text:
Sonny Stitt

Sonny Stitt (born Edward Hammond Boatner Jr.; February 2, 1924 – July 22, 1982) was an American jazz saxophonist of the bebop/hard bop idiom. Known for his warm tone, he was one of the best-documented saxophonists of his generation, recording more than 100 albums. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern because of his tendency to rarely work with the same musicians for long despite his relentless touring and devotion to the craft. Stitt was sometimes viewed as a Charlie Parker mimic, especially earlier in his career, but gradually came to develop his own sound and style, particularly when performing on tenor saxophone and even occasionally baritone saxophone.

Early life
Edward Hammond Boatner Jr. was born in Boston, Massachusetts, and grew up in Saginaw, Michigan. He had a musical background: his father, Edward Boatner, was a baritone singer, composer, and college music professor; his brother was a classically trained pianist, and his mother was a piano teacher. He was placed for adoption in 1924 by his father and adopted by the Stitt family in Saginaw. He later began calling himself "Sonny". While in high school in Saginaw, he played in the Len Francke Band, a local popular swing band.

In 1943, Stitt met Charlie Parker. As he often recalled, the two men had similar styles. Parker is alleged to have remarked, "Well, I'll be damned, you sound just like me", to which Stitt responded, "Well, I can't help the way I sound. It's the only way I know how to play." Kenny Clarke said of Stitt, "Even if there had not been a Bird, there would have been a Sonny Stitt."

During the 1940s, he played alto saxophone as a member of Tiny Bradshaw's big band, Billy Eckstine's big band with Gene Ammons and Dexter Gordon, and Dizzy Gillespie's big band. Stitt was a leader of Bebop Boys and Galaxy in 1946 and 1948 respectively.

When playing tenor saxophone Stitt seemed to break free from some of the criticism that he was imitating Parker's style, and began to develop a far more distinctive sound. He played with other bop musicians including Horace Parlan, Bud Powell and Eddie "Lockjaw" Davis, a fellow tenor with a distinctly tough tone in comparison to Stitt, in the 1950s and recorded a number of sides for Prestige Records as well as albums for Argo, Verve, and Roost. Stitt experimented with Afro-Cuban jazz in the late 1950s, and the results can be heard on his recordings for Roost and Verve, on which he teamed up with Thad Jones and Chick Corea for Latin versions of such standards as "Autumn Leaves".

In 1952 Stitt played with pianist Jimmy Jones and the next year performed orchestral music with Johnny Richards. Under Quincy Jones's guidance in 1955 he played uptempos and ballads such as "My Funny Valentine" and "Star Dust" and the same year performed "Afterwards" and "There Will Never Be Another You" with Hank Jones. Stitt joined Dolo Coker in 1957 to perform "Blues for Yard" and "Blue Moon" before returning to Hank to perform "Cherokee".

Stitt joined Miles Davis briefly in 1960, and recordings with Davis' quintet can be found only in live settings on the tour of 1960. Concerts in Manchester and Paris are available commercially and also a number of concerts (which include sets by the earlier quintet with John Coltrane) on the record Live at Stockholm (Dragon), all of which featured Wynton Kelly, Jimmy Cobb, and Paul Chambers. However, Miles fired Stitt due to the excessive drinking habit he had developed, and replaced him with Hank Mobley. Later in the 1960s, Stitt paid homage to Parker on the album Stitt Plays Bird, which features Jim Hall on guitar.

Stitt recorded several times with his friend Gene Ammons in sessions that were interrupted by Ammons' own imprisonment for narcotics possession. The records recorded by these two saxophonists are regarded by many as some of both Ammons and Stitt's best work. The Ammons/Stitt partnership went down in posterity as one of the best dueling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie "Lockjaw" Davis. Stitt ventured into soul jazz, and he recorded with fellow tenor saxophonist Booker Ervin in 1964 on the Soul People album. Stitt also recorded with Duke Ellington alumnus Paul Gonsalves in 1963 for Impulse! on the Salt and Pepper album in 1964. Around that time he appeared regularly at Ronnie Scott's in London, a live 1964 encounter with Ronnie Scott, The Night Has a Thousand Eyes, eventually surfaced, and another in 1966 with resident guitarist Ernest Ranglin and British tenor saxophonist Dick Morrissey. Stitt was one of the first jazz musicians to experiment with the Selmer Varitone amplification system as heard on the albums What's New!!! in 1966 and Parallel-a-Stitt in 1967.

Later life
In the 1970s Stitt slowed his recording output slightly but in 1972 produced another classic, Tune-Up!, which was and still is regarded by many jazz critics, such as Scott Yanow, as his definitive record. Indeed, his fiery and ebullient soloing was reminiscent of his earlier playing. In 1971 he managed to record four albums; Turn It On! with Leon Spencer, Melvin Sparks, Idris Muhammad, and Virgil Jones, You Talk That Talk! with Gene Ammons and George Freeman as new members of the group, Just the Way It Was (Live at the Left Bank) with Don Patterson and Billy James, and Black Vibrations which featured the same group as in Turn It On!. Just the Way It Was (Live at the Left Bank) which was released in 2000 also featured Stitt as an electric saxophone player, which was the first album which encompassed it.

Stitt's productivity dropped in the 1970s due to alcoholism. He drank heavily after giving up heroin in the late fifties and the abuse was beginning to take its toll. A series of alcohol-induced seizures caused Stitt to abstain and quit for good.

Stitt joined the all-star group The Giants of Jazz (which also featured Art Blakey, Dizzy Gillespie, Thelonious Monk, Kai Winding and bassist Al McKibbon) and made albums for Atlantic, Concord and EmArcy. His last recordings were made in Japan. A rejuvenated Stitt also toured with Red Holloway in the late 1970s, who noted a marked improvement in his playing. In 1975 he performed with Ron Burton, Major Holley and drummer   John Lewis at the Village Vanguard.

In 1981, Stitt performed with George Duvivier and Jimmy Cobb, Six weeks before his death, Stitt recorded two consecutive sessions which were with George Duvivier, Jimmy Cobb, Bill Hardman and either Junior Mance or Walter Davis Jr. on piano.

In 1982, Stitt was diagnosed with cancer, and died on July 22 in Washington, D.C. He is buried in a wall crypt at Fort Lincoln Cemetery, Brentwood, Maryland.

As leader/co-leader

 * 1949–50: Sonny Stitt/Bud Powell/J. J. Johnson (Prestige, 1956)
 * 1950: Stitt's Bits (Prestige, 1958)
 * 1950–52: Kaleidoscope (Prestige, 1957)
 * 1953: Sonny Stitt Playing Arrangements from the Pen of Johnny Richards (Roost)
 * 1954: Jazz at the Hi-Hat (Roost)
 * 1954: The Battle of Birdland (Roost) with Eddie "Lockjaw" Davis
 * 1955: Sonny Stitt Plays Arrangements from the Pen of Quincy Jones (Roost)
 * 1956: Sonny Stitt Plays (Roost)
 * 1956: New York Jazz (Verve)
 * 1956: For Musicians Only (Verve) with Dizzy Gillespie and Stan Getz
 * 1956: 37 Minutes and 48 Seconds with Sonny Stitt (Roost)
 * 1957: Personal Appearance (Verve)
 * 1957: Sonny Stitt with the New Yorkers (Roost)
 * 1957: Only the Blues (Verve)
 * 1957: Sonny Side Up (Verve) with Dizzy Gillespie and Sonny Rollins
 * 1958: The Saxophones of Sonny Stitt (Roost)
 * 1958: Sonny Stitt (Argo)
 * 1958: Burnin' (Argo)
 * 1959: The Hard Swing (Verve)
 * 1959: Sonny Stitt Plays Jimmy Giuffre Arrangements (Verve)
 * 1959: A Little Bit of Stitt (Roost)
 * 1959: Sonny Stitt Sits in with the Oscar Peterson Trio (Verve) with Oscar Peterson
 * 1959: The Sonny Side of Stitt (Roost)
 * 1959: Sonny Stitt Blows the Blues (Verve)
 * 1959: Saxophone Supremacy (Verve)
 * 1959: Sonny Stitt Swings the Most (Verve)
 * 1960: Stittsville (Roost)
 * 1960: Previously Unreleased Recordings (Verve)
 * 1960: Sonny Side Up (Roost)
 * 1961: The Sensual Sound of Sonny Stitt (Verve) with the Ralph Burns Strings
 * 1961: Sonny Stitt at the D. J. Lounge (Argo)
 * 1961: Dig Him! (Argo) with Gene Ammons (reissued on Prestige as We'll Be Together Again in 1969)
 * 1961: Boss Tenors (Verve) with Gene Ammons
 * 1962: Stitt Meets Brother Jack (Prestige) with Jack McDuff
 * 1962: Boss Tenors in Orbit! (Verve) with Gene Ammons
 * 1962: Soul Summit (Prestige) with Gene Ammons and Jack McDuff
 * 1962: Feelin's (Roost)
 * 1962: Low Flame (Jazzland)
 * 1960–62: Stitt in Orbit (Roost)
 * 1962: Sonny Stitt & the Top Brass (Atlantic)
 * 1962: Rearin' Back (Argo)
 * 1963: Stitt Plays Bird (Atlantic)
 * 1963: My Mother's Eyes (Pacific Jazz) with Charles Kynard
 * 1963: Move on Over (Argo)
 * 1963: Now! (Impulse!)
 * 1963: Salt And Pepper (Impulse)
 * 1963: Soul Shack (Prestige)
 * 1963: Stitt Goes Latin (Roost)
 * 1963: Primitivo Soul! (Prestige)
 * 1964: My Main Man (Argo) with Bennie Green
 * 1964: Shangri-La (Prestige) with Don Patterson
 * 1964: Soul People (Prestige) with Booker Ervin and Don Patterson
 * 1965: Inter-Action (Cadet) with Zoot Sims
 * 1965: Broadway Soul (Colpix)
 * 1965: "The Double-O-Soul of Sonny Stitt, Part 1"/"The Double-O-Soul of Sonny Stitt, Part 2" (Wingate) (Single)
 * 1965: "Concerto For Jazz Lovers"/"Just Dust" (Wingate) (Single)
 * 1965: "Stitt's Groove"/"Marr's Groove" (Wingate) (Single) with Hank Marr
 * 1965: Sax Expressions (Roost)
 * 1965: Live at Ronnie Scott's (Ronnie Scott's Jazz House) with Dick Morrissey
 * 1965: The Matadors Meet the Bull (Roulette)
 * 1965: Pow! (Prestige)
 * 1965: Night Crawler (Prestige) with Don Patterson
 * 1966: Soul in the Night (Cadet) with Bunky Green
 * 1966: What's New!!! (Roulette)
 * 1966: I Keep Comin' Back! (Roulette)
 * 1966: Deuces Wild (Atlantic) with Robin Kenyatta
 * 1967: Parallel-a-Stitt (Roulette)
 * 1968: Made for Each Other (Delmark) released 1972
 * 1968: Soul Electricity! (Prestige)
 * 1968: Little Green Apples (Solid State)
 * 1968: Come Hither (Solid State)
 * 1969: It's Magic (Delmark) released 2005
 * 1969: Night Letter (Prestige)
 * 1971: Turn It On! (Prestige)
 * 1971: You Talk That Talk! (Prestige) with Gene Ammons
 * 1971: Black Vibrations (Prestige)
 * 1971: Just the Way It Was (Live at the Left Bank) (Label M) with Don Patterson
 * 1972: Tune-Up! (Cobblestone)
 * 1972: Goin' Down Slow (Prestige)
 * 1972: Constellation (Cobblestone)
 * 1972: So Doggone Good (Prestige)
 * 1972: 12! (Muse)
 * 1973: Mr. Bojangles (Cadet)
 * 1973: The Champ (Muse)
 * 1973: God Bless Jug and Sonny (Prestige) with Gene Ammons
 * 1973: Left Bank Encores (Prestige) with Gene Ammons
 * 1973: Together Again for the Last Time (Prestige) with Gene Ammons
 * 1974: Satan (Cadet)
 * 1975: Never Can Say Goodbye (Cadet)
 * 1975: Mellow (Muse)
 * 1975: Dumpy Mama (Flying Dutchman)
 * 1975: My Buddy: Sonny Stitt Plays for Gene Ammons (Muse)
 * 1975: Blues for Duke (Muse)
 * 1976: Stomp Off Let's Go (Flying Dutchman)
 * 1976: Forecast: Sonny & Red (Catalyst) with Red Holloway
 * 1977: I Remember Bird (Catalyst)
 * 1977: Sonny Stitt with Strings: A Tribute to Duke Ellington (Catalyst)
 * 1978: The Sonny Stitt Quintet (Finite)
 * 1978: Sonny Stitt Meets Sadik Hakim (Progressive)
 * 1980: Groovin' High (Atlas)
 * 1980: Atlas Blues "Blow & Ballad" (Atlas)
 * 1980: Sonny's Back (Muse)
 * 1981: In Style (Muse)
 * 1981: Sonny, Sweets and Jaws: Live at Bubbas, (Who's Who in Jazz) with Harry "Sweets" Edison, Eddie "Lockjaw" Davis
 * 1981: Just in Case You Forgot How Bad He Really Was (32 Jazz)
 * 1983: The Last Stitt Sessions (Muse)
 * 1988: Sonny Stitt Featuring Howard McGhee (Jazz Life) with Howard McGhee

