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Baltica

Baltica is a paleocontinent that formed in the Paleoproterozoic and now constitutes northwestern Eurasia, or Europe north of the Trans-European Suture Zone and west of the Ural Mountains. The thick core of Baltica, the East European Craton, is more than three billion years old and formed part of the Rodinia supercontinent at c. 1 Ga.

Tectonic history
Baltica formed at c. 2.0–1.7 Ga by the collision of three Archaean-Proterozoic continental blocks: Fennoscandia (including the exposed Baltic Shield), Sarmatia (Ukrainian Shield and Voronezh Massif), and Volgo-Uralia (covered by younger deposits). Sarmatia and Volgo-Uralia formed a proto-craton (sometimes called "Proto-Baltica") at c. 2.0 Ga which collided with Fennoscandia c. 1.8–1.7 Ga. The sutures between these three blocks were reactivated during the Mesoproterozoic and Neoproterozoic.

750–600 million years ago, Baltica and Laurentia rotated clockwise together and drifted away from the Equator towards the South Pole where they were affected by the Cryogenian Varanger glaciations. Initial rifting between the two continents is marked by the c. 650 Ma Egersund dike swarm in southern Norway and from 600 Ma they began to rotate up to 180° relative to each other, thus opening the Iapetus Ocean between the two landmasses. Laurentia quickly moved northward into low latitudes but Baltica remained an isolated continent in the temperate mid-latitudes of the Southern Hemisphere, closer to Gondwana, on which endemic trilobites evolved in the Early and Middle Ordovician.

During the Ordovician, Baltica moved northward, approaching Laurentia, which again allowed trilobites and brachiopods to cross the Iapetus Ocean. In the Silurian, c. 425 Ma, the final collision between Scotland-Greenland and Norway resulted in the closure of the Iapetus and the Scandian Orogeny.

Margins
Baltica is a very old continent and its core is a very well-preserved and thick craton. Its current margins, however, are the sutures that are the result of mergers with other, much younger continental blocks. These often deformed sutures do not represent the original, Precambrian–early Palaeozoic extent of Baltica; for example, the curved margin north of the Urals running parallel to Novaya Zemlya was probably deformed during the eruption of the Siberian Traps in the Late Permian and Early Triassic.

Baltica's western margin is the Caledonide orogen, which stretches northward from the Scandinavian Mountains across Barents Sea to Svalbard. Its eastern margin is the Timanide orogen which stretches north to the Novaya Zemlya archipelago. The extent of the Proterozoic continent are defined by the Iapetus Suture to the west; the Trollfjorden-Komagelva Fault Zone in the north; the Variscan-Hercynian suture to the south; the Tornquist Zone to the southwest; and the Ural Mountains to the east.

Northern margin
At c. 555 Ma during the Timanian Orogeny the northern margin became an active margin and Baltica expanded northward with the accretion of a series of continental blocks: the Timan-Pechora Basin, the northernmost Ural Mountains, and the Novaya Zemlya islands. This expansion coincided with the Marinoan or Varanger glaciations, also known as Snowball Earth.

Terranes of the North American Cordillera, including Alaska-Chukotka, Alexander, Northern Sierra, and Eastern Klamath, share a rift history with Baltica and most likely were part of Baltica from the Caledonian orogeny until the formation of the Ural Mountains. These terranes can be linked to either northeastern Laurentia, Baltica, or Siberia because of a similar sequence of fossils; detrital zircon from 2–1 Ga-old sources and evidence of Grenvillian magmatism; and magmatism and island arcs from the Late Neoproterozoic and Ordovician-Silurian.

Southern margin
From at least 1.8 Ga to at least 0.8 Ga the southwestern margin of Baltica was connected to Amazonia while the southeast margin was connected to the West African Craton. Baltica, Amazonia, and West Africa rotated 75° clockwise relative to Laurentia until Baltica and Amazonia collided with Laurentia in the 1.1–0.9 Ga Grenville-Sveconorwegian-Sunsás orogenies to form the supercontinent Rodinia. When the break-up of Rodinia was complete c. 0.6 Ga Baltica became an isolated continent — a 200 million year period when Baltica was truly a separate continent. Laurentia and Baltica formed a single continent until 1.265 Ga which broke up some time before 0.99 Ga. After the subsequent closure of the Mirovoi Ocean Laurentia, Baltica and Amazonia remained merged until the opening of the Iapetus Ocean in the Neoproterozoic.

Western margin
The Western Gneiss Region in western Norway is composed of 1650–950 Ma-old gneisses overlain by continental and oceanic allochthons that were transferred from Laurentia to Baltica during the Scandian orogeny. The allochthons were accreted to Baltica during the closure of the Iapetus Ocean c. 430–410 Ma; Baltica's basement and the allochthons were then subducted to UHP depth c. 425–400 Ma; and they were finally exhumed to their present location c. 400–385 Ma. The presence of micro-diamonds in two islands in western Norway, Otrøya and Flemsøya, indicate that this margin of Baltica was buried c. 120 km for at least 25 million years around 429 Ma shortly after the Baltica-Laurentia collision.

The Baltica-Laurentia-Avalonia triple junction in the North Sea is the southwest corner of Baltica. The Baltica-Laurentia suture stretching northeast from the triple junction was deformed in the Late Cambrian in the Scandinavian Caledonides as well as in the Scandian Orogeny during the Silurian. Some Norwegian terranes have faunas distinct from those of either Baltica or Laurentia as a result of being island arcs that originated in the Iapetus Ocean and were later accreted to Baltica. The Baltica craton most likely underlies these terranes and the continent-ocean boundary passes several kilometres off Norway, but, since the North Atlantic opened c. 54 Ma where the Iapetus Ocean closed, it is unlikely the craton also reached into Laurentia. The margin stretches north to Novaya Zemlya where early Palaeozoic Baltica faunas have been found, but the sparsity of data makes it difficult to locate the margin in the Arctic. Ordovician faunas indicate that most of Svalbard, including Bjørnøya, was part of Laurentia, but Franz Josef Land and Kvitøya (an eastern island of the Svalbard archipelago) most likely became part of Baltica in the Timanide Orogeny. The Taymyr Peninsula, in contrast, never was part of Baltica: southern Taymyr was part of Siberia whilst northern Taymyr and the Severnaya Zemlya archipelago were part of the independent Kara Terrane in the early Palaeozoic.

Eastern margin
The eastern margin, the Uralide orogen, extends 2500 km from the Arctic Novaya Zemlya archipelago to the Aral Sea. The orogen contains the record of at least two collisions between Baltica and intra-oceanic island arcs before the final collision between Baltica and Kazakhstania-Siberia during the formation of Pangaea. The Silurian-Devonian island arcs were accreted to Baltica along the Main Uralian Fault, east of which are metamorphosed fragments of volcanic arc mixed with small amounts of Precambrian and Paleozoic continental rocks. However, no rocks unambiguously originating from either Kazakhstania or Siberia have been found in the Urals. The basement of the eastern margin is composed of an Archaean craton, metamorphosed rocks at least 1.6 Ga old, which is surrounded by the fold belt of the Timanide orogeny and overlain by Mesoproterozoic sediments. The margin became a passive margin facing the Ural Ocean in the Cambrian–Ordovician.

The eastern margin stretches south through the Ural Mountains from the northern end of the Novaya Zemlya archipelago. The margin follows the bent shape of Novaya Zemlya which was caused in the Late Permian by the Siberian Traps. It is clear from Baltic endemic fossils in Novaya Zemlya that the islands have been part of Baltica since the Early Palaeozoic, whereas the Taymyr Peninsula farther east was part of the passive margin of Siberia in the Early Palaeozoic. Northern Taymyr, together with Severnaya Zemlya and parts of the crust of the Arctic Ocean, formed the Kara Terrane.

The Urals Mountains formed in the mid and late Palaeozoic when Laurussia collided with Kazakhstania, a series of terranes. The eastern margin, however, originally extended farther east to an active margin bordered by island arcs, but those parts have been compressed, fractured, and distorted especially in the eastern Urals. The early Palaeozoic eastern margin is better preserved south of the polar region (65 °N) where shallow-water sediments can be found in the western Urals whilst the eastern Urals are characterised by deep-water deposits. The oldest known mid-ocean hydrothermal vent in the south-central part of the Urals clearly delimits the eastern extent. The straightness of the mountain chain is the result of continuous strike-slip movements during the Late Carboniferous to Early Permian (300–290 Ma).

Baltic endemic faunas from the Early Ordovician have been found in Kazakhstan near the southern end of the eastern margin, or the triple junction between Baltica, the Mangyshlak Terrane, and the accretionary Altaids. Here the Early Palaeozoic rocks are buried under the Caspian Depression.

title: Baltica


text: Category:Australian actors

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

title: Category:Australian actors


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Albert of Saxony

Albert of Saxony may refer to:

 * Albert, King of Saxony (1828–1902)
 * Albert I, Duke of Saxony (ca. 1175–1260)
 * Albert II, Duke of Saxony (ca. 1250–1298)
 * Albert III, Duke of Saxony (1443–1500)
 * Prince Albert of Saxony, Duke of Teschen (1738–1822)
 * Albert von Sachsen (born 1934) (1934–2012)
 * Albert of Saxony (philosopher) (1316–1390)
 * Albert of Saxe-Wittenberg (disambiguation)
 * Albert of Saxe-Altenburg (1843–1902)
 * Albert of Saxe-Coburg and Gotha (1819–1861)
 * Prince Albert of Saxony (1875–1900)

Albrecht von Sachsen

title: Albert of Saxony


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Deeper Water

Deeper Water, the tenth studio album by Paul Kelly, was released on 12 September 1995 on White Label Records in Australia and on Vanguard Records in North America. It peaked at No. 40 on the ARIA Albums Chart and provided his second consecutive nomination as Best Male Artist at the ARIA Music Awards of 1996. In New Zealand Deeper Water reached No. 30 on the Official New Zealand Music Chart. Kelly issued its lead single, "Give in to My Love", in October 1995 and followed with "Deeper Water" later that year.

