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Black Rose: A Rock Legend

Black Rose: A Rock Legend is the ninth studio album by Irish rock band Thin Lizzy. Released in 1979, it has been described as one of the band's "greatest, most successful albums". It was the first time that guitarist Gary Moore remained in Thin Lizzy long enough to record an album—after previous brief stints in 1974 and 1977 with the band. The album peaked at No. 2 on the UK charts-- making it the band's highest-charting album in the UK. It was their fourth consecutive album to be certified Gold by the BPI.

Songs
Black Rose included the second song Phil Lynott wrote about a member of his family titled "Sarah", the first song by this name having appeared on 1972's Shades of a Blue Orphanage, written about his grandmother, also named Sarah. The song on Black Rose is about his new-born daughter.

The last track "Róisín Dubh", consists of traditional songs, all arranged by Lynott and Moore, as well as many original parts. The song "Will You Go Lassie, Go" (also known as "Wild Mountain Thyme") is sometimes mistakenly credited as a traditional song but was in fact written by William McPeake and first recorded by Francis McPeake. It is credited on the album to "F. McPeak."

At least two of the songs - "Waiting for an Alibi" and "S & M" - were debuted on the early summer 1978 dates before Brian Robertson's departure from the band.

Reception
In a contemporary favourable review for the Irish magazine Hot Press, Dermot Stokes remarked: "Black Rose marks no major departure" from Thin Lizzy's "crystallised" imagery and sound, although "a poppier-feel insinuates itself here and there--seemingly by design". However, he was dubious about the rosy vision of Ireland offered in the title track and wondered whether the band had lost contact with the real life of their country. Writing in Smash Hits, Red Starr stated that the album: "lacked memorable melodies" and that "the blend of traditional tunes in the title track is an unholy mess." Starr acknowledged that fans of the band would be happy with "the reworking of their familiar hard rock style" but went on to note that there was: "nothing new for the rest of us."

In a modern review, Greg Prato of AllMusic described the album as: "Thin Lizzy's last true classic album" and "their most musically varied, accomplished, and successful studio album." He praised Moore's presence as: "a perfect fit" and singled out "Do Anything You Want To", "Waiting for an Alibi" and "Sarah" as stand-out tracks. He also praised the title track and its "amazing, complex guitar solo." In his Collectors Guide to Heavy Metal, Martin Popoff defined the album as "a charmed release" where "Waiting for an Alibi" and "Got to Give It Up" emerge as "two Thin Lizzy classics" and the title track "is on a plane more in league with fine literature than anything as base as rock 'n' roll."

Deluxe edition
A new remastered and expanded edition of Black Rose was released on 27 June 2011. This new edition is a 2-CD set—with the original album on disc one and bonus material on disc two.

Singles

 * Waiting For An Alibi/With Love – 7" (1979)
 * Do Anything You Want To/Just The Two Of Us – 7" (1979)
 * Do Anything You Want To/S & M – 7" (1979)
 * Got To Give It Up/With Love – 7" (1979)
 * Sarah/Got To Give It Up – 7" (1979)
 * Star Trax EP: Jailbreak/Johnny The Fox Meets Jimmy The Weed/The Boys Are Back In Town/Waiting For An Alibi – 7" (1979)

Personnel

 * Thin Lizzy
 * Phil Lynott – bass guitar, lead vocals, twelve-string guitar, producer on "With Love"
 * Gary Moore – lead and rhythm guitar, backing vocals
 * Scott Gorham – lead guitar, rhythm guitar, backing vocals
 * Brian Downey – drums, percussion

 * Additional musicians
 * Jimmy Bain – bass guitar on "With Love"
 * Huey Lewis – harmonica on "Sarah" and "With Love"
 * Mark Nauseef – drums on "Sarah" (uncredited)

 * Production
 * Tony Visconti – producer
 * Kit Woolven – engineer
 * Will Reid Dick, Chris Tsangarides – assistant engineers

title: Black Rose: A Rock Legend


text:
Talk:Black Rose: A Rock Legend

What harmonica
Where is "Sarah" and "With Love" is there *any* harmonica let alone Hewy Lewis playing it? 86.30.183.33 (talk) 23:46, 19 November 2010 (UTC)
 * On "Sarah", the harmonica starts at 0:05 and occasionally runs alongside the keyboards in the background. It's harder to hear on "With Love" as it's buried in the mix at the end. Bretonbanquet (talk) 00:37, 20 November 2010 (UTC)

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

title: Talk:Black Rose: A Rock Legend


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Talk:Hydrocharitaceae

can anyone verify the number of genera in this family?--nixie 03:29, 14 Oct 2004 (UTC)

Hello there. The link on the first genera (Apalanthe) doesn't go to the right page but goes to Elodea. Just for you to know.

title: Talk:Hydrocharitaceae


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Chinatown (Thin Lizzy album)

Chinatown is the tenth studio album by Irish band Thin Lizzy, released in 1980. It introduced guitarist Snowy White who would also perform on the next album as well as tour with Thin Lizzy between 1980 and 1982; he replaced Gary Moore as permanent guitarist. White had previously worked with Cliff Richard, Peter Green and Pink Floyd. Chinatown also featured eighteen-year-old Darren Wharton on keyboards, and he joined Thin Lizzy as a permanent member later that year.