As sideman
With Gene Ammons
 * All Star Sessions (Prestige, 1950–55 [1959])
 * Jug and Sonny (Chess, 1948–51 [1960])
 * Boss Tenors (Verve, 1961)
 * Boss Tenors in Orbit! (Verve, 1962)
 * Soul Summit (Prestige, 1962)
 * You Talk That Talk! (Prestige, 1971)
 * God Bless Jug and Sonny (Prestige, 1973)
 * Left Bank Encores (Prestige, 1973)
 * Together Again for the Last Time (Prestige, 1974)

With Art Blakey
 * A Jazz Message (Impulse!, 1963)
 * In Walked Sonny (Sonet, 1975)

With Miles Davis
 * Miles Davis in Stockholm 1960 Complete with John Coltrane and Sonny Stitt (Dragon, 1992)

With Dizzy Gillespie
 * The Modern Jazz Sextet (Verve, 1956) with Skeeter Best, John Lewis, Percy Heath and Charli Persip
 * Duets (Verve, 1957) Quintets featuring Sonny Stitt or Sonny Rollins; with Ray Bryant, Tommy Bryant and Charlie Persip
 * Sonny Side Up (Verve, 1957 [rel. 1959]) Sextet featuring Sonny Stitt and Sonny Rollins; with Ray Bryant, Tommy Bryant and Charlie Persip
 * The Giants of Jazz (Atlantic, 1971) with Art Blakey, Al McKibbon, Thelonious Monk and Kai Winding
 * The Bop Session (Sonet, 1975) with John Lewis, Hank Jones, Percy Heath and Max Roach

With Milt Jackson
 * Loose Walk (Palcoscenico, 1980)

With Don Patterson
 * Patterson's People (Prestige, 1964)
 * The Boss Men (Prestige, 1965)
 * Funk You! (Prestige, 1968)
 * Brothers-4 (Prestige, 1969)
 * Donny Brook (Prestige, 1969)
 * Tune Up! (Prestige, 1964–69)

With Oscar Peterson
 * The Oscar Peterson Trio with Sonny Stitt, Roy Eldridge and Jo Jones at Newport (Verve, 1957)

With Zimbo Trio
 * Zimbo Convida Sonny Stitt (Clam, 1979)

title: Sonny Stitt


text:
User talk:Mwng

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

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Good luck!

Thomas Bainbrigge Fletcher
Thanks for the additions and cleanup to this and the Harold Maxwell-Lefroy. Shyamal 12:14, 18 Aug 2004 (UTC)

Great Tit
I've noted your many helpful edits to bird articles, but there is one minor point I wanted to discuss. Great Tit has two alternative generic names, Parus and Periparus. My preference would be to have just one of these in the taxobox, to make it less cluttered, and comment on the alternative in the text.

I don't much mind which goes in the taxobox, although generally we follow Handbook of Birds of the World, which uses the newer Periparus.

Another example where we have adopted a similar approach is Great Egret, which is allocated to no less than three genera. Thanks, Jim

 * Thanks, Jim

wader
Hi, I'm a bit concerned that you seem to be systematically deleting the important link to wader, the relevant subfamily of birds for eg Turnstone, but sparing the American equivalent shorebird, which is a redirect to wader. Is there any reason for this, or did you just not appreciate that wader is a taxonomic group? jimfbleak 06:48, 31 Aug 2004 (UTC)

Pictures from other language wikipedias?
Thanks for adding the other lanquage links on Common frog. Some of thos other language wikipedias have arguably better pictures of the frog than mine, although obviously mine is English croaking. If this is the case should one copy the picture to the english version (if it is GFDL or public domain), or link to it? Maybe its a good idea to use the scientific name for the image file name, as I did with the Common toad so that non-english speakers reliably know what it is? Let me know what you think. Billlion 09:05, 10 Sep 2004 (UTC)

Moussier's Redstart
Well spotted - I thought I knew what was on the British list, so I didn't even check

Incorrect move
Your move of Conway River to River Conwy was performed improperly. Instead of cutting and pasting, you should have used the "move" button (above the article frame, between "history" and "(un)watch". Please read How to rename (move) a page for details. _R_ 18:50, 27 Sep 2004 (UTC)

European Hedgehog
I've submitted the article you created, European Hedgehog, for deletion. The information in the article is contained in the parent article Hedgehog. There is a distinct subsection of that article labeled European Hedgehog. I would be grateful if you had further information about Hedgehogs to add to the Hedgehog article, but I feel that separating the European species into a separate article is not needed. Kainaw 15:32, 13 Oct 2004 (UTC)

Yellow Oriole
Any thoughts on the best way to disamb these birds? It seems to be the common name for both. Adding New World/Australian is a possibility, as is (Icterus)/(Oriolus). The former is probably more intuitive, but let me know. I'll do an article for the icterid Yellow Oriole when I get the time. jimfbleak 03:45, 21 Oct 2004 (UTC)

 * Thanks, on balance I preferAYW, with a redirect from Green warbler, so I'll go with that(not tonight though) jimfbleak 18:57, 21 Oct 2004 (UTC)

Syrian Woodpecker
Are you able to clarify the author(s) on this? My book says "(Ehrenberg), sometimes credited to Hemprich and Ehrenberg". How do we know which is correct? jimfbleak 16:08, 26 Nov 2004 (UTC)

 * Thanks, I thought you would be able to sort this, jimfbleak 06:33, 27 Nov 2004 (UTC)

Article Licensing
Hi, I've started the Free the Rambot Articles Project which has the goals of getting users to multi-license all of their contributions that they've made to... using the Creative Commons Attribution-Share Alike (CC-by-sa) version 1.0 and 2.0 Licenses or into the public domain if they prefer. The CC-by-sa license is a true free documentation license that is similar to the GFDL (which every contribution made to Wikipedia is licensed under), but it allows other projects, such as WikiTravel, to use our articles (See the Multi-licensing Guide for more information). Since you are among the top 1000 Wikipedians by edits, I was wondering if you would be willing to multi-license all of your contributions or at minimum those on the geographic articles. So far over 90% of people who have responded have done this.
 * 1) ...all U.S. state, county, and city articles...
 * 2) ...all articles...

 * Nutshell: Wikipedia articles can be shared with any other GFDL project but open/free projects using the incompatible Creative Commons Licenses (e.g. WikiTravel) can't use our stuff and we can't use theirs. It is important to us that other free projects can use our stuff.  So we use their licenses too.

To allow us to track those users who muli-license their contributions, many users copy and paste the   template (or    for public domain) into their user page, but there are other templates for other options at Template messages/User namespace. The following examples could also copied and pasted into your user page:

 * Option 1
 * I agree to multi-license all my contributions, with the exception of my user pages, as described below:

OR
 * Option 2
 * I agree to multi-license all my contributions to any U.S. state, county, or city article as described below:

Or if you wanted to place your work into the public domain, you could replace   with   . If you only prefer using the GFDL, I would like to know that too. Please let me know at my talk page what you think. It's important to know, even if you choose to do anything so I don't keep asking. -- Ram-Man (comment| talk) 14:39, Dec 3, 2004 (UTC)

Categories: Botanists by various nationalities
Hi Mwng - these are not useful. It breaks up the complete list of botanists at Category:Botanists, thereby making pages much harder to find when one needs to know (a) if a particular botanist has a page, and (b) what the page is titled, when adding links at e.g. a plant named by that botanist. Botanists are also highly international in their work, and the their nationality is often completely irrelevant to the areas they worked in, making it hard to predict what their nationality might have been (e.g. Siebold worked mainly on Japanese plants while based at a Dutch mission, making it very hard to know that he can only be found listed at Category:German botanists). I think these subcategories would be best deleted, or at the very least, any botanist listed at one of these subcategories must also be kept on the full list at Category:Botanists - MPF 14:26, 5 Dec 2004 (UTC)

 * Hi Mwng - many thanks; they were created by User:Bill Thayer; I'd left the same note on his page. If he is agreeable with the points I raised, I'll list them on Categories for deletion. I know what you mean about Category:Birds, I feel much the same about Category:Trees :-) MPF 14:56, 5 Dec 2004 (UTC)
 * This points out one of the many problems with Wikipedia's architecture.... Certainly, dividing up the botanists makes no sense from an internationalist modern perspective (who cares whether they're from Luxembourg or Lesotho?) — but from the other end: someone starting from Lesotho, and trying to navigate the category tree to see whether there are any botanists from the place.... Bill 18:42, 3 May 2006 (UTC)
 * PS Forgot to add, many thanks too for making the botanists cat so comprehensive! I've been adding a few too as I need them, mainly authors of conifer species - MPF 14:58, 5 Dec 2004 (UTC)

Nice catch
I was using the Birdlife International Page to get the author (Wilson), it didn't have the SB bit. Is there a better online resource to get the full name of the describer? Anyways, thanks for cleaning up after me, I try to catch all the typos but one or two seem to slip me by. Sabine's Sunbird 19:07, 12 Dec 2004 (UTC)

