered the 'heightened', or overtly poetic language favored by the New Criticism movement. New York School poets like Frank O'Hara and the Black Mountain group emphasized both speech and everyday language in their poetry and poetics.

In contrast, some of the Language poets emphasized metonymy, synecdoche and extreme instances of paratactical structures in their compositions, which, even when employing everyday speech, created a far different texture. The result is often alien and difficult to understand at first glance, which is what Language poetry intends: for the reader to participate in creating the meaning of the poem.

Watten's & Grenier's magazine This (and This Press which Watten edited), along with the magazine L=A=N=G=U=A=G=E, published work by notable Black Mountain poets such as Robert Creeley and Larry Eigner. Silliman considers Language poetry to be a continuation (albeit incorporating a critique) of the earlier movements. Watten has emphasized the discontinuity between the New American poets, whose writing, he argues, privileged self-expression, and the Language poets, who see the poem as a construction in and of language itself. In contrast, Bernstein has emphasized the expressive possibilities of working with constructed, and even found, language.

Gertrude Stein, particularly in her writing after Tender Buttons, and Louis Zukofsky, in his book-length poem A, are the modernist poets who most influenced the Language school. In the postwar period, John Cage, Jackson Mac Low, and poets of the New York School (John Ashbery, Frank O'Hara, Ted Berrigan) and Black Mountain School (Robert Creeley, Charles Olson, and Robert Duncan) are most recognizable as precursors to the Language poets. Many of these poets used procedural methods based on mathematical sequences and other logical organising devices to structure their poetry. This practice proved highly useful to the language group. The application of process, especially at the level of the sentence, was to become the basic tenet of language praxis. Stein's influence was related to her own frequent use of language divorced from reference in her own writings. The language poets also drew on the philosophical works of Ludwig Wittgenstein, especially the concepts of language-games, meaning as use, and family resemblance among different uses, as the solution to the Problem of universals.

Language poetry in the early 21st century
In many ways, what Language poetry is is still being determined. Most of the poets whose work falls within the bounds of the Language school are still alive and still active contributors. During the late 1980s and early 1990s, Language poetry was widely received as a significant movement in innovative poetry in the U.S., a trend accentuated by the fact that some of its leading proponents took up academic posts in the Poetics, Creative Writing and English Literature departments in prominent universities (University of Pennsylvania, SUNY Buffalo, Wayne State University, University of California, Berkeley, University of California, San Diego, University of Maine, the Iowa Writers' Workshop).

Language poetry also developed affiliations with literary scenes outside the States, notably England, Canada (through the Kootenay school of writing in Vancouver), France, the USSR, Brazil, Finland, Sweden, New Zealand, and Australia. It had a particularly interesting relation to the UK avant-garde: in the 1970s and 1980s there were extensive contacts between American Language poets and veteran UK writers like Tom Raworth and Allen Fisher, or younger figures such as Caroline Bergvall, Maggie O'Sullivan, cris cheek, and Ken Edwards (whose magazine Reality Studios was instrumental in the transatlantic dialogue between American and UK avant-gardes). Other writers, such as J.H. Prynne and those associated with the so-called "Cambridge" poetry scene (Rod Mengham, Douglas Oliver, Peter Riley) were perhaps more skeptical about language poetry and its associated polemics and theoretical documents, though Geoff Ward wrote a book about the phenomenon.

A second generation of poets influenced by the Language poets includes Eric Selland (also a noted translator of modern Japanese poetry), Lisa Robertson, Juliana Spahr, the Kootenay School poets, conceptual writing, Flarf collectives, and many others.

A significant number of women poets, and magazines and anthologies of innovative women's poetry, have been associated with language poetry on both sides of the Atlantic. They often represent a distinct set of concerns. Among the poets are Leslie Scalapino, Madeline Gins, Susan Howe, Lyn Hejinian, Carla Harryman, Rae Armantrout, Jean Day, Hannah Weiner, Tina Darragh, Erica Hunt, Lynne Dreyer, Harryette Mullen, Beverly Dahlen, Johanna Drucker, Abigail Child, and Karen Mac Cormack; among the magazines HOW/ever, later the e-based journal HOW2; and among the anthologies Out of Everywhere: Linguistically Innovative Poetry by Women in North America & the UK, edited by Maggie O'Sullivan for Reality Street Editions in London (1996) and Mary Margaret Sloan's Moving Borders: Three Decades of Innovative Writing by Women (Jersey City: Talisman Publishers, 1998).

Ten of the Language poets, each of whom at one time curated the reading series at the San Francisco coffee house of that name, collaborated to write The Grand Piano, "an experiment in collective autobiography" published in ten small volumes. Editing and communication for the collaboration was accomplished over email. Authors of The Grand Piano were Lyn Hejinian, Carla Harryman, Rae Armantrout, Tom Mandel, Ron Silliman, Barrett Watten, Steve Benson, Bob Perelman, Ted Pearson, and Kit Robinson. An eleventh member of the project, Alan Bernheimer, served as an archivist and contributed one essay on the filmmaker Warren Sonbert. The authors of The Grand Piano sought to reconnect their writing practices and to "recall and contextualize events from the period of the late 1970s." Each volume of The Grand Piano features essays by all ten authors in different sequence; often responding to prompts and problems arising from one another's essays in the series.

Some poets, such as Norman Finkelstein, have stressed their own ambiguous relationship to "Language poetry", even after decades of fruitful engagement. Finkelstein, in a discussion with Mark Scroggins about The Grand Piano, points to a "risk" when previously marginalized poets try to write their own literary histories, "not the least of which is a self-regard bordering on narcissism".

Anthologies

 * Allen, Donald, ed. The New American Poetry 1945-1960. New York: Grove Press, 1960.
 * Andrews, Bruce, and Charles Bernstein, eds. The "L=A=N=G=U=A=G=E" Book. Carbondale: Southern Illinois University Press, 1984.
 * Bernstein, Charles, ed. "Language Sampler," Paris Review, 1982
 * "43 Poets (1984)." boundary 2
 * The Politics of Poetic Form: Poetry and Public Policy. New York: Roof, 1990.
 * Hejinian, Lyn and Barrett Watten, eds.."A Guide to Poetics Journal: Writing in the Expanded Field, 1982–1998." Wesleyan University Press, 2013
 * Hoover, Paul, ed. Postmodern American Poetry: A Norton Anthology. New York: Norton, 1994.
 * Messerli, Douglas, ed. Language Poetries. New York: New Directions, 1987.
 * Silliman, Ron, ed. In the American Tree. Orono, Me.: National Poetry Foundation, 1986; reprint ed. with a new afterword, 2002. An anthology of language poetry that serves as a very useful primer.

Books: Poetics and criticism

 * Andrews, Bruce. Paradise and Method. Evanston: Northwestern University Press, 1996.
 * Beach, Christopher, ed. Artifice and Indeterminacy: An Anthology of New Poetics. Tuscaloosa:  The University of Alabama Press, 1998
 * Bernstein, Charles. Content's Dream: Essays 1975–1984. Los Angeles: Sun & Moon Press, 1985
 * A Poetics. Cambridge: Harvard University Press, 1992
 * My Way; Speeches and Poems. University of Chicago Press, 1999
 * Attack of the Difficult Poems: Essays and Inventions. University of Chicago Press, 2011
 * "Pitch of Poetry." University of Chicago Press, 2016.
 * Davies, Alan. Signage. New York: Roof Books, 1987.
 * Friedlander, Ben. Simulcast: Four Experiments in Criticism. Tuscaloosa: University of Alabama Press, 2004.
 * Hartley, George. Textual Politics and the Language Poets. Bloomington: Indiana University Press, 1989.
 * Hejinian, Lyn. The Language of Inquiry. Berkeley: University of California Press, 2000.
 * Howe, Susan. My Emily Dickinson. Berkeley: North Atlantic Books, 1988. Rpt, New Directions, 2007.
 * The Birth-Mark: Unsettling the Wilderness in American Literary History. Middletown, CT: Wesleyan University Press, 1993.
 * Huk, Romana, ed. Assembling Alternatives: Reading Postmodern Poetries Transnationally. Middletown, Conn.: Wesleyan University Press, 2003.
 * Lutzkanova-Vassileva, Albena, "The Testimonies of Russian and American Postmodern Poetry: Reference, Trauma, and History." New York: Bloomsbury, 2013
 * McCaffery, Steve. North of Intention: Critical Writings 1973–1986. New York: Roof Books, 1986.
 * Prior to Meaning: The Protosemantic and Poetics. Evanston: Northwestern UP, 2001.
 * Perelman, Bob. The Marginalization of Poetry: Language Writing and Literary History. Princeton, N.J.: Princeton University Press, 1996.
 * Piombino, Nick. Boundary of Blur. New York: Roof Books, 1993
 * Theoretical Objects. Green Integer Press, 1999.
 * Ratcliffe, Stephen. Listening to Reading. Albany, NY: State University of New York Press, 2000
 * Reinfeld, Linda. Language Poetry: Writing as Rescue. Baton Rouge: LSU Press, 1992.
 * Silliman, Ron. The New Sentence. New York: Roof Books, 1987. An early collection of talks and essays that situates language poetry into contemporary political thought, linguistics, and literary tradition. See esp. section II.
 * Scalapino, Leslie. How Phenomena Appear to Unfold. Elmwood: Potes & Poets, 1989.
 * Objects in the Terrifying Tense / Longing from Taking Place. Roof Books, 1994.
 * The Public World / Syntactically Impermanence. Wesleyan University Press, 1999.
 * How Phenomena Appear to Unfold. Litmus Press, 2011.
 * Vickery, Ann. Leaving Lines of Gender: A Feminist Genealogy of Language Writing. Middletown, Conn.: Wesleyan University Press, 2000.
 * Ward, Geoff. Language Poetry and the American Avant-Garde. Keele: British Association for American Studies, 1993.
 * Watten, Barrett. The Constructivist Moment: From Material Text to Cultural Poetics. Middletown, Conn.: Wesleyan University Press, 2003. See esp. chaps. 2 and 3.
 * Total Syntax. Carbondale: Southern Illinois University Press, 1984.

