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Steve Smith Sr.

Stevonne Latrall Smith Sr. (born May 12, 1979), primarily known during his playing career as just Steve Smith, is an American sportscaster and a former professional football player. Smith was a wide receiver for sixteen seasons in the National Football League (NFL), primarily with the Carolina Panthers, also playing for the Baltimore Ravens. He played college football for the Utah Utes, and was selected by the Panthers in the third round of the 2001 NFL draft. After retiring from the NFL, Smith became a sports analyst and show host for NFL Network.

Smith, a five-time Pro Bowl selection and three-time All-Pro, emerged as one of the NFL's most productive wide receivers of the 21st century, leading the league in catches, receiving yards, and touchdowns in 2005. He played for the Panthers for thirteen seasons before signing with the Ravens in March 2014, and is the Panthers' all-time leader in total touchdowns (67), receptions (836) and receiving yards (12,197). In 2011, he became the 35th player in NFL history to amass 10,000 receiving yards. At the time of his retirement, he ranked seventh in NFL career all-purpose yards (19,180), seventh in NFL career receiving yards (14,731), twelfth in career receptions (1,031), and 25th in receiving touchdowns (81). Smith generated more than 1,000 all-purpose yards in eleven different seasons and at least 1,900 all-purpose yards in four of his first five seasons.

Early life
Smith attended University High School in Los Angeles, and was a letterman in football and track & field. In football, he played running back and defensive back, and was an All-Metro League selection as well as an All-California Interscholastic Federation selection. Smith graduated from University High School in 1997.

In track & field, he set a handful of school records, was named as an All-City selection as a high-hurdler, and also excelled in the triple jump and 300m hurdles. He had personal-bests of 14.95 seconds in the 110m hurdles and 38.73 seconds in the 300m hurdles.

College career
After graduating from high school, Smith attended Santa Monica College. While playing for the Santa Monica Corsairs football team, Smith quickly defined himself as a talented football player, and earned a starting position. During this time, Smith was teammates with future NFL wide receiver Chad Johnson, surprising fans of the small college team with their unexpected talents.

While impressing spectators with his performance on the football field, Santa Monica's head coach, Robert Taylor, encouraged Smith to not play for riches or fame, but to play so that he might earn a scholarship to a Division-I school, where he could receive a better education. He also advised Smith and Johnson to not do touchdown celebrations and as Smith said, "they put the cuffs on us." Smith took Taylor's advice to heart, and excelled in his academics, not missing a single day of classes while attending Santa Monica.

After completing two years at Santa Monica College, Smith transferred to the University of Utah, where he established himself as a standout wideout for the Utah Utes football team in the Mountain West Conference where he was a teammate of future NFL running back Mike Anderson. While at the University of Utah, Smith set a record for yards per catch with a 20.6 average, and was chosen to play for the conference's all-star team twice. In his first season on the team, he ranked 4th in the NCAA in both punt return yards (495) and yard per return (17.1). However, he missed their bowl game in his final season due to injury. After the Blue–Gray All-Star game on December 25, 2000, Smith began to receive attention from various NFL scouts. He was named offensive MVP of the January 13, 2001, East–West Shrine Game. Smith finished his time at Utah with 78 receptions for 1,608 yards and 12 touchdowns, with another 1,365 return yards and 4 touchdowns on special teams.

He and his wife have endowed an athletics scholarship at the University of Utah.

2001 season
The Carolina Panthers chose Smith in the third round (74th overall) during the 2001 NFL draft.

Smith spent a majority of his rookie season as a kick and punt returner, leading all rookies in net yardage with 1,994 yards, and landing in fourth place among all NFL players behind Priest Holmes, Marshall Faulk, and Derrick Mason. In his first play as a professional, Smith returned the opening kickoff of the first game of the season for a touchdown. Smith also had 10 catches for 154 yards, and rushed 4 times for 43 yards.

However, the team finished 1-15, winning only their season opener against the Minnesota Vikings.

2002 season
During the 2002 NFL season, Smith earned a starting position as a wide receiver and continued as the team's kick returner and punt returner. Smith finished the 2002 season with 54 receptions for 872 yards and 3 touchdowns.

2003 season and Super Bowl XXXVIII
During the 2003 season, Smith played a critical role for the Panthers offense and helped lead them to their first NFC title in franchise history. He finished the regular season with 88 receptions for 1,110 yards and 7 touchdowns. He eclipsed the 1,000 receiving yards mark for the first time in his career in 2003. During the NFC divisional playoffs, Smith caught a 69-yard pass and ran it for a touchdown in the 2nd overtime period to defeat the St. Louis Rams 29–23. He finished that game with 6 catches, 163 yards, and the one TD. In Super Bowl XXXVIII, he caught 4 passes for 80 yards and a touchdown, and returned a kickoff for 30 yards in the Panthers' 32–29 loss to the New England Patriots.

2004 season and injury
Smith suffered a broken leg during the 2004 NFL season opener against the Green Bay Packers, and was out for the remainder of the year. Before the injury, he managed to record 6 catches for 60 yards, and even attempted a pass which fell incomplete.

2005 season and comeback
In the 2005 NFL season, Smith recovered from his injury to have the best season of his career. He earned the "Triple Crown" of receiving, leading the NFL in receptions (103), receiving yards (1,563), and receiving touchdowns (12) and became only the third player, after Jerry Rice (1990) and Sterling Sharpe (1992), to accomplish this feat in the Super Bowl era. Smith also returned 27 punts for 286 yards. His 10.6 yards/punt return was the second-highest of his career, after his 10.7 yards/punt return in his rookie season.

Smith dominated the first two rounds of the 2005–06 NFL playoffs. In a Wild Card Round victory over the New York Giants, Smith caught 10 passes for 84 yards and a touchdown, and rushed for 12 yards and another score. The Panthers then defeated the Chicago Bears in the divisional round, aided by Smith's franchise record 12 receptions for 218 yards and 2 touchdowns. Smith and the Panthers then faced the Seattle Seahawks in the NFC Championship. Although he scored on a 59-yard punt return, Smith was held to 33 receiving yards on 5 catches, and the Panthers lost by a score of 34–14.

Smith, along with teammates Jake Delhomme, Julius Peppers, and Mike Wahle were invited to the 2006 Pro Bowl after the season. Smith also shared the 2005 NFL Comeback Player of the Year Award with New England Patriots' linebacker Tedy Bruschi.

2006 season
After suffering a hamstring injury and developing an ingrown toenail in training camp before the 2006 season, Smith returned to the field after missing two weeks of action. Smith was double covered frequently but still managed to battle through that and injuries to finish the year with 83 catches for 1,186 yards and 8 touchdowns. He was also invited to the 2007 Pro Bowl, his second Pro Bowl in a row and third overall. His contract ran up after the season. On March 1, he signed an extension.

2007 season
By May 4, he signed a new extension worth $45 million for six years. Smith started 15 games for the Panthers during their 2007 season, and led Carolina with 87 catches, 1,002 receiving yards, and 7 touchdowns despite playing with four different starting quarterbacks due to injury to starting quarterback Jake Delhomme.

2008 season
Smith made headlines during the 2008 training camp when he was involved in an altercation with teammate Ken Lucas on August 1, 2008. Smith broke Lucas's nose during the fight and was later sent home for the remainder of the day after reportedly apologizing. Smith was given a two-game suspension by the team. Smith then suffered a severe concussion during the 2008 preseason opener against the Indianapolis Colts, where Smith was hit in the head when catching a pass. He continued to play that game, but did not travel with the team to their next game against the Philadelphia Eagles. After returning from suspension and scoring his first touchdown of the 2008 season, Smith presented the ball to Lucas on the sideline. Despite his 2-game suspension, Smith was voted to play in the 2009 Pro Bowl after he managed to catch 78 passes for 1,421 receiving yards and 6 touchdowns, leading the NFL in receiving yards per game.

2009 season
During Week 16 of the 2009 NFL season, Smith broke his left forearm on a touchdown catch in a game against the New York Giants causing him to sit out the final game of the year. Smith finished the year with 982 yards on 65 receptions and 7 touchdowns, just 18 yards shy of a fifth consecutive 1,000 yard receiving season. On January 1, 2010, Smith was placed on injured reserve following the injury, and on June 19, 2010, Smith broke his arm again while playing flag football.

2010 season
2010 was Smith's worst season as a starter since 2002. Although he led the team in both receptions and receiving yards, he only managed 46 catches for 554 yards. In addition, he only caught two touchdown passes, 1 fewer than rookie David Gettis. Smith's low numbers were due to the total lack of team offense behind rookie quarterback Jimmy Clausen. The Panthers finished last in most offensive categories and with a 2–14 record, which was the worst in the 2010 season, securing the 1st overall pick in the 2011 NFL draft. Smith's dissatisfaction led to widespread rumors amongst the Panthers fan base that the star receiver wanted to be traded from the team for the 2011 season.

