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EBow

The EBow, short for electronic bow or energy bow, is an electronic device used for playing string instruments, most often the electric guitar. It is manufactured by Heet Sound Products, of Los Angeles, California. It was invented by Greg Heet in 1969, introduced in 1976 and patented in 1978.

The EBow uses a pickup in an inductive string driver feedback circuit, including a sensor coil, driver coil and amplifier, to induce forced string vibrations. The EBow drives one string at a time, producing a sound reminiscent of using a bow on the strings.

History
In 1976, Heet Sound introduced the first EBow at the NAMM Show. It featured an internal, string vibration triggered automatic power switch, a chromium-plated ABS plastic shell, a red LED power indicator, and a police-style form fitted black leather holster, embossed with the EBow logotype. In later years, five subsequent EBow models were introduced, all of which consisted of internal variations of the original EBow circuit and actuator coils, as well as color changes to the original plastic shell and EBow logotype, both of which have remained essentially unaltered since the introduction of the EBow, with the exception of the addition of an external power switch on the back. The latest EBow model is the "Plus EBow", which is switchable between "standard mode" and "harmonic mode".

Since the 1990s, various manufacturers have introduced string drivers for guitar and bass, including hand-held monophonic and polyphonic string drivers, as well as built-in and surface mounted types. All polyphonic models are produced under the SRG brand. Commonly referred to as "Resonators", and monophonic "Sustainers" such as Fernandes Guitars (G-401), Sustainiac (Stealth Pro3), and "gooseneck" microphone stand mounted types (Vibesware Guitar Resonators).

Function and use
The EBow is used to produce a variety of sounds not playable on a guitar using traditional strumming or picking techniques. These sounds are created by a string driver that gets its input signal by an internal pickup, which works like a guitar pickup. Its output signal is amplified and drives the other coil, which amplifies the string vibrations. With this feedback loop the player can create a continuous string vibration. Fading in and out by lowering and raising the EBow is also possible.

Starting with the current generation of EBow (PlusEBow, the 4th edition EBow), the user also gains an additional mode known as harmonic mode, which produces a higher harmonic sound instead of the fundamental note. This is achieved by reversing the signal phase to the driving coil, which damps the string's fundamental frequency and creates higher harmonics.

Style range
Many different artists have used the EBow in a wide variety of musical styles. One of the first notable users was Genesis guitarist Steve Hackett, who used the device on "Carpet Crawlers" from the band's 1974 album The Lamb Lies Down on Broadway. Another early pioneer of EBow playing was Bill Nelson, who started using it in 1976 on the Be-Bop Deluxe: Sunburst Finish album. In 1979, he introduced it to Stuart Adamson of the Skids on their Days in Europa album. Adamson went on to use it with Big Country, specifically on the albums The Crossing, Steeltown, The Seer and Peace in Our Time. The EBow was a major contributor to the band's sound being labelled with the bagpipe tag, much to the frustration of guitarist Bruce Watson, who would also occasionally utilize the EBow. The EBow was utilized by Pink Floyd guitarist David Gilmour on the introduction to "Take it Back" on The Division Bell. In this case, it is possible that the sound produced stems from miking an un-amplified electric guitar, rather than from the more conventional amplified usage.

The EBow was used by Blue Öyster Cult lead guitarist Donald (Buck Dharma) Roeser, on their 1976 song, "(Don't Fear) The Reaper", to segue the middle instrumental lead break back into the final verse of the song. The device was used again on the follow-up album, Spectres, on at least one track ("Celestial the Queen").

The EBow was prominently used by Siouxsie and the Banshees guitarist John McGeoch on the 1981 song "Sin in My Heart" of the album Juju.

The EBow is used by the Radiohead guitarist Ed O'Brien for performances of songs such as "My Iron Lung", "Talk Show Host", "Jigsaw Falling Into Place", "Where I End and You Begin" and "Nude".

R.E.M. references the EBow in the song title of "E-Bow the Letter", the lead single from their 1996 album New Adventures in Hi-Fi, with guitarist Peter Buck using one throughout the song.

It has also been used on Opeth's 1999 Still Life album and its 2001 followup Blackwater Park, to create ambient background melodies. Blondie has used it on several songs including "Fade Away and Radiate" and "Cautious Lip".

In the 1980s the Bongos used the EBow in the intro of their song "Numbers With Wings" and also in "River To River", "Miss Jean", "Glow", "Flew A Falcon" and "Sweet Blue Cage". Frontman Richard Barone continues to use an EBow on his subsequent solo recordings and much of his production work including his songs "Love is a Wind that Screams" and his cover of T. Rex's "The Visit".

The Church used the EBow in the song Under the Milky Way featuring a 12-string acoustic guitar melody along with a solo composed with an EBow on a Fender Jazzmaster, and recorded on a Synclavier, leading to a sound reminiscent of bagpipes.

It has been used by Daniel Ash from Love and Rockets, like if there were "keyboards on various songs, but it's actually e-bow which basically turns the guitar into a keyboard cos' it just sustains on the one note", on Love and Rockets's Seventh Dream of Teenage Heaven and Burning Skies.

Besides its appearance in rock and jazz music, the EBow also made its way in the domain of contemporary art music, being used by John Cage in his harp piece A Postcard from Heaven (1982), Karlheinz Essl in Sequitur VIII (2008) for electric guitar and live-electronics, Elliott Sharp on SFERICS (1996), Arnold Dreyblatt in E-Bow Blues (1998) and David First in A Bet on Transcendence Favors the House (2008).

Alternative use
Although the EBow is most commonly played on the electric guitar, because of its ease of use and the responsiveness obtainable from the pickup, many artists have experimented with the EBow on other types of guitars and string instruments to various effect. While the EBow is not normally used with the electric bass guitar, which has heavier strings, Michael Manring (who uses light bass strings) uses it on his 1995 album Thönk. He has also been known to use two at once. Another instrument that the EBow is sometimes used on is the steel-string acoustic guitar. For example, guitarist David Gilmour of Pink Floyd used one on his Gibson J-200 acoustic in their 1994 song "Take It Back". Generally an acoustic guitar gives a limited response for varying reasons, including the density and spacing of the guitar strings. But despite these limitations, using an EBow on an acoustic guitar gives a rich, flute- and clarinet-like tone with a slow-swelling response.

Composer Luciano Chessa employs EBows regularly in his music for solo Vietnamese đàn bầu. Furthermore, an EBow can also be utilised on a grand piano (with depressed sustain pedal) to create sustained sinusoidal sounds as it was used by Cor Fuhler in De Lamp, de Knijper en het Molentje (1991) and the Brazilian composer Marcus Siqueira wrote "Cataclisma" - Kατακλυσμός (2015) - for solo piano using one Ebow Olga Neuwirth in Hooloomooloo (1997) and Karlheinz Essl in Sequitur XIII (2009) for extended piano and live-electronics.

Other notable users
This is a partial list of only notable performers who have used an EBow in at least three of their songs and who were not mentioned in the text above.
 * Guitarist Phil Keaggy has used an EBow extensively since the 1970s.
 * Broadway orchestrator William David Brohn used the EBow extensively in the orchestrations for the Wicked and Mary Poppins.
 * Jonny Buckland from Coldplay used it in the songs "Amsterdam", "Spies", "See You Soon", "Princess of China", "Oceans", and "Coloratura".
 * Billy Corgan and James Iha of The Smashing Pumpkins, used on the songs "Thru the Eyes of Ruby", "Sinfony", "Soma", "Drown", "Perfect", "Daphne Descends", "Stand Inside Your Love", "Speed Kills" as well as in many live versions of songs.
 * Wayne Hussey, used extensively throughout his recorded output with both The Mission and The Sisters of Mercy, the songs "Wasteland" and "Marian" being two prime examples. Also known to have used it on acoustic guitars and electric 12 strings.
 * The Edge of U2, on the studio and live versions of "The Unforgettable Fire". During the Joshua Tree and Lovetown tours, he used it on their hit song "With or Without You", replacing the Infinite Guitar used on the original studio recording. He has also used guitars with "sustainer" pickups and effects in live performances.
 * Ty Tabor of King's X uses the chrome EBow extensively live and throughout the band's catalog, notably on songs such as "A Box", "Cigarettes", "Legal Kill", "The Burning Down", "Not Just for the Dead", "Jenny", "Sooner Or Later" and the psychedelic intro to "In The New Age".
 * Paul Reynolds, formerly of A Flock of Seagulls, used it extensively with A Flock of Seagulls, most noticeably on "Wishing (If I Had a Photograph of You)".
 * Steve Rothery of Marillion, in a number of tracks, including on the 1985 UK Number One album Misplaced Childhood, the song "The King of Sunset Town" and the ending part of "Seasons End", both from the 1989 Seasons End album, and also throughout the song "You're Gone" from the 2004 Marbles album.
 * Rob Dean of Japan used it on Quiet Life and Gentlemen Take Polaroids.
 * John Haughm of Agalloch, on the songs "Odal", "Limbs" "Sowilo Rune", and "Faustian Echoes".
 * Guitarist John Ellis has used the EBow frequently. Some of his performances include the extensive EBow-aided guitar parts on the Judge Smith album Curly's Airships and on his own 2013 album Sly Guitar.
 * Vinnie Moore, in the songs "Rain", "The Maze", "In the Healing Garden", "Fear and Trepidation", "Over My Head", and "Into the Sunset" in the studios and during live performances.
 * Paul Stanley of KISS, on his first solo album, Paul Stanley, in 1978.
 * John Petrucci, on the Dream Theater song "Space-Dye Vest" from the album Awake. He has also used it on the tracks "Finally Free", "Disappear", and "The Ministry of Lost Souls".
 * Eddie Vedder, in the Pearl Jam songs "Wishlist", "Rearviewmirror", and "World Wide Suicide".
 * Munaf Rayani of the post-rock band Explosions in the Sky in various songs, including "The Moon Is Down", "Memorial" and "Be Comfortable, Creature".
 * Brad Delson of Linkin Park, on the song "No More Sorrow" from Minutes to Midnight (Linkin Park album).
 * Wes Borland of Limp Bizkit, on songs like "Hold On" for ambience, and for manipulating the feedback in the intro of "Boiler".
 * The Methods of Mayhem song "New Skin" utilizes an EBow during the verses.
 * Alexander Julien of Vision Eternel uses an EBow on nearly all of the band's songs.
 * Love Spirals Downwards uses an EBow on the song "Mirrors a Still Sky" from the album Ardor.
 * Russell Lissack of Bloc Party on the songs "Song for Clay", "Uniform" and "Biko".
 * Peter Buck of R.E.M., on several songs, including "Walk Unafraid" from the album Up, and "E-Bow the Letter" from the album New Adventures in Hi-Fi.
 * Georg Hólm of Sigur Rós, in various songs, including "Untitled #6" from the  (album) album, sometimes referred to as "E-Bow".
 * Peter Holmström of The Dandy Warhols, in multiple songs, including on a Fender Bass VI on "Godless", and as a guest musician for Daydream Machine on their song "Twin Idols".
 * Brody Uttley of Rivers of Nihil, in various songs, namely on "Suntold" and "Death Is Real".
 * Guitarists Wata and Takeshi of the Japanese band Boris use e-bows on various recordings and in concert.
 * Troy Donockley of the symphonic metal band Nightwish has used EBows live to imitate the violin solos from songs such as "While Your Lips Are Still Red" and " The Greatest Show on Earth".
 * Noel Gallagher of Oasis used the e-bow on "Don't Look Back in Anger" and "Champagne Supernova" on the album, What's The Story (Morning Glory).
 * Michael Belfer of Black Lab used the e-bow on "Time Ago", "Anything" and "Ten Million Years" on the album Your Body Above Me.
 * Todd Rundgren used the Ebow on Roger Powell's track "Morning Chorus" from Powell's album, Air Pocket.
 * Fred Giannelli from Psychic TV, used the E-bow on the song "Bliss" from the LP Towards the Infinite Beat.
 * Stuart Adamson of Big Country used the E-bow extensively throughout the band's catalogue. It notably features heavily on the band's highly successful debut album The Crossing.
 * Paul Banks and Daniel Kessler of Interpol used the E-bow in "Take you on a cruise", from album "Antics".