Grey-fronted Dove
I'm going in circles trying to get anything on the authors for this species, both of whom unhelpfully have surnames which are also common first names - any ideas? thanks Jim

lots of edits, not an admin
Hi - I made a list of users who've been around long enough to have made lots of edits but aren't admins. If you're at all interested in becoming an admin, can you please add an '*' immediately before your name in this list? I've suggested folks nominating someone might want to puruse this list, although there is certainly no guarantee anyone will ever look at it. Thanks. -- Rick Block (talk) 13:51, Jun 20, 2005 (UTC)

taxobox problem
Do you know whom to contact regarding the fact that the horizontal rules created by == bleh == section headings are running through the images and text in taxoboxes (as well as in other places I just haven't noticed yet)? Tomer TALK July 1, 2005 02:53 (UTC)

Sources for Mary Rathbun
Hello, good work on Mary Rathbun, and thanks for the contribution. However, you did not any references to the article. Keeping Wikipedia accurate and verifiable is very important, and as you might be aware there is currently a push to encourage editors to cite the sources they used when adding content. From what websites, books, or other places did you learn the information that you added to Mary Rathbun? Would it be possible for you to mention them in the article? You can simply add links, or see WP:CITET if you wish to review some of the different citation methods. Thanks! Lupin|talk|popups 21:22, 4 December 2005 (UTC)

about Tarentola mauritanica
Hello. I'm currently working on the french pages for geckos. I saw your Tarentola mauritanica page, and for various informations it seems to be uncomplete. If you understand french, you cn have a look to the french page, or you can ask me for translation. I do not edit myself the page as my english should not be good enough for that. I'm just adding the french equivalent on the page. Regards. hexasoft on fr.wikipedia.org 15:51, 9 December 2005 (UTC)

Please check your WP:NA entry
Greetings, editor! Your name appears on List of non-admins with high edit counts. If you have not done so lately, please take a look at that page and check your listing to be sure that following the particulars are correct: Thank you, and have a wiki wiki day! bd2412 T 03:38, 17 February 2006 (UTC)
 * 1) If you are an admin, please remove your name from the list.
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 * 3) Please check to see if you are in the right category for classification by number of edits.

Copyright violation in Gordon Laing
Hello, this is a message from an automated bot. A tag has been placed on Gordon Laing, by another Wikipedia user, requesting that it be speedily deleted from Wikipedia. The tag claims that it should be speedily deleted because Gordon Laing is unquestionably copyright infringement, and no assertion of permission has been made. To contest the tagging and request that administrators wait before possibly deleting Gordon Laing, please affix the template to the page, and put a note on its talk page. If the article has already been deleted, see the advice and instructions at WP:WMD. Please note, this bot is only informing you of the nomination for speedy deletion, it did not nominate Gordon Laing itself. Feel free to leave a message on the bot operator's talk page if you have any questions about this or any problems with this bot. --Android Mouse Bot 2 11:19, 17 June 2007 (UTC)

about "Müllers"
Dear Editor!

I noticed that in enwiki articles (and therefore in other Wikipedias as well) in some of the infoboxes of animals not the proper zoologist's name is shown.

For example in the article List of authors of names published under the ICZN.

Salomon Müller (1804–1864) is shown as "S. Müller", while Johannes Peter Müller (1801–1858) is simply "Müller". However, in many articles the "Müller" link points to "Salomon Müller".

I think that the link "Müller" should refer to "Salomon Müller". There are two examples for it: Exilisciurus; Celebes Dwarf Squirrel.

The following zoologists can be found in their list:

 * Müller – Johannes Peter Müller (1801–1858) mainly fish
 * O.F.Müller – Otto Friedrich Müller (1730–1784) insects, fauna of Scandinavia
 * P.L.S.Müller, Müller – Philipp Ludwig Statius Muller (1725–1776) birds, insects, some mammals and others
 * S.Müller – Salomon Müller (1804–1864) mainly fauna of Indonesia

DenesFeri (talk) 08:50, 12 September 2013 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:48, 23 November 2015 (UTC)

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

title: User talk:Mwng


text:
Obscurantism

In philosophy, the terms obscurantism and obscurationism identify and describe the anti-intellectual practices of deliberately presenting information in an abstruse and imprecise manner that limits further inquiry and understanding of a subject. The two historical and intellectual denotations of obscurantism are: (1) the deliberate restriction of knowledge — opposition to the dissemination of knowledge; and (2) deliberate obscurity — a recondite style of writing characterized by deliberate vagueness.

In the 18th century, Enlightenment philosophers applied the term obscurantist to any enemy of intellectual enlightenment and the liberal diffusion of knowledge. In the 19th century, in distinguishing the varieties of obscurantism found in metaphysics and theology, from the "more subtle" obscurantism of the critical philosophy of Immanuel Kant and of modern philosophical skepticism, Friedrich Nietzsche said that: "The essential element in the black art of obscurantism is not that it wants to darken individual understanding, but that it wants to blacken our picture of the world, and darken our idea of existence."

Restricting knowledge

In restricting education and knowledge to a ruling class, obscurantism is anti-democratic in its components of anti-intellectualism and social elitism, which exclude the majority of the people, deemed unworthy of knowing the facts about their government and the political and economic affairs of their city-state.

In 18th century monarchic France, the political scientist Marquis de Condorcet documented the obscurantism of the aristocracy and their indifference to the social problems that provoked the French Revolution (1789–1799), which violently overthrew the aristocracy and deposed the monarch, King Louis XVI of France (r. 1774–1792).

In the 19th century, the mathematician William Kingdon Clifford, who was an early proponent of Darwinism, worked to eliminate obscurantism in England after hearing clerics — who privately agreed with him about evolution — publicly denounce evolution as un-Christian heresy. Moreover, in the realm of organized religion, obscurantism is a distinct strain of anti-intellectualism that is independent of theologic allegiance, by which distinction, religious fundamentalism presupposes sincere religious belief in the person, whereas censorship is obscurantism that is based upon the élite power-group manipulating the religious faith of the majority of the population of believers.

Political philosophy
In the 20th century, the American conservative political philosopher Leo Strauss and his neo-conservative adherents adopted the notion of government by the enlightened few as political strategy. He noted that intellectuals, dating from Plato, confronted the dilemma of either an informed populace "interfering" with government, or whether it were possible for good politicians to be truthful and still govern to maintain a stable society—hence the noble lie necessary in securing public acquiescence. In The City and Man (1964), he discusses the myths in The Republic that Plato proposes effective governing requires, among them, the belief that the country (land) ruled by the state belongs to it (despite some having been conquered from others), and that citizenship derives from more than the accident of birth in the city-state. Thus, in the New Yorker magazine article "Selective Intelligence", Seymour Hersh observes that Strauss endorsed the "noble lie" concept: the myths politicians use in maintaining a cohesive society.

Shadia Drury criticized Strauss's acceptance of dissembling and deception of the populace as "the peculiar justice of the wise", whereas Plato proposed the noble lie as based upon moral good. In criticizing Natural Right and History (1953), she said that "Strauss thinks that the superiority of the ruling philosophers is an intellectual superiority and not a moral one ... [he] is the only interpreter who gives a sinister reading to Plato, and then celebrates him."

Esoteric texts
Leo Strauss also was criticized for proposing the notion of "esoteric" meanings to ancient texts, obscure knowledge inaccessible to the "ordinary" intellect. In Persecution and the Art of Writing (1952), he proposes that some philosophers write esoterically to avert persecution by the political or religious authorities, and, per his knowledge of Maimonides, Al Farabi, and Plato, proposed that an esoteric writing style is proper for the philosophic text. Rather than explicitly presenting his thoughts, the philosopher's esoteric writing compels the reader to think independently of the text, and so learn. In the Phædrus, Socrates notes that writing does not reply to questions, but invites dialogue with the reader, thereby minimizing the problems of grasping the written word. Strauss noted that one of writing's political dangers is students' too-readily accepting dangerous ideas—as in the trial of Socrates, wherein the relationship with Alcibiades was used to prosecute him.

For Leo Strauss, philosophers' texts offered the reader lucid "exoteric" (salutary) and obscure "esoteric" (true) teachings, which are concealed to the reader of ordinary intellect; emphasizing that writers often left contradictions and other errors to encourage the reader's more scrupulous (re-)reading of the text. In observing and maintaining the "exoteric—esoteric" dichotomy, Strauss was accused of obscurantism, and for writing esoterically.

Bill Joy
In the article "Why the Future Doesn't Need Us" (April 2000), the computer scientist Bill Joy, then chief scientist at Sun Microsystems, in the sub-title of the article proposed that: "Our most powerful twenty-first-century technologies—robotics, genetic engineering, and nanotech—are threatening to make humans an endangered species", and said that:

"The experiences of the atomic scientists clearly show the need to take personal responsibility, the danger that things will move too fast, and the way in which a process can take on a life of its own. We can, as they did, create insurmountable problems in almost no time flat. We must do more thinking up front if we are not to be similarly surprised and shocked by the consequences of our inventions."

Critics readily noted the obscurantism in Joy's elitist proposal for limiting the dissemination of "certain knowledge" in order to preserve society. A year later, in the Science and Technology Policy Yearbook 2001, the American Association for the Advancement of Science answered Joy's propositions with the article "A Response to Bill Joy and the Doom-and-Gloom Technofuturists", wherein the computer scientists John Seely Brown and Paul Duguid said that Joy's proposal was a form of technological tunnel vision, and that the technologically derived problems are infeasible, for disregarding the influence of non-scientists upon such societal problems.

Appeal to emotion
In the essay "Why I Am Not a Conservative" (1960), the economist Friedrich von Hayek said that political conservatism is ideologically unrealistic, because of the conservative person's inability to adapt to changing human realities and refusal to offer a positive political program that benefits everyone in a society. In that context, Hayek used the term obscurantism differently, to denote and describe the denial of the empirical truth of scientific theory, because of the disagreeable moral consequences that might arise from acceptance of fact.

Deliberate obscurity
The second sense of obscurantism denotes making knowledge abstruse, that is, difficult to grasp. In the 19th and 20th centuries obscurantism became a polemical term for accusing an author of deliberately writing obscurely, in order to hide his or her intellectual vacuousness. Philosophers who are neither empiricists nor positivists often are considered obscurantists when describing the abstract concepts of their disciplines. For philosophic reasons, such authors might modify or reject verifiability, falsifiability, and logical non-contradiction. From that perspective, obscure (clouded, vague, abstruse) writing does not necessarily indicate that the writer has a poor grasp of the subject, because unintelligible writing sometimes is purposeful and philosophically considered.

Aristotle
Aristotle divided his own works into two classifications: "exoteric" and "esoteric". Most scholars have understood this as a distinction of intended audience, where exoteric works were written for the public, and the esoteric works were more technical works intended for use within the Lyceum. Modern scholars commonly assume these latter to be Aristotle's own (unpolished) lecture notes or, in some cases, possible notes by his students. However, the 5th-century neoplatonist Ammonius Hermiae writes that Aristotle's writing style is deliberately obscurantist so that "good people may for that reason stretch their mind even more, whereas empty minds that are lost through carelessness will be put to flight by the obscurity when they encounter sentences like these".