2011 season
Smith opened up the 2011 season strong, gaining 178 yards and 2 touchdowns on 8 catches, including a 77-yard reception for a touchdown. Smith followed his week 1 performance with another 150-yard receiving game, but had a fumble during the game as well. On November 27, 2011, Smith surpassed the 1,000-yard receiving mark. During Week 14, he became the 35th player in NFL history to reach the 10,000-yard receiving mark after a 125-yard performance against the Atlanta Falcons. Smith reached a total of 1,394 yards on 79 catches, and was one catch away from reaching the 700 rec mark. Smith was selected to his fifth Pro Bowl.

2012 season
Prior to the season, he signed a three-year extension worth $18 million. Smith played in all 16 games in 2012, recording 73 receptions for 1,174 yards and four touchdowns.

2013 season
In 2013, Smith continued to play well, despite hauling in only 64 receptions, his lowest since 2010. On December 22, 2013, Smith received a PCL sprain against the New Orleans Saints. The Panthers came out on top of the Saints 17-13. Smith received his 800th reception in the 2013 season.

Smith was released by the Panthers on March 13, 2014.

2014 season
Prior to signing with the Ravens, Smith stated that if he happens to meet his former team, the Panthers, again, to "put your goggles on cause there's going to be blood and guts everywhere." On March 14, 2014, Smith signed a three-year contract with the Baltimore Ravens, worth $11.5 million with a $3.5 million bonus. In the Ravens' season opener against the Cincinnati Bengals, Smith caught 7 passes for 118 yards and an 80-yard touchdown, but the Ravens lost the game 23–16. In Week 3 against the Cleveland Browns, Smith caught 5 passes for 101 yards, including a 32-yard reception that set up the game-winning field goal, as the Ravens won 23–21.

In Week 4, Smith faced his old team. On the Ravens' second possession of the game, quarterback Joe Flacco threw a pass which was tipped by Owen Daniels and landed in the arms of Smith, who took the ball to the end zone for a 61-yard touchdown. Later in the game, Flacco fumbled a snap. He picked up the ball and threw a pass to a covered Smith, who caught it in the back of the end zone, despite being held by cornerback Melvin White. Smith finished the game with 7 catches for 139 yards and two touchdowns as the Ravens defeated the Panthers 38–10.

In Week 6, Smith caught a 56-yard touchdown pass in a game in which Flacco threw a career-high five touchdown passes and set the record for the fastest time to throw them (16:03). In addition to the 56 yard score, Smith recorded 5 total catches for 110 yards. In Week 15, Smith caught his 900th career reception against the Jacksonville Jaguars, as the Ravens won 20–12. In Week 17, Smith reached the single-season 1,000-yard mark for the eighth time in his career. In that game, the Ravens defeated the Cleveland Browns 20–10 and clinched a playoff berth.

Smith finished the 2014 regular season with 79 receptions, 1,065 yards and 6 touchdowns. He also fumbled twice and lost one. In the wild card round of the playoffs, Smith caught five passes for 101 yards as the Ravens defeated the division rival Pittsburgh Steelers for the first time ever in the playoffs. In the divisional round of the playoffs, Smith caught three passes for 44 yards and a touchdown, as the Ravens lost and had their season ended by the eventual Super Bowl XLIX champion New England Patriots.

2015 season
During a press conference on August 10, 2015, Smith announced the upcoming season would be his last.

During the Ravens' third preseason game, against the Redskins, Smith was ejected along with cornerback Chris Culliver. Smith's son went to Twitter, saying, "1st time I've ever gotten to watch a game with my dad. Thanks @NFL". The Ravens' Twitter account tweeted that Smith was ejected for a skirmish, and his son responded to it by saying, "Actually got ejected for ballin too hard". Smith was named starting punt returner after Week 1; at 36, he was and is among the oldest punt returners in league history. In the Ravens' first win against the Pittsburgh Steelers in Week 4, he was forced to leave the game in third quarter due to a lower back injury he suffered after a hit from linebacker Lawrence Timmons. Two days later, it was announced that Smith broke four of his ribs in the Week 4 game.

In a Week 8 game against the San Diego Chargers, Smith tore his achilles tendon, and it was announced he would be out for the rest of the 2015 season. He ended the season having played seven games, racking up 46 catches for 670 yards and three touchdowns.

On December 30, 2015, Smith announced that he would be returning to the Ravens for the 2016 season.

2016 season
Smith had another solid year with the Ravens, he caught 70 passes for 799 yards and 5 touchdowns. In Week 4, he had his only 100+ yard game of the season against Oakland, where he had eight receptions for 111 yards and a touchdown. In the game, Smith finally passed Andre Johnson to become the NFL's active leader in receiving yards. Smith also reached the 1,000 reception mark, the 14th player to reach this milestone. On January 2, 2017, Smith officially announced his retirement from the NFL. He retired with 1,031 receptions (then 12th all-time) for 14,731 yards (7th) and 81 touchdowns (tied for 17th with Art Powell).

Career accomplishments

 * In 2001, Smith was the first rookie to make the Pro Bowl as a special teams player since Tyrone Hughes in 1993.
 * In 2003, Smith's 404 postseason receiving yards were the 2nd most ever (behind Jerry Rice's 409 in 1988).
 * In 2005, Smith became the first player since Washington Redskins' receiver Art Monk in 1984 to lead the NFL in receptions for a team that ran more often than it passed.
 * In 2005, Smith earned the NFL's receiving "triple crown", leading the league in receptions (103), yards (1,563) and touchdowns (12).
 * In 2008, Smith became the only player in history to lead the league in receiving yards per game despite being on an offense that was last in pass attempts.
 * Smith and Hall of Famer Tim Brown are the only players in NFL history who have at least 1,000 receptions and have scored touchdowns on runs, catches, punt returns and kick returns.
 * Smith is one of only three players in history to run back two punts for touchdowns and catch a touchdown pass in the same game.
 * Smith led the NFL in receiving yards per game in the 2008 NFL season.
 * All-time Panthers leader in receiving yards (12,197), passing Muhsin Muhammad (9,255) in 2011.
 * Caught his 1,000th career reception on November 20, 2016, in a game against the Dallas Cowboys.

NFL records

 * Highest punt return average in a single game: 51.0 (December 8, 2002, vs Cincinnati Bengals)

Panthers franchise records
's NFL off-season, Steve Smith held at least 72 Panthers records, including:
 * Receptions, career (836), season (103 in 2005), game (14 on 2005-11-20 @CHI), playoffs (51), playoff season (27 in 2005), playoff game (12 on 2006-01-15 @CHI)
 * Receiving yards, career (12,197), season (1,563 in 2005), game (201 on 2005-10-30 MIN), playoffs (856), playoff season (404 in 2003), game (218 on 2006-01-15 @CHI)
 * Yards per reception, career (14.6)
 * Receiving touchdowns, career (67), game (3, twice; with Muhsin Muhammad x2), playoffs (8), playoff season (3 in 2003 and 2005), playoff game (2 on 2006-01-15 @CHI; with Kelvin Benjamin)
 * Receiving yards per game, career (67.0), season (101.5 in 2008), playoffs (95.1), playoff season (111.7 in 2005)
 * Total touchdowns, career (75), playoffs (10), playoff season (5 in 2005), playoff game (2 on 2006-01-08 @NYG and 2006-01-15 @CHI; with three other players)
 * Yards from scrimmage: career (12,584), playoffs (901), playoff season (411 in 2003), playoff game (244 on 2006-01-15 @CHI)
 * All-Purpose yards: career (16,607), season (1,994 in 2001), game (313 on 2002-12-08 CIN), playoffs (1,015), playoff season (467 in 2003), playoff game (243 on 2006-01-15 @CHI), rookie season (1,994), rookie game (269 on 2001-11-11 @STL)
 * Kickoff return yards, game (252 on 2001-11-11 @STL)
 * Kickoff return touchdowns, season: 2 (2001; with Michael Bates)
 * Punt returns: career (178), season (55 in 2002), game (9 on 2002-09-15 DET), playoff game (3 on 2004-01-03 DAL; with Ted Ginn Jr.)
 * Punt return yards: career (1,652), game (153 on 2002-12-08 CIN), playoffs (73), playoff season (58 in 2005), and playoff game (59 on 2006-01-22 @SEA)
 * Yards per punt return: game (51.0 on 2002-12-08 CIN), playoffs (10.43), playoff game (4.33 on 2004-01-03 DAL)
 * Punt return touchdowns: career (4), season and game (2 on 2002-12-08 CIN), and only Panther with a postseason punt return TD (2006-01-22 @SEA)
 * Total return yards: career (4,023), season (1,795 in 2001), game (206 on 2001-10-14 NOR)
 * Games with 100+ receiving yards: career (46), season (10 in 2005), playoffs (3)
 * Games with 1+ TD scored: career (71), season (12 in 2005), playoffs (8)
 * Games with 2+ TD scored: career (11; with DeAngelo Williams), season (5 in 2005; with Muhsin Muhammad and DeAngelo Williams), playoffs (2)
 * Games with 3+ TD scored: career (3; with DeAngelo Williams)
 * Seasons with 1,000+ receiving yards: 7

Broadcasting career
One month after retiring from the NFL, Smith signed a multi-year contract to appear as an analyst on multiple shows on NFL Network.

