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Fear (band)

Fear, stylized as FEAR, is an American punk rock band from Los Angeles, formed in 1977. The band is credited for helping to shape the sound and style of Californian hardcore punk. The group gained national prominence after an infamous 1981 performance on Saturday Night Live.

Frontman Lee Ving has been the band's only constant member. Since its formation, the band has gone through various lineup changes, and at one point featured Flea, later a member of the Red Hot Chili Peppers, on bass. The classic Fear lineup existed from 1978 to 1982, and was composed of Ving, guitarist Philo Cramer, bassist Derf Scratch, and drummer Spit Stix. Cramer and Stix later rejoined the band in 2018.

1970s
Fear was formed in 1977 by singer/guitarist Lee Ving and bassist Derf Scratch, who recruited guitarist Burt Good and drummer Johnny Backbeat. In 1978, Fear released the single "I Love Livin' in the City". Shortly after this, Good and Backbeat left the band and were replaced by Philo Cramer and Spit Stix.

1980s
Film director Penelope Spheeris met Ving and Stix while they were hanging handbills on telephone poles in Los Angeles on Laurel Canyon Boulevard. After a brief discussion, she asked if they wanted to be in a documentary about the Los Angeles punk scene, The Decline of Western Civilization (1981). In the film, Fear performed a set in which they baited members of the audience with personal attacks, sexist and homophobic slurs, and offbeat humor, inspiring some audience members to come on stage to fight them. At the time, Spheeris was married to Slash Records president Bob Biggs who, later that year, signed a recording deal with Fear.

Actor John Belushi, who became a fan of the band through an episode of L.A.-based New Wave Theatre in 1980, successfully lobbied to get the band a spot as a musical guest on the 1981 Halloween episode of his former show Saturday Night Live. Belushi had originally offered Fear a song on the soundtrack for his final motion picture Neighbors. The film's producers eventually forced Fear off the project, and Belushi got them the infamous SNL gig as compensation. The band's appearance included a group of slamdancers, among them Belushi, Ian MacKaye of Minor Threat and Fugazi, Tesco Vee of the Meatmen, Harley Flanagan and John Joseph of the Cro-Mags, and John Brannon of Negative Approach. The show's director originally wanted to prevent the dancers from participating, so Belushi offered to be in the episode if the dancers were allowed to stay. The end result was the shortening of Fear's appearance on TV. Fear played "I Don't Care About You", "Beef Bologna", "New York's Alright If You Like Saxophones", and started to play "Let's Have a War" when the telecast faded into commercial. They ended "Beef Bologna" by saying, "It's great to be in New Jersey", drawing boos from the New York live audience. The slamdancers left ripe pumpkin remains on the set. Cameras, a piano and other property were damaged. After their SNL appearance, which resulted in $20,000 in damage, some clubs chose not to hire the band. The song originally recorded for the film, also titled "Neighbors", featured vocals from Belushi and Ving, and was eventually released by Ving in 2015.

Fear also appeared in the 1981 rotoscope animated film American Pop, directed by Ralph Bakshi. Ving performed under the name Lee James Jude.

Additionally that year, Josie Cotton released the hit song "Johnny Are You Queer?". The song was based on Fear's song "Fetch Me One More Beer", written by Philo Cramer and John Clancy. Bobby and Larson Paine, who were managing the Go-Go's, re-worked the song with new lyrics and gave it to them, but after a falling out forbade the band from playing it and gave it to Cotton. In several interviews Cotton has suggested that the song's title was lifted from lyrics in the Fear song, though she has also stated that Fear's version of it went "You're a fuckin' queer", which is consistent with Fear's demo of the song.

When Fear found out a variation of their song had become popular, a meeting regarding the publishing rights of the song was arranged between them and the Paines. The two sides decided the winner of a coin toss would get the publishing rights to the song, which the Paines won.

In 1982, Fear released their debut album The Record. After touring in support of the album, Ving fired Scratch. Eric Feldman (of Captain Beefheart, Pere Ubu, and later PJ Harvey and Frank Black) briefly filled in on bass before he was replaced by Flea. Flea left the band and was replaced by Lorenzo Buhne. On July 3, 1983, Fear performed at the "Rock Against Reagan" protest concert at the Lincoln Memorial in Washington, D.C. along with the Dead Kennedys, MDC, Toxic Reasons, the Crucifucks and others. In the summer of 1983 through early 1984, while Stix was touring Europe with Nina Hagen, Chuck Biscuits was supposed to replace him, but Stix returned and Biscuits never played any shows with Fear. With Ving producing, the band recorded their second album More Beer in 1985 in just two days, supposedly. However, according to a representative from Enigma Records, it took a full year, as quoted in a March 1986 issue of Spin.

1990s
Live...For the Record, a live album of a 1985 performance, was released in 1991. Shortly afterwards, bassist Will "Sluggo" MacGregor was hired. After 1991–93 North American tours, Fear disbanded. Cramer and Stix left the band, citing disputes with Ving over finances, his right wing beliefs, and his lack of empathy. For the next two years, Ving performed in Austin, Texas as Lee Ving's Army. This eventually became the new Fear lineup, including Ving backed by LVA members Sean Cruse (guitar), Scott Thunes (bass) and Andrew Jaimez (drums). In 1995, Fear released the Have Another Beer with Fear album, followed by American Beer (2000), which featured Ving and Jaimez along with new members Richard Presley and Mando Lopez. The album included new recordings of several previously unreleased older Fear songs, as well as some new compositions. Presley and Lopez then began playing with Kim Deal and Kelley Deal in the Breeders.

2000–present
Fear (with Ving as the only original member) performed in the annual Warped Tour in 2008. Former bassist Scratch died from liver disease on July 28, 2010. He was 58 years old.

Fear played the South by Southwest festival in 2012. A re-recording of 1982's The Record was released in late 2012, under the title of The Fear Record. In 2018, the band reunited with Cramer and Stix, and added former AFI bassist Geoff Kresge and Henchmen guitarist Eric Razo to the lineup. In the spring of 2022, Fear announced that they had regained the master rights of The Record from Warner Music and announced a 40th anniversary deluxe edition of the album.

Fear went on tour throughout 2023. On October 31st, 2023 Fear released the album For Right and Order. It was their first new studio album in 11 years (and first new studio album of original material in 23 years). The lineup consisted of Ving, Stix, Kresge, and Razo, in addition to songwriting contributions from Cramer

Band members
Current
 * Lee Ving – lead vocals, rhythm guitar (1977–present)
 * Philo Cramer – lead guitar (1978–1993, 2018–present)
 * Spit Stix – drums (1977–1993, 2018–present)
 * Eric Razo – lead guitar (2018–present)
 * Frank Meyer - rhythm guitar (2024–present)
 * Amos Cook - bass (2024–present)

Former

Drums
 * Johnny Backbeat – drums (1977)
 * Andrew Jaimez – drums (1993–2018)

Bass
 * Derf Scratch – bass (1977–1982; died 2010)
 * Eric Feldman – bass (1982)
 * Flea – bass (1982--1984)
 * Lorenzo Buhne – bass (1984–1988)
 * Will MacGregor – bass (1988–1993)
 * Scott Thunes – bass (1993–1995)
 * Kelly LeMieux – bass (1995–1997)
 * Mando Lopez – bass (1997–2008)
 * Jeffery "Beldo" Beller – bass (2008)
 * Sam Bolle – bass (2008–2009)
 * Paul Lerma – bass, backing vocals (2010–2018)
 * Geoff Kresge – bass (2018–2023)

Lead guitar
 * Burt Good – lead guitar (1977–1978)
 * Sean Cruse – lead guitar (1993–1999)
 * Richard Presley – lead guitar (1999–2005)
 * Derol Caraco – lead guitar (2005–2009)
 * Lawrence Arrieta – lead guitar (2009--2010)
 * Dave Stark – lead guitar, backing vocals (2011–2018)

Discography
Studio albums
 * The Record (1982, Slash Records)
 * More Beer (1985, Restless Records)
 * Have Another Beer with Fear (1995, Sector 2 Records)
 * American Beer (2000, Hall of Records)
 * The Fear Record (2012, The End Records) (rerecorded version of The Record)
 * For Right and Order (2023, Atom Age Industries and Fear Records)

Singles and EPs
 * "I Love Livin' in the City" 7-inch single (1978, Criminal Records)
 * Fuck Christmas 7 single (1982, Slash Records): It was recorded during the sessions that produced their debut The Record, but was not released until months later. The single's A-side was later added as a bonus track to the CD reissue of The Record. It is also present on cassette copies of the album. "(Beep) Christmas" is identical to "Fuck Christmas" but with censored profanity, done as a way to promote the single on radio. Punk band Bad Religion covered the song at KROQ Almost Acoustic Christmas in 1993 and 1994
 * "Have Yourself a Merry Little Christmas" 7-inch single (2011, The End Records)
 * Paradise Studios Sessions Vol. 1 7-inch EP (2014, Atom Age Industries / Fear Records)
 * Paradise Studios Sessions Vol. 2 7-inch EP (2015, Atom Age Industries / Fear Records)
 * Paradise Studios Sessions Vol. 3 7-inch EP (2016, Atom Age Industries / Fear Records)
 * "Neighbors" 7-inch single with John Belushi (2016, Atom Age Industries / Fear Records)
 * "Fuel To The Fire / People Person" 7 inch single (Recorded in 1992, released 2019 on Fear Records and Atom Age Industries)
 * "Nice Boys (Don't Play Rock & Roll)" EP (2023, Atom Age Industries and Fear Records)

Live albums
 * Live...for the Record (1991, Restless Records)

Soundtrack compilation appearances
 * The Decline of Western Civilization (1980, Slash Records)
 * Get Crazy (Original Motion Picture Soundtrack) (1983, Morocco Records)
 * Repo Man (Music from the Original Motion Picture Soundtrack) (1984, San Andreas Records)
 * SLC Punk – Original Soundtrack (1999, Hollywood Records)

Influence
Fear's influence is illustrated by the bands who have paid tribute by covering its songs.

