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User:Abjörne

I plan to translate many pages into the Renglish language, however that language hasn't been added to the site and I am having trouble finding out how. =)

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

title: User:Abjörne


text:
Talk:Gilbert Shelton

Topics
Gilbert Shelton was living in France for a while. Is he still living there? jaknouse 15:59, 13 May 2004 (UTC)

> Apparently he was still in France in 2017 - see https://downthetubes.net/?p=41281 BennyOnTheLoose (talk) 23:33, 4 June 2019 (UTC)

In other sites I have seen that Shelton was born in Dallas. I'd like to know what's the source for that information, because I'm trying to write his biography for the Spanish Wikipedia. Can you please help me? (Sorry about my bad English). Thank you.

> See https://downthetubes.net/?p=41281 - this looks to be reliable. BennyOnTheLoose (talk) 23:35, 4 June 2019 (UTC)

Easy out
Was it that easy to avoid being drafted and sent to Viet Nam? Just say, "I took psychedelic drugs." I'm sure millions would have used that excuse if it was commonly known.173.72.115.153 (talk) 22:53, 1 October 2018 (UTC)Santander Desanex

Set My Chickens Free
A mash-up video of the Hub City Movers song with the cartoon:  A blog with a link to an MP3 of David Carradine's Grasshopper version:  David Carradine's definitive version:  Maykiwi (talk) 21:25, 27 August 2021 (UTC)

Place of birth?
The article states both Houston and Dallas. 142.205.202.71 (talk) 20:48, 15 December 2023 (UTC)

title: Talk:Gilbert Shelton


text:
Samuel Coleridge-Taylor

Samuel Coleridge-Taylor (15 August 1875 – 1 September 1912) was a British composer and conductor. Of mixed-race descent, Coleridge-Taylor achieved such success that he was referred to by white musicians in New York City as the "African Mahler" when he had three tours of the United States in the early 1900s. He was particularly known for his three cantatas on the epic 1855 poem The Song of Hiawatha by American Henry Wadsworth Longfellow. Coleridge-Taylor premiered the first section in 1898, when he was 23. He married an Englishwoman, Jessie Walmisley, and both their children had musical careers. Their son, Hiawatha, adapted his father's music for a variety of performances. Their daughter, Avril Coleridge-Taylor, became a composer-conductor.

Early life and education

Samuel Coleridge-Taylor was born at 15 Theobalds Road in Holborn, London, to Alice Hare Martin (1856–1953), an Englishwoman, and Daniel Peter Hughes Taylor, a Krio man from Sierra Leone who had studied medicine in London and later became an administrator in West Africa. They were not married, and Daniel had returned to Africa without learning that Alice was pregnant. (Alice's parents had not been married at her birth, either.) Alice named her son Samuel Coleridge Taylor (without a hyphen), after the poet Samuel Taylor Coleridge.

Alice lived with her father, Benjamin Holmans, and his family after Samuel was born. Holmans was a skilled farrier and was married to a woman who was not Alice's mother, with whom he had four daughters and at least one son. Alice and her father called her son Coleridge. In 1887 she married George Evans, a railway worker, and lived in Croydon on a street adjoining the railway line.

There were numerous musicians on Taylor's mother's side, and her father played the violin, teaching it to his grandson from an early age. Taylor's musical ability quickly became apparent, and his grandfather paid for him to have violin lessons. The extended family arranged for Taylor to study at the Royal College of Music from the age of 15. He changed from the violin to composition, working under Charles Villiers Stanford. After completing his degree, he became a professional musician; he was appointed a professor at the Crystal Palace School of Music and began conducting the orchestra at the Croydon Conservatoire.

He later used the name "Samuel Coleridge-Taylor", with a hyphen, said to be following a printer's error.

In 1894 Taylor's father was appointed a coroner in the colony of Gambia.

Marriage
In 1899 Coleridge-Taylor married Jessie Walmisley, whom he had met as a fellow student at the Royal College of Music. Six years older than he, Jessie had left the college in 1893. Her parents objected to the marriage because Taylor was of mixed-race parentage, but relented and attended the wedding.

The couple had a son, named Hiawatha (1900–1980) after the poetic figure, and a daughter Gwendolen Avril (1903–1998). Both had careers in music: Hiawatha adapted his father's works. Gwendolen started composing music early in life, and also became a conductor-composer; she used the professional name of Avril Coleridge-Taylor.

Career
By 1896, Coleridge-Taylor was already earning a reputation as a composer. He was later helped by Edward Elgar, who recommended him to the Three Choirs Festival. His "Ballade in A minor" was premiered there. His early work was also guided by the influential music editor and critic August Jaeger of music publisher Novello; he told Elgar that Taylor was "a genius".

On the strength of Hiawatha's Wedding Feast, which was conducted by Professor Charles Villiers Stanford at its 1898 premiere and proved to be highly popular, Coleridge-Taylor made three tours of the United States in 1904, 1906, and 1910. In the United States, he became increasingly interested in his paternal racial heritage. Coleridge-Taylor participated as the youngest delegate at the 1900 First Pan-African Conference held in London, and met leading Americans through this connection, including the poet Paul Laurence Dunbar and the scholar and activist W. E. B. Du Bois.

Coleridge-Taylor's father Daniel Taylor was descended from African-American slaves who were freed by the British and evacuated from the colonies at the end of the American War of Independence; some 3,000 of these Black Loyalists were resettled in Nova Scotia. Others were resettled in London and the Caribbean. In 1792 some 1200 blacks from Nova Scotia chose to leave what they considered a hostile climate and society, and moved to Sierra Leone, which the British had established as a colony for free blacks. The Black Loyalists joined free blacks (some of whom were also African Americans) from London, and were joined by maroons from Jamaica, and slaves liberated at sea from illegal slave ships by the British navy. At one stage Coleridge-Taylor seriously considered emigrating to the United States, as he was intrigued by his father's family's past there.

In 1904, on his first tour to the United States, Coleridge-Taylor was received by President Theodore Roosevelt at the White House, a rare event in those days for a man of African descent. His music was widely performed and he had great support among African Americans. Coleridge-Taylor sought to draw from traditional African music and integrate it into the classical tradition, which he considered Johannes Brahms to have done with Hungarian music and Antonín Dvořák with Bohemian music. Having met the African-American poet Paul Laurence Dunbar in London, Taylor set some of his poems to music. A joint recital between Taylor and Dunbar was arranged in London, under the patronage of US ambassador John Milton Hay. It was organised by Henry Francis Downing, an African-American playwright and London resident. Dunbar and other black people encouraged Coleridge-Taylor to draw from his Sierra Leonean ancestry and the music of the African continent.

His standing caused Coleridge-Taylor to be invited to judge at music festivals. He was said to be personally shy but was still effective as a conductor.

Composers were not handsomely paid for their music, and they often sold the rights to works outright in order to make immediate income. This caused them to lose the royalties earned by the publishers who had invested in the music distribution through publication. The popular Hiawatha's Wedding Feast sold hundreds of thousands of copies, but Coleridge-Taylor had sold the music outright for the sum of 15 guineas, so did not benefit directly. He learned to retain his rights and earned royalties for other compositions after achieving wide renown but always struggled financially.

Death
Coleridge-Taylor was 37 when he died of pneumonia. His death is often attributed to the stress of his financial situation. He was buried in Bandon Hill Cemetery, Wallington, Surrey (today in the London Borough of Sutton).

Honours
"Too young to die: his great simplicity, his happy courage in an alien world, his gentleness, made all that knew him love him."
 * The inscription on Coleridge-Taylor's carved headstone includes four bars of music from the composer's best-known work, Hiawatha, and a tribute from his close friend, the poet Alfred Noyes, that includes these words:
 * King George V granted Jessie Coleridge-Taylor, the young widow, an annual pension of £100, evidence of the high regard in which the composer was held.
 * In 1912 a memorial concert was held at the Royal Albert Hall and garnered over £1400 for the composer's family.
 * After Coleridge-Taylor's death in 1912, musicians were concerned that he and his family had received no royalties from his Song of Hiawatha, which was one of the most successful and popular works written in the previous 50 years. (He had sold the rights early in order to get income.) His case contributed to their formation of the Performing Right Society, an effort to gain revenues for musicians through performance as well as publication and distribution of music.

Coleridge-Taylor's work continued to be popular. He was later championed by conductor Malcolm Sargent. Between 1928 and 1939, Sargent conducted ten seasons of a large costumed ballet version of The Song of Hiawatha at the Royal Albert Hall, performed by the Royal Choral Society (600 to 800 singers) and 200 dancers.

Legacy
Coleridge-Taylor's greatest success was undoubtedly his cantata Hiawatha's Wedding Feast, which was widely performed by choral groups in England during Coleridge-Taylor's lifetime and in the decades after his death. Its popularity was rivalled only by the choral standards Handel's Messiah and Mendelssohn's Elijah. The composer soon followed Hiawatha's Wedding Feast with two other cantatas about Hiawatha, The Death of Minnehaha and Hiawatha's Departure. All three were published together, along with an Overture, as The Song of Hiawatha, Op. 30. The tremendously popular Hiawatha seasons at the Royal Albert Hall, which continued until 1939, were conducted by Sargent and involved hundreds of choristers, and scenery covering the organ loft. Hiawatha's Wedding Feast is still occasionally revived.