Before the 2021 Carolina Panthers season, Smith joined the Panthers' broadcast team to call preseason games. It was Smith's first time calling a game live.

Beginning in 2022, Smith has hosted NFL's Most Interesting Jobs, a series for the NFL's YouTube channel. Smith visits each NFL team to showcase the work being done by support staff, including the Minnesota Vikings' chef and nutritionist, the New York Giants' coaching staff, the Los Angeles Rams' equipment room, the Buffalo Bills' strength and conditioning staff, and the Kansas City Chiefs' kicking game ball crew.

In 2023, on his podcast, Cut to It, Smith referred to Jerry Jeudy of the Denver Broncos as "JAG", for "just a guy", an average player. Smith appeared as a pregame analyst for the Broncos' game at the Chiefs in October 2023, and attempted to approach Jeudy to apologize, but Jeudy swore at Smith and refused to engage with him. In response, Smith ranted about Jeudy on NFL Network, calling him "mentally unable to handle constructive criticism", and advised other teams not to trade for him. The rant went viral. Dez Bryant called Smith's on-air rant "completely unacceptable." On a later appearance on The Pat McAfee Show, Smith apologized to Jeudy.

Personal life
In May 2008, Smith announced that he purchased a near-50% interest in the Velocity Sports Performance franchise in Charlotte and an equal ownership percentage in any future Charlotte area Velocity centers.

Smith is an Evangelical Christian. In 2007, Smith went on an evangelism trip to Togo and Nigeria to talk to soccer players about Jesus.

Before every away game, Smith and his family donated shoes to the homeless. He would also wash their feet beforehand. His goal is to hand out half a million pairs of shoes. To provide this service Smith works with Samaritan's Feet. He says, "This is an opportunity for me to give back, to serve....to kind of, really for me, open up the next chapter of my life." Smith planned to take the initiative global after retiring from football.

Smith and his wife, Angie, have four children: Peyton, Baylee, Boston, and Steve Jr.; Smith changed the name on the back of his jersey to Smith Sr. when Steve Jr., nicknamed "Deuce", was born.

On June 14, 2017, it was reported by The Charlotte Observer that he secretly paid the full college tuition of Twitter personality and author Elexus Jionde. He said of paying for her $40,000 a year education at Ohio State: "It's not about taking and how much can you get for yourself. It's about your life and (taking advantage of) all the resources and applying them and then paying it forward to someone else."

In 2019, Smith played for the "Home" roster during the NBA All-Star Celebrity Game at the Bojangles' Coliseum in Charlotte, North Carolina. The roster was made up of celebrities with Carolina roots.

On July 9, 2019, the Panthers announced that Smith would be inducted into the team's Hall of Honor along with Jake Delhomme, Jordan Gross, and Wesley Walls.

title: Steve Smith Sr.


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Appalachian dulcimer

The Appalachian dulcimer (many variant names; see below) is a fretted string instrument of the zither family, typically with three or four strings, originally played in the Appalachian region of the United States. The body extends the length of the fingerboard, and its fretting is generally diatonic.

Name
The Appalachian dulcimer has many variant names. Most often it is simply called a dulcimer (also rendered as "dulcimore", "dulcymore", "delcimer", "delcimore", etc.). When it needs to be distinguished from the unrelated hammered dulcimer, various adjectives are added (drawn from location, playing style, position, shape, etc.), for example: mountain dulcimer; Kentucky dulcimer; plucked dulcimer; fretted dulcimer; lap dulcimer; teardrop dulcimer; box dulcimer; etc. The instrument has also acquired a number of nicknames (some shared by other instruments):  "harmonium", "hog fiddle", "music box", "harmony box", and "mountain zither".

Origins and history
Although the Appalachian dulcimer first appeared in the early 19th century among Scotch-Irish immigrant communities in the Appalachian Mountains, the instrument has no known precedent in Ireland, Scotland or Northern England. Because of this, and a dearth of written records, the history of the Appalachian dulcimer has been, until fairly recently, largely speculative. Since 1980, more extensive research has traced the instrument's development through several distinct periods, and has likely origins in several similar European instruments: the Swedish hummel, the Norwegian langeleik, the German scheitholt, and the French épinette des Vosges. Folk historian Lucy M. Long said of the instrument's history:

"Because few historical records of the dulcimer exist, the origins of the instrument were open to speculation until recently when Ralph Lee Smith and L. Alan Smith reconstructed the instrument's history by analyzing older dulcimers. The organological development of the dulcimer divides into three periods: transitional (1700 to mid-1800s), pre-revival or traditional (mid-1800s to 1940), and revival or contemporary (after 1940)."

Charles Maxson, an Appalachian luthier from Volga, West Virginia, speculated that early settlers were unable to make the more complex violin in the early days because of lack of tools and time. This was one of the factors which led to the building of the dulcimer, which has less dramatic curves. He too cited the langeleik, scheitholt and épinette des Vosges as ancestor instruments.

Few true specimens of the mountain dulcimer exist from earlier than about 1880, when J. Edward Thomas of Knott County, Kentucky, began building and selling them. The instrument became used as something of a parlor instrument, as its modest sound volume is best-suited to small home gatherings. But for the first half of the 20th century the mountain dulcimer was rare, with a handful of makers supplying players in scattered pockets of Appalachia. Virtually no audio recordings of the instrument exist from earlier than the late 1930s.

The soprano Loraine Wyman, who sang Appalachian folk songs in concert venues around the time of the First World War, created a brief splash for the Appalachian dulcimer by demonstrating it in concerts, and was portrayed in Vogue magazine (right) holding her instrument, a Thomas. But Wyman preferred singing with the more robust support of the piano. The instrument achieved its true renaissance in the 1950s urban folk music revival in the United States through the work of Jean Ritchie, a Kentucky musician who performed with the instrument before New York City audiences. In the early 1960s, Ritchie and her husband George Pickow began distributing dulcimers made by her Kentucky relative Jethro Amburgey, then the woodworking instructor at the Hindman Settlement School. They eventually began producing their own instruments in New York City. Meanwhile, the American folk musician Richard Fariña (1937–1966) was also bringing the Appalachian dulcimer to a much wider audience, and by 1965 the instrument was a familiar presence in folk music circles.

In addition to Amburgey, by then winding down his production, influential builders of mid-1960s included Homer Ledford, Lynn McSpadden, A.W. Jeffreys and Joellen Lapidus. In 1969 Michael and Howard Rugg formed a company called Capritaurus. As well as being the first to mass-produce the instrument, they made design changes to make the instrument easier to produce and to play. The body was made larger, and they installed metal friction or geared tuners, rather than traditional wooden pegs, to make tuning easier and more reliable.

Construction and form
Organologically, the Appalachian dulcimer is a plucked box-zither; it is considered to be a folk instrument. Appalachian dulcimers are traditionally constructed of wood, and early instruments were typically made all of one wood, using wood commonly found in the particular area of the mountains where the builder lived. More recently guitar aesthetics and construction ideals have been applied, with a tone wood such as spruce or cedar preferred for the top of the soundbox. A harder wood, such as mahogany or rosewood, will be used for the back, sides, and neck, and a hardwood such as rosewood, maple, or ebony is used for the fingerboard. As the modern dulcimer arose in America, and the bulk of them are still made there, American hardwoods such as walnut, oak, cherry, and apple are also still frequently employed by makers.