Recording
Having recruited new guitarist Snowy White just before Christmas 1979, Thin Lizzy began recording sessions at Good Earth Studios for what would become the Chinatown album in January 1980, and finished recording "Dear Miss Lonely Hearts" (co-written with Jimmy Bain) in early February. This song was not considered for the album and was instead used for Phil Lynott's debut solo album Solo in Soho, despite all the musicians playing on the song (and ultimately appearing in the video) being members of Thin Lizzy. Between March and May, the band worked on more songs, including "Lady Killer on the Loose", "The Sacred Sweetheart" and the title track "Chinatown", the latter two of which were also performed live at this time, at shows in Ireland and Scandinavia. Another song which had already been played live was "Didn't I", on the recent Japanese tour with temporary guitarist Dave Flett in the band.

The co-producer on the album was Kit Woolven, who was employed by Thin Lizzy's previous producer, Tony Visconti. New keyboard player Darren Wharton later described Woolven as a "really nice guy, easy-going, diplomatic type of guy", and a "really good engineer". Wharton also described how Woolven acted as a guide for Lynott in terms of production, rather than either man producing the album himself. Woolven described the recording as "hard to do" due to Lynott's tendency to make up ideas on the spot rather than undertake any pre-production work. He also stated that this made it harder for new guitarist White, who was used to a more regimented style of working. Bass guitarist Jerome Rimson, who worked on Lynott's solo albums, described the scene in the studio: "I watched him [Lynott] record most of the Chinatown album standing at the microphone and making up the words as he was standing there. There was a full-blown party going on in the control room."

Midge Ure had been performing live with the band up to this point, but left after the Scandinavian shows in April. The band reconvened at Good Earth to continue work on the album, but soon had to relocate to RAK Studios when more time at Good Earth became unavailable. It was there that the band met teenage keyboard player Wharton, who had been recommended to Lynott by a friend in Manchester. Wharton travelled to London for an audition in the form of a loose jam, but the band were too busy finishing "Chinatown", which was to be released as a single in May. He returned the following week, having learned all the band's material, and was hired on a temporary basis. Promotional videos were recorded for "Chinatown" and the completed "Killer on the Loose" around the same time, without Wharton. These were directed by David Mallet, with whom the band had worked on videos for the previous album Black Rose: A Rock Legend, at Hewitt Studios in London.

Recording was subsequently delayed by more touring, and some shows were recorded to provide material for a potential live album, although most of it was used for B-sides and an EP, Killers Live. By mid-June, the band returned to Good Earth to complete Chinatown, although it was still unclear which songs would be featured. By July, a preliminary running order had been established for the album. Side one featured "Chinatown", "We Will Be Strong", "Didn't I", "Turn Around" and "Killer on the Loose". Side two consisted of "Hey You, You Got It Made", "Having a Good Time", "Sweetheart", "The Act", "The Story of My Life" and "Sugar Blues".

Two of the songs which had been worked on were ultimately considered unsuitable for the album: "The Act" (also known as "It's Going Wrong") and "The Story of My Life". The former was eventually re-recorded and finished for Lynott's second solo album, The Philip Lynott Album, as "Don't Talk About Me Baby", while "The Story of My Life" with lead guitar by White remained unfinished. Another song, "Turn Around", which had been played during soundchecks for live shows, was completed as "Don't Play Around", and was used as the B-side of the "Killer on the Loose" single instead of being included on the album. A soundcheck recording of the song appeared on the expanded version of the album, released in 2011. In August, having decided that these three songs would not be included, the band decided to reduce the number of tracks on the album rather than write and record new material. The only new song brought in at this time was "Genocide (The Killing of the Buffalo)".

The finished album opened with "We Will Be Strong", which was released in the US as a single, albeit without a promotional video. "Chinatown" followed, based on ideas by new member White and a bass exercise shown to Lynott by Brush Shiels, and completed by the whole band, with drummer Brian Downey adding double bass drum fills. "Sweetheart" (renamed from "The Sacred Sweetheart") featured keyboards by Wharton, while "Sugar Blues" was another band collaboration which strongly featured White. Side one closed with "Killer on the Loose", which attracted attention from the press amid the ongoing murders and attacks on women by the Yorkshire Ripper, particularly when the song was released as a single in September. The song was a hit, reaching number 10 in the UK charts, despite the record company failing to press sufficient records to meet demand.