In contemporary discussions of virtue ethics, Aristotle's Nicomachean Ethics (The Ethics) stands accused of ethical obscurantism, because of the technical, philosophic language and writing style, and their purpose being the education of a cultured governing elite.

Kant
Immanuel Kant employed technical terms that were not commonly understood by the layman. Arthur Schopenhauer contended that post-Kantian philosophers such as Johann Gottlieb Fichte, Friedrich Wilhelm Joseph Schelling, and Georg Wilhelm Friedrich Hegel deliberately imitated the abstruse style of writing practiced by Kant.

Hegel

G. W. F. Hegel's philosophy, and the philosophies of those he influenced, especially Karl Marx, have been accused of obscurantism. Analytic and positivistic philosophers, such as A. J. Ayer, Bertrand Russell, and the critical-rationalist Karl Popper, accused Hegel and Hegelianism of being obscure. About Hegel's philosophy, Schopenhauer wrote that it is "a colossal piece of mystification, which will yet provide posterity with an inexhaustible theme for laughter at our times, that it is a pseudo-philosophy paralyzing all mental powers, stifling all real thinking, and, by the most outrageous misuse of language, putting in its place the hollowest, most senseless, thoughtless, and, as is confirmed by its success, most stupefying verbiage".

Nevertheless, biographer Terry Pinkard notes: "Hegel has refused to go away, even in analytic philosophy, itself." Hegel was aware of his perceived obscurantism and perceived it as part of philosophical thinking: to accept and transcend the limitations of quotidian (everyday) thought and its concepts. In the essay "Who Thinks Abstractly?", he said that it is not the philosopher who thinks abstractly, but the layman, who uses concepts as givens that are immutable, without context. It is the philosopher who thinks concretely, because he transcends the limits of quotidian concepts, in order to understand their broader context. This makes philosophical thought and language appear obscure, esoteric, and mysterious to the layman.

Marx

In his early works, Karl Marx criticized German and French philosophy, especially German Idealism, for its traditions of German irrationalism and ideologically motivated obscurantism. Later thinkers whom he influenced, such as the philosopher György Lukács and social theorist Jürgen Habermas, followed with similar arguments of their own. However, philosophers such as Karl Popper and Friedrich Hayek in turn criticized Marx and Marxist philosophy as obscurantist (however, see above for Hayek's particular interpretation of the term).

Heidegger
Martin Heidegger, and those influenced by him, such as Jacques Derrida and Emmanuel Levinas, have been labeled obscurantists by critics from analytic philosophy and the Frankfurt School of critical theory. Of Heidegger, Bertrand Russell wrote: "his philosophy is extremely obscure. One cannot help suspecting that language is here running riot. An interesting point in his speculations is the insistence that nothingness is something positive. As with much else in Existentialism, this is a psychological observation made to pass for logic." That is Russell's complete entry on Heidegger, and it expresses the sentiments of many 20th-century analytic philosophers concerning Heidegger.

Derrida
In their obituaries "Jacques Derrida, Abstruse Theorist, Dies at 74" (10 October 2004) and "Obituary of Jacques Derrida, French intellectual" (21 October 2004), The New York Times newspaper and The Economist magazine described Derrida as a deliberately obscure philosopher.

In Contingency, Irony, and Solidarity (1989), Richard Rorty proposed that in The Post Card: From Socrates to Freud and Beyond (1978), Jacques Derrida purposefully used undefinable words (e.g. différance) and used defined words in contexts so diverse that they render the words unintelligible, hence, the reader is unable to establish a context for his literary self. In that way, the philosopher Derrida escapes metaphysical accounts of his work. Since the work ostensibly contains no metaphysics, Derrida has, consequently, escaped metaphysics.

Derrida's philosophic work is especially controversial among American and British academics, as when the University of Cambridge awarded him an honorary doctorate, despite opposition from among the Cambridge philosophy faculty and analytical philosophers worldwide. In opposing the decision, philosophers including Barry Smith, W. V. O. Quine, David Armstrong, Ruth Barcan Marcus, René Thom, and twelve others, published a letter of protestation in The Times of London, arguing that "his works employ a written style that defies comprehension ... [thus] Academic status based on what seems to us to be little more than semi-intelligible attacks upon the values of reason, truth, and scholarship is not, we submit, sufficient grounds for the awarding of an honorary degree in a distinguished university."

In the New York Review of Books article "An Exchange on Deconstruction" (February 1984), John Searle comments on Deconstruction: "anyone who reads deconstructive texts with an open mind is likely to be struck by the same phenomena that initially surprised me: the low level of philosophical argumentation, the deliberate obscurantism of the prose, the wildly exaggerated claims, and the constant striving to give the appearance of profundity, by making claims that seem paradoxical, but under analysis often turn out to be silly or trivial".

Lacan
Jacques Lacan was an intellectual who defended obscurantism to a degree. To his students' complaint about the deliberate obscurity of his lectures, he replied: "The less you understand, the better you listen." In the 1973 seminar Encore, he said that his Écrits (Writings) were not to be understood, but would effect a meaning in the reader, like that induced by mystical texts. The obscurity is not in his writing style, but in the repeated allusions to Hegel, derived from Alexandre Kojève's lectures on Hegel, and similar theoretic divergences.

Sokal affair
The Sokal affair (1996) was a publishing hoax that the professor of physics Alan Sokal perpetrated on the editors and readers of Social Text, an academic journal of post-modern cultural studies that was not then a peer-reviewed publication. In 1996, as an experiment testing editorial integrity (fact-checking, verification, peer review, etc.), Sokal submitted "Transgressing the Boundaries: Towards a Transformative Hermeneutics of Quantum Gravity", a pseudoscientific article proposing that physical reality is a social construct, in order to learn whether Social Text would "publish an article liberally salted with nonsense if: (a) it sounded good, and, (b) it flattered the editors' ideological preconceptions". Sokal's fake article was published in the spring/summer 1996 issue of Social Text, which was dedicated to the science wars about the conceptual validity of scientific objectivity and the nature of scientific theory, among scientific realists and postmodern critics in American universities.

Sokal's reason for publication of a false article was that postmodernist critics questioned the objectivity of science, by criticising the scientific method and the nature of knowledge, usually in the disciplines of cultural studies, cultural anthropology, feminist studies, comparative literature, media studies, and science and technology studies. Whereas the scientific realists countered that objective scientific knowledge exists, riposting that postmodernist critics almost knew nothing of the science they criticized. In the event, editorial deference to "academic authority" (the author-professor) prompted the editors of Social Text not to fact-check Sokal's manuscript by submitting it to peer review by a scientist.

Concerning the lack of editorial integrity shown by the publication of his fake article in Social Text magazine, Sokal addressed the matter in the May 1996 edition of the Lingua Franca journal, in the article "A Physicist Experiments With Cultural Studies", in which he revealed that his transformative hermeneutics article was a parody, submitted "to test the prevailing intellectual standards", and concluded that, as an academic publication, Social Text ignored the requisite intellectual rigor of verification and "felt comfortable publishing an article on quantum physics without bothering to consult anyone knowledgeable in the subject".

Moreover, as a public intellectual, Sokal said that his hoax was an action protesting against the contemporary tendency towards obscurantism—abstruse, esoteric, and vague writing in the social sciences: In short, my concern over the spread of subjectivist thinking is both intellectual and political. Intellectually, the problem with such doctrines is that they are false (when not simply meaningless). There is a real world; its properties are not merely social constructions; facts and evidence do matter. What sane person would contend otherwise? And yet, much contemporary academic theorizing consists precisely of attempts to blur these obvious truths—the utter absurdity of it all being concealed through obscure and pretentious language.

As a pseudoscientific opus, the article "Transgressing the Boundaries: Towards a Transformative Hermeneutics of Quantum Gravity" is described as an exemplar "pastiche of left-wing cant, fawning references, grandiose quotations, and outright nonsense, centered on the claim that physical reality is merely a social construct".

title: Obscurantism


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Talk:Serge Reggiani

French Translations
This article should really be included in the French Wikipedia as well since he was a well known French celebrity. --Zerbey 13:21, 23 Jul 2004 (UTC)

I'm very grateful for the kind assistance of Claire Bavois for helping me translate the French names into English. --Zerbey 14:31, 23 Jul 2004 (UTC)

title: Talk:Serge Reggiani


text: Category:Dodge vehicles

title: Category:Dodge vehicles


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List of lakes of Minnesota

This is a list of lakes of Minnesota. Although promoted as the "Land of 10,000 Lakes", Minnesota has 11,842 lakes of 10 acre or more. The 1968 state survey found 15,291 lake basins, of which 3,257 were dry. If all basins over 2.5 acres were counted, Minnesota would have 21,871 lakes. The prevalence of lakes has generated many repeat names. For example, there are more than 200 Mud Lakes, 150 Long Lakes, and 120 Rice Lakes. All but four of Minnesota's 87 counties (Mower, Olmsted, Pipestone and Rock) contain at least one natural lake. Minnesota's lakes provide 44,926 miles of shoreline, more than the combined lake (~32,000 mi) and coastal (3,427 mi) shorelines of California.

Lakes whose coordinates are included below are visible in linked OSM map. Minnesota's lakes are cataloged by the state Department of Natural Resources with a unique DNR Division of Waters Lake Number, which is listed for a subset of lakes in the table below. Swimming, fishing, and/or boating are permitted in some of these lakes, but not all.

title: List of lakes of Minnesota


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The Giants of Jazz

The Giants of Jazz was a jazz all-star group of the 1970s which featured Art Blakey (drums), Dizzy Gillespie (trumpet), Al McKibbon (bass), Thelonious Monk (piano), Sonny Stitt (alto and tenor sax), and Kai Winding (trombone). They recorded albums for Atlantic Records, Concord Records. and Emarcy Records.

Discography

 * The Giants of Jazz (Atlantic, 1971)

title: The Giants of Jazz


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Missouri Bootheel

The Missouri Bootheel is a salient (protrusion) located in the southeasternmost part of the U.S. state of Missouri, extending south of 36°30′ north latitude, so called because its shape in relation to the rest of the state resembles the heel of a boot. Strictly speaking, it is composed of some or all of the counties of Dunklin, New Madrid, and Pemiscot. However, the term is locally used to refer to the entire southeastern lowlands of Missouri located within the Mississippi Embayment, which includes parts of Butler, Mississippi, Ripley, Scott, Stoddard and extreme southern portions of Cape Girardeau and Bollinger counties. The largest city in the region is Kennett.

Until the 1920s, the district was a wheat-growing area of family farms. Following the invasion of the boll weevil, which ruined the cotton crop in Arkansas, planters moved in. They bought up the land for conversion to cotton commodity crops, bringing along thousands of sharecroppers. After mechanization of agriculture and other changes in the 1930s, many black families left the area to go north in the Great Migration. These counties have predominantly white populations in the 21st century, although some have a significant number of black residents.

History
When Missouri was admitted to the Union as part of the Missouri Compromise, its original border was proposed as an extension of the 36°30′ parallel north that formed the border between Kentucky and Tennessee. That would have excluded the Bootheel. John Hardeman Walker, a pioneer planter in what is now Pemiscot County, argued that the area had more in common with the Mississippi River towns of Cape Girardeau, Ste. Genevieve and St. Louis in Missouri than with its proposed incorporation in the Arkansas Territory. The border was dropped about 50 miles to the 36th parallel north. It follows that parallel west about 30 miles until intersecting the St. Francis River, then follows that river north to about the 36°30′ parallel just west of Campbell, Missouri.