Background
Paul Kelly started recording his tenth studio album, Deeper Water, in September 1994. Two months earlier he had released his previous studio album, Wanted Man, which includes a track co-produced and co-written with Randy Jacobs (member of Was (Not Was)). For Deeper Water, Kelly and Jacobs co-wrote the title track; and they produced and wrote two further tracks, "Extra Mile" and "I've Been a Fool". Kelly used Kerryn Tolhurst (ex-The Dingoes) as producer for "Difficult Woman" and co-produced with him on "Give in to My Love". A third co-producer, Simon Polinski (Yothu Yindi), worked on a track, "Gathering Storm", which Kelly had co-written with Mart Saarelaht (leader of Jex Saarelaht Trio). All the other tracks were produced by Kelly; for the album he used the Platinum and Periscope Studios in Melbourne.

Kelly explained the title track's symbolism: "My father taught me to swim. Four of my brothers and sisters were older than me and three younger. I couldn't wait to learn so I could join the older ones who would all rush straight up to the deep end. Deeper water to me meant danger, meant power, meant growing up ... Everytime you move through the big rituals in life it’s like a move into deeper water." One of the album tracks, "Madeleine's Song", was written for his elder daughter, Madeleine Kelly. Another track, "Difficult Woman", was written for, and recorded by, Renée Geyer on her album of the same name, which had been produced by Kelly and was released in August 1994. Geyer later used the title for her autobiography, Confessions of a Difficult Woman (April 2000).

In May 1995 Kelly formed a touring backing band with Jacobs on guitar; Stephen Hadley on bass guitar; Bruce Haymes on keyboards; Graham Lee on lap and pedal steel; and Peter Luscombe on drums. They played a series of sets at the Esplanade Hotel, their performance on 25 May was recorded live for Live at the Continental and the Esplanade (late 1995). Kelly issued Deeper Water's lead single, "Give in to My Love", in October 1995 and followed with "Deeper Water" later that year. To promote the releases he toured Australia from January in the following year.

Reception
The Canberra Times' Sharon Palmer noticed that "No real surprises or sounds appear on Deeper Water, however a number of songs are notable for the absence of back-up singers on them with Kelly providing all the vocals." William Ruhlmann of AllMusic opined that Kelly used "a more consistent musical style than he had employed on Wanted Man." Ruhlmann continued "most of the songs had folk-rock arrangements, and most concerned romantic subjects, within which Kelly's primary concerns were lust and betrayal." Mark Mordue writing in The Sydney Morning Herald felt that "the songs from Deeper Water have become part of our lives" displaying Kelly's "poet of the common man credentials are built on both good writing and accuracy." Mordue expanded by describing its "take on family, growing older and love also has a dark edge to it, something in the territory around the songs, that gives the album an unusual intensity and warmth." Deeper Water peaked at No. 40 on the ARIA Albums Chart and provided his second consecutive nomination as Best Male Artist at the ARIA Music Awards of 1996. In New Zealand Deeper Water reached No. 30 on the Official New Zealand Music Chart. Neither of the singles, "Give in to My Love" and "Deeper Water", appeared on the ARIA Singles Chart top 100.

Personnel

 * Musicians
 * Steve Hadley – bass guitar, backing vocals
 * Bruce Haymes – keyboards, backing vocals
 * Randy Jacobs – vocals, guitar
 * Paul Kelly – vocals, guitars, harmonica
 * Graham Lee – electric steel, vocals
 * Peter Luscombe – drums, percussion
 * Shane O'Mara – guitars

 * Production details
 * Paul Kelly – producer (except track 7)
 * Randy Jacobs – producer (tracks 2, 9)
 * Kerryn Tolhurst – producer (tracks 7-8)
 * Simon Polinski – producer (track 12), engineer, mixer (Platinum Studios – June 1995)
 * Adam Rhodes – assistant mixer
 * Don Bartley – mastering (Studios 301)

 * Artwork
 * Debbie Ladd – design
 * Jacquie Mitelman – photography

title: Deeper Water


text:
Charles Hibbert Tupper

Sir Charles Hibbert Tupper (August 3, 1855 – March 30, 1927) was a Canadian lawyer and politician.

Family, early career
Tupper was the second son of Sir Charles Tupper, a physician, leading Conservative politician, and Canadian diplomat. The elder Tupper served as premier of Nova Scotia, was a Father of Confederation, and served briefly as prime minister of Canada in 1896. The younger Tupper practised law in Halifax, Nova Scotia, after articling to learn the profession; at the time there was no formal legal education in Atlantic Canada. He formed a successful partnership with Wallace Graham, and the two invited the young Robert Borden, a future prime minister who was one year older than Tupper, to join them in the late 1870s. A decade later, Borden became the firm's senior partner after Graham was appointed a judge and Tupper entered politics.

Tupper's younger brother William Johnston Tupper also became a Conservative politician.

MP, Cabinet minister
He was elected as a Conservative MP in 1882. He was appointed Minister of Marine and Fisheries by Sir John A. Macdonald in 1888, and kept that position in subsequent Conservative cabinets until 1894, under PMs Sir John Abbott and Sir John Sparrow David Thompson.

He then became Minister of Justice in the government of Sir Mackenzie Bowell and attempted, unsuccessfully, to resolve the Manitoba Schools Question by drafting a bill to restore Separate School education for Catholics in Manitoba. Tupper resigned in January 1896 to protest Bowell's leadership, which had largely failed on this question, among others. He returned as Solicitor General of Canada in the short-lived government of his father, who became prime minister later in 1896, when Bowell stepped down. Tupper Sr. was defeated in the 1896 Canadian federal election, by Liberal Wilfrid Laurier, who became prime minister. Tupper remained an MP until his retirement from politics in 1904.

Knighted
In 1893, while minister of Marine and Fisheries, he was involved in the Bering Sea Arbitration between the United States and Canada as a representative of the British government, which at that time was responsible for Canadian foreign affairs. He was knighted in recognition for this service, which produced a successful outcome for Canada.

Moves to British Columbia
In 1897 he moved to Victoria, British Columbia, and then moved to Vancouver in 1898, but continued as the Member of Parliament for Pictou, Nova Scotia, where he was re-elected in 1900. From 1898 he practised law in Vancouver, where he served as a bencher of the Law Society of British Columbia and was elected Treasurer (chief elected officer) for 1924-25. He represented Japanese-Canadians in a series of cases opposing discriminatory practices of the provincial government. In 1923, he was involved in the creation of the short-lived Provincial Party of British Columbia.

He died in Vancouver March 30, 1927, and was buried in nearby Burnaby, in Ocean View Burial Park.

Family
In September 1879, Charles Hibbert Tupper married Janet McDonald, daughter of the Hon. James McDonald, Chief Justice of Nova Scotia, and his wife, Jane. The couple had four sons and three daughters. The couple lived in Parkside, Vancouver, B.C. Her sister married her brother-in-law, Mr. W. J. Tupper. Another sister married the Rev. L. H. Jordan, B.D., of Chicago.

title: Charles Hibbert Tupper


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Milk delivery

Milk delivery is a delivery service dedicated to supplying milk, typically in bottles or cartons, to customers' homes. This service is performed by a milkman, milkwoman, or milk deliverer. (In contrast, a cowman or milkmaid tends to cows.) The delivery route is a milk route or milk run.

Delivery
In some countries, when a lack of good refrigeration meant that milk would quickly spoil, milk was delivered to houses daily. Before milk bottles were available, milkmen took churns on their rounds and filled the customers' jugs by dipping a measure into the churn. Due to improved packaging and the spread of refrigerators in private homes, the need for milk delivery decreased from the latter part of the twentieth century. These advances contributed to the decline or loss of services in many localities, from deliveries daily to just three days a week or less in others.

Milk is usually delivered in the morning. Milk deliverers often also deliver products such as butter, cream, cheese, eggs, meat and vegetables.

In some areas, apartments and houses have small milk-delivery doors, latched but not locked, opening into small wooden cabinets built into the exterior wall of the house, with a door also on the inside, allowing groceries or milk to be put in the cabinet by the deliverer and removed by the resident.

Vehicles
Horse-drawn vehicles were used for local delivery from the inception of the first milk round in about 1860. These were still seen in Britain and parts of the United States in the mid-twentieth century, until replaced by motorized vehicles. First introduced in 1889, battery vehicles saw expanded use in 1931, and by 1967 had given Britain the largest electric vehicle fleet in the world.

Americas
In 1963, nearly 29.7 percent of consumers in the US had milk delivered, but by 1975 the number had dropped to 6.9 percent of total sales.

By 2005, about 0.4% of consumers in the United States had their milk delivered, and a handful of companies had sprung up to offer the service. Some U.S. dairies have been delivering milk for about 100 years, with interest continuing to increase in the 2010s as part of the local food movement. During the 2020 coronavirus outbreak, some remaining milkmen saw demand increase suddenly (similar to other grocery delivery services) due to concerns about the infection risk involved with shopping in stores.

Asia
In India, milk is usually delivered using milk churns, a practice that has ceased in western countries. On the road, they are put on any kind of vehicle. In big cities such as Mumbai, milk churns are often transported in luggage compartments in local trains.

In the Philippines, the milkman or milkmaid is called lechero, as in Spanish-speaking countries. The tradition stemmed from the community production of carabao milk, which the lechero delivers fresh to their designated barangay (village). The lechero heritage used to be widely practiced in the country but declined after the introduction of store-bought milk during the American period. Nowadays, only a few communities have lecheros, notably in Nueva Ecija province, the milk capital of the Philippines.

Oceania
In Australia, the delivery vehicle was usually a small petrol or diesel truck with a covered milk-tray. In hotter areas, this tray is usually insulated.

In New Zealand, milk deliveries used horses until the 1960s, where trucks took over completely. Originally, people paid by leaving money in the bottles, but later, payments were made using tokens, usually bought at a local dairy. Home milk deliveries died out in the 1990s after the deregulation of the milk industry, where supermarkets and other stores were permitted to sell milk.

Europe
Milkmen appeared in Britain around 1860, when the first railways allowed fresh milk to arrive in cities from the countryside. By 1880, the milk was delivered in bottles. By 1975, 94% of milk was in glass bottles, but in 1990, supermarkets started offering plastic and carton containers, reducing bottled milk from 94% to 3% by 2016. In the 20th century, milk delivery in urban areas of Europe has been carried out from an electric vehicle called a milk float.