Side two opened with "Having a Good Time", followed by "Genocide (The Killing of the Buffalo)", which Lynott wrote with the help of Thin Lizzy artist Jim Fitzpatrick, who also designed the cover for the album. Fitzpatrick did not contribute to the lyrics but assisted in maintaining the historical accuracy of Lynott's theme of the slaughter of American bison in the 19th century, and its effects on the Plains Indians people. Fitzpatrick was unhappy with the lyrics, and Lynott's lyrics in general: "I felt [they] deteriorated horrendously. His mind wasn't making the connections it used to make." "Didn't I" was completed with the help of Tim Hinkley, who added piano parts, and Fiachra Trench, who provided string arrangements. Hinkley had previously added keyboards to "Running Back" on the Jailbreak album in 1976, and Trench had worked on Johnny the Fox, also in 1976, as well as Vagabonds of the Western World in 1973. Trench also worked on Lynott's solo albums, and said "Didn't I" ultimately "could've gone either way, Lizzy or solo". Chinatown closed with "Hey You", a collaboration between Lynott and Downey, the song's title having been shortened.

Cover
The cover for the album was designed by regular band artist Jim Fitzpatrick, who drew many sketches for Lynott's approval. One featured a dragon with flames emanating from it, in a "Chinese type of pagoda style", which Lynott liked. Fitzpatrick developed the theme and finished the front cover. There was another piece in a similar style on the back, which Fitzpatrick finished and sent to the record company directly. "They loved it..." he later said. "One of my best pieces of work. It's why I want it back, right? If it ever turns up anywhere."

Reception
Greg Prato of AllMusic described Chinatown as a "letdown" compared to the previous album Black Rose: A Rock Legend, blaming the absence of Gary Moore and producer Tony Visconti, and the drug problems experienced by Phil Lynott and Scott Gorham. Prato praised side one as containing the best material, including the "anthemic" "We Will Be Strong", and the "pop perfection" of "Sweetheart". However, he described side two as "comprised [sic] almost entirely of bland filler", although he believed that Chinatown was "not their worst album". Canadian journalist Martin Popoff wrote that "although comprising some spirited tunes, (...) lyrically and thematically the songs seem forced and all too topical" and "the overall level of quality below Lizzy's soulful standards", with Snowy White "more a studied session man" than a new band member.

Guitarist White later described the album as "pretty strong", although it was in need of more work. He was frustrated at what he saw as wasted time in the studio, and also stated that some guitar ideas he recorded while waiting for the band were subsequently wiped at Lynott's instructions without listening to them. Co-producer Kit Woolven felt the album could have been more "rock 'n' roll": "It needed a Robbo or someone like that in there," he said. Woolven also described the increasing substance abuse within the band as a problem.

Gorham himself described Chinatown as "kind of a strange album", and cited his increasing drug use as a reason why the album was "a tough album to actually get through", adding that he does not remember recording some of the material. Drummer Brian Downey remembered, "There's some great tracks on both [Chinatown and the follow-up Renegade], but Phil's songwriting seemed to be slipping a bit. All that pressure was getting to him and the drugs were starting to take effect... For some reason we were becoming a little bit unfashionable as well." Gorham added, "We realised that at this point we weren't actually getting any bigger."

Deluxe edition
A new remastered and expanded edition of Chinatown was released on 27 June 2011. This new edition is a 2-CD set, with the original album on disc one, and bonus material on disc two.

 * Track 3 originally issued as a B-side on the "Chinatown" single.
 * Track 4 originally issued as a B-side on Phil Lynott's "Nineteen" single.
 * Tracks 5 and 8 originally issued on the Killers Live EP.
 * Tracks 6–7 originally issued as B-sides on the "Killer on the Loose" single.
 * Track 9 originally included as bonus track on double LP and cassette versions of the Thunder and Lightning album.
 * Tracks 11–15 previously unreleased.

Singles

 * "Chinatown" / "Sugar Blues" (live) – 16 May 1980
 * "Killer on the Loose" / "Don't Play Around" (Gorham, Lynott) – 9 September 1980
 * A double single pack was also released, with the other disc featuring "Got to Give It Up" (live) / "Chinatown" (live).
 * In the US, the B-side was "Sugar Blues".