According to an apocryphal story in various versions, the Bootheel was added to the state because of the request of John Hardeman Walker to remain in the state "as he had heard it was so sickly in Arkansas"; "...full of bears and panthers and copperhead snakes, so it ain't safe for civilized people to stay there over night even." Another legend has the adaptation made by a lovestruck surveyor to spare the feelings of a widow living 50 miles south of the Missouri border, but unaware of it. At one time, the area was known locally as "Lapland, because it's the place where Missouri laps over into Arkansas".

During the American Civil War, a number of battles took place in this area, most notably the Battle of Island No. 10.

Until the early 20th century, the district was largely covered by wetlands and swamps, but otherwise was a wheat-growing area of family farms. Lumbering was important in the 1890s until the most valuable trees were taken.

In 1905, the Little River Drainage District built an elaborate network of ditches, canals, and levees to drain the swamps, as people believed, not understanding about the important function of wetlands in modifying river flooding, that the highest use was for agriculture.

From 1880 to 1930, the population in the area more than tripled as many workers were brought in. Cotton became the chief commodity crop. Meanwhile, the boll weevil ruined the cotton crop in Arkansas, and planters moved into the Bootheel, bought up the new lands or leased them from insurance companies that had invested in the area, and recruited thousands of black sharecroppers as workers.

During the 1910s, the Bootheel experienced a surge in racial violence as white tenant farmers attacked black workers who were imported by landowners from the South. This competition between white laborers and black laborers resulted in a period of extreme racial violence which took the form of lynchings in New Madrid, Charleston, and Caruthersville.

In contrast to the other cotton-growing areas of the South, where blacks had been disfranchised around the turn of the century, they were allowed to vote in Missouri and played a political role in this area. In the main, political power was held by white power brokers, especially Democrat J. V. Conran from the 1930s to 1960s. He worked closely with blacks in the region. An ally of Senator and President Harry S. Truman, Conran packed the ballot boxes but did bring efficiency and government services, and helped improve economic and social conditions.

During the Great Depression, the Farm Security Administration said that the Bootheel was a "paradox of rich land and poor people." In 1935, three-fourths of all farms were operated by tenants, most of them black. Radicals in the Southern Tenant Farmers Union organized protests by hundreds of sharecroppers in early 1939, alleging that landlords had evicted masses of tenants because they did not want to share federal AAA checks with them. The Farm Security Administration, a New Deal agency, responded by providing low-cost rental housing for 500 cropper families. It awarded $500,000 (equivalent to $ million in ) in grants to 11,000 families in 1939. The protest fizzled out as Communist and Socialist elements battled for control.

Geography and geology
Available samples from the Bootheel and most of the southeastern Missouri counties demonstrate late Tertiary (more than 1.8 mya) to Quaternary (1.8 mya to present) geology, much younger than neighboring highlands. The lowest point in the state is in southwestern Dunklin County along the St. Francis River near Arbyrd, at 230 feet above sea level. The bootheel area is notable for being the epicenter of the 1811–12 New Madrid earthquakes, some of the largest earthquakes ever felt in the United States.

Swamp reclamation and flooding

As glaciers receded towards the end of the Ice Age and turned ice into liquid, the Mississippi River grew longer and wider. Over time, the silt deposits of the Mississippi created some of the most fertile soil in the world, ideal for agriculture. The areas around the Mississippi are composed of thick regolith that is around 100 m thick. The Bootheel lies in the flood plain between the Mississippi and St. Francis rivers, so the land is very flat. Since clearing and drainage of wetlands in the early 20th century, it has been predominantly developed for agricultural purposes. Prior to the 20th century, it was mostly unsettled swampy forestland.

Between 1893 and 1989, developers cut about 85% of the native forests in the region; most clearing was done in the early decades of the 20th century. The entire landscape was transformed into farmland by extensive logging, draining of the watershed, channelization, and the construction of flood control structures. High levees along both river courses, an extensive system of drainage ditches and diversion channels, and controlled lakes, pumping stations and cutoffs protect the area from flooding. The soils are predominantly a rich and deep glacial loess, alluvial silt, and a sandy loam, well-suited for agricultural use.

But the levees have changed the nature of the rivers, and cumulatively have aggravated flooding problems. They also prevent regular silt deposits, as they have increased the speed of the rivers. The reduction in wetlands has reduced important habitats for many species of migratory birds and a variety of fish and animals.

Flooding is a major concern along the Mississippi River. With such a large river basin and the vast discharge of water, the river makes the towns along its banks highly susceptible to frequent flooding. The National Weather Service reported that from 1980 to 2002, nine floods in the United States had total losses exceeding one billion dollars. In terms of monetary loss and effects on society, the Great Flood of 1993 was the worst.

New Madrid fault zone
Earthquakes have long been frequent in the area. The New Madrid Fault Zone is named for the city of New Madrid in the Bootheel. This fault zone is entirely hidden beneath the deep alluvial deposits of the Mississippi embayment. Unlike the San Andreas Fault in California, it is not visible anywhere. This fault zone was responsible for an extremely powerful series of earthquakes that rocked the area in 1811 and 1812, known collectively as the New Madrid earthquake. It was reported to have been so powerful as to ring church bells along the East Coast. Subsidence formed Reelfoot Lake on the other side of the Mississippi River in West Tennessee. An eyewitness of the earthquakes of 1811 and 1812 noted: Great fissures opened the earth, geysers show mud and rocks hundreds of feet in the air, new hills and ridges heaved up out of the ground, and the river itself ran red with brimstone and sulfur. Whole islands in the river disappeared, the forests went under, the tall oaks snapped like twigs, and violent winds tossed bundles of fallen timbers. Deafening thunder rang to the heavens. Animals went crazy; thousands of birds hovered and screamed.

The states of Missouri, Arkansas, Mississippi, Alabama, Tennessee, Kentucky, Illinois, and Indiana felt the brunt of this quake, ruining lives and leaving residents in fear of aftershocks and possible larger quakes. The New Madrid Seismic Zone is still active and frequently produces small earthquakes. Scientists have estimated that a strong earthquake is inevitable and is overdue. Residents of the area are aware of the risk, but critics say they are not well prepared for a disaster. William Atkinson, author of The Next New Madrid Earthquake, writes:The area is well overdue for a moderately powerful tremor- which will cause major damage and undoubtedly some casualties...With each passing year, the inevitable earthquake is becoming more powerful, while the state of readiness in the Mississippi Valley remains woefully inadequate.

Given the population in the area, even a moderately sized earthquake would be disastrous.

Culture and economy
The Bootheel is on the edge of the Mississippi Delta culture that produced the Delta blues. Its relatively large black population makes it distinct from the rest of rural Missouri. The area has a unique rural black culture reflected in its music, churches and other traditions. The black population ranges from about 26% in Pemiscot County, to 15% in New Madrid County, and about 9% in Dunklin County.

The Bootheel once had a reputation for lawlessness. Remote settlements along the river banks, miles from paved roads, provided an ideal environment (and market) for moonshining and bootlegging.

Culturally, the Bootheel is considered more Southern than Midwestern. It was settled largely by people from the South, both black and white. It is considered part of the Mid-South, a region centered on the Memphis metropolitan area; it is also included in the area of the Upper South. Definitions of the Mid-South vary but in general include west Tennessee and Kentucky, north Mississippi, northeast Arkansas, and the Missouri Bootheel. The locations of the region's television stations had reflected this until the early 21st century prior to smaller, but closer cities obtaining local stations and before the digital transition in 2009:
 * CBS and Fox affiliates (KFVS-TV and KBSI, respectively) are located in Cape Girardeau (the prior affiliate was WREG-TV in Memphis)
 * ABC affiliates include WSIL-TV in Harrisburg, Illinois, and KAIT in Jonesboro, Arkansas (the prior affiliate was WATN in Memphis)
 * NBC affiliate WPSD-TV is in Paducah, Kentucky; digital subchannel KAIT-DT2 from Jonesboro is a secondary affiliate (the prior affiliate was WMC-TV in Memphis)

Economically, the agricultural area is one of the more impoverished parts of Missouri. It does not enjoy the benefits of tourism as do areas of the nearby Ozark Mountains. There is some manufacturing, but the area is primarily agricultural. Because of its alluvial past, the area's rich soil is ideal for growing soybeans, rice and cotton. Some truck crops are grown, most notably various types of melons, especially watermelons. A limited amount of livestock is raised. In contrast to much of the rest of Missouri, there are few fences.

No large cities are located in the Bootheel. Sizable towns include Kennett, the birthplace of singers Sheryl Crow, David Nail, and Trent Tomlinson; and Sikeston, the birthplace of professional athletes James Wilder Sr., Brandon Barnes, and Blake DeWitt. Sikeston's city limits fall within both Scott County and New Madrid County. Cape Girardeau and Poplar Bluff are often considered to be part of the Bootheel due to the influence the two cities have had on the development of the region, but neither is located within its geographic boundaries.

Hornersville, a small town in southern Dunklin County, was home to William H. "Major" Ray, a one-time 19th-century circus "midget". He later became known as the representative of the Buster Brown shoe brand. He and his wife, Jennie, are buried in a cemetery in Hornersville. Caruthersville is the county seat of Pemiscot County.

The small towns of Senath and Arbyrd are also located in Dunklin County. They are home to a locally celebrated ghost light, sometimes called the "Senath Light" or "Arbyrd light". It occurs between these two towns and closer to Hollywood near the Lulu Church and Cemetery.

The Missouri Bootheel is the home of two members of the musical group the Kentucky Headhunters, Doug and Ricky Phelps. They received their education at Southland C-9, the consolidated schools of Arbyrd and Cardwell, Missouri. They performed at the Cotton Pickin Festival in the small town of Arbyrd; a place where they spent much time while growing up. They both performed as Brother Phelps, and then Doug came back and performed with The Kentucky Headhunters. This festival is a major attraction and draws a huge crowd for a town of only about 550 people. Other prominent acts at Arbyrd include T. Graham Brown and The Bellamy Brothers.

Also in the northern part of Dunklin County lies the town of Malden, the home of country/rockabilly singer Narvel Felts. Felts' music has played worldwide, as he continues to tour.

title: Missouri Bootheel


text:
Talk:Hub

I'm not an expert in the field so I may be way off, but the article says that hubs connect Ethernet (Layer 2) segments, but later states that hubs provide a Layer 1 connection. What gives?

A hub is simply a multiport repeater :)

New page for network hubs?
Given that switches and routers have their own pages, should network hubs be on a separate page too? --65.147.5.120 03:40, 5 May 2005 (UTC) hi this waheed i want to share my advice to you that your hub is not ok —Preceding unsigned comment added by 125.209.67.159 (talk) 10:19, 13 December 2007 (UTC)

aircraft parts and video games..
can anyone backup the reference to computer games?

and in reference to part of an aircraft, is a hub a part that propellors attach to or is the hub the center of the propellor...?

anybody know?