Coleridge-Taylor also composed chamber music, anthems, and the African Dances for violin, among other works. The Petite Suite de Concert is still regularly played. He set one poem by his namesake Samuel Taylor Coleridge, "Kubla Khan".

Coleridge-Taylor was greatly admired by African Americans; in 1901, a 200-voice African-American chorus was founded in Washington, D.C., named the Samuel Coleridge-Taylor Society. He visited the United States three times in the early 1900s, receiving great acclaim, and earned the title "the African Mahler" from the white orchestral musicians in New York in 1910. Public schools were named after him in Louisville, Kentucky, and in Baltimore, Maryland.

Coleridge-Taylor composed a violin concerto for the American violinist Maud Powell. The American performance of the work was subject to rewriting because the parts were lost en route—not, as legend has it, on the RMS Titanic but on another ship. The concerto has been recorded by Philippe Graffin and the Johannesburg Philharmonic Orchestra under Michael Hankinson (nominated "Editor's Choice" in Gramophone magazine), Anthony Marwood and the BBC Scottish Symphony Orchestra under Martyn Brabbins (on Hyperion Records), and Lorraine McAslan and the London Philharmonic Orchestra conducted by Nicholas Braithwaite (on the Lyrita label). It was also performed at Harvard University's Sanders Theatre in the autumn of 1998 by John McLaughlin Williams and William Thomas, as part of the 100th-anniversary celebration of the composition of Hiawatha's Wedding Feast.

Lists of Coleridge-Taylor's compositions and recordings of his work and of the many articles, papers and books about Coleridge-Taylor's life and legacy are available through the Samuel Coleridge-Taylor Foundation and the Samuel Coleridge-Taylor Network.

There are two blue plaques in his memory, one in Dagnall Park, South Norwood, and the other in St Leonards Road, Croydon, at the house where he died. A metal figure in the likeness of Coleridge-Taylor has been installed in Charles Street, Croydon.

A two-hour documentary, Samuel Coleridge Taylor and His Music in America, 1900–1912 (2013), was made about him and includes a performance of several of his pieces, as well as information about him and his prominent place in music. It was written and directed by Charles Kaufmann, and produced by The Longfellow Chorus.

A feature animation, The Samuel Coleridge-Taylor Story (2013), was made about him, written and directed by Jason Young. It was screened as part of Southwark Black History Month and Croydon Black History Month in 2020.

Chi-chi Nwanoku presented in 2017 on the Sky Arts series Passions a program about Samuel Coleridge-Taylor.

On 26 August 2021 Coleridge-Taylor's Symphony in A minor received its Proms premiere by the Chineke! Orchestra with Kalena Bovell.

On 1 September 2023 Coleridge-Taylor's Four Novelletten received its Proms premiere by the Chineke! Orchestra with Anthony Parnther.

The American composer Coleridge-Taylor Perkinson (1932-2004) was named after Samuel Coleridge-Taylor.

Posthumous publishing
In 1999, freelance music editor Patrick Meadows identified three important chamber works by Coleridge-Taylor that had never been printed or made widely available to musicians. A handwritten performing parts edition of the Piano Quintet, from the original in the Royal College of Music (RCM) Library, had been prepared earlier by violinist Martin Anthony Burrage of the Royal Liverpool Philharmonic. The first modern performance of the Piano Quintet was given on 7 November 2001 by Burrage's chamber music group, Ensemble Liverpool / Live-A-Music in Liverpool Philharmonic Hall. The lunchtime recital included the Fantasiestücke. Live recordings of this performance are lodged with the RCM and the British Library. The artists were Andrew Berridge (violin), Martin Anthony (Tony) Burrage (violin), Joanna Lacey (viola), Michael Parrott (cello) and John Peace (piano).

After receiving copies of the work from the RCM in London, Patrick Meadows made printed playing editions of the Nonet, Piano Quintet and Piano Trio. The works were performed in Meadows's regular chamber music festival on the island of Mallorca, and were well received by the public as well as the performers.

The first modern performances of some of these works were done in the early 1990s by the Boston, Massachusetts-based Coleridge Ensemble, led by William Thomas of Phillips Academy, Andover. This group subsequently made world premiere recordings of the Nonet, Fantasiestücke for string quartet and Six Negro Folksongs for piano trio, which were released in 1998 by Afka Records. Thomas, a champion of lost works by black composers, also revived Coleridge's Hiawatha's Wedding Feast in a performance commemorating the composition's 100th anniversary with the Cambridge Community Chorus at Harvard's Sanders Theatre in the spring of 1998. In 2006, Meadows finished engraving the first edition of Coleridge-Taylor's Symphony in A minor. Meadows has also transcribed from the RCM manuscript the Haytian Dances, a work virtually identical to the Noveletten but with a fifth movement inserted by Coleridge-Taylor, based on the Scherzo of the symphony. This work is for string orchestra, tambourine and triangle.

The Nash Ensemble's recording of the Piano Quintet was released in 2007.

Thelma, the missing opera
Coleridge-Taylor's only large-scale operatic work, Thelma, was long believed to have been lost. As recently as 1995, Geoffrey Self in his biography of Coleridge-Taylor, The Hiawatha Man, stated that the manuscript of Thelma had not been located, and that the piece may have been destroyed by its creator. While researching for a PhD on the life and music of Samuel Coleridge-Taylor, Catherine Carr unearthed the manuscripts of Thelma in the British Library. She assembled a libretto and catalogued the opera in her thesis, presenting a first critical examination of the work by a thorough investigation of the discovered manuscripts (including copious typeset examples). The work subsequently appeared as such on the catalogue of the British Library.

Thelma is a saga of deceit, magic, retribution and the triumph of love over wickedness. The composer followed Richard Wagner's manner in eschewing the established "numbers" opera format, preferring to blend recitative, aria and ensemble into a seamless whole. It is possible that he had read Marie Corelli's 1887 "Nordic" novel Thelma (it appears that the name "Thelma" may have been created by Corelli for her heroine). Coleridge-Taylor composed Thelma between 1907 and 1909; it is alternatively entitled The Amulet.

The full score and vocal score in the British Library are both in the composer's hand – the full score is unbound but complete (save that the vocal parts do not have the words after the first few folios) but the vocal score is bound (in three volumes) and complete with words. Patrick Meadows and Lionel Harrison prepared a type-set full score, vocal score and libretto (the librettist is uncredited and may be Coleridge-Taylor himself). As to the heroine of the title, the composer changed her name to "Freda" in both full and vocal scores (although in the full score he occasionally forgets himself and writes "Thelma" instead of "Freda"). Perhaps Coleridge-Taylor changed the name of his heroine (and might have changed the name of the opera, had it been produced) to avoid creating the assumption that his work was a treatment of Corelli's then very popular novel. Since that precaution is scarcely necessary today, Meadows and Harrison decided to revert to the original Thelma.

There are minor discrepancies between the full score and the vocal score (the occasional passage occurring in different keys in the two, for example), but nothing that would inhibit the production of a complete, staged performance.

Thelma received its world première in Croydon's Ashcroft Theatre in February 2012, the centenary year of the composer's death, performed by Surrey Opera, using an edition prepared by Stephen Anthony Brown. It was conducted by Jonathan Butcher, directed by Christopher Cowell and designed by Bridget Kimak. Joanna Weeks sang the title role, with Alberto Sousa as Eric and Håkan Vramsmo as Carl.