As with many folk instruments the Appalachian dulcimer has been made—and continues to be made—in many shapes, sizes, and variations in construction details; however, certain forms have proven more popular than others, and tended to predominate. The general format has a long narrow soundbox, with the "neck" centered in the soundbox and running the length of the instrument. Typical instruments are 70–100 cm (27 1/2–39 1/2 in.) long; 16–19 cm (6 1/2–7 1/2 in) wide at the widest bout; and the soundbox has a uniform depth of about 5–6 cm (2–2.5 in). The top of the fingerboard sits about 1.25 cm (1/2 in) above the top of the soundbox. The soundbox will typically have from two to four soundholes, two in the lower bout and two in the upper bout. These take various shapes, with traditional favorites being a heart, or the traditional "f-hole" of the violin, but makers frequently personalize their instruments with their own unique soundhole shapes.

The overall shape of the instrument has taken many forms, but the most popular are the hourglass (or figure 8), the ellipse, the teardrop, and a long narrow trapezoid or rectangle.

At one end of the neck is the headstock, which contains the tuners. Headstocks most commonly have either a scroll shape (similar to the headstock of orchestral string instruments such as the violin), or a shape similar to that found on parlour guitars or banjos. To some extent, the shape of the headstock may be dictated by the style of tuners chosen. Older instruments and some modern "traditional" designs use violin-style wooden friction pegs. Modern instruments will more typically employ metal tuning machines, of either adjustable friction style, or geared (e.g. guitar) style.

At the other end of the neck is the tailblock which contains pins or brads for securing the other (loop) end of the strings. Strings are stretched between the end pins and tuners, passing over a bridge (at the tailblock end), and a nut (at the headstock), which determines the sounding length of the strings. In between the nut and the bridge lies the fingerboard, which is fitted with (typically) 12–16 metal, diatonically spaced frets; a zero fret may or may not be employed. Between the end of the fingerboard and the bridge the neck is carved down creating a scalloped hollow that passes close to the top of the soundbox. This area, called the strum hollow, is the space in which the plectrum, fingers, or beater is employed to sound the strings (see Playing).

Both single-player and two-player instruments have been made, as have multi-neck single player units (see Variants). The vast majority of Appalachian dulcimers are single-neck, single player instruments, and these have been made with anywhere from two to a dozen strings, three being the most common number on older instruments. Modern instruments typically have 3, 4, 5, or 6 strings, arranged in either three or four courses. Many possible string arrangements exist, but the following are typical:

 * 3-string: Three single-string courses.
 * 4-string: Three courses, two single-strung; one double-strung. The doubled course is almost always the highest-pitched (melody) course.
 * 4-string: Four single-string courses.
 * 5-string: Three courses: Two double-strung; one single-strung. The single string is usually the middle course, with the bass and melody courses being double strung.
 * 5-string: Four courses: One double-strung; three single-strung. The double strung course is the melody course.
 * 6-string: Three double-strung courses.

Production
Appalachian dulcimers are often made by individual craftsmen and small, family-run businesses located in the American South and particularly in Appalachia. It is easy and relatively common to order custom instruments, and custom-built Appalachian dulcimers can run considerably less in cost than other custom-built stringed instruments (e.g., guitar, mandolin, or banjo).

Cheap imports from Romania, Pakistan and China are slowly making inroads into the American market. John Bailey's book, Making an Appalachian Dulcimer, is one of several still in print that provide instructions for constructing a dulcimer.

Fret placement
The frets of the Appalachian dulcimer are typically arranged in a diatonic scale. This is in contrast with instruments like the guitar or banjo, which are fretted chromatically. As early as the mid-1950s some makers began to include at least one additional fret, usually the so-called "six and a half", "6½" or "6+" fret a half step below the octave. This enables one to play in the Ionian mode when tuned to D3-A3-D4 (the traditional tuning for the Mixolydian mode), where the scale starts on the open (unfretted) string. This arrangement is often found to be more conducive to chord-melody play. It also became common to add a fret one octave up from the 6+ fret, called the "13+" fret, and by the late 1970s these additional frets had become standard.

Eventually, some builders began to offer further additional frets at the "1+" and "8+" positions or (as an alternative) the "4+" and "11+" positions. These additional frets facilitate the use of still more scales and modes without retuning. As was probably inevitable, this trend eventually led to the availability of fully chromatic dulcimers, with twelve frets per octave, permitting playing in any key without re-tuning. Chromatic fretting, however, remains somewhat controversial among dulcimer players, with traditionalists preferring what they feel is the greater authenticity of the diatonic fingerboard.

Strings
Appalachian dulcimers are strung with metal wire strings; wound strings may be used for the lower pitched courses. These strings are very similar to those used on banjos and guitars, and before manufacturers provided special "dulcimer sets", banjo strings were frequently used. On a typical dulcimer string gauges range between about 0.026 in. and 0.010 in. in diameter, although gauges outside this range may be employed to facilitate special tunings or extended range playing styles.

Tuning
There is no one "standard tuning" for the Appalachian dulcimer, but as with the shape of the instrument, certain tuning arrangements have proven more popular than others. Traditionally, the Appalachian dulcimer was usually tuned (from left to right) to G3-G3-C3, C4-G3- C3, or C4-F3-C3. Note: Because the dulcimer is most often played on the lap or with the instrument lying on a table, when the instrument is held upright (headstock at the top), the highest pitched string will be on the left—this is the reverse of most other string instruments (e.g., guitar, bass, fiddle, etc.) where the lowest string is on the left. Dulcimer players, however, are accustomed to naming their strings from lowest to highest (as would a guitarist or violinist). which means that the strings are usually named reverse order from which they appear on the instrument, i.e., right to left. Thus the tunings cited above would more commonly be given as: C3-G3-G3; C3-G3-C4; and C3-F3-C4. This convention will be followed for the rest of the article.

With the Appalachian dulcimer revival of the 1950s and 1960s players began to favor higher-pitched tunings; this is not uncommon in the history of many stringed instruments, with players often claiming that the higher tunings make their instrument sound "brighter". In consequence, the original traditional tunings migrated up a whole step, and became: D3-A3-A3; D3-A3-D4; and D3-G3-D4, which are the most common modern tunings for three-course Appalachian dulcimers.

Modes
D3-A3-A3, is in a I V V harmonic relationship. That is, the tonic note of the diatonic major scale is on the bass string and the middle and melody strings are at an interval of a perfect fifth above it. This tuning places the tonic (diatonic) fret on the melody string. This facilitates playing melodies in the Ionian mode (the major scale). The melody is played on the top string (or string pair) only, with the unfretted drone strings providing a simple harmony, giving the instrument its distinctive sound.

To play in a different key, or in a different mode, a traditional player would have to retune the instrument. For example, to play a minor mode melody the instrument might be tuned to D3-A3-C4. This facilitates playing the Aeolian mode (the natural minor scale), where the scale begins at the first fret.

While the most common current tuning is D3-A3-D4, some teachers prefer the more traditional D3-A3-A3 or the so-called "Reverse Ionian" tuning, D3-G3-d4. "Reverse" tunings are ones in which the key note is on the middle string and the bass string is the fifth of the scale, but in the octave below the middle string. This is sometimes suggested by teachers as an easier tuning. From D3-G3-D4 one can put a capo on the first fret to play in the Dorian mode, or retune the second string (to A3), to play in the Mixolydian mode, then from Mixolydian, capo the first fret to play in the Aeolian mode.

Playing
With only three or four strings and a simple diatonic fret pattern, the Appalachian dulcimer is generally regarded as one of the easiest string instruments to learn. The traditional way to play the instrument is to lay it flat on the lap and pluck or strum the strings with the right hand, while fretting with the left. Alternatively, the dulcimer may also be placed on a wooden table, using the table as an extended resonator to boost volume. The instrument is generally strung with the melody string (or string pair) on the player's side of the instrument, and the bass string on the outside.

In traditional play, fretting is achieved with a "noter"—typically a short length of dowel or bamboo (see photo at left)—on the melody course, while the middle and bass strings ring as unfretted drones. This style of play is now referred to as "noter-drone" play. In some traditions, players use a feather quill with the barbs removed to strum the instrument. The frets on early mountain dulcimers were usually simple wire staples spanning only halfway across the fingerboard, meaning only the melody string course could be fretted. By the early 1960s, many dulcimer makers had abandoned staples in favour of manufactured fret wire extending across the entire width of the fingerboard. This enabled players to fret all the strings, allowing for chording and an expanded melodic range. A variety of new, "noter-less" playing styles emerged now collectively referred to as "chord-melody" play. The emergence of full-width frets also compelled makers to fret their instruments in equal temperament. The fret patterns on the older half-width-fret instruments rarely adhered to equal temperament, and intonation varied from builder to builder. With a simple melody played against the drone, these idiosyncratic scales could add warmth and a distinctive flavour to the music, but the old non-standard fret patterns often produce a dissonance when chorded that some find unacceptable.