title: EBow


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Slay Tracks: 1933–1969

Slay Tracks: 1933–1969 (usually referred to as Slay Tracks) is the debut EP by American indie rock band Pavement. Pavement—at that time, a duo of just its two founding members Stephen Malkmus (guitar, vocals) and Scott Kannberg (guitar)—recorded Slay Tracks with producer and future member Gary Young (drums) during a four-hour session. Pavement self-released the EP as a 7" vinyl record on the band's own record label Treble Kicker in 1989. The music of Slay Tracks was influenced by indie and punk rock bands such as Swell Maps and The Fall, and many of the lyrics were inspired by life in the band's hometown of Stockton, California.

Although only 1,000 copies of Slay Tracks were pressed, the EP became an underground hit. Upon release, the EP was critically praised by independently produced zines. The EP managed to generate buzz for Pavement in the UK after The Wedding Present's cover of the song "Box Elder" received some airplay from the famous radio disc jockey John Peel. The release and relative success of Slay Tracks was significant to Pavement's subsequent signing to Drag City, and later to Matador Records. The band's Westing (By Musket and Sextant) (1993) compiled the songs from the band's three EPs prior to their debut album Slanted and Enchanted: Slay Tracks, Demolition Plot J-7, and Perfect Sound Forever. The compilation allowed those songs to reach a wider audience than the EP's limited initial release.

Background
Pavement was formed in 1989 in Stockton, California, by Stephen Malkmus and Scott Kannberg. Malkmus and Kannberg had previously performed together in the band Bag O' Bones. Pavement had its start playing at open mic nights at clubs and bars. The songs the band played during this time were mostly covers, although they also performed many original songs that would later be released on Slay Tracks. Malkmus recalls, "It was pretty reasonable to be able to make a single for $1,000, so we decided to go for it. We didn't have any real plans because we weren't a real band." Two local studios existed in Stockton, the cheaper and less professionally minded of which was Gary Young's Louder Than You Think Studio. The band decided to record at Young's studio due to their admiration of other local punk bands who had recorded there, including The Young Pioneers and The Authorities. Kannberg reportedly borrowed $800 from his father to record Slay Tracks.

Recording
Slay Tracks was recorded during a four-hour session on January 17, 1989, at Young's studio. Kannberg, describing the studio and the recording process, said, "You go into his house and it's stuff everywhere, old dogs lying around, big pot plants everywhere, and Gary tells us that he got all his equipment by selling pot! It was us going in and pretty much just laying down the songs with a guide guitar and a detuned guitar through a bass amp and then we'd play drums over the top." Young, though bewildered by the band's sound, contributed by playing drums. He recalled, "[Malkmus and Kannberg] come in and they play this weird guitar noise and it just sounds like noise, with no background. My drums were in there so I said, 'Should I drum?' and they said 'Okay.'" Kannberg said, "We did it really fast. We probably spent one day tracking and one day mixing it." The title of the EP had been decided prior to its recording, and the pseudonyms S.M. and Spiral Stairs were used to credit Malkmus and Kannberg respectively.

Composition and lyrics
Most of the music on Slay Tracks was written by Malkmus, but the music to "Box Elder" was written by Kannberg. Malkmus stated his influences on the record included Chrome, Swell Maps, and The Fall. The songs on the EP drew comparisons to the likes of R.E.M., Pixies, and Sonic Youth by Stephen Thomas Erlewine and Heather Phares of AllMusic (which, like all of the World Wide Web, did not exist when the EP was released). Radio static and noise are prominently used on the EP, techniques which are characteristic of the lo-fi and noise pop genres that Pavement are frequently associated with. According to Malkmus, "We decided to use static as the third instrument... It was pretty exciting to be so experimental." Young played drums on "Box Elder" and "Price Yeah!", and frequently improvised. Malkmus played drums on "Maybe Maybe", while both Malkmus and Kannberg drummed on "She Believes".

"You're Killing Me", the longest song on the EP at three minutes and 20 seconds, is an example of the impact punk rock had on Pavement. The song features fuzz effects, repetitive lyrics, and no percussion or drums. "Box Elder", an ironic song about someone wanting to move to Box Elder, Montana, was considered by Gerard Cosloy to be an example of Malkmus's "honest, direct, and simplistic" lyrical style, and features greater influence from pop music than the rest of the EP. "Maybe Maybe" features distorted guitars and indiscernible vocals, and "Price Yeah!" has a sound typical of hardcore punk. The band's hometown of Stockton inspired the band's lyrics and sound. "There's something empty about Stockton," Malkmus said. "I wanted to convey that in our music." He told Melody Maker, "Pavement was originally a pathetic effort by us to do something to escape the terminal boredom we were experiencing in Stockton."

Release
After recording was complete, Kannberg was tasked with releasing the music himself, as Malkmus had departed on a trip to parts of Europe, North Africa, and the Middle East. Kannberg designed the cover of the EP and sent copies to various independent labels, distributors, and zines. He recalled, "I had no idea how to do it. I'd send off these little notes to my favorite labels like SST and Twin Tone and ask, 'How do I do this?'" A representative from SST recommended that Kannberg use Erica Records, a Los Angeles 7" manufacturer. Kannberg chose Erica Records to manufacture Slay Tracks but was unhappy with the master recording produced by the company: "It sounds like it sounds now—it's just a mess—but being poor and not really caring I said, 'Okay, that's cool, if it sounds like that–whatever.'" Slay Tracks was pressed in a limited run of 1,000 copies, with a green dinosaur stamp on the label of the first 50 copies. The EP was distributed in the United States and England through Kannberg's own Treble Kicker Records, though Malkmus soon came across a copy in a record store while visiting Austria.

Slay Tracks found unexpected attention after The Wedding Present, an English band, covered "Box Elder" on their own 1990 EP, Brassneck. The Wedding Present's bassist Keith Gregory had been introduced to Slay Tracks by future Pavement bassist Mark Ibold while visiting New York City. The cover differs from the original in that the line "that I had to get the fuck out of this town" was changed to "that I had to get right out of this town". The cover version received radio airplay from influential English disc jockey John Peel, generating publicity for both the Wedding Present and Pavement. Pavement had not been asked permission or informed of the cover until after it was already on UK radio. Kannberg said he initially felt "offended", but his opinion of the cover and its significance later changed: "It was so cool that some band from the UK wanted to cover this obscure, horribly recorded song. At the time I probably never appreciated the full extent of how them covering the song helped Pavement, especially in the UK, but it really did, and I'll always be grateful to them for that."

Shortly after its release, Slay Tracks became a collector's item. According to an April 1990 Drag City press release, copies were typically sold for $500–$600. Malkmus and Kannberg each kept 100 copies of the EP, and Malkmus said "I used to sell them for fifty dollars. When I needed money I'd go in and sell a couple to the store and they'd sell for a hundred dollars each. I rarely meet anyone who bought it when it originally came out." Malkmus also said that the pair "probably gave away about one-hundred to friends and bands we later toured with." The songs on Slay Tracks found airplay on several college radio stations, including WTJU at the University of Virginia and KALX at the University of California, Berkeley. The band had not anticipated the EP's relative degree of success; Kannberg later said "[i]t was very surprising to find that people were into [Slay Tracks]."