Cultural impact
The comedy films The Milkman (1950) starring Donald O'Connor, and The Early Bird (1965), starring Norman Wisdom, portrayed the profession in the US and UK respectively.

Tevye the Dairyman (Tevye der milkhiker) is the fictional pious Jewish narrator and protagonist of a series of short stories by Sholem Aleichem, and various adaptations of them, the most famous being the stage/film musical Fiddler on the Roof.

Stephen King's short story "Morning Deliveries (Milkman No. 1)" (in the horror anthology Skeleton Crew (1985)), concerns a milkman who kills people by leaving "surprises" (including poison, toxic gas, and venomous spiders) in their milk cans.

The title of the pop hit "No Milk Today" (1966) by the British band Herman's Hermits comes from notes left for the milkman. The title symbolizes the singer's recent breakup with his love interest who has just moved out of his house.

The British comedian Benny Hill, himself a former milkman, had a hit novelty song called "Ernie (The Fastest Milkman In The West)" (1971).

Ella Mae Morse had a US top 10 hit with "Milkman, Keep Those Bottles Quiet", from the film Broadway Rhythm (1944).

The (unnamed) milkwoman was an occasional character in British sitcom Open All Hours, the object of Granville's desire. Despite working early mornings just as Granville did, she was also a part-time university student and a divorcee, representing aspirations of a life lived beyond the terraced streets of the local neighborhood.

Episode 3 of the third series of television comedy series Father Ted is titled "Speed 3" and centers around the lascivious behavior of milkman Pat Mustard, Ted's feud with him, and the tragic outcome.

In Raymond Briggs' graphic novel Ethel and Ernest, based on the true story of Mr. Briggs' parents, Ernest Briggs, Raymond's father, is described as being a milkman for the R.A.C.S.

title: Milk delivery


text:
Albert of Saxony (philosopher)

Albert of Saxony (Latin: Albertus de Saxonia; c. 1320 – 8 July 1390) was a German philosopher and mathematician known for his contributions to logic and physics. He was bishop of Halberstadt from 1366 until his death.

Life
Albert was born at Rickensdorf near Helmstedt, the son of a farmer in a small village; but because of his talent, he was sent to study at the University of Prague and the University of Paris.

At Paris, he became a Master of Arts (a professor), and held this post from 1351 until 1362. He also studied theology at the College of Sorbonne, although without receiving a degree. In 1353, he was rector of the University of Paris. After 1362, Albert went to the court of Pope Urban V in Avignon as an envoy of Rudolf IV, Duke of Austria, in order to negotiate the founding of the University of Vienna. The negotiations were successful, and Albert became the first rector of this university in 1365.

In 1366, Albert was elected bishop of Halberstadt (counted as Albert III), Halberstadt being the diocese in which he was born. As Bishop of Halberstadt, he allied himself with Magnus with the Necklace, Duke of Brunswick-Lüneburg, against Gerhard of Berg, Bishop of Hildesheim, and was taken prisoner by Gerhard in the battle of Dinckler in 1367.

He died at Halberstadt in 1390.

Philosophy
Albert was a pupil of Jean Buridan and was very much influenced by Buridan's teachings on physics and logic. As a natural philosopher, he contributed to the spread of Parisian natural philosophy throughout Italy and central Europe. Similar to Buridan, Albert combined critical analysis of language with epistemological pragmatism. Albert distinguishes, as his teacher did, between what is absolutely impossible or contradictory and what is impossible “in the common course of nature” and considers hypotheses under circumstances that are not naturally possible but imaginable given God's absolute power. Albert refused to extend the reference of a physical term to supernatural, purely imaginary possibilities. Later regarded as one of the principal adherents of nominalism, along with his near contemporaries at Paris, namely Buridan and Marsilius of Inghen, whose works are often so similar as to be confused with each other. The subsequent wide circulation of Albert's work made him a better-known figure in some areas than more important contemporaries like Buridan and Nicole Oresme.

Albert's work in logic also shows strong influence by William of Ockham, whose commentaries on the logica vetus (i. e. on Porphyry, and Aristotle's Categoriae and De interpretatione) were made the subject of a series of works called Quaestiones by Albert.

Albert of Saxony's teachings on logic and metaphysics were extremely influential. The theory of impetus introduced a third stage to the two stage theory of John Philoponus.

 * 1) Initial stage. Motion is in a straight line in direction of impetus which is dominant while gravity is insignificant
 * 2) Intermediate stage. Path begins to deviate downwards from straight line as part of a great circle as air resistance slows projectile and gravity recovers.
 * 3) Last stage. Gravity alone draws projectile downwards vertically as all impetus is spent.

This theory was a precursor to the modern theory of inertia.

Although Buridan remained the predominant figure in logic, Albert's Perutilis logica (c. 1360) was destined to serve as a popular text because of its systematic nature and also because it takes up and develops essential aspects of the Ockhamist position. Albert accepted Ockham's conception of the nature of a sign. Albert believed that signification rests on a referential relation of the sign to the individual thing, and that the spoken sign depends for its signification on the conceptual sign. Albert followed Ockham in his conception of universals and in his theory of supposition. Specifically, Albert preserved Ockham's notion of simple supposition, understood as the direct reference of a term to the concept on which it depends when it signifies an extra-mental thing. Albert followed Ockham in his theory of categories and contrary to Buridan, refused to treat quantity as a feature of reality in its own right, but rather reduced it to a disposition of substance and quality. Albert established signification through a referential relation to a singular thing defining the relation of the spoken to conceptual signs as a relation of subordination. Albert's treatment of relation was highly original. Although, like Ockham, he refused to construe relations as things distinct from absolute entities, he clearly ascribed them to an act of the soul by which absolute entities are compared and placed in relation to each other. He therefore completely rejected certain propositions Ockham had admitted reasonable, even if he did not construe them in the same way.

Albert's voluminous collection of Sophismata (c. 1359) examined various sentences that raise difficulties of interpretation due to the presence of syncategorematic terms such as quantifiers and certain prepositions, which, according to medieval logicians, do not have a proper and determinate signification but rather modify the signification of the other terms in the propositions in which they occur. In his Sophismata, he followed William Heytesbury. In his analysis of epistemic verbs or of infinity, Albert admitted that a proposition has its own signification, which is not that of its terms: just like a syncategorematic term, a proposition signifies a "mode of a thing". Albert made use of the idea of the distinguishable signification of the proposition in defining truth and in dealing with “insolubles” or paradoxes of self-reference. In this work he shows that since every proposition, by its very form, signifies that it is true, an insoluble proposition will turn out to be false because it will signify at once both that it is true and that it is false.

Albert also authored commentaries on Ars Vetus, a set of twenty-five Quaestiones logicales (c. 1356) that involved semantical problems and the status of logic, and Quaestiones on the Posterior Analytics. Albert explored in a series of disputed questions the status of logic and semantics, as well as the theory of reference and truth. Albert was influenced by English logicians and was influential in the diffusion of terminist logic in central Europe. Albert is considered a major contributor in his theory of consequences, found in his Perutilis Logica. Albert took a major step forward in the medieval theory of logical deduction.

But it was his commentary on Aristotle's Physics that was especially widely read. Many manuscripts of it can be found in France and Italy, in Erfurt and Prague. Albert's Physics basically guaranteed the transmission of the Parisian tradition to Italy, where it was authoritative along with the works of Heytesbury and John Dumbleton. His commentary on Aristotle's De caelo was also influential, eventually eclipsing Buridan's commentary on this text. Blasius of Parma read it in Bologna between 1379 and 1382. A little later, it enjoyed a wide audience at Vienna. His Treatise on Proportions was often quoted in Italy where, in addition to the texts of Thomas Bradwardine and Oresme, it influenced the application of the theory of proportions to motion.

Albert's commentaries on the Nicomachean Ethics and the Economics also survive (both unedited), as well as several short mathematical texts, most notably Tractatus proportionum (c. 1353). Although Albert studied theology in Paris, no theological writing survived.

Albert played an essential role in the diffusion throughout Italy and central Europe of Parisian ideas which bore the mark of Buridan's teachings, but which were also clearly shaped by Albert's own grasp of English innovations. At the same time, Albert was not merely a compiler of the work of others. He knew how to construct proofs of undeniable originality on many topics in logic and physics.

Works

 * Perutilis Logica Magistri Alberti de Saxonia (Very Useful Logic), Venice 1522 and Hildesheim 1974 (reproduction)
 * Albert of Saxony's Twenty-Five Disputed Questions on Logic. A Critical Edition of His Quaestiones circa logicam, by Michael J. Fitzgerald, Leiden: Brill, 2002
 * Quaestiones in artem veterem critical edition by Angel Muñoz Garcia, Maracaibo, Venezuela: Universidad del Zulia,1988
 * Quaestiones on the Posterior Analytics
 * Quaestiones logicales (Logical Questions)
 * De consequentiis (On Consequences) - attributed
 * De locis dialecticis (On Dialectical Topics) - attributed
 * Sophismata et Insolubilia et Obligationes, Paris 1489 and Hildesheim 1975 (reproduction)
 * Expositio et quaestiones in Aristotelis Physicam ad Albertum de Saxonia attributae critical edition by Benoit Patar, Leuven, Peeters Publishers, 1999
 * Questiones subtilissime in libros Aristotelis de caelo et mundo, Venetiis, 1492. Questiones subtilissime super libros posteriorum, Venetiis 1497 Hildesheim 1986 (reproduction)
 * Alberti de Saxonia Quæstiones in Aristotelis De cælo critical edition by Benoit Patar, Leuven, Peeters Publishers, 2008
 * De latudinibus, Padua 1505
 * De latitudinibus formarum
 * De maximo et minimo
 * De quadratura circuli - Question on the Squaring of the Circle
 * Tractatus proportionum, Venice 1496 and Vienna 1971: editor Hubertus L. Busard

Modern editions and English translations

 * Tractatus proportionum: Der Tractatus proportionum von Albert von Sachsen, Osterreichische Akademie der Wissenschaften, math.-nat. Klasse, Denkschriften 116(2):44–72. Springer, Vienna, 1971.
 * Perutilis logica, Latin text and Spanish translation by A. Muñoz-Garcia, Universidad Nacional Autonoma de Mexico, 1988.
 * Quaestiones in Artem Veterem, Latin text and Spanish translation by A. Muñoz-Garcia, Maracaibo, Universidad del Zulia, 1988.
 * De proprietates terminorum (second tract of the Perutilis logica), edited by C. Kann, Die Eigenschaften der Termini, Brill, Leiden, 1993.
 * Quaestiones super libros Physicorum, edited by B. Patar, Expositio et Quaestiones in Aristotelis Physicam ad Albertum de Saxonia attributae, Louvain, Peeters, 1999 (3 volumes).
 * Quaestiones circa Logicam: Twenty-Five Disputed Questions on Logic, trans. Michael J. Fitzgerald, Dallas Medieval Texts and Translations 9, Louvain and Paris: Peeters, 2010.

title: Albert of Saxony (philosopher)


text:
Words and Music (Paul Kelly album)

Words And Music is an album recorded by Paul Kelly and originally released in 1998.