 * A Perfect Circle covered "Let's Have a War" on their album eMOTIVe.
 * Bad Religion covered "Fuck Christmas", though it was not released. The band also covered "I Don't Care About You" during its May 18, 1998, performance at the TLA in Philadelphia, Pennsylvania.
 * Blatz covered "I Don't Care About You" on Shit Split.
 * Course of Empire covered "Let's Have a War" as a B-side on their 1993 single "Infested!"
 * Rob Crow covered "I Am A Doctor" on his Not Making Any Friends Here... Vol. 1 tour EP.
 * Dark Angel covered "I Don't Care About You" on their Live Scars album.
 * Demoniac quoted the lyric "Hatred is purity, weakness is disease" from Fear's "Foreign Policy" in the song "Hatred Is Purity".
 * Dog Eat Dog covered "More Beer" on their EP If These Are the Good Times.
 * From Autumn to Ashes covered "Let's Have a War" for the Tony Hawk's American Wasteland soundtrack released by Vagrant Records.
 * Guns N' Roses included "I Don't Care About You" on their 1993 "The Spaghetti Incident?" punk covers album. "Fear's what I would consider one of the only good bands that was around in 1978 in Los Angeles," observed GNR guitarist Slash. "And that record that that song is from [is] one of the only records I had when Guns N' Roses first started. So it's sort like an anthem… Fear was the only band that I really liked. I couldn't really tell you all that much. They were just a bunch of fuckin' rowdies."
 * Harvey Milk covered "We Destroy the Family" on their 2008 album Life... The Best Game in Town.
 * Indecision covered "I Don't Care About You" and "New York's Alright If You Like Saxophones" on Punk Rock Jukebox Volume 2.
 * Megadeth covered "Foreign Policy" on their Dystopia album.
 * Method of Destruction (M.O.D.) covered "I Love Livin' in the City" on their Gross Misconduct album.
 * Poster Children covered "Let's Have a War" on their On the Offensive CD EP.
 * Sacred Reich covered "Let's Have a War" on their A Question EP and "Beef Bologna" on the Japanese version of their album Heal.
 * Soundgarden covered "I Don't Care About You", appearing as a B-side on several of their singles.
 * Stormtroopers of Death (S.O.D.) covered "I Love Livin' in the City" on their Live at Budokan album.
 * The Reatards covered "I Love Livin' in the City" on their album Teenage Hate.
 * Turbonegro covered "I Don't Care About You" on their Small Feces box set.

In popular culture
Fear's music has also been featured in several video game soundtracks. "I Love Livin' in the City" appeared in The Warriors and Tony Hawk's Underground 2, and "The Mouth Don't Stop (The Trouble with Women Is)" appeared in Grand Theft Auto V, on the fictional punk rock radio station, Channel X.

The band, specifically Spit, are mentioned in the Bret Easton Ellis novel Less than Zero.

One of the main characters in the film Relaxer wears a "Fear" t-shirt. "I Love Livin' in the City" also appeared in the film SLC Punk. In the 1987 film Summer Camp Nightmare, the inter-camp talent show includes a performance of "Beef Bologna" which upsets Chuck Connors' straitlaced camp director.

title: Fear (band)


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American Plastics Council

The American Plastics Council (APC) is a defunct trade association for the U.S. plastics industry. Through a variety of outreach efforts, APC worked to promote the benefits of plastics and the plastics industry. APC comprised 22 of the leading resin manufacturers, plus one affiliated trade association representing the vinyl industry. APC's membership represented more than 80 percent of the U.S. monomer and polymer production and distribution capacity.

Initially autonomous, the APC merged in 2002 with the American Chemistry Council (ACC, formerly known as the Manufacturing Chemists' Association, then the Chemical Manufacturers Association, renamed ACC in June 2000). Members are now represented by the ACC.

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

title: American Plastics Council


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User talk:Cbm

Oxford Centre for Collaborative Applied Mathematics
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title: User talk:Cbm


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USS Ranger (CV-61)

The seventh USS Ranger (CV/CVA-61) was the third of four Forrestal-class aircraft carrier supercarriers built for the United States Navy in the 1950s. Although all four ships of the class were completed with angled decks, Ranger had the distinction of being the first US carrier built from the beginning as an angled-deck ship.

Commissioned in 1957, she served extensively in the Pacific, especially the Vietnam War, for which she earned 13 battle stars. Near the end of her career, she also served in the Indian Ocean and Persian Gulf.

Ranger was decommissioned in 1993, and was stored at Bremerton, Washington until March 2015. She was then moved to Brownsville for scrapping, which was completed in November 2017.

Construction and trials
Ranger was the first American aircraft carrier to be laid down as an angled-deck ship (her elder sisters Forrestal and Saratoga had been laid down as axial-deck ships and were converted for an angled deck while under construction). She was laid down 2 August 1954 by Newport News Shipbuilding and Drydock Co., Newport News, Virginia in Shipway 10. Her partially completed hull was floated and placed in Shipway 11 four months later for final completion. Ranger was launched 29 September 1956, sponsored by Mrs. Arthur Radford (wife of Admiral Arthur W. Radford, Chairman of the Joint Chiefs of Staff) and commissioned at the Norfolk Naval Shipyard 10 August 1957, Captain Charles T. Booth II in command. Ranger joined the U.S. Atlantic Fleet on 3 October 1957. Just prior to sailing on 4 October for Guantánamo Bay, Cuba, for shakedown, she received the men and planes of Attack Squadron 85. She conducted air operations, individual ship exercises, and final acceptance trials along the eastern seaboard and in the Caribbean Sea until 20 June 1958. Noted artist Jack Coggins was commissioned by the United States Naval Institute to paint the new aircraft carrier; his artwork appeared on the cover of their Proceedings Magazine of July 1958. She then departed Norfolk, Virginia, with 200 Naval Reserve officer candidates for a two-month cruise that took the carrier around Cape Horn. She arrived at her new homeport, Naval Air Station Alameda, Alameda, California, on 20 August and joined the Pacific Fleet.

Service
The carrier spent the remainder of 1958 in pilot qualification training for Air Group 14 and fleet exercises along the California coast. Departing 3 January 1959 for final training in Hawaiian waters until 17 February, she next sailed as the flagship of Rear Admiral Henry H. Caldwell, Commander, Carrier Division Two, to join the Seventh Fleet. Air operations off Okinawa were followed by maneuvers with SEATO naval units out of Subic Bay, Philippines. A special weapons warfare exercise and a patrol along the southern seaboard of Japan followed. During this first WestPac deployment, Ranger launched more than 7,000 sorties in support of 7th Fleet operations. She returned to San Francisco Bay 27 July. During the next 6 months, Ranger was kept in a high state of readiness through participation in exercises and coastal fleet operations.

With Carrier Air Group 9 embarked, she departed Alameda on 6 February 1960 for a second WestPac deployment and returned to Alameda 30 August. From 11 August 1961 through 8 March 1962, Ranger deployed to the Far East a third time.

The next seven months were filled with intensive training along the western seaboard in preparation for operations in Southeast Asia. Ranger departed Alameda on 9 November for brief operations off Hawaii, thence proceeded, via Okinawa, to the Philippines. She steamed to the South China Sea 1 May 1963 to support possible Laotian operations. When the political situation in Laos relaxed 4 May, she resumed her operations schedule with the 7th Fleet. Arriving at Alameda from the Far East 14 June 1963, she underwent overhaul in the San Francisco Naval Shipyard 7 August 1963 through 10 February 1964. Refresher training out of Alameda commenced 25 March, interrupted by an operational cruise to Hawaii from 19 June to 10 July.

In May 1964, Ranger was deployed near French Polynesia in the Pacific Ocean to monitor the French nuclear tests on Moruroa, a task made possible by launching and recovering a Lockheed U-2 from its flight deck. Work on modifying the U-2 for carrier landing and take-off started in late 1963, and one accident occurred during the carrier landing operation when the aircraft piloted by test pilot Bob Schumacher crashed.

Vietnam War service
Ranger again sailed for the Far East on 6 August 1964. This deployment came on the heels of the Gulf of Tonkin incident. Ranger made only an eight-hour stop in Pearl Harbor on 10 August, then hurried on to Subic Bay, then to Yokosuka, Japan. In the latter port on 17 October 1964, she became the flagship of Rear Admiral Miller, who commanded Fast Carrier Task Force 77. In the following months, she helped the 7th Fleet continue its role of steady watchfulness to keep sea lanes open and stop Communist infiltration by sea.

General William Westmoreland, commanding Military Assistance Command, Vietnam, visited Ranger on 9 March 1965 to confer with Rear Admiral Miller. Ranger continued air strikes on enemy targets inland until 13 April when a fuel line broke, ignited and engulfed her No. 1 main machinery room in flames. The fire was extinguished in little over an hour. There was one fatality. She put into Subic Bay 15 April and sailed on the 20th for Alameda, arriving home on 6 May. She entered the San Francisco Naval Shipyard 13 May and remained there under overhaul until 30 September 1965.

Following refresher training, Ranger departed Alameda on 10 December 1965 to rejoin the 7th Fleet. She and her embarked Carrier Air Wing 14 received the Navy Unit Commendation for exceptionally meritorious service during combat operations in Southeast Asia from 10 January to 6 August 1966.

Ranger departed the Gulf of Tonkin on 6 August for Subic Bay, then steamed via Yokosuka for Alameda, arriving on the 25th. She stood out of San Francisco Bay 28 September and entered Puget Sound Naval Shipyard two days later for overhaul. The carrier departed Puget Sound on 30 May 1967 for training out of San Diego and Alameda. On 21 July 1967, she logged her 88,000th carrier landing.

From June until November, Ranger underwent a long and intensive period of training designed to make her fully combat ready. Attack Carrier Air Wing 2 (CVW-2) embarked on 15 September 1967, with the new A-7 Corsair II jet attack plane and the UH-2C Seasprite rescue helicopter, making Ranger the first carrier to deploy with these powerful new aircraft. From carrier refresher training for CVW-2, Ranger proceeded to fleet exercise "Moon Festival". From 9 to 16 October, the carrier and her air wing participated in every aspect of a major fleet combat operation.

Ranger departed Alameda on 4 November 1967 for WestPac. Arriving at Yokosuka on 21 November, she relieved USS Constellation (CV-64) and sailed for the Philippines on the 24th. After arriving at Subic Bay on 29 November, she made final preparations for combat operations in the Gulf of Tonkin. The Commander, Carrier Division 3, embarked on 30 November as Commander, TG 77.7, and Ranger departed Subic Bay on 1 December for Yankee Station.