Reception
Slay Tracks received generally positive reviews. Much of the initial critical reception to Slay Tracks was from zines to whom Kannberg had sent the EP. A review in the San Francisco-based zine Maximum RocknRoll said "Most of the tunes work by virtue of their eclecticism, freshness, and originality—this is a good one." The zine Conflict called the EP "absolutely perfect." Slay Tracks also received attention from mainstream publications. Robert Christgau of the Village Voice rated Slay Tracks an A−, and selected it as his fourth favorite EP of 1990. Spin's review said: "a long stream of noise water is omitted by Pavement. ... What a party!" A reviewer for Option praised the band's lo-fi characteristics and attitude, calling the EP "loose and intentionally lo-fi," and saying "let's hope this Pavement stays cracked." College Music Journal's review was also favorable, noting "You're Killing Me" and "She Believes" as highlights, and calling the EP a "deep, intoxicating breath of homemade music from people with tongues in their cheeks and hearts on their sleeves ... the twin engine feedback and fuzz hits dead center with naive [sic] melodic balance, and whether that is in spite of or because of the sloppy, one-take feel is inconsequential."

Legacy
Young's drum performance on Slay Tracks eventually led to him joining Pavement as a full-time member. Young produced the group's 1990 EP Demolition Plot J-7, but displayed hostility toward then-current drummer Jason Fawkes. Fawkes left Pavement in 1991 due to animosity with Malkmus, allowing Young to drum on their third EP, Perfect Sound Forever. Young drummed on all Pavement releases from then on until 1992's Watery, Domestic, after which he was fired for his increasingly erratic behavior and was replaced with Steve West. Young's drumming on Slay Tracks was later recognized as an important turning point in Pavement's history, and was considered to be "the opportunity of a lifetime" by C. Harris-Nystrom of the News & Review.

Dan Koretzky, founder of Drag City, ordered 200 copies of the EP for the Chicago Reckless Records store he worked for at the time. Koretzky asked Kannberg if he would sign to Drag City during the same phone call that he ordered the EP. Kannberg remembered expressing reluctance to sign to any label, but Drag City producer and session musician Rian Murphy recalled that "We asked, they said yes. Lives didn't seem to be on the line." Chris Lombardi and Gerard Cosloy of Matador Records also first heard of Pavement after Kannberg sent a copy of Slay Tracks to their zine, Conflict. Matador signed Pavement in 1992 for the release of their debut studio album, Slanted and Enchanted. Pavement returned to Peel's show the same year and, in a cover of Silver Jews' "Secret Knowledge of Backroads", Malkmus ad-libbed the line, "It's not as good as the first EP"—an ambiguous reference to either Slay Tracks or the Silver Jews' early recordings, on which he had appeared.

The songs on Slay Tracks are all included on the 1993 compilation Westing (By Musket and Sextant), along with several of Pavement's other early material. Westing has sold 63,000 copies, and was praised by Robert Christgau and Stephen Thomas Erlewine for making songs previously found exclusively on vinyl available on compact disc. All of the songs from Slay Tracks were played live throughout Pavement's history, with "Box Elder" particularly cited as an "old favorite" for fans at concerts. Live performances of "Box Elder" has also been included on the compilation reissues Slanted and Enchanted: Luxe & Reduxe and Wowee Zowee: Sordid Sentinels Edition, with the version on the latter beginning with a short jam session. In a 1999 retrospective of the band's career, Donna Freydkin of CNN.com called Slay Tracks "a quick underground favorite", while John Hicks of the Planet Weekly wrote "Although Pavement was conceived as a studio-only project, the underground success of Slay Tracks ensured that it was only a matter of time before the group became a full-fledged performing entity."

Pavement

 * Stephen Malkmus – lead vocals (tracks 1–5), guitar (tracks 1–2, 4–5) , keyboard (track 1) , synthesizer (track 5) , drums (tracks 3–4) , bass guitar (track 2)
 * Scott Kannberg – guitar (tracks 1–5), drums (tracks 3–4) , trombone (track 4)
 * Gary Young – drums (tracks 2, 5)

Additional musicians

 * Jeff Doyle – drums (track 4)
 * Kelly Hensley – drums (track 4)

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

title: Slay Tracks: 1933–1969


text:
Charles Sweeney

Charles William Sweeney (December 27, 1919 – July 16, 2004) was an officer in the United States Army Air Forces during World War II and the pilot who flew Bockscar carrying the Fat Man atomic bomb to the Japanese city of Nagasaki on August 9, 1945. Separating from active duty at the end of World War II, he later became an officer in the Massachusetts Air National Guard as the Army Air Forces transitioned to an independent United States Air Force, eventually rising to the rank of major general.

509th Composite Group
Sweeney became an instructor in the atomic missions training project, Project Alberta, at Wendover Army Airfield, Utah. Selected to be part of the 509th Composite Group commanded by Colonel Paul Tibbets, he was named commander of the 320th Troop Carrier Squadron on 6 January 1945. Initially his squadron used C-47 Skytrain and C-46 Commando transports on hand to conduct the top secret operations to supply the 509th, but in April 1945 it acquired five C-54 Skymasters, which had the range to deliver personnel and materiel to the western Pacific area.

On May 4, 1945, Sweeney became commander of the 393d Bombardment Squadron, Heavy, the combat element of the 509th, in charge of 15 Silverplate B-29s and their flight and ground crews, 535 men in all. In June and July Sweeney moved his unit to North Field on the island of Tinian in the Marianas.

In addition to supervising the intensive training of his flight crews during July 1945, Sweeney was slated to command the second atomic bomb mission. He trained with the crew of Captain (Charles D.) Don Albury aboard their B-29 The Great Artiste, and was aircraft commander on the training mission of July 11. He and the crew flew five of the nine rehearsal test drops of inert Little Boy and Fat Man bomb assemblies in preparation for the missions.

On 6 August 1945, Sweeney and Albury piloted The Great Artiste as the instrumentation and observation support aircraft for the atomic bomb attack on Hiroshima.

Bombing of Nagasaki
On 9 August 1945, Major Sweeney commanded Bockscar, which carried the atomic bomb Fat Man from the island of Tinian to Nagasaki. In addition to Bockscar, the mission included two observation and instrumentation support B-29s, The Great Artiste and The Big Stink, which would rendezvous with Bockscar over Yakushima Island. At the mission pre-briefing, the three planes were ordered to make their rendezvous over Yakushima at 30,000 ft due to weather conditions over Iwo Jima (the Hiroshima mission rendezvous). That same morning, on the day of the mission, the ground crew notified Sweeney that a faulty fuel transfer pump made it impossible to utilize some 625 USgal of fuel in the tail, but Sweeney, as aircraft commander, elected to proceed with the mission.

Before takeoff, Tibbets warned Sweeney that he had lost at least 45 minutes of flying time because of the fuel pump problem, and to take no more than fifteen minutes at the rendezvous before proceeding directly to the primary target.

After takeoff from Tinian, Bockscar reached its rendezvous point and after circling for an extended period, found The Great Artiste, but not The Big Stink. Climbing to 30,000 feet, the assigned rendezvous altitude, both aircraft slowly circled Yakushima Island. Though Sweeney had been ordered not to wait at the rendezvous for the other aircraft longer than fifteen minutes before proceeding to the primary target, Sweeney continued to wait for The Big Stink, perhaps at the urging of Commander Frederick Ashworth, the plane's weaponeer. After exceeding the original rendezvous time limit by a half-hour, Bockscar, accompanied by The Great Artiste, proceeded to the primary target, Kokura. No fewer than three bomb runs were made, but the delay at the rendezvous had resulted in 7/10ths cloud cover over the primary target, and the bombardier was unable to drop. By the time of the third bomb run, Japanese antiaircraft fire was getting close, and Japanese fighter planes could be seen climbing to intercept Bockscar. Poor bombing visibility and an increasingly critical fuel shortage eventually forced Bockscar to divert from Kokura and attack the secondary target, Nagasaki. As they approached Nagasaki, the heart of the city's downtown was covered by dense cloud, and Sweeney and Ashworth, initially decided to bomb Nagasaki using radar. However, a small opening in the clouds allowed Bockscar's bombardier to verify the target as Nagasaki. The crew had been ordered to drop the bomb visually if possible; Sweeney decided to proceed with a visual bomb run. Bockscar then dropped Fat Man, with a blast yield equivalent to 21 kilotons of TNT. It exploded 43 seconds later at 469 m above the ground, at least 2.5 km northwest of the planned aim point. The failure to drop Fat Man at the precise bomb aim point caused the atomic blast to be confined to the Urakami Valley. As a consequence, a major portion of the city was protected by the intervening hills, and only 60% of Nagasaki was destroyed. The bombing also severed the Mitsubishi arms production extensively and killed an estimated 35,000–40,000 people outright, including 23,200–28,200 Japanese industrial workers, 2,000 Korean slave laborers, and 150 Japanese soldiers.

Low on fuel, Bockscar barely made it to the runway on Okinawa. With only enough fuel for one landing attempt, Sweeney brought Bockscar in fast and hard, ordering every available distress flare on board to be fired as he did so. The number two engine died from fuel starvation as Bockscar began its final approach. Touching the runway hard, the heavy B-29 slewed left and towards a row of parked B-24 bombers before the pilots managed to regain control. With both pilots standing on the brakes, Sweeney made a swerving 90-degree turn at the end of the runway to avoid going over the cliff into the ocean. 2nd Lt. Jacob Beser recalled that at this point, two engines had died from the fuel starvation, while "the centrifugal force resulting from the turn was almost enough to put us through the side of the airplane."