Description
The album was released on Mushroom Records in Australia and Vanguard Records in the United States. It peaked at 17 in Australia and 44 in New Zealand and was certified gold.

Kelly was nominated and won an ARIA Award in the category Best Male Artist for Words and Music in 1998.

Songs
The US release included one additional track, "How to Make Gravy", which was released as a separate Extended Play prior to the release of Words and Music in Australia and was nominated as Song of the Year at the 1997 Australian Record Industry Association (ARIA) Awards.

The song "Little Kings" begins "I’m so afraid for my country, There’s an ill wind blowing no good, So many lies in the name of history" and includes the lyrics: "In the land of the little kings There’s a price on everything And everywhere the little kings Are getting away with murder"

The title was used for the feature-length documentary film, Land of the Little Kings, which tells the stories of Indigenous children affected by being forcibly removed from their families, through the stories of Archie Roach and Ruby Hunter, and the song is sung by Roach in the film.

Track listing
All songs were written by Paul Kelly, except where noted.
 * 1) "Little Kings" – 5:17
 * 2) "I'll Be Your Lover" – 4:12
 * 3) "Nothing on My Mind" (Kelly, Peter Luscombe, Steve Hadley) – 4:55
 * 4) "Words and Music" – 4:40
 * 5) "Gutless Wonder" – 4:56
 * 6) "Tease Me" (Kelly, Bruce Haymes) – 4:08
 * 7) "I'd Rather Go Blind" – 3:12
 * 8) "She Answers the Sun (Lazy Bones)" (with Rebecca Barnard) – 5:24
 * 9) "Beat of Your Heart" – 5:48
 * 10) "It Started with a Kiss" (Errol Brown) – 4:15
 * 11) "Glory Be to God" – 4:07
 * 12) "Saturday Night and Sunday Morning" – 4:06
 * 13) "Charlie Owen's Slide Guitar" – 3:47
 * 14) "Melting" (Kelly, Monique Brumby) (with Monique Brumby) – 5:12

Personnel

 * Rebecca Barnard – vocals ("She Answers the Sun" and "Beat of Your Heart")
 * John Barrett – saxophone ("Gutless Wonder")
 * Monique Brumby – vocals ("Melting")
 * Renee Geyer – vocals ("Beat of Your Heart")
 * Steve Hadley – bass
 * Spencer P. Jones – guitar
 * Paul Kelly – guitar, vocals
 * Bruce Haymes – keyboards
 * Laurence Maddy – horns ("Words and Music")
 * Peter Luscombe – drums
 * Shane O'Mara – guitar
 * Russell Smith – horns ("Words and Music")

title: Words and Music (Paul Kelly album)


text:
User talk:AntonR~enwiki/Important

 * acc. to Karl Popper scienctific theory is necc. falsifiable; theories and claims which are not falsifiable are thus not science.

Amzn as Research Source
ability to search though several hundred thousand books --AntonR 04:16, Jul 24, 2004 (UTC)

title: User talk:AntonR~enwiki/Important


text:
Comedy (Paul Kelly & The Messengers album)

Comedy is a double album recorded by Paul Kelly & the Messengers and originally released in 1991. It peaked at No. 12 on the ARIA Albums Chart and remained in the top 50 for 12 weeks. Comedy reached the top 30 on the New Zealand Albums Chart.

It was released via Mushroom Records in Australia and New Zealand, and via Doctor Dream Records in the United States. Track 9, "Take Your Time" is used in the 1997 Australian comedy feature film, The Castle. This was the last album released before the partnership of Kelly & the Messengers was dissolved.

Track listing
All songs written by Paul Kelly, except where noted.

 * 1) "Don't Start Me Talking" – 3:30
 * 2) "Stories of Me" – 2:56
 * 3) "Winter Coat" – 3:58
 * 4) "It's All Downhill from Here" – 3:03
 * 5) "Leaving Her for the Last Time" (Steve Connolly) – 2:10
 * 6) "Brighter" – 4:25
 * 7) "Your Litter Sister (Is a Big Girl Now)" – 3:02
 * 8) "I Won't Be Your Dog Anymore" – 5:40
 * 9) "Take Your Time" – 2:32
 * 10) "Sydney from a 727" – 2:46
 * 11) "Buffalo Ballet" (John Cale) – 3:52
 * 12) "I Can't Believe We Were Married" – 2:30
 * 13) "From Little Things Big Things Grow" (Paul Kelly, Kev Carmody) – 6:51
 * 14) "Blue Stranger" – 3:04
 * 15) "Keep It to Yourself" – 3:50
 * 16) "(You Can Put Your) Shoes Under My Bed" – 3:31
 * 17) "Invisible Me" – 4:14
 * 18) "Little Boy Don't Lose Your Balls" – 1:20
 * 19) "David Gower" (hidden track) – 0:54

Personnel

 * Musicians:
 * Paul Kelly - guitar, harmonica, vocals,
 * Michael Barclay - percussion, drums, vocals
 * Peter Bull - accordion, keyboards
 * Paul Burton - bass
 * Steve Connolly - guitar, vocals
 * Ray Pereira - percussion, cardboard box
 * Jon Schofield - bass, vocals
 * Ian Simpson - guitar, banjo, mandolin, pedal steel
 * Kaarin Fairfax - vocals
 * Shelagh Hannan - vocals

 * Production details
 * Produced by Alan Thorne and Paul Kelly
 * Engineered by Alan Thorne, assisted by David Mackie and Tristin Norwell
 * Recorded & mixed at Trafalgar Studio, Sydney


text:
Squeeze (Squeeze album)

Squeeze is the debut studio album released by English group Squeeze. The album title was simply Squeeze in the United Kingdom, but in the United States, Canada, Australia and other countries the album, like the band, was marketed under the name U.K. Squeeze to avoid confusion with similarly-named American and Australian groups.

The LP was produced by John Cale, except for "Take Me I'm Yours" and "Bang Bang" (also the only singles released from the LP). Those songs were produced by the band.

Writing and recording
According to Glenn Tilbrook the process for making their first album was rewarding but also frustrating: "For me, U.K. Squeeze wasn’t really very representative of what we were doing at the time. When we worked with John Cale in the studio, he threw out all the songs that we had written.  When most bands make their first album, they go in and do a lot of stuff that’s been going down well in their sets; well, that wasn’t the case with us.  He told us to write new songs – which we did.  He was an inspirational guy to work with, but I felt that it was almost like we were writing for what he wanted rather than what the band itself was.  When you’re in a position to be making a first album, it’s (A) awe-inspiring to be making an album, and (B) difficult to assert yourself against somebody who knows the ropes."

Chris Difford's approach to writing the lyrics for the album was different as well. According to an interview with Bud Scoppa, Difford found the process of working with their producer John Cale to be challenging: "I remember, he came up and said, 'Lyrically, you’re quite soft; have you ever thought about writin’ about musclemen?' I said, 'That’s never occurred to me, actually.' And he said, 'Well, go away and do it – I wanna see songs like that on the album.' So my perception of what the band was at that point was completely different from the way he saw it, obviously. He had us doing some awfully strange things."

Music
A record consisting of material written on the orders of producer John Cale, Stephen Thomas Erlewine said that Squeeze had a "chaotic" sound. Robert Christgau described the record a "hard rock" effort.

Release
The initial A&M Canada and A&M U.S. LP pressings were released on limited edition red vinyl.

In 1997, the CD was released in the UK with two bonus tracks, as part of the Six of One... box set. The set included the band's first six studio albums, each digitally remastered. These CDs were made available for individual purchase in 1998.

In 2007, the album was digitally remastered and released in Japan. It contains 4 bonus tracks, one of which is a single edit of Take Me I'm Yours. The other bonus tracks are taken from B-sides from the singles of the album. It also contains the bonus tracks from the 1997 re-release.

Critical reception
Village Voice critic Robert Christgau wrote: "Musically, the instrumental is the only boring cut on the whole first side, but the record as a whole is a case study in excitingly adequate hard rock craftsmanship spoiled by trashy literature. When a band obviously influenced by Queen, Rock Scene, muscle mags, and boarding-school porn finishes off by advising their postpunk admirers to 'get smart,' it sounds like they want 'em to stop reading Hustler and start reading Oui."

The album received a negative retrospective review from Allmusic, who said that producer John Cale forced Squeeze to pursue a musical direction that ran contrary to their inclinations. They singled out the two tracks produced by the band themselves as the only ones which show any sign of the artistic success they would later reach.