Arriving on station on 3 December 1967, Ranger commenced another period of sustained combat operations against North Vietnam. During the next five months, her planes hit a wide variety of targets, including ferries, bridges, airfields, and military installations. Truck parks, rail facilities, antiaircraft guns, and SAM sites were also treated to doses of Air Wing 2's firepower. Bob Hope's Christmas Show came to Ranger in the Gulf of Tonkin on 21 December. Another welcome break in the intense pace of operations came with a call at Yokosuka during the first week of April. Returning to Yankee Station on 11 April, Ranger again struck objectives in North Vietnam.

At the end of January 1968, USS Pueblo (AGER-2) was seized by North Korea. Ranger turned north and proceeded at full speed from the tropical waters off Vietnam to the frigid waters off North Korea as part of Operation Formation Star. The ship had been on the combat line in Vietnam for one month and was due to for rest and recreation. At the conclusion of the North Korea deployment, the ship had been at sea for 65 days. The carrier stopped at the small Japanese port of Sasebo for several days, then proceeded back to combat operations.

After five months of intensive operations, Ranger called at Hong Kong on 5 May 1968 and then steamed for home. There followed a shipyard availability at Puget Sound that ended with Ranger's departure 29 July for San Francisco. Three months of leave, upkeep and training culminated in another WestPac deployment 26 October 1968 through 17 May 1969.

She departed Alameda on yet another WestPac deployment in October 1969 as the flagship for Rear Admiral J.C. Donaldson, Commander, Carrier Division Three, and Captain J.P. Moorer as commanding officer, and remained so employed until 18 May 1970. During this time, the ship spent at least two extended periods on Yankee Station, the longest being 45 days, due to mechanical problems with the carrier that was to relieve her. A pleasant break in the lives of Ranger's crew came with the arrival of the Bob Hope show on 24 December 1969. Upon leaving Yankee after one tour and on the way to Sasebo, Ranger was ordered to stand off the coast of Korea for three days due to North Korea forcing down a US C-130 and holding the crew. Initially, Ranger was to leave the line on Yankee Station for a week of R&R in Subic Bay while offloading supplies, then to Japan and on to Australia and home. A day before Ranger was to leave the line she was ordered to hold on station and fly the first sorties on Cambodia. Finally leaving Yankee Station, Ranger made a fast three-day offload in Subic Bay and a two-day port call in Sasebo and back to Alameda, arriving 1 June. Ranger spent the rest of the summer engaged in operations off the west coast, departing for her sixth WestPac cruise in late October 1970. On 10 March 1971, Ranger, along with USS Kitty Hawk (CV-63), set a record of 233 strike sorties for one day in action against North Vietnam. During April, the three carriers assigned to Task Force 77 – Ranger, Kitty Hawk, and USS Hancock (CV-19) – provided a constant two-carrier posture on Yankee Station. Hours of employment remained unchanged, with one carrier on daylight hours and one on the noon to midnight schedule. Strike emphasis was placed on the interdiction of major Laotian entry corridors to South Vietnam. She returned to Alameda 7 June 1971, and remained in port for the rest of 1971 and the first five months of 1972 undergoing regular overhaul.

On 27 May 1972, she returned to West Coast operation until 16 November, when she embarked upon her seventh WestPac deployment. This had been delayed four months when one of the engines was disabled after Navy fireman E-3 Patrick Chenoweth was accused of dropping a heavy paint scraper into a main reduction gear, one of around two dozen acts of sabotage Ranger suffered between 7 June 1972 and 16 October 1972. Chenoweth was charged with "sabotage in time of war", and faced 30 years imprisonment, but was acquitted by a general court-martial.

On 18 December 1972, the Linebacker II campaign was initiated when negotiations in the Paris peace talks stalemated. Participating carriers were Ranger, USS Enterprise (CVN-65), USS Saratoga (CV-60), USS Oriskany (CV-34), and USS America (CV-66). In an intensified version of Operation Linebacker, bombing of North Vietnam above the 20th parallel and reseeding of the mine fields were resumed, and concentrated strikes were carried out against surface-to-air missile and antiaircraft artillery sites, enemy army barracks, petroleum storage areas, Haiphong naval and shipyard areas, and railroad and truck stations. Navy tactical air attack sorties were centered in the coastal areas around Hanoi and Haiphong, with 505 Navy sorties were carried out in this area. These operations ended on 29 December when the North Vietnamese returned to the peace table; on 27 January 1973, the Vietnam cease-fire came into effect, and Oriskany, America, Enterprise, and Ranger, on Yankee Station, cancelled all combat sorties.

Post-war service in the 1970s
Ranger returned to Alameda in August 1973. She was ordered immediately to refit and repair at Long Beach Naval Base where she was prepared for her next WESPAC Cruise over the next ninety days. Her air wing was lifted aboard by giant crane in Long Beach. She spent two weeks shaking down active duty and Reserve pilots. She returned to Alameda. There were two more two-week shake down cruises between January and April 1974. On 7 May 1974 she deployed again to the western Pacific. During this cruise, Ranger was again deployed to Yankee Station to participate in operations significant to the withdrawal of forces involved there. She returned to homeport on 18 October. On 28 May 1976, while on deployment, helicopter crews from HS-4 aboard Ranger, detachments from HC-3 on USS Camden (AOE-2), USS Mars (AFS-1) and USS White Plains (AFS-4), and helicopters from Naval Air Station Cubi Point, Republic of the Philippines, assisted in Philippine disaster relief efforts in the flood ravaged areas of central Luzon. Over 1,900 people were evacuated; more than 370000 lb of relief supplies and 9340 usgal of fuel were provided by Navy and Air Force helicopters.

On 12 July 1976, Ranger and her escort ships of Task Force 77.7 entered the Indian Ocean and were assigned to operate off the coast of Kenya in response to a threat of military action in Kenya by Ugandan forces in the wake of the rescue of Israeli hostages held at Entebbe Airport in Uganda several days before.

In February 1977, Ranger departed Naval Air Station North Island for the Puget Sound Naval Shipyard, Bremerton, Washington, for major overhaul. While in overhaul, she received significant technological upgrades to her command information systems and flight deck gear, and was fitted with Sea Sparrow missile defense systems. Additionally, the main machinery spaces were refitted with more reliable 'General Regulator' forced-balance automatic boiler and combustion-control systems. In March 1978, the overhaul was completed and she began several months of shakedown cruises and sea trials for recertifications.

On 21 February 1979, Ranger deployed for her 14th WestPac cruise, tentatively scheduled to cross the Indian Ocean to present a show of force during the strife between North and South Yemen, a mission she would not complete. On 5 April 1979, she collided with the Liberian-flagged tanker MV Fortune just southeast of Singapore while entering the Straits of Malacca. While the large oil tanker was severely damaged, Ranger endured a significant gash in her bow, rendering two fuel tanks unusable. Ranger turned back to Subic Bay, for temporary repairs and then to Yokosuka, for full repair. The collision resulted in 10,000 tons of crude oil spilled in the South China Sea. MV Fortune was hauling 100,000 tons of light crude from Kuwait to Japan.

1980s
In September 1980, Ranger departed her homeport of San Diego for the 15th WestPac cruise and again crossed into the Indian Ocean via the Straits of Malacca, this time without incident. Ranger proceeded to GONZO Station to continue the US Navy's show of force in the region during Iran hostage crisis, which at that point was in its tenth month. Ranger remained on-station for over 120 days, during which time the hostages were released on 20 January 1981, the 444th day of the crisis. Ranger was awarded the Navy Expeditionary Medal, for both the ship and her company. She returned to homeport on 5 May 1981.

On 20 March 1981, under the command of CAPT Dan Pedersen, Ranger rescued 138 Vietnamese boat people from the South China Sea and brought them to the United Nations High Commission for Refugees (UNHCR) in Manila, Philippines. In the same year, following the refugee rescue in 1981, Pedersen was given a nonpunitive letter of censure by Vice Adm. Robert F. Schoultz, commander of the Naval Air Force, United States Pacific Fleet, (COMNAVAIRPAC), after a three-week investigation into the 14 April 1981 death of Airman Paul Trerice, 20 years old, of Algonac, Michigan. Trerice had died after being on a bread-and-water diet for three days, then taking part in punitive exercises in the correctional custody unit. According to The Washington Post, "Trerice became abusive in the Ranger's correctional custody unit and had to be subdued in a struggle shortly before his death." The ship was just completing a successful WestPAC/Indian Ocean deployment and was at Subic Bay at the time. The Navy reported the airman faced disciplinary action for leaving his post and for leaving the ship twice without permission in Hong Kong.

A federal court dismissed criminal charges brought by the Trerice family against Pedersen and other officers on the Ranger, and the Ninth Circuit Court of Appeals upheld the dismissal.

On 26 February 1983, she received an official visit from Queen Elizabeth II and Prince Philip, who were on a West Coast tour to visit San Diego.

Ranger entered the history books on 21 March 1983 when an all-woman flight crew flying a C-1A Trader from VRC-40 "Truckin' Traders" landed aboard the carrier. The aircraft was commanded by LT Elizabeth M. Toedt and the crew included LTJG Cheryl A. Martin, Aviation Machinist's Mate 3rd Class Gina Greterman, and Aviation Machinist's Mate Airman Robin Banks.

On 1 November 1983, a fire broke out in #4 Main Machinery Room due to a fuel spill during fuel transfer operations while Ranger was deployed in the North Arabian Sea east of Oman. Six crewmen were killed as a result of the fire, which knocked out one of the ship's four engines and disabled one of her four shafts.Ranger returned to the Philippines after 121 consecutive days at sea. One enlisted man was imprisoned for two months of a three-month sentence for dereliction of duty relating to the fire, but the Navy released him early and reprimanded four officers after an investigation in 1984. The report blamed the fire, which resulted in $1.7 million ($ today) in damages in addition to the deaths, on engineering officers and their superiors.

In early 1985, Ranger was used to film some interior scenes for the film Top Gun. In 1986, the ship stood in for USS Enterprise (CVN-65) for scenes filmed for Star Trek IV: The Voyage Home.

On 14 July 1987, Ranger started her "Pearl" Anniversary Cruise. During this cruise, Ranger relieved Midway and her carrier group in the Indian Ocean. During this period, Ranger took part in Operation Earnest Will under which the Kuwait tankers were reflagged under US colors.