Editing Wikipedia hyperlinks
I have just added to Wikipedia - Hub with: Cultural Capital web sites providing forms of knowledge skills and education. The hyperlink I hoped would go to Wikipedia Cultural Capital cannot find the Wikipedia page for Cultural Capital.

Could anyone please tell me what I am doing wrong or how I could fix the problem.

Thank you.

James

Editing Wikipedia hyperlinks
Wikipedia hyperlinks have to be exactly the same as the titles they link to. Even to the use and non use of capital letters.

Move discussion in progress
There is a move discussion in progress on Talk:3D Hubs which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 15:37, 18 May 2021 (UTC)

title: Talk:Hub


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Genus (music)

In the musical system of ancient Greece, genus (Greek: γένος [genos], pl. γένη [genē], Latin: genus, pl. genera "type, kind") is a term used to describe certain classes of intonations of the two movable notes within a tetrachord. The tetrachordal system was inherited by the Latin medieval theory of scales and by the modal theory of Byzantine music; it may have been one source of the later theory of the jins of Arabic music. In addition, Aristoxenus (in his fragmentary treatise on rhythm) calls some patterns of rhythm "genera".

Tetrachords
According to the system of Aristoxenus and his followers—Cleonides, Bacchius, Gaudentius, Alypius, Bryennius, and Aristides Quintilianus—the paradigmatic tetrachord was bounded by the fixed tones hypate and mese, which are a perfect fourth apart and do not vary from one genus to another. Between these are two movable notes, called parhypate and lichanos. The upper tone, lichanos, can vary over the range of a whole tone, whereas the lower note, parhypate, is restricted to the span of a quarter tone. However, their variation in position must always be proportional. This interval between the fixed hypate and movable parhypate cannot ever be larger than the interval between the two movable tones. When the composite of the two smaller intervals is less than the remaining (incomposite) interval, the three-note group is called pyknon (meaning "compressed").

The positioning of these two notes defined three genera: the diatonic, chromatic (also called chroma, "colour"), and enharmonic (also called ἁρμονία [harmonia]). The first two of these were subject to further variation, called shades—χρόαι (chroai)—or species—εἶδη (eidē). For Aristoxenus himself, these shades were dynamic: that is, they were not fixed in an ordered scale, and the shades were flexible along a continuum within certain limits. Instead, they described characteristic functional progressions of intervals, which he called "roads" (ὁδοί), possessing different ascending and descending patterns while nevertheless remaining recognisable. For his successors, however, the genera became fixed intervallic successions, and their shades became precisely defined subcategories. Furthermore, in sharp contrast to the Pythagoreans, Aristoxenos deliberately avoids numerical ratios. Instead, he defines a whole tone as the difference between a perfect fifth and a perfect fourth, and then divides that tone into semitones, third-tones, and quarter tones, to correspond to the diatonic, chromatic, and enharmonic genera, respectively.

Diatonic
Aristoxenus describes the diatonic genus (διατονικὸν γένος) as the oldest and most natural of the genera. It is the division of the tetrachord from which the modern diatonic scale evolved. The distinguishing characteristic of the diatonic genus is that its largest interval is about the size of a major second. The other two intervals vary according to the tunings of the various shades.

Etymology
The English word diatonic is ultimately from the διατονικός, itself from διάτονος, of disputed etymology.

Most plausibly, it refers to the intervals being "stretched out" in that tuning, in contrast to the other two tunings, whose lower two intervals were referred to as πυκνόν, from πυκνός. This takes τόνος, to mean "interval of a tone"; see Liddell and Scott's Greek Lexicon  and Barsky (second interpretation), below.

Alternatively, it could mean (as OED claims) "through the tones", interpreting διά as "through". See also Barsky: "There are two possible ways of translating the Greek term 'diatonic': (1) 'running through tones', i.e. through the whole tones; or (2) a 'tensed' tetrachord filled up with the widest intervals". The second interpretation would be justified by consideration of the pitches in the diatonic tetrachord, which are more equally distributed ("stretched out") than in the chromatic and enharmonic tetrachords, and are also the result of tighter stretching of the two variable strings. It is perhaps also sounder on linguistic morphological grounds. Compare diameter as "across/width distance".

A completely separate explanation of the origins of the term diatonic appeals to the generation of the diatonic scale from "two tones": "Because the musical scale is based entirely on octaves and fifths, that is, two notes, it is called the 'diatonic scale' ". But this ignores the fact that it is the element di- that means "two", not the element dia-, which has "through" among its meanings (see Liddell and Scott). There is a Greek term δίτονος, which is applied to an interval equivalent to two tones. It yields the English words ditone and ditonic (see Pythagorean comma), but it is quite distinct from διάτονος.

The Byzantine theorist George Pachymeres consider the term derived from διατείνω, meaning "to stretch to the end", because "...the voice is most stretched by it" ("... σφοδρότερον ἡ φωνὴ κατ’ αὐτὸ διατείνεται").

Yet another derivation assumes the sense "through the tones" for διάτονος, but interprets tone as meaning individual note of the scale: "The word diatonic means 'through the tones' (i.e., through the tones of the key)" (Gehrkens, 1914, see ; see also the Prout citation, at the same location). This is not in accord with any accepted Greek meaning, and in Greek theory it would fail to exclude the other tetrachords.

The fact that τόνος itself has at least four distinct meanings in Greek theory of music contributes to the uncertainty of the exact meaning and derivation of διατονικός, even among ancient writers: τόνος may refer to a pitch, an interval, a "key" or register of the voice, or a mode.

Shades or tunings
The diatonic tetrachord can be "tuned" using several shades or tunings. Aristoxenus (and Cleonides, following his example; see also Ptolemy's tunings) describes two shades of the diatonic, which he calls συντονόν (syntonón, from συντονός) and μαλακόν (malakón, from μαλακός). Syntonón and malakón can be translated as "tense" ("taut") and "relaxed" ("lax, loose"), corresponding to the tension in the strings. These are often translated as "intense" and "soft", as in Harry Partch's influential Genesis of a Music, or alternatively as "sharp" (higher in pitch) and "soft" ("flat", lower in pitch). The structures of some of the most common tunings are the following:

The traditional Pythagorean tuning of the diatonic, also known as Ptolemy's ditonic diatonic, has two identical 9:8 tones (see major tone) in succession, making the other interval a Pythagorean limma (256:243):

hypate parhypate                 lichanos                   mese 4:3      81:64                    9:8                      1:1   | 256:243  |          9:8          |          9:8           | -498       -408                    -204                       0 cents

However, the most common tuning in practice from about the 4th century BC to the 2nd century AD appears to have been Archytas's diatonic, or Ptolemy's "tonic diatonic", which has an 8:7 tone (see septimal whole tone) and the superparticular 28:27 instead of the complex 256:243 for the lowest interval:

hypate parhypate                 lichanos                   mese 4:3    9:7                        9:8                      1:1   | 28:27 |           8:7            |          9:8           | -498    -435                       -204                       0 cents

Didymus described the following tuning, similar to Ptolemy's later tense diatonic, but reversing the order of the 10:9 and 9:8, namely:

hypate     parhypate             lichanos                   mese 4:3         5:4                   9:8                      1:1   |   16:15    |         10:9        |          9:8           | -498         -386                  -204                       0 cents

Ptolemy, following Aristoxenus, also described "tense" and "relaxed" ("intense" and "soft") tunings. His "tense diatonic", as used in Ptolemy's intense diatonic scale, is:

hypate     parhypate                lichanos                mese 4:3         5:4                     10:9                   1:1   |   16:15    |          9:8           |        10:9         | -498         -386                     -182                    0 cents

Ptolemy's "relaxed diatonic" ("soft diatonic") was:

hypate   parhypate            lichanos                      mese 4:3      80:63                 8:7                         1:1   |  21:20   |         10:9       |           8:7             | -498       -413                 -231                          0 cents

Ptolemy described his "equable" or "even diatonic" as sounding foreign or rustic, and its neutral seconds are reminiscent of scales used in Arabic music. It is based on an equal division of string lengths (thus presumably simple to build and "rustic"), which implies a harmonic series of pitch frequencies:

hypate         parhypate            lichanos                mese 4:3             11:9                10:9                   1:1   |      12:11      |       11:10       |        10:9         | -498              -347                -182                    0 cents

Byzantine music
In Byzantine music most of the modes of the octoechos are based on the diatonic genus, apart from the second mode (both authentic and plagal) which is based on the chromatic genus. Byzantine music theory distinguishes between two tunings of the diatonic genus, the so-called "hard diatonic" on which the third mode and two of the grave modes are based, and the "soft diatonic" on which the first mode (both authentic and plagal) and the fourth mode (both authentic and plagal) are based. The hard tuning of the diatonic genus in Byzantine music may also be referred to as the enharmonic genus; an unfortunate name that persisted, since it can be confused with the ancient enharmonic genus.

Chromatic
Aristoxenus describes the chromatic genus (χρωματικὸν γένος or χρωματική) as a more recent development than the diatonic. It is characterized by an upper interval of a minor third. The pyknon (πυκνόν), consisting of the two movable members of the tetrachord, is divided into two adjacent semitones.

The scale generated by the chromatic genus is not like the modern twelve-tone chromatic scale. The modern (18th-century) well-tempered chromatic scale has twelve pitches to the octave, and consists of semitones of various sizes; the equal temperament common today, on the other hand, also has twelve pitches to the octave, but the semitones are all of the same size. In contrast, the ancient Greek chromatic scale had seven pitches (i.e. heptatonic) to the octave (assuming alternating conjunct and disjunct tetrachords), and had incomposite minor thirds as well as semitones and whole tones.

The (Dorian) scale generated from the chromatic genus is composed of two chromatic tetrachords:

 * E−F−G♭−A || B−C−D♭−E

whereas in modern music theory, a "chromatic scale" is:
 * E−F−G♭−A−B−C−D♭−E

Shades
The number and nature of the shades of the chromatic genus vary amongst the Greek theorists. The major division is between the Aristoxenians and the Pythagoreans. Aristoxenus and Cleonides agree there are three, called soft, hemiolic, and tonic. Ptolemy, representing a Pythagorean view, held that there are five.

Tunings
Theon of Smyrna gives an incomplete account of Thrasyllus of Mendes' formulation of the greater perfect system, from which the diatonic and enharmonic genera can be deduced.

For the chromatic genus, however, all that is given is a 32:27 proportion of mese to lichanos. This leaves 9:8 for the pyknon, but there is no information at all about the position of the chromatic parhypate and therefore of the division of the pyknon into two semitones, though it may have been the limma of 256:243, as Boethius does later. Someone has referred to this speculative reconstructions as the traditional Pythagorean tuning of the chromatic genus:

hypate  parhypate      lichanos                             mese 4:3      81:64         32:27                               1:1   | 256:243  |  2187:2048  |              32:27               | -498       -408          -294                                 0 cents

Archytas used the simpler and more consonant 9:7, which he used in all three of his genera. His chromatic division is:

hypate parhypate       lichanos                             mese 4:3    9:7             32:27                               1:1   | 28:27 |    243:224     |              32:27               | -498    -435             -294                                 0 cents

According to Ptolemy's calculations, Didymus's chromatic has only 5-limit intervals, with the smallest possible numerators and denominators. The successive intervals are all superparticular ratios:

hypate    parhypate lichanos                                mese 4:3         5:4      6:5                                   1:1   |   16:15    | 25:24  |                 6:5                 | -498         -386     -316                                    0 cents

Byzantine music
In Byzantine music the chromatic genus is the genus on which the second mode and second plagal mode are based. The "extra" mode nenano is also based on this genus.