Track listing
All songs written by Chris Difford and Glenn Tilbrook except as indicated.
 * 1) "Sex Master" – 2:21
 * 2) "Bang Bang" – 2:04 Produced by Squeeze
 * 3) "Strong in Reason" – 4:14
 * 4) "Wild Sewerage Tickles Brazil" (Squeeze) – 3:49
 * 5) "Out of Control" – 4:44
 * 6) "Take Me I'm Yours" – 3:50 Produced by Squeeze
 * 7) "The Call" – 5:17
 * 8) "Model" – 2:59
 * 9) "Remember What" – 2:51
 * 10) "First Thing Wrong" – 3:43
 * 11) "Hesitation (Rool Britannia)" – 3:45
 * 12) "Get Smart" – 2:06

Bonus Tracks (1997 reissue)

 * 1) "Deep Cuts" – 4:04
 * 2) "Heartbreak" – 4:54

Bonus Tracks (2007 Japanese Remaster)

 * 1) "Take Me I'm Yours" (Single Version) – 2:45
 * 2) "Night Nurse" – 2:43
 * 3) "All Fed Up" – 4:00

Personnel

 * Squeeze
 * Chris Difford – rhythm guitar, vocals
 * Glenn Tilbrook – lead guitar, vocals
 * Jools Holland – keyboards
 * Harry Kakoulli – bass
 * Gilson Lavis – drums
 * Technical
 * Gregg Jackman, John Wood - engineering

title: Squeeze (Squeeze album)


text:
Hidden Things

Hidden Things is an album by Australian folk rock group Paul Kelly & the Messengers released in March 1992 on Mushroom Records, which reached No. 29 on the ARIA Albums Chart. It also reached the Top 40 on the New Zealand Albums Chart. It is a collection of tracks recorded by Kelly and both his backing bands, the Coloured Girls and the Messengers, from 1986 to 1991, but were not issued on previous studio albums (except for "Bradman" and "Pastures of Plenty"). The album spawned a single, "When I First Met Your Ma", which was released in March. Messenger band members provide lead vocals on "Hard Times" from its writer Steve Connolly, and "Rock 'n' Soul" from its writer Jon Schofield. "Sweet Guy Waltz" is a slower version of "Sweet Guy" which was on 1989's So Much Water So Close to Home. The album was re-released in 2011 as Hidden Things: B-sides & Rarities.

Background
Paul Kelly & the Messengers gave their last performance in August 1991, with Kelly set to pursue a solo career. He justified his decision: "We forged a style together. But I felt if we had kept going it would have got formulaic and that's why I broke it up. I wanted to try and start moving into other areas, start mixing things up". To round out their career, Kelly organised Hidden Things to collect previously released B-sides, stray non-LP tracks, radio sessions, and other rarities recorded from 1986 to 1991. Except for "Bradman" and "Pastures of Plenty", the tracks had not appeared on earlier albums by Paul Kelly & the Coloured Girls or Paul Kelly & the Messengers.

The album was issued in March 1992, after the group had been disbanded, and reached No. 29 on the ARIA Albums Chart. In May Kelly recorded a set of solo performances which were later released as a double live album, Live, May 1992.

Composition and recording
Tracks for Hidden Things were recorded between 1986 (by Paul Kelly & the Coloured Girls) to September 1991 (by Paul Kelly & the Messengers). The line-up of both bands was: Michael Barclay on drums and backing vocals; Peter Bull on keyboards; Steve Connolly on lead guitar (lead vocals on "Hard Times"); Kelly on guitar, lead vocals (except "Hard Times", "Rock 'n' Soul") and harmonica; and Jon Schofield on bass guitar. The album includes a cover version of Australian Crawl's 1983 number-one hit, "Reckless" which was recorded in 1988 and originally released by Paul Kelly & the Coloured Girls as part of the 1989 "Dumb Things" double single. The lead single from the album, "When I First Met Your Ma", describes Kelly's courting of his first wife Hilary Brown – they met at the Kingston Hotel during an early gig by his band The Dots and were introduced by Kelly's then-girlfriend, Juliet. "Sweet Guy Waltz" is a slower version of "Sweet Guy" which was issued as a single from 1989's So Much Water So Close to Home.

In 1984 Kelly met Connolly when the latter was a member of The Cuban Heels, the pair would jam together, and were sometimes joined by Connolly's friend Barclay. "Hard Times" was written and had lead vocals by Connolly. "Other People's Houses" describes a female house cleaner who takes along her son who observes the residents' opulence. "Special Treatment" deals with neglect of Indigenous Australians amid claims "by a Western Australian pastoralist that Aborigines receive better treatment than other Australians". "Rally Around the Drum", was written by Kelly with Archie Roach, and was about an indigenous tent boxing man. "Pastures of Plenty" is a cover of a Woody Guthrie folk song. During the late 1980s, Paul Kelly and the Coloured Girls often toured with folk rockers Weddings Parties Anything, and both groups combined for "Beggar on the Streets of Love",which was recorded live in the studio of Perth radio station 96fm by Steve Gordon and Bob Vogt. This live version appeared as the B-side on the 1990 single "Most Wanted Man in the World". The song had already been covered by Jenny Morris as "Street of Love" in December 1989.

In 1985, Kelly issued his debut solo album, Post, which spawned the single, "From St Kilda to Kings Cross". A re-recorded version by Paul Kelly & the Messengers was used for the B-side of their 1991 single, "Don't Start Me Talking", and appears on this album. "Rock 'n' Soul" has lead vocals performed by its writer Schofield. "Yil Lull" is a cover version of Joe Geia's 1988 song. "Bradman" describes the cricketer, Don Bradman, and was issued as a double-A single in January 1987 with "Leaps and Bounds" from the 1986 album Gossip. "Elly" is a cover of Kev Carmody's song from Carmody's 1990 album, Eulogy (For a Black Person), which was produced by Connolly. Carmody and Kelly co-wrote "From Little Things Big Things Grow", which appeared on Paul Kelly & the Messengers' 1991 album, Comedy and on Carmody's 1993 album, Bloodlines. The latter version was issued as a single in that year.

Reception
AllMusic's Mike DeGagne felt Hidden Things showed "Paul's genius for telling stories behind the jingle of his acoustic guitar is pure and plentiful throughout... [Kelly's] story telling can be likened to Harry Chapin's, except Kelly leaves more to the imagination, adding a sturdier foundation for pondering and analysis". Green Left Weekly's Deb Sorensen found that Kelly is "a very good songwriter who has avoided just churning out 'pop' music. His lyrics are meaningful and from the heart ... songs which are close to the experiences and feelings of so many Australians without ever becoming jingoistic or banal".

The album reached No. 29 on the ARIA Albums Chart and also reached the Top 40 on the New Zealand Albums Chart.

Personnel

 * Paul Kelly and the Messengers
 * Michael Barclay – drums, backing vocals
 * Peter Bull – keyboards
 * Steve Connolly – lead guitar, lead vocals on "Hard Times"
 * Paul Kelly – guitar, lead vocals (except "Hard Times", "Rock 'n' Soul"), harmonica
 * Jon Schofield – bass guitar, lead vocals on "Rock 'n' Soul"

 * Additional musicians
 * Darren Gower – drum programming on "When I First Met Your Ma"
 * Wendy Matthews – backing vocals on "Other People's Houses
 * Ray Pereira – percussion on "When I First Met Your Ma", "Other People's Houses"
 * Chris Wilson – harmonica on "Reckless"

 * Weddings Parties Anything – "Beggar on the Street of Love"
 * Michael 'Mick' Thomas – co-lead vocals
 * David Steel – lead guitar
 * Pete Lawler – backing vocals
 * Marcus Schintler – backing vocals
 * Mark Wallace – backing vocals

 * Production work
 * Producer – Guy Gray (tracks 1, 4), Alan Thorne (tracks 2, 5, 6, 11–13), Gavin Mackillop (tracks 2, 8), Paul Kelly (tracks 3, 7, 9, 14–17), Steve Gordon (track 10), Paul Petran (track 18), Steve Connolly (track 18)
 * Engineering – Tim Ryan (tracks 9, 16)
 * Mastering – Don Bartely
 * Mixing – Alan Thorne (track 3), Tim Ryan (track 17)
 * Remixing – Gavin Mackillop (track 16)

 * Art work
 * Lin Onus – cover art
 * Pierre Baroni – art design

title: Hidden Things


text:
Betty Edwards

Betty Edwards (born April 21, 1926) is an American art teacher and author best known for her 1979 book Drawing on the Right Side of the Brain (, in its 4th edition). She taught and did research at the California State University, Long Beach, until she retired in the late 1990s. While there, she founded the Center for the Educational Applications of Brain Hemisphere Research.

Professional life
Edwards received a bachelor of arts from the University of California, Los Angeles (UCLA, 1947), a master of arts from California State University, Northridge, and a doctorate in Art, Education, and Psychology from UCLA (1976).

Drawing on the Right Side of the Brain has remained the dominant book on its subject, used as a standard text in many art schools, and has been translated and published in many foreign languages, including French, Spanish, German, Polish, Hungarian, Chinese, and Japanese. Her company, Drawing on the Right Side of the Brain, develops special drawing tools, materials, and videos to help individuals learn to draw.

A painter, she taught at high school level in the Los Angeles public school district (Venice High School), then at community college, and from 1978 until her retirement in 1991, in the art department at California State University, Long Beach. All of her teaching experience has been in art: drawing, painting, art history, art-teacher training, and color theory. In addition to teaching drawing workshops around the world, she has also done business consulting with major national and international corporations to enhance creative problem solving.

Theories on drawing and brain function
Edwards's method of drawing and teaching was revolutionary when she published it in 1979. It received an immediate positive response, and is now widely accepted by artists, teachers, and others around the world. Underlying the method is the notion that the brain has two ways of perceiving and processing reality – one verbal and analytic, the other visual and perceptual. Edwards' method advocates suppressing the former in favor of the latter. It focuses on disregarding preconceived notions of what the drawn object should look like, and on individually "seeing". Drawing, says Edwards, has five component skills of perception and drawing:

Then there are two additional skills, numbers 6 and 7:
 * Edges and lines (includes copying drawings and contour drawing exercises)
 * Negative space (i.e. space between items)
 * Relationships (i.e. perspective and proportion between things)
 * Light and shadows (shading)
 * The whole: gestalt which emerges as the first four are taught
 * Drawing from memory
 * Drawing from imagination

Edwards's early work was based in part on her understanding of neuroscience, especially the cerebral hemisphere research which suggested that the two hemispheres of the brain have different functions. To avoid the so-called "location controversy" (how the two major cognitive functions are distributed in the individual brain depending on handedness and other factors), she termed the modes "L-mode" and "R-mode." These designations appeared in the original 1979 edition of "Drawing on the Right Side of the Brain." She described L-mode as basically a verbal, analytic, sequential mode of thinking, and R-mode as basically visual, perceptual, and global.

title: Betty Edwards


text:
Good conduct loop

A good conduct knot/loop is an award device of the Department of the Army which denotes additional decorations of the Army Good Conduct Medal.