On 24 July 1987, Tactical Electronics Warfare Squadron 131 (VAQ-131) began the first Pacific Fleet deployment of the EA-6B Prowler equipped with AGM-88 HARM missiles, deployed in Ranger.

On 19 October 1987, Ranger took part in Operation Nimble Archer, an attack on two Iranian oil platforms in the Persian Gulf by US Navy forces. The attack was a response to Iran's missile attack three days earlier on MV Sea Isle City, a reflagged Kuwaiti oil tanker at anchor off Kuwait. The action occurred during Operation Earnest Will, the effort to protect Kuwaiti shipping amid the Iran-Iraq War. Air cover was provided by USS William H. Standley (CG-32), two F-14 Tomcat fighters, and an E-2 Hawkeye from Ranger.

On 3 August 1989, Ranger rescued 39 Vietnamese refugees, adrift for 10 days on a barge in heavy seas and monsoon rains in the South China Sea, about 80 mi from NAS Cubi Point. SH-3s Sea Kings from HS-14 along with two Sea Knights assisted. An A-6 Intruder from VA-145 spotted the barge, which had apparently broken loose from its mooring near a small island off the coast of Vietnam with 10 men on board. Twenty-nine other refugees from a sinking refugee boat climbed aboard the barge when it drifted out to sea. After examination by medical personnel, all were flown to NAS Cubi Point for further processing.

1990s
President George H. W. Bush addressed the nation on 16 January 1991 at 9 pm EST and announced that Operation Desert Storm had begun. The Navy launched 228 sorties from Ranger and USS Midway (CV-41) in the Persian Gulf, from USS Theodore Roosevelt (CVN-71) en route to the Persian Gulf, and from USS John F. Kennedy (CV-67), Saratoga, and America in the Red Sea. In addition, the Navy launched more than 100 Tomahawk missiles from nine ships in the Mediterranean Sea, the Red Sea, and the Persian Gulf.

An A-6E Intruder from Ranger was shot down two miles off the Iraqi coast by antiaircraft artillery on 18 January 1991, after laying MK36 naval mines on a waterway linking the Iraqi naval base of Umm Qasr with the Persian Gulf. The pilot and the navigator/bombardier were killed. On 26 January, an EA-6B Prowler from Ranger spotted two large tankers in a waterway northeast of Bubiyan Island. Two of Ranger's A-6Es hit one of them with an AGM-123 Skipper missile on the starboard side.

On 6 February, an F-14A Tomcat of Fighter Squadron 1 (VF-1) "Wolfpack" launched from the Ranger downed an Iraqi Mi-8 Hip helicopter with an AIM-9M Sidewinder missile. At 9 pm EST on 27 February, President Bush declared Kuwait had been liberated and Operation Desert Storm would end at midnight.

On 21 April 1992, in harmony with other World War II 50th-anniversary festivities, Ranger participated in the commemorative re-enactment of the Doolittle Raid on Tokyo, Japan. Two World War II-era B-25 bombers were craned on board, and over 1,500 guests (including national, local and military media) were embarked to witness the two vintage aircraft travel down Ranger' flight deck and take off. In June, Ranger made an historic port visit to Vancouver, British Columbia, in conjunction with her final phase of pre-deployment workups.

Fully combat ready, Ranger began her 21st and final western Pacific and Indian Ocean deployment on 1 August 1992. On 18 August, she entered Yokosuka, for a six-day port visit and upkeep. Ranger entered the Persian Gulf on 14 September by transiting the Straits of Hormuz. The next day, Ranger relieved USS Independence (CV-62) in an unusual close-aboard ceremony and along with her embarked air wing, Carrier Air Wing 2, immediately began flying patrol missions in support of the United Kingdom and United States-declared "No Fly" zone in southern Iraq: Operation Southern Watch.

While in the Persian Gulf, former Cold War adversaries became at-sea partners as Ranger, British, and French naval forces joined with the Russian guided missile destroyer RUSSIAN DESTROYER Admiral Vinogradov for an exercise involving communication, maneuvering, and signaling drills. During joint operations, a Russian Kamov Ka-27 "Helix" helicopter landed aboard Ranger. It was the first such landing on a US Navy aircraft carrier.

Ranger left the Persian Gulf on 4 December 1992 and steamed at high speed to the coast of Somalia. Ranger played a significant role in the massive relief effort for starving Somalis in Operation Restore Hope. The Ranger/CVW-2 team provided photo and visual reconnaissance, airborne air traffic control, logistics support, and on-call close air support for Navy and Marine amphibious forces. Throughout Operations Southern Watch and Restore Hope, Ranger took 63 digital photographs which were sent by International Marine Satellite to the Navy Office of Information within hours of being taken. This was the first time digital pictures were successfully transmitted from a US Navy ship at sea.

On 19 December 1992, Ranger was relieved on station by Kitty Hawk and began her last journey homeward to San Diego.

Decommissioning and fate
After the late 1980s defense cuts, Ranger did not undergo the Service Life Extension Program (SLEP) modernization process as did her three sisters and the later Kitty Hawk-class ships, and by the early 1990s, her material condition was declining. Both the outgoing Bush and incoming Clinton administrations recommended cuts to the defense budget, so the retirement of Ranger, along with her sisters Forrestal and Saratoga, was put forth. Ranger was decommissioned on 10 July 1993 after 36 years of service, and was at the Naval Inactive Ship Maintenance Facility, Bremerton, Washington. This decommissioning came instead of a refit scheduled for the same year. Such an extension would have extended Ranger's life into 2002, requiring a reauthorization in 1994. In September 2010, the not-for-profit USS Ranger Foundation submitted an application to Naval Sea Systems Command proposing the donation of Ranger for use as a museum ship and multipurpose facility, to be located on the Columbia River at Chinook Landing Marine Park in Fairview, Oregon. However, in September 2012, NAVSEA rejected the foundation's proposal, and redesignated the ship for scrapping. Preparations for disposal Ranger were completed 29 May 2014.

In August 2014, a new attempt began to convince the Navy not to scrap the ship. A petition on Change.org attracted over 2500 signatures. The hope was that Ranger could be located in Long Beach harbor as a museum. However, when asked by the Long Beach Press-Telegram, NAVSEA stated that Ranger was no longer available for donation and was slated to be scrapped in 2015.

On 22 December 2014, the U.S. Navy paid one cent to International Shipbreaking of Brownsville, Texas, to tow and scrap Ranger. International Shipbreaking paid to tow her around South America, through the Straits of Magellan, as Ranger was too big to fit through the Panama Canal. The tow began on 5 March 2015 from the inactive ships maintenance facility, Bremerton, Washington, to Brownsville. International Shipbreaking expected to make a profit from Ranger after the costs of the tow and the actual dismantling of the ship.

On 7 April 2015, ex-Ranger was seen anchored about three miles offshore at Panama City, Panama, attracting a lot of wild speculation as President Obama was scheduled to arrive two days later, for the 7th Summit of the Americas. Newspapers went so far as to repeat the local speculation that the ship was there to provide security for President Obama. On 12 July 2015, Ranger arrived at Brownsville for scrapping. The scrapping process was completed on 1 November 2017, though more than five tons of historic items from the ship were preserved for display at the USS Lexington Museum.

Both of Ranger 's anchors were reused on the 2003 commissioned, USS Ronald Reagan.

Awards and decorations
Ranger earned 13 battle stars for service during the Vietnam War.

title: USS Ranger (CV-61)


text:
XENPAK

XENPAK is a multisource agreement (MSA), instigated by Agilent Technologies and Agere Systems, that defines a fiber-optic or wired transceiver module which conforms to the 10 Gigabit Ethernet (10GbE) standard of the Institute of Electrical and Electronics Engineers (IEEE) 802.3 working group. The MSA group received input from both transceiver and equipment manufacturers during the definition process. XENPAK has been replaced by more compact devices providing the same functionality.

History
The XENPAK MSA was publicly announced on March 12, 2001 and the first revision of the document was publicly released on May 7, 2001. The most recent revision of the MSA, Issue 3.0, was published on September 18, 2002. The result covered all physical medium dependent (PMD) types defined by the IEEE at that time for 802.3ae 10GbE.

Although the XENPAK agreement received early support, its modules were thought to be overly large for high-density applications. , vendors generally changed to use XFP modules for longer distances, and Enhanced small form-factor pluggable transceivers, known as SFP+ modules, for higher densities. The newer modules have a purely serial interface, compared to the four "lane" XAUI interface used in XENPAK.

Description
XENPAK modules were supplied for physical layer interfaces supporting multi-mode and single mode fiber optic cables and InfiniBand copper cables with connectors known as CX4. Transmission distances vary from 100 m to 80 km for fiber and up to 15 m on CX4 cable. Newer XENPAKs using the 10GBase-LX4 standard operated using multiple wavelengths on legacy multi-mode fibers at distances of up to 300 m, eliminating the need to reinstall cable in a building when upgrading certain 1 Gbit/s circuits to 10 Gbit/s.

Replacement form factors
The XENPAK form factor was initially supported by numerous network equipment manufacturers and module makers. However, advances in technology led to more compact form factors for 10 Gigabit Ethernet applications. Soon after the standard was introduced in 2001, two related standards emerged: XPAK and X2. These two standards have the same electrical interface as XENPAK (known as XAUI) but different mechanical properties.

The XPAK group was announced on March 19, 2002, first published their specification on May 24, 2002, and version 2.3 on August 1, 2003.

The X2 group was announced on July 22, 2002, and published their specification on February 13, 2003. Issue 3.0 of the XENPAK MSA was transferred to the Small Form Factor committee as document INF-8474 on September 18, 2002.

The XENPAK MSA website existed through the end of 2008.