Books: Cross-genre and cultural writing

 * Armantrout, Rae. True. Berkeley, CA: Atelos | (Small Press Distribution), 1998. ISBN 978-1-891190-03-2
 * Armantrout, Rae. Collected Prose. San Diego: Singing Horse, 2007.
 * Davies, Alan. Candor. Berkeley, CA, 1990.
 * Mandel, Tom. Realism. Providence, RI: Burning Deck.
 * Perelman, Bob, et al. The Grand Piano: An Experiment in Collective Autobiography. Detroit, MI: Mode A/This Press, 2006. ISBN 978-0-9790198-0-7. Described as an ongoing experiment in collective autobiography by ten writers identified with Language poetry in San Francisco. The project will consist of 10 volumes in all.
 * Piombino, Nick. Fait Accompli. Queens, NY: Factory School, 2006.
 * Scalapino, Leslie. Zither & Autobiography. Middletown, CT: Wesleyan, 2003.
 * Silliman, Ron. Under Albany. Cambridge, UK: Salt Publishing, 2004. ISBN 978-1-84471-051-5
 * Watten, Barrett. Bad History. Berkeley, CA: Atelos | Small Press Distribution, 1998. ISBN 978-1-891190-02-5

Articles

 * Andrews, Bruce, "L=A=N=G=U=A=G=E", in The Little Magazine in Contemporary America, ed. Ian Morris and Joanne Diaz (Chicago: University of Chicago Press, 2015). Available online via Andrew's faculty page at Fordham University: Fordham English Connect.
 * Bartlett, Lee, "What is 'Language Poetry'?" Critical Inquiry 12 (1986): 741–752. Available through JStor.
 * Bernstein, Charles, "The Expanded Field of L=A=N=G=U=A=G=E," in Routledge Companion to Experimental Literature, ed. Joe Bray, Alison Gibbons, Brian McHale (London: Routledge, 2012).
 * Greer, Michael, "Ideology and Theory in Recent Experimental Writing or, the Naming of "Language Poetry," boundary 2, vol. 16, no. 2/3 (Winter/Spring, 1989), pp. 335–355.
 * Koirala, Saroj, "Linking Words with the World: The Language Poetry Mission", Tribhuvan University Journal, vol. 29 (2016), no. 1, pp. 175–190..
 * Perloff, Marjorie, "The Word as Such: LANGUAGE: Poetry in the Eighties", American Poetry Review (May–June 1984), 13(3):15–22.

title: Language poets


text:
Roger Morse

Roger A. Morse, Ph.D. (July 5, 1927 - May 12, 2000) was an American bee biologist who taught many beekeepers both the rudiments and the finer practices, through his research and publications. During his long career, three new parasites of the honeybee, acarine mite, varroa mite, and African small hive beetle were introduced to the United States. These, along with the Africanized honeybee and pesticide kills were all important beekeeping issues. Morse was extensively involved in research on each of these and provided guidance to the beekeeping industry.

Education and career
Morse was born in Saugerties, New York, and join the U.S. Army at age seventeen and served from 1944 to 1947. He received his bachelor's degree from Cornell University in 1950, his masters in 1953 and his doctorate in 1955, and did postgraduate work with the State Plant Board in Gainesville, Florida. After a brief stint as assistant professor at the University of Massachusetts Amherst, he returned to Cornell University where he remained until retirement. Morse taught a very popular introductory course on beekeeping, which was available to any student as an elective. He was made chairman of the entomology department in 1986, until 1989. In 1989 he was made a fellow of the Entomological Society of America, and had been a member of the American Association for the Advancement of Science since 1975. He also served as visiting professor at the University of Helsinki, Finland, the University of São Paulo, Brazil, and the University of the Philippines, Los Baños.

Publications
Morse was a prolific writer of numerous books and magazine articles. He also edited and made contributions to a number of collective works. This is a partial list.

Contributor: Author:
 * Annotated Bibliography on Varroa Jacobsoni, Tropilaelaps Clareae and Euvarroa Sinhai (IBRA Bibliography)
 * The ABC and XYZ of Bee Culture
 * The Illustrated Encyclopedia of Beekeeping
 * Honey Bee Pests, Predators, and Diseases
 * Making Mead Honey Wine: History, Recipes, Methods and Equipment
 * Morse wrote a regular column in Bee Culture magazine
 * Bees and Beekeeping
 * Honey Shows: Guidelines for Exhibitors, Superintendents, and Judges
 * The New Complete Guide to Beekeeping
 * Rearing Queen Honey Bees
 * Richard Archbold and the Archbold Biological Station
 * A Year in the Beeyard: An Expert's Month-by-Month Instructions for Successful Beekeeping

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

title: Roger Morse


text:
Ozzfest

Ozzfest was an annual music festival tour of the United States and sometimes Europe and later Japan, featuring performances by many heavy metal and hard rock musical groups. It was founded by Sharon Osbourne and her husband Ozzy Osbourne, both of whom also organised each yearly tour with their son Jack Osbourne, and was held almost annually between 1996 and 2018. The Ozzfest tour featured bands of a variety of genres within heavy metal and hard rock, including alternative metal, thrash metal, industrial metal, metalcore, hardcore punk, deathcore, nu metal, death metal, post-hardcore, gothic metal and black metal. Ozzy Osbourne and Black Sabbath played the tour several times over the years.

1996–1999: early years
The festival was created in 1996 by Ozzy Osbourne's wife and manager, Sharon Osbourne, after she was rebuffed by Lollapalooza when she tried to get Ozzy on that festival circuit. The tour was well-received, which prompted the festival to become a yearly occurrence.

The first Ozzfest was not a national tour, but rather a two-day festival held in Phoenix, Arizona, and Devore, California, on 25 and 26 October 1996 respectively. Ozzfest Live, a compilation of ten live tracks recorded during this festival, was released on April 29, 1997.

In 1997, there were large protests outside of the festival to cancel Marilyn Manson's performance. However, no dates were cancelled. There were also protests of a similar nature in 2001, following the Columbine High School massacre, which some groups had blamed on Marilyn Manson.

In 1998, Ozzfest ventured outside the United States for the first time into the United Kingdom, which featured a different line-up of bands. The festival would eventually return to the UK in 2001 and 2002.

The 1998 US Tour also featured for the first time an Ozzfest web site. Photographs were made during the tour using an early generation Sony Mavica FD-7 digital camera and uploaded each night after the show, and a tour diary was kept from the road.

The concert on 18 July 1998 at Float Rite Park was merged with Warped Tour 1998. Some 39,000 fans were at the 12-hour, six-stage, 48-band event.

2000–2006: commercial success
In the early 2000s, artists and bands including Slipknot, Kittie, Pantera, Marilyn Manson, Mudvayne, Godsmack, Rob Zombie, Incubus, Linkin Park, System of a Down, Chevelle, P.O.D., Papa Roach and Disturbed played the yearly music festival. Two compilation albums of the Ozzfest tour were released, one covering select 2001 performances and another for 2002.

On-stage footage of the Ozzfest 2004 tour was shown on MTV, as Ozzy and Sharon hosted a show on the network titled Battle for Ozzfest where they chose eight out of hundreds of bands to compete for a spot on the following year's Ozzfest. Ozzy selected one member from each chosen band to "tag along" on the tour. Each contestant had to complete numerous challenges to improve his/her band's chances of winning the contest. Occasionally, meetings would be held and certain contestants would be eliminated for various reasons. The person who prevailed as the winner and guaranteed his band's spot on the Ozzfest tour was Marc Serrano from metalcore act A Dozen Furies. Serrano had appeared at Ozzfest the year prior with his former band Ünloco.

At Iron Maiden's last Ozzfest performance, on 20 August 2005 at the Hyundai Pavilion at Glen Helen in San Bernardino, California, several detrimental events took place. During the first song, several members of the crowd, brought on by Sharon Osbourne, bombarded the English metal band Iron Maiden with eggs, bottle caps and ice after vocalist Bruce Dickinson allegedly ridiculed Ozzy's need for a teleprompter during his performances, as well as the Osbourne family's ventures into reality television (The Osbournes, Battle for Ozzfest). During three of Iron Maiden's songs, the P.A. system was switched off, cutting power to Dickinson's microphone and then to all the band's instruments. During the concert, Bruce Dickinson can be heard accusing the festival's organizers of deliberately cutting off the band's power. On Iron Maiden's departure, Sharon Osbourne came on stage to make a few statements, telling the audience that she "absolutely loved Iron Maiden" but thought that Dickinson is a "prick." Rod Smallwood, manager for Iron Maiden, issued a statement shortly after the debacle condemning the attack on the band. In 2006, Bruce Dickinson commented, "Did I have a go at Ozzy and Black Sabbath? No. Why would I? But I do find The Osbournes TV series loathsome, and the whole cult of reality TV celebrities disgusting." In response to claims that he had apologised to Ozzy for Dickinson's behaviour, Steve Harris stated "No I didn't [apologise]. What I actually said was that, if there was anything to apologise for, then I'd do it. But that was twisted around to seem like I'd said sorry – that never happened!"

2007–2008
On 7 February 2007, it was announced that tickets to Ozzfest 2007 would be offered free of charge, dubbing the 2007 Ozzfest as "free fest." Tickets were made available through sponsor websites, the Ozzfest web site and to those buying an advance copy of Ozzy Osbourne's new release, Black Rain.

Sponsorship money provided the revenue for the tour, but organizers did not pay any of the bands appearing. Ozzy Osbourne returned to the headlining slot on the tour after only headlining the second stage in 2006. Ozzfest 2007 featured well-established acts such as Lamb of God, Static-X, and Hatebreed.

There were problems with distribution of the free tickets. Fans were given codes to receive tickets through the official Ozzfest website, but due to the heavy load on Live Nation's secure servers, there were issues with ticket redemption. Another problem was that many "eBay scalpers" charged fans to pay for the free tickets, often turning out to be unusable duplicates of other tickets. Then, on 26 July, Ozzfest gave away free tickets without requiring its "redemption code" previously required.

At the show of 16 August 2007 in Holmdel, New Jersey, at the PNC Bank Arts Center, controversy was generated as 83 attendees were arrested at the show, most of them underage and arrested prior to 8:00. In addition, two men died, one after overdosing on alcohol and energy drinks.

Questions over whether the event would be held in 2008 began when in April that year Ozzy Osbourne announced that he would be headlining the Canadian Monsters of Rock festival. The 2008 version of the festival took place for only one date at Pizza Hut Park in Frisco, Texas on 9 August 2008. The line-up featured Metallica and Ozzy Osbourne as the headliner bands, as well as other acts such as Jonathan Davis (frontman of Korn), Sevendust, DevilDriver, Serj Tankian (frontman of System of a Down), Cavalera Conspiracy, Shadows Fall, Apocalyptica and In This Moment. Along with the two main stages was a third, named the Texas Stage, which, according to Sharon Osbourne, featured such Texas-based bands as The Sword, Drowning Pool, Goatwhore, Soilent Green and Rigor Mortis.