After Bockscar returned to Tinian, Tibbets recorded that he was faced with the dilemma of considering “if any action should be taken against the airplane commander, Charles Sweeney, for failure to command.”   After meeting on Guam with Tibbets and Sweeney, General Curtis LeMay, chief of staff for the Strategic Air Forces, confronted Sweeney, stating, "You fucked up, didn't you, Chuck?", to which Sweeney made no reply. LeMay then turned to Tibbets and told him that an investigation into Sweeney's conduct of the mission would serve no useful purpose.

In November 1945, Sweeney returned with the 509th Composite Group to Roswell Army Air Base in New Mexico to train aircrews for the atomic testing mission, Operation Crossroads.

Post-war activities

Sweeney left active duty with the rank of lieutenant colonel on June 28, 1946, but remained active with the Massachusetts Air National Guard. Later promoted to full colonel, on February 21, 1956, Sweeney was named commander of its 102nd Air Defense Wing and shortly after, on April 6, was promoted to brigadier general. During this time, he was activated with the 102nd and served in Europe during the Berlin Crisis from October 1961 to August 1962. Sweeney was made chief of staff in October 1967.

In the 1960s, Sweeney coordinated civil defense in Boston, serving as the Boston Director of Civil Defense.

He retired in 1976 as a major general in the Air National Guard. He also appeared in the 1970s television series The World at War and was seen explaining the USAAF buildup to the mission raids.

Throughout his life Sweeney remained convinced of the appropriateness and necessity of the bombing. "I saw these beautiful young men who were being slaughtered by an evil, evil military force," he said in 1995. "There's no question in my mind that President Truman made the right decision." At the same time, he said, "As the man who commanded the last atomic mission, I pray that I retain that singular distinction."

Later life
Near the end of his life, Sweeney wrote a controversial and factually disputed memoir of the atomic bombing and the 509th Composite Group, War's End: An Eyewitness Account of America's Last Atomic Mission. In War's End, Sweeney defended the decision to drop the atomic bomb in light of subsequent historical questioning. However, it was Sweeney's other assertions regarding the Nagasaki atomic mission, along with various anecdotes regarding the 509th and its crews that drew the most criticism. Tibbets, Major "Dutch" Van Kirk, Colonel Thomas Ferebee and others vigorously disputed Sweeney's account of events. Partly in response to War's End, Tibbets issued a revised version of his own autobiography in 1998, adding a new section on the Nagasaki attack in which he harshly criticized Sweeney's actions during the mission.

In his later years Sweeney performed in various air shows doing many maneuvers to awe crowds. Sweeney died at age 84 on July 16, 2004, at Massachusetts General Hospital in Boston.

A short documentary featuring an audio recording of Sweeney describing the Nagasaki mission preparation and execution called "Nagasaki: The Commander's Voice" was made in 2005. The 2002 audio recording was the last one made before his death.

title: Charles Sweeney


text:
Demolition Plot J-7

Demolition Plot J-7 is the second EP by American indie rock band Pavement, released on June 1, 1990. The EP was the band's first release on Chicago independent label Drag City, and its first release that was not self-issued. It is also the band's only release to feature drummer Jason Turner. Demolition Plot J-7 shared many of the same indie and punk rock influences of Pavement's 1989 debut Slay Tracks: 1933–1969, but also diversified the group's sound by incorporating keyboards.

Many of the songs on Demolition J-7 were written while Scott Kannberg and Jason Turner were in their short-lived band, Pa. After Stephen Malkmus heard demos recorded by Pa, the songs turned into a Pavement project. The recording session for Demolition J-7 was more difficult than for Slay Tracks due to tension between producer Gary Young and Turner. The EP received favorable reception from critics and fans, and solidified the band's cult fanbase.

Background
Pavement had attained a degree of success within the underground music scene with its 1989 debut EP Slay Tracks: 1933–1969. While Malkmus was traveling to parts of Europe, North Africa, and the Middle East, Kannberg managed Slay Track ' s release on the band's self-owned label, Treble Kicker. Slay Tracks caught the attention of Dan Koretzky, an avid record collector working at Reckless Records in Chicago. Koretzky ordered 200 copies of the EP for the record store, and asked Kannberg to sign to his newly started independent label, Drag City. At the time the members of Pavement anticipated no further releases beyond Slay Tracks, and Kannberg initially expressed reluctance to sign to any label. Kannberg later said "I started talking to [Koretzky] and in our conversations he said 'I'm starting this label. Do you want to do something for us?' I said, 'Well I don't know if we're even a band. Steve is off in Europe.' He said, "Well if you want to I'm up for it.'"

While Malkmus was still abroad, Kannberg moved in with a friend and his roommate Jason Turner in Sacramento, California. Turner and Kannberg formed a new band called Pa, with Turner on drums. Kannberg said, "I didn't know if Pavement was going to do anything so I just said, 'Let's start another band.'" The duo frequently jammed, and considered a future release on Drag City. Pa recorded a series of instrumental demos, including new songs "Two States", "Forklift", and "Collapse", at Young's Louder Than You Think studios during a trip to Stockton. After Kannberg and Fawkes had returned to Sacramento, Malkmus visited and the group decided to turn the Pa songs into a Pavement project. Malkmus wrote lyrics to "Forklift" and presented the band with "two or three other songs" he had previously written.

Recording
Demolition Plot J-7 was, like Slay Tracks and the Pa demos, recorded by Gary Young at his Louder Than You Think studios in Stockton. The recording took place on October 16 and October 17, 1989. Malkmus was influenced by the rehearsal style of jazz musicians as significant to the EP's recording, saying "When we start recording, we're really focused on what we're doing. We know how it's going to sound in the studio. We don't have to worry if it's sounding good in the rehearsal space. We take those prescriptions from the great jazz people and applied them to our own framework."

The addition of Turner to the band created tension with Young. Young had served as the primary drummer on Slay Tracks, with Malkmus and Kannberg drumming on a few songs. Young did not play any drums for the Demolition Plot J-7 sessions, and expressed jealousy towards Turner, openly mocking the new drummer. However, Turner ultimately only played drums on the EP's opening track "Forklift", and Malkmus and Kannberg performed the rest of the songs.

Composition and lyrics
Stephen Thomas Erlewine and Heather Phares wrote in Allmusic's biography of Pavement that, with Demolition Plot J-7, Pavement "had begun to forge [their] influences into its own signature sound." A review in the Baltimore City Paper likened the EP's sound to "a cross between The Fall (circa Frenz Experiment) and Half Japanese". A review in LA Weekly stated that "The guitar on 'Internal K-Dart' and 'Fork Lift' is patently similar to Big Black and Dinosaur Jr., but Pavement steer clear of the former's pretentiously bleak posturing and the latter's dreary self-pity". Malkmus noted the influence that jazz musicians had on the EP's recording, and acknowledged jazz albums Interstellar Space by John Coltrane and Andrew!!! by Andrew Hill as two of his favorite records. The EP is Pavement's first to incorporate keyboards.

The first song on the album, "Forklift", features fuzzy guitar effects, like much of the band's early material. "Forklift" also incorporates what Pavement biographer Rob Jovanovic calls "almost Kraftwerk-sounding" overdubbed electronic keyboard sounds in the chorus. "Spizzle Trunk" is a punk-influenced track with "thrashy guitars", but it also includes "barroom Jerry Lee Lewis piano buried in the mix". The next two tracks, "Recorder Grot" and "Internal K-Dart", are both heavy and guitar-oriented songs. "Perfect Depth" is, according to Jovanovic, a "gloriously messy sonic assault", and "reflects a more considered Malkmus attempt at lyric crafting, even if they are nonsensical and almost impossible to hear". The EP ends with "Recorder Grot (Rally)", a 21-second instrumental of guitar feedback.

Release and reception
Between the release of Slay Tracks and the recording sessions for Demolition Plot J-7, Koretzky formed Drag City with Dan Osborn. The first release from the label was the Royal Trux single "Hero Zero", which sold well. Despite the new label's early financial struggles, Drag City used the profit from "Hero Zero" to press and release 1000 copies of Demolition Plot J-7. Kannberg designed the cover of the EP, as he had done previously with Slay Tracks.

Demolition Plot J-7 was met with favorable reviews upon its release, though most of these reviews were from underground music zines. One of the few reviewers from a major periodical to review Demolition Plot J-7 upon its release, Robert Christgau of the Village Voice, gave the EP a two-star honorable mention, citing "Forklift" as a highlight.

Demolition Plot J-7 was ranked as the seventh best EP of 1990 in the Village Voice Pazz & Jop Critic's Poll. Demolition Plot J-7 helped define the early "messed-up, art-steeped guitar noise" sound of Drag City, which would become a seminal independent label. Donna Freydkin of CNN.com wrote in a 1999 retrospective of the band's history that "it was with the release of the 1990 EP [Demolition Plot J-7] that Pavement secured a devoted following." Village Voice writer Michaelangelo Matos noted Demolition Plot J-7 and its follow-up, the 1991 EP Perfect Sound Forever, as "epochal to ... sloppy early-'90s undergrads."

Track listing
All tracks were written by Stephen Malkmus and Scott Kannberg.