With opus number

 * Piano Quintet in G minor, Op. 1 – 1893
 * Nonet in F minor for oboe, clarinet, bassoon, horn, violin, viola, cello, contrabass and piano, Op. 2 – 1894
 * Suite for Violin and Organ (or piano), Op. 3 (Suite de Piêces) – 1893
 * Ballade in D minor, Op. 4 – 1895
 * Five Fantasiestücke, Op. 5 – 1896
 * Little Songs for Little Folks, Op. 6 – 1898
 * Zara's Earrings, Op. 7 – 1895
 * Symphony in A minor, Op. 8 – 1896
 * Two Romantic Pieces, Op. 9 – 1896
 * Quintet in F-sharp minor for clarinet and strings, Op. 10 – 1895
 * Southern Love Songs, Op. 12 – 1896
 * String Quartet in D minor, Op. 13 – 1896 (lost)
 * Legend (Concertstück), Op. 14
 * Land of the Sun, Op. 15 – 1897
 * Three Hiawatha Sketches for violin and piano, Op. 16 – 1897
 * African Romances (P. L. Dunbar) Op. 17 – 1897
 * Morning and Evening Service in F, Op. 18 – 1899
 * Two Moorish Tone-Pictures, Op. 19 – 1897
 * Gypsy Suite, Op. 20 – 1898
 * Part Songs, Op. 21 – 1898
 * Four Characteristic Waltzes, Op. 22 – 1899
 * Valse-Caprice, Op. 23 – 1898
 * In Memoriam, three rhapsodies for low voice and piano, Op. 24 – 1898
 * Dream Lovers, Operatic Romance, Op. 25 – 1898
 * The Gitanos, cantata-operetta, Op. 26 – 1898
 * Violin Sonata in D minor, Op. 28 – ?1898 (pub. 1917)
 * Three Songs, Op. 29 – 1898
 * The Song of Hiawatha, Op. 30 ("Overture to The Song of Hiawatha", 1899; "Hiawatha's Wedding Feast", 1898; "The Death of Minnehaha", 1899; "Hiawatha's Departure", 1900)
 * Three Humoresques, Op. 31 – 1898
 * Ballade in A minor, Op. 33 – 1898
 * African Suite, Op. 35 – 1899
 * Six Songs, Op. 37
 * Three Silhouettes, Op. 38 – 1904
 * Romance in G, Op. 39 – 1900
 * Solemn Prelude, Op. 40 – 1899
 * Scenes from an Everyday Romance, Op. 41 – 1900
 * The Soul's Expression, four sonnets, Op. 42 – 1900
 * The Blind Girl of Castél-Cuillé, Op. 43
 * Idyll, Op. 44 – 1901
 * Six American Lyrics, Op. 45 – 1903
 * Concert Overture, Toussaint L'Ouverture, Op. 46 – 1901
 * Hemo Dance, scherzo, Op. 47(1) – 1902
 * Herod, incidental music, Op. 47(2) – 1901
 * Meg Blane, Rhapsody of the Sea, Op. 48 – 1902
 * Ullyses, incidental music, Op. 49 – 1902
 * Three Song Poems, Op. 50 – 1904
 * Ethiopia Saluting the Colours, march, Op. 51 – 1902
 * Four Novelletten for string orchestra, Op. 52 – 1903
 * The Atonement, sacred cantata, Op. 53 – 1903
 * Five Choral Ballads, Op. 54 – 1904
 * Moorish Dance, Op. 55 – 1904
 * Three Cameos for Piano, Op. 56 – 1904
 * Six Sorrow Songs, Op. 57 – 1904
 * Four African Dances, Op. 58 – 1904
 * Twenty-Four Negro Melodies, Op. 59(1) – 1905
 * Romance, Op. 59(2) – 1904
 * Kubla Khan, rhapsody, Op. 61 – 1905
 * Nero, incidental music, Op. 62 – 1906
 * Symphonic Variations on an African Air, Op. 63 – 1906
 * Scenes de Ballet, Op. 64 – 1906
 * Endymion's Dream, one-act opera, Op. 65 – 1910
 * Forest Scenes, Op. 66 – 1907
 * Part Songs, Op. 67 – 1905
 * Bon-Bon Suite, Op. 68 – 1908
 * Sea Drift, Op. 69 – 1908
 * Faust, incidental music, Op. 70 – 1908
 * Valse Suite: "Three fours", Op. 71 – 1909
 * Thelma, opera in three acts, Op. 72 – 1907–09
 * Ballade in C minor, Op. 73 – 1909
 * Forest of Wild Thyme, incidental music, Op. 74 (five numbers) – 1911–25
 * Rhapsodic Dance, The Bamboula, Op. 75 – 1911
 * A Tale of Old Japan, Op. 76 – 1911
 * Petite Suite de Concert, Op. 77 – 1911
 * Three Impromptus, Op. 78 – 1911
 * Othello, incidental music, Op. 79 – 1911
 * Violin Concerto in G minor, Op. 80 – 1912
 * Two Songs for Baritone Voice, Op. 81 – 1913
 * Hiawatha, ballet in five scenes, Op. 82 – 1920

Without opus number

 * Trio in E minor (1893)
 * The Lee Shore
 * Eulalie
 * Variations for Cello and Piano

Recordings

 * Quintet for Piano & Strings in G min. Op. 1, Fantasiestucke for String Quartet Op. 5 – Live-A-Music (2001)
 * Ballade in A minor, Op. 33, Symphonic Variations on an African Air, Op. 63 – Royal Liverpool Philharmonic, Grant Llewellyn, Argo Records 436 401-2
 * Samuel Coleridge-Taylor: Chamber Music – Hawthorne String Quartet. Label: Koch International 3-7056-2
 * Heart & Hereafter – Collected Songs, Elizabeth Llewellyn (soprano), Simon Lepper (piano). Label: Orchid Classics ORC100164 (2021)
 * Hiawatha – Welsh National Opera, – conductor Kenneth Alwyn, soloist Bryn Terfel. Label: Decca 458 591–2
 * Piano & Clarinet Quintets – Nash Ensemble. Label: Hyperion CDA67590
 * Violin Sonata; African Dances; Hiawathan Sketches; Petite Suite de Concert – David Juritz (violin), Michael Dussek (piano). Label: Epoch CDLX 7127
 * Sir Malcolm Sargent conducts British Music includes "Othello Suite" – New Symphony Orchestra. Label: Beulah Records 1PD13
 * The Romantic Violin Concerto Volume 5 includes "Violin Concerto in G minor, Op. 80" – Anthony Marwood (violin), BBC Scottish Symphony Orchestra, Martyn Brabbins (conductor). Label: Hyperion CDA67420
 * Symphony, Op. 8, Aarhus Symphony Orchestra, Douglas Bostock (conductor), in The British Symphonic Collection, Vol. 15. Classico label by Olufsen Records
 * 2nd of the Three Impromptus, Op. 78 for organ, on Now Let Us Sing!, 2013 recording by the Choir of Worcester Cathedral, played by Christopher Allsop.
 * Fantasiestücke in Dvořák: String Quartet Op 106; Coleridge-Taylor: Fantasiestücke by the Takács Quartet, Hyperion Records, July 2023.
 * Choral Music of Samuel Coleridge-Taylor: London Choral Sinfonia directed by Michael Waldron. Orchid Classics ORC100247 (2023)
 * Samuel Coleridge Taylor: Partsongs, The Choir of King's College London, Joseph Fort (director). Label: Delphian Records DCD34271

Scores

 * The Samuel Coleridge-Taylor Collection at the Irving S. Gilmore Music Library, Yale University
 * Four characteristic waltzes. Op. 22 at the Sibley Music Library Digital Scores Collection
 * "Five and twenty sailormen" at the Sibley Music Library Digital Scores Collection
 * Concerto in G minor for violin & orchestra, Op. 80 at the Sibley Music Library Digital Scores Collection
 * Organ music, Selections at the Sibley Music Library Digital Scores Collection
 * Sonata in D minor for violin and piano, Op. 28 at the Sibley Music Library Digital Scores Collection
 * Variations in B minor for violoncello & piano at the Sibley Music Library Digital Scores Collection
 * Liner Notes for the Hyperion recording of the Violin Concerto Op. 80

title: Samuel Coleridge-Taylor


text:
Talk:Samuel Coleridge-Taylor

Comment
This needs a lot of work - I am going to come back to this one when I get some time. Mark Richards 16:03, 13 May 2004 (UTC)

Friday the 13th of May, 2005. He was 15 when he entered the Royal Academy. !7:48Z

He's really more of a 19th century composer than a 20th century composer, both in date and in compositional style/technique. I'd suggest changing that at the top of this page and the top of the Samuel Taylor Coleridge page. --Ted.

Done- changed it to late 19th which is (I think) a good compromise. Mahler (for example) lived into the 20th C. but was a 19th C composer. Coleridge-Taylor lived into the 20th but his fine 1912 violin concerto shows no obvious 20th C influences. Saxophobia 19:25, 29 August 2006 (UTC)

24 October 2006 You may find the info at http://www.hilaryburrage.com/2006/09/samuel_coleridgetaylor.php of interest / help here, particularly in respect of modern realisations and performances of this composer's work. Hilary B

Clean up
No reason was given here for clean up tag. There's a citation needed tag, that remains in place as I don't know a citation to provide, and a corresponding category remains. Dmetric 22:55, 16 March 2007 (UTC)
 * I believe that it is impossible for a white person to be the parent of a black person. The article contains that common flaw which is in numerous articles in Wikipedia:  white people being the parents of "black" children.Velocicaptor 04:46, 27 May 2007 (UTC)
 * Well Velocicaptor has subsequently been removed as a sock-puppeteer. However, on this point, should Coleridge Taylor be described as mixed race? Indisciplined 00:11, 24 October 2007 (UTC)

His name
Given that his father's surname was Taylor, shouldn't there be an explanation as to where the Coleridge bit of his name came from? --rossb (talk) 13:26, 17 October 2008 (UTC)

Surely he must have been named after the very famous poet, Samuel Taylor Coleridge. However, that does not explain how that hyphen got into Coleridge-Taylor's name. Treharne (talk) 05:55, 21 July 2009 (UTC)

 * We have the answer now. The info was all there in our sources; I collated it and wrote a little story.  --  JackofOz (talk) 13:22, 21 July 2009 (UTC)

'African' Mahler
Is 'African' Mahler the actual term that was used by those white NY musicians? I tried googling this and found barely a single reference. The more obvious colour-based epithet on the other hand found a host of references and seems to be the form in which this naming was usually given. I don't want to encourage anyone to offend anyone else, but at present what the article says seems to be not quite the truth. Eebahgum (talk) 12:39, 8 November 2008 (UTC)
 * Have actually sourced that now:
 * http://www.apaonline.org/publications/newsletters/v99n1_Black_04.aspx.
 * It seems pretty evident with this source that he was called "African Mahler". Dieter Simon (talk) 23:58, 8 November 2008 (UTC)

Thankyou for taking that trouble. You did well to find this! I am still doubtful, however, as the authors of that article don't source their statement at all and use the term only once. I've no intention of challenging it but is it possible these authors were being politically correct? I just can't find this usage anywhere else. And the book cited at the foot of the article clearly uses the other term. Still, I agree you have sourced this statement! Thanks, best wishes Eebahgum (talk) 08:05, 9 November 2008 (UTC)
 * I take your point, however doesn't that apply to most sources cited. It does seem a pretty substantial and important group of people involved in the American Philosophical Association of the University of Delaware. One would imagine any statements being refuted pretty swiftly by their own peers if they didn't conform to standards. I don't know, but that is what I feel. Dieter Simon (talk) 23:33, 9 November 2008 (UTC)

A tiny question
The article looks fine in the main but there is one line that bugs me. "[Coleridge-Taylor] sought to do for African music what Johannes Brahms did for Hungarian music and Antonín Dvořák for Bohemian music." Well, it's certainly true that Dvorak did something for Bohemian music but Brahms? What did he do for Hungarian music? Yes, he wrote "Hungarian Dances". Yes, even his music which is not explicitly named "Hungarian" sometimes sounds Hungarian. I wouldn't deny that. But aren't there others who might more deservingly wear the mantle of "Champion of Hungarian Music"? Maybe Liszt, maybe Bartok, or Kodaly? It would seem that Liszt presents himself as the aptest analogy to Coleridge-Taylor because he wrote or tried to write Hungarian music but he could not speak Hungarian fluently, which is to say that without his music he would have been something of outsider in Hungary. CT wanted to write music "of his blood" in the same way that Liszt did (although, in all likelihood, CT's connection to Africa or Sierra Leone was more tenuous than Liszt's to Hungary)... At any rate, if you think of it this way, Brahms is not even a candidate. Brahms wasn't Hungarian. Doesn't that settle it?