The Canadian Version of "The Monsters of Rock" was held exclusively on 26 July 2008 at the McMahon Stadium located in Calgary, Alberta, Canada. It was also scheduled as a "one time only" event. The main attraction for the festival of heavy metal and mayhem were metal giants Judas Priest and the headliner, Ozzy Osbourne. In addition, various other "big league" heavy metal outfits attended the festivities. The following bands preceded the two main attractions: Serj Tankian, Hatebreed, Cavalera Conspiracy (featuring current frontman of Soulfly, and former frontman of Sepultura, Max Cavalera), Shadows Fall, Canadian metal unit Voivod, Testament, 3 Inches of Blood, Priestess, Zimmers Hole, and Dillinger Escape Plan.

2010

 * Main Stage

Ozzy Osbourne, Mötley Crüe, Halford, DevilDriver, Nonpoint

 * Monster Energy Second Stage

Black Label Society (cancelled in Mansfield & Camden and Bristow due to inclement weather), Drowning Pool (canceled in Mansfield due to inclement weather, Kingdom of Sorrow (Exodus played instead on the San Bernardino date), Goatwhore (canceled on the Hartford date due to a medical emergency with their bassist), Skeletonwitch, Saviours, Kataklysm (canceled in Mansfield due to inclement weather), California Wildebeest (San Bernardino date only), Immune (San Bernardino date only). The guitar prodigy Yuto Miyazawa was invited by Ozzy to play "Crazy Train" at the event.

2013
On 19 October 2012, it was announced that Ozzfest will be revived on 11–12 May 2013 at Makuhari Messe in Chiba, Japan; this was the first time the festival took place in that country. Acts confirmed for the Ozzfest Japan include Slipknot, Slash featuring Myles Kennedy and The Conspirators, Deftones, Black Sabbath, Tool and Stone Sour.

2015
Tokyo, Japan. This was the second time the festival has taken place in the country. Acts that played at Ozzfest Japan include Ozzy and Friends, Korn, Evanescence, Jane's Addiction, Bullet for My Valentine, A Day to Remember, Hatebreed, Black Label Society, Corey Taylor, Crossfaith, and Babymetal.

Originally, Black Sabbath was announced, but it was cancelled and replaced by Ozzy and Friends. Geezer Butler, Tom Morello, Dave Navarro, Zakk Wylde, and Funassyi appeared as guests of Ozzy and Friends. Of Mice and Men was once announced, but they cancelled due to surgery of Austin Carlile.

2016
In 2016, Ozzfest joined with Knotfest and on 24 and 25 September 2016, "Ozzfest Meets Knotfest 2016" was held in San Bernardino, California, at the San Manuel Amphitheater.

2017
The 2017 Ozzfest was held again in conjunction with Knotfest, under the title "Ozzfest Meets Knotfest 2017" on 4 and 5 November 2017, in San Bernardino, California, at the Glen Helen Amphitheater.

2018
The 2018 Ozzfest was held at The Forum in Inglewood, California, on 31 December 2018. The event was hosted by Ozzy Osbourne, Marilyn Manson, Rob Zombie, Jonathan Davis of Korn, and Body Count. And on the second stage, Zakk Wylde's Black Sabbath tribute band Zakk Sabbath took the stage along with DevilDriver and Wednesday 13 of Murderdolls.

title: Ozzfest


text:
Physics Analysis Workstation

The Physics Analysis Workstation (PAW) is an interactive, scriptable computer software tool for data analysis and graphical presentation in high-energy physics.

The development of this software tool started at CERN in 1986, it was optimized for the processing of very large amounts of data. It was based on and intended for inter-operation with components of CERNLIB, an extensive collection of Fortran libraries.

PAW had been a standard tool in high energy physics for decades, yet was essentially unmaintained. Despite continuing popularity as of 2008, it has been losing ground to the C++-based ROOT package. Conversion tutorials exist. In 2014, development and support were stopped.

Sample script
PAW uses its own scripting language. Here is sample code (with its actual output), which can be used to plot data gathered in files.

vector/read X,Y input_file.dat
 * read data

 * eps plot

fort/file 55 gg_ggg_dsig_dphid_179181.eps meta 55 -113

opt linx  | linear scale opt logy  | logarithmic scale

 * here goes plot

set plci 1      | line color set lwid 2      | line width set dmod 1      | line type (solid, dotted, etc.) graph 32 X Y AL  | 32 stands for input data lines in input file

 * plot title and comments

set txci 1 atitle '[f] (deg)' 'd[s]/d[f]! (mb)'

set txci 1 text 180.0 2e1 '[f]=179...181 deg' 0.12

close 55

title: Physics Analysis Workstation


text:
36 (number)

36 (thirty-six) is the natural number following 35 and preceding 37.

In mathematics
36 is both the square of 6|six, and the eighth triangular number or the sum of the first eight non-zero positive integers, which makes 36 the first non-trivial square triangular number. Aside from being the smallest square triangular number other than 1, it is also the only triangular number (other than 1) whose square root is also a triangular number. 36 is also the eighth refactorable number, as it has exactly nine positive divisors, and 9 is one of them; in fact, it is the smallest positive integer with exactly nine divisors, which leads 36 to be the 7th highly composite number. It is the sum of the fourth pair of twin-primes (17 + 19), and the 18th Harshad number in decimal, as it is divisible by the sum of its digits (9).

It is the smallest number $$n$$ with exactly eight solutions (37, 57, 63, 74, 76, 108, 114, 126) to the Euler totient function $$\phi(x)=n$$. Adding up some subsets of its divisors (e.g., 6, 12, and 18) gives 36; hence, it is also the eighth semiperfect number.

This number is the sum of the cubes of the first three positive integers and also the product of the squares of the first three positive integers.

36 is the number of degrees in the interior angle of each tip of a regular pentagram.

The thirty-six officers problem is a mathematical puzzle with no solution.

The number of possible outcomes (not summed) in the roll of two distinct dice.

36 is the largest numeric base that some computer systems support because it exhausts the numerals, 0–9, and the letters, A-Z. See Base 36.

The truncated cube and the truncated octahedron are Archimedean solids with 36 edges.

The number of domino tilings of a 4×4 checkerboard is 36.

Since it is possible to find sequences of 36 consecutive integers such that each inner member shares a factor with either the first or the last member, 36 is an Erdős–Woods number.

The sum of the integers from 1 to 36 is 666 (see number of the beast).

36 is also a Tridecagonal number.

Measurements

 * The number of inches in a yard (3 feet).
 * In the UK, a standard beer barrel is 36 UK gallons, about 163.7 litres.
 * three dozen, or a quarter of a gross.

In science

 * The atomic number of krypton
 * Many early computers featured a 36-bit word length
 * 36 is the number of characters required to store the display name of a UUID or GUID (e.g., 00000000-0000-0000-C000-000000000046).

In religion

 * Jewish tradition holds that the number 36 has had special significance since the beginning of time: According to the Midrash, the light created by God on the first day of creation shone for exactly 36 hours; it was replaced by the light of the Sun that was created on the Fourth Day. The Torah commands 36 times to love, respect and protect the stranger. Furthermore, in every generation there are 36 righteous people (the "Lamed Vav Tzadikim") in whose merit the world continues to exist. In the modern celebration of Hanukkah, 36 candles are kindled in the menorah over the eight days of that holiday (not including the shamash candle).
 * In one Māori legend, concerning the creation of mankind by the god Tāne, 36 gods took active part in assembling the various parts of the first human before Tāne breathed life into her.
 * In Shaivism (s.a. Kaśmir Śaivism), The 36 tattvas describe the Absolute, its internal aspects and the creation including living beings, down to the physical reality.
 * In Egyptian religion, the 36 decans are a series of gods presiding over the degrees of the zodiac and the fixed stars.
 * Traditional Hindu marriage bases compatibility on a set of 36 astrological qualities or Gunas, 18 of which must be shared if the union is to be considered auspicious.

In the arts, culture, and philosophy

 * 36 Views of Mount Fuji, a famous series of prints by Japanese ukiyo-e artist Katsushika Hokusai
 * The 36th Chamber of Shaolin is a 1978 kung fu film
 * 36 Quai des Orfèvres, often referred to simply as, a French police film
 * The Thirty-Six Dramatic Situations are considered a useful conceptual aid in theater.
 * Thirty-Six Stratagems are a collection of Chinese proverbs illustrating useful approaches to conflict situations.
 * In French-speaking countries, 36 is often used as a placeholder number.
 * 36 Crazyfists are a four-piece metal band from Alaska.
 * 36 is the alias of ambient/experimental musician Dennis Huddleston from the UK.
 * Enter The Wu-Tang (36 Chambers) is an album by Wu-Tang Clan
 * The 36 Lessons of Vivec is the title of a book series in the video game The Elder Scrolls III: Morrowind.
 * The game of roulette has 36 numbers on the number layout and roulette wheel (together with a 0 or 00 depending on whether it is a European wheel 37 or American wheel 38)
 * The roulette based game Rollorpoker uses 36 playing cards on the wheel and playing grid, instead of numbers.
 * "36" is a song by System of a Down
 * "36 Degrees" is a song by the band Placebo

In sports

 * Most runs one can hit off a (non-penalised) over in cricket. See six sixes in an over.
 * The amount of races in a NASCAR Cup Series season.
 * Australian basketball team the Adelaide 36ers is named after the year in which South Australia was founded.
 * The number of consecutive bowling strikes in a 900 series (3 consecutive perfect games)
 * The number of vehicles that run in each race of NASCAR's Camping World Truck Series.

In other fields

 * Perfect score on the ACT.
 * (Oilfield terminology): A pipe wrench 36 inches long
 * +36 is the code for international direct-dialphone calls to Hungary

title: 36 (number)


text:
37 (number)

37 (thirty-seven) is the natural number following 36 and preceding 38.

In mathematics
37 is the 12th prime number, and the 3rd isolated prime without a twin prime.

37 is the first irregular prime with irregularity index of 1, where the smallest prime number with an irregularity index of 2 is the thirty-seventh prime number, 157.