Use with modern optics
As of 2014, adapters are available that permit use of any modern SFP+ 10 Gbit/s optic in a XENPAK interface.

title: XENPAK


text:
Talk:Art Tatum

Rainey vs. Reamy
A contributor who claims to be a cousin of Tatum's classical piano instructor tried to edit the article to change the name of the instructor from Rainey to Reamy, but without any citation. (The contributor also claimed that Reamy played boogie-woogie in Toledo nightclubs, which inspired Tatum's jazz.) A Google search reveals a 1940 U.S. Census entry for an "Overton J. Reamy", age 59, living in Toledo, Ohio. https://www.archives.com/1940-census/overton-reamy-oh-98178486, which could lend creedence to the Reamy spelling and account. A Google search for "Overton G. Rainey" turns up a lot of results, but can they all have originated from the "Rainey" spelling in Lester's bio? 98.244.137.86 (talk) 18:35, 18 March 2022 (UTC)kolef98.244.137.86 (talk) 18:35, 18 March 2022 (UTC)
 * We need reliable sources (WP:RS). Do any discuss this and prefer 'Reamy'? Lester (p37) states that Rainey was "black" and the census states that Reamy was "white", so something's wrong. The census page has something like "music teacher" for his occupation, so it's possible, but we need RS. EddieHugh (talk) 18:55, 18 March 2022 (UTC)

 * This "Find a Grave" webpage identifies "Overton James 'Ovie' Reamy" (1881 - 1957) as a blind musician and entertainer in Toledo, and contains a photo of him playing piano, and also contains part of an obituary which identifies him as Art Tatum's piano teacher: https://www.findagrave.com/memorial/122505050/overton-james-reamy
 * Also, "Overton J Reamy" is listed as being on the Board of Trustees for the Perkins School for the Blind or some related institution between 1920 and 1927: https://archive.org/stream/perkinsschoolfo202704perk/perkinsschoolfo202704perk_djvu.txt
 * In addition, the State of Ohio Annual Reports for 1909 lists "Overton J. Reamy" as a Toledo musician having graduated from the Ohio State School for the Blind in 1902: https://books.google.com/books?id=uoowAQAAMAAJ&pg=PA288&lpg=PA288&dq=%22Overton+J.+Reamy%22&source=bl&ots=-UKLdC4rgp&sig=ACfU3U1ihHnPUZtqbrat41hRUfEbwk0ktA&hl=en&sa=X&ved=2ahUKEwi_ouu__-P2AhXPVzABHaydAgsQ6AF6BAgGEAM#v=onepage&q=%22Overton%20J.%20Reamy%22&f=false
 * I believe these sources are sufficient to drop of footnote in the article regarding the spelling of his name. 98.244.137.86 (talk) 15:03, 26 March 2022 (UTC)kolef98.244.137.86 (talk) 15:03, 26 March 2022 (UTC)
 * Find a Grave isn't a reliable source. See Reliable sources/Perennial sources. We're close to having evidence to justify having a footnote, but for now we have what's too close to WP:SYNTH and/or the more general WP:OR. EddieHugh (talk) 20:32, 1 April 2022 (UTC)

Downbeat Magazine
The main article states that Tatum won the Downbeat Magazine Critics' Poll for three years in a row from 1954, and cites at footnote 118 to Lester's book. However, the Wikipedia article on Downbeat Magazine states that the Critics' Poll did not commence until 1961. https://en.wikipedia.org/wiki/DownBeat — Preceding unsigned comment added by 98.244.137.86 (talk) 19:07, 14 June 2022 (UTC)
 * The Wikipedia article is about the Hall of Fame votes. The Tatum article states "Tatum was inducted into the DownBeat Jazz Hall of Fame in 1964". That's different from the poll that he topped three years in a row ("for pianists"): DownBeat in 2021 referred to that year's poll being the sixty-ninth, putting the first in 1953. EddieHugh (talk) 18:07, 15 June 2022 (UTC)
 * Good catch. 98.244.137.86 (talk) 14:19, 17 June 2022 (UTC)kolef98.244.137.86 (talk) 14:19, 17 June 2022 (UTC)

Vision Should be in Lead
I think his issues seeing should be in the lead. I would add it but better someone who can integrate it properly. I think it is way more notable than his excessive drinking. Hausa warrior (talk) 07:23, 25 January 2023 (UTC)
 * I don't think so. His drinking was part of his chosen (and culturally influenced) lifestyle; his near-blindness was something he was largely born with. Thankfully, the world is moving on from highlighting what people can't do, and instead focusing on what they can do and choose to do. EddieHugh (talk) 20:09, 26 January 2023 (UTC)
 * I agree with Hausa warrior that Tatum's vision impairment should be in the lede. Compare, for example, the wiki lede on Michel Petrucciani:  "Michel Petrucciani (French pronunciation: [miʃɛl petʁutʃani]; Italian: [petrutˈtʃaːni]; 28 December 1962 – 6 January 1999) was a French jazz pianist. From birth he had osteogenesis imperfecta, a genetic disease that causes brittle bones and, in his case, short stature. He became one of the most accomplished jazz pianists of his generation despite his health condition and relatively short life."
 * See also wiki article on Andrea Boccelli:
 * "Andrea Bocelli OMRI OMDSM (Italian: [anˈdrɛːa boˈtʃɛlli]; born 22 September 1958) is an Italian tenor. He was born visually impaired, with congenital glaucoma, and at the age of 12, Bocelli became completely blind, following a brain hemorrhage resulting from a football accident. After performing evenings in piano bars and competing in local singing contests, Bocelli signed his first recording contract with the Sugar Music label. He rose to fame in 1994, winning the newcomer’s section of the 44th Sanremo Music Festival performing "Il mare calmo della sera"."
 * Tatum's visual impairment should be recognized from the start because he was unable to read music or see the keyboard like other piano players, which made his "musicality" even more remarkable. In addition, the article is not about Tatum's musicality; it's about Art Tatum.
 * 98.244.137.86 (talk) 13:07, 30 June 2023 (UTC)kolef98.244.137.86 (talk) 13:07, 30 June 2023 (UTC)
 * yes
 * 98.244.137.86 (talk) 13:08, 30 June 2023 (UTC)kolef98.244.137.86 (talk) 13:08, 30 June 2023 (UTC)

 * I still haven't made up my mind in one way or another and am, needless to say, willing to accept the consensus reached here. That said, User talk:EddieHugh makes an excellent point about "the world is moving on from highlighting what people can't do, and instead focusing on what they can do and choose to do". So, was Tatum an incredible musician because he was partially sighted? In other words, did his limited vision make him a better musician? Or was he a good musician who just happened to be partially sighted...? We'll obviously never know... But we can surmise.

 * The main reference used for this article (Lester 1994) actually points out that Tatum "disliked having attention drawn to his blindness...".

 * As for comparing the introduction to those of other articles on other musicians with disabilities (medical model of disability) or on other disabled musicians (social model of disability), that's not how these discussions should be focused. The inclusion or not of his impaired vision in the introduction should be based on how relevant it is in this specific case. Obviously it should be mentioned in article at some stage, which of course it is, but not necessarily right up there at the beginning.

 * On the other hand, to make broad, sweeping statements about how "he was unable to read music or see the keyboard like other piano players..." is pure conjecture. While we often read that he was a blind musician, which merely highlights the limited knowledge that any given writer/journalist/biographer has regarding blindness and visual impairment, we know he studied music at school using Braille, so we can safely assume he was well aware of, at least, the rudiments of music theory. On the other hand, pianists don't actually need to see the keyboard. Which might explain why there are so many notable blind pianists... totally blind musicians, not partially sighted. While we're surmising, the "fact" that many (most?) of them play jazz and blues, for example, may merely respond these genres [possibly] relying more on the feel for the music than on the sight reading required of classical music... --Technopat (talk) 14:43, 30 June 2023 (UTC)
 * Copying my comment from the GA review two years ago: "Tatum wasn't famous for being blind. He was famous for being a pianist. He also happened to be blind. I view highlighting such things as implying that someone was successful in a chosen pursuit despite not having something that most others take for granted. It's a bit patronising and can be a form of discrimination." EddieHugh (talk) 17:29, 30 June 2023 (UTC)
 * There's no problem at Stevie Wonder? Or at Ray Charles? What's different here? Thanks. 86.187.163.17 (talk) 21:53, 30 June 2023 (UTC)
 * Ask there. Lennie Tristano, Rahsaan Roland Kirk, George Shearing, Marcus Roberts, etc, etc, etc don't mention it in the lead. As Technopat points out, 'another article does it differently' isn't a great argument. EddieHugh (talk) 17:10, 1 July 2023 (UTC)
 * I don't know why its so important to include in the lead. Tatum wasn't notable for being blind. He wasn't even notable for being a "blind pianist". He was notable for being a pianist... that's it? Anyways, there is a long tradition of blind keyboard players in classical music and jazz, so this kind of thing has existed for a while. I worry that too much emphasis on his blindness creates the pseudo-historical that he overcame some great illness and triumphed into musical excellence (see this article for instance).  Aza24  (talk)   17:14, 2 July 2023 (UTC)
 * What some are saying is that Tatum's playing would be just as accomplished and he would be just as acclaimed, even if his eyesight had been normal. That may or may not be true, but the facts are that he was mostly blind and was a superlative musician.  To say that he was not famous for being blind is speculative.  Did anyone take a survey to determine that?  The notion that a person's disability should not be highlighted because we are becoming more enlightened is a noble sentiment. Yes, blind people don't want to be defined by their disability, nor do they want to be discriminated against for it. But not recognizing it, or saying "oh, there have been plenty of blind pianists", could be seen as minimizing or downplaying a serious disability.  Can a sighted person determine whether being blind is a significant impediment?  Anyway, in view of the divergent opinions, and with apologies to Art, I will let it rest.  98.244.137.86 (talk) 22:38, 8 July 2023 (UTC)kolef98.244.137.86 (talk) 22:38, 8 July 2023 (UTC)

Tidbits
The following tidbits were deleted from the article because of poor sourcing or perceptions of "cheerleading" or duplication or unencyclopedic quality, but are published here in Talk for posterity and the curious:

Critic Scott Yanow wrote, "Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries ... Art Tatum's recordings still have the ability to scare modern pianists."

Count Basie called him the eighth wonder of the world. Dave Brubeck observed, "I don't think there's any more chance of another Tatum turning up than another Wolfgang Amadeus Mozart." From the liner notes to Capitol CDP 7 92866 2. Dizzy Gillespie said, "First you speak of Art Tatum, then take a long deep breath, and you speak of the other pianists." Lester,Too Marvelous for Words.