But good on you for posting an article on CT. —Preceding unsigned comment added by 96.241.160.176 (talk) 07:39, 21 November 2008 (UTC)

citation
Added citation supporting the statement about the immense popularity of Hiawatha's Wedding Feast, and for full disclosure I work for the non-profit educational resource linked to.Ribbonabaca (talk) 19:49, 7 September 2010 (UTC)

Inscription on the headstone
We;re saying the inscription on his headstone includes a quotation from the composition Hiawatha, in words written by his close friend and poet Alfred Noyes.

That suggests that Noyes wrote the words to the cantata. But Henry Wadsworth Longfellow did, not Noyes. We need to get clear about who wrote what on the headstone. --  Jack of Oz   [Talk]  20:40, 8 January 2013 (UTC)

Alice Hare Martin
It's well known that Martin's background is a little hazy - (http://www.billgreenwell.com/lost_lives/index.php?key_id=588 ) Can you reference the statement that 'Martin's brother was a professional musician'?) Do you mean a son of Holmans or a brother of Martin?  It is said that she was adopted and may have other siblings with the name of Martin.  — Preceding unsigned comment added by LRC Techie (talk • contribs) 15:26, 11 August 2014 (UTC)

External links modified
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File:Samuel Coleridge-Taylor.jpg scheduled for POTD
Hello! This is to let editors know that the featured picture File:Samuel Coleridge-Taylor.jpg, which is used in this article, has been selected as the English Wikipedia's picture of the day (POTD) for August 15, 2020. A preview of the POTD is displayed below and can be edited at Template:POTD/2020-08-15. Any potential improvements or maintenance that could benefit the quality of this article should be made before its scheduled appearance on the Main Page. If you have any concerns, please place a message at Wikipedia talk:Picture of the day. Thank you! Cwmhiraeth (talk) 10:53, 2 August 2020 (UTC)

"Beethoven was black"
According to this piece in The Guardian, Coleridge -Taylor was responsible for suggestions that Beethoven was multiracial. Does his theory, which is still referred to today regardless of whether it was incorrect or not, merit inclusion in this article? JezGrove (talk) 21:11, 7 September 2020 (UTC)

African American?
Should tags relating to African Americans really be applied to a man of Krio and English parentage, who was raised in London? 192.5.110.7 (talk) 22:12, 24 March 2023 (UTC)

Background on his father's family
"Around the inevitable standpipe of fresh water at [the junction of Fourah Bay Road with Bombay Street, Freetown, Sierra Leone Colony] would gather the throng of women and children fetching water for their families. Near here also was the provision shop (grocery store) of Mr Amadu Taylor, barrister and businessman, whose uncle incidentally was the father of Samuel Coleridge-Taylor the famous Negro musician. He had a noted barrister son and was the first African to send his daughter to the United Kingdom to study medicine. Unfortunately she died on the eve of completing her training. This was before our time. But his shop was a mecca for us children. A penny there was well spent." – Robert Wellesley Cole, Kossoh Town Boy, Cambridge: Cambridge University Press, 1960 Harfarhs (talk) 14:57, 23 May 2023 (UTC)

title: Talk:Samuel Coleridge-Taylor


text:
User:Nataliesiobhan

SUP

My name is Natalie. I work at a bakery. I am eighteen and have red hair and live in Minnesota. I like Ernest Hemingway, the Flaming Lips, cities, Russia and frosting flavored lip gloss. When I grow up I want to be like Oliver Sacks or Paul Wellstone.

title: User:Nataliesiobhan


text:
Corner case

In engineering, a corner case (or pathological case) involves a problem or situation that occurs only outside normal operating parameters—specifically one that manifests itself when multiple environmental variables or conditions are simultaneously at extreme levels, even though each parameter is within the specified range for that parameter.

For example, a loudspeaker might distort audio, but only when played at maximum volume, maximum bass, and in a high-humidity environment. Or a computer server may be unreliable, but only with the maximum complement of 64 processors, 512 GB of memory, and 10,000 signed-on users. The investigation of corner cases is of extreme importance as it can provide engineers with valuable insight into how corner case effects can be mitigated. In the case where automotive radar fails, corner case investigation can possibly tell engineers and investigators alike what may have occurred.

Corner cases form part of an engineer's lexicon—especially an engineer involved in testing or debugging a complex system. Corner cases are often harder and more expensive to reproduce, test, and optimize because they require maximal configurations in multiple dimensions. They are frequently less-tested, given the belief that few product users will, in practice, exercise the product at multiple simultaneous maximum settings. Expert users of systems therefore routinely find corner case anomalies, and in many of these, errors.

The term "corner case" comes about by physical analogy with "edge case" as an extension of the "flight envelope" metaphor to a set of testing conditions whose boundaries are determined by the 2n combinations of extreme (minimum and maximum) values for the number n of variables being tested, i.e., the total parameter space for those variables. Where an edge case involves pushing one variable to a minimum or maximum, putting users at the "edge" of the configuration space, a corner case involves doing so with multiple variables, which would put users at a "corner" of a multidimensional configuration space.

title: Corner case


text:
Talk:Chihuahua City

Comment
It's odd that this page is at Chihuahua instead of Chihuahua (city). It should be considered equal to Chihuahua (state) and Chihuahua (dog), and the disambiguation page now at Chihuahua (disambiguation) should be at Chihuahua. ?radiojon 16:06, 2004 May 13 (UTC)

 * I don't agree. I see this as primary topic disambiguation, where one meaning is clearly predominant. The state and the dog are named after the city, and the cheese doesn't have an article yet. In addition, all pairs of Mexican cities and states that share a name are disambiguated as (eg) Puebla and Puebla (state), Aguascalientes and Aguascalientes (state), etc. –Hajor 18:41, 13 May 2004 (UTC)

 * I don't know. It seems strange to me to have it set up like this. Even if it IS the main reason people put Chiuhauha in (personaly, I was looking for the dog), it seems to me that the disambiguation page should be the first to go to. Just my two cents, though. Hey! Let's find out which is more popular on google, and use THAT as the main page! :D Darn taco bell dog... True Vox 02:34, 9 May 2005 (UTC)

I took some pictures in the city, and I'd love to put them on the article. But it needs cleanup... I hate putting pictures in unorganized articles. Victor 06:06, 26 Mar 2005 (UTC)

Chihuahua Farms in Texas
Anybody know of any Chihuahua Farms in Texas? Write me, please. :) --JennyJohansen 23:08, 23 July 2005 (UTC)

Barrios
Someone uploades the part which treats with "barrios" it need more atention because is just a stub. If anybody remembers something i'm lacking in the section tourism please let me know, and i'll take pictures.

Hola
MI Pueblo querido

Map
This article is fine, but it could use a bit more detail and it sorely lacks a map, giving the location of the city and the state, and even a detailed map with sections of the city.

ɪsαʙɘLΓɑ —Preceding unsigned comment added by 201.140.76.207 (talk) 23:19, 26 February 2008 (UTC) A map should be a fundamental requirement for any city, country subject. Also should include a note indicating a couple of relative distances -- from the nearest city and nearest international border. 64.229.169.221 (talk) 03:25, 3 November 2011 (UTC) drew knight.

As of August 2019, there is a map showing the city's location in the state of Chihuahua, but nothing showing the location of the state of Chihuahua in Mexico. For the millions of WP readers who have no idea where the state is, showing the city's location in it is not much help. —8.9.83.76 (talk) 03:36, 9 August 2019 (UTC)

Demographics
I understand the federal government does not keep tabs on races. The origin of these numbers??? —Preceding unsigned comment added by 69.232.65.205 (talk) 02:53, 23 December 2008 (UTC)

Sister Cities International
Please be advised that the website for SCI no longer lists any sister cities for Chihuahua other than Albuquerque, NM and Pueblo, CO.