Pavement

 * Stephen Malkmus – lead vocals (tracks 1–5), lead and rhythm guitar (tracks 1–2, 4–5) , keyboard (track 1) , electric piano (track 2) , percussion (track 1)
 * Scott Kannberg – lead and rhythm guitar (tracks 1–5), bass guitar (track 2) , electric piano (track 2) , synthesizer (track 4)
 * Gary Young – drums (tracks 2, 4–5)

Additional musicians

 * Jason Turner – drums (track 1)
 * Kelly Hensley – percussion (track 4)

title: Demolition Plot J-7


text:
Perfect Sound Forever

Perfect Sound Forever may refer to:

 * Perfect Sound Forever (EP), by Pavement, 1991
 * Perfect Sound Forever (book), a 2004 biography about Pavement by Rob Jovanovic
 * Perfect Sound Forever (magazine), an online music magazine

title: Perfect Sound Forever


text:
Lake Uluabat

Lake Uluabat (Uluabat Gölü and Apolyont Gölü) is the name of a freshwater lake in the vicinity of Bursa, Turkey. It is a large lake, covering an area of between 135 and 160 km2 depending on the water level, but very shallow, being only 3 m deep at its deepest point. The lake contains eight islands and one other that is sometimes an island and sometimes a peninsula. The largest island is known as Halilbey Island. In the southwest the lake is fed by the Mustafakemalpaşa River, which has formed a silty delta. Water leaves the lake by way of the Ulubat stream, flowing to the west, and reaches the Sea of Marmara via the Susurluk River.

Most shores of the lake are covered in submerged plants, and it has the most extensive white water lily beds in Turkey. Uluabat Lake is one of the breeding areas for the endangered pygmy cormorant (Phalacrocorax pygmeus). The latest DHKD (Society for the Protection of Nature Turkey) survey in June 1998 found 823 pygmy cormorant pairs, 105 night heron pairs, 109 squacco heron pairs, and 48 spoonbill pairs breeding on Uluabat.

The alternative name Lake Apolyont comes from the lake's greek classical name Apolloniatis (Απολλωνιάτις), from Apollonia-on-the-Rhyndacum (modern Gölyazı), an ancient Greek city situated on its banks which had considerable importance since it was on major trade routes.

Modern residential areas by its shores are Mustafakemalpaşa (formerly Kirmasti) and Karacabey (formerly Mikalick). The area was famous for centuries for its silkworm cultivation, but this industry has died out due to synthetic fabrics. The main industry today is fishing.

Overview
Uluabat Lake was recognized by the Ramsar Convention on Wetlands of International Importance. The Global Nature Fund designated the lake as a "Living Lake" in 1998.

Hydrology
Lake Uluabat empties into the Sea of Marmara via the Susurluk River. The Lake is fed by the Mustafakemalpaşa River.

Ecology
Lake Uluabat is a large, long, shallow inland lake that is surrounded by marshes and agricultural land. There are submerged plants on the shores of the lake. According to the Global Nature Fund, there is nowhere in Turkey with more white water lily beds than Lake Uluabat.

Islands and peninsulas
There are seven islands in the lake, including Halilbey Island. —which is the largest island, and St. Constantine—known for the Byzantine era monastery. Today St. Constantine island is uninhabited, but the monastery has survived the Ottoman conquest of Asia Minor. The orthodox monastery has received attention from scholars because of its inscribed cross type with apses east and west.

One of the most well-known features of Lake Uluabat is the small island village of Gölyazı—an ancient Greek settlement near modern-day Bursa. Gölyazı was featured in the final episode of the Turkish TV series Kara Para Aşk. The Gölyazı Old Mosque, located on the peninsula is a UNESCO World Heritage Site.

Wildlife
The lake, which has an "Unprotected Status" (UP), was declared by BirdLife International as an Important Bird Area in 1989 for its waterfowl species of international character and species which are globally threatened. Uluabat Lake is one of the breeding areas for the endangered pygmy cormorant (Phalacrocorax pygmeus). The latest DHKD (Society for the Protection of Nature Turkey) survey in June 1998 found 823 pygmy cormorant pairs, 105 night heron pairs, 109 squacco heron pairs, and 48 spoonbill pairs breeding on Uluabat.

There are 21 species of fish in Lake Uluabat.

title: Lake Uluabat


text:
Jean Eustache

Jean Eustache (30 November 1938 – 5 November 1981) was a French film director and editor. During his short career, he completed numerous short films, in addition to a pair of highly regarded features, of which the first, The Mother and the Whore, is considered a key work of post-Nouvelle Vague French cinema.

In his obituary for Eustache, the critic Serge Daney wrote:"In the thread of the desolate 70s, his films succeeded one another, always unforeseen, without a system, without a gap: film-rivers, short films, TV programs, hyperreal fiction. Each film went to the end of its material, from real to fictional sorrow. It was impossible for him to go against it, to calculate, to take cultural success into account, impossible for this theoretician of seduction to seduce an audience."

Jim Jarmusch dedicated his 2005 film Broken Flowers to Eustache.

Biography
Eustache was born in Pessac, Gironde, France, into a working class family. Relatively little information exists about Eustache's life prior to the time he became a member of the Cahiers du cinéma coterie in the late 1950s, though it is known that he was largely self-educated and worked in the railroad service prior to becoming a filmmaker. Information suggests that the mystery surrounding his youth was intentional, with sources stating that "during his lifetime Eustache published little information about his early years, indicating that he felt no nostalgia for an unhappy childhood."

Though not a member of the Nouvelle vague, Eustache maintained ties to it, appearing as an actor in Jean-Luc Godard's Week End and editing Luc Moullet's Une aventure de Billy le Kid, which starred Jean-Pierre Léaud (the lead in Eustache's The Mother and the Whore).

After becoming a filmmaker, Eustache maintained close ties to his friends and relatives in Pessac. In 1981, he was partially immobilized in an auto accident. He killed himself by gunshot in his Paris apartment, at age 42.

Eustache had a son, Boris Eustache (born 1960), who worked on his father's second feature and appears as an actor in Eustache's short film Les Photos d'Alix.

Work
Eustache was quoted as saying, "The films I made are as autobiographical as fiction can be". Besides his fictional shorts and features, Eustache made numerous documentaries, including several shot in his hometown of Pessac, and a feature-length interview with his grandmother.

Eustache directed two narrative features. The Mother and the Whore (La maman et la putain), the first, is a 217-minute rumination on love, relationships, men and women. The film's central three-way romance plot focuses on Alexandre (Jean-Pierre Léaud), his girlfriend Marie (Bernadette Lafont) and the nurse he meets and falls in love with, Veronika (Françoise Lebrun).

Writing for Time Out New York in 1999, Andrew Johnston described his experience viewing the film: "One of the great, if all-too-infrequent, pleasures of being a film critic is having your mind blown by a film you didn't expect much from. Such an incident occurred in December 1997, when I was assigned to review Jean Eustache's 1973 film The Mother and the Whore, then beginning a revival engagement at Film Forum. Yes, I'd heard that it was a classic of French cinema, but I wasn't exactly thrilled at catching an early-morning screening of a three-hour-and-thirty-five-minute black-and-white foreign-language film that reportedly consisted of little more than people sitting around and talking. Frankly, I was a lot more excited about seeing Scream 2 that evening. Little did I know, as I eased into my seat, that I was in for one of the most memorable cinematic experiences of my life."

Eustache's second feature, My Little Loves (Mes petites amoureuses, 1974), was intentionally different from his debut. Shot in color by cinematographer Nestor Almendros (as opposed to The Mother and the Whore's grainy black-and-white), the film also features significantly less dialogue and focuses on teenage characters in a rural setting. The film was entered into the 9th Moscow International Film Festival.

Eustache appeared as an actor in The American Friend (1977).

Remakes and serial works
Eustache made two films about a religious parade in Pessac, both titled La Rosière de Pessac, in 1968 and 1979, and remade his short Une sale histoire twice. Regarding the tendency to re-examine in Eustache's work, the American film critic Jonathan Rosenbaum wrote: "An obsessive-compulsive filmmaker and clearly a tormented one who wound up dying by his own hand, Eustache was clearly experimenting with his variations as well as goading viewers into examining their own reactions to them".

Features

 * 1966 Le Père Noël a les yeux bleus (47 minutes)
 * 1968 La Rosière de Pessac (65 minutes)
 * 1970 Le Cochon (65 minutes), directed with Jean-Michel Barjol
 * 1971 Numéro zéro (110 minutes)
 * 1973 La Maman et la putain (220 minutes)
 * 1974 Mes petites amoureuses (120 minutes)
 * 1977 Une sale histoire (50 minutes)
 * 1979 La Rosière de Pessac (67 minutes)

Shorts and other work

 * 1961 La soirée (unfinished)
 * 1963 Les Mauvaises Fréquentations (42 minutes), aka Du côté de Robinson & Bad Company
 * 1969 Sur Le dernier des hommes de Murnau (26 minutes) (TV movie)
 * 1969 A propos de La petite marchande d'allumettes de Jean Renoir (26 minutes) (TV movie)
 * 1980 Les Photos d'Alix (18 minutes)
 * 1980 Le Jardin des délices de Jérôme Bosch (34 minutes)
 * 1980 Offre d'emploi (18 minutes)

title: Jean Eustache


text:
Louise Jameson

Louise Marion Jameson (born 20 April 1951) is an English actress with a variety of television and theatre credits. Her roles on television have included playing Leela in Doctor Who (1977–1978), Anne Reynolds in The Omega Factor (1979), Blanche Simmons in Tenko (1981–1982), Susan Young in Bergerac (1985–1990), Rosa di Marco in EastEnders (1998–2000) and Mary Goskirk in Emmerdale (2022–present).