"Jazz historian and commentator Ira Gitler declared that Tatum's "left hand was the equal of his right."[1] When Bud Powell was opening for Tatum at Birdland around 1950, the end of an era when musicians engaged in overt competition and so-called cutting sessions,[2] Powell reportedly said to Tatum, "Man, I'm going to really show you about tempo and playing fast. Anytime you're ready." Tatum laughed and replied, "Look, you come in here tomorrow, and anything you do with your right hand, I'll do with my left." Powell never took up the challenge.[3]"

"Charlie Parker (who helped develop bebop) was highly influenced by Tatum. When newly arrived in New York, Parker briefly worked as a dishwasher in a Manhattan restaurant where Tatum was performing and often listened to the pianist. Parker once said, "I wish I could play like Tatum's right hand!"[4]"

"When Oscar Peterson was still a boy, his father played him a recording of Tatum performing "Tiger Rag". Once the young Peterson was finally persuaded that it was performed by a single person, he was so intimidated that he did not touch the piano for weeks.[5] Peterson also stated that, "If you speak of pianists, the most complete pianist that we have known and possibly will know, from what I've heard to date, is Art Tatum."[6] "Musically speaking, he was and is my musical God, and I feel honored to remain one of his humbly devoted disciples."[7]"

"Here's something new..." pianist Hank Jones remembers thinking when he first heard Art Tatum on radio in 1935, "they have devised this trick to make people believe that one man is playing the piano, when I know at least three people are playing."[8]"

"The pianist Teddy Wilson observed, "Maybe this will explain Art Tatum. If you put a piano in a room, just a bare piano. Then you get all the finest jazz pianists in the world and let them play in the presence of Art Tatum. Then let Art Tatum play ... everyone there will sound like an amateur."[9]"

"Jazz critic Leonard Feather called Tatum "the greatest soloist in jazz history, regardless of instrument."[9]"

Fats Waller recalled the showdown: 'That Tatum, he was just too good... He had too much technique. When that man turns on the powerhouse, don't no one play him down. He sounds like a brass band.'When jazz pianist Stanley Cowell was growing up in Toledo, his father prevailed upon Tatum to play piano at the Cowell home. Stanley described the scene as, "Tatum played so brilliantly and so much ... that I thought the piano was gonna break. My mother left the room ... so I said 'What's wrong, Mama?' And she said 'Oh, that man plays too much piano.'"[38] A handful of critics, notably Keith Jarrett, have complained that Tatum played too many notes[39] or was too ornamental or was even 'unjazzlike'. Jazz critic Gary Giddins opined, "That is the essence of Tatum. If you don't like his ornament, you should be listening to someone else. That's where his genius is."[40] If you don't like his ornament, you should be listening to someone else. That's where his genius is.[10]

Generally playing at mezzoforte volume, Tatum employed the entire keyboard from deep bass tones to sonorous mid-register chords to sparkling upper register runs. He used the sustain pedal sparingly so that each note was clearly articulated, chords were cleanly sounded and the melodic line would not be blurred.[11][better source needed]

Using self-taught fingering, including an array of two-fingered runs, he executed the pyrotechnics with meticulous accuracy and timing. Tatum also displayed phenomenal independence of the hands and ambidexterity, which was particularly evident while improvising counterpoint.[citation needed] He also used his thumbs and little fingers to add melody lines while playing something else with his other fingers.[12]

A major event in his meteoric rise to success was his appearance at a cutting contest in 1933 at Morgan's bar in New York City that included Waller, Johnson and Willie "The Lion" Smith. Standard contest pieces included Johnson's "Harlem Strut" and "Carolina Shout", and Waller's "Handful of Keys". Tatum performed his arrangements of "Tea for Two" and "Tiger Rag", in a performance that was considered to be the last word in stride piano. Johnson, reminiscing about Tatum's debut afterward, simply said, "When Tatum played Tea For Two that night I guess that was the first time I ever heard it really played."[24] Tatum's debut was historic because he outplayed the elite competition and heralded the demise of the stride era. He was not challenged further until stride specialist Donald Lambert initiated a half-serious rivalry with him.

Duke Ellington, introduced in a club where Tatum was playing in 1938 by his manager, Irving Mills, stood up to acknowledge the applause but wouldn’t play himself: “I have a clause in my contract,” he joked, “that says I don’t play piano when Art Tatum is in the same room.” — Preceding unsigned comment added by 96.242.191.180 (talk) 19:15, 1 June 2019 (UTC)

Tatum’s sound was attributable to both his harmonic inventiveness and technical prowess. Many of his harmonic concepts and larger chord voicings (e.g., 13th chords with various flat or sharp intervals) were well ahead of their time in the 1930s (except for their partial emergence in popular songs of the jazz age) and they would be explored by bebop-era musicians a decade later. He worked some of the upper extensions of chords into his lines, a practice which was further developed by Bud Powell and Charlie Parker, which in turn was an influence on the development of ‘modern jazz’. Tatum also pioneered the use of dissonance in jazz piano, as can be heard, for example, on his recording of “Aunt Hagar’s Blues”,[27] which uses extensive dissonance to achieve a bluesy effect. In addition to using major and minor seconds, dissonance was inherent in the complex chords that Tatum frequently used.

His protean style was elaborate, pyrotechnic, dramatic and joyous, combining stride, jazz, swing, boogie-woogie and classical elements, while the musical ideas flowed in rapid-fire fashion. Benny Green wrote in his collected work of essays, The Reluctant Art, that “Tatum has been the only jazz musician to date who has made an attempt to conceive a style based upon all styles, to master the mannerisms of all schools and then synthesize those into something personal.”[29] He was playful, spontaneous and often inserted quotes from other songs into his improvisations.[30]

From the foundation of stride, Tatum made great leaps forward in technique and harmony and he honed a groundbreaking improvisational style that extended the limits of what was possible in jazz piano. His innovations were to greatly influence later jazz pianists, such as Powell, Thelonious Monk, Oscar Peterson, Billy Taylor, Bill Evans, Tete Montoliu and Chick Corea. One of Tatum’s innovations was his extensive use of the pentatonic scale, which may have inspired later pianists to further mine its possibilities as a device for soloing. Herbie Hancock described Tatum’s unique tone as “majestic” and devoted some time to unlocking this sound and to noting Tatum’s harmonic arsenal.[34] Yet much of Tatum’s keyboard vocabulary remains unassimilated by today’s crop of players.[35]

Oscar Peterson cited Tatum as one of the most “intimidating” pianists, and said that “there wasn’t a jazz pianist of the era who wasn’t influenced by him”.[39] Critic Gunther Schuller declared, “On one point there is universal agreement: Tatum’s awesome technique.”[40] That technique was marked by a calm physical demeanor and efficiency. Tatum did not indulge in theatrical physical or facial expression. The effortless gliding of his hands over difficult passages baffled most who witnessed the phenomenon. He especially astonished other pianists to whom Tatum appeared to be “playing the impossible.”[41] Even when playing scintillating runs at high velocity, it appeared that his fingers hardly moved. Hank Jones said: "When I finally met him and got a chance to hear him play in person, it seemed as if he wasn’t really exerting much effort, he had an effortless way of playing. It was deceptive. You’d watch him and you couldn’t believe what was coming out, what was reaching your ears. He didn’t have that much motion at the piano. He didn’t make a big show of moving around and waving his hands and going through all sorts of physical gyrations to produce the music that he produced, so that in itself is amazing. There had to be intense concentration there, but you couldn’t tell by just looking at him play."[42]

Noting Tatum's impact on musicians, Benny Green stressed in The Reluctant Art, "Tatum shattered everyone; Tatum caused all other musicians to lose confidence; Tatum terrified those who thought they knew how far jazz could be taken."

Tatum played chords with a relatively flat-fingered technique compared to the curvature taught in classical training. Composer/pianist Mary Lou Williams told Whitney Balliett, “Tatum taught me how to hit my notes, how to control them without using pedals. And he showed me how to keep my fingers flat on the keys to get that clean tone.” [47] Jimmy Rowles said, “Most of the stuff he played was clear over my head. There was too much going on—both hands were impossible to believe. You couldn’t pick out what he was doing because his fingers were so smooth and soft, and the way he did it—it was like camouflage.”[48] When his fastest tracks of “Tiger Rag” are slowed down, they still reveal a coherent, syncopated rhythm. — Preceding unsigned comment added by 96.242.191.180 (talk) 19:35, 1 June 2019 (UTC) — Preceding unsigned comment added by 174.56.173.184 (talk)

title: Talk:Art Tatum


text:
User:Bonfire2k4

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title: User:Bonfire2k4


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User:APerfectOutsider

I am awesome.

title: User:APerfectOutsider


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John Dobson (amateur astronomer)

John Lowry Dobson (14 September 1915 – 15 January 2014) was an American amateur astronomer and is best known for the Dobsonian telescope, a portable, low-cost Newtonian reflector telescope. He was also known for his efforts to promote awareness of astronomy (and his unorthodox views of physical cosmology) through public lectures including his performances of "sidewalk astronomy". Dobson was also the co-founder of the amateur astronomical group, the San Francisco Sidewalk Astronomers.

Biography
Dobson was born to Methodist missionary parents in China, but moved with his family back to the U.S. as a young child. He was a “belligerent atheist” as a young man. After earning a master's in chemistry, he encountered a teacher of a Vedanta monastic order, which seeks to integrate Veda-based religious precepts with rational inquiry, and joined the order, where he served as a Vedantan monk for 23 years. After leaving the order (in part because the time he surreptitiously dedicated to building telescopes did not meet the approval of the leader of the order's San Francisco monastery) he became an itinerant popularizer of amateur astronomy and sidewalk astronomy. In his later life, Dobson resumed regular association with a branch of the Vedanta order in southern California, but continued to dedicate most of his time to promoting public astronomy.

Early life and education
Dobson was born in Beijing, China. His maternal grandfather was the missionary Hiram Harrison Lowry, his mother was a musician, and his father taught zoology at a university. He and his parents moved to San Francisco, California in 1927. His father accepted a teaching position at Lowell High School and taught there until the 1950s. Dobson spent 23 years in a monastery, after which he became more active in promoting astronomy.

As a teen, Dobson became a "belligerent" atheist. He described his state of mind at that time:
 * "I could see that these two notions cannot arise in the same being: 'do unto others as you would that they do unto you' and 'if you're not a good boy, it's into hell for keeps.' ... They must be spoofing us. So I became an atheist – a belligerent atheist. If anybody started a conversation about the subject, I was a belligerent atheist."

Over time Dobson became interested in the universe and its workings. He earned a master's degree in chemistry at the University of California, Berkeley in 1943, working in E. O. Lawrence's lab.