Using modern dulcimers with full-width frets arranged for equal temperament, contemporary players have borrowed from chord theory and imported technique from other stringed instruments to greatly expand the versatility of the instrument. But a wide variety of playing styles have long been used. Instead of strumming the strings with a pick, for example, they might be strummed or picked with the fingers, or even beaten with a small stick. Jean Ritchie's The Dulcimer Book has an old photograph of Mrs. Leah Smith of Big Laurel, Kentucky, playing the dulcimer with a bow instead of a pick, with the tail of the dulcimer held in the player's lap, and the headstock resting on a table pointing away from her. In their book In Search of the Wild dulcimer, Robert Force and Al d'Ossché describe their preferred method as "guitar style": The dulcimer hangs from a strap around the neck, and the instrument is strummed like a guitar, although their fretting style is still overhand. They also describe playing "autoharp style" where "the dulcimer is held vertically with the headstock over the shoulder." Lynn McSpadden, in his book Four and Twenty Songs for the Mountain Dulcimer, states that some players "tilt the dulcimer up sideways on their laps and strum in a guitar style." Still other dulcimer players use a fingerstyle technique, fingering chord positions with the fretting hand and rhythmically plucking individual strings with the strumming hand, creating delicate arpeggios.

Contemporary use
The Appalachian dulcimer is now a core instrument in the American old-time music tradition, but styles performed by modern dulcimer enthusiasts run the gamut from traditional folk music through popular and experimental forms. Some players exploit its similarity in tone to certain Middle Eastern and Asian instruments. Increasingly, modern musicians have contributed to the popularity of the solid-body electric dulcimer. Dulcimer festivals take place regularly in the United States, Canada, the United Kingdom, and Ireland, because the Appalachian dulcimer has achieved a following in a number of countries.

Though the mountain dulcimer has long been associated with the older generation, it has gradually attracted a number of younger players who have discovered its charms. Because it is easy to play, many music teachers consider it to be an especially good educational instrument. Consequently, it is often used in educational settings, and some music classes make their own dulcimers. However, due to limitations of budget, time, and craftsmanship, they are usually made from cardboard.

Brian Jones, of The Rolling Stones, played the electric Appalachian dulcimer on their 1966 album Aftermath, notably on "Lady Jane". He can be seen playing the instrument during their performance on the Ed Sullivan Show. He was influenced to use the instrument after hearing recordings of Richard Fariña. Perhaps one of the most famous players of the Appalachian dulcimer is singer-songwriter Joni Mitchell, who first played the instrument on studio recordings in the late 1960s, and most famously on the album Blue (1971), as well as in live concerts. Peter Buck of R.E.M. plays the electric Appalachian dulcimer. Paul Westerberg of The Replacements also plays an Appalachian dulcimer on their 1989 single "I'll Be You".

Cyndi Lauper is also a high-profile mountain dulcimer player, having studied with the late David Schnaufer. Lauper played dulcimer on her ninth studio album The Body Acoustic, and the tour to support the record featured her performing songs like "Time After Time" and "She Bop" solo on the mountain dulcimer. Contemporary professional musicians who view the dulcimer as their primary instrument include Stephen Seifert of Nashville and Irish blues guitarist Rory Gallagher, who used a dulcimer on his later albums. Orlando-based musician Bing Futch performs using a special dual-fretboard mountain dulcimer as well as a custom resonator and is one of only two mountain dulcimer players to have competed in the International Blues Challenge, advancing to the semifinals in the 2015 edition of the competition; during the 2016 edition, Futch made it to the finals and was awarded "Best Guitarist" in the solo-duo category, despite performing solely on the Appalachian mountain dulcimer.

Variants
As a folk instrument, wide variation exists in Appalachian dulcimers.
 * Body shapes: As previously noted, dulcimers appear in a wide variety of body types, many of which are recorded in A Catalog of Pre-Revival Dulcimers. A representative array would include: hourglass, teardrop, trapezoid, rectangular, elliptical ("Galax-style"), violin-shaped, fish-shaped, and lute-back.
 * Materials: In addition to plywood, laminates, and solid woods, some builders are using experimental materials such as carbon fiber. Dulcimers are also made of cardboard. Often sold as low-cost kits, cardboard dulcimers offer surprisingly good sound and volume. Their low cost and resistance to damage make them particularly suited to institutional settings, such as elementary school classrooms.
 * Number of strings: Dulcimers may have as few as two or as many as 12 strings (in up to six courses). Up to the 1960s most mountain dulcimers had three strings. The most popular variant today is four strings in three courses, with doubled melody strings.
 * Sizes and range: Larger and smaller dulcimers are made, which extend the range of the instrument to higher and lower pitches, and to fill parts in dulcimer ensembles:
 * Baritone dulcimer: These are just larger versions of the regular dulcimer, designed to be tuned to a lower pitch. Typically they are designed to be tuned a fourth lower: A3-E3-A2 or A3 A3-E3-A2, although any of the variant tuning patterns may be adapted to this lower pitched instrument.
 * Bass dulcimer: Very rare, these monsters may approach four feet long. They were designed for ensemble playing, and are tuned one octave lower than the dulcimer:  A2-E2-A1 or A2 A2-E2-A1.
 * Soprano or piccolo dulcimer: These are smaller dulcimers which range in size from about 80% all the way down to about 50% of the regular dulcimer in length. They are designed to support higher pitches, and tuning is typically a fourth higher:  G4-D4-G3 or G4 G4-D4-G3. The smaller size and reduced scale-length also facilitates playing by persons with smaller hands, such as children.
 * Alto Dulcimer: This is similar to the soprano dulcimer but larger and better suited in has a lower pitch
 * Other sizes have been experimented with, including contrabass dulcimers.
 * Courting dulcimers: One unusual variant is the "courting dulcimer." This instrument consists of one large dulcimer body with two separate fingerboards. The instrument is laid across the laps of two facing individuals (the eponymous "courting" pair) and used to play duets.
 * Double-neck dulcimers: Somewhat the same as a "courting dulcimer", but with both fretboards (or "necks") facing the same direction. Popularized by performer Bing Futch, it allows for multiple tunings without changing instruments.
 * Solid-body electric dulcimer: acoustic dulcimers may be electrified with pickups, and several builders produce solid-body electric dulcimers.
 * Aquavina: a dulcimer employing a metal resonator filled partially with water. The resonator is agitated while playing, producing an eerie oscillation of the harmonics.

Hybrid instruments

 * Bowed dulcimers: Dulcimers that can be played with bows; in the modern era heavily modified variants have been made exclusively for bowed playing.
 * Guitar dulcimer: a hybrid of guitar and dulcimer, with the body more closely resembling a guitar, but the string configuration and pegs of a dulcimer. The stringing pattern on these instruments are frequently the reverse of the dulcimer, with low-pitched strings on the left and higher strings on the right, and they are usually held and played like a guitar, in guitar position. This variant was first explored, and later patented, by Homer Ledford, and called the "dulcitar." (see below)
 * Dulcitar (also stick dulcimer or strum-stick): a long-necked fretted instrument, similar to a guitar or mandolin, with diatonic dulcimer fretting. It differs from the guitar dulcimer chiefly in having a much narrower and shallower body, closer to the proportions of the soundbox of the Appalachian dulcimer. These instruments are known by a wide variety of names, with the most common commercial model being the McNally Strumstick.
 * Banjo dulcimer: resembles a standard dulcimer, but with a banjo-head on the body. This variant was first explored, and later patented, by Homer Ledford, and called the "dulcijo." Similar instruments include the "Ban-Jammer" (Mike Clemmer), the "Banjimer" (Keith Young) and the "Banj-Mo" (Folk Notes). The "Dulci-Jo" is a banjo/dulcimer hybrid with a thumb string like a clawhammer banjo, 3 strings and a diatonic fret pattern, shaped more like a banjo and played upright, and built by Michael Fox of NC.
 * Resonator dulcimer: a standard dulcimer, with a resonator added to the body, in imitation of the resonator guitar. This variant was first explored, and later patented, by Homer Ledford and called the "dulcibro".

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

title: Appalachian dulcimer


text:
Terry Pendleton

Terry Lee Pendleton (born July 16, 1960) is an American former third baseman in Major League Baseball (MLB). He played primarily for the St. Louis Cardinals and Atlanta Braves, but he also spent time with the Florida Marlins, Cincinnati Reds, and Kansas City Royals. During his 15-year career, he went to the World Series five times, yet his team never won a championship. After his playing career, he became a coach for the Braves.