According to Screenonline, Jameson "was one of a handful of actresses who both benefited from and contributed to the opening out of roles for women on British television during the 1970s and 80s, when she became associated with a series of tough, resourceful and independent characters in genres where women had conventionally been either victims or vamps."

Early life and career
Jameson was born in Wanstead, Essex and grew up in nearby Woodford Green. Jameson attended the independent Braeside School, Buckhurst Hill. She attended the Royal Academy of Dramatic Art from the ages of seventeen to nineteen and shared a flat with fellow drama students Sherrie Hewson and Sharon Maughan before spending two years with the Royal Shakespeare Company, performing in Romeo and Juliet, The Taming of the Shrew, King Lear, Summerfolk, and Blithe Spirit. Her early TV career highlights include appearances on Emmerdale Farm in 1973 as Sharon Crossthwaite, the first character in the soap to be murdered, and roles in Z-Cars and the television film The Game in 1977. She also appeared opposite Mike Raven in the low budget British horror film Disciple of Death (1972).

Doctor Who
Jameson came to widespread attention when she was cast by director Pennant Roberts as Leela, the leather-clad companion of the Fourth Doctor in Doctor Who. The character is a warrior of the fictional Sevateem people, and was introduced in The Face of Evil (1977). Jameson's inspirations for the way that she played the character included her dog, for "her instinctive nature and tendency to slightly cock her head when she perceives something", and a neighbour's child, for "openness and naïveté".

Jameson's costuming in the series receives much comment and some criticism from feminists, with Mark Duguid writing for Screenonline that it "said much about the failure of 1970s feminism to permeate the BBC's production or costume departments". Valerie Estelle Frankel, in her book on Women in Doctor Who, characterises Leela as "a classic warrior woman" but says that the seriousness of the character is undermined because "her provocatively cut hunting leathers and cleavage are offered to the male gaze in every episode." Patrick Mulkern of Radio Times also regarded her as "a companion to lure in adolescent lads and their dads" but, while considering her debut serial to be a "lifeless tale", he wrote that Jameson was "a wonderful find. Exuding commitment and conviction, she makes Leela earnest, warm and funny, elevating her far beyond Robert Holmes's desire for a 'Raquel Welch in the jungle'. Quite simply, she's one of the most naturally gifted actresses ever to play a companion." In 2008 Jameson said, "In a way the companion was a bit of a device when I was in Doctor Who, though I did love her feistiness and her intelligence and her aggression and her intelligence – even though she wasn't educated."

Jameson was initially paid £120 an episode for Doctor Who, later increasing to £150 an episode. She left the series after nine serials, departing in The Invasion of Time (1978).

After Doctor Who
Jameson went on to appear in The Omega Factor (1979) as Dr. Anne Reynolds. She later had a leading role as Blanche Simmons in the first two series of Tenko, before starring for five years in the late 1980s in Bergerac as Susan Young, Jim Bergerac's girlfriend. In the mid-1980s, she played Tania Braithwaite, Pandora's mother, in both The Secret Diary of Adrian Mole and The Growing Pains of Adrian Mole for Thames Television. In the early 1990s, she starred in the two series of Rides, and made numerous one-off appearances in various TV drama series, as well as numerous Doctor Who spin-off projects including the Children in Need special Dimensions in Time (1993). In 1995, she appeared in the RSC production of Botho Strauß's The Park. Other stage appearances include the first production of Peter Nichols's Passion Play produced at the Aldwych Theatre, London, in 1981. In 1998, Jameson began a long run in the BBC soap EastEnders as Rosa di Marco, appearing in over 200 episodes over two and a half years until August 2000. Since then, she has appeared in episodes of the BBC Scotland soap River City as Viv Roberts, as a guest artist in episodes of Doctors, Holby City and The Bill and as a regular in Doc Martin.

Jameson continues to reprise the characters of Leela and Anne Reynolds in audio plays produced by Big Finish Productions and has also starred in Sapphire & Steel and Dark Shadows audio dramas for the same company. She has also appeared in documentaries and commentaries accompanying numerous BBC DVD releases of her Doctor Who serials. She is the subject of MJTV's The Actor Speaks Volume 5, where she discusses herself, her acting career and the various series she has been in. In 2007, Jameson toured nationally in her one-woman show, Face Value. In 2013, she starred in the play Gutted by Rikki Beadle-Blair and was nominated for Best Female Performance at the 2013 Off West End Theatre Awards (Offies). In November 2013, she appeared in the one-off 50th anniversary comedy homage The Five(ish) Doctors Reboot. In 2016, she toured in Agatha Christie's The Mousetrap, the longest running show in British theatre. In 2022, she joined the cast of Emmerdale as Mary Goskirk.

Personal life
In 1990, Jameson married Martin Bedford, an artist whom she had met while filming Bergerac in Jersey. They divorced in 1997.

Jameson was a regular prison visitor, monitoring prisoners' welfare, during the first few years of her career; and, during the early 1970s, she met Leslie Grantham at Leyhill Prison in Gloucestershire, where he was serving 12 years of a life sentence for murder. She encouraged Grantham to become an actor.

Theatre

 * 1970: The Lower Depths – Anna/Old Woman – Vanbrugh Theatre, London
 * 1972: The Glass Menagerie – Laura – The Byre Theatre, St. Andrews
 * 1973: Romeo and Juliet – Woman – Royal Shakespeare Theatre, Stratford-upon-Avon
 * 1973: Richard II – Small role – Royal Shakespeare Theatre, Stratford-upon-Avon
 * 1973: Love's Labour's Lost – Jaquenetta – Royal Shakespeare Theatre, Stratford-upon-Avon
 * 1973: The Taming of the Shrew – Bianca Minola – Royal Shakespeare Theatre, Stratford-upon-Avon
 * 1974: King John – Blanche of Spain – Royal Shakespeare Theatre, Stratford-upon-Avon
 * 1974: Lear – Cordelia – The Other Place, Stratford-upon-Avon
 * 1974: I Was Shakespeare’s Double – Anne – The Other Place, Stratford-upon-Avon
 * 1974: Summerfolk – Sonya – Aldwych Theatre, London
 * 1974: The Marquis of Keith – Molly Griesinger – Aldwych Theatre, London
 * 1975: King John – Blanche of Spain – Aldwych Theatre, London
 * 1975: Love's Labour's Lost – Jaquenetta – UK Tour
 * 1975: Love's Labour's Lost – Jaquenetta – Aldwych Theatre, London
 * 1975: Serjeant Musgrave's Dance – Anne – Bristol Old Vic, Bristol
 * 1975: The Merchant of Venice – Portia – Bristol Old Vic, Bristol
 * 1975: Hard Times – Louisa Gradgrind – Bristol Old Vic, Bristol
 * 1976: Three Women – Main Role – Studio Theatre, Stratford-upon-Avon
 * 1976: Private Lives – Sybil Chase – UK Tour
 * 1978: Roots – Beatie Bryant – The Little Theatre, Bristol
 * 1978: A View from the Bridge – Catherine – Bristol Old Vic, Bristol
 * 1978: Arms and the Man – Raina – Bristol Old Vic, Bristol
 * 1978: The Relapse, or, Virtue in Danger – Bernithia – Cambridge Arts Theatre, Cambridge
 * 1979: The Country Holiday – Giacinta – Cambridge Arts Theatre, Cambridge
 * 1979: King Lear – Regan – Oxford Playhouse, Oxford
 * 1979: Touch and Go – Annabel Wrath – Royal Court Theatre, London
 * 1980: All My Sons – Ann Deever – Bristol Old Vic, Bristol
 * 1980: A Midsummer Night's Dream – Helena – Bristol Old Vic, Bristol
 * 1980: Much Ado About Nothing – Beatrice – Oxford Playhouse, Oxford
 * 1980: Peer Gynt – Various – Oxford Playhouse, Oxford
 * 1980: Mephisto – Miriam Gottchalk – Oxford Playhouse, Oxford
 * 1981: Passion Play – Kate – Aldwych Theatre, London
 * 1981: Whose Life Is It Anyway? – Dr. Clare Scott – Churchill Theatre, Bromley
 * 1983: Gas Light – Bella Manningham – Churchill Theatre, Bromley
 * 1983: As You Like It – Rosalind – Regent's Park Open Air Theatre, London
 * 1983: The Beaux' Stratagem – Mrs. Sullen – Bristol Old Vic, Bristol
 * 1986: The Light Rough – Linda – Hampstead Theatre, Hampstead
 * 1987: The Doctor's Dilemma – Jennifer Dubedat – Bristol Old Vic, Bristol
 * 1988–1989: Sticky Fingers – Roxanne – King's Head Theatre, London
 * 1989: Blithe Spirit – Elvira – UK Tour
 * 1990: Barbarians – Nadiezhda – Barbican Centre, London
 * 1993: Blithe Spirit – Elvira – UK Tour
 * 1993: Mary Stuart – Mary, Queen of Scots – Battersea Arts Centre
 * 1995: Heartbreak House – Mrs. Hushabye – Belgrade Theatre, Coventry
 * 1995: The Park – Titania – The Pit, London
 * 1996–1997: Death of a Salesman – The Woman – UK Tour
 * 2001: Confusions – Various – UK Tour
 * 2001: The Gentle Hook – Stacey Harrison – Theatre Royal, Windsor
 * 2001: Sex Wars – Main Role – UK Tour
 * 2002: Murder in Paris – Denyse Simenon – UK Tour
 * 2002: The Ghost Train – Julia Price – UK Tour
 * 2002: Corpse! – Mrs. McGee – UK Tour
 * 2003: Corpse! – Mrs. McGee – UK Tour
 * 2003: Seven Deadly Sins Four Deadly Sinners – Main Role – Palace Theatre, Westcliff-on-Sea
 * 2003: Tom, Dick & Harry – Mrs. Potter – Theatre Royal, Windsor
 * 2004: How the Other Half Loves – Main Role – Singapore
 * 2004: Dinner – Wynne – Richmond Theatre, London
 * 2004: Nobody's Fool – Fran – UK Tour
 * 2005: Love Letters – Melissa Gardner – UK Tour
 * 2005: Funny Money – Main Role – Singapore
 * 2005: Tom, Dick & Harry – Mrs. Potter – Duke of York's Theatre, London
 * 2006: Sit and Shiver – Mrs. Green – New End Theatre, London
 * 2006: Arsenic and Old Lace – Abby Brewster – UK Tour
 * 2007: Sit and Shiver – Mrs. Green – Hackney Empire, London
 * 2007: Bedroom Farce – Delia – UK Tour
 * 2008: Hamlet – Gertrude – Stafford Gatehouse Theatre, Stafford
 * 2009: Women on the Edge of HRT – Vera – UK Tour
 * 2010: We'll Always Have Paris – Raquel – The Mill at Sonning, Sonning Eye
 * 2010: Stop Dreamin' – Doris White – London Tour
 * 2011: Oedipus – Jocasta – UK Tour
 * 2011: Love's the Thing – Lady Ditchling – Brighton Fringe Festival
 * 2012–2013: My Gay Best Friend – Raquell – UK Tour
 * 2013: Gutted – Bridie Prospect – Theatre Royal Stratford East, London
 * 2014: Absurd Person Singular – Marion – The Mill at Sonning, Sonning Eye
 * 2014: A Murder Is Announced – Miss Marple – UK Tour
 * 2014: Time and the Conways – Mrs. Conway – Nottingham Playhouse, Nottingham
 * 2015: Noises Off – Dotty Otley – Mercury Theatre, Colchester
 * 2015: Love, Loss, and What I Wore – Gingy – The Mill at Sonning, Sonning Eye
 * 2015: Driving Me Round the Bend – Georgina Best – The Space Arts Centre, London
 * 2016: The Mousetrap – Mrs. Boyle – UK Tour
 * 2016: Rumpy Pumpy – Jean Johnson – UK Tour
 * 2017: A Murder Is Announced – Miss Marple – UK Tour
 * 2017: Winter Hill – Beth – The Octagon Theatre, Bolton
 * 2018: Vincent River – Anita – Park Theatre, London
 * 2018: Ten Times Table – Helen – The Mill at Sonning, Sonning Eye
 * 2018: The Madness of George III – Dr. Warren – Nottingham Playhouse, Nottingham
 * 2019: Vincent River – Anita – Park Theatre, London
 * 2019: Macbeth – Queen Duncan – Victorian Theatre, Tunbridge Wells
 * 2021: Tennis Elbow – Mama – Royal Lyceum Theatre, Edinburgh
 * 2021: The Mousetrap – Mrs. Boyle – St Martin's Theatre, London