The smallest magic square, using only primes and 1, contains 37 as the value of its central cell:

Its magic constant is 37 x 3 = 111, where 3 and 37 are the first and third base-ten unique primes (the second such prime is 11).

37 requires twenty-one steps to return to 1 in the $3x + 1$ Collatz problem, as do adjacent numbers 36 and 38. The two closest numbers to cycle through the elementary {16, 8, 4, 2, 1} Collatz pathway are 5 and 32, whose sum is 37; also, the trajectories for 3 and 21 both require seven steps to reach 1. On the other hand, the first two integers that return $$0$$ for the Mertens function (2 and 39) have a difference of 37, where their product (2 × 39) is the twelfth triangular number 78. Meanwhile, their sum is 41, which is the constant term in Euler's lucky numbers that yield prime numbers of the form k2 − k + 41, the largest of which (1601) is a difference of 78 (the twelfth triangular number) from the second-largest prime (1523) generated by this quadratic polynomial.

In moonshine theory, whereas all p ⩾ 73 are non-supersingular primes, the smallest such prime is 37.

37 is the sixth floor of imaginary parts of non-trivial 0|zeroes in the Riemann zeta function. It is in equivalence with the sum of ceilings of the first two such zeroes, 15 and 22.

The secretary problem is also known as the 37% rule by $$\tfrac 1e\approx 37\%$$.

Decimal properties
For a three-digit number that is divisible by 37, a rule of divisibility is that another divisible by 37 can be generated by transferring first digit onto the end of a number. For example: 37|148 ➜ 37|481 ➜ 37|814. Any multiple of 37 can be mirrored and spaced with a zero each for another multiple of 37. For example, 37 and 703, 74 and 407, and 518 and 80105 are all multiples of 37; any multiple of 37 with a three-digit repdigit inserted generates another multiple of 37 (for example, 30007, 31117, 74, 70004 and 78884 are all multiples of 37).

In decimal 37 is a permutable prime with 73, which is the twenty-first prime number. By extension, the mirroring of their digits and prime indexes makes 73 the only Sheldon prime.

Geometric properties
There are precisely 37 complex reflection groups.

In three-dimensional space, the most uniform solids are:

In total, these number twenty-one figures, which when including their dual polytopes (i.e. an extra tetrahedron, and another fifteen Catalan solids), the total becomes 6 + 30 + 1 = 37 (the sphere does not have a dual figure).

The sphere in particular circumscribes all the above regular and semiregular polyhedra (as a fundamental property); all of these solids also have unique representations as spherical polyhedra, or spherical tilings.

In science

 * The atomic number of rubidium
 * The normal human body temperature in degrees Celsius

Astronomy

 * NGC 2169 is known as the 37 Cluster, due to its resemblance of the numerals.

In other fields

Thirty-seven is:
 * The number of the French department Indre-et-Loire
 * The number of slots in European roulette (numbered 0 to 36, the 00 is not used in European roulette as it is in American roulette)
 * The RSA public exponent used by PuTTY
 * Richard Nixon, 37th president of the United States.
 * DEVO song "37" from "Hardcore Devo: Volume Two"
 * "Evo Moment 37", widely considered the most iconic moment in the history of competitive video gaming

title: 37 (number)


text:
39 (number)

39 (thirty-nine) is the natural number following 38 and preceding 40.

In mathematics

 * 39 is the 12th distinct semiprime and the 4th in the (3.q) family. It is the last member of the third distinct semiprime pair (38,39).
 * 39 has an aliquot sum of 17, which is a prime. 39 is the 4th member of the 17-aliquot tree within an aliquot sequence of one composite numbers (39,17,1,0) to the Prime in the 17-aliquot tree.
 * It is a perfect totient number. *39 is the sum of five consecutive primes (3 + 5 + 7 + 11 + 13) and also is the product of the first and the last of those consecutive primes. Among small semiprimes only three other integers (10, 155, and 371) share this attribute. 39 also is the sum of the first three powers of 3 (3$1$ + 3$2$ + 3$3$). Given 39, the Mertens function returns 0.
 * 39 is the smallest natural number which has three partitions into three parts which all give the same product when multiplied: {25, 8, 6}, {24, 10, 5}, {20, 15, 4}.

 * 39 is a Perrin number, coming after 17, 22, 29 (it is the sum of the first two mentioned).
 * Since the greatest prime factor of 392 + 1 = 1522 is 761, which is more than 39 twice, 39 is a Størmer number.
 * The F26A graph is a symmetric graph with 39 edges.

In science

 * The atomic number of yttrium

Astronomy

 * Messier object Open Cluster M39, a magnitude 5.5 open cluster in the constellation Cygnus
 * The New General Catalogue object NGC 39, a spiral galaxy in the constellation Andromeda

In religion

 * The number of the 39 categories of activity prohibited on Shabbat according to Halakha
 * The number of mentions of work or labor in the Torah
 * The actual number of lashes given by the Sanhedrin to a person meted the punishment of 40 lashes
 * The number of books in the Old Testament according to Protestant canon
 * The number of statements on Anglican Church doctrine, Thirty-Nine Articles

Arts and entertainment

 * In the title of the John Buchan novel and subsequent films (one by Alfred Hitchcock), The Thirty-Nine Steps
 * The age American comedian Jack Benny claimed to be for more than 40 years
 * "39" is a song by the Cure on their album Bloodflowers
 * "39" is a song by Tenacious D on their album Rize of the Fenix
 * "'39" is a song by Queen on their album A Night at the Opera
 * The book series The 39 Clues revolves around 39 clues hidden around the world
 * Glorious 39 is a 2009 drama film set at the beginning of World War II
 * In the CBS reality show Survivor, contestants compete for 39 days
 * The number of episodes done during its one season in 1955–1956 of The Honeymooners television series is commonly referred to as the "Classic 39"
 * Japanese wordplay and slang:
 * Internet chat slang for "Thank You" when written with numbers: 3 (三) and 9 (九).
 * "Space 39" has been used as a code name for Hatsune Miku because 3 is pronounced “mi” and 9 is pronounced “ku”.

History

 * The number of signers to the United States Constitution, out of 55 members of the Philadelphia Convention delegates
 * The traditional number of times citizens of Ancient Rome hit their slaves when beating them, referred to as "Forty save one"
 * The duration, in nanoseconds, of the nuclear reaction in the largest nuclear explosion ever performed (Tsar Bomba)
 * The number of Scud missiles which Iraq fired at Israel during the Gulf War in 1991
 * The code for international direct-dialed phone calls to Italy
 * Pier 39 in San Francisco
 * The number of the French department Jura
 * In Afghanistan, the number 39 is considered unlucky, due to the belief that it is associated with pimps. See Curse of 39.
 * The bowling lane normally consists of 39 wooden boards

title: 39 (number)


text:
Kevin DuBrow

Kevin Mark DuBrow (October 29, 1955 – undefined November 19, 2007) was an American singer, best known as the lead vocalist of the heavy metal band Quiet Riot from 1975 until 1987, and again from 1993 until his death in 2007.

Early life, photography work and family
Kevin DuBrow was born to Laura and Alvin Dubrow. He was raised in Los Angeles with his younger brother, Terry, who went on to become a plastic surgeon and TV personality. At age 13, Kevin and his family eventually settled in the Los Angeles neighborhood of Van Nuys. DuBrow was raised Jewish and had the nickname "Butch" growing up.

DuBrow learned to play 12-string guitar, and his first band consisted of 11-year-olds who played only one gig, to an audience of senior citizens who were not particularly fond of rock music. By the time he was in his mid-teens, he had developed an appreciation for a number of British rock acts including the Small Faces, Queen, Spooky Tooth, Rod Stewart and Humble Pie. Singer Steve Marriott would leave the biggest impact on DuBrow and act as a compass in his musical career. DuBrow enjoyed a hobby of photography in his teenage years, often taking photos at rock 'n roll concerts from 1969 to 1975. He became proficient enough as a photographer that he was soon selling his photos to rock magazines for publication, including Rock and Guitar Player magazine. Among the acts he photographed were Jeff Beck, Robin Trower, and Mott the Hoople.

Through his photography work, he became friends with producer Ron Sobol, and the two traded photographs that they shot at concerts. Not long after Dubrow photographed Rod Stewart at a concert in 1970, he said he realized he wanted to be on the other side of the lens. He once commented: "shooting concerts is what made me become a singer. I saw Rod Stewart in '70. I was taking pictures, and I thought, 'Wow, I want to be up there! I don't wanna be behind the camera."

With Quiet Riot

Quiet Riot was formed by Randy Rhoads and bassist Kelly Garni (who would later be replaced by Rudy Sarzo) in 1975, who recruited DuBrow and drummer Drew Forsyth. This lineup disbanded in 1979 when Rhoads went on to join Ozzy Osbourne's band, with Rhoads personally enlisting Greg Leon as his replacement. For a time the band's name was changed to DuBrow, which had a rotating lineup of members including Leon, Chuck Wright, Frankie Banali, with brothers Tony and Carlos Cavazo.

After the death of Rhoads in a plane crash in 1982, while on tour with Osbourne, DuBrow changed the name of the band back to Quiet Riot. Rudy Sarzo, who had also joined Ozzy Osbourne, left Osbourne's band and rejoined Quiet Riot shortly before the release of Metal Health, which went to the top of the charts, making Quiet Riot the first metal band to achieve number one status on their (U.S. release) debut album. Their singles included "Cum on Feel the Noize" (originally written and recorded by English band Slade in 1973), and "Metal Health (Bang Your Head)".

In February 1987, DuBrow was fired from Quiet Riot. “It wasn’t the band that wanted him out,” said drummer Frankie Banali in 2013. “It was management and the label. But it took the band to make the change.” However, DuBrow had a habit of publicly bad-mouthing other bands, which alienated a lot of musicians and fans, and also caused problems for Quiet Riot members (bassist Rudy Sarzo was famously punched in the face by Ozzy Osbourne after DuBrow publicly insulted the English singer). Another factor cited in the decision to fire DuBrow was his excessive drinking and drug use. “We all indulged," said Banali, "but Kevin could be told nothing by no one, and his lifestyle choices had made it impossible for us to continue with him.”

Shortly after his firing from Quiet Riot, DuBrow signed with Kim Richards for personal management. With Richards' help, DuBrow formed and began recording with a new band named Little Women. Richards, who was at that time working on the soundtrack for the Blake Edwards film Switch, arranged for the DuBrow-penned "Slam Dunk" to be included on the movie's soundtrack.

