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Remaster

A remaster is a change in the sound or image quality of previously created forms of media, whether audiophonic, cinematic, or videographic. The resulting product is said to be remastered. The terms digital remastering and digitally remastered are also used.

In a wider sense, remastering a product may involve other, typically smaller inclusions or changes to the content itself. They tend to be distinguished from remakes, based on the original.

Mastering
A master recording is the definitive recording version that will be replicated for the end user, commonly into other formats (e.g. LP records, tapes, CDs, DVDs, Blu-rays).

A batch of copies is often made from a single original master recording, which might itself be based on previous recordings. For example, sound effects (e.g. a door opening, punching sounds, falling down the stairs, a bell ringing) might have been added from copies of sound effect tapes similar to modern sampling to make a radio play for broadcast.

Problematically, several different levels of masters often exist for any one audio release. As an example, examine the way a typical music album from the 1960s was created. Musicians and vocalists were recorded on multi-track tape. This tape was mixed to create a stereo or mono master. A further master tape would likely be created from this original master recording consisting of equalization and other adjustments and improvements to the audio to make it sound better on record players for example.

More master recordings would be duplicated from the equalized master for regional copying purposes (for example to send to several pressing plants). Pressing masters for vinyl recordings would be created. Often these interim recordings were referred to as mother tapes. All vinyl records would derive from one of the master recordings.

Thus, mastering refers to the process of creating a master. This might be as simple as copying a tape for further duplication purposes or might include the actual equalization and processing steps used to fine-tune material for release. The latter example usually requires the work of mastering engineers.

With the advent of digital recording in the late 1970s, many mastering ideas changed. Previously, creating new masters meant incurring an analog generational loss; in other words, copying a tape to a tape meant reducing the signal-to-noise ratio. This means how much of the original intended "good" information is recorded against faults added to the recording as a result of the technical limitations of the equipment used (noise, e.g. tape hiss, static, etc.). Although noise reduction techniques exist, they also increase other audio distortions such as azimuth shift, wow and flutter, print-through and stereo image shift.

With digital recording, masters could be created and duplicated without incurring the usual generational loss. As CDs were a digital format, digital masters created from original analog recordings became a necessity.

Remastering
Remastering is the process of making a new master for an album, film, or any other creation. It tends to refer to the process of porting a recording from an analog medium to a digital one, but this is not always the case.

For example, a vinyl LP – originally pressed from a worn-out pressing master many tape generations removed from the "original" master recording – could be remastered and re-pressed from a better-condition tape. All CDs created from analog sources are technically digitally remastered.

The process of creating a digital transfer of an analog tape remasters the material in the digital domain, even if no equalization, compression, or other processing is done to the material. Ideally, because of their higher resolution, a CD or DVD (or even higher quality like high-resolution audio or hi-def video) release should come from the best source possible, with the most care taken during its transfer.

Additionally, the earliest days of the CD era found digital technology in its infancy, which sometimes resulted in poor-sounding digital transfers. The early DVD era was not much different, with copies of films frequently being produced from worn prints, with low bitrates and muffled audio. When the first CD remasters turned out to be bestsellers, companies soon realized that new editions of back-catalog items could compete with new releases as a source of revenue. Back-catalog values skyrocketed, and today it is not unusual to see expanded and remastered editions of relatively modern albums.

Master tapes, or something close to them, can be used to make CD releases. Better processing choices can be used. Better prints can be utilized, with sound elements remixed to 5.1 surround sound and obvious print flaws digitally corrected. The modern era gives publishers almost unlimited ways to touch up, doctor, and "improve" their media, and as each release promises improved sound, video, extras and others, producers hope these upgrades will entice people into making a purchase.

Music
Remastering music for CD or even digital distribution starts from locating the original analog version. The next step involves digitizing the track or tracks so it can be edited using a computer. Then the track order is chosen. This is something engineers often worry about because if the track order is not right, it may seem sonically unbalanced.

When the remastering starts, engineers use software tools such as a limiter, an equalizer, and a compressor. The compressor and limiters are ways of controlling the loudness of a track. This is not to be confused with the volume of a track, which is controlled by the listener during playback.

The dynamic range of an audio track is measured by calculating the variation between the loudest and the quietest part of a track. In recording studios the loudness is measured with negative decibels, zero designating the loudest recordable sound. A limiter works by having a certain cap on the loudest parts and if that cap is exceeded, it is automatically lowered by a ratio preset by the engineer.

Criticism
Remastered audio has been the subject of criticism. Many remastered CDs from the late 1990s onwards have been affected by the "loudness war", where the average volume of the recording is increased and dynamic range is compressed at the expense of clarity, making the remastered version sound louder at regular listening volume and more distorted than an uncompressed version. Some have also criticized the overuse of noise reduction in the remastering process, as it affects not only the noise, but the signal too, and can leave audible artifacts. Equalisation can change the character of a recording noticeably. As EQ decisions are a matter of taste to some degree, they are often the subject of criticism. Mastering engineers such as Steve Hoffman have noted that using flat EQ on a mastering allows listeners to adjust the EQ on their equipment to their own preference, but mastering a release with a certain EQ means that it may not be possible to get a recording to sound right on high-end equipment. Additionally, from an artistic point of view, original mastering involved the original artist, but remastering often does not. Therefore, a remastered record may not sound how the artist originally intended.

Film and television
To remaster a movie digitally for DVD and Blu-ray, digital restoration operators must scan in the film frame by frame at a resolution of at least 2,048 pixels across (referred to as 2K resolution). Some films are scanned at 4K, 6K, or even 8K resolution to be ready for higher resolution devices. Scanning a film at 4K—a resolution of 4096 × 3092 for a full frame of film—generates at least 12 terabytes of data before any editing is done.

Digital restoration operators then use specialist software such as MTI's Digital Restoration System (DRS) to remove scratches and dust from damaged film. Restoring the film to its original color is also included in this process.

As well as remastering the video aspect, the audio is also remastered using such software as Pro Tools to remove background noise and boost dialogue volumes so when actors are speaking they are easier to understand and hear. Audio effects are also added or enhanced, as well as surround sound, which allows the soundtrack elements to be spread among multiple speakers for a more immersive experience.

An example of a restored film is the 1939 film The Wizard of Oz. The color portions of Oz were shot in the three-strip Technicolor process, which in the 1930s yielded three black and white negatives created from red, green and blue light filters which were used to print the cyan, magenta and yellow portions of the final printed color film answer print. These three negatives were scanned individually into a computer system, where the digital images were tinted and combined using proprietary software.

The cyan, magenta, and yellow records had suffered from shrinkage over the decades, and the software used in the restoration morphed all three records into the correct alignment. The software was also used to remove dust and scratches from the film by copying data, for example, from the cyan and yellow records to fix a blemish in the magenta record. Restoring the movie made it possible to see precise visual details not visible on earlier home releases: for example, when the Scarecrow says "I have a brain", burlap is noticeable on his cheeks. It was also not possible to see a rivet between the Tin Man's eyes prior to the restoration.

Shows that were shot and edited entirely on film, such as Star Trek: The Original Series, are able to be re-released in HD through re-scanning the original film negatives; the remastering process for the show additionally enabled Paramount to digitally update certain special effects. Shows that were made between the early 1980s and the early 2000s were generally shot on film, then transferred to and edited on standard-definition videotape, making high-definition transfers impossible without re-editing the product from scratch, such as with the HD release of Star Trek: The Next Generation, which cost Paramount over $12 million to produce. Because of this release's commercial failure, Paramount chose not to give Deep Space Nine or Voyager the same treatment. In 2014, Pee-wee's Playhouse was digitally remastered from the original film and audio tracks.

Criticism
Remastered movies have been the subject of criticism. When the Arnold Schwarzenegger film Predator was remastered, it was felt by some critics that the process was overdone, resulting in Schwarzenegger's skin looking waxy. As well as complaints about the way the picture looks, there have been other complaints about digital fixing. One notable complaint is from the 2002 remastered version of E.T. the Extra-Terrestrial (1982), where director Steven Spielberg replaced guns in the hands of police and federal agents with walkie-talkies. A later 30th-anniversary edition released in 2012 saw the return of the original scene.

Animation
With regard to animation—both for television and film—"remastering" can take on a different context, including altering original images to extremes.

For traditionally animated projects, completed on cels and printed to film, remastering can be as simple as touching up a film negative. There have been times where these revisions have been controversial: boxed DVD sets of animated properties like Looney Tunes from the early 2000s saw extensive criticism from fans and historians due to the aggressive use of digital video noise reduction (DVNR). The process was designed to automatically remove dust or specks from the image, but would mistake stray ink lines or smudges on the cel for damage, as well as removing natural imperfections. Disney went a step farther with its remastering of its canon catalog in the early 21st century: for its cel-animated films, teams meticulously reconstructed scenes from original cel setups and background paintings to create new images free of film artifacts (jitter, grain, etc). While complex and revolutionary, this process was criticized by some for essentially removing the films from their era and medium, making them indistinguishable in age. Later remasters, including a 4K restoration of Cinderella in 2023, prioritized a filmic look, with period-appropriate grain and weave.