History
Good conduct loops were first created in 1941 and were based on the concept of the enlistment bar. Good Conduct Loops have remained the primary method of displaying multiple bestowals of the Army Good Conduct Medal, and may be said to show how many "hitches" a soldier has served.

Good conduct loops are worn on a clasp attached to the service ribbon and suspension ribbon of the Good Conduct Medal. A Good Conduct Loop comprises a clasp with several inscribed loops. The second award of a Good Conduct Medal would display a bronze clasp with two loops, the third would show a bronze clasp with three loops, and so on. At six loops, the clasp changes to silver, and then at eleven loops the clasp changes to gold. Thus, a silver clasp with two loops would denote the seventh award of the Good Conduct Medal while a gold clasp with five loops would indicate the fifteenth award of the Good Conduct Medal, which is the highest that the regulations list.

The Army Good Conduct Medal is the only one of the service Good Conduct awards which uses Good Conduct Loops. The U.S. Navy, U.S. Marine Corps, and U.S. Coast Guard display additional Good Conduct awards with service stars, while the U.S. Air Force uses oak leaf clusters.

title: Good conduct loop


text:
Tooraweenah

Tooraweenah is a small village just off the Newell Highway about 44 km northeast of Gilgandra in the central west of New South Wales, Australia. At the, Tooraweenah had a population of 239.

The land surrounding Tooraweenah is used for sheep, cattle, goat and emu grazing. There is broadscale grain cropping as well.

Tooraweenah is often the last stop for tourists on their way from Gilgandra to the Warrumbungle National Park.

Services

 * caravan park
 * pub
 * post office
 * hardware and agricultural supply store
 * community technology centre
 * automotive repair and fuelling
 * aerodrome

Clubs
ABC Shield Premiers 2004/05, 2005/06, 2007/08, 2012/13, 2014/15, 2015/16, 2016/17, 2018/19
 * tennis club,
 * Lions Club,
 * agricultural show society.
 * Biddon-Tooraweenah Cricket Club

Telecommunications

 * a Telstra Remote Integrated Multiplexor (RIM) provides PSTN telephony and ISDN, and ADSL,
 * ABC broadcast FM radio transponders at nearby Needle Mountain (including 105.5 MHz Classic FM, 106.3 MHz News Radio, 107.1 MHz Local Radio, and 107.9 MHz Radio National),
 * a UHF CB repeater on Channel 1,
 * an amateur radio repeater on 146.8 MHz.

title: Tooraweenah


text:
Talk:Ginza

More info
Could we get a little more information on Ginza? This place is quite famous for its resturants. — Preceding unsigned comment added by Weyoun6 (talk • contribs) 04:18, 23 July 2004 (UTC)

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title: Talk:Ginza


text:
Talk:Difference between sub-orbital and orbital spaceflights

Article naming
I suggest this fuzzy article be scrapped in favour of one which describes the difference between non-orbital flights, low-earth orbit, geo-stationary transfer orbit, geo-stationary orbit and non-orbital flights which do not return (hyperbolic or parabolic as opposed to elliptic). One exists: earth orbit. A discussion of the relative energy costs is interesting: There are simple ratios between the speed required for LEO, geostationary orbit and escape velocity, e.g.  Paul Beardsell 04:19, 24 Jul 2004 (UTC)

 * Keep this article, it is not at all a duplication of what is in earth orbit, which is just a list. Expansion of that article would be interesting. If that causes any duplication, some could be deleted from this article, or the two could be merged.--Patrick 06:08, 25 Jul 2004 (UTC)

OK. I would like then to rename this article to something like Types of orbit. What do you think? Do you think it should stay named as is or do you have a better suggestion than mine? Paul Beardsell 22:26, 25 Jul 2004 (UTC)

 * The current name seems more specific. The article explains the difference between two things, not going into all varieties of one of them, the orbit. Also it does not seem correct to call something less than an orbit a kind of orbit.--Patrick 09:58, 26 Jul 2004 (UTC)

 * I agree with Paul. A sub-orbital flight in free-fall is in orbit -- it's just an orbit that will intersect the Earth's surface unless something is done about it. Paul's suggestion of categorizing by energy / delta-V is insightful, and will create a much better article. -- The Anome 10:44, 26 Jul 2004 (UTC)

 * Technically, in a strictly technical sense, The Anome, you're right. But, in all honesty, your definition does seem to me a bit of a stretch when talking to "the rest of us (mere mortals)".

 * As regards the renaming/reorg proposal, it was me who started this article. I acknowledge and do realize that it's got one long article name. I couldn't however think of a more fitting name (that would have been shorter). I mean, this article is simply an article about this very specific issue. That's not to stop anyone from using some of the information in it in other, more general articles (which might have shorter names). In an earlier paragraph contribution (now reverted), Psb777 seemed (to me) to sound a bit exasperated that this article was even necessary and argued that only a "knowledge of English" was required. I understand that exasperation. But this article probably isn't here for people with Psb777's knowledge. It's here for people who don't immediately understand the difference between sub-orbital and orbital flights. For the benefit of such readers, and there's quite a few of them out there, believe you me, I suggest this article to stay/coexist. That's not to stop Psb777 or indeed anyone from writing a far more detailed and technically more accurate article with a wider scope in addition to this one. Ropers 20:49, 27 Jul 2004 (UTC)

<u>&mdash;</i> teh embassarment
Gee, I sure wish I could correct my mentally challenged edit summaries in the history. Alas, no such thing. I'm just saying. Ropers 20:19, 27 Jul 2004 (UTC)

What are we writing?
I agree with much of what Ropers is saying above BUT I really do believe that English is enough. Almost it is the case that the less technical knowledge the better in understanding the issue of the "difference between sub-orbital and orbital spaceflights". Certainly no technical knowledge is necessary. However, the "different energy requirements" or the "different re-entry problems" do require technical understanding and, failing which, a technical explanation. They do require an encyclopedia, not a dictionary. Paul Beardsell 23:37, 27 Jul 2004 (UTC)

I think the article is interesting and each one of us has contributed to it in a worthwhile way. Certainly some corrections to and re-writing of my text were necessary just as I hope some of mine were of others'. But what are we writing? I think we need a better article title. Paul Beardsell 23:37, 27 Jul 2004 (UTC)

 * Hm... Seems to me that there's quite a bit of common ground here. However, I still think this article should not be renamed (and, totally in good humor and without any smart-aleckness whatsoever, I do kinda think we're writing precisely this: an article on the difference between sub-orbital and orbital spaceflight ;-) Anyway, IF you still were to want to go ahead and try to get this article renamed (rather than, say, writing another one that might contain some of the same info), then — seeing that Patrick and myself are opposed and The Anome and yourself are in favour of it — well, I think it would probably be a good idea to call a vote before moving anything. Again, that's IF you still feel that you really want to go ahead with a move. Thanks and best regards, Ropers 15:41, 28 Jul 2004 (UTC)

Gravity drag on sub-orbital flights
In this version I said the following (emphasis mine):

 * "Also, real flights experience atmospheric drag and gravity drag. For an orbital launch, these require an additional delta-v of typically 1.5–2 km/s (see delta-v budget); for a sub-orbital flight, these consume the entire delta-v (and more) produced by the rocket."

This was modified on the following grounds:

 * "confusing to compare ascending of one system with the whole flight of another"

However, I was actually comparing the entirety of both flights. There is no descending part of a successful orbital insertion, while sub-orbital flights always return to the ground by definition. Hence, I'd like to reinstate this text as it was. Thoughts? --Doradus 20:40, 23 November 2005 (UTC)

 * Atmospheric drag when ascending requires extra effort to reach a certain altitude, when descending it is helpful to decelerate. What is the point in adding the two?--Patrick 20:52, 23 November 2005 (UTC)

 * Ok, we can get rid of "and more" if you prefer. --Doradus 23:52, 24 November 2005 (UTC)

 * It should be clear what you compare. Orbital flights may also have a descending part. Anyway, reentry is a separate subject treated in another section, not requiring rocket propulsion (except on the Moon, etc.), and without gravity drag. This section is about the effort to reach orbit or just a certain altitude.--Patrick 01:28, 25 November 2005 (UTC)

 * Ok I reinstated it without the "and more". I think it's clear that we're comparing an orbital launch with a sub-orbital flight, so I think this should meet your criteria.  Is that alright?  --Doradus 15:49, 25 November 2005 (UTC)

 * So you are saying "When back from a trip, the effort of making the trip has been used up." But what is your point?--Patrick 16:31, 25 November 2005 (UTC)

 * Actually I was talking about when the ship is at the apex of its trajectory. Then it is (vertically) at rest, so all the delta-V provided by the rocket has been cancelled by gravity drag (and some atmospheric drag).  Ok I guess it's possible there's still some horizontal velocity, so that may not be strictly true.  --Doradus 20:18, 25 November 2005 (UTC)

 * Do not forget the 965 kJ/kg potential energy (which is not gravity drag).--Patrick 21:04, 25 November 2005 (UTC)

 * It's not? Ok I don't understand this as well as I thought.  Please feel free to edit the statement as you see fit.  --Doradus 19:23, 26 November 2005 (UTC)

 * Ok, I did.--Patrick 21:25, 26 November 2005 (UTC)

 * I like it. --Doradus 00:43, 27 November 2005 (UTC)

Possible Bias
This article reads to me like a pamphlet by X-Prize enthusiasts. It seems to imply that the differences between orbital and sub-orbital flights are minor, while bemoaning that the uneducated public doesn't understand both go up really high.

For example, near the beginning it states 'The general public often thinks of orbital spaceflights as spaceflights and of sub-orbital spaceflights as "something less than actual spaceflights". This is not accurate; both orbital and sub-orbital spaceflights are true spaceflights.' Well, yes, by definition, but that doesn't mean they're similar. The actual differences are buried in the calculations: 31.5 times as much energy. That doesn't even include lifting the propellant; although calculations are done, no numeric comparison is given. The numbers are ignored elsewhere. Of the five points listed in the summary, three suggest they are basically the same, one admits a difference without mentioning the scale, and the last makes an unrelated point.