Also, according to the by-laws of SCI:

 * ARTICLE I – MISSION
 * The Mission of the Corporation is to promote peace through mutual respect, understanding and cooperation – one individual, one community at a time.
 * This shall include enhancing world peace by promoting and servicing sister relationships between local, municipal, county, state, provincial, territorial, regional, national and/or international governments as may be done between the United States of America and similar governments around the world, with the object of developing closer understanding and cooperation between people of all cultures.
 * This shall be done to encourage the people of the world to learn, through sister relationships and programs, about the traditions, history, way of life, and objectives of the United States of America, and to assist the American people in a similar manner, utilizing exchanges of people, information and activities in all aspects of contemporary life.(emphasis mine)

Therefore, there would exist no sister-city relationship between two cities within the same country.

This question has arisen because of erroneous edits that have been made to both the english(http://en.wikipedia.org/wiki/Chihuahua,_Chihuahua) and spanish(http://es.wikipedia.org/wiki/Chihuahua_(Chihuahua)) articles about Chihuahua regarding sister cities.--Lyricmac (talk) 04:55, 2 May 2010 (UTC)

Requested move

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: moved. DrKiernan (talk) 09:36, 31 August 2014 (UTC)

Chihuahua, Chihuahua → Chihuahua City – The current title is, in a word, absurd. A far more natural way to disambiguate would be to follow the example of Mexico City, Panama City, Guatemala City and a kajillion others and the call this Chihuahua City. It's more common in ngrams, too. Red Slash 17:51, 23 August 2014 (UTC)
 * Google Books results

 * Support per the nom's examples and New York City not being at New York, New York. Egsan Bacon (talk) 18:19, 23 August 2014 (UTC)
 * Support as common name. bd2412  T 00:36, 24 August 2014 (UTC)
 * Support per nom and similar cases. In ictu oculi (talk) 01:38, 24 August 2014 (UTC)
 * Support per similar cases (not because of WP:OTHERSTUFFEXISTS, but because it seems to be a fairly consistent, if unwritten, convention on Wikipedia. Chihuahua, Chihuahua isn't "absurd" at all, any more than New York, New York is, and that's a very, very common phase; it's simply a) hard to type accurately (a concern not mentioned by the nom, but real), and b) not our preferred way of handling such cases, at least not for full-on cities.  If there were a small town in the US state of Texas that was itself named Texas, the article would almost certainly be at Texas, Texas, and we'd be unlikely to move it.  — SMcCandlish ☺ ☏ ¢ ≽ʌⱷ҅ᴥⱷʌ≼  11:41, 24 August 2014 (UTC)
 * Yeah, but (just to clarify) we'd also probably call that city "Texas, Texas", but this city is called "Chihuahua". It only doesn't get that title on WP for reasons of ambiguity (just like with Panama, New York, etc.). But if you're at the border crossing from Texas into Mexico into the state of Chihuahua, and you ask the guard (in English) where the nearest consulate/airport/bowling alley is, my guess is that he's not going to tell you "Chihuahua, Chihuahua"--he's probably going to say "Chihuahua City". Red Slash 16:45, 24 August 2014 (UTC)
 * Support per nomination, and the nominator's comment above. —innotata 22:44, 25 August 2014 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

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Origin of the Dog
We should add the fact that Chihuahua dogs originated in this area, too. — Preceding unsigned comment added by 99.199.110.74 (talk) 17:29, 27 March 2020 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:Aguascalientes City which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 21:45, 29 January 2023 (UTC)

title: Talk:Chihuahua City


text:
Edge case

An edge case is a problem or situation that occurs only at an extreme (maximum or minimum) operating parameter. For example, a stereo speaker might noticeably distort audio when played at maximum volume, even in the absence of any other extreme setting or condition.

An edge case can be expected or unexpected. In engineering, the process of planning for and gracefully addressing edge cases can be a significant task, and yet this task may be overlooked or underestimated.

Some common causes of edge cases are:

 * Unpredictable user behavior
 * Evolution of use cases (e.g. user behavior may change over time)
 * Limited test coverage
 * Product complexity (for instance, in distributed systems or microservice architectures)
 * Resource limitations (e.g. limited processing power, computer memory, or computer storage)
 * Other external causes

Some basic examples of edge cases include:

 * A long username in an app overflows and displays incorrectly
 * A booking system does not handle reservations correctly on a leap day (February 29th)

Non-trivial edge cases can result in the failure of an object that is being engineered. They may not have been foreseen during the design phase, and they may not have been thought possible during normal use of the object. For this reason, attempts to formalize good engineering standards often include information about edge cases.

Software engineering
In programming, an edge case typically involves input values that require special handling in an algorithm behind a computer program. As a measure for validating the behavior of computer programs in such cases, unit tests are usually created; they are testing boundary conditions of an algorithm, function or method. A series of edge cases around each "boundary" can be used to give reasonable coverage and confidence using the assumption that if it behaves correctly at the edges, it should behave everywhere else.

For example, a function that divides two numbers might be tested using both very large and very small numbers. This assumes that if it works for both ends of the magnitude spectrum, it should work correctly in between.

Programmers may also create integration tests to address edge cases not covered by unit tests. These tests cover cases which only appear when a system is tested as a whole. For example, while a unit test may ensure that a function correctly calculates a result, an integration test ensures that this function works properly when integrated with a database or an external API. These tests are particularly relevant with increasing system complexity in distributed systems, microservices, and Internet of things (IoT) devices. With microservices in particular, testing becomes a challenge as integration tests may not cover all microservice endpoints, resulting in uncovered edge cases.

Other types of testing which relate to edge cases may include load testing and negative/failure testing. Both methods aim at expanding the test coverage of a system, reducing the likelihood of unexpected edge cases.

In test-driven development, edge cases may be determined by system requirements and accounted for by tests, before writing code. Such documentation may go inside a product requirements document after discussions with stakeholders and other teams.

title: Edge case


text:
Suppressive fire

In military science, suppressive fire is "fire that degrades the performance of an enemy force below the level needed to fulfill its mission". When used to protect exposed friendly troops advancing on the battlefield, it is commonly called covering fire. Suppression is usually only effective for the duration of the fire. It is one of three types of fire support, which is defined by NATO as "the application of fire, coordinated with the maneuver of forces, to destroy, neutralise or suppress the enemy".

Before NATO defined the term, the British and Commonwealth armies generally used "neutralisation" with the same definition as suppression. NATO now defines neutralisation as "fire delivered to render a target temporarily ineffective or unusable".

Usage

Suppressive fire usually achieves its effect by threatening casualties to individuals who expose themselves to it, forcing them to inactivity and ineffectiveness by keeping their heads down, 'or else take a bullet'. Willingness to expose themselves varies depending on the morale, motivation and leadership of the target troops. Suppressive fire is often used as covering fire, defined by NATO as "Fire used to protect troops when they are within range of enemy small arms." This is sometimes called "winning the firefight" in an infantry-only action. However, suppressive fire may be used against indirect firers, enemy air defenses or other military activities such as construction work or logistic activities, or to deny an area to the enemy for a short period of time (it is unsuitable for prolonged area denial due to ammunition supply constraints). Using smoke to 'blind' enemy observation is a form of non-lethal suppression and at night illuminating flares may be used to suppress enemy activities by denying them the cover of darkness.

Suppression can be delivered by any weapon or group of weapons capable of delivering the required intensity of fire for the required period of suppression. Suppressive fire capabilities vary widely because the suppressive effect area varies widely. For example, a rifle or machine gun bullet may only have a suppressive effect within about one metre of its trajectory, whereas a single artillery shell may suppress a few thousand square metres around its burst. Furthermore, sustained suppression over more than a few minutes may be difficult to achieve with small arms fire for logistic reasons, air delivered suppression is similarly affected by payload limits. In contrast, artillery can suppress an area for an extended period.

The purpose of suppression is to stop or prevent the enemy from observing, shooting, moving or carrying out other military tasks that interfere (or could interfere) with the activities of friendly forces. An important feature of suppressive fire is that it is only effective while it lasts and while it has sufficient intensity.

Suppressive fire is a tactic to reduce casualties to friendly forces and enable them to conduct their immediate mission. For example, a suppressed target will be unable to engage vulnerable forces that are moving without cover. This enables forces to advance to new positions or close with the enemy. For example, a US Marines article notes that "communication and suppressive fire are what enables movement on the battlefield, giving Marines the upper hand." Suppressive fire may be used to enable a helicopter or boat to land or extract soldiers from a battle zone (the latter is called a "hot extraction").

Suppressive fire is typically used as covering fire against the enemy in the close combat zone. However, suppressive fire delivered by artillery and other indirect fire means can be used to suppress targets of any type, most notably as counter-battery fire against indirect fire units. NATO also defines 'suppression of enemy air defenses' (SEAD), which has a broader definition and includes materiel damage. An important consideration in the application of suppressive fire from indirect fire systems (e.g. mortars, artillery and ships) and aircraft is the safety of the attacking troops. Fragmenting munitions are indiscriminate and potentially lethal in all directions around the point of burst although the pattern and extent of the lethal area depends on several variable factors, some specific to each situation.

The primary intended effect of suppressive fire is psychological. Rather than directly trying to kill enemy soldiers, it makes the enemy soldiers feel unable to safely perform any actions other than seeking cover. Colloquially, this goal is expressed as "it makes them keep their heads down" or "it keeps them pinned down". However, depending on factors including the type of ammunition and the target's protection, suppressive fire may cause casualties and/or damage to enemy equipment.

Suppressive fire requires sufficient intensity over the target area, intensity being the suppressive effect per unit of target area per unit of suppression time. Weapons vary widely in their suppressive capabilities, which are the threat signaled by the noise of projectiles in flight and their impact.