Remastering other animated projects can vary in scope based on their art style. In the case of natively digital images, including computer-animated films, remastering can be a simple matter of going back to the original files and re-rendering them at a desired resolution. Some modern software, like Toon Boom Harmony, utilize lossless vector shapes, allowing an artist to re-render work at different resolutions with ease. This can prove tricky at times when files have become corrupted or unreadable; a 3D reissue of Toy Story, the first CG film, was fraught with difficulties due to the unreadability of the file format on modern systems. In television, South Park is an example of a program that was natively digital from its start—its construction paper style was made up of digital images manipulated in softwares like Maya. This allowed its creative team to completely re-render episodes in a higher resolution than its original broadcast; in some instances shots were re-framed to fit a 16:9 aspect ratio.

Another issue in terms of remastering is upscaling projects completed in the early days of digital ink and paint. Animation industries across the globe gradually switched from cels to digital coloring around the turn of the millennium, and projects that pre-date the advent of higher-resolution formats have proved challenging to remaster. Remasters of films that used early digipaint processes are typically struck from filmout 35mm prints, as the computer files were never properly archived. Projects that were composited on lower resolution formats like videotape have made going back to the original elements impractical due to their inferior size. Some studios have utilized artificial intelligence to professionally upscale the material; boutique label Discotek has released seasons of the anime Digimon using a specialized tool called AstroRes.

Video games
Remastering a video game is more difficult than remastering a film or music recording because the video game's graphics show their age. This can be due to a number of factors, notably lower resolutions and less complicated rendering engines at the time of release. A video game remaster typically has ambience and design updated to the capabilities of a more powerful console, while a video game remake is also updated but with recreated models.

Modern computer monitors and high-definition televisions tend to have higher display resolutions and different aspect ratios than the monitors/televisions available when the video game was released. Because of this, classic games that are remastered typically have their graphics re-rendered at higher resolutions. An example of a game that has had its original graphics re-rendered at higher resolutions is Hitman HD Trilogy, which contains two games with high-resolution graphics: Hitman 2: Silent Assassin and Hitman: Contracts. Both were originally released on PC, PlayStation 2, and Xbox. The original resolution was 480p on Xbox, while the remastered resolution is displayed at 720p on Xbox 360. There is some debate regarding whether graphics of an older game at higher resolutions make a video game look better or worse than the original artwork, with comparisons made to colorizing black-and-white-movies.

More significant than low resolution is the age of the original game engine and simplicity of the original 3D models. Older computers and video game consoles had limited 3D rendering speed, which required simple 3D object geometry such as human hands being modeled as mittens rather than with individual fingers, while maps having a distinctly chunky appearance with no smoothly curving surfaces. Older computers also had less texture memory for 3D environments, requiring low-resolution bitmap images that look visibly pixelated or blurry when viewed at high resolution. (Some early 3D games such as the 1993 version of DOOM also just used an animated two-dimensional image that is rotated to always face the player character, rather than attempt to render highly complex scenery objects or enemies in full 3D.) As a result, depending on the age of the original game, if the original assets are not compatible with the new technology for a remaster, it is often considered necessary to remake or remodel the graphical assets. An example of a game that has had its graphics redesigned is Halo: Combat Evolved Anniversary, while the core character and level information is exactly the same as in Halo: Combat Evolved.

title: Remaster


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Hari Kostov

Hari Kostov (Хари Костов; born 13 November 1959) is a Macedonian politician who served as the Prime Minister of Macedonia from May 2004 until his resignation in November 2004.

He was appointed to the position of Prime Minister by the parliament on May 31, 2004, two weeks after being nominated by President Branko Crvenkovski. Kostov was an economic advisor to the Macedonian government and the World Bank during the 1980s and 1990s. He was the interior minister in the previous government, which was led by Crvenkovski and lasted from 2002 until 2004, and ended when Crvenkovski was elected president. Kostov retained most officials from the Crvenkovski government.

Kostov announced his resignation on November 15, 2004, following disputes within the coalition government, particularly between ethnic Macedonian and ethnic Albanian ministers. He left office on November 18, 2004, when his resignation was accepted, and was succeeded by the defence minister, Vlado Bučkovski.

Currently, he is chief executive of the Komercijalna Bank Skopje (Комерцијална Банка Скопје), a position which he also had before entering the Macedonian government.

Kostov is an ethnic Aromanian.

Awards

 * 🇲🇰 (2008) Order of the Holy Macedonian Cross

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

title: Hari Kostov


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John Hodiak

John Hodiak (April 16, 1914 – October 19, 1955) was an American actor who worked in radio, stage and film.

Early life
Hodiak was born in Pittsburgh, Pennsylvania, the son of Anna (Pogorzelec) and Walter Hodiak. He was of Ukrainian and Polish descent. Hodiak grew up in Hamtramck, Michigan.

Radio
When Hodiak first tried out for a radio acting job, he was turned down because of his accent. He became a caddie at a Detroit golf course, then worked at a Chevrolet automobile factory – and practised his diction. When he conquered the diction hurdle, he became a radio actor and moved to Chicago. There Hodiak created the role of the comic strip character Li'l Abner on radio.

Hodiak also had the role of McCullough in the radio soap opera Girl Alone.

Hollywood
Hodiak was cast in a few small parts at MGM, including A Stranger in Town (1943), I Dood It (1943) and Maisie Goes to Reno (1944).

Stardom

Hodiak then caught the eye of director Alfred Hitchcock, and on loan to 20th Century Fox, he was featured in Lifeboat (1944) opposite Tallulah Bankhead.

MGM cast him in the third lead in Song of Russia (1944), supporting Robert Taylor and Susan Peters. He was Ann Sothern's love interest in Maisie Goes to Reno (1944) and had a role in Marriage Is a Private Affair (1944).

20th Century Fox borrowed Hodiak again to play the title role in Sunday Dinner for a Soldier (1944), with Anne Baxter, whom he married in real life. Fox kept him on to play Maj. Joppolo in A Bell for Adano (1945) with Gene Tierney.

At MGM, Hodiak had a role as Judy Garland's love interest in The Harvey Girls (1946).

Fox gave him a starring role in Somewhere in the Night (1946), directed by Joseph L. Mankiewicz. Hodiak acted with Lucille Ball in MGM's Two Smart People (1946), which lost money, as did the film noir The Arnelo Affair (1947).

Supporting actor
Hodiak went to Paramount for Desert Fury (1947), playing the lead with Lizabeth Scott and Burt Lancaster. He starred in Love from a Stranger (1947) for Eagle Lion, then supported Lana Turner and Clark Gable in Homecoming (1948). He supported Gable again in Command Decision (1948). The two Gable films were hits but Hodiak was voted "box office poison" by exhibitors at the end of 1948.

Hodiak was down the cast list for The Bribe (1949). He was second billed in MGM's war film Battleground (1949) a huge success. Also popular was Malaya (1949) where Hodiak supported James Stewart and Spencer Tracy.

Hodiak was a love rival for Robert Taylor in Ambush (1950), a popular Western. MGM gave him another lead role, co-starring with Hedy Lamarr in A Lady Without Passport (1950), but it lost money. He was third billed in The Miniver Story (1950), the flop sequel to Mrs. Miniver, and fourth lead in Night into Morning (1951), an unsuccessful drama.

Hodiak supported Spencer Tracy in The People Against O'Hara (1951) and Clark Gable in Across the Wide Missouri (1952). He was second billed to Walter Pidgeon in The Sellout (1953).

Broadway and B movies
In 1952, Hodiak went to New York City and made his Broadway debut in The Chase by Horton Foote and directed by José Ferrer. The play was a failure, but its star received positive notices.

Hodiak went to Allied Artists to star in the movie Battle Zone (1952). He starred in two Westerns, Ambush at Tomahawk Gap (1953) and Conquest of Cochise (1953), and then the war movies Mission Over Korea (1953) and Dragonfly Squadron (1954).

He originated the role of Lieutenant Maryk in Paul Gregory's production of the play The Caine Mutiny Court Martial (1954–1955) by Herman Wouk adapted from his novel The Caine Mutiny. The play, starring Henry Fonda and Lloyd Nolan, ran for two years, and Hodiak's portrayal brought him acclaim.

When the show closed after its U.S. tour, Hodiak began work on Trial (1955) at MGM, billed fourth as the prosecuting attorney. When it wrapped, he played Major Ward Thomas in On the Threshold of Space (1956) at 20th Century Fox.

Personal life
Hodiak and actress Anne Baxter (whom he met while they were starring in Sunday Dinner for a Soldier) married on July 7, 1946, and divorced on January 27, 1953. They had one daughter, Katrina Hodiak, who became an actress.

Death
At age 41, Hodiak suffered a fatal heart attack at his parents' home in Tarzana, California. He was acting in On the Threshold of Space; it was decided that his performance was sufficient to release the movie. He is interred in Block 303, Crypt D-1 of the main mausoleum at Calvary Cemetery, East Los Angeles. He left an estate of $25,000.