I'd like to pull out extraneous parts of the intro, clean up and finish the calculations, and emphasize the scale of the difference in the intro and summary. But I'm concerned I might be biased myself, so I'm asking for comments here first. :) Bennetto 03:01, 5 November 2006 (UTC)

I agree, i find it biased. I came here expecting to see an article on the very big differences between the two type of flights. While both flights exceed a conventional altitude limit and are indeed spaceflights by definition, in practice suborbital flights are done by little more then pressurized planes with rocket engines. I think the public generally underestimates the difference betwen the two. A brief explenation of what the difference between the minimal suborbital and orbital speeds means in the ammmount of propelant/size and weight of craft needed, as well as perheps economic costs would be more relevant. Things about speeds and energy are mentioned in the article, but not the summary. I think generally the focus is wrong.

Anyway if you want to clean up you have my aproval.--Helixdq 12:56, 9 November 2006 (UTC)

Wrong redirect
This article is now a redirect, but it redirects to the wrong place: oddly, Spaceflight doesn't mention orbital or suborbital flight until Spaceflight. Ugly though it may be, this redirect now points there. Sdsds 04:20, 27 March 2007 (UTC)


text:
User:Merritt30

I live in North Carolina and work as a monitor for clinical drug trials. I have a degree in Political Science and was a student of British philosopher A. J. Ayer. Currently I am writing a book refuting the philosophy of Ayn Rand.

title: User:Merritt30


text:
Talk:Late Night with Conan O'Brien

Trivia
I plan to delete the remaining trivia bits - the CST NYE countdown, and the Stoned award. Since these are actual notable qualities of Late Night, I'm giving editors the opportunity to put them in a proper place in the article if possible, before I delete them and the trivia section itself. TheHYPO 16:28, 31 July 2007 (UTC)

Conan's 1/2/08 mid writers strike return
Whoever is adding that Conan, Leno, and Kimmel returned only came back because of the ratings competition between themselves and Letterman and Ferguson should know that the real reason they came back was that their entire non-writing staff (lighting people, sound and camera people, temps, interns, and all the behind the scenes people) would have been fired if they didn't come back with new episodes. - 99.237.9.80 (talk) 00:38, 4 January 2008 (UTC)
 * I see that you know a pretty good deal of info on this subject, and by contributing, you are certainly improving this article. However, i would ask you that if you decide to revert to older versions or change something important in the article to give a reason for such a change.

Aua Wi  se   -Talk-  16:09, 6 January 2008 (UTC)

 * It seems to be back to repeats this week. What gives? Are they skipping on more live shows? —Preceding unsigned comment added by 72.90.113.66 (talk) 04:32, 23 January 2008 (UTC)

 * Yeah, what gives? Its been a bunch of reruns since monday. Are they having trouble booking guests or something?--124.106.234.224 (talk) 15:29, 24 January 2008 (UTC)

 * It's called vacation, people. Conan does this every once in a while to give him and his staff a break. This is likely not strike related. - 99.237.9.80 (talk) 17:46, 26 January 2008 (UTC)

For the week of 3/3/2008 is Conan filming on location or just a vacation? —Preceding unsigned comment added by Matt on Wiki (talk • contribs) 02:37, 7 March 2008 (UTC)

Logo Image
Anyone else think the title card should be replaced with the logo? 40px--Tkgd2007 (talk) 03:03, 19 January 2008 (UTC)
 * Agree. Λua∫ Wi  se  (talk) 09:43, 19 January 2008 (UTC)
 * Agree --70.75.43.62 (talk) 06:14, 25 January 2008 (UTC)
 * Sure - 99.237.9.80 (talk) 17:47, 26 January 2008 (UTC)
 * Agreed. (ApJ (talk) 05:02, 5 February 2008 (UTC))
 * Awesome! It's up there, thanks for agreeing! Tkgd2007 (talk) 05:40, 8 February 2008 (UTC)

New reference?
Reference 3 no longer links to the article from which the info was pulled (which, by the looks of it, is quite a bit). Does that mean that we have to find new references? TruPhan (talk) 01:04, 25 January 2008 (UTC)

Beef with Comedy Central's Jon Stewart and Colbert over ownership of Mike Huckabee?
We should somehow mention this in the article. In The Colbert Report, Stephen Colbert claimed Mike Huckabee's success as caused by "the Colbert Bump". Following this, O'Brian retaliated by claiming Huckabee by showing how he had given Colbert a "bump" on his show, which would have caused his rise to fame and being able to later give Huckabee the forementioned Colbert Bump. Later, Stewart claimed Huckabee since he had given O'Brian a bump on his previous show long before Conan got his current fame. There has been no official response from Huckabee himself so far. —Preceding unsigned comment added by 85.145.112.69 (talk) 19:27, 2 February 2008 (UTC)

If nothing of it has been added so far, it should be. (ApJ (talk) 05:01, 5 February 2008 (UTC))

wait for it to be over with, after its done we should defiantly add it to to the memorable moments section. Gailim (talk) 05:15, 5 February 2008 (UTC)

Good point, it's continuing on Late Night tonight, so we need to wait for what happens anyway. (ApJ (talk) 05:23, 5 February 2008 (UTC))

OMG! Further escalation! They beat each other up over it! All three (Colbert, Stewart and O'Brian) appeared in all three shows, taunting after which they started an actual brawl! It was even topped off by a statement from the actual Mike Huckabee himself, explaning that "this great nation" made him, not "these three idiots" :D For the video (as a reference/source), see: [] —Preceding unsigned comment added by 85.145.112.69 (talk) 11:29, 6 February 2008 (UTC)

Fair use rationale for Image:Late Night Conan Logo.svg
Image:Late Night Conan Logo.svg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 23:25, 13 February 2008 (UTC)

Location of audition
The location of the audition has been added, it was on the set of Jay Leno's "The Tonight Show". Bcadwal (talk) 02:45, 16 October 2008 (UTC)

Radiohead
Radiohead has been added as the first band to play on the show. Bcadwal (talk) 02:48, 16 October 2008 (UTC)

First Crowd
A tidbit about the first crowd to ever see the show has been added in the section about the first show. —Preceding unsigned comment added by Bcadwal (talk • contribs) 02:53, 16 October 2008 (UTC)

First "Tonight Show:
Material has been added in speculation of what the first show as "The Tonight Show" will be. Bcadwal (talk) 00:54, 20 October 2008 (UTC)
 * Speculation is not appropriate for Wikipedia as it is original research. Also, Wikipedia is not a crystal ball. Dp76764 (talk) 00:58, 20 October 2008 (UTC)

Is/Was
Consistent with other "former" TV shows, the introduction sentence should continue to read "is" even though the show is no longer in production. —Fumo7887 (talk • contribs) 06:44, 21 February 2009 (UTC)
 * A quick look at the Late Night with David Letterman and The Tonight Show Starring Johnny Carson articles shows was instead of is in both cases. However, I'm not willing to get into an edit war over it. Sesu Prime (talk) 07:09, 21 February 2009 (UTC)
 * I noticed an all-out edit war has already started! But I'm taking no part in it, except to say that I support the usage of "was" in the intro. Would this edit war have started had I not made the first edit? Probably. --Sesu Prime (talk) 07:25, 21 February 2009 (UTC)

 * I disagree. In most other articles about a television show no longer in production, the word was is used. Because of this, most people expect the use of was instead of is.Noz92 (talk) 04:39, 22 February 2009 (UTC)

 * OK, well, apparently this is inconsistent. I know there was an issue like this on another article (although I can't remember which and therefore can't find the Talk page it was discussed on). But shows such as The West Wing, Friends, Cheers and many others still use "is" despite being out of production, some for a long time. Should this be considered not relevant for talk shows since, for the most part, they air the same day they are taped? —Fumo7887 (talk • contribs) 22:35, 22 February 2009 (UTC)

 * Maybe old scripted TV shows should use present-tense, but retired talk-shows and news programs should definitely be in the past-tense. I'm not sure why this difference is, but it just seems to fit. What I am sure of is that Late Night with Conan O'Brien isn't a great show, it was a great show. --Sesu Prime (talk) 08:23, 23 February 2009 (UTC)

 * Reverted to "is", per the Wikipedia convention. (Shows using "was" are the ones out of line with the standard practise.) While it may not be in production, it still "exists" as a creative work - especially in the age of DVD and electronic delivery systems. The other two have also been repaired, one by me and one independently of this discussion. --Ckatz chat spy  09:58, 23 February 2009 (UTC)

 * Exactly. The show is and will always be "an American late-night talk show hosted by Conan O'Brien". This is no different than how we refer to characters from literature that are no longer in production (John Doe is a character in Jane Author's book Really Good Book).The show still exists and is still viewed (whether in reruns, DVDs, DVRS, etc); ceasing production doesn't mean the show ceases to exist. -- auburn pilot  talk  14:41, 23 February 2009 (UTC)

 * If someone would post the link to the Wikipedia guideline page stating the accepted method (whether it be to use past- or present-tense), that will (hopefully) solve this dispute. By the way, everyone should STOP changing the was/is wording until we reach some sort of consensus. --Sesu Prime (talk) 22:22, 23 February 2009 (UTC)

 * With respect to the changes, the consensus version is "is" - so we have to keep repairing it. Unfortunately, many of the "was" changes occur when new editors come in and (unknowingly) change it to "was. It is a constant issue across the television articles, even with the addition of edit comments explaining why. --Ckatz chat spy  22:57, 23 February 2009 (UTC)

 * I would still like to see the Wikipedia guideline page that states that is (as opposed to was) is the proper and accepted method to describe retired television shows. I tried to locate the guideline page describing the accepted method on my own, but I am still pretty new to Wikipedia, so I had difficulty when looking for it. If this page is found and its wikilink is posted here on the talk page, and the hidden note in the article (the one on both sides of the is/was) were to point to the guideline page, the volume of is/was edits could decrease significantly. -Sesu Prime (talk) 23:51, 27 February 2009 (UTC)