In modern warfare, overwatch is a force protection tactic: the state of one small unit or military vehicle supporting another unit, while they are executing fire and movement tactics. An overwatching, or supporting unit has taken a position where it can observe the terrain ahead, especially likely enemy positions. This allows it to provide effective covering fire for advancing friendly units. An ideal overwatch position provides cover for the unit, and unobstructed lines of fire. It may be on a height of ground or at the top of a ridge, where a vehicle may be able to adopt a hull-down position. If the overwatching unit is in a position to fire over advancing friendly units, great care must be taken not to let fire fall short. The friendly units should be within tracer burnout (the range at which tracer rounds are visible).

History
World War I marked a steep change because of the development of artillery techniques and the protection provided by trenches. By late 1915, the British Expeditionary Force realised that the effects of artillery fire could not smash an opening in German trench lines or reliably destroy enemy artillery at critical times. They therefore developed artillery techniques to suppress the enemy in trenches to allow their infantry to approach them and to suppress the enemy artillery at critical stages to protect attacking infantry. Thereafter, suppression became the defining British artillery tactic, although it had been first used in the Boer Wars. A moving barrage could suppress a line of front providing covering fire for an attack several miles wide. Shrapnel was the usual ammunition used by the British Army in its barrages. Suppressive fire was used against enemy artillery that attacked the assaulting troops with indirect fire.

Infantry minor tactics also evolved and suppression became a key element in 'winning the fire fight'. This was greatly facilitated by the increase in the availability of machine guns, from before World War I and later. However, suppression by infantry direct fire weapons is generally only tactically useful against targets that do not have mutual support from adjacent positions and ammunition stocks may only be available for several minutes of sustained firing.

In World War II amphibious assaults, naval warships would open fire with their main armaments at known or suspected enemy artillery, mortar, or machine gun positions, on or behind the landing beaches, to suppress enemy fire from these positions which could be directed against the landing troops. The rise of mass usage of aircraft and aerial assaults also gave rise to bombing runs and strafing runs, serving as oft-used means of suppressing enemy forces, disrupting enemy lines, and inflicting heavy damage on the enemy all at once, using concentrated fire from machine guns and/or carried-on explosives to pin down entire swathes of territory. Firebombs were also used for suppression, area denial, and extensive psychological effect. The Vietnam War and the commonplace implementation of napalm furthered this concept.

Weapons used

Suppressive fire can be delivered by any weapon or group of weapons capable of delivering the required intensity for the required period of suppression. Suppressive fire may be direct or indirect. However, suppressive fire capabilities of different weapons vary, most notably in the size of the area of their suppressive effect.

Indirect fire weapons
There are several variations for applying artillery (and mortar and naval gun) fire for suppressive effect. In World War I a moving barrage was the normal method; shrapnel shells were fired to place their bullet cone ahead of the advancing infantry with their aimpoints moved 100 yard further forward every few minutes on a front of several kilometres to support an attack by several divisions or corps. High Explosive (HE) barrages were also used in World War II, including to cover the advance of tanks by suppressing anti-tank gunners.

However, HE concentrations against specific targets became more common and gradually replaced the barrage. With a concentration the fire starts when attacking forces become vulnerable to the target and lifts off the target when the attacking forces reach an agreed distance from it. The suppressive effect lingers for a short period, about 2 minutes, after the artillery fire stops.

A suppressive concentration by a single battery can suppress a position of around 250x250 metres and may be used to support a platoon or company attack on a single or succession of objectives. For larger operations many batteries may be involved against many targets and move their fire to different targets as the operation progresses.

While HE is most used for suppression, smoke screens can also be used to suppress by obscuring the enemy's view, this is effective against an enemy with direct fire weapons. Modern smoke is impenetrable to modern thermal imaging sights. In peace support operations, illuminating with parachute flares has been used to thwart activities by a warring party.

For artillery batteries, the last-ditch mission that a forward observer can call up is "immediate suppression". This orders every gun in any concerned battery to immediately fire whatever round and fuse is loaded, possibly from someone else's, or more than one callsign's mission. The FO may end up getting white phosphorus illumination, DPICM, and VT-HE rounds on the target in the same shot.

Direct fire weapons

A rifle or machine gun bullet only has a suppressive effect within about one metre of its trajectory. However, both can be used to suppress an enemy within a small area, often called "winning the fire fight".

Machine gun fire is also available from armoured fighting vehicles and aircraft, notably helicopters and perhaps fixed wing aircraft such as AC-130. Automatic cannon (20–40 mm) or grenade fire may also be available and fire from larger direct fire systems such as tanks. However, limited ammunition loads mean that such systems are better suited to destructive fire against precisely identified targets unless the required suppression time period is short.

In Afghanistan, the Mujahideen often modified RPG-7 rocket launchers for use against Russian helicopters by adding a curved pipe to the end of the blast tube, which diverted the backblast, allowing the RPG to be fired upward at aircraft from a prone position. At the time, Soviet helicopters countered the threat from RPGs at landing zones by first clearing them with saturation anti-personnel suppression fire from machine guns.

The Russians used the Dragunov sniper rifle at the platoon level for providing special long-distance disrupting and suppressive fire on the battlefield, even with sudden close encounters with enemy troops in mind.

title: Suppressive fire


text:
Vern Paxson

Vern Edward Paxson is a Professor of Computer Science at the University of California, Berkeley. He also leads the Networking and Security Group at the International Computer Science Institute in Berkeley, California. His interests range from transport protocols to intrusion detection and worms. He is an active member of the Internet Engineering Task Force (IETF) community and served as the chair of the IRTF from 2001 until 2005. From 1998 to 1999 he served on the IESG as Transport Area Director for the IETF.

In 2006 Paxson was inducted as a Fellow of the Association for Computing Machinery (ACM). The ACM's Special Interest Group on Data Communications (SIGCOMM) gave Paxson its 2011 award, "for his seminal contributions to the fields of Internet measurement and Internet security, and for distinguished leadership and service to the Internet community." The annual SIGCOMM Award recognizes lifetime contribution to the field of communication networks.

Paxson is also the original author of the flex lexical analyzer and the Zeek intrusion detection system. Backscatter is a term coined by Vern Paxson to describe Internet background noise resulting from a DDoS attack using multiple spoofed addresses.

Paxson earned a PhD in 1997 at Berkeley under Domenico Ferrari.

title: Vern Paxson


text:
Ron Mael

Ronald David Mael (born August 12, 1945) is an American musician, songwriter, composer and record producer. He is the keyboard player and principal songwriter in the band Sparks which he founded with vocalist, occasional songwriter and younger brother Russell Mael in 1971. Mael is known for his quirky and idiosyncratic approach to songwriting, his intricate and rhythmic keyboard playing style and for his deadpan and low key, scowling demeanour onstage often remaining motionless over his keyboard in sharp contrast to Russell's animated and hyperactive frontman antics. Ron Mael is also noted for his conservative clothes and distinctive moustache. The Mael brothers are the founders of Lil' Beethoven Records.

Early life
Ronald David Mael was born on August 12, 1945, in Culver City, California. The Mael brothers grew up in Pacific Palisades – an affluent beach neighbourhood of Los Angeles – with their father, Meyer Mael, who was a graphic designer and caricaturist for the Hollywood Citizen-News,  and their mother, Miriam (née Moskowitz), a librarian. Both Meyer and Miriam were the children of Jewish immigrants, Meyer from Russia and Austria and Miriam from Poland; despite this, a source affiliated with the brothers' 2021 documentary stated that they "weren't raised, nor do they identify as Jewish", and the documentary does not mention their Jewish heritage. Much of the Mael brothers' initial inspiration came from their father taking them to the cinema as children, where they developed an interest in film, visual arts and narrative. Meyer died when Mael was 11.

After being educated at Palisades High School, both brothers enrolled at UCLA; Ron began a course in cinema and graphic arts in 1963 while Russell studied theatre arts and filmmaking between 1966 and 1968. It was during their time at UCLA the brothers formed their first band, The Urban Renewal Project, who recorded a series of demos in 1967.

Sparks
Ron Mael plays the keyboards and synthesizers and writes most of the songs for Sparks. When the band hit the peak of its popularity in the 1970s, he was well known for his strange appearance, often remaining motionless over his keyboard in sharp contrast to Russell's animated and hyperactive frontman antics. Ron's conservative clothes and unfashionable, Charlie Chaplin-esque toothbrush moustache attracted much attention, as does his current pencil moustache. Onstage, Ron alternates between playing the keyboard and engaging in comic mime routines, often in connection with projections on backdrop.

For the first two albums with Halfnelson/Sparks, Mael played a Wurlitzer electronic piano, but found that it did not stand up to road use because the metal reeds broke frequently. When Sparks relocated to the UK, Mael began using an RMI Electra-Piano, played through an Echoplex tape echo unit, and this distinctive sound featured prominently on their breakthrough single "This Town Ain't Big Enough For The Both Of Us", the albums Kimono My House and Propaganda and in their live shows. Since 1981, he has used various Yamaha and Roland keyboards and synthesizers live. That year, he altered the Roland logo on the back of his Roland Jupiter-8 to read "Ronald", which he has done on all of his keyboards since then. He currently uses a Yamaha Motif XF8.

The pair appeared as themselves in the 1977 disaster film Rollercoaster, performing live. They also appeared in episode twenty-two of season six of the Gilmore Girls.