Legacy
Hodiak has a star on the Hollywood Walk of Fame at 6101 Hollywood Boulevard, for his work in radio.

Radio appearances
A few of Hodiak's many radio appearances:

title: John Hodiak


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Dirty Rotten Imbeciles

Dirty Rotten Imbeciles (often abbreviated and referred to as D.R.I.) is an American crossover thrash band that formed in Houston in 1982 and would later relocate to San Francisco. The band is currently composed of two of its founding members, lead vocalist Kurt Brecht and guitarist Spike Cassidy, as well as bassist Greg Orr and drummer Rob Rampy.

D.R.I. never gained a mainstream audience, but the integration of their hardcore punk roots with thrash metal influences was a stylistic catalyst for their contemporaries – most notably Suicidal Tendencies, Corrosion of Conformity, Stormtroopers of Death, the Cro-Mags, Nuclear Assault, Adrenalin O.D., and Cryptic Slaughter – alongside whom they are considered to be one of the major pioneers of what would later be called "crossover thrash". These bands had a heavy influence on modern thrash metal.

To date, D.R.I. has released seven full-length studio albums. Other than three new songs on the 2016 EP But Wait... There's More!, they have not released a full-length studio album since Full Speed Ahead in 1995. Despite this, the band has continued to tour almost every year, and gone on hiatus intermittently, notably between 2004 and 2009, when Cassidy was diagnosed with colon cancer. Since the late 1990s, D.R.I. has been working on their eighth full-length studio album, which remains unreleased.

Early days (1982–1986)
Dirty Rotten Imbeciles (then-called US D.R.I. ) was formed in Houston in May 1982 by former members of the hardcore punk band Suburbanites. The original line-up consisted of Spike Cassidy on guitar, Kurt Brecht on lead vocals, Eric Brecht on drums and Dennis Johnson on bass, which was basically the Suburbanites with Cassidy on guitar. Cassidy's roommate played guitar in the Suburbanites.

The group started practicing at Kurt and Eric's parents' home. The noise made by the band allegedly drew regular complaints from Kurt and Eric's father. This led to the band gaining their name when they were described as a "bunch of dirty rotten imbeciles." This was also an inspiration for the song "Madman," which featured a clip of Kurt and Eric's father interrupting a band practice to complain about the noise. They initially went under the name US D.R.I for a brief period before shortening it to D.R.I. Presumably, the "US" stood for the band, as mentioned in interviews off of the extended version of the Dirty Rotten CD. Photos of the band can be found with the original US D.R.I logo. The "Skanker Man" logo was designed by original drummer Eric Brecht as a high school art assignment to create a "corporate" logo. He received an "A" on it.

Two months later, on July 2, 1982, the band played their first show at Joe Star's OMNI, in Houston.

On November 6 and 7, 1982, D.R.I. recorded their first release, the Dirty Rotten EP, fitting 22 songs into 18 minutes on a 7-inch EP. Not long before its release, US D.R.I. had changed their name to just D.R.I., and only 1000 copies of the EP version were pressed, making it now a collector's item. Demand caused this EP to be pressed into a 12-inch LP version, also released in 1983, aptly titled Dirty Rotten LP.

In 1983, D.R.I. relocated to San Francisco, where they lived in their van and ate at soup kitchens between gigs. Dennis Johnson quit the band and returned home to Texas. He was replaced with Sebastion Amok, and within a few months D.R.I. embarked on their first tour, appearing on the "Rock Against Reagan" tour with MDC and the Dead Kennedys. After the tour, Josh Pappe was brought in to replace Sebastian Amok who would eventually join The Dicks, another Texas band.

Their next release was the four-song 7-inch EP Violent Pacification in 1984. After touring in the summer of 1984, Eric Brecht got married and left the band. He was replaced with a 17-year-old Felix Griffin. Also in 1984, one of their songs, "Snap" appeared on the anti-war benefit compilation P.E.A.C.E. along with other famous hardcore and punk bands such as Crass, D.O.A., Dead Kennedys and MDC.

D.R.I.'s second full-length album, Dealing with It!, was released in March 1985 on Metal Blade Records. The group toured extensively in support of the album. During the recording of the album, Josh Pappe took a leave from the band. Mikey Offender (Mikey Donaldson –  bass player of The Offenders) was asked to play for the album, although Spike played bass on the songs that Donaldson did not have time to learn. The songs on Dealing with It! leaned slightly towards a metal direction, but still kept the band's thrashcore sound. As a result, D.R.I. toured relentlessly throughout 1985 and 1986 in support of Dealing with It!, and it was on this tour that the band gained a wide audience by performing with thrash metal bands such as Slayer, Anthrax, Exodus, Overkill and Hirax, while continuing to perform with their hardcore punk peers, including Discharge, Corrosion of Conformity, Bad Brains, T.S.O.L., JFA, Descendents, Verbal Abuse, Gang Green and Cryptic Slaughter. Also on this tour, they recorded their show at the Olympic Auditorium in Los Angeles on April 26, 1986, and released it on video, which was entitled Live at the Olympic.

Crossover thrash period (1987–1996)
When Felix joined D.R.I. in 1984, he brought a new audience to the shows. The next three years the band toured and started developing a new genre, (along with other pioneers) crossover. Their third album, Crossover, released in 1987, was aptly named, as the songs on this album had a strong metal sound to them. As the band began to cross over to thrash, their songs became longer, slower, and more complex. The press has called D.R.I. the major band of the "crossover" movement, a style that combined hardcore punk and thrash metal. This music invited a mixed audience of punks, skinheads, and metal fans to their shows. Thanks to this movement, Crossover helped expand D.R.I.'s popularity worldwide, including touring Europe and Australia for the first time, and opening for a variety of bands such as The Exploited and Anthrax.

The Live At The Ritz video was recorded next, on June 27, 1987, at The Ritz in New York, during the band's worldwide Crossover tour.

In February 1988, the Dirty Rotten Imbeciles returned to the studio to record 4 of a Kind. The songs on this album continued in the band's metal style. They released a music video for the song "Suit and Tie Guy", and the Dirty Rotten LP was remixed to include the songs from the Violent Pacification EP, and was re-released. The band toured worldwide again to support the 4 of a Kind album, first in North America with Kreator and Holy Terror, and Europe with The Exploited and Gang Green. Just before they started working on their next album, Josh Pappe left D.R.I. because of an offer to play for Gang Green. He was replaced by John Menor.

In October 1989, D.R.I. released their fifth album Thrash Zone. Continuing in the same vein as 4 of a Kind, the album was another success for D.R.I. and two music videos were released to accompany it, "Beneath the Wheel" and "Abduction". The band toured for almost two years in support of Thrash Zone, mainly in Europe and North America, performing with numerous bands such as Nasty Savage, Sick of It All, Corrosion of Conformity, Mordred, Excel, Uncle Slam, Cryptic Slaughter, Dead Horse, Atrophy and Bitter End.

In 1990, Felix Griffin left the group and was replaced by Rob Rampy. Around the same time, D.R.I. had severed ties with Metal Blade Records and it took over two years and a search for a new label, until the band's own imprint Rotten Records released the band's sixth album Definition in October 1992. A music video was released for the song, "Acid Rain". The video would later be featured in an episode of MTV's Beavis and Butt-Head.

D.R.I. toured throughout 1992 and 1993 in support of Definition, including opening for Testament, as well as headlining their own shows. During this tour, they recorded their gig at the Hollywood Palladium on November 27, 1992, and it was released in 1994 as their first live album, appropriately entitled Live. It was, more or less, "released as a stepping stone between Definition and Full Speed Ahead". Soon after recording the show, John Menor left D.R.I. and was replaced by the band's long time friend and roadie, Chumly Porter.

The group took part in headlining the Lolitabazooka Tour in the fall of 1994. However, the band was less active during this period and focused on extracurricular activities.

In November 1995, D.R.I. released Full Speed Ahead. They also made another music video, this time for a song called "Syringes In The Sandbox".

In January 1996, they started touring North America with Acid Bath opening for them. But in April, two band members ran into trouble trying to enter Canada, because they had both been previously charged with driving under the influence in the U.S. This resulted in the cancellation of all their Canadian tour dates.

Touring (1997–2005)
During 1997 and 1998, D.R.I. continued to tour the world extensively, including European and South American dates. Also in 1998, D.R.I. announced that they were writing songs for the follow-up to Full Speed Ahead, including "Against Me", "As Seen on TV", "Bad News", "Brick Wall View", "Destructive Power", "Insanity Plea", "Saddam Insane", "Sweaty Deli Tray" and "Wrong as Usual"; the former of the two would be released 18 years later on But Wait... There's More!. Steady touring, as well as the band's slow writing and recording pace and the search for a record label, resulted in putting the album on hold for over half a decade; eventually they were signed to Beer City Records. By the spring of 2004, D.R.I. had demoed at least four new songs for a potential eighth studio album, including "Against Me", which was available downloading at the "record news" page from their official web site for several years.