Time at the monastery
In 1944 he attended a lecture by a Vedantan swami. Dobson said the swami “revealed to him a world he had never seen.” That same year Dobson joined the Vedanta Society monastery in San Francisco, becoming a monk of the Ramakrishna Order. “One of John's responsibilities at the monastery was to reconcile astronomy with the teachings of Vedanta. That job led him to build telescopes on the side. He took to wheeling them around outside the monastery, fascinating the neighbors who would congregate around him.”

Dobson's interest in telescope building was in part to better understand the universe, and in part to inspire in others a curiosity about the cosmos. To this end, he often offered assistance and corresponded about his work with those outside the monastery. Amateur telescope making was not part of the curriculum at the monastery, however, and much of his correspondence was written in code so as to attract less attention. For instance, a telescope was referred to as a "geranium", which is a type of flower. A "potted geranium" referred to a telescope in a tube and rocker, while a "geranium in bloom" referred to a telescope whose mirror was now aluminized.

Eventually Dobson was given the option of ceasing his telescope building or leaving the order. He chose to stop building telescopes so that he could remain at the monastery. But one day another monk wrongly accused him as missing and reported him to the head swami. Dobson was expelled in 1967. However, he maintains that the accusation was not the true reason for his expulsion. The true reason, he contends, was a result of a misunderstanding. The head swami read a paper that was presumed written by Dobson, that contradicted the reconciliation of science with Vedanta, and the swami thought Dobson had rejected the swami's teaching.

Amateur astronomy
Having left the order in 1967, Dobson in 1968 co-founded the San Francisco Sidewalk Astronomers, an amateur astronomy organization that aims to popularize astronomy among people on the street, along with Bruce Sams and Jeffery Roloff. Sams had built a large telescope but because at the time he was only age 12, he was not eligible for membership in the only local club – the San Francisco Amateur Astronomers – thus the “San Francisco Sidewalk Astronomers” was founded. It was also at this time that Dobson's simple form of telescope – which came to be known as the Dobsonian – became well known after he started teaching classes to the public on how to make your own telescope.

He was later asked to speak at the Vedanta Society of Southern California in Hollywood, and continued to spend two months there each year teaching telescope and cosmology classes. He spent two more months at his home in San Francisco, and spent most of the rest of each year traveling as an invited guest for astronomical societies, where he spoke about telescope building, sidewalk astronomy, and his views of cosmology and the scientific establishment.

Amateur cosmology
Dobson claimed the Big Bang model did not hold up to scrutiny, and instead advocated a non-standard cosmology; a “recycling” Steady State model of the universe, where matter in the universe is forever expanding outward, but matter also “recycles” over time via quantum tunneling. In an essay entitled, “Origins”, Dobson also argued that such a universe could allow for life to be ubiquitous and ever-present.

Honours
In 2004, the Crater Lake Institute presented Dobson with its Annual Award for Excellence in Public Service for pioneering sidewalk astronomy in the national parks and forests, “where curious minds and dark skies collide”.

In 2005, the Smithsonian magazine listed Dobson as among 35 individuals who have made a major difference during the lifetime of that periodical.

Death
Dobson died while in Providence / Saint Joseph Medical Center in Burbank, California on January 15, 2014. He was 98.

The Dobsonian telescope

Dobson's most enduring legacy is the refinement and promotion of a design for a large, portable, low-cost reflecting telescope, now known as the "Dobsonian telescope". The design is a very simple, low cost alt-azimuth mounted Newtonian telescope that employs common materials such as plywood, formica, PVC closet flanges, cardboard construction tubes, recycled porthole glass, and indoor-outdoor carpet. This type of simplified altazimuth mount has since been commonly referred to as a "Dobsonian mount" in amateur astronomical circles. Its construction method makes the typical Dobsonian telescope portable, inexpensive, very stable, and easy to manufacture, while revolutionizing the sheer size of telescopes available to amateur astronomers, with optical diameters unheard of before their appearance.

The design is named after Dobson because he is credited for being the first person to have combined all these construction techniques in a single telescope design. Dobson himself was reluctant to take credit, pointing out that he built it that way because it was all he needed. In his own words, he joked that he was "too retarded" to build a telescope with a more sophisticated equatorial telescope mount. With its simplicity of construction and use, the Dobsonian has become a very popular design today, particularly for large amateur telescopes. The Smithsonian National Air and Space Museum, in Washington, D.C., uses a Dobsonian telescope in the museum's public observatory, alongside other solar telescopes.

Sidewalk astronomers
Dobson co-founded the San Francisco Sidewalk Astronomers in coordination with two other people, having cheaply constructed several telescopes that were easy to use, including a 24 in telescope that was built for approximately US$300. Rather than have regular meetings, the organization simply set up telescopes on the sidewalk during clear evenings, offering to show and explain the night sky to people passing by. The telescope which Dobson used most frequently on the streets of San Francisco, was a classic 9 inch aperture Dobsonian, with a typical porthole-glass mirror of outstanding optical quality, made by one of his own students in a mirror making class. This telescope was portable enough that it could be taken by Dobson from his residence to many busy street corners in San Francisco, using the city's Muni public transportation. Appropriately nicknamed "Tumbleweed", since it traveled randomly about to numerous public observing locations, this 9 inch telescope is now shared among many astronomy clubs and organizations around the world, allowing people everywhere to observe the heavens with such an iconic instrument, just as Dobson would have wished.

Unexpectedly, the Sidewalk Astronomers were invited to the 1969 Riverside Telescope Makers Conference (Riverside County, California). The 24 in Dobsonian telescope brought by the Sidewalk Astronomers was unconventional, because most telescopes at such meetings tended to be smaller, on equatorial mounts, and designed for astrophotography rather than optical viewing. Surprisingly (and controversially at the time) Dobson's telescope tied in first prize for best optics. It was also awarded the runner up prize for mechanics, despite the mechanics of the telescope and its mount being exceptionally simple.

Sidewalk Astronomers has since become a prominent organization, recognized for its taking of astronomy to the public via "sidewalk astronomy". The current organization has members throughout the world, and continues to promote public service astronomy by putting telescopes on street corners in urban areas. Members of the organization also visit national parks giving slide show presentations, providing telescope viewing, and explaining the universe.

Publications by John Dobson
A 1991 book by Dobson & Sperling on telescope-making helped popularize what came to be known as the Dobsonian mount, and treats the why as being as important as the how. It covers Dobson's background and his philosophy on astronomy and the universe, and his belief in the importance of popular access to astronomy for proper appreciation of the universe. Dobson has also published two books on cosmology.

John Dobson in the media
Dobson's life and ideas are the subject of the 2005 documentary A Sidewalk Astronomer. He was also featured in the PBS series The Astronomers, and appeared twice on The Tonight Show Starring Johnny Carson. Dobson also appears as one of the speakers in Universe: The Cosmology Quest, a documentary about non-standard cosmological theories.

title: John Dobson (amateur astronomer)


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Gold cyanidation

Gold cyanidation (also known as the cyanide process or the MacArthur–Forrest process) is a hydrometallurgical technique for extracting gold from low-grade ore by converting the gold to a water-soluble coordination complex. It is the most commonly used leaching process for gold extraction. Cyanidation is also widely used in the extraction of silver, usually after froth flotation.

Production of reagents for mineral processing to recover gold represents more than 70% of cyanide consumption globally. Other metals are recovered from the process include copper, zinc, and silver, but gold is the main driver of this technology. Due to the highly poisonous nature of cyanide, the process is controversial and its use is even banned in some parts of the world. Cyanide can be safely used in the gold mining industry. A key feature for safe use of cyanide is to ensure adequate pH control at an alkaline pH level above 10.5. At industrial scale, pH control is mainly achieved using lime, as an important enabling reagent in gold processing.

History
In 1783, Carl Wilhelm Scheele discovered that gold dissolved in aqueous solutions of cyanide. Through the work of Bagration (1844), Elsner (1846), and Faraday (1847), it was determined that each atom of gold required two cyanide ions, i.e. the stoichiometry of the soluble compound.

Industrial process
The expansion of gold mining in the Rand of South Africa began to slow down in the 1880s, as the new deposits being found tended to contain pyritic ore. The gold could not be extracted from this compound with any of the then available chemical processes or technologies. In 1887, John Stewart MacArthur, working in collaboration with brothers Robert and William Forrest for the Tennant Company in Glasgow, Scotland, developed the MacArthur–Forrest process for the extraction of gold from gold ores. Several patents were issued in the same year. By suspending the crushed ore in a cyanide solution, a separation of up to 96 percent pure gold was achieved. The process was first used on the Rand in 1890 and, despite operational imperfections, led to a boom of investment as larger gold mines were opened up.

By 1891, Nebraska pharmacist Gilbert S. Peyton had refined the process at his Mercur Mine in Utah, "the first mining plant in the United States to make a commercial success of the cyanide process on gold ores." In 1896, Bodländer confirmed that oxygen was necessary for the process, something that had been doubted by MacArthur, and discovered that hydrogen peroxide was formed as an intermediate. Around 1900, the American metallurgist Charles Washington Merrill (1869–1956) and his engineer Thomas Bennett Crowe improved the treatment of the cyanide leachate, by using vacuum and zinc dust. Their process is the Merrill–Crowe process.

Chemical reactions
The chemical reaction for the dissolution of gold, the "Elsner equation", follows:
 * 4Au + 8NaCN + O2 + 2H2O → 4Na[Au(CN)2] + 4NaOH

Potassium cyanide and calcium cyanide are sometimes used in place of sodium cyanide.

Gold is one of the few metals that dissolves in the presence of cyanide ions and oxygen. The soluble gold species is dicyanoaurate. from which it can be recovered by adsorption onto activated carbon.

Application
The ore is comminuted using grinding machinery. Depending on the ore, it is sometimes further concentrated by froth flotation or by centrifugal (gravity) concentration. Water is added to produce a slurry or pulp. The basic ore slurry can be combined with a solution of sodium cyanide or potassium cyanide; many operations use calcium cyanide, which is more cost effective.

To prevent the creation of toxic hydrogen cyanide during processing, slaked lime (calcium hydroxide) or soda (sodium hydroxide) is added to the extracting solution to ensure that the acidity during cyanidation is maintained over pH 10.5 - strongly basic. Lead nitrate can improve gold leaching speed and quantity recovered, particularly in processing partially oxidized ores.