In a rare non-Sparks related musical turn, Ron and Russell Mael wrote the lyrics to Telex's 1982 album, Sex.

In June 2018, Edgar Wright announced he would be making a documentary on the cult pop-rock band Sparks. He had covered the band's concert in London in May at O2 Forum Kentish Town. This concert would also be a part of the documentary. The film, The Sparks Brothers, had its world premiere at the 2021 Sundance Film Festival on January 30, 2021.

Personal life
In 2017, a reviewer noted that while the brothers' biographies recount an LA childhood in which they surfed and were both models for mail order catalogues, their private lives are otherwise almost entirely unknown. "Well, we're in good company with Bob Dylan", was their reported response. "We feel the less you do know, it keeps the mythology and the image in a better position." Even to the question of whether they have partners or spouses, they refused to give an indication, insisting that "the vagueness is more interesting than the reality."

Discography
With Sparks

With FFS

title: Ron Mael


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VSB

VSB may refer to:

 * Vancouver School Board, common name for School District 39 Vancouver, British Columbia
 * Finno-Soviet Treaty of 1948 (Vänskaps-, samarbets- och biståndsavtalet), the basis for Finno–Soviet relations from 1948 to 1992
 * United Swiss Railways (Vereinigte Schweizerbahnen), a former railway company in Switzerland
 * Vestigial sideband, in radio communications, a sideband that has been only partly cut off or suppressed
 * Very small business, companies that are at the lower end, in terms of size, to companies that are considered small and medium enterprise
 * Villanova School of Business at Villanova University, Philadelphia, Pennsylvania
 * Virginia State Bar, the Bar Association of the Commonwealth of Virginia
 * Völkisch-Social Bloc, a right-wing electoral alliance in post World War I Germany
 * VSB-TV, a defunct NBC affiliate in Bermuda
 * VSB, (voltage standby), a power supply line on an ATX motherboard form factor that stays active when the power supply is not active
 * Technical University of Ostrava (Vysoká škola báňská - Technická univerzita Ostrava), in the city of Ostrava, Czech Republic
 * Space Quest: Vohaul Strikes Back, a fan-made sequel to the Space Quest video game series
 * VSB, Scouting bombing plane, United States Navy acronym

title: VSB


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Russell Mael

Russell Craig Mael (born October 5, 1948) is an American singer best known as the lead singer for the band Sparks which he formed in 1971 with his elder brother Ron Mael. Mael is known for his wide vocal range, in particular his far-reaching falsetto. He has a flamboyant and hyperactive stage presence which contrasts sharply with Ron Mael's inexpressive demeanour. The band released an album with British rock band Franz Ferdinand, as the supergroup FFS, titled FFS, released in 2015. The Mael brothers are the founders of Lil' Beethoven Records.

Early life
Russell Craig Mael was born on October 5, 1948, in Los Angeles, California. The Mael brothers grew up in Pacific Palisades – a relatively affluent beach neighbourhood of Los Angeles – with their father Meyer, who was a graphic designer and caricaturist for the Hollywood Citizen-News, and their mother, Miriam (née Moskowitz), a librarian. Both Meyer and Miriam were the children of Jewish immigrants, Meyer of Austrian and Russian descent and Miriam Polish; despite this, a source affiliated with the brothers' 2021 documentary stated that they "weren't raised, nor do they identify as Jewish", and the documentary does not mention their Jewish heritage. Much of the Mael brothers' inspiration came from their father taking them to the cinema as children, where they developed an interest in film, visual arts and narrative. Meyer died when Mael was 8.

After graduating from Palisades High School, both brothers enrolled at UCLA; Ron began a course in cinema and graphic arts in 1963 while Russell studied theatre arts and filmmaking during 1966–1968.

Sparks
Mael is known for his wide vocal range, and his most notable vocal trait is a far-reaching falsetto. An NME review described Russell's vocal range as a "stratospheric blend of Marc Bolan and Tiny Tim".

He has recorded 26 albums with his band, Sparks. The band has a cult following around the world and are best known for the song "This Town Ain't Big Enough for Both of Us", which reached No. 2 on the UK Singles Chart.

The pair appeared as themselves in the 1977 disaster film Rollercoaster, performing live. They also appeared in episode 22 of season 6 of Gilmore Girls. Mael appeared in a cameo as a gallows singer in the 2018 Western Damsel, and both he and Ron appear as themselves in Annette, a musical film directed by Leos Carax that they wrote and composed.

In June 2018, Edgar Wright announced he would be making a documentary on Sparks. He had covered the band's concert in London in May at O2 Forum Kentish Town. This concert would also be a part of the documentary. The film, The Sparks Brothers, had its world premiere at the 2021 Sundance Film Festival on January 30, 2021.

Since the late 1980s Sparks have almost exclusively recorded in Russell's home studio, to escape the limitations of expensive studio time and maintain creative independence. He mixes and engineers their work, and the brothers co-produce.

Personal life
In 2017, a reviewer noted that while the brothers' biographies recount a Los Angeles childhood in which they surfed and were both models for mail order catalogues, their private lives are otherwise almost entirely unknown. "Well, we're in good company with Bob Dylan", was their reported response. "We feel the less you do know, it keeps the mythology and the image in a better position." Even to the question of whether they have partners or spouses, they refused to give an indication, insisting that "the vagueness is more interesting than the reality."

It was, however, mentioned in Edgar Wright's 2021 documentary The Sparks Brothers that Russell dated Miss Christine of The GTOs, and had a brief 1983 fling with the Go-Go's member Jane Wiedlin, who was an additional vocalist on the Sparks track "Cool Places".

Discography
With Sparks

With FFS

title: Russell Mael


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Moonsorrow

Moonsorrow is a Finnish pagan metal band formed in Helsinki in 1995. Musically, the band incorporates elements of black metal and folk metal in their sound. The band call their sound "epic heathen metal" and try to distance themselves from the term "Viking metal". They have distanced themselves from other folk metal bands, emphasising that their music is pagan and spiritual and is challenging for its listeners, rather than happy or danceable. The band members have varying levels of pagan belief but they draw on pagan spirituality for lyrics and inspiration.

History
The group's earliest formation consisted of cousins Ville Sorvali (vocals and bass) and Henri Sorvali (guitar and keyboards; also keyboards for Finntroll, Barathrum, and session member of Ensiferum) who released various demos that were much more characteristic of melodic black metal than future releases.

Their debut album, Suden Uni, recorded in early 2000, was released in early 2001, along with Tämä Ikuinen Talvi ("This Everlasting Winter"), a re-release of a 1999 demo. Suden Uni ("A Wolf's Dream") combined Finnish paganism and folk elements. After recruiting Mitja Harvilahti and Markus Eurén, Moonsorrow started playing live, releasing Voimasta Ja Kunniasta ("Of Strength and Honour") in late 2001. It was followed by their 2003 release, Kivenkantaja ("Stonebearer"), and Verisäkeet ("Blood Verses") in 2005. The album is also their first to use ambient sounds such as birdsong and crackling fire in between tracks.

In January 2006 the band played their first US show at the Heathen Crusade Metalfest in Columbia Heights, MN. On 7 March 2006 Moonsorrow announced a 2-album contract with Spinefarm Records, and that their next album was slated for release in late 2006. On 19 June it was revealed that the upcoming album would feature guest vocals by Thomas Väänänen, the former vocalist of Thyrfing; Viides Luku - Hävitetty ("Chapter five - Ravaged") was released in January 2007. The album contained only two tracks and displayed more overt influence from progressive rock.

An EP called Tulimyrsky was released in 2008. The EP is over one hour long and contains one new song (the title track), two remakes of old songs, and two cover songs. It was released worldwide by Spinefarm Records, and in May the German label Drakkar Entertainment released it in Germany, Austria and Switzerland.

In Fall 2010, Moonsorrow entered the studio to record their sixth full-length studio album, Varjoina kuljemme kuolleiden maassa ("As Shadows We Walk In The Land of The Dead"). The album was released on 21 February 2011 through Spinefarm Records.

In April 2012 Moonsorrow announced on their official website that they have signed a deal with Century Media Records. The band commented: "We are thrilled to start working with Century Media, a label that is home to many fellow artists already! We never make our music half way or with compromises and we know our art is in good hands with people who have the same mentality in running a record label. Now, after a year since the release of our last album we are ready to begin creating something new. The new chapter in this epic journey of Moonsorrow!"

In June 2013, the band announced a vinyl box set of its collected works to be released through Blood Music. Given its planned size of thirteen LPs, it was advertised as the largest metal box set in history. Entitled Heritage: 1995-2008 - The Collected Works, the box set was released in 2014, and ended up consisting of fourteen LPs. (The same label's forthcoming box set for the Norwegian black metal band Emperor is intended to outstrip it in size.)

The band's seventh album, Jumalten aika, was released on 1 April 2016 through Century Media.

Lyrics
Moonsorrow's lyrics draw inspiration from Finnish mythology, legends and poetry. In the beginning the lyrics were written in English (the first demo was titled "Thorns Of Ice"), but since Tämä ikuinen talvi they have been written exclusively in Finnish (with the exception of a brief spoken-word monologue added to a re-recording of "Hvergelmir", which is in Swedish). For instance, the song "Sankaritarina" from Voimasta Ja Kunniasta features lyrics directly translated from Hávamál.

Relationships with right-wing extremism
Over the years, Moonsorrow has been accused a number of times of having ties to right-wing extremism. Moonsorrow side project Lakupaavi has used homophobic lyrics in their music.