During 1999, D.R.I. appeared as one of the headlining bands on the "Social Chaos" in North America Tour. One of their songs, "I'm The Liar", is used for a Social Chaos Tour CD compilation. During August 1999, in the middle of the tour, Chumly left the band after tiring of touring. He was replaced by Harald Oimoen. Oimoen had been working on and off with the band for years, doing everything from photography and merchandise to bass tech. The band resumed the tour missing only two shows.

The turn of the millennium saw the Dirty Rotten Imbeciles headline the "Millennium 2000 Tour". The constant cycle of touring continued into 2001 with D.R.I. extensively touring the United States on the "Old School Tour" culminating in a headlining appearance at the Milwaukee Metal Fest, and other tours of the United States, Japan, Europe and South America into 2003. In 2003, Beer City reissued "Dirty Rotten CD," which featured the original full length Dirty Rotten LP and the Violent Pacification 7-inch EP as well as a number of never-before-released bonus tracks and interviews. Included within the bonus tracks were live recordings of D.R.I.'s first show ever and footage from the band's only performance at New York's famous CBGB's from the 1984 Violent Pacification tour. In 2003, Beer City also reissued Dealing with It!; the CD contained the original album plus never-before-heard bonus tracks as well as live video footage including a mid-80s interview from a San Francisco Public-access television cable TV show.

After another tour in 2004, the band released Live At CBGB's CD and DVD, and the reissue of the Crossover album, all on Beer City. The reissue of Crossover was delayed due to Cassidy's illness.

Hiatus, recovery of Cassidy, and continued touring (2006–2010)
In March 2006, Cassidy was diagnosed with colon cancer, which put the band's performances and recording on hiatus until his recovery. In December 2006, Cassidy had completed all radiation and chemotherapy; a one-foot section of the large intestine (colon) was removed through an eight-inch incision in his stomach. An announcement on the band's website declared Cassidy cancer free as of August 2008.

Cassidy commented on his return to the stage: "I am very happy D.R.I. will be playing again, it has been far too long. We are currently setting up weekends to test the water and rebuild the stamina that we were known for. We all look forward to restarting up exactly where we left off."

On April 13, 2010, Beer City Records reissued "Crossover – Millennium Edition" on LP and CD. Finally after many years Crossover was once again available. This reissue was remastered by the original co-producer/engineer Bill Metoyer. The CD version contains eleven bonus tracks including five songs from their performance at NYC's The Ritz. That same year, the label reissued The Dirty Rotten EP, The Dirty Rotten LP, Violent Pacification 7-inch and Dealing with It! on vinyl.

But Wait... There's More!, lineup changes and possible new album (2011–present)

From 2011 through 2019, the band regularly trekked the United States, as well as tours of the United Kingdom, Europe, and South America. The COVID-19 pandemic canceled or postponed dates in 2020 but the band returned to the road in 2021 and planned for a 40th-anniversary tour in 2022 across the United States, Canada, Europe, Australia, and Central America.

D.R.I. entered a Southern California studio in October 2014 to begin recording an EP containing new material. It was produced by Bill Metoyer, who produced the band's later studio albums. The EP, titled But Wait... There's More!, was released on June 10, 2016. Vocalist Kurt Brecht has described the EP as "more punk rock than metal".

On September 17, 2014, it was announced that Rob Rampy had departed from the band, citing serious injury as the reason. He was then replaced by Brandon Karns, who subsequently left the band shortly thereafter. Karns was then replaced by Walter "Monsta" Ryan. However, Rampy re-joined D.R.I in 2018. In 2017, the band parted ways with their longtime bassist Harald Oimoen, who was replaced by Greg Orr (ex-Attitude Adjustment).

In January 2019, Metal Addicts reported that D.R.I. had been working on their first full-length studio album since 1995's Full Speed Ahead, though no new material has been released as of 2022.

Copyright infringement
Although no longer working with D.R.I., one of the band's old record labels, Rotten Records, in 2015, filed in the United States District Court for the District of Massachusetts in a suit against a Comcast user who allegedly downloaded and shared the band's sixth album. According to the lawsuit, Rotten Records hired Rightscorp to monitor BitTorrent networks for infringement. The company claims it connected to the defendants' BitTorrent clients and downloaded a full copy of the album, later verifying that they were identical to the original copyright works.

Musical style and legacy
D.R.I.'s music has combined elements of punk rock, thrash metal, speed metal, and heavy metal, while their early material has been described as hardcore punk. They are often cited as one of the key bands that helped create the crossover thrash genre, along with S.O.D., Suicidal Tendencies and Corrosion of Conformity. Allmusic.com has claimed that, "Starting off as a speedy, straight-ahead punk band, they gradually mixed more elements of heavy metal into their sound; as they did so, their songs got longer and featured more sections and more variety in tempo. D.R.I. managed the then-rare feat of crossing over to metal audiences while retaining their skate-punk and hardcore fan bases – they had something for all those audiences to love (or hate)."

Many bands and artists have cited D.R.I. as an influence or inspiration, including Anthrax, Cryptic Slaughter, Dark Angel, Death Angel, Kreator, Municipal Waste, Nuclear Assault, Slayer and Vio-Lence.

Members
Current
 * Kurt Brecht – lead vocals (1982–present)
 * Spike Cassidy – guitars, backing vocals (1982–present)
 * Greg Orr – bass, backing vocals (2017–present)
 * Rob Rampy – drums (1990–2014, 2018–present)

 * Dennis Johnson – bass (1982–1983)
 * Sebastion Amok – bass (1983)
 * Josh Pappe – bass (1983–1984; 1985–1989, died 2020 )
 * Mikey "Offender" Donaldson – bass (1984–1985; died 2007 )
 * John Menor – bass (1989–1994)
 * Chumly Porter – bass (1994–1999; died 2011 )
 * Harald Oimoen – bass (1999–2017)
 * Eric Brecht – drums (1982–1984)
 * Felix Griffin – drums (1984–1990)
 * Brandon Karns – drums (2014–2016)
 * Walter "Monsta" Ryan – drums (2016–2018)

Timeline

Discography

 * Dirty Rotten EP/LP (1983)
 * Dealing with It! (1985)
 * Crossover (1987)
 * 4 of a Kind (1988)
 * Thrash Zone (1989)
 * Definition (1992)
 * Full Speed Ahead (1995)

title: Dirty Rotten Imbeciles


text: Category:Geography by country

title: Category:Geography by country


text:
Jacob Dolson Cox

Jacob Dolson Cox, Jr. (October 27, 1828 – August 4, 1900), was a statesman, lawyer, Union Army general during the American Civil War, Republican politician from Ohio, Liberal Republican Party founder, educator, author, and recognized microbiologist. He served as president of the University of Cincinnati, the 28th governor of Ohio and as United States Secretary of the Interior. As Governor of Ohio, Cox sided for a time with President Andrew Johnson's Reconstruction plan and was against African American suffrage in the South, though he supported it in Ohio. However, Cox increasingly expressed racist and segregationist viewpoints, advocating a separate colony for blacks to "work out their own salvation." Seeing himself caught between Johnson and the Radical Republicans, Cox decided not to run for reelection. He stayed out of politics for a year, though both Sherman and Grant advocated that Cox replace Stanton as Secretary of War as a means of stemming the demands for Johnson's impeachment. But Johnson declined. When Ulysses S. Grant became president, he nominated Cox Secretary of Interior, and Cox immediately accepted.

Secretary of Interior Cox implemented the first civil service reform in a federal government department, including examinations for most clerks. Grant initially supported Cox and civil service reform, creating America's first Civil Service Commission. However, Cox was opposed by Republican Party managers, who ultimately convinced Grant to cease civil service reforms in the Interior, a large department coveted for its vast Congressional patronage. President Grant and Secretary Cox were at odds over the fraudulent McGarahan Claims and the Dominican Republic annexation treaty. Secretary Cox advocated a lasting, honest, and comprehensive Indian policy legislated by Congress after the Piegan Indian massacre. Cox resigned as Secretary of Interior having been unable to gain Grant's support over civil service reform. Although Cox was a reformer, Grant had believed Cox had overstepped his authority as Secretary of Interior and had undermined his authority as president. In 1871 Cox helped found the Liberal Republicans in opposition to Grant's renomination. In 1876, Cox returned to politics and served one term as a United States Congressman from Ohio. Congressman Cox supported President Hayes's reform efforts, but his term as Congressman was unsuccessful at establishing permanent Civil Service reform.

Cox was elected as a member to the American Philosophical Society in 1870.

Cox was elected U.S. Representative (Ohio) and served in Congress from 1877 to 1879. Afterward, Cox never returned to active politics. Cox served as president and receiver of a railroad, Dean of Cincinnati Law School, and as president of the University of Cincinnati. Cox also studied microscopy and made hundreds of photo-micrographs, and in 1881 he was elected fellow of the Royal Microscopical Society. In 1882, Cox started a series of books he authored on Civil War campaigns, which remain today respected histories and memoirs. After Cox retired in 1897, he died in Massachusetts in 1900. Throughout the 20th century, Cox's life was mostly forgotten by historians, however, there has been renewed interest during the 21st century in Cox's military career as Union general during the Civil War, and his implementation of civil service while Secretary of Interior under President Grant, the first cabinet officer to do so in U.S. history.