Enharmonic
Aristoxenus describes the enharmonic genus ($[γένος] ἐναρμόνιον$; ) as the "highest and most difficult for the senses". Historically it has been the most mysterious and controversial of the three genera. Its characteristic interval is a ditone (or major third in modern terminology), leaving the pyknon to be divided by two intervals smaller than a semitone called dieses (approximately quarter tones, though they could be calculated in a variety of ways). Because it is not easily represented by Pythagorean tuning or meantone temperament, there was much fascination with it in the Renaissance.

In the modern tuning system of twelve-tone equal temperament, enharmonic refers to tones that are identical, but spelled differently. In other tuning systems, enharmonic notes, such as C♯ and D♭, may be close but not identical, differing by a comma (an interval smaller than a semitone, like a diesis).

Notation
Modern notation for enharmonic notes requires two special symbols for raised and lowered quarter tones or half-semitones or quarter steps. Some symbols used for a quarter-tone flat are a downward-pointing arrow ↓, or a flat combined with an upward-pointing arrow ↑. Similarly, for a quarter-tone sharp, an upward-pointing arrow may be used, or else a sharp with a downward-pointing arrow. Three-quarter flat and sharp symbols are formed similarly. A further modern notation involves reversed flat signs for quarter-flat, so that an enharmonic tetrachord may be represented:
 * D  E   F𝄫   G ,

or
 * A  B   C𝄫   D.

The double-flat symbol (𝄫) is used for modern notation of the third tone in the tetrachord to follow modern convention of keeping scale notes as a letter sequence, and to remind the reader that the third tone in an enharmonic tetrachord (say F𝄫, shown above) was not tuned quite the same as the second note in a diatonic or chromatic scale (the expected E♭ instead of F𝄫).

Scale
Like the diatonic scale, the ancient Greek enharmonic scale also had seven notes to the octave (assuming alternating conjunct and disjunct tetrachords), not 24 as one might imagine by analogy to the modern chromatic scale. A scale generated from two disjunct enharmonic tetrachords is:
 * D  E   F𝄫   G   ‖   A   B   C𝄫   D

or, in music notation starting on E: , with the corresponding conjunct tetrachords forming
 * A  B   C𝄫   |   D   |   E   F𝄫   G

or, transposed to E like the previous example:.

Tunings
The precise ancient Pythagorean tuning of the enharmonic genus is not known. Aristoxenus believed that the pyknon evolved from an originally pentatonic trichord in which a perfect fourth was divided by a single "infix"—an additional note dividing the fourth into a semitone plus a major third (e.g., E, F, A, where F is the infix dividing the fourth E–A). Such a division of a fourth necessarily produces a scale of the type called pentatonic, because compounding two such segments into an octave produces a scale with just five steps. This became an enharmonic tetrachord by the division of the semitone into two quarter tones (E, E↑, F, A).

Archytas used 9:7 in all three of his genera; here it is the mediant of 4:3 and 5:4, as (4+5):(3+4) = 9:7:

hypate parhypate lichanos                                   mese 4:3    9:7   5:4                                           1:1   | 28:27 |36:35|                     5:4                     | -498    -435  -386                                            0 cents

Didymus uses the same major third (5:4) but divides the pyknon with the arithmetic mean of the string lengths (if one wishes to think in terms of frequencies, rather than string lengths or interval distance down from the tonic, as the example below does, splitting the interval between the frequencies 4:3 and 5:4 by their harmonic mean 31:24 will result in the same sequence of intervals as below):

hypate parhypate lichanos                                   mese 4:3  31:24   5:4                                           1:1   |32:31 |31:30 |                     5:4                     | -498   -443   -386                                            0 cents

This method splits the 16:15 half-step pyknon into two nearly equal intervals, the difference in size between 31:30 and 32:31 being less than 2 cents.

Rhythmic genera
The principal theorist of rhythmic genera was Aristides Quintilianus, who considered there to be three: equal (dactylic or anapestic), sesquialteran (paeonic), and duple (iambic and trochaic), though he also admitted that some authorities added a fourth genus, sesquitertian.

title: Genus (music)


text: User talk:57.73.14.201

title: User talk:57.73.14.201


text:
Independence-class aircraft carrier

The Independence-class aircraft carriers were a class of light carriers built for the United States Navy that served during World War II.

Development

Adapted from the design for the Cleveland-class cruiser light cruisers, this class of ship resulted from the interest of President Franklin D. Roosevelt in naval air power. With war looming, Roosevelt, a former Assistant Secretary of the Navy, noted no new fleet aircraft carriers were expected to be completed before 1944. He proposed to convert some of the many cruisers then under construction to carriers. Studies of cruiser-size aircraft carriers had shown the type had serious limitations, and on 13 October 1941, the General Board of the United States Navy replied that such a conversion showed too many compromises to be effective.

Undeterred, President Roosevelt ordered another study. On 25 October 1941, the Navy's Bureau of Ships reported that aircraft carriers converted from cruiser hulls would be of lesser capability, but available much sooner. After the December 1941 attack on Pearl Harbor, the need for more carriers became urgent. The Navy accelerated construction of the 34,000-ton Essex-class aircraft carriers, but these large ships could not be finished quickly. The Cleveland-class light cruisers then under construction were adopted for this purpose.

Plans developed for this conversion showed much more promise than expected. Nine light cruisers were reordered as carriers in the first half of 1942. The Independence-class design had a relatively short and narrow flight deck and hangar, with a small island superstructure. The hangar, flight deck, and island represented a significant increase in the ship's topside weight. To compensate for this, blisters were added to the original cruiser hull, which increased the original beam by 5 ft. Ships of this class carried a small air group – only about 30 aircraft. This was originally set to consist of nine fighters, nine scout bombers, and nine torpedo bombers, but later revised to about two dozen fighters and nine torpedo bombers.

These were limited-capability ships, whose principal virtue was near-term availability. Their limited size made for seakeeping difficulties in the many typhoons of the Pacific, and their small flight decks led to a high aircraft accident rate. However, being based on a light cruiser, they were fast ships, much faster than the Casablanca-class escort carriers. The cruiser hull and engineering allowed them the speed necessary to operate with the main fleet carrier task groups. Their names followed the US Navy's policy of naming aircraft carriers after historic navy ships (Independence) or historic battles (Cowpens).

Service

Completed in the course of 1943, and coming into service with the first eight of the Essex-class carriers, the nine Independence-class ships made up a vital component of the Fast Carrier Task Force, which carried the Navy's offensive through the central and western Pacific from November 1943 through August 1945. Eight of these carriers participated in the Battle of the Philippine Sea in June 1944, which effectively ended Japan's carrier air power. The light carriers provided 40 percent of the Fast Carrier Task Force's fighters and 36 percent of the torpedo bombers. The protection on these carriers was modest, and munitions often had to be stowed at the hangar level, a factor that contributed greatly to the loss of Princeton in October 1944.

Ships in class
The nine ships of the Independence class were all converted from Cleveland-class light cruisers building at the New York Shipbuilding Corporation shipyard, Camden, New Jersey. Initially classified as "aircraft carriers" (CV), all were re-designated "small aircraft carriers" (CVL) on 15 July 1943 while four ships were still under construction.

 * Independence (CV/CVL-22) – Postwar, she was surplus to the Navy's requirements and expended in the nuclear test Operation Crossroads in July 1946. The ship survived both tests with little damage. She was used as a radiation research hulk for several years afterward and expended as a target in January 1951.
 * Princeton (CV/CVL-23) – Destroyed as a result of Japanese air attack 24 October 1944 during Battle of Leyte Gulf.
 * Belleau Wood (CV/CVL-24) – Decommissioned to reserve in January, 1947. Transferred to French Navy as FRENCH AIRCRAFT CARRIER Bois Belleau in June 1951.  Returned to the US Navy for scrapping September 1960.
 * Cowpens (CV/CVL-25) – Decommissioned to reserve in January, 1947. Stricken and scrapped starting November 1959.
 * Monterey (CV/CVL-26) – Decommissioned to reserve February 1947. Recommissioned as training carrier September 1950, decommissioned to reserve again January 1956.  Re-designated aircraft transport AVT-2 May 1959. Stricken June 1970.
 * Langley CVL-27 – Decommissioned to reserve February 1947. Transferred to France as FRENCH AIRCRAFT CARRIER La Fayette on 2 June 1951.  Returned to USN and stricken March 1963, scrapped at Baltimore in 1964.
 * Cabot CVL-28 – Decommissioned to reserve February 1947, recommissioned and modernised as anti-submarine warfare (ASW) carrier October 1948. Decommissioned to reserve January 1955, modernised 1965–1967 and transferred to Spain as SPANISH AIRCRAFT CARRIER Dédalo on 30 August 1967.  Stricken from Naval Vessel Register and sold to Spain August 1972.  Decommissioned for preservation at New Orleans August 1989, preservation efforts failed. Scrapped at Brownsville, Texas starting October 2000.
 * Bataan CVL-29 – Decommissioned to reserve February 1947, recommissioned and modernised as ASW carrier May 1950. Decommissioned to reserve April 1954.  Stricken for scrapping September 1959.
 * San Jacinto CVL-30 – Decommissioned to reserve March 1947. Stricken June 1970.

Disposal
There was little margin for growth, as the ships' post-war careers showed. Independence was expended as an atomic bomb target, and the rest were laid up in 1947. Five returned to service in 1948–53, two with the French Navy. Two were used as training carriers, while Bataan saw Korean War combat duty with Marine Corps air groups. She and Cabot received anti-submarine warfare modernizations in the early 1950s, emerging with two funnels instead of the original four. All but the French ships were decommissioned in 1954–56 and were reclassified as aircraft transports in 1959. Cabot got a new lease on life in 1967, when she became the Spanish Navy's carrier Dédalo, serving until 1989 (in Spanish service, she was the first carrier to regularly deploy the Harrier jump jet). Despite efforts to preserve her, Cabot was scrapped at Brownsville in 1999–2003. Preservation efforts continued until the hull was half scrapped.

title: Independence-class aircraft carrier


text:
Garrett Motion

Garrett Motion Inc., formerly Honeywell Transportation Systems and Honeywell Turbo Technologies, is an American company primarily involved in engineering, development and manufacturing of turbochargers and related forced induction systems for ground vehicles from small passenger cars to large trucks and industrial equipment and construction machinery. It originated as part of Garrett AiResearch's Industrial Division in Phoenix, Arizona, in 1954, after which they entered a contract to provide 5,000 turbochargers for the Caterpillar mining vehicle. It manufactured turbochargers for railroads and commercial trucks. The business produced approximately $3.6 billion in revenue in 2021. Garrett Motion is also involved in motorsports providing turbochargers and forced induction systems, solutions and related equipment to racing teams and various forms of automobile racing and professional competitions. In 2004, the business became part of American industrial conglomerate Honeywell International, Inc., as their Transportation Systems division. In 2018, it was spun off to become an independent company under the Garrett Motion name with corporate headquarters in Rolle, Switzerland.