One-woman shows

 * 2010–2011: Shakespeare's Mistress – Herself – UK Tour
 * 2011: Pulling Faces – Joanne Taylor – International Tour
 * 2020: Shakespeare's Mistress – Herself – The Grove Theatre, Eastbourne

Pantomime

 * 2000–2001: Snow White – The Wicked Queen – Wycombe Swan, Wycombe
 * 2003–2004: Aladdin – Slave of the Ring – The Capitol Theatre, Horsham
 * 2004–2005: Dick Whittington and His Cat – Fairy Bow Bells – Devonshire Park Theatre, Eastbourne
 * 2015–2016: Cinderella – Fairy Godmother – Assembly Hall Theatre, Tunbridge Wells

As director

 * 2003: Wotcha Will – Stratford Circus, London
 * 2015: The Man with the Golden Pen – Jermyn Street Theatre, London
 * 2020: Revenge – UK Tour

title: Louise Jameson


text:
Mahdi Al Tajir

Mohammed Mahdi Al Tajir (محمد مهدي التاجر) (born 26 December 1931) is a Bahrana-Emirati businessman based in the United Kingdom. He was the first United Arab Emirates ambassador to the United Kingdom and non resident ambassador to France. Al Tajir spends much of his time at his London home or at Keir House, his 18000 acre Stirlingshire estate. He has interests in finance and property, and owns the Highland Spring bottled water company.

Al Tajir was named one of Scotland's richest men with wealth of £1.72 billion in the Sunday Times Rich List 2010.

Life

Mohammed Mahdi Al Tajir was born in December 1931 in Bahrain, and educated at Preston Grammar School in Lancashire. Al Tajir is married with five children.

Al Tajir's 15,000 acre Blackford estate in Perthshire, Scotland is owned by his company Park Tower Holding Establishment, based in the tax haven of Liechtenstein. Al Tajir also owns London's Sheraton Park Tower Hotel at 101 Knightsbridge near Hyde Park and Mereworth Castle in Kent, which he purchased in 1976 for $1.2 million.

In the 1980s, he attempted to broker a peace deal in the Lebanese Civil War with his business partner Hani Salaam.

Al Tajir has an extensive collection of silver artifacts and carpets. In 1993 Al Tajir paid the record price for a piece of silver at auction, when he bought a 1736 silver chandelier made by Balthasar Friedrich Behrens for £2.27 million at Christie's in Monaco.

Al Tajir formed a joint venture with Bonhams fine art auction house to open an office in Dubai.

Al Tajir's son, Maher al-Tajir, was found guilty of assaulting his girlfriend at Keir House in 2009.

Business career
Appointed head of customs in Dubai by Sheikh Rashid bin Saeed Al Maktoum, he became one of Sheikh Rashid's most trusted advisors and was made the first Ambassador of the United Arab Emirates to the United Kingdom when the UAE was founded in 1971. Under a thinly disguised name, Al Tajir's exploits as a negotiator were recorded in the 1976 novel Dubai by Robin Moore.

In 1963, Al Tajir became director of Sheikh Rashid's Petroleum affairs and effectively the most powerful man in Dubai after Sheikh Rashid himself. Al Tajir lost or resigned his position in 1981 with the downfall of Sheikh Rashid's health and the waning of his personal power, with the ascedency of Shekih Rashid's sons. Al Tajir remained UAE ambassador to the United Kingdom until 1987.

In London in the late 1960s, the Egyptian businessman Mohamed Al-Fayed was introduced to Al Tajir by Salim Abu Alwan, an Iraqi businessman. Al Tajir informed Al-Fayed that Dubai was penniless and needed to borrow £1 million for the future construction of modern harbour facilities.

Al-Fayed secured a loan of £9 million from Imre Rochlitz, an American lawyer. Rochlitz's Jewish ancestry caused embarrassment to Al Tajir, and later caused Rochlitz to reject Al-Fayed's offer of a formal partnership. Al-Fayed earned £1.5 million commission from the contract for British engineering company Costain to carry out the improvement works to the port. Al-Fayed also assisted with securing the financing for the Dubai World Trade Centre.

By the mid 1970s Costain had gained over £280 million of contracts thanks to Al-Fayed and Al Tajir. Al Tajir's influence in Dubai was waning by 1977, and Al-Fayed was excluded from the commission process for a new aluminium smelter, and the development of Jebel Ali, putting Costain's future profits at risk. In 1993 Al-Fayed was visited at his department store Harrods by Mohammed Alabbar, the director of Dubai's Department of Economic Development. Alabbar had been appointed by Sheikh Maktoum to eradicate the system of large commission payments from previous decades. Al Tajir was challenged in the British courts to repay his alleged excessive profits earned from the construction of Dubai's aluminium smelter, and Al-Fayed was targeted over his management contract of the Dubai World Trade Centre.

The construction of Dubai's aluminium smelter caused Al Tajir to fall out with Sheikh Rashid's sons. In the judgement of a British court case, Al Tajir conspired to defraud Dubai Aluminium of millions of US dollars in connivance with commodities trader Marc Rich, who owned a neighbouring property in Switzerland.

Al Tajir owns a glass-bottling company in Dubai and a private bank in the tax haven of the Cayman Islands.

title: Mahdi Al Tajir


text:
Exterminator

Exterminator may refer to:

 * A practitioner in pest control

Competition

 * Exterminator (horse) (1915–1945), racehorse, the winner of the 1918 Kentucky Derby
 * X-Terminator, a competitor in Robot Wars

Fiction

 * Exterminator!, a 1973 short story collection by William S. Burroughs
 * The Exterminator (1960 book), short story collection by William S. Burroughs, see William S. Burroughs bibliography
 * Billy the Exterminator, a reality series previously known as The Exterminators
 * The Exterminators (Doctor Who audio), a Doctor Who audio drama
 * The Exterminator set in the Doctor Who – Battles in Time card game

Comics

 * The Exterminators (comics), a Vertigo comic book series
 * Exterminators (comics), a group consisting of Spider-Man enemies
 * Exterminator (comics), a Marvel Comics supervillain better known as Death-Stalker

Film

 * The Exterminator, a 1980 American vigilante action film starring Robert Ginty
 * Exterminator 2 (1984 film), a sequel to the 1980 film
 * ExTerminators, a 2009 movie starring Amber Heard, Heather Graham, and Jennifer Coolidge
 * The Exterminators, a 1965 spy film

People

 * French buccaneer Daniel Montbars (born 1645), better known as Montbars the Exterminator

Other uses

 * Exterminator (roller coaster), an indoor roller coaster at Kennywood
 * XTRMNTR, an album by Primal Scream released in 2000

title: Exterminator


text:
User:Proub

Paul Roub (@paulroub)

 * Blog: http://roub.net/blahg/
 * Music: http://paulroub.com/
 * Work: http://sourcegear.com/

title: User:Proub


text: Category:French film directors

title: Category:French film directors


text:
Education in Kansas

Education in Kansas is governed at the primary and secondary school level by the Kansas State Board of Education. The state's public colleges and universities are supervised by the Kansas Board of Regents.