Early years and education
Jacob Dolson Cox was born in Montreal (then located in the British colonial Province of Lower Canada) on October 27, 1828. His father and mother respectively were Jacob Dolson Cox and Thedia Redelia (Kenyon) Cox, both Americans and residents of New York. His father Jacob was of Dutch origin, descended from Hanoverian emigrant Michael Cox (Koch) who arrived in New York in 1702. His mother Thedia was descended from Revolutionary War Connecticut soldier Payne Kenyon who was there when British General John Burgoyne surrendered at Saratoga in 1777. Thedia also was descended from Revolutionary War Connecticut soldier Freeman Allyn, who fought against Benedict Arnold at Groton. The Allyns were the early settlers of Salem and Manchester, Massachusetts. Thedia was additionally descended from the Elder William Brewster who emigrated to the Plymouth Colony on the Mayflower in 1620.

The elder Jacob was a New York building contractor and superintended the roof construction of the Church of Notre Dame in Montreal. Cox returned with his parents to New York City a year later. His early education included private readings with a Columbia College student. His family suffered a financial setback during the Panic of 1837, and Cox was unable to afford a college education and obtain a law degree. New York State law mandated that an alternative to college would be to work as an apprentice in the legal firm for seven years before entering the bar. In 1842, Cox entered into an apprenticeship for a legal firm and worked for two years. Having changed his mind on becoming a lawyer, Cox worked as a bookkeeper in a brokerage firm and studied mathematics and classical languages in his off hours. In 1846 he enrolled at Oberlin College in the preparatory school having been influenced by the Reverends Samuel D. Cochran and Charles Grandison Finney, leaders of Oberlin College to study theology and become a minister. Oberlin College was a progressive educational facility that was coeducational and admitted students of different races. He graduated from Oberlin with a degree in theology in 1850 or 1851. After a disagreement with his father-in-law over theology, Cox left his ministerial studies and became superintendent of the Warren, Ohio, school system. He studied law and was admitted to the bar in 1853.

Marriage and family
While attending Oberlin, Cox married the eldest daughter of college president Finney in 1849; at age 19, Helen Clarissa Finney was already a widow with a small son. The couple lived with the president, but Cox and his father-in-law became estranged due to theological disputes. Cox was the father of the painter Kenyon Cox; his grandson, Allyn Cox, was a noted muralist.

Political and military career
Cox was a Whig and had voted for Winfield Scott in 1852, having strong family abolitionist ties. As the Whig party dissolved, in 1855 Cox helped to organize the Republican Party in Ohio and stumped for its candidates in counties surrounding Warren. Cox was elected to the Ohio State Senate in 1859 and formed a political alliance with Senator and future President James A. Garfield, and with Governor Salmon P. Chase. While in the legislature, he accepted a commission with the Ohio Militia as a brigadier general and spent much of the winter of 1860–61 studying military science.

Civil War

At the start of the war, Cox was the father of six children (of the eight he and Helen eventually had), but he chose to enter Federal service as an Ohio volunteer. Cox had remained a member of the Ohio state Senate when the Civil War broke out at the Battle of Fort Sumter. Cox joined the Union Army to fulfill Ohio's Union quota of troops. On April 3, 1861, Cox was appointed Brigadier General of Ohio Volunteers by Ohio Governor William Dennision.

His first assignment was to command a recruiting camp near Columbus, and then the Kanawha Brigade of the Department of the Ohio. His brigade joined the Department of Western Virginia and fought successfully in the early Kanawha Valley campaign under Maj. Gen. George B. McClellan. In 1862 the brigade moved to Washington, D.C., and was attached to John Pope's Army of Virginia, but was delayed by McClellan and so did not see action at the Second Battle of Bull Run with the rest of the army. At the beginning of the Maryland Campaign, Cox's brigade became the Kanawha Division of the IX Corps of the Army of the Potomac. In the Maryland campaign, Cox's men took the important city of Frederick, Maryland, and Cox led the assault on the Confederates on September 14, 1862, at the Battle of South Mountain. When corps commander Maj. Gen. Jesse L. Reno was killed at South Mountain, Cox assumed command of the IX Corps. He suggested to Maj. Gen. Ambrose Burnside, formally the commander of IX Corps, but who was commanding a two-corps "wing" of the Army, that he be allowed to return to division command, which was more in keeping with his level of military experience. Burnside refused the suggestion but kept Cox under his supervision at the Battle of Antietam. Burnside allowed Cox to execute all orders from McClellan at the battle, while he remained behind the lines. Cox's advancing IX Corps came within minutes of overwhelming the Confederate right wing at Antietam, when they were hit by A.P. Hill's division, which forced Cox to withdraw closer to Union lines.

After Antietam, Cox was appointed major general to rank from October 6, 1862, but this appointment expired the following March when the United States Senate felt that there were too many generals of this rank already serving. He was later renominated and confirmed on December 7, 1864. Most of 1863 was quiet for Cox, who was assigned to command the District of Ohio, and later the District of Michigan, in the Department of Ohio.

During the Atlanta, Franklin-Nashville, and Carolinas campaigns of 1864–65, Cox commanded the 3rd Division of the XXIII Corps of the Army of the Ohio, under Maj. Gen. John M. Schofield. His 3rd Division provided the main effort in the assault at the Battle of Utoy Creek, August 6, 1864. Cox's men broke the Confederate supply line on the Macon and Western Railroad on August 31, leading Confederate General John Bell Hood to abandon Atlanta. During Hood's Tennessee Campaign, Cox and his troops narrowly escaped being surrounded by Hood at Spring Hill, Tennessee, and he is credited with saving the center of the Union battle line at the Battle of Franklin in November 1864. Cox led the 3rd Division at the Battle of Wilmington in North Carolina, then took command of the District of Beaufort and a Provisional Corps, which he led at the Battle of Wyse Fork, before it was officially designated the XXIII Corps.

Governor of Ohio
Before mustering out of the Army on January 1, 1866, Cox was elected governor of Ohio in October 1865. He served from 1866 to 1868, and post-war issues were dealt with during his tenure. However, his regressive views on African-American suffrage and his earlier endorsement of President Andrew Johnson's Reconstruction policy caused him to decide not to run for reelection, having lacked the ability to resolve the division between Ohio Radical Republicans and President Johnson. Cox viewed opposition towards black suffrage and advocacy of segregation as a winning formula for the Ohio GOP, telling Radical Republican colleague James Garfield regarding racial equality: "On that issue, if made, you will be beaten."

Cox then moved to Cincinnati to practice law.

Secretary of the Interior (1869–1870)

Cox was appointed Secretary of the Interior by President Ulysses S. Grant upon his March 4, 1869 Inauguration. Cox served from March 5 to October 31, 1870, a total of 575 days in office. Cox was an effective advocate of civil service reform and introduced a merit system and testing for appointees. His nomination was accepted by reformers and he was immediately confirmed by the Senate. Grant initially gave Cox the freedom to run his department as he saw fit "focused on public service as an advocation, not a career." However, after Grant failed to back him up against Republican politicians who thrived on the patronage system then rampant in the Interior Department, Cox resigned. As Secretary of Interior Cox was considered an independent thinker. This countered Grant's instincts as a military general believing Cox was acting insubordinate to his presidency. Grant's own view on Cox's resignation, possibly unfairly, was that, "The trouble was that General Cox thought the Interior Department was the whole government, and that Cox was the Interior Department."

Implemented civil service reform
After the Mexican–American War the United States acquired more territories and the Interior Department expanded enormously. Cox's responsibilities varied widely, and he administered the Patent, Land, Pensions, and Indian Affairs Offices, the Census, marshalls, and officials of federal court, and was in charge of transcontinental railroads. The growth of the Interior Department had also expanded a spoils system of patronage that many reformers believed was corrupt. The distribution of federal jobs by Congressional legislators was considered vital for their reelection to Congress. Grant required that all applicants to federal jobs apply directly to the Department heads, rather than the president. This gave Cox the authority and opportunity to reform the Interior Department's personnel system.

Secretary Cox was an enthusiastic advocate of civil service reform and upon assuming office he was the first federal department head to implement a civil service merit system in a federal department. Cox's reforms were to limit the spoils system and check the expansion of the federal government's power and influence. Cox fired a third of the clerks unqualified to hold office, and he instituted examinations in the Patent and Census Offices for most applicants, while he requested clerks working in the Patent Office to take the examinations to prove they were worthy to hold office. Many clerks resigned on their own rather than take the examinations. Cox even declined to give his brother a job in the Interior, saying he did not want to be charged with nepotism. Cox's moralistic approach to civil service reform would eventually clash with President Grant's practical use of patronage appointment powers.