In 1991, DuBrow regrouped with his former Quiet Riot bandmate Carlos Cavazo alongside Kenny Hillery and Pat Ashby in a new band called Heat, (Quiet Riot had continued on in 1987 with new singer Paul Shortino of Rough Cutt but by this time had disbanded). In June 1991, Heat renamed themselves Quiet Riot. Quiet Riot continued through the 90s in several different incarnations, including a full reunion with the Metal Health-era line-up. They released the albums Terrified (1993), Down to the Bone (1995), Alive and Well (1999) and Guilty Pleasures (2001).

During 2006, Quiet Riot worked on a new studio album that was expected to be released in either 2006 or 2007. The band stated that they had set no timetable for the release of the album, that they were financing the project themselves, and that it would be released when they saw fit and on their terms. The album, Rehab, was released on October 3, 2006. The lineup on the album was DuBrow, Banali, Tony Franklin, and Neil Citron. Singer Glenn Hughes also made a guest vocal appearance on the album.

Other projects

In 2004, after Quiet Riot's 2003 breakup, DuBrow recorded a collection of cover versions for his first solo album, In for the Kill. The album was recorded in DuBrow's home in Las Vegas, Nevada.

DuBrow also worked as a morning DJ for the Rock Station in Las Vegas, KOMP 92.3 on the morning show alongside longstanding host Craig Williams. Talk of show syndication had been heavily rumored but DuBrow departed the show to pursue touring with Quiet Riot.

Personal life
DuBrow dated Las Vegas radio DJ Lark Williams for seven years, breaking up shortly before his death.

Death
On November 25, 2007, DuBrow was found unconscious at his home in Las Vegas, Nevada. Friends had been unable to contact DuBrow for a week and he failed to show up for Thanksgiving dinner hosted by his friend Glenn Hughes. According to Hughes, DuBrow had told him some ten days before that he had wanted to make adjustments in his lifestyle. The cause of death was revealed to be an overdose by a combination of cocaine, sleeping pill Zolpidem, painkillers, and alcohol. It was also determined that he had died six days earlier before being found.

In an email to Spain's The Metal Circus, Quiet Riot drummer Frankie Banali wrote: "I can't even find the words to say. Please respect my privacy as I mourn the passing and honor the memory of my dearest friend Kevin DuBrow." DuBrow was buried at Pacific View Cemetery in Corona del Mar, California next to his stepfather Harold Mandell. A rabbi presided over his funeral service on November 30, 2007.

With Quiet Riot

 * 1978 - Quiet Riot
 * 1978 - Quiet Riot II
 * 1983 - Metal Health
 * 1984 - Condition Critical
 * 1986 - QRIII
 * 1993 - Terrified
 * 1995 - Down to the Bone
 * 1999 - Alive and Well
 * 2001 - Guilty Pleasures
 * 2006 - Rehab

Solo

 * 1985 - Hear 'n Aid benefit album - "Stars"
 * 1998 - Thunderbolt: A Tribute to AC/DC – cover version of "Highway to Hell"
 * 1998 - The Side Effects of Napalm by The Neanderthal Spongecake. Guest vocals on "Metal Health '98" remake
 * 1999 - Appetite for Reconstruction Guns N' Roses electronic tribute album – cover version of "Welcome to the Jungle"
 * 2000 - Leppardmania: A Tribute To Def Leppard - cover version of "Rock! Rock! (Till You Drop)"
 * 2000 - Covered Like a Hurricane: A Tribute to Scorpions - cover version of "Big City Nights"
 * 2004 - In for the Kill
 * 2006 - World's Greatest Metal Tribute to Led Zeppelin – cover version of "Whole Lotta Love"

title: Kevin DuBrow


text:
Drill string

A drill string on a drilling rig is a column, or string, of drill pipe that transmits drilling fluid (via the mud pumps) and torque (via the kelly drive or top drive) to the drill bit. The term is loosely applied to the assembled collection of the smuggler pool, drill collars, tools and drill bit. The drill string is hollow so that drilling fluid can be pumped down through it and circulated back up the annulus (the void between the drill string and the casing/open hole).

Drill string components

The drill string is typically made up of three sections:

 * Bottom hole assembly (BHA)
 * Transition pipe, which is often heavyweight drill pipe (HWDP)
 * Drill pipe

Bottom hole assembly (BHA)
The Bottom Hole Assembly (BHA) is made up of: a drill bit, which is used to break up the rock formations; drill collars, which are heavy, thick-walled tubes used to apply weight to the drill bit; and drilling stabilizers, which keep the assembly centered in the hole. The BHA may also contain other components such as a downhole motor and rotary steerable system (RSS), measurement while drilling (MWD), and logging while drilling (LWD) tools. The components are joined together using rugged threaded connections. Short "subs" are used to connect items with dissimilar threads.

Transition pipe
Heavyweight drill pipe (HWDP) may be used to make the transition between the drill collars and drill pipe. The function of the HWDP is to provide a flexible transition between the drill collars and the drill pipe. This helps to reduce the number of fatigue failures seen directly above the BHA. A secondary use of HWDP is to add additional weight to the drill bit. HWDP is most often used as weight on the bit in deviated wells. The HWDP may be directly above the collars in the angled section of the well, or the HWDP may be found before the kick-off point in a shallower section of the well.

Drill pipe
Drill pipe makes up the majority of the drill string back up to the surface. Each drill pipe comprises a long tubular section with a specified outside diameter (e.g. 3 1/2 inch, 4 inch, 5 inch, 5 1/2 inch, 5 7/8 inch, 6 5/8 inch). At each end of the drill pipe, tubular larger-diameter portions called the tool joints are located. One end of the drill pipe has a male ("pin") connection whilst the other has a female ("box") connection. The tool joint connections are threaded which allows for the mating of each drill pipe segment to the next segment.

Running a drill string
Most components in a drill string are manufactured in 31 foot lengths (range 2) although they can also be manufactured in 46 foot lengths (range 3). Each 31 foot component is referred to as a joint. Typically 2, 3 or 4 joints are joined together to make a stand. Modern onshore rigs are capable of handling ~90 ft stands (often referred to as a triple).

Pulling the drill string out of or running the drill string into the hole is referred to as tripping. Drill pipe, HWDP and collars are typically racked back in stands in to the monkeyboard which is a component of the derrick if they are to be run back into the hole again after, say, changing the bit. The disconnect point ("break") is varied each subsequent round trip so that after three trips every connection has been broken apart and later made up again with fresh pipe dope applied.

Stuck drill string
A stuck drill string can be caused by many situations.

 * Packing-off due to cuttings settling back into the wellbore when circulation is stopped.
 * Differentially when there is a large difference between formation pressure and wellbore pressure. The drill string is pushed against one side of the well bore. The force required to pull the string along the wellbore in this occurrence is a function of the total contact surface area, the pressure difference and the friction factor.
 * Keyhole sticking occurs mechanically as a result of pulling up into doglegs when tripping.
 * Adhesion due to not moving it for a significant amount of time.

Once the tubular member is stuck, there are many techniques used to extract the pipe. The tools and expertise are normally supplied by an oilfield service company. Two popular tools and techniques are the oilfield jar and the surface resonant vibrator. Below is a history of these tools along with how they operate.

History of Jars

The mechanical success of cable tool drilling has greatly depended on a device called jars, invented by a spring pole driller, William Morris, in the salt well days of the 1830s. Little is known about Morris except for his invention and that he listed Kanawha County (now in West Virginia) as his address. Morris received a patent for this unique tool in 1841 for artesian well drilling. Later, using jars, the cable tool system was able to efficiently meet the demands of drilling wells for oil.

The jars were improved over time, especially at the hands of the oil drillers, and reached the most useful and workable design by the 1870s, due to another patent received in 1868 by Edward Guillod of Titusville, Pennsylvania, which addressed the use of steel on the jars' surfaces that were subject to the greatest wear. Many years later, in the 1930s, very strong steel alloy jars were made.

A set of jars consisted of two interlocking links which could telescope. In 1880 they had a play of about 13 inches such that the upper link could be lifted 13 inches before the lower link was engaged. This engagement occurred when the cross-heads came together. Today, there are two primary types, hydraulic and mechanical jars. While their respective designs are quite different, their operation is similar. Energy is stored in the drillstring and suddenly released by the jar when it fires. Jars can be designed to strike up, down, or both. In the case of jarring up above a stuck bottomhole assembly, the driller slowly pulls up on the drillstring but the BHA does not move. Since the top of the drillstring is moving up, this means that the drillstring itself is stretching and storing energy. When the jars reach their firing point, they suddenly allow one section of the jar to move axially relative to a second, being pulled up rapidly in much the same way that one end of a stretched spring moves when released. After a few inches of movement, this moving section slams into a steel shoulder, imparting an impact load.

In addition to the mechanical and hydraulic versions, jars are classified as drilling jars or fishing jars. The operation of the two types is similar, and both deliver approximately the same impact blow, but the drilling jar is built such that it can better withstand the rotary and vibrational loading associated with drilling. Jars are designed to be reset by simple string manipulation and are capable of repeated operation or firing before being recovered from the well. Jarring effectiveness is determined by how rapidly you can impact weight into the jars. When jarring without a compounder or accelerator you rely only on pipe stretch to lift the drill collars upwards after the jar releases to create the upwards impact in the jar. This accelerated upward movement will often be reduced by the friction of the working string along the sides of the well bore, reducing the speed of upwards movement of the drill collars which impact into the jar. At shallow depths jar impact is not achieved because of lack of pipe stretch in the working string.

When pipe stretch alone cannot provide enough energy to free a fish, compounders or accelerators are used. Compounders or accelerators are energized when you over pull on the working string and compress a compressible fluid through a few feet of stroke distance and at the same time activate the fishing jar. When the fishing jar releases the stored energy in the compounder/acclerator lifts the drill collars upwards at a high speed creating a high impact in the jar.

System Dynamics of Jars
Jars rely on the principle of stretching a pipe to build elastic potential energy such that when the jar trips it relies on the masses of the drill pipe and collars to gain velocity and subsequently strike the anvil section of jar. This impact results in a force, or blow, which is converted into energy.