Pre-MLB career
Pendleton started his baseball career as an Eastside Little League player, and then he moved on to play second base at Channel Islands High School. He played at Oxnard College from 1979 to 1980. The 1979 Oxnard team was the school's first team, and he helped lead the Condors to a state championship berth while earning a scholarship. He transferred to Fresno State for the 1981 and 1982 seasons, and he was a key contributor to the team's fourth consecutive conference title in the 1982 season, setting a school record with 98 hits on the season. He was recognized as an All-American. Pendleton had his jersey retired in 2007, alongside the jerseys of Tex Clevenger and Jimy Williams. He was drafted by the St. Louis Cardinals in the seventh round of the 1982 amateur draft and subsequently signed with the team on June 12, 1982.

Pendleton's minor league campaign began with the Johnson City Cardinals and the St. Petersburg Cardinals during the 1982 season. Pendleton was moved up to class AA baseball with the Arkansas Travelers for the 1983 season. He was selected to the league's all-star team. Making steady progress, Pendleton was promoted to class AAA in 1984 and played for the Louisville Redbirds. After four games at second base, Pendleton became a third baseman, the position he would play the rest of his career. The Cardinals were so impressed with Pendleton's development as a third baseman in Louisville that they traded their starting third baseman, Ken Oberkfell, to the Atlanta Braves and temporarily placed Andy Van Slyke at third base while Pendleton continued to gain experience. However, when Van Slyke committed 7 errors in 30 games, the Cardinals promoted Pendleton to the majors, and he began his major league career as the Cards' starting third baseman.

St. Louis Cardinals (1984-1990)
Pendleton made his major league debut on July 18, 1984, against the San Francisco Giants. Batting sixth in the lineup, he made an immediate impact, getting three hits in five at-bats en route to an 8–4 victory for the Cardinals. In 67 games during the 1984 season, Pendleton had a .324 batting average, 20 stolen bases, and finished tied for seventh in Major League Baseball Rookie of the Year Award voting. The 1985 season saw Pendleton remain in the starting lineup at third base. His batting average trailed off, and he only hit .240 for the season and was caught stealing 12 times; he had 17 stolen bases on the season. He hit an inside-the-park grand slam off Joe Sambito when Danny Heep collided with Terry Blocker in right-centerfield in the fifth inning of an 8–2 win over the New York Mets in the second game of a doubleheader at Shea Stadium on June 9, 1985. The Cardinals advanced to the 1985 World Series, and Pendleton ended up hitting the Cardinals' only triple, doing so in the Cardinals' 3–0 Game 4 win. His statline for the 1986 season was only modestly better. His batting average remained low at .239 and he only hit a single home run, but he was able to steal 24 bases, hit 26 doubles, and 5 triples. St. Louis management became disappointed with Pendleton after this season, but manager Whitey Herzog pointed out to them that it was his base running and fielding (he led the National League in putouts and assists) that made him vital to the team's success.

Pendleton answered front office criticism in his best season to date, the 1987 season. He improved in many statistical aspects in which he was struggling, including raising his batting average to a respectable .286. He was a strong contributor to the team's pennant win, placing second on the team in home runs, third in runs batted in, and tied for third in stolen bases. Pendleton's fielding efforts led to his earning his first Gold Glove, the first by a Cardinal third baseman since Ken Reitz in 1975, as well as finishing tied for 17th in MVP voting. Unfortunately, as the Cardinals reached the 1987 World Series to play the Minnesota Twins, Pendleton ended up sidelined for most of the series with a rib cage injury. Despite this injury, Pendleton's switch-hitting ability meant that he was able to be used as a left-handed designated hitter during three of the four games the Cardinals played at the Hubert H. Humphrey Metrodome. He finished the series by playing three games, getting three hits on seven at-bats as the Cardinals fell in seven games for the second time in three years.

As the 1988 season began, Pendleton seemed to struggle where he had flourished. Despite racking up 80 stolen bases in his first four seasons, he only stole three bases during the whole 1988 season; in fact, he went the rest of his career without stealing more than 10. Injuries also plagued him in 1988, as he missed a few weeks with a right hamstring injury and had arthroscopic surgery in mid-September, which cut his season short. Despite this, Pendleton hoped to rebound for the 1989 season. Rebounding was exactly what he did, as he played in all 162 games for the only time in his career, finished ninth in hits with 162, and earned his second Gold Glove with an impressive .971 fielding percentage. Despite an impressive 1989 season, Pendleton struggled during the 1990 season. His overall production declined that season, as evidenced by his .230 batting average and .277 on-base percentage,. By the end of the season, he was splitting time with rookie Todd Zeile. After the season ended, Zeile appeared to be the third baseman of the future for the Cardinals, and Pendleton became a free agent.

Pendleton is one of many major league players to have an error on a baseball card. His 1985 Donruss card lists him as Jeff Pendleton.

Atlanta Braves (1991-1994)
After Pendleton was granted free agency on November 5, 1990, the Atlanta Braves were undergoing a similar overhaul as they acquired a new general manager, John Schuerholz. Assuming command of a last-place team, Schuerholz went to work and recruited half of a new infield by first signing Sid Bream to a contract and then inking Pendleton to a four-year, $10.2 million deal on December 3, 1990. With a new team and a new contract, Pendleton had a career year during the 1991 season, leading the Braves from a sixth-place finish the year prior to a division title and pennant. He had his best individual season, finishing with a .319 batting average and 187 hits, both of which led the National League. He also hit a career-high 22 home runs and a career-high eight triples. Despite his impressive statistics, Pendleton was not selected for the All-Star Game. He was, however, named the National League MVP, edging out Barry Bonds by only 15 points. Pendleton also won the MLB Comeback Player of the Year Award because of his statistical improvements. Pendleton's performance in the 1991 World Series—a rematch for him against the Twins and the third series he played in—was also impressive. He went 11 for 30, hit 2 home runs, and started at third for all 7 games. In Game 7 of the series, Pendleton hit a double in the eighth inning that should have scored a run, however Lonnie Smith did not advance home, and a double play to end the inning kept the score at 0–0, leading to the Braves' eventual Game 7 defeat and Pendleton's third Game 7 World Series loss in a row.

As the 1992 season rolled around, Pendleton remained in peak form. In 160 games, Pendleton batted .311, hit 21 home runs, and scored 94 runs. He had 105 RBIs, which ranked second in the National League and marked the only time he passed 100 RBIs in his career. Also, he racked up 199 hits, which was good for the National League lead as well as a career-high total. He also finished second in the National League in at bats with 640, earning his only bid to the Major League Baseball All-Star Game. Pendleton also won his third Gold Glove at third base (the first by a Braves third baseman since Clete Boyer in 1969) en route to the Braves making their second World Series appearance in a row. However, despite a 6-for-25 showing by Pendleton, the Braves fell to the Toronto Blue Jays in 6 games, losing all 4 games by 1 run. This marked Pendleton's fourth World Series loss in four attempts. Pendleton continued to produce extra-base hits during the 1993 season, hitting 17 home runs and 33 doubles. However, he appeared to be showing signs of slowing down; although he placed second in at bats with 633, he led the National League in outs with 490. His batting average of .272 was notably lower than his previous two seasons, and his luck did not fare any better as the 1994 season rolled around. He spent part of the season on the disabled list because of spasms in his neck and back, and after only hitting .252 for the season, Pendleton opted for free agency.

Later career (1995-1998)
Pendleton was granted free agency on October 24, 1994, and he was picked up by the Florida Marlins on April 7, 1995. Pendleton improved his batting average to .290, and hit 14 home runs while playing in 133 games. Pendleton went on to play 111 games for the Marlins in 1996, hitting .251 with 7 home runs. After spending the 1995 and most of the 1996 on the Marlins, he was traded back to the injury battered Braves. Right-fielder David Justice was lost for the season with a shoulder separation in May, and shortstop Jeff Blauser suffered a broken bone in his left hand, which caused him to miss some playing time. Acquiring Pendleton meant Chipper Jones could play at his natural shortstop position while Pendleton played third. Pendleton was traded to the Braves on August 13, 1996, for minor league prospect Roosevelt Brown. He went on to play in the 1996 World Series—the fifth World Series of his career. However, he was used only in a limited role en route to a 6-game loss to the New York Yankees, leaving Pendleton 0-for-5 in his chances for a World Series ring.

The Braves let Pendleton go after the 1996 season, and he signed on with the Cincinnati Reds on January 27, 1997. However, he was released on July 24, 1997, after hitting .248 with one home run and two stolen bases. While with the Reds, Pendleton had three stints on the disabled list, and after his release, he spent the rest of the season recovering and did not sign with another club. In January 1998, the Kansas City Royals were looking for veteran leadership, and on January 20, 1998, signed Pendleton to provide a veteran presence and help mentor its younger players. Pendleton was used in a limited role, backing up Dean Palmer. He played 79 games in 1998, splitting time between the designated hitter position and third base. After the 1998 season ended—his 15th professional season—Pendleton retired to spend more time with his family.