By mid-May 1870, Cox's reforms clashed with the patronage driven political system and its leaders. Congressional Republican committee leaders demanded that Cox give departmental employees the "opportunity" to give political assessments. Cox responded that "no subscriptions to political funds or show of political zeal will secure their retention." Cox made contributions voluntary, but the ability to pass civil service examinations would remain mandatory, to keep their jobs. Cox said that mandatory contributions would be distressful to the employees families financially.

The breaking point came between Cox and Congressional patronage powers, when Cox implemented a 30-day paid leave policy on federal employees at the Interior Department, in part used for the fall campaign. Workers would not be paid for extra days off after the 30-day limit. Prior to electric air conditioning, the hot Summer of 1870 caused employees to use up most of their 30-day vacation time, leaving only a few days of paid campaigning. Many clerks complained to party leaders Senator Zachariah Chandler and Senator Simon Cameron, saying they could not campaign, putting the blame on Cox's 30 vacation policy. Cameron was reported to have said, "Damn Secretary Cox ! We'll see the President about this fool business." The pressure from party leaders worked, and on October 3, 1870, Grant overturned Cox's 30 day vacation rule.

Dominican Republic annexation treaty

Even before Grant became president, an annexationist faction in American politics desired control over the Caribbean islands. William H. Seward, Secretary of State under Lincoln and Johnson, having purchased Alaska from the Russians and attempted to buy the Danish West Indies from the Danes, began negotiations to purchase the Dominican Republic, then referred to as Santo Domingo. These negotiations continued under Grant, led by Orville E. Babcock, a confidant who had served on Grant's staff during the Civil War. Grant was initially skeptical, but at the urging of Admiral Porter, who wanted a naval base at Samaná Bay, and Joseph W. Fabens, a New England businessman employed by the Dominican government, Grant examined the matter and became convinced of its wisdom. Grant believed in peaceful expansion of the nation's borders and thought the majority-black island would allow new economic opportunities for freedmen. The acquisition, according to Grant, would ease race relations in the South, clear slavery from Brazil and Cuba, and increase American naval power in the Caribbean.

Grant sent Babcock to consult with Buenaventura Báez, the pro-annexation Dominican president, to see if the proposal was practical; Babcock returned with a draft treaty of annexation in December 1869. Secretary of State Hamilton Fish told Cox in a private meeting that Babcock had no authorization to make such a treaty. Going against his normal protocol of listening to each Cabinet member, Grant revealed Babcock's unauthorized treaty to his cabinet without discussion. Grant casually told his Cabinet he knew Babcock had no authority to make the treaty but he could remedy this by having the treaty authorized by the United States Dominican Republic Consul. All of the Cabinet kept quiet until Secretary Cox spoke up and asked Grant, "But Mr. President, has it been settled, then, that we want to annex Santo Domingo?" Grant blushed and was embarrassed by Cox's direct questioning. Grant then turned to his left looking at Secretary Fish and then turned to his right looking at Secretary of Treasury George S. Boutwell, puffing hard on his cigar. The uncomfortable silence continued until President Grant ordered another item of business. The assembled Cabinet never again spoke on Santo Domingo. Grant personally lobbied Senators to pass the treaty, going so far as to visit Charles Sumner at his home. Fish out of loyalty to Grant authorized and submitted the treaty. The Senate, led by the opposition of Sumner, refused to pass the treaty.

Indian affairs
After the Piegan Indian massacre in January 1870, Secretary Cox in March 1870 demanded that Congress implement definitive and lasting legislation on Indian Policy. President Grant, who desired that Indians become "civilized," had created the Board of Indian Commissioners in 1869 under his Peace policy. Cox defended the integrity of the Commissioners appointed by President Grant. The massacre indirectly helped keep the Bureau of Indian Affairs under the Department of Interior, rather than be transferred to the Department of War. Cox believed that industrial progress such as railroads and telegraph lines were no excuse to break treaties with the Indians. Cox believed that Native Americans derived no benefits from frontier towns that took away pasture lands from the buffalo herds, an Indian food staple. Cox believed that keeping promises to the Indians, rather than breaking treaties, was essential for peace. Cox, however, viewed Indians had low intelligence, were conceited, and made poor diplomats. In 1871, after Cox had resigned from office, Congress and President Grant created a comprehensive law that ended the Indian treaty system; the law treated individual Native Americans as wards of the federal government, rather than dealing with the tribes as sovereign entities.

In early 1870, Sioux Indians in Wyoming, under the leadership of Chief Red Cloud and Chief Spotted Tail, were upset as white settlers encroached on Indian land. To avoid war, Red Cloud asked to see President Grant, who along with Spotted Tail, were allowed to journey East to Washington. Cox looked forward to their visit, hoping to convince the Sioux chiefs of the federal government's commitment to Indian treaties, and also to impress them with the power and grandeur of the nation, so they would be fearful of making war. Arriving in Washington, the chiefs had conversations with Cox, Ely Parker, and President Grant. On June 1, the chiefs were given a tour of Washington, but failed to be awed into submission. On June 2, Cox was scolded by Spotted Tail for not keeping the Treaty of 1868. In response, Cox lectured Spotted Tail that complaining was not manly, and that the Grant administration's Indian policies had positive results. Spotted Tail jested to Cox, that Cox would have slit his throat if he had to live through the troubles Spotted Tail was forced to endure. On June 3, Red Cloud took a similar tack as Spotted Tail, emphasizing he would not give up the old ways. Red Cloud asked Cox for food and ammunition so his people could hunt and not starve, railed against broken treaties, and forcing Indians into starvation. Cox put the chiefs off and told them they would speak with President Grant.

On June 7, Cox attempted to placate the Indian chiefs that President Grant, the "Great White Father", acted not out of fear, but had the desire to do the right thing. Cox told the Indians they would get all they asked for, except for guns, and Cox personally promised to see the treaties were kept to the letter. Meeting the Indians, President Grant was warm and welcome and emphasized the same sentiments as Cox. Grant gave the chiefs a formal State Dinner at the White House, that proved to emphasize a clash of two cultures. The chiefs were given fine foods and wine but were especially fond of strawberry ice cream. Spotted Tail was reported to have commented that his white hosts ate far better foods than the rations sent to the Indians. At their final meeting, Cox offered several more concessions, and allowed the Indians to give names of agents they would prefer to act as interlocutors with the government. Cox also promised to give the chiefs seventeen horses. Red Cloud apologized to Cox for his rudeness, while Cox promised to promote Indian interest. Before returning to Wyoming the Indians visited New York City, and the philanthropist eastern papers demanded a more generous Sioux policy. Cox sent the Indians the promised seventeen horses and arranged for a group of reformers to accompany the promised goods. The arrival of the aid package did much to calm the situation and war was averted. One historian noted that the Washington visit was a success, while Red Cloud adopted a policy of diplomacy rather than war.

McGarrahan claims and resignation
In August 1870, Secretary Cox came into conflict with President Grant over the fraudulent McGarrahan claims. Grant wanted the McGarrahan claims either settled by Congress or if Congress failed to do so then his administration. Although Grant believed there was fraud in the matter he wanted the McGarrahan claims settled. Cox, however, in a letter to the President, told Grant that he wanted nothing to do with the McGarrahan claims, believing that McGarrahan was entirely fraudulent in asking for a patent on land claims in California. Cox stated that one of McGarrahan's attorneys was instructed to bribe Cox $20,000 for him to approve that patent. McGarrahan had applied for a patent on California agriculture land to be bought up at a low price. However, the land was actually used for gold mining purposes. Cox appealed to Grant not to have Cox appear before a District Court in regards to the McGarrahan claims and to hold a Cabinet meeting over the matter. Cox believed that the District Court had no jurisdiction over that matter and that the Department of Interior had sole jurisdiction. When Grant gave no support to Cox over not appearing before the court, Cox saw this as an additional reason for not continuing in office—though civil service reform was the proximate cause of his resignation.

Liberal Republican revolt (1870–1872)

Dissatisfaction over the Grant administration, his appointments of family and friends, corruption at the New York Customs House, and his attempt to annex Santo Domingo, led many reformers to seek new leadership. Grant's prosecution of the Ku Klux Klan alienated a fraction of former Republican allies, who believed civil service reform should have priority over civil rights of blacks. In 1870, Senator Carl Schurz of Missouri, a German immigrant, bolted from the regular Republican Party. After Cox resigned office the same year, many reformers believed that Grant was incapable of reforming civil service. Grant, however, had yet not given up on civil service reform and he created the Civil Service Commission, authorized and funded by Congress, whose rules would be effective January 1, 1872. Grant appointed reformer and Harper's Weekly editor George William Curtis to head the commission. Grant appointee Columbus Delano, Grant's third cousin and replacement of Cox, however, exempted the Interior Department from the commission's rules, later saying the department was too large for compliance.