Effect of dissolved oxygen
Oxygen is one of the reagents consumed during cyanidation, accepting the electrons from the gold, and a deficiency in dissolved oxygen slows leaching rate. Air or pure oxygen gas can be purged through the pulp to maximize the dissolved oxygen concentration. Intimate oxygen-pulp contactors are used to increase the partial pressure of the oxygen in contact with the solution, thus raising the dissolved oxygen concentration much higher than the saturation level at atmospheric pressure. Oxygen can also be added by dosing the pulp with hydrogen peroxide solution.

Pre-aeration and ore washing
In some ores, particularly those that are partially sulfidized, aeration (prior to the introduction of cyanide) of the ore in water at high pH can render elements such as iron and sulfur less reactive to cyanide, therefore making the gold cyanidation process more efficient. Specifically, the oxidation of iron to iron (III) oxide and subsequent precipitation as iron hydroxide minimizes loss of cyanide from the formation of ferrous cyanide complexes. The oxidation of sulfur compounds to sulfate ions avoids the consumption of cyanide to thiocyanate (SCN−) byproduct.

Recovery of gold from cyanide solutions
In order of decreasing economic efficiency, the common processes for recovery of the solubilized gold from solution are (certain processes may be precluded from use by technical factors):
 * Carbon in pulp
 * Electrowinning
 * Merrill–Crowe process

Cyanide remediation processes
The cyanide remaining in tails streams from gold plants is potentially hazardous. Therefore, some operations process the cyanide-containing waste streams in a detoxification step. This step lowers the concentrations of these cyanide compounds. The INCO-licensed process and the Caro's acid process oxidise the cyanide to cyanate, which is not as toxic as the cyanide ion, and which can then react to form carbonates and ammonia:

 * + [O] →
 * + 2 →  +

The Inco process can typically lower cyanide concentrations to below 50 mg/L, whereas the Caro's acid process can lower cyanide levels to between 10 and 50 mg/L, with the lower concentrations achievable in solution streams rather than slurries. Caro's acid – peroxomonosulfuric acid (H2SO5) - converts cyanide to cyanate. Cyanate then hydrolyses to ammonium and carbonate ions. The Caro's acid process is able to achieve discharge levels of Weak Acid Dissociable" (WAD) cyanide below 50 mg/L, which is generally suitable for discharge to tailings. Hydrogen peroxide and basic chlorination can also be used to oxidize cyanide, although these approaches are less common. Typically, this process blows compressed air through the tailings while adding sodium metabisulfite, which releases SO2. Lime is added to maintain the pH at around 8.5, and copper sulfate is added as a catalyst if there is insufficient copper in the ore extract. This procedure can reduce concentrations of WAD cyanide to below the 10 ppm mandated by the EU's Mining Waste Directive. This level compares to the 66-81 ppm free cyanide and 500-1000 ppm total cyanide in the pond at Baia Mare. Remaining free cyanide degrades in the pond, while cyanate ions hydrolyse to ammonium. Studies show that residual cyanide trapped in the gold-mine tailings causes persistent release of toxic metals (e.g. mercury ) into the groundwater and surface water systems.

Effects on the environment
Despite being used in 90% of gold production: gold cyanidation is controversial due to the toxic nature of cyanide. Although aqueous solutions of cyanide degrade rapidly in sunlight, the less-toxic products, such as cyanates and thiocyanates, may persist for some years. The famous disasters have killed few people — humans can be warned not to drink or go near polluted water, but cyanide spills can have a devastating effect on rivers, sometimes killing everything for several miles downstream. The cyanide is soon washed out of river systems and, as long as organisms can migrate from unpolluted areas upstream, affected areas can soon be repopulated. According to Romanian authorities, in the Someș river below Baia Mare, the plankton returned to 60% of normal within 16 days of the spill; the numbers were not confirmed by Hungary or Yugoslavia. Famous cyanide spills include:

Such spills have prompted fierce protests at new mines that involve use of cyanide, such as Roşia Montană in Romania, Lake Cowal in Australia, Pascua Lama in Chile, and Bukit Koman in Malaysia.

Alternatives to cyanide
Although cyanide is cheap, effective, and biodegradable, its high toxicity has incentivized to alternative methods for extracting gold. Other extractants have been examined including thiosulfate (S2O32−), thiourea (SC(NH2)2), iodine/iodide, ammonia, liquid mercury, and alpha-cyclodextrin. Challenges include reagent cost and the efficiency of gold recovery. Thiourea has been implemented commercially for ores containing stibnite. Yet another alternative to cyanidation is the family of glycine-based lixiviants.

Legislation
The US states of Montana and Wisconsin, the Czech Republic, Hungary, have banned cyanide mining. The European Commission rejected a proposal for such a ban, noting that existing regulations (see below) provide adequate environmental and health protection. Several attempts to ban gold cyanidation in Romania were rejected by the Romanian Parliament. There are currently protests in Romania calling for a ban on the use of cyanide in mining (see 2013 Romanian protests against the Roșia Montană Project).

In the EU, industrial use of hazardous chemicals is controlled by the so-called Seveso II Directive (Directive 96/82/EC, which replaced the original Seveso Directive (82/501/EEC brought in after the 1976 dioxin disaster. "Free cyanide and any compound capable of releasing free cyanide in solution" are further controlled by being on List I of the Groundwater Directive (Directive 80/68/EEC) which bans any discharge of a size which might cause deterioration in the quality of the groundwater at the time or in the future. The Groundwater Directive was largely replaced in 2000 by the Water Framework Directive (2000/60/EC).

In response to the 2000 Baia Mare cyanide spill, the European Parliament and the Council adopted Directive 2006/21/EC on the management of waste from extractive industries. Article 13(6) requires "the concentration of weak acid dissociable cyanide in the pond is reduced to the lowest possible level using best available techniques", and at most all mines started after 1 May 2008 may not discharge waste containing over 10ppm WAD cyanide, mines built or permitted before that date are allowed no more than 50ppm initially, dropping to 25ppm in 2013 and 10ppm by 2018.

Under Article 14, companies must also put in place financial guarantees to ensure clean-up after the mine has finished. This in particular may affect smaller companies wanting to build gold mines in the EU, as they are less likely to have the financial strength to give these kinds of guarantees.

The industry has come up with a voluntary "Cyanide Code" that aims to reduce environmental impacts with third party audits of a company's cyanide management.

title: Gold cyanidation


text:
New England Anti-Slavery Society

The New England Anti-Slavery Society (1831–1837) was formed by William Lloyd Garrison, editor of The Liberator, in 1831. The Liberator was its official publication.

Based in Boston, Massachusetts, members of the New England Anti-slavery Society supported immediate abolition and viewed slavery as immoral and non-Christian (sinful). It was particularly opposed to the American Colonization Society, which proposed sending African Americans to Africa.

The founding meeting took place on January 1, 1831, in the vestry of the Belknap Street Church. (Some sources list the date as January 1, 1832.) Garrison was the principal founder. The other founding members were: Benjamin Bierly of Amesbury, Massachusetts, Reverend Elijah Blanchard, Dr. Gamaliel Bradford, Elizabeth B. Chase, Joshua Easton, also a member of the Massachusetts General Colored Association, Charles Theodore Follen, Reverend Henry Grew, Reverend Cyrus Pitt Grosvenor, Ellis Gray Loring, Captain Jonas Parker of Reading, Massachusetts, Reverend Perry of Mendon, Massachusetts, Reverend Amos August Phelps, Reverend Aaron Pickett of Reading, Massachusetts, Samuel Edmund Sewall, Horace Wakefield, Amasa Walker, and a Reverend Yates.

The society sponsored lecturers or "agents" who traveled throughout the New England area, speaking in local churches or halls, and also selling abolitionist tracts or The Liberator. Whenever possible, the Society's agents would also encourage the formation of local anti-slavery societies. By 1833 there were 47 local societies in ten northern states, 33 of them in New England. The society also sponsored mass mobilizations such as yearly anti-slavery conventions and celebrations of July 4 or — preferred by those who believed celebrating July 4 was unacceptable since the U.S. Constitution accepted slavery — the Anniversary of the Abolition of Slavery in the West Indies, August 1.

John Levy, "a colored gentleman" from Lowell, decries insufficient involvement of free Negroes in the struggle. Garrison, Birney, Burleigh, Henry Stanton, and other stalwarts speak at length.

Massachusetts General Colored Association
In January 1833, Thomas Dalton, president of the Massachusetts General Colored Association, led a successful petition to merge with the New England Anti-Slavery Society. Separate black anti-slavery societies had already existed in Massachusetts, New York, Ohio, Connecticut, and New Jersey, however, a strong feeling against the organization of separate anti-slavery societies had been emerging.

Together they organized anti-slavery conventions and speaking programs throughout New England.

Sometime after Joshua Easton was sent as a delegate to the New England society in 1833, African Americans were granted full membership in the organization.

American Anti-Slavery Society
In 1833, Garrison and Arthur Tappan expanded this society and formed the American Anti-Slavery Society. The American Anti-Slavery Society, however, attempted to create state-based organizations under the umbrella of its executive committee. At first the New England Anti-Slavery Society and the American Society worked together, with the New England Society becoming an auxiliary in 1834.

Massachusetts Anti-Slavery Society
In 1838, however, the New England Society gave up its regional jurisdiction and reorganized into the Massachusetts Anti-Slavery Society. The society took a proactive role in advocating for legislation against new slave codes and laws, particularly within Massachusetts, including publishing treatises related to proposals to outlaw or penalize those participating in the activities and formation of societies relating to abolition and anti-slavery activities.

Annual meetings were held in Boston at Julien Hall, Melodeon, and Tremont Temple. Officers included James N. Buffum, Francis Jackson, Wendell Phillips, Parker Pillsbury, and Edmund Quincy. Lecturers affiliated with the society included  William Wells Brown, Frederick Douglass, Samuel Joseph May, and Charles Lenox Remond. Joel W. Lewis was the chairman in 1840.

The New England Anti-Slavery Society held conventions in:
 * Boston, Massachusetts, May 30, 31 and June 1 and 2, 1837

The Massachusetts Anti-Slavery Society held conventions in:
 * Worcester, Massachusetts, October 1840
 * Nantucket, Massachusetts, 1841

Following the Civil War the Massachusetts Anti-Slavery Society took up the cause of racial equality.

Massachusetts Anti-Slavery Society

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title: New England Anti-Slavery Society