History
John Clifford "Cliff" Garrett founded the Aircraft Tool and Supply Company in a one-room office in Los Angeles in 1936. In 1938, the company changed its name to Garrett Corporation, consolidating several companies into one with three divisions. The company produced aircraft turbochargers for the war effort in World War II, as well as avionics, environmental controls and other products.

In the 1950s, the city of Los Angeles and other municipalities started using turbochargers in their sewage purification operations. By 1952, 20,000 turbocharged engines were in use in the US. In order to explore applications of turbochargers for diesel engines, Garrett separated the turbocharger group from the gas turbine group on September 27, 1954, to form the AiResearch Industrial Division (AID).

The first T-15 Turbocharger was delivered to the Caterpillar Company in 1955. It was followed by an order for 5,000 production units, to be installed in the Caterpillar D9 tractor. The industrial division produced turbochargers for construction machinery, railroad locomotives, tractors, ships, powerplants and oil pipeline pumping stations.

The T11 automotive turbocharger developed in 1960 expanded turbos to commercial vehicles such as the heavy trucks produced by Mack Trucks, Volvo and Scania. The first turbocharged passenger cars were the Chevrolet Corvair Monza and the Oldsmobile Jetfire in 1962/1963. In the 1960s turbochargers were used in race-cars and sports cars, gaining an association with racing culture and auto-enthusiasts. Company founder Cliff Garrett's death in 1963 was followed by a hostile takeover threat by Curtiss-Wright Corporation. To avoid this, Garrett Corporation merged with Signal Oil and Gas Company in 1964. The combined company adopted the name The Signal Companies in 1968 before merging with Allied Corporation to become Allied-Signal Inc.

The oil crisis of the 1970s made federal regulators put pressure on car manufacturers to reduce exhaust emissions. By 1977 manufacturers introduced turbocharged cars in the US and Europe like the second generation Buick Regal and LeSabre sports coupe as well as European cars by Volvo, Saab, Peugeot, Renault and Mercedes. In 1978 there were only eight turbocharged car models and seven used Garrett turbochargers. Garrett formed the automotive group in 1980 and by the mid-1980s there were over 100 turbocharged models. Turbochargers became commonplace by the 1990s. In 1994, Allied-Signal acquired the Lycoming Turbine Engine Division of Textron followed by the sale of the Garrett Aviation Division to General Electric three years later. In 1999, it merged with Honeywell International Inc. and adopted Honeywell as the company name. In 2011, Honeywell sold its automotive Consumer Products Group to Rank Group, a New Zealand private investment firm, for $950 million. This included brands like Fram Filters, Prestone antifreeze and Autolite spark plugs.

In the 2000s Garrett's turbochargers were installed in the engines of the Chevrolet Sonic, Mercedes S 350, Volkswagen Polo, BMW X6 ActiveHybrid, Ford F-350, Volkswagen Golf and Jaguar XF among others. In 2010 the company developed 15 new technologies for 100 new engines, including the world's first use of ball bearing technology in a mainstream light vehicle diesel engine. Garrett has developed the world's smallest turbo for the Tata Nano as well as for the 100-liter engine of the Caterpillar mining truck.

On October 1, 2018, Garrett Motion Inc. became an independent publicly-traded company through a pro rata distribution of Garrett shares to Honeywell's stockholders. Each Honeywell stockholder of record received one share of Garrett common stock for every 10 shares of Honeywell common stock held on the record date. Approximately 74 million shares of Garrett common stock were distributed on October 1, 2018, to Honeywell stockholders.

On September 21, 2020, Garrett Motion announced its intention to file for Chapter 11 bankruptcy and be acquired by KPS Capital Partners.

In April 2021, Garrett emerged from Chapter 11, completing the restructuring process and implementing the restructuring plan that was confirmed by the U.S. Bankruptcy Court for the Southern District of New York on April 23, 2021. The company raised 1.3 bln in equity during Chapter 11 restructuring.

Turbo racing
The Garrett brand competes in numerous motorsport series and supports sports car racing, drag racing, rally racing, and open-wheel racing. Racing vehicles using a Garrett turbo include:

Technologies and products

Garrett offers gasoline-powered turbochargers called wastegate turbos. They are designed to be smaller than previous turbo generations, have higher fuel efficiency, more torque, and meet emissions standards. Garrett also offers Variable-geometry turbochargers called VNT. They have nine moveable vanes, an electrohydraulic actuator and a proportional solenoid for variable control throughout the engine's power curve. This means the air passageway of the turbo varies to meet the engine's needs at different RPMs. Forty million VNT turbochargers have been sold since the 1990s. VNT DutyDrive, previously called Double Axle VNT, uses 12–19 turbine nozzle vanes supported by twin axles for trucks and buses.

Garrett also offers a diesel engine version of wastegate turbos and VNTs. Dual-stage turbochargers use two smaller turbochargers either side-by-side (parallel) or in sequence (serial). The first is used at low speeds and a valve opens up the second as engine RPMs increase. The dual-stage used in the Audi A6/A7 three liter V6 engine however runs both turbochargers at a lower pressure mode and some use one larger turbo followed by a smaller one. The Dualboost has dual compressors to mimic a twin turbocharger.

Patents
Garrett Motion has patented a single-cartridge, dual ball bearing technology, which uses a single sleeve system with a set of angular ball bearings on either end. This creates a rolling rather than sliding mechanism between parts intended to reduce the amount of pressure required to achieve airflow.

title: Garrett Motion


text:
List of monarchs of Tahiti

This is a list of monarchs of Tahiti, all of which belonged to the Pōmare dynasty. They carried the title Ari'i rahi.

Current status
In 2006, Tauatomo Mairau claimed to be the heir to the Tahitian throne, and attempted to re-assert the status of the monarchy in court. His claims were not recognized by France. On 28 May 2009, Joinville Pōmare, an adopted member of the Pōmare family, declared himself King Pōmare XI, during a ceremony attended by descendants of leading chiefs but spurned by members of his own family. Other members of the family recognised his uncle, Léopold Pōmare, as heir to the throne.

He attempted to have royal trust lands returned to him and his family. The French government mortgaged the land after World War II, and in doing so violated the terms of the agreement signed with Pōmare V in 1880 which reserved control of the trust lands for the royal family of Tahiti. The banks may be in the process of freezing the assets, and Mairau sued to prevent native Tahitians from being evicted from his trust lands, and wished for them to retain their usage rights over the land.

title: List of monarchs of Tahiti


text: Category:Saudi Arabian politicians

title: Category:Saudi Arabian politicians


text: User talk:61.1.232.197

title: User talk:61.1.232.197


text:
Al McKibbon

Al McKibbon (January 1, 1919 – July 29, 2005) was an American jazz double bassist, known for his work in bop, hard bop, and Latin jazz.

In 1947, after working with Lucky Millinder, Tab Smith, J. C. Heard, and Coleman Hawkins, he replaced Ray Brown in Dizzy Gillespie's band, in which he played until 1950. In the 1950s he recorded with the Miles Davis nonet, Earl Hines, Count Basie, Johnny Hodges, Thelonious Monk, Mongo Santamaria, George Shearing, Cal Tjader, Herbie Nichols and Hawkins. McKibbon was credited with interesting Tjader in Latin music while he played in Shearing's group.

In 1999, the first album in his own name, Tumbao Para Los Congueros De Mi Vida, was released. McKibbon's second album, Black Orchid, was released in 2004.

As leader

 * Tumbao Para Los Congueros De Mi Vida (Blue Lady, 1999)
 * Black Orchid (Departure Records, 2004)

As sideman
With Nat Adderley With Lorez Alexandria With The Byrds With Sonny Criss With Miles Davis With Victor Feldman With Dizzy Gillespie With Coleman Hawkins With Johnny Hodges With The Jazz Crusaders With Charles Kynard and Buddy Collette With Thelonious Monk With Randy Newman With The Night Blooming Jazzmen With Herbie Nichols With Shuggie Otis With Van Dyke Parks With Freddie Redd With Martha Reeves With George Shearing With George Shearing and Dakota Staton With Robert Stewart With Billy Taylor With Cal Tjader With Jack Wilson
 * To the Ivy League from Nat (EmArcy, 1956)
 * Alexandria the Great (Impulse!, 1964)
 * More of the Great Lorez Alexandria (Impulse!, 1964)
 * The Notorious Byrd Brothers (Columbia Records, 1968)
 * Sonny's Dream (Birth of the New Cool) (Prestige, 1968)
 * Birth of the Cool (Capitol, 1957)
 * Latinsville! (Contemporary, 1960)
 * Carter, Gillespie Inc. (Pablo, 1976) with Bennie Carter
 * The Complete RCA Victor Recordings (Bluebird, 1995)
 * The Coleman Hawkins, Roy Eldridge, Pete Brown, Jo Jones All Stars at Newport (Verve, 1957)
 * Castle Rock (Norgran, 1955)
 * Chile Con Soul (Pacific Jazz, 1965)
 * Warm Winds (World Pacific, 1964)
 * Genius of Modern Music: Volume 2 (Blue Note, 1955)
 * The Giants of Jazz (Atlantic) with Art Blakey, Dizzy Gillespie, Sonny Stitt and Kai Winding (Atlantic, 1971)
 * The London Sessions (Black Lion) with Art Blakey (1971)
 * 12 Songs (Reprise, 1970)
 * The Night Blooming Jazzmen (1971)
 * The Prophetic Herbie Nichols Vol. 1 (Blue Note, 1955)
 * The Prophetic Herbie Nichols Vol. 2 (Blue Note, 1955)
 * Herbie Nichols Trio (Blue Note, 1956)
 * Here Comes Shuggie Otis (Epic, 1969)
 * Discover America (Warner Bros., 1972)
 * Live at the Studio Grill (Triloka, 1990)
 * We Meet Again (Fantasy, 1978)
 * Latin Escapade (1956)
 * On the Sunny Side of the Strip (Capitol, 1960)
 * In the Night (Capitol, 1958)
 * The Movement (Exodus, 2002)
 * Piano Panorama (Atlantic, 1952)
 * Cal Tjader, Vibist (Savoy, 1954)
 * Cal Tjader Plays Afro-Cuban (Fantasy, 1955)
 * Ritmo Caliente! (Fantasy, 1956)
 * Tjader Plays Tjazz (Fantasy, 1956)
 * Mas Ritmo Caliente (Fantasy, 1957)
 * Latin for Lovers (Fantasy, 1958)
 * Cal Tjader's Latin Concert (Fantasy, 1958)
 * A Night at the Blackhawk (Fantasy, 1958)
 * Cal Tjader Goes Latin (Fantasy, 1959)
 * Cal Tjader's Concert by the Sea (Fantasy, 1959)
 * Cal Tjader's Concert by the Sea, Vol. 2 (Fantasy, 1959)
 * Demasiado Caliente (Fantasy, 1960)
 * Cal Tjader Plays Harold Arlen (Fantasy, 1960)
 * In a Latin Bag (Verve, 1961)
 * Live at the Monterey Jazz Festival 1958-1980 (Concord, 2008)
 * The Jack Wilson Quartet featuring Roy Ayers (Atlantic, 1963)

title: Al McKibbon