Career statistics
In 1893 games over 15 seasons, Pendleton posted a .270 batting average (1897-for-7032) with 851 runs, 356 doubles, 39 triples, 140 home runs, 946 RBI, 127 stolen bases, 486 bases on balls, .316 on-base percentage and .391 slugging percentage. Defensively, he recorded a .957 fielding percentage and led National League third basemen in putouts and assists five times each. In 66 postseason games, including 5 World Series, he batted .252 (58-for-230) with 26 runs, 12 doubles, 3 triples, 3 home runs, 23 RBI, 2 stolen bases and 12 walks.

Coaching career
After spending a couple years with his wife and three children, Pendleton got his first coaching job in November 2001 as the hitting coach of the Atlanta Braves. Pendleton served in that role through the 2010 season. In 2006, he was on a short list of manager candidates to replace Frank Robinson as manager of the Washington Nationals; a few weeks into the process, Pendleton withdrew himself from consideration. In 2007, Pendleton was also reportedly one of the front-runners to replace Tony La Russa as manager of the St. Louis Cardinals before La Russa ultimately decided to stay with the Cardinals. He was a candidate to replace Bobby Cox when the esteemed Braves manager retired at the end of the 2010 season.

When Fredi Gonzalez was announced as Braves manager after the 2010 season, Pendleton was moved from hitting coach to first base coach, where he replaced Glenn Hubbard. Gonzalez was fired and replaced by Brian Snitker in May 2016, and Snitker chose Pendleton as bench coach. Pendleton was replaced by Walt Weiss after the 2017 season.

title: Terry Pendleton


text:
Children's World (charity)

Children's World is a charity based in the UK. It is known internationally (as Children's World International). It was set up by Arabella Churchill in 1981 after the success of the Children's World area at the Glastonbury Festival. It is registered charity Number 282743.

Children's World was created to provide drama participation and creative play and to work creatively in educational settings, providing social and emotional benefits for all children, particularly those with special needs.

Children's World International (Charity Reg. No. 1079546) is the sister charity of Children's World and was started in 1999 to work with children in the Balkans, in conjunction with Balkan Sunflowers and Save the Children.

Children's World changed to a Charitable Incorporated Organisation (CIO) and has a new number: 1172322. Children's World International was closed and the projects taken on by Children's World.

title: Children's World (charity)


text:
Talk:Grey Tuesday

Can EMI's attempt to protect their copyright really be described as 'censorship'? Morwen 16:45, Feb 24, 2004 (UTC)

Very simply, this page is not NPOV. Optim 16:48, 24 Feb 2004 (UTC)

I disagree on the NPOV, as the controversy is explained, albeit in a nutshell on the The Grey Album page.

The usage of the word censorship is correct: the Merriam-Webster definition is 'to examine in order to suppress or delete anything considered objectionable' - exactly what EMI is doing here. Blackcarr 17:23, 24 Feb 2004 (UTC)

 * EMI would claim they are not censoring, merely protecting their rights. Wikipedia does not take sides.  I've changed the phrasing accordingly. Morwen 18:10, Feb 24, 2004 (UTC)

I did some NPOVing of the article, hopefully it's ready to remove the disputed neutrality message. --Lexor|Talk 16:03, 4 Mar 2004 (UTC)

title: Talk:Grey Tuesday


text:
Spencer Kimball (computer programmer)

Spencer Kimball is an American computer programmer, entrepreneur, and business executive. He is the CEO of Cockroach Labs, a company he co-founded in 2014. His work as a programmer includes creating GNU Image Manipulation Program (GIMP) while still in college, and assisting the source code development of CockroachDB, the namesake software of Cockroach Labs. In addition to Cockroach Labs, Kimball was involved in the founding of other tech startups including WeGo and Viewfinder.

Early life and education
Kimball attended the University of California at Berkeley. While still a student in 1995, he developed the first version of GNU Image Manipulation Program (GIMP) as a class project, along with his roommate Peter Mattis. Kimball was also a member of a student club at Berkeley called the eXperimental Computing Facility (XCF). During his time with XCF, he co-wrote the code for GIMP. Kimball said in 1999 that, "From the first line of source code to the last, GIMP was always my 'dues' paid to the free software movement. After using emacs, gcc, Linux, etc., I really felt that I owed a debt to the community which had, to a large degree, shaped my computing development." Kimball graduated with a B.A. in computer science from Berkeley in 1996.

Career
Kimball left college for work, and mostly ended his relationship with the GIMP development community. He co-founded WeGo, a company providing tools for building web communities, in 1998 and served as the company's co-CTO. While at XCF, he met Gene Kan, who was also a member, and the two would later begin working together on a file-sharing program for the Gnutella network, the open source Unix/Linux client gnubile. In 2000, he created a web-based version of GIMP, OnlinePhotoLab.com, that was short-lived. The technology was subsequently folded into Ofoto's online image manipulation tools.

Kimball started work with Google in Mountain View in 2002 and relocated to Google's New York offices in 2004. As one of Google's engineers, he helped spearhead Colossus, a new version of the Google File System. He also worked on the Google Servlet Engine.

In January 2012, Kimball launched the company Viewfinder along with Mattis and Brian McGinnis, formerly of Lehman Brothers. The company developed an app that allowed social media users to share photos, chat privately, and search photo history without leaving the app. The company was acquired by Square, Inc. in December 2013. Kimball moved to Square's New York City office where he became a senior member of the company's East Coast team.

While at Google, Kimball used a database known as Bigtable and followed the development of its next generation, known as Spanner. The database organizes data between thousands of servers to allow Google applications to stay online, even if an entire data center were to go offline. Kimball wanted to use this software but found there was nothing available outside of Google as either closed or open-source software with similar capabilities. He elicited the help of Mattis, along with ex-Google Reader team member Ben Darnell. They formed the company Cockroach Labs to provide commercial backing for CockroachDB, an open source project he started on GitHub in February 2014. Kimball serves as the company's chief executive officer and also contributes to the source code development of CockroachDB.

Personal life
Spencer is named for his great-grandfather, LDS Church President Spencer W. Kimball.

title: Spencer Kimball (computer programmer)


text:
List of neurological research methods

There are numerous types of research methods used when conducting neurological research, all with the purpose of trying to view the activity that occurs within the brain during a certain activity or behavior. The disciplines within which these methods are used is quite broad, ranging from psychology to neuroscience to biomedical engineering to sociology. The following is a list of neuroimaging methods:

 * Electroencephalography (EEG)
 * Quantitative electroencephalography (QEEG)
 * Stereoelectroencephalography (SEEG)

 * Functional magnetic resonance imaging (fMRI)
 * Magnetoencephalography (MEG)
 * Near-infrared spectroscopy (NIRS)
 * Positron emission tomography (PET)
 * Single-unit recording
 * Transcranial direct-current stimulation (TDCS)
 * Transcranial magnetic stimulation (TMS)

title: List of neurological research methods


text:
Lydia the Tattooed Lady

"Lydia, the Tattooed Lady" is a 1939 song written by Yip Harburg and Harold Arlen. It first appeared in the Marx Brothers film At the Circus (1939) and became one of Groucho Marx's signature tunes. It subsequently appeared in the movie The Philadelphia Story (1940), sung by Virginia Weidler as Dinah Lord.

The complex lyrics by Harburg – with clever rhymes such as "Lydia/encyclopedia" and "Amazon/pajamas on" – were inspired by W. S. Gilbert. Harburg made many contemporary references to topical personalities such as Grover Whalen, who opened the 1939 New York World's Fair. Among the items, persons, and scenes tattooed on Lydia's body are the Battle of Waterloo (on her back), The Wreck of the Hesperus (beside it), the red, white and blue (above them); the cities of Kankakee and "Paree", Washington Crossing the Delaware, President Andrew Jackson, Niagara, Alcatraz, Buffalo Bill, Captain Spaulding (Groucho's character in Animal Crackers) exploring the Amazon, Lady Godiva (with her pajamas on), Grover Whalen, the Trylon, Treasure Island, Nijinsky, Social Security Number (behind her earlobe) and a fleet of ships (on her hips). Alternative lyrics suggest that Lydia's buttocks have tattoos of a map and a caricature of Hitler: "When she stands, the world grows littler. When she sits, she sits on Hitler."