History of Surface Resonant Vibrators

The concept of using vibration to free stuck objects from a wellbore originated in the 1940s, and probably stemmed from the 1930s use of vibration to drive piling in the Soviet Union. The early use of vibration for driving and extracting piles was confined to low-frequency operation; that is, frequencies less than the fundamental resonant frequency of the system and consequently, although effective, the process was only an improvement on conventional hammer equipment. Early patents and teaching attempted to explain the process and mechanism involved, but lacked a certain degree of sophistication. In 1961, A. G. Bodine obtained a patent that was to become the "mother patent" for oil field tubular extraction using sonic techniques. Mr. Bodine introduced the concept of resonant vibration that effectively eliminated the reactance portion of mechanical impedance, thus leading to the means of efficient sonic power transmission. Subsequently, Mr. Bodine obtained additional patents directed to more focused applications of the technology.

The first published work on this technique was outlined in a 1987 Society of Petroleum Engineers (SPE) paper presented at the International Association of Drilling Contractors in Dallas, Texas detailing the nature of the work and the operational results that were achieved. The cited work involving liner, tubing, and drill pipe extraction and was very successful. Reference Two presented at the Society of Petroleum Engineers Annual Technical Conference and Exhibition in Anaheim, California, November 2007 explains the resonant vibration theory in more detail as well as its use in extracting long lengths of mud stuck tubulars.

System Dynamics of Surface Resonant Vibrators
Surface Resonant Vibrators rely on the principle of counter rotating eccentric weights to impart a sinusoidal harmonic motion from the surface into the work string at the surface. Reference Three (above) provides a full explanation of this technology. The frequency of rotation, and hence vibration of the pipe string, is tuned to the resonant frequency of the system. The system is defined as the surface resonant vibrator, pipe string, fish and retaining media. The resultant forces imparted to the fish is based on the following logic:

 * The delivery forces from the surface are a result of the static overpull force from the rig, plus the dynamic force component of the rotating eccentric weights
 * Depending on the static overpull force component, the resultant force at the fish can be either tension or compression due to the sinusoidal force wave component from the oscillator
 * Initially during startup of a vibrator, some force is necessary to lift and lower the entire load mass of the system. When the vibrator tunes to the resonant frequency of the system, the reactive load impedance cancels out to zero by virtue of the inductance reactance (mass of the system) equaling the compliance or stiffness reactance (elasticity of the tubular). The remaining impedance of the system, known as the resistive load impedance, is what is retaining the stuck pipe.
 * During resonant vibration, a longitudinal sine wave travels down the pipe to the fish with an attendant pipe mass that is equal to a quarter wavelength of the resonant vibrating frequency.
 * A phenomenon known as fluidization of soil grains takes place during resonant vibration whereby the granular material constraining the stuck pipe is transformed into a fluidic state that offers little resistance to movement of bodies through the media. In effect, it takes on the characteristics and properties of a liquid.
 * During pipe vibration, Dilation and Contraction of the pipe body, known as Poisson's ratio, takes place such that when the stuck pipe is subjected to axial strain due to stretching, its diameter will contract. Similarly, when the length of pipe is compressed, its diameter will expand. Since a length of pipe undergoing vibration experiences alternate tensile and compressive forces as waves along its longitudinal axis (and therefore longitudinal strains), its diameter will expand and contract in unison with the applied tensile and compressive waves. This means that for alternate moments during a vibration cycle the pipe may actually be physically free of its bond.

title: Drill string


text:
Talk:Left-hand path and right-hand path/Archive 1

Isn't there a book by Fernando Sánchez-Dragó titled El camino de la mano izquierda?

Who makes this distinction? Bacchiad 05:27, 13 Jul 2004 (UTC)

Meaning of LHP
Etu Malku (talk) 18:36, 17 October 2021 (UTC) Western LHP is indeed different than its Eastern counterpart. More importantly, the LHP or RHP for that matter, has really nothing to do with Magic. It's a practical philosophy, something you embrace and put into practice.

There is a lot wrong in this statement: "Left-handed path practitioners descend towards union with the divine to obtain Godhood status, with God-like powers of their own, having reunited with the ultimate divine source-energy; then once there, taking one more step separating from that divinity, out of this creation into a new creation of their own making, with themselves as the sole divinity of the new universe, apart from the previous creation." First it's simply 'Left-Hand Path' practitioners, Left-Handed implies something else. The LHP does not seek union with anything divine, in fact it is just the opposite, the LHP seeks to separate from what is believed to be divine (by the RHP). This separation is part of the process of LHP Apotheosis. There are no 'godlike' powers involved either. I understand this concept is from Dr. Karlsson's book, which I have read and know Dr, Karlsson very well, but the concept is centered more on the Qliphothic Tree of Daath and the Thelemic idea of the Black Brother, than it has to with the LHP in general.

Note that Crowley's idea of the LHP no longer fits with today's understanding. To Crowley, a Black Brother of the LHP was a failure in his religious system.

The "Also See"& "External Links" sections contain Eastern views on the word 'left hand path' and have nothing to do with Western LHP. Where are all the real LHP Practitioners, Organizations, & Authors? Etu Malku (talk) 18:36, 17 October 2021 (UTC)

I think this article is a little off -- the "left hand path" has nothing to do with Satanism and stuff of that nature. I'm working on too many other things to get to this, but someone needs to do some serious research here because this article is all wrong and completely misses the point of what the LHP means. --DanielCD 19:55, 14 Jul 2004 (UTC)

I disagree DanielCD, this doesn't need to be more than a paragraph on the origins of the term, an short explanation of left hand myths, and perhaps a line or two about it's continued usage in modern occultism. Perhaps someone could move that information to left hand path religions and link to left hand path, or not. db 10:15, Jul 15, 2004 (UTC)

I have made some changes to this article. They are LEGIT. Understand that LHP has a diffrent meaning in the east than in the west. If additions are made, please be clear on whether what you have o say pertains to the eastern or the modern western (the ToS or the ONA for example) meanings. ~August.

It's good. You guys prolly know more than I do on this subject. My comment was based more on a gut feeling than facts anyway. Thanks for the responses. --DanielCD 01:02, 18 Jul 2004 (UTC)

This is still a page showcasing the opinions of the few. I seriously doubt your opinions as stated, regarding what is a "left hand path" religion and what is a "right hand path" religion can be called objective. This is tantamount to writing the good and evil pages as lists of things that you personally view as "good" and "evil". I must reiterate my opinion that this page should contain only a brief definition of left-hand path at has been used in ancient times, and is used (albeit rarely) now, and a history of how the left hand came to be associated with evil, as that is the view commonly held by ancients (the idea of left hand meaning free will came much later), and if you insist on this page existing, move it to Left-Hand Path Religions, and start your article with a disclaimer announcing the Left-Hand Path as a mystical belief that is not at all objective or factual, but rather a matter of faith. Then you can explain how this one particular religion identifies itself with various other faiths, and labels the ones it doesn't identify with as Right-Hand Path. If I'm wrong, please let me know. db 19:39, Jul 22, 2004 (UTC)

The article does give the ancient definition. ~August

Quoting from this article, without regard to context or authors, "In the west the established beliefsystems are almost exclusively Right-Hand Path." typo aside, this is not fact. what are the established belief systems, and whom has decided upon the criteria for defining "established"? Who is defining them as Right-Hand Path systems? Again, my understanding of left hand path and right hand path, is a rather outdated metaphor for choosing between evil or good, like the terms "black hat" and "white hat" pertaining to sorcery or hacking. This page should define it as such, and offer an alternate definition of "A particular religion, encompassing the beliefs of several faiths." Linking to Left-Hand Path Religions is fine with me. This article is not only subjective opinion, but rather inflammatory subjective opinion and pigeonholing. db 19:46, Jul 22, 2004 (UTC)

What is meant by established should be obvious. Taoism is not established in the west for example, while most branches of christianity are. That they are RHP is judged by the criterias given in the article. Your understanding of LHP and RHP is wrong, the paths does not depend on what is viewed as good and evil at all. LHP is all passive, inner directed, the easy way (kundalini is the "easy", "fast" way to enlightment ...killing someone with poison like a ninja is also the easy way); there is no emphasis on honour, strife or duty. RHP is active, it requires deeds, striving for success, work and study. LHP is concieving of the "idea" of how electricity works, RHP is building miles of wires and powerstations for the sake of civilisation. A note on black hats: The Yellow hats are RHP; they obey to collective rules like celibacy (they aren't allowed to have a family because the people are not willing to support a lama AND his family), they spend lots of time studying texts and writing, they work and strive for the people. Red hats and black hats are allowed to have children and wifes, they have much less obligations to society; they are poeple who happen to be able to do yogas. Then they are the naljorpas and their kind who have no ties to anything. ~August

This article is actually much more NPOV than Right-Hand Path. This isn't good, but that one's worse. Bacchiad 02:28, 23 Jul 2004 (UTC)

Tantra, however, is not limited to India or Japan. It is also practiced by various sects in Tibet and by Tatar Lamaists (defacto Shamanists). Kargyu and Nyingma, along with Tatar Lamamism is definitely LHP because it is focused on the inner (not outer behavior) and inner knowledge gained via the fast path (Vajrayana), gained through the flesh itself "all things are known through the flesh." LHP means yin; RHP means yang. The entire idea of "taboo breaking" fails within cultures that do not have silly taboos against eating meat or drinking alcohol or other things that are legal according to the actual secular laws of the land. Breaking regular laws result in imprisonment, nothing more and nothing necessarily spiritual or religious. Tatar Lamaists furthermore give the status if "living god" (Khutukhtu) to persons such as Temujin (Jenghis Khan) and Amursana - both of whom were great warriors and conquerers, yet Tatar Lamaism is lumped in with Buddhism by some.

The following text is from http://www.geocities.com/satanicreds/lhp-rhp.html and is copyright by me, T. Jantsang (here is hoping wikipedia doesn't note it's on my own website again and scream "copyright violation."

quote: The “Encyclopedia of Buddhism,” which also defines Naga Shivaism, something much older than Buddhism, has these definitions as paraphrased below.

First of all, the terms LHP, and RHP, are not Western, and certainly not Christian. Neither ever designated good or evil since good or bad people can be following either path. The two paths aren't at odds with each other. Both paths are ways to Wisdom: the difference is not in the goal but in the method. In other words, LHP is more of a nomadic path, it is a lot more flowing and chaotic, unpredictable; LHP people are in flux just like “life” and “conditions” are in flux. The way people living in a western society do things can show the path – LHP people tend to do things, very ordinary things, differently from the way RHP people tend to do things. So one is on these paths - it is not like someong "get on" these paths.