In March 1871, a disgruntled Cox organized a breakaway nucleus of reforming Republicans in Cincinnati, when 100 Republicans signed a pact, separating themselves from the regular Republican Party, calling themselves Liberal Republicans. Schurz, now considered a Liberal Republican ringleader, advocated full amnesty for former Confederates. The new party demanded "civil service reform, sound money, low tariffs, and state's rights." Meeting on May 1, 1872, at their convention held in Cincinnati, the Liberal Republicans nominated New York Tribune editor Horace Greeley for President of the United States. Cox had been mentioned for the presidency, but he was not put on the ballot. Reformers had favored Charles Francis Adams for president and he was put on the ballot, but he could not obtain enough votes to capture the nomination. Cox was against Greeley's nomination and withdrew his support for the Liberal Republican revolt. Greeley, in effect, took the campaign from reformers, attacking Grant's Reconstruction policy, rather than making reform the primary goal. Grant, who was renominated by the regular Republican Party, easily won reelection over Greeley, having captured 56% of the popular vote.

Cox was considered as a U.S. Senate candidate in the 1872 election, but the Ohio legislature selected a more pro-civil rights Republican. At this time U.S. Senators were chosen by state legislatures rather than by popular vote.

Railroad president and receiver (1873–78)
In October 1873, Cox was made President and Receiver of the Toledo and Wabash Railroad. Cox moved to Toledo, Ohio, to take charge of the property. He served from 1873 to 1878.

U.S. Representative (1877–79)
Republican Party candidate Cox was elected to the United States House of Representatives from Toledo in 1876. Cox served a single term in the Forty-Fifth Congress from 1877 to 1879. Cox defeated Democratic Party candidate Frank H. Hurd. Cox received 17,276 votes against Hurd who received 15,361 votes. Cox represented the Sixth District of Ohio that included Fulton, Henry, Lucas, Ottawa, Williams, and Wood counties. Cox declined to run for a second term.

Cincinnati Law School dean (1881–97)

He then returned to Cincinnati, serving as Dean of the Cincinnati Law School from 1881 to 1897. After retiring from his position as dean, he was urged by President William McKinley to accept the position of U.S. ambassador to Spain, but declined, having strong anti-imperialist views

University of Cincinnati president (1885–89)
Cox was President of the University of Cincinnati from 1885 to 1889.

Military historian and author
During his later years, Cox was a prolific author. His works include Atlanta (published in 1882); The March to the Sea: Franklin and Nashville (1882); The Second Battle of Bull Run (1882); The Battle of Franklin, Tennessee (1897); and Military Reminiscences of the Civil War (1900). His books are still cited by scholars, and his memoirs contain incisive analyses of military practice and events.

Death and burial
Cox died on summer vacation at Gloucester, Massachusetts. He is buried in Spring Grove Cemetery, Cincinnati.

Historical reputation

With the exception of dissertations and a few biographical articles, there were no 20th-century book biographies of Cox's entire life. In 1901, historian William Cox Cochran authored a 35-page book titled General Jacob Dolson Cox: Early Life and Military Services published by Bibliotheca Sacra Company in Oberlin, Ohio. The Biographical Dictionary of America published in 1906 by the American Biographical Society, edited by Rossiter Johnson, had a biographical article on Cox, that included a sketch portrait of Cox. Volume 4 of Dictionary of American Biography, edited by Dumas Malone, published in 1930 by Charles Scribner's Sons, has a biographical article on Cox, authored by Homer Carey Hockett (H.C.H.). In 2014, historian Eugene D. Schmiel authored Citizen-General: Jacob Dolson Cox and the Civil War Era book biography on Cox's entire life.

According to historian Donald K. Pickens, Cox "was a fascinating figure, very much part of his time, yet his various interests and achievements set him apart from his contemporaries." Pickens said Cox was an effective Secretary of Interior, "following Grant's policy of eventual assimilation of American Indians." Cox's endorsement of civil service reform was in opposition to powerful Republican Senators. Historian Ron Chernow said Cox was a conservative on Grant's cabinet, preaching against black suffrage and favored racial segregation, but "he enjoyed a reputation of an efficient administrator and an energetic ally of civil service reform." Historian Eugene D. Schmiel said Cox, as Grant's Secretary of Interior, "implemented one of the most far-reaching attempts to reform Indian Policy and instituted the federal government's first extensive civil service reform." Schmiel said "knowledge of Cox the citizen-general is limited, and he remains a relative unknown except to specialists and buffs." Concerning Cox's published military works, historian H.C.H. said that Cox, in general, was "recognized as an elegant and forceful writer, of fine critical ability and impartial judgement, one of the foremost military historians of the country."

Built in 1880, Cox's home in Cincinnati is listed on the National Register of Historic Places. The Cox Administration Building (designed by Cass Gilbert) at Oberlin College is named in his honor.

Microscopy studies (1873–1895)
Around 1873, Cox became interested the study of microscopy and took it up as a recreational hobby. Cox's first studies were on fresh water forms, including rotatoria and diatomaceae. Cox displayed painstaking thoroughness and logical analysis in his microscopical studies, keeping notes of his work and observations. In 1874, Cox took up the study of photo-micrography, and in 1875 he began making a series of photo-micrographs of diatomaceae, that totaled several hundred in number. In 1881, Cox was elected fellow of the Royal Microscopical Society. Cox gave up microscopical study in 1895, believing it damaged his eyes, but his interest in microscopy remained lifelong.

title: Jacob Dolson Cox


text: Category:Lakes by country

title: Category:Lakes by country


text:
Jason James Richter

Jason James Richter  (born January 29, 1980, Medford, Oregon) is an American actor and musician. He is best known for his role in the Free Willy film series as Jesse, the boy who befriends Willy the orca.

Early life
Richter was born on January 29, 1980, in Medford, Oregon, the son of Sandra "Sandy" Montgomery, an actress, and Gregory Lynn Richter, who was in the U.S. Navy. At the age of 3, he and his family moved to Honolulu, Hawaii, where a Japanese casting agency discovered him and signed him up for three TV spots. In 1989, his family moved back to the mainland, settling in San Diego, California.

Career
Richter starred as Jesse in Free Willy (1993), a role for which he was chosen out of more than 4,000 candidates.

His other films include Cops & Robbersons, The NeverEnding Story III, Free Willy 2: The Adventure Home, Laserhawk, Free Willy 3: The Rescue, and The Setting Son. He also reprised his role as Jesse in the music video for Michael Jackson's "Childhood", which was featured in Free Willy 2: The Adventure Home. In 2021, he appeared in the thriller The Little Things, his first studio film since the Free Willy films. Between the Free Willy roles, he had TV guest roles on Sabrina, the Teenage Witch, Rugrats and The Client.

Following his appearance in Ricochet River, Richter took a decade long hiatus from acting where he was the guitarist and bassist for Blue Root and Fermata, respectively.

Music videos
Additional credits
 * The Quiet Loud (2013) ... Paul (short film; directed, produced and written by)
 * Remember the Sultana (2015) ... Erastus Winters, Cpl William Norton, Pvt. John Zazier (documentary film; voice)

title: Jason James Richter


text:
Charles Anderson (governor)

Charles Anderson (June 1, 1814 – September 2, 1895) was first a Whig and later a Republican politician from Ohio. He served briefly as the 27th governor of Ohio.

Early life
Anderson was born in "Soldier's Retreat," Louisville, Kentucky, son of Richard Clough Anderson and Elizabeth (Clark) Anderson, sister of George Rogers Clark and William Clark the famous explorer. Anderson graduated from Miami University in 1833, studied law and was admitted to the Ohio bar in 1843. He moved to Dayton, Ohio, where he began a law practice and was later elected county prosecutor.

Career
In 1844, Anderson was elected to the Ohio Senate and made a name for himself as an advocate for black rights. He then moved to Texas for health reasons. He gave an impassioned speech in San Antonio in December 1860, strongly opposing secession and calling for the "perpetuity of the national Union." Angry local pro-Confederates threatened Anderson and arrested him without charge, but Anderson escaped and returned with his family to Dayton.

President Abraham Lincoln sent Anderson on a pro-Union speaking tour of Europe, after which Anderson accepted command of the 93rd Ohio Infantry and was commissioned in the Union Army as a colonel. Badly wounded in battle in Tennessee at the Battle of Stones River, Anderson resigned his commission and returned to Ohio to recuperate.

Anderson was elected the seventh lieutenant governor of Ohio in late 1863 and took office the following year. On August 29, 1865, he became governor upon the death of Governor John Brough.

Anderson served less than five months, until January 8, 1866. Ohio historian Dwight L. Smith wrote that his brief term in office was "uneventful... [and] the services he performed were merely routine."

Death
After leaving the governorship, Anderson resumed his legal practice and moved back to Kentucky, where he died at the age of 81.

Anderson is interred at Kuttawa Cemetery in Kuttawa, Kentucky.

Family life
Anderson was born to a prominent family, his father, Richard Clough Anderson Sr., was an aide to the Marquis de Lafayette during the American Revolution.