Colleges and universities
The Kansas Board of Regents governs or supervises thirty-seven public institutions. It also authorizes numerous private and out-of-state institutions to operate in the state. In Fall 2009, the state's six public universities reported a combined enrollment of 93,307 students, of which more than a quarter were non-resident students and more than a seventh were off-campus enrollments.

Among the state-funded universities, the University of Kansas (KU) is the largest in terms of enrollment, with 26,826 at its Lawrence campus, KU Edwards Campus in Overland Park, and Public Management Center (formerly the Capitol Complex) in Topeka. The total university enrollment, which includes KU Medical Center, was 30,004. About 31% were non-resident students.

Kansas State University (KSU) has the second largest enrollment, with 23,581 students at its Manhattan and Salina campuses and Veterinary Medical Center. About 19% were non-resident students. Wichita State University (WSU) ranks third largest with 14,823 students; about 14% were non-resident students. WSU has lost nearly 3,000 students since the school dropped football following the 1986 season. Fort Hays State University (FHSU), Pittsburg State University (PSU), and Emporia State University (ESU) are smaller public universities with total enrollments of 11,308, 7277, and 6314, respectively. FHSU has the fastest growing enrollment in Kansas with most of it coming from non-resident and off-campus enrollment. The composition of FHSU's enrollment includes 35% non-resident students and 44% off-campus enrollments. PSU also has almost a quarter of enrollment from non-residents.

For more on the universities and colleges in Kansas, see the complete list.

History
The first colleges in Kansas were chartered by acts of the Kansas Territorial legislature, signed by Territorial Governor James W. Denver, on February 9–12, 1858. Among the ten institutes of higher learning chartered at that time, three survive in some form. Among those chartered on February 9 were Highland University (precursor to Highland Community College) and Blue Mont Central College (precursor to Kansas State University). Baker University, chartered on February 12, 1858, has been operating continuously since that time and is now recognized as the oldest continuously operating college in Kansas.

All of the colleges founded in 1858 were private institutions. The first public institute of higher learning in the state was Kansas State University (originally named Kansas State Agricultural College), which was established by the state legislature on February 16, 1863.

The state's universities were among the first public universities in the country to be coeducational. Kansas State became the second coeducational public institution of higher education when it opened in 1863; enrollment for the first session was 52 students: 26 men and 26 women. The University of Kansas was also among the earliest to offer mixed-sex education, in 1869. Both KU and Kansas State were also open to students of all races from their inception.

School district consolidation
The number of students in rural communities dropped significantly across the 20th century. As farming technology progressed from animal power to small tractors towards large tractors over time, it allowed a farmer to support significantly more farm land. In turn, this led to fewer farm families, which led to fewer rural students. In combination with a loss of young men during foreign wars and rural flight, all of these caused an incremental population shrinkage of rural communities over time. In 1945 (after World War II), the School Reorganization Act in Kansas caused the consolidation of thousands of rural school districts in Kansas (mostly one room rural school houses). In 1963, the School Unification Act in Kansas caused the further consolidatation of thousands of tiny school districts into hundreds of larger Unified School Districts.

Brown v. Board of Education of Topeka
The landmark 1954 decision in Brown v. Board of Education of Topeka, in which the United States Supreme Court ruled segregation in public schools unconstitutional, was brought as a legal challenge to a Kansas law permitting racial segregation in primary and secondary schools in Kansas towns with a population over 15,000.

In 1951, a class action suit was filed against the Board of Education of the City of Topeka, Kansas in the United States District Court for the District of Kansas. The plaintiffs were thirteen Topeka parents on behalf of their 20 children.

The suit called for the school district to reverse its policy of racial segregation. The Topeka Board of Education operated separate elementary schools under an 1879 Kansas law, which permitted (but did not require) districts to maintain separate elementary school facilities for black and white students in 12 communities with populations over 15,000. The plaintiffs had been recruited by the leadership of the Topeka NAACP. Notable among the Topeka NAACP leaders were the chairman McKinley Burnett; Charles Scott, one of three serving as legal counsel for the chapter; and Lucinda Todd.

The named plaintiff, Oliver L. Brown, was a parent, a welder in the shops of the Santa Fe Railroad, an assistant pastor at his local church, and an African American. He was convinced to join the lawsuit by Scott, a childhood friend. Brown's daughter Linda, a third grader, had to walk six blocks to her school bus stop to ride to Monroe Elementary, her segregated black school one mile (1.6 km) away, while Sumner Elementary, a white school, was seven blocks from her house.

Evolution controversy
In 1999, the Kansas Board of Education ruled that instruction at the primary and secondary levels about evolution, the age of the Earth, and the origin of the universe was permitted, but not mandatory, and that those topics would not appear on state standardized tests. However, two years later, following a change in its elected membership, the Board reversed this decision on February 14, 2001, ruling that instruction of all those topics was mandatory and that they would appear on standardized tests.

Following another change in membership, on August 9, 2005, the Board of Education approved a draft of science curriculum standards that mandated equal time for evolution and intelligent design. On November 8, 2005, the Board of Education voted 6–4 to allow science students in public schools to hear materials critical of evolution in biology classes, allowing teaching of Intelligent design to be taught in classes. The board, in order to accommodate the teaching of Intelligent Design in biology class, went so far as to redefine the meaning of science to  'no longer limited to the search for natural explanations of phenomena.'

In response, USD 383 (Manhattan-Ogden) decided to reject the November 2005 standards in a unanimous decision in February 2006, and continues to use the March 9, 2005 standards.

On August 1, 2006, the creationist majority on the Board of Education was voted out of office and evolution candidates were given the majority once again.

On February 13, 2007, the Board voted 6 to 4 to reject the amended science standards enacted in 2005. The definition of science was once again limited to "the search for natural explanations for what is observed in the universe."

Sports
Statewide elections for the Kansas Board of Education are held every four years. According to Christopher Lee, small town Kansas high schools used football as a way to entertain and unite their rural communities. The schools were too small for 11-man teams so they adopted the six-man team system developed by Stephen E. Epler. Football stimulated a collective spirit between school and community, with the games becoming a social outlet and a favorite topic of weeklong conversations and boosterism. There was an economic bonus as well when hundreds of fans drove into small depression-hit towns. Six-man football peaked in the mid-1950s. However the decline on younger rural populations and school consolidation led schools to move to eight-man football by the 1960s.

title: Education in Kansas


text:
Wikipedia:Articles for deletion/Fort Wayne, Indiana, Free Assault Prevention Videos

Fort Wayne, Indiana, Free Assault Prevention Videos was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

Website promotion by well-meaning user who probably doesn't understand yet what Wikipedia is about. -- Decumanus 05:19, 18 Jul 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Delete --Rlandmann 05:26, 18 Jul 2004 (UTC)
 * Delete: Polite & encouraging notes to the user, but this, alas, is a review & essay. Geogre 13:02, 18 Jul 2004 (UTC)
 * It's a well-meaning ad, but an ad all the same. Oddly enough, the creator's talk page redirects to this article.  Delete.  --Ardonik 17:26, Jul 18, 2004 (UTC)


text:
Andrew Mackay

Andrew Mackay may refer to:

 * Andrew Mackay (mathematician) (1760–1809), Scottish mathematician
 * Andrew William McKay (art dealer) (died 1899), British art dealer
 * William Andrew MacKay (1929–2013), Canadian lawyer
 * Andy Mackay (born 1946), English musician, founder of Roxy Music
 * Andrew MacKay (born 1949), British Conservative politician
 * Andrew Mackay (British Army officer), British Army major general
 * Andy McKay (born 1980), New Zealand cricketer
 * Andrew Mackay (swimmer) (born 1985), Olympic swimmer from the Cayman Islands

title: Andrew Mackay


text:
File:PavementSlayTracks.jpg

Artwork for the Pavement EP "Slay Tracks: 1933–1969".

title: File:PavementSlayTracks.jpg


text:
Wikipedia:Articles for deletion/Curious Facts About Clara Barton

Curious Facts About Clara Barton was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

Created by same user as above entry. Possibly a copyvio despite the disclaimer, but in any case, a non-encyclopedic article. -- Decumanus 05:21, 18 Jul 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Should be merged into Clara Barton --Rlandmann 05:25, 18 Jul 2004 (UTC)
 * Wikisource: They've cut & pasted a secondary source.  Not sure that's a Wikisource matter (or is it only for primaries?), but it would need much cleaning and pruning to be an article.  Seems to have been posted as a pamphlet with the same title as its source. Geogre 13:00, 18 Jul 2004 (UTC)
 * It's a cut and paste, so at best it should be merged with Clara Barton and added in a "further reading" section there anyway. Delete.  --Ardonik 17:39, Jul 18, 2004 (UTC)
 * Delete possible copyright problem. -- Cyrius|✎ 02:53, 21 Jul 2004 (UTC)
 * Delete. I edited the article to remove the leading spaces and make it wrap, but the content (and even the title) is beyond salvage.  Anything worth keeping, move to Clara Barton Dukeofomnium 19:18, 23 Jul 2004 (UTC)