The RHP is the way of Yang. The LHP is the way of Yin. Like Yin and Yang, you cannot separate the two. Yin/Dark/Receptive. Yang/Light/Active. To try to separate them or oppose them is an error.

But this is the danger of the Lie or Internal Error. . . when Right and Left become something that are against each other, then the RHP is a false path, speaking usually about a false Light (usually "out there"), and you are hearing a false doctrine. It doesn’t matter if RHP types say it or if LHP types say it: they are wrong if they try to oppose these paths. They are not opposed. LHP is felt (not thought, but felt) to be frightening and evil by some people who think they are RHP. This misconception, within a person, is the striving, craving for the Light Alone rebelling to exist without the Dark Parent from whence it came. That is truly self-destructive... Usually, people who do this just don’t have a clue what these terms are defining. They might see it opposed because they themselves are opposed to their own shell-ish non-being. In otherwords, they know this Lie and Falsehood through their own peculiar flesh. Either that, or they are prone to believe scholars that either don't have any understanding of "shadow language" employed in these traditions, or they are focusing on cultures that have silly taboos in addition to actual laws of the land. (EG, Hindus can't eat beef - but Moslems living in India can and do 0eat beef - therefore, it's not illegal. It's just a Hindu taboo.)

Hinayana Buddhism (Little Path Buddhism) is the closest Buddhist sect to what Siddhartha actually taught. Its emphasis is on the 8-fold noble path, and other things typically associated with early Buddhist practice. It is very concerned with rules, laws, and proper behavior: etiquette! While it is a path of Wisdom, it is not a path of Knowing. Of course, those on this path are not considered able to know otherwise they wouldn't be on that path! It is not their fate to be on any other path.

Mahayana Buddhism (Great Path Buddhism) replaced Theravada. Nagarjuna is considered the successor to the Buddha by the followers of this path. Mahayana is more of a path of knowing, "all knowing happens directly through the whole body." The person who seeks out this path seeks it out because he is unable to know through the body directly, but he is able to understand with the mind.

Vajrayana (Vajra Path, Lightning Path, Direct Path), or Tantrik "Buddhism," is the path of instant, direct, and specifically physical-body knowledge and is more rightly called either Padma Sambhava-ism or just Shiva-ism. Strictly speaking, in terms of Theology, it is not Buddhism. Herein is the tradition of Kundalini Yoga, the Siddhi, Tumo, Phova, Milam, the Chod, etc. and other recognizably Black Magical practices. Those who are on this path are there because they can do Vajrayana and attain Samadhi without thinking about it (literally). In fact, they do it without "wanting" to. That's the real key. . . they "do through active non doing." Vajrayana is totally LHP - but this does not mean that those from whole cultures that are Vajrayanists don't have fun or do normal things. (This has nothing to do with the invention called "Tantrik Sex," nor does it have a thing to do with breaking sexual taboos. These notions are totally modern, Western inventions of sex clubs.)

Mahayana is LHP in the sense that the reason for its existence is that it is a path of knowing from the inner method even if it takes slow, methodical steps to this knowledge. Mahayana is also RHP because it is the doing of deeds that help the person "acquire" this knowledge.

Now. . . here is the important Truth. There is no conflict between these paths if they are True; they are yin/yang and exist together and this embodies real stratification in the sense of people naturally working at their own abilities. I.e., what you are good at, naturally comes easy! Because of this, there is always RHP in LHP, and always LHP in RHP. There is the "Being" of the receptive LHP and then the "Becoming" which is the active RHP. There is the Knowledge of the LHP that leads to the deeds of the RHP. Everything is Yin and Yang. Passive Idea; Active Deed. Like Sat-Being and Tan-Becoming.

To people at inner peace with themselves, the Dark Paths are Peaceful. They are beautiful, soft, and solitary. . . This does not mean they are hermits; not at all. There is nothing busy or hectic about the Dark Paths. They are totally inner. When a person has an inner core which has been compromised by cultural traditions or something else, the best they can come up with is a self-overcoming where they try, oftentimes in vain, to "fix" their broken selves. In neurological terms, they lack the "organic I." These people cannot know.

There are certain odd cults in India that "break taboos" and call them the "Five M's" as if this is LHP. This is due to a gross misunderstanding of the Tantras by these cults - and the same misunderstanding can be placed on the heads of some scholars that think that this is all there is to LHP and RHP. Many societies don't have silly taboos; but all societies have laws and if you break the law you end up in jail or executed.


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Live & Loud

Live & Loud is a live album recorded by the former Black Sabbath singer Ozzy Osbourne, released on 28 June 1993. At the time, it was to be Osbourne's final album following Osbourne's final tour before retiring, aptly titled "No More Tours". The track "Black Sabbath" featured the original line-up of Black Sabbath, the members of which were invited to join Ozzy as guest stars for the Costa Mesa Reunion shows.

In addition to the standard release in a 'fat-boy' 2CD case, the album was released as a digipak with a metal 'speaker grille' cover and included tattoos, as well as the booklet; the official release was preceded by a single CD sampler issued as a promotional item.

A DVD of Live & Loud was also issued, one of the first music compilations released in that format. The DVD is a compilation of live footage from several shows rather than a single concert: this is evident as Osbourne can be seen both shirtless and wearing different clothes during the same song, while guitarist Zakk Wylde can be seen playing up to three different guitars in the same song. The live recordings in the CD (with the exclusion of Wylde's guitar solo and Castillo's drum solo) are used as the soundtrack for the collage of performances in the video release, the only difference being in the selection of speeches with which Osbourne introduces some of the songs.

In 1994, Osbourne won a Grammy Award for Best Metal Performance for the live version of "I Don't Want to Change the World", featured on this album.

Due to ongoing legal litigation regarding song writing credits for the track, "Shot In The Dark", this album, along with The Ultimate Sin and Just Say Ozzy (both of which also included the song), were not remastered and reissued along with the rest of Ozzy's back catalog in 2002. However, the Grammy-winning live track, "I Don't Want to Change the World" from Live & Loud did appear on The Essential Ozzy Osbourne compilation released in 2003.

Personnel

 * Ozzy Osbourne – vocals
 * Zakk Wylde – guitar, piano on "Changes"
 * Mike Inez – bass
 * Randy Castillo – drums
 * Kevin Jones – keyboards

 * Black Sabbath (performs on "Black Sabbath")
 * Ozzy Osbourne – vocals
 * Tony Iommi – guitar
 * Geezer Butler – bass
 * Bill Ward – drums

 * Production
 * Mixed and engineered by Michael Wagener
 * Mastered by Stephen Marcussen
 * Remastered by Brian Lee with Bob Ludwig
 * Liner notes by Steffan Chirazi

Awards
36th Annual Grammy Awards

title: Live & Loud


text:
The Ozzman Cometh

The Ozzman Cometh is a compilation album by British heavy metal singer Ozzy Osbourne released in 1997. It is his third greatest hits collection. Its initial, limited-edition 2-CD pressing contained five previously unreleased songs. Versions released in 2002 later have only one disc, and the song "Shot in the Dark" is replaced by "Miracle Man". This was due to a legal action brought about by the song's co-writer, Phil Soussan, for unpaid royalties.

The CD Version is Digitally Labeled as The Ozzman Cometh: Greatest Hits. The tracks "Black Sabbath", "War Pigs", "Fairies Wear Boots", and "Behind the Wall of Sleep" are performed by Osbourne's previous band Black Sabbath during a 26 April 1970 performance on the BBC Radio 1 show "The John Peel Sessions", conducted by British DJ John Peel. "Fairies Wear Boots" and "War Pigs" are early versions of tracks that would be recorded and released on the band's second album Paranoid with new lyrics.

title: The Ozzman Cometh


text:
Jackie Brown

Jackie Brown is a 1997 American crime film written and directed by Quentin Tarantino, based on the 1992 novel Rum Punch by Elmore Leonard. It stars Pam Grier as Jackie Brown, a flight attendant who smuggles money between the United States and Mexico. Samuel L. Jackson, Robert Forster, Bridget Fonda, Michael Keaton, and Robert De Niro appear in supporting roles.

Jackie Brown pays homage to 1970s blaxploitation films, particularly Coffy and Foxy Brown, both of which also starred Grier. It is the only feature-length film directed by Tarantino that was based on another work.

Jackie Brown was released in the United States on December 25, 1997 by Miramax Films. It received positive reviews and grossed $74.7 million worldwide on a $12 million budget. It earned a nomination for the Academy Award for Best Supporting Actor for Forster, and Golden Globe Award nominations for Jackson and Grier. The film revitalized the careers of Grier and Forster, neither of whom had been cast in a lead role for many years.

Plot
Jackie Brown, a flight attendant, smuggles money from Mexico into the United States for Ordell Robbie, a gun runner in Los Angeles. When Ordell's courier, Beaumont Livingston, is arrested, he hires bail bondsman Max Cherry to bail him out. To prevent Beaumont from talking to the police, Ordell kills him.

Acting on information Beaumont had already given them, ATF agent Ray Nicolette and LAPD detective Mark Dargus intercept Jackie with Ordell's cash and a bag of cocaine. After Jackie is sent to jail, Ordell hires Max to bail her out. Ordell arrives at Jackie's apartment, but she pulls out a gun she stole from Max's glovebox. She negotiates a deal with Ordell: she will pretend to help the authorities while smuggling in $550,000 of Ordell's money.

Ordell brings in Louis Gara, a criminal associate and former cellmate who has just been released from prison. Melanie Ralston, one of Ordell's women, attempts to convince Louis to betray Ordell and take the money for themselves. Louis tells Ordell, but Ordell replies that he is not concerned about her, given that he knows she’s not to be trusted completely.

Unaware of the plan to smuggle in $550,000, Nicolette and Dargus devise a sting to catch Ordell during a transfer of $50,000. Jackie plans to keep the $500,000 for herself. She recruits Max, offering him a cut. During a test run, Jackie smuggles in $10,000, with Nicolette and Dargus aware, to swap with Sheronda, Ordell's live-in girlfriend, at a shopping mall. After Jackie leaves, Max observes an unknown woman swap bags with Sheronda. He informs Jackie and she confronts Ordell, who states he used Simone Hawkins, one of his contacts, to secure his money as a backup.