The song was parodied by The Capitol Steps as "Libya, Oh Libya" (the Terrorist Nation) on their album Thank God I'm a Contra Boy and was featured in the 1991 film The Fisher King in reference to Amanda Plummer's character. It was also used as a ringtone in the finale of the American TV show Breaking Bad.

In 1976, on Jim Henson's The Muppet Show, Kermit the Frog sings Lydia the Tattooed Lady. This scene, in episode 102, features a Muppet version of Lydia as a pig. This version of the song would also be performed by Kevin Clash (in character as Elmo from Sesame Street) at Henson's memorial service in 1990 during a segment where various Muppet performers sang Henson's favorite songs in character.

The song was also featured in the ninth and tenth seasons of The Walking Dead in reference to the character Lydia, who was formerly a part of The Whisperers. Before the outbreak, Lydia's father Frank would sing the song to her. Lydia is shown being comforted by Frank as he sang the song to her while she rubbed his tattoo of her name on his arm shortly after the outbreak as things begin to fall apart in their camp. Alpha has also been shown to sing the song.

The fourth season of the show Heroes features a character named Lydia, who is a tattooed lady in a carnival.

title: Lydia the Tattooed Lady


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Amblie

Amblie is a former commune in the Calvados department in the Normandy region of northwestern France. On 1 January 2017, it was merged into the new commune Ponts sur Seulles.

Geography

Amblie is located some 17 km north-west of Caen, 15 km north-east of Bayeux, and 5 km from the beaches of the Normandy landings in World War II. It is located in the middle of two valleys, those of the Thue and the Seulles, not far from the plain of Caen.

It can be accessed by the D22 road from Caen which passes through the south of the commune and continues to Creully. Access to the village is by the D35 road from Reviers in the north-east passing through the village and continuing south-west to Saint-Gabriel-Brecy. Apart from the village there are also the hamlets of Le Bout de Haut and Les Planches. Apart from a patch of forest in the west and small patches of forest at scattered points, the commune is entirely farmland.

The Seulles river forms the northern border of the commune flowing east then north to join the sea at Courseulles-sur-Mer. The Thue river flows from the south through the village to join the Seulles. The commune's floodplain (meadows and marshes), its light hillsides, and its agricultural plain provide it with rich agricultural production.

Toponymy
The origin of the name may be from the Latin Amblia derived from Ambo Amnes meaning "two rivers".

History
The origins of this small village, situated on the road of mills, are uncertain. The presence of man is old, however, as evidenced by human traces dating back to antiquity. For several centuries, the territory was attached to French nobility through two families, notable members of which were Achard de Bonvouloir and the Count of Buisson de Courson. The textile industry developed in the 19th century employing mostly women. The water mills established along the Thue operated until 1945 and treated threads for textiles as well as grain. The village, like many others, suffered severely from depopulation from the beginning of the 20th century. After the First World War Belgian farmers settled in the territory. Spared during the Second World War, even though it was very close to the landing beaches, the village assisted Caen by establishing a refugee centre for thousands of wounded victims. Integrated into the sphere of influence of Caen, the commune again suffered a rural exodus to the big city.

On 29 June 1944 the Canadian Red Ensign flew over the headquarters of the First Canadian Army near Amblie. For the first time in history the Canadian Armed Forces were fighting under their own colours.

This ceremony is depicted at the Juno Beach Centre where a flag is displayed showing the Canadian Red Ensign with, in the top left corner, the Union Jack, the flag of the United Kingdom formed by the superposition of the cross of St. George, St. Patrick and St. Andrew. It is hallmarked with a shield with the Canadian coat of arms which was created by King George V in 1924. The Red Ensign remained the national flag of Canada until 1965. It was then replaced by the red and white maple leaf Flag of Canada.

Administration
List of Successive Mayors

Demography
The inhabitants of the commune are known as Ambliais or Ambliaises, alternatively Ambligeois or Ambligeoises in French.

Civil heritage

 * The Chateau des Planches (1785) is registered as an historical monument. In the 16th century the area belonged to the Planches family. In 1738 it passed by marriage to Buisson de Courson. From 1785 to 1789 (the years being inscribed on a chimney stack) Nicolas du Buisson de Courson built this castle to replace a dilapidated building. Simply decorated the new house consisted of a central building crowned by a triangular pediment on each side flanked by two pavilions.
 * The Chateau of the Achard de Bonvouloir family. The main part was built in 1792 and the mid 19th century out of Creuilly limestone. The property belongs to the descendants of Achard, a contemporary of William the Conqueror. The castle, surrounded by a large park, is composed of a central pavilion topped by a triangular pediment and flanked by two wings at the front. During the Second World War a camp designed to accommodate thousands of injured people from the city of Caen was located in the building.
 * There are two Fortified Farms in the commune:
 * The Bourg farm, called "Fiquet", in the style of the 16th century. This farm was extensively rebuilt in the 19th and 20th centuries.
 * The former Levallois farm from the 13th, 14th, 18th, and 19th centuries is a typical Norman farmhouse with its enclosed courtyard, dovecote, stables, bakery, its granary, charretteries, two porches from 1739 for the main porch and 1710 for the porch leading to the fields formerly facing Bonvouloir Castle. In the main body of the house are traces of architectural features such as two sinks in puisette style from the 13th and 14th centuries with its western gable, and a tower with a spiral staircase typical of the Middle Ages which was once part of a stately home very altered in the 19th century. To the north of the main house are the Thue and Seulles rivers, near the Mill de la Porte which had two wheels. During the Normandy landings the mill housed the headquarters of the First Canadian Army commanded by General Harry Crerar.
 * The Chateau Farm from the 19th century called the Fiquet Vallerande farm. An architectural landmark for the region because of the Maine Anjou style.
 * Several Mills in the commune (without mill wheels). Located on the road of the mills, in the 19th century the village had a dozen mills distributed along the Thue. These establishments played an important role in industry and were mainly grain mills in this region, or pressing textiles, as at Cully.
 * The Seulles and Thue Valleys (the two rivers bordering the commune).
 * The Marettes Nature Garden, a garden for associative learning for vegetable garden cultivation.
 * The old Press in the area of the Bonvouloir family castle. A building in the medieval style dating from approximately the 15th or 16th centuries or possibly earlier - it was at one time the press for the village - its cider tower and Wine press can still be seen.
 * The old Pedestrian Bridge (1743) made of Creuilly limestone (300X200X400). Located just after the last Amblie mill, this bridge spans the Seulles river. The second arm of the river is crossed by a footbridge. The bridge was used by cows grazing on the other side of the river. After its deterioration from this usage it was restored after the construction of a ford downstream for the passage of livestock.
 * The Orival Stone Quarry (Merovingian). In this open-air quarry stone called Orival Quarry Tile is extracted. This stone is very coarse grained and is more resistant to frost than Caen stone. Quarrying from the Merovingian strata is important economically for several communes. Traces of ancient lime kilns testify to this. In the 11th and 12th centuries tile Orival Quarry tiles were used in the construction of monuments such as Bayeux Cathedral. These quarries were mentioned for the first time in 1692 in the land rents for Fécamp Abbey. Stone has been extracted continuously from the 19th century until the 21st century and is exported to large distances.
 * The Menhir of Planches.

Religious heritage

 * The Church (13th century) is registered as an historical monument. This church bears the marks of many rebuilds. The Romanesque nave from the 12th century, as evidenced by the Gadrooning, is retained one aisle. The western facade was redone in the 13th century. In the 19th century a tower replaced a small steeple from the 16th century based on the archway separating the choir from the nave. The early vaulted choir was partly reworked and a side chapel has been removed. Only the five-arched opening on the north aisle are Romanesque. Some of the sculptures are fanciful figures: such as an outsized man's head or people being bitten by mysterious animals, resulting from workshop jokes typical of Romanesque style. The portal on the western facade is from the 13th century. It is surrounded by a Torus decorated with rings. The presence of this motif is rare, occurring in very few places in France.

Notable people linked to the commune

 * Harry Crerar (1888-1965), Canadian General and "Commander of the land armies" of Canada during the Second World War. He made his headquarters in Amblie on 18 June 1944.

title: Amblie


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Amfreville

Amfreville may refer to the following places in Normandy, France:

 * Amfreville, Calvados, in the Calvados département
 * Amfreville, Manche, in the Manche département
 * Amfreville-la-Campagne, in the Eure département
 * Amfreville-la-Mi-Voie, in the Seine-Maritime département
 * Amfreville-les-Champs, Eure, in the Eure département
 * Amfreville-les-Champs, Seine-Maritime, in the Seine-Maritime département
 * Amfreville-sous-les-Monts, in the Eure département
 * Amfreville-sur-Iton, in the Eure département

title: Amfreville