 * I concur with Sesu Prime. "Wikipedia consensus" is wrong. The appropriate wording is "was". A talk show is not the same as The West Wing, Friends or Cheers, as those programs live on in syndication and reruns, while a talk show does not. The show DOES "cease to exist". Conan is not hosting a late-night talk show by this name. He WAS, but he IS NOT now. Jimmy Fallon IS (by a slightly different name. Chalk it up to "error of the consensus" (aka Borg). Herb Riede (talk) 21:54, 23 March 2009 (UTC)

 * I agree. Coming in and claiming there is a "concensus" (when there clearly is not) and referring to a vague "wikipedia convention" that may or may not exist outside of Ckatz head, is unproductive. The argument that the show continues to "exist" due to DVDs and reruns makes little sense, considering DVDs are not released for long running late night talk shows. Nor are there reruns of Conan on tv. Rizla (talk) 01:33, 19 April 2009 (UTC)

 * Creative works exist, until destroyed or otherwise removed from existence. Unless there is proof that NBC has erased every copy of every episode of the series, it still exists, can still be viewed, and can still be aired. (By the way, Rizla, the convention is under the Television project style guideline, at WikiProject Television/Style_guidelines. You might wish to give that a read, instead of making insulting comments and announcing "i dont care what your conventions are".) --Ckatz chat spy  02:13, 19 April 2009 (UTC)

 * Now, was that really so hard, wikipedia master? I'm sorry to take a few minutes away from your busy schedule. Rizla (talk) 02:57, 19 April 2009 (UTC)

Wow Rizla, that was uncalled for. Anyway, thanks for posting the guideline link Ckatz; you've changed my mind about the big is/was debate. -sesuPRIME talk • contribs 03:58, 19 April 2009 (UTC)

 * Changing to was will distinguish it from show that are still current, and is used on most other articles and deceased people. Enlil Ninlil (talk) 23:34, 11 December 2016 (UTC)

Eleventyseven Reference
Not sure this is notable, in fact, I'm kinda sure it's not but I'll post it here on the talk page anyways. http://www.lyricstime.com/eleventyseven-conan-lyrics.html The band makes an entire song in reference to the (now dissolved) show. Possibly deserves a sentence or reference (though the band does make other pop culture references). 74.5.105.31 (talk) 05:32, 21 April 2009 (UTC)
 * Seems like trivia to me. Unless a reliable 3rd party makes a comment or reports on it, this isn't something that deserves a mention.  DP 76764  (Talk) 15:45, 21 April 2009 (UTC)

Late Night
Shouldn't an overview article, say Late Night (NBC) be created to overview the three incarnations, like exists for The Tonight Show ? 70.29.208.129 (talk) 04:01, 4 June 2009 (UTC)

Comedy Central reruns
I edited this article and added: For a short time starting in September 2002, Comedy Central showed the previous night's episode of Late Night at 7 PM. but then someone immediately removed it. It didn't even get a  [citation needed] . Well, anyway, it happened. --216.254.228.94 (talk) 03:43, 1 August 2009 (UTC)
 * Because the information you added was unsourced, the editor removed it. You can re-add it if you have a reliable source. - sesu  PRIME  04:04, 1 August 2009 (UTC)

I thought that was the point of Template:Citation needed. Shouldn't have been immediately removed. --216.254.228.94 (talk) 19:58, 1 August 2009 (UTC)
 * It depends on the editor and the nature of the unsourced information. I usually remove unsourced information on sight rather than using the tags. - sesu  PRIME  00:57, 2 August 2009 (UTC)

title: Talk:Late Night with Conan O'Brien


text:
Wanted Man (Paul Kelly album)

Wanted Man is a folk rock album by Paul Kelly and was originally released in July 1994. It was issued on Mushroom Records in Australia and was Kelly's first solo studio album after disbanding his previous group, The Messengers. Tracks 1–10 were recorded at three Los Angeles studios while tracks 11–13 were recorded in Melbourne. It was produced by Kelly, Randy Jacobs and David Bridie. The cover art for Wanted Man is a colophon rendering of Australia's legendary outlaw Ned Kelly (no relation) as a guitarist and was painted by David Band.

The album peaked at No. 11 on the ARIA Albums Chart and resulted in Kelly being nominated for 'Best Male Artist' at the ARIA Music Awards of 1995. Three singles were issued from the album, "Song from the Sixteenth Floor", "Love Never Runs on Time" and "God's Hotel" (co-written with Nick Cave) – but none reached the ARIA Singles Chart.

Background
Paul Kelly's first solo studio album after disbanding Paul Kelly & The Messengers was Wanted Man. The group had given their last performance in August 1991, and Kelly resumed his solo career. He justified his decision: "We forged a style together. But I felt if we had kept going it would have got formulaic and that's why I broke it up. I wanted to try and start moving into other areas, start mixing things up". Kelly's first post-Messengers solo release was the live double CD Live, May 1992, released in November 1992. Kelly had already relocated to Los Angeles and signed with Vanguard Records to tour the US as a solo artist. While in Los Angeles he produced fellow Australian Renée Geyer's album Difficult Woman (1994).

Recording and composition
In late 1992, when living in Los Angeles, Kelly recorded ten tracks for his next album, Wanted Man, at three studios: Stagg St, Clearlake and O'Henry. Kelly returned to Australia in 1993 and had a book collection of lyrics published, aptly titled Lyrics. In Melbourne he recorded three more tracks at the Metropolis Studio. The album was produced by Kelly, Randy Jacobs (member of Was (Not Was)) and David Bridie (produced My Friend the Chocolate Cake's 1991 self-titled album). Jacobs and Kelly co-wrote "Ball and Chain". The first track, "Summer Rain", deals with a man's yearning for his girlfriend, Kelly thought the sentiment would translate well but found a curious Belgian interviewer asked, "But why would anybody long for rain in summer? ... We get enough rain in winter. We don't want the summer rain. We want the sunshine". The lead single, "Songs from the Sixteenth Floor" was written by Kelly with John Clifforth of Deckchairs Overboard. The next single, "Love Never Runs on Time" was written by Kelly. The lyrics describe a truck driver struggling to meet his commitments to work and family. Kelly uses the same protagonist from "To Her Door" on 1987's Under the Sun and then again in 1996's "How to Make Gravy" from the extended play How to Make Gravy. In the first song, the man moves from being newly married to having children and problems with a drug addiction and undergoing rehab to returning to the family home. By the time of "How to Make Gravy", the man is in prison for assault and is writing a letter to his brother for Christmas. In 2002 Debbie Kruger of Australasian Performing Right Association (APRA) interviewed Kelly and found, "Kelly’s attraction to the theatrical, however unconscious, has meant occasionally a song’s character will pop up again, sometimes unintentionally". Kelly conceded the three songs were linked, I’ve got a feeling it’s the same guy. He keeps coming back'. Maybe he’ll be in a happier place next time? 'Yeah, he’s a bit of a fuck-up, that guy', Kelly laughs".

The final single, "God's Hotel" was co-written with Nick Cave. Kelly had read Cave's book of lyrics, King Ink (1988), and found "God's Hotel". When interviewing Cave for a newspaper article in The Age, Kelly asked about the lyrics, Cave said "It's just a blues ... You can use the words if you want". Kelly only used five of twelve verses and adapted the tune from the chords of "Bittersweet" by Hoodoo Gurus. "Everybody Wants to Touch Me" describes how a pregnant woman becomes the object of curiosity, wonder or revulsion, although some believe the song relates to a celebrity being the centre of attention (see Paul Kapsis' cover version). In 2000 Kelly's friend Deborah Conway recorded her version for The Women at the Well tribute album. Kelly noted "I don't like all covers of my songs but I have to say this one's awesome. Absolutely". "Lately" was co-written with Geyer and followed their work on the soundtrack for the ABC-TV mini series The Seven Deadly Sins, Geyer and Kelly sang alongside Vika Bull and Conway for the 13 tracks. The cover art for Wanted Man is a colophon rendering of Australia's legendary outlaw Ned Kelly (no relation) as a guitarist and was painted by David Band.

Reception and charting
Wanted Man peaked at No. 11 on the ARIA Albums Chart and resulted in Kelly being nominated for 'Best Male Artist' at the ARIA Music Awards of 1995. Three singles were issued from the album, "Song from the Sixteenth Floor" (January 1994), "Love Never Runs on Time" (May) and "God's Hotel" (September) – but none reached the ARIA Singles Chart.

Rolling Stone's Paul Corio observed that having Ned Kelly on the cover "makes perfect sense. Keeping a low profile Down Under, Paul Kelly periodically emerges with albums that raid the storehouse of critical praise, then he retreats to mine poetic gold". Corio felt the music was "folk, reggae, midtempo rock, jazz-inflected pop and hard-edged ballads – Kelly swings them all deftly". Allmusic's William Ruhlmann was less favourable and said "[it] was familiar folk-rock, with Kelly singing romantic lyrics over acoustic and electric guitars and a rhythm section. Wanted Man was less ambitious lyrically than some of Kelly's earlier albums".

Personnel

 * Paul Kelly's backing band members
 * Paul Kelly – lead vocals, acoustic guitar
 * Peter Luscombe – drums
 * Bill McDonald – bass guitar
 * Shane O'Mara – lead guitar

 * Musicians (Tracks 1-11)
 * Sweet Pea Atkinson – backing vocals
 * David Bridie – backing vocals
 * Harry Bowens – backing vocals
 * Linda Bull – backing vocals
 * Vika Bull – backing vocals
 * John Molo – drums, percussion
 * Debra Dobkin – backing vocals
 * John Gilutin – piano
 * James "Hutch" Hutchinson – bass guitar
 * Randy Jacobs – backing vocals
 * Robert Lloyd
 * Ian McLagan – keyboards
 * Helen Mountfort
 * Archie Roach – backing vocals
 * Paul Williamson

 * Recording details
 * Producer – Paul Kelly, Randy Jacobs, David Bridie
 * Engineer – Terry Becker, Richard Bosworth, Tony Cohen, Warren Croyle, Mark Linett, Simon Polinski
 * Assistant engineer – Bruce Curnow, Tim Johnston, Jeff Shannon
 * Mastering – Alan Yoshida
 * Mixer – Terry Becker, Tony Cohen, Simon Polinski

 * Artwork
 * David Band – artwork (paintings, direction)
 * Christopher Holt – typography

title: Wanted Man (Paul Kelly album)