Charles Anderson's brother, Major General Robert Anderson, was also a United States Army officer, notable for his defense of Fort Sumter at the outset of the American Civil War. Another brother, William Marshall Anderson, was a noted explorer, politician, and briefly a member of the New Virginia Colony of ex-Confederates in Mexico during the reign of Emperor Maximilian. (Note: Rev. William C. Anderson, who served as president of Miami University from 1849 to 1854, is sometimes erroneously cited as an Anderson brother.)

title: Charles Anderson (governor)


text: Category:Musical groups by genre

title: Category:Musical groups by genre


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Briquette

A briquette (also spelled briquet) is a compressed block of coal dust or other combustible biomass material (e.g. charcoal, sawdust, wood chips, peat, or paper) used for fuel and kindling to start a fire. The term derives from the French word brique, meaning brick.

Coal briquettes

Coal briquettes have long been produced as a means of using up 'small coal', the finely broken coal inevitably produced during the mining process. Otherwise this is difficult to burn as it is hard to arrange adequate airflow through a fire of these small pieces; also such fuel tends to be drawn up and out of the chimney by the draught, giving visible black smoke.

The first briquettes were known as culm bombs and were hand-moulded with a little wet clay as a binder. These could be difficult to burn efficiently, as the unburned clay produced a large ash content, blocking airflow through a grate.

With Victorian developments in engineering, particularly the hydraulic press, it became possible to produce machine-made briquettes with minimal binder content. A tar or pitch binder was used, obtained first from gas making and later from petrochemical sources. These binders burned away completely, making it a low-ash fuel. A proprietary brand of briquettes from the South Wales coalfield was Phurnacite, developed by Idris Jones for Powell Duffryn. These were intended to emulate a high-quality anthracite coal, such as that from the Cynheidre measures. This involved blending a mixture of coals from different grades and colliery sources. Phurnacite used the following mix:
 * Bituminous coal, 25%
 * Steam coal, 45%
 * Dry steam coal, 22%
 * Pitch, 8%

Early briquettes were large and brick-shaped. Phurnacite briquettes later adopted a squared oval shape. This regular shape packed well as a good firebed, with plentiful airflow. They are also easy to mechanically feed, allowing the development of automatically controlled heating boilers that could run for days without human intervention.

Charcoal briquettes
Charcoal briquettes sold for cooking food can include:
 * Wood charcoal (fuel)
 * Lignite coal (fuel)
 * Anthracite coal (fuel)
 * Limestone (ash colourant)
 * Starch (binder)
 * Borax (release agent)
 * Sodium nitrate (accelerant)
 * Sawdust
 * Wax (some brands: binder, accelerant, ignition facilitator).
 * Chaff (rice chaff and peanut chaff)

As a rule of thumb, a charcoal briquette will heat a camping Dutch oven by approximately 25 F-change, so 20 charcoal briquettes will heat it by 500 F-change.

East-Asian briquettes
Home made charcoal briquettes (called tadon) were found after charcoal production in Japanese history. In the Edo period, polysaccharide extracted from red algae was widely used as a binder. After the imports of steam engines in the Meiji period, coal and clay became major ingredients of Japanese briquettes. These briquettes, rentan and mametan, were exported to China and Korea. Today, coal briquettes are avoided for their sulfur oxide emission. Charcoal briquettes are still used for traditional or outdoor cooking. Woody flakes such as sawdust or coffee dust are major ingredients of modern mass-consumed briquettes (e.g., Ogatan).

Use in China
Throughout China, cylindrical briquettes, called "fēng wō méi" (beehive coal 蜂窩煤 / 蜂窝煤) or "Mei" (coal 煤) or "liàn tàn" (kneaded coal 練炭 / 练炭), are used in purpose-built cookers.

The origin of "Mei" is "Rentan" (kneaded coal 練炭) of Japan. Rentan was invented in Japan in the 19th century, and spread to Manchukuo, Korea and China in the first half of the 20th century. There were many Rentan factories in Manchukuo and Pyongyang. Although Rentan went out of use in Japan after the 1970s, it is still popular in China and Vietnam ("than" coal).

The cookers are simple, ceramic vessels with metal exteriors. Two types are made: the single, or triple briquette type, the latter holding the briquettes together side by side. These cookers can accommodate a double stack of cylinders. A small fire of tinder is started, upon which the cylinder(s) is placed. When a cylinder is spent, another cylinder is placed on top using special tongs, with the one below igniting it. The fire can be maintained by swapping spent cylinders for fresh ones, and retaining a still-glowing spent cylinder.

Each cylinder lasts for over an hour. These cookers are used to cook, or simmer, pots of tea, eggs, soups, stews, etc. The cylinders are delivered, usually by cart, to businesses, and are very inexpensive.

Peat briquettes
In Ireland, briquettes made from peat, the product of the decomposition of marsh plants in a low-oxygen environment, are a common type of solid fuel, largely replacing sods of raw peat as a domestic fuel. These briquettes consist of shredded peat, compressed to form a virtually smokeless, slow-burning, easily stored and transported fuel. Although often used as the sole fuel for a fire, they are also used to light a coal fire quickly and easily. Peat briquettes are also sometimes used for grilling meats and vegetables as they bring a unique aroma to the food. Bord na Móna is the Irish state owned company in charge of peat, which also handles production of peat briquettes.

Biomass briquettes

Biomass briquettes are made from agricultural waste and are a replacement for fossil fuels such as oil or coal, and can be used to heat boilers in manufacturing plants, and also have applications in developing countries. Biomass briquettes are a technically renewable source of energy and their emissions do not constitute an anthropogenic greenhouse gas, unlike emissions from traditional coal briquettes, as any carbon released was taken directly from the atmosphere in recent history, not sequestered deep in the earth during the carboniferous period as with coal.

Although briquetting is an appropriate technology for the production of renewable energy, its widespreadness is limited. Especially due to the high initial investments and energy consumption of a high-pressure briquetting press. However, manual low-pressure briquetting presses (operating pressure <5 MPa) can represent a relevant alternative, regarding to their ease of use and modest energy consumption for the developing countries.

A number of companies in India have switched from furnace oil to biomass briquettes to save costs on boiler fuels. The use of biomass briquettes is predominant in the southern parts of India, where coal and furnace oil are being replaced by biomass briquettes. A number of units in Maharashtra (India) are also using biomass briquettes as boiler fuel. Use of biomass briquettes can earn Carbon Credits for reducing emissions in the atmosphere. Lanxess India and a few other large companies are supposedly using biomass briquettes for earning Carbon Credits by switching their boiler fuel. Biomass briquettes also provide more calorific value/kg and save around 30–40 percent of boiler fuel costs.

A popular biomass briquette emerging in developed countries takes a waste produce such as sawdust, compresses it and then extrudes it to make a reconstituted log that can replace firewood. It is a similar process to forming a wood pellet but on a larger scale. There are no binders involved in this process. The natural lignin in the wood binds the particles of wood together to form a solid. Burning a wood briquette is far more efficient than burning firewood. Moisture content of a briquette can be as low as 4%, whereas green firewood may be as high as 65%.

For example, parameters of fuel briquettes made by extrusion from sawdust in Ukraine:

(MJ = Megajoules. 3.6 MJ equals 1 kWh.)

The extrusion production technology of briquettes is the process of extrusion screw wastes (straw, sunflower husks, buckwheat, etc.) or finely shredded wood waste (sawdust) under high pressure when heated from 160 to 350 C. As shown in the table above the quality of such briquets, especially heat content, is much higher comparing with other methods like using piston presses.

Sawdust briquettes have developed over time with two distinct types: those with holes through the centre, and those that are solid. Both types are classified as briquettes but are formed using different techniques. A solid briquette is manufactured using a piston press that compresses sandwiched layers of sawdust together. Briquettes with a hole are produced with a screw press. The hole is from the screw thread passing through the centre, but it also increases the surface area of the log and aids efficient combustion.

Paper briquettes
Paper briquettes are the byproduct of a briquettor, which compresses shredded paper material into a small cylindrical form. Briquettors are often sold as add-on systems to existing disintegrator or rotary knife mill shredding systems. The NSA has a maximum particle size regulation for shredded paper material that is passed through a disintegrator or rotary knife mill, which typically does not exceed 1/8 inch square. This means that material exiting a disintegrator is the appropriate size for compression into paper briquettes, as opposed to strip-cut shredders which produce long sheets of paper.

After being processed through the disintegrator, paper particles are typically passed through an air system to remove dust and unwanted magnetic materials before being sent into the briquettor. The air system may also be responsible for regulating moisture content in the waste particles, as briquetting works optimally within a certain range of moisture. Studies have shown that the optimal moisture percentage for shredded particles is 18% for paper and 22% for wheat straw.

Environmental impact
Briquetted paper has many notable benefits, many of which minimize the impact of the paper waste generated by a shredding system. Several manufactures claim up to 90% volume reduction of briquetted paper waste versus traditional shredding. Decreasing the volume of shredded waste allows it to be transported and stored more efficiently, reducing the cost and fuel required in the disposal process.

In addition to the cost savings associated with reducing the volume of waste, paper briquettes are more useful in paper mills to create recycled paper than uncompressed shredded material. Compressed briquettes can also be used as a fuel for starting fires or as an insulating material.

Safety
Experts generally warn that charcoal burners are not to be used in enclosed environments to heat homes, due to the obvious danger of carbon monoxide poisoning.

title: Briquette