In April 2008, Moonsorrow and other performers on the folk metal festival Paganfest were accused of being Nazis, racists and fascists by the BIFF (Berliner Institut für Faschismusforschung). Ville Sorvali of Moonsorrow and Heri Joensen of Týr issued a joint video statement to refute these accusations, noting that the bands are in no way connected to fascist groups and actually are against fascism.

After the incident with Paganfest 2008, the band has said in several interviews that they are not racist. Guitarists Harvilahti and Perttilä also took part in the "Blackout Tuesday" action on 2 June 2020, which supported Black Lives Matter.

Members

 * Henri Sorvali – rhythm and lead guitars, backing and lead vocals, keyboards
 * Ville Sorvali – bass, lead vocals
 * Mitja Harvilahti – lead and rhythm guitars, backing vocals
 * Markus Eurén – keyboards, backing vocals
 * Marko Tarvonen – drums, backing vocals, acoustic guitar, percussion

Guests

 * Thomas Väänänen (Thyrfing) – guest vocals on Viides Luku - Hävitetty
 * Hittavainen (Korpiklaani) – fiddle, jouhikko, recorder
 * Janne Perttilä (Barren Earth, Rytmihäiriö) – guitar (live), backing vocals

Discography

 * Studio albums
 * Suden uni (2001)
 * Voimasta ja kunniasta (2001)
 * Kivenkantaja (2003)
 * Verisäkeet (2005)
 * Viides luku – Hävitetty (2007)
 * Varjoina kuljemme kuolleiden maassa (2011)
 * Jumalten aika (2016)

 * Extended plays
 * Tulimyrsky (2008)

 * Demo albums
 * Thorns of Ice (1996, unreleased)
 * Metsä (1997)
 * Promo (1997, unreleased)
 * Tämä ikuinen talvi (1999)

Side project: Lakupaavi
Lakupaavi (Liquorice Pope in Finnish) is a grindcore side project of the band. The project started as a joke: when Moonsorrow were recording their 2005 album Verisäkeet, they said in an interview that the album would be named Raah Raah Blääh and it would be very different stylistically than their previous releases. Although this was just a joke, many people took it to heart. Later they stated that it had been a joke, but they then decided to actually record one of the songs, called "Kuolema Taidehomoille... Ja Muille" (engl. "Death to Art Faggots... and Others"). It didn't end there, however: the band ended up actually recording the whole Raah Raah Blääh album and released it on the internet under the new moniker Lakupaavi.

title: Moonsorrow


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Ángel Escobar

Ángel Rubén Escobar Rivas (born May 12, 1965) is a former Venezuelan shortstop and switch hitter in Major League Baseball who played for the San Francisco Giants in its 1988 season.

Escobar hit .333 (1-for-3) with one run scored in three games.

title: Ángel Escobar


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In the Nightside Eclipse

In the Nightside Eclipse is the debut studio album by Norwegian black metal band Emperor, released in 1994 through Candlelight Records. It was their only album to feature drummer Faust and one-time bassist Tchort. Considered a landmark in the black metal scene, the album has been ranked by critics as one of the most influential albums of the genre. It also contains some of Emperor's best known tracks, "I Am the Black Wizards" and "Inno a Satana".

Artwork
The album cover was drawn by Kristian Wåhlin, also known as "Necrolord", depicting a host of orcs en route to Minas Morgul. The part below the band logo is based upon a section of a larger engraving called "Death on a Pale Horse (Revelation)" by Gustave Doré. That section itself was also used as the album cover for the Emperor (EP).

The inside of the cover features a photo of the Trascau Fortress in Transylvania.

Musical style, writing, composition
In the Nightside Eclipse has often been referred to as a pioneering influence in symphonic black metal. Although all the key elements of black metal are present, such as fast tremolo-picked guitar passages, harsh screams, and raw, lo-fi production, the use of symphonic keyboard sections is a key part of the album's distinctive sound. According to Steve Huey of AllMusic, "Even if the keyboards mostly just outline basic chord changes, they add a melancholy air to all the furious extreme sounds, turning the one-note ugliness of black metal into something emotionally complex."

Most of the music was written and rehearsed before the band entered the studio. However, much of the symphonic keyboard sections were composed in the studio at the time of recording as the band did not then have a permanent keyboard player. Some of the lyrics on the final version of the album were partially written by Mortiis, before he left the band. Samoth has suggested that the frequent use of the word "emperor" in the lyrics became a kind of metaphor, "for our own entity, for the dark lord, for the devil, for the strong and mighty." Samoth has cited the power of Norwegian nature as a key inspiration on Emperor's music and this album in particular. They also expressed a fascination with the Viking age, Tolkien's literature, story of Dracula, as well as "everything related to Transylvania, the Carpathian Mountains, the dark corners of Eastern Europe, and folklore." Ihsahn, however, has explained that he never read much of Tolkien's work, although he consciously made use of the language and imagery of fantasy.

Recording, production
The album was co-produced by Pytten, who produced Mayhem's De Mysteriis Dom Sathanas and Burzum's debut album, as well as albums by Immortal and Enslaved. Faust partially credits Pytten with the sound of In the Nightside Eclipse. Although the album was recorded in July 1993, it was not mixed until the following year due to Faust and Samoth's arrests and sentences in jail. In the end, only Ihsahn and Samoth were present for the mixing of the album, though he passed along his input to them in a letter. Ihsahn was ill at the time of recording, and Tchort recalls him spitting blood while recording vocals for the album. Some of the early vocal takes were replaced with ones recorded after he had recovered, as were some of the keyboard parts.

Critical reception and legacy
In his review, Steve Huey of AllMusic gave the album five stars out of five, writing, "In the Nightside Eclipse resoundingly demonstrated that there was real musical substance and ambition in the world of black metal. [...] [it] somehow managed to capture the essence of the genre while completely rewriting its rule book", commenting that it was also "the first [album] to fuse black metal with progressive and symphonic elements, setting the stage for a bevy of future experimentation in the genre, [...] As such, it certainly possesses the farthest-reaching legacy of anything from Norway's bloody first wave, and ranks as one of the most important heavy metal albums of the '90s." In 2005, the album was ranked number 292 in Rock Hard magazine's book The 500 Greatest Rock & Metal Albums of All Time. Kyle Ward of Sputnikmusic gave the album 5/5, writing that "In the Nightside Eclipse is a masterwork because of this compositional balance. It allows the keys to be overbearing without stealing the show – an attribute that the lack of which has since proven to be the downfall of countless symphonic black metal acts. This is still, at its core, a harsh, obscenely heavy record, and one only needs to place themselves in the maelstrom of tracks like "I Am the Black Wizards" to realize there is more than just symphonies at work here."

The album is widely considered one of the most important releases in black metal, particularly for the second wave of black metal, and has been frequently described as a classic by music critics. The album has gone on to influence countless bands, with many considering it the first true symphonic black metal album. Kyle Ward of SputnikMusic credits Emperor with "[taking] the genre in a direction now seen as a natural extension of black metal's sphere of influence." It is the only Emperor album to feature Tchort on bass, who later went on to play with Carpathian Forest, Blood Red Throne, and others. In 2005 Decibel Magazine adopted the album into their hall of fame, writing that "upon its release in 1995, In the Nightside Eclipse established Emperor as the reigning masters of a more complex, atmospheric style of "symphonic black metal". They also called it "one of the most historically fascinating and sonically influential albums in the annals of extreme metal." In 2009, Loudwire named it the 18th best debut album of all time. In 2009, IGN included In the Nightside Eclipse in their "10 Great Black Metal Albums" list; according to IGN, "Emperor inspired the wave of overtly-technical black-metal bands that would rule the underground in the early 2000s. Dimmu Borgir and Cradle of Filth owe a huge debt to this album." In July 2014, In the Nightside Eclipse was listed at number three in Guitar World magazine's list of "Superunknown: 50 Iconic Albums That Defined 1994". In 2021, it was elected by Metal Hammer as the best symphonic metal album of all time.

Matt Heafy of Trivium wrote that "Emperor had crafted a unique sound in its combination of the classical with modern metal conventions that had not been executed with such precision before."

Reissues
In 1999, the album was remastered and reissued, with two cover songs as bonus tracks: "A Fine Day to Die" by Bathory, and "Gypsy" by Mercyful Fate. For the reissue, the opening tracks "Intro" and "Into the Infinity of Thoughts" were combined, whilst the album was packaged in a paper slipcase covering the traditional jewel case, with both featuring the same artwork. A second reissue followed in 2004, which included videos of live performances from 1997. In 2014, in celebration of the album's 20th anniversary, the band reissued a remastered deluxe version of the album. It also featured the bonus tracks from the As the Shadows Rise 1994 EP, as well as a previously unreleased alternative mix of the album and pre-production rehearsal tracks from 1993. The album was remastered by Jens Bogren at Fascination Street Studios in 2014.

Emperor

 * Emperor – mastering
 * Ihsahn – vocals, lead guitar; keyboards
 * Samoth – rhythm guitar
 * Tchort – bass guitar
 * Faust – drums

Additional personnel

 * Alver – bass (tracks 9, 10 on 1999 edition)
 * Trym – drums (tracks 9, 10 on 1999 edition)
 * Charmand Grimloch – keyboard (track 10 on 1999 edition)
 * Tim Turan – mastering
 * Christophe Szpajdel – logo

title: In the Nightside Eclipse