On the day of the transfer, Ordell discovers that Simone has left town with the $10,000. He reluctantly recruits Melanie to perform the swap instead. Jackie enters a dressing room in a department store to try on a suit. Though she has told Nicolette the exchange will take place in the food court, she has told Ordell she will swap bags in the dressing room. The bag contains only $40,000; Jackie leaves the rest in the dressing room for Max. Jackie takes $10,000 and places it on top of the bag she gives Melanie as a bonus. Jackie runs to the food court and finds Nicolette, claiming Melanie burst into the dressing room and stole the money.

During the exchange, Melanie is uncooperative and in the parking lot after the exchange, she mocks Louis for forgetting where they parked. He loses his temper and kills her by shooting her in the chest and the stomach. Louis tells Ordell, who discovers that most of the money is missing. When Louis recalls seeing Max at the shopping mall, Ordell, furious, kills Louis by shooting him.

Ordell instructs Max to tell Jackie that Ordell will kill them if she does not return the money and that if she goes to the police, he will name her as an accessory. Max goes to Ordell's house, and tells him that Jackie, frightened, is waiting in Max's office with the money. Ordell holds Max at gunpoint as they enter his office. Jackie yells out that Ordell has a gun. Nicolette, Dargus, and Cherry's business partner Winston, who provided Max with Ordell’s location, hiding in the back, ambush him and shoot him dead. The charges against Jackie are dropped, and she plans a trip to Madrid. Max declines her invitation to join her. They kiss goodbye and he watches her drive away.

Development
After completing Pulp Fiction (1994), Quentin Tarantino and Roger Avary acquired the film rights to Elmore Leonard's novels Rum Punch, Freaky Deaky, and Killshot. Tarantino initially planned to film either Freaky Deaky or Killshot and have another director make Rum Punch, but changed his mind after re-reading Rum Punch, saying he "fell in love" with the novel all over again. Killshot was later adapted into a film released in 2008, produced by Jackie Brown producer Lawrence Bender.

While adapting Rum Punch into a screenplay, Tarantino changed the ethnicity of the main character from white to black, as well as renaming her from Burke to Brown, titling the screenplay Jackie Brown. Tarantino hesitated to discuss the changes with Leonard, finally speaking with Leonard as the film was about to start shooting. Leonard loved the screenplay, considering it not only the best of the twenty-six screen adaptations of his novels and short stories but also stating that it was possibly the best screenplay he had ever read.

Tarantino's screenplay otherwise closely followed Leonard's novel, incorporating elements of Tarantino's trademark humor and pacing. The screenplay was also influenced by blaxploitation films, but Tarantino said Jackie Brown is not a blaxploitation film.

Jackie Brown alludes to Grier's career in many ways. The film's poster resembles those of Grier's films Coffy (1973) and Foxy Brown (1974) and includes quotes from both films. The typeface for the film's opening titles was also used for those of Foxy Brown; some of the background music is taken from these films including four songs from Roy Ayers's original score for Coffy.

The film's opening sequence recreates that of The Graduate (1967), in which Dustin Hoffman passes wearily through Los Angeles International Airport past white tiles to a somber "The Sound of Silence" by Simon and Garfunkel. In Jackie Brown, Grier glides by blue tiles in the same spot on a moving sidewalk in the same direction to a soaring soul music song, "Across 110th Street" by Bobby Womack, which is from the film of the same name that was a part of the blaxploitation genre, just like Foxy Brown and Coffy.

Casting
Tarantino wanted Pam Grier to play the title character. She previously read for the Pulp Fiction character Jody, but Tarantino did not believe audiences would find it plausible for Eric Stoltz to yell at her. Grier did not expect Tarantino to contact her after the success of Pulp Fiction. When she showed up to read for Jackie Brown, Tarantino had posters of her films in his office. She asked if he had put them up because she was coming to read for his film, and he responded that he was actually planning to take them down before her audition, to avoid making it look like he wanted to impress her.

Several years after the release of the movie, Sylvester Stallone claimed that he turned down the role of Louis Gara. Tarantino considered Paul Newman, Gene Hackman and John Saxon for the role of Max Cherry, before casting Robert Forster.

Out of Sight
While Jackie Brown was in production, Universal Pictures was preparing to begin production on director Steven Soderbergh's 1998 film Out of Sight, an adaptation of Leonard's 1996 novel of the same name that also features the character of Ray Nicolette, and waited to see whom Tarantino would cast as Nicolette for Jackie Brown. Michael Keaton was hesitant to take the part of Ray Nicolette, even though Tarantino wanted him for it. Keaton subsequently agreed to play Nicolette again in Out of Sight, uncredited, appearing in one brief scene. Although the legal rights to the character were held by Tarantino and Miramax, as Jackie Brown had been produced first, Tarantino insisted that the studio not charge Universal for using the character in Out of Sight, allowing the character's appearance without Miramax receiving financial compensation.

Critical response
Review aggregation website Rotten Tomatoes gives it an approval rating of 88% based on 96 reviews and an average rating of 7.60/10. The site's consensus is: "Although somewhat lackadaisical in pace, Jackie Brown proves to be an effective star vehicle for Pam Grier while offering the usual Tarantino wit and charm." Metacritic gives the film a 64 out of 100 based on 23 critic reviews, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.

Roger Ebert rated the film four out of four stars, writing that "Tarantino leaves the hardest questions for last, hides his moves, conceals his strategies in plain view, and gives his characters dialogue that is alive, authentic and spontaneous." He also ranked the film as one of his favorites of 1997. Movie critic Mark Kermode for BBC Radio Five Live lists Jackie Brown as his favorite film by Quentin Tarantino. Samuel L. Jackson, who appears frequently in Tarantino's films, named his character of Ordell Robbie as one of his favorite roles.

Box office
The film grossed $39.7million in the United States and Canada and $35.1million in other territories for a total gross of $74.7million, against a budget of $12million. In its opening weekend, the film grossed $9.3million, finishing 5th at the box office.

Controversy
Jackie Brown has attracted criticism for its use of the racial slur "nigger", which is used 38 times, the most in any Tarantino film until Django Unchained (2012) and The Hateful Eight (2015). During an interview with Manohla Dargis, Tarantino said: "The minute any word has that much power, as far as I'm concerned, everyone on the planet should scream it. No word deserves that much power." The filmmaker Spike Lee criticized the film's use of the word, and said: "I'm not against the word, and I use it, but not excessively. And some people speak that way. But, Quentin is infatuated with that word. What does he want to be made – an honorary black man? And he uses it in all his pictures: Pulp Fiction and Reservoir Dogs... I want Quentin to know that all African-Americans do not think that word is trendy or slick." Lee took his concerns to the film's producers, Harvey Weinstein and Lawrence Bender.

Awards
Grier and Jackson were nominated for Golden Globe Awards (Grier for Best Actress – Motion Picture Musical or Comedy and Jackson for Best Actor – Motion Picture Musical or Comedy). Forster was nominated for an Academy Award for Best Supporting Actor. The film was also nominated for the prestigious Grand Prix of the Belgian Syndicate of Cinema Critics. In 2008, the film was selected by Empire magazine as one of The 500 Greatest Movies of All Time, ranking in at #.

At the 48th Berlin International Film Festival, Jackson won the Silver Bear for Best Actor award.

Soundtrack
The soundtrack album for Jackie Brown, entitled Jackie Brown: Music from the Miramax Motion Picture, was released on December 9, 1997.

Songs by a variety of artists are heard throughout the film, including The Delfonics' "La-La Means I Love You" and "Didn't I (Blow Your Mind This Time)", Bill Withers' "Who Is He", The Grass Roots' "Midnight Confessions", Johnny Cash's "Tennessee Stud", Bloodstone's "Natural High", and Foxy Brown's "(Holy Matrimony) Married to the Firm". There are several songs included that were featured in blaxploitation films as well, including Bobby Womack's "Across 110th Street", from the film of the same name, and Pam Grier's "Long Time Woman", from her 1971 film The Big Doll House. The original soundtrack also features separate tracks with dialogue from the film. Instead of using a new film score, Tarantino incorporated Roy Ayers' funk score from the film Coffy.

A number of songs used in the film do not appear on the soundtrack, such as "Cissy Strut" (The Meters), and "Piano Impromptu" (Dick Walter).

Home media
The Special Edition DVD, released by Buena Vista in 2002, includes an introduction from Tarantino, an hour-long retrospective interview, a subtitle trivia track, and soundtrack chapter selection, a half-hour making-of documentary ("How It Went Down"), the entire "Chicks Who Love Guns" video as seen in the film, many deleted and alternate scenes, including an alternate opening title sequence, Siskel and Ebert's review, Jackie Brown appearances on MTV, TV spots and theatrical trailers, written reviews, and articles and filmographies, and over an hour of trailers for Pam Grier and Robert Forster films dating from the 1960s onwards. The box also includes a mini-poster of the film, similar to the one above, and on the back of that, two other mini-posters – one of Grier, the other of Forster, both similar to the album cover.

Although the Special Edition DVD's back cover states that the film is presented in a 2.35:1 aspect ratio, it was actually shot with a 1.85:1 ratio, the only Tarantino-directed film to date shot in such a format with the exception of his segment in the film Four Rooms, "The Man from Hollywood".

On October 4, 2011, Miramax released Jackie Brown on Blu-ray Disc along with Pulp Fiction. The film is presented in 1080p HD in its original 1.85:1 aspect ratio with a DTS-HD Master Audio 5.1 soundtrack. The disc was the result of a new licensing deal with Miramax and Lionsgate.

title: Jackie Brown


text:
Hartland

Hartland may refer to:

United States

 * Hartland, California
 * Hartland, Connecticut
 * Hartland (Lexington, Kentucky), listed on the National Register of Historic Places in Fayette County, Kentucky
 * Hartland, Maine
 * Hartland (CDP), Maine, a census-designated place in the town of Hartland, Maine
 * Hartland, Michigan
 * Hartland, Minnesota
 * Hartland, North Dakota
 * Hartland, New York
 * Hartland, Vermont
 * Hartland (Lewisburg, West Virginia), listed on the NRHP in Greenbrier County, West Virginia
 * Hartland, Wisconsin, in Waukesha County
 * Hartland Railroad Depot, Hartland, Wisconsin, listed on the NRHP in Waukesha County, Wisconsin
 * Hartland, Pierce County, Wisconsin
 * Hartland, Shawano County, Wisconsin

Elsewhere

 * Hartland, New Brunswick, Canada
 * Hartland, Devon, United Kingdom
 * Hartland Point, Devon, north-west of Hartland

title: Hartland