 * "We Will Be Strong" / "Sweetheart" (US only)
 * "Hey You" / Killer on the Loose" – 6 January 1981 (Germany only)

Thin Lizzy

 * Phil Lynott – bass guitar, keyboards, vocals
 * Scott Gorham – guitars, vocals
 * Snowy White – guitars
 * Brian Downey – drums, percussion

Additional musicians

 * Darren Wharton – keyboards, backing vocals
 * Midge Ure – backing vocals on "Chinatown"
 * Tim Hinkley – electric piano on "Didn't I"
 * Fiachra Trench – string arrangement on "Didn't I"

Production

 * Kit Woolven – producer, engineer
 * Gordon Fordyce – assistant engineer
 * Ian Cooper – mastering

title: Chinatown (Thin Lizzy album)


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Talk:Chinatown (Thin Lizzy album)

Recent edits
If there are any foreign releases with different tracklistings, create a different section. The main tracklisting section requires the readily available version. Next up, why the hell does one particular editor insist that Noel Gallagher was on this album, that's twice you've put that in... and Midge Ure participated in the sessions, so don't keep removing his name. Bretonbanquet 00:43, 22 January 2007 (UTC)

title: Talk:Chinatown (Thin Lizzy album)


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User:ScottM

ScottM is human. He lives currently in a state of quantum flux between being a graduate student or not being a graduate student. He has since been observered to in fact a graduate student and the waveform has collapsed to his benefit. He like Rei, likes pie. He also apparently blind to obvious typos for months on end.

title: User:ScottM


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Renegade (Thin Lizzy album)

Renegade is the eleventh studio album by Irish band Thin Lizzy, released in 1981. Though not his first appearance, this was the first album in which keyboard player Darren Wharton was credited as a permanent member, becoming the fifth member of the line-up. As such, he made a contribution as a songwriter on the opening track "Angel of Death". However, even though he had officially joined the band, his picture was omitted from the album sleeve. Renegade was the second and final album to feature guitarist Snowy White. By his own admission, White was more suited to playing blues than heavy rock and he quit by mutual agreement the following year. He went on to have a hit single with "Bird of Paradise" in 1983.

Recording
The previous album Chinatown having been released in October 1980, Thin Lizzy travelled to Compass Point Studios, Nassau, in early January 1981 to start work on the follow-up. Chinatown co-producer Kit Woolven accompanied them, and they worked on four songs during the following week. However, band leader and main songwriter Phil Lynott was also using this studio time to record material for his second solo album, and two of these songs, "Cathleen" and "A Little Bit of Water", appeared on The Philip Lynott Album the following year. "In the Delta" ultimately remained unused, but "It's Getting Dangerous for Us" became the first song earmarked for the as yet untitled Thin Lizzy album.

The band then went on the road, before convening at Townhouse Studios in London in March to work on more new material. Work continued on "In the Delta", and a song left over from the Chinatown sessions, "The Act", was reworked and abandoned again, while another song destined to be a Lynott solo track, "Someone Else's Dream", was recorded. Three other songs were brought in: the upbeat "Kill (Gotta Get a Gun)"; guitarist Scott Gorham's song "Wham Bam", and a song begun by Snowy White called "Fats". The latter was the only track which emerged on Renegade.

In early May, Thin Lizzy began work at the new Odyssey Studios in London, as they were increasingly unable to secure time at Good Earth Studios. More time was spent on "The Act", while Lynott recorded an eight-minute demo of a tune called "Mexican Girl". Another song recorded at this time which was eventually left unused was "For Always" (originally titled "Darren's Tune"), which originated with keyboard player Darren Wharton, and featured a string arrangement by Fiachra Trench. Later in May and June, two songs featuring White on lead vocals, "Only Woman" and "Moving Away From Here", were recorded but unfinished. Two further songs were started which did find their way on to Renegade – "Banging My Head Against the Wall" and "I'm Gonna Leave This Town". The former was rewritten as "Down on Your Luck" in July, before receiving its final title of "Hollywood (Down on Your Luck)". "Kill (Gotta Get a Gun)" was developed, as was "Mexican Girl" (now retitled "Mexican Blood").

"Trouble Boys"
Also in July, the band recorded two covers: "Trouble Boys", written by Billy Bremner of Rockpile (who was present in the studio at the time), and Percy Mayfield's "Memory Pain", suggested by White and featuring his bluesy lead guitar. Lynott wanted to release the former as a single, against the wishes of the rest of the band, and convinced the band's record company to do so. White later said, "Nobody wanted to put that out except Phil. Scott was dead against putting it out." Wharton remembered, "Everyone hated the damn song," while British music newspaper Record Mirror described it as "dinosaur stuff". The title of the forthcoming album was pencilled in to be Trouble Boys to link to the single, but when it stalled at number 53 in the UK charts, the title and the two covers were dropped.

Between touring and festival dates, Thin Lizzy also began work on "Disaster", co-written by Lynott and Wharton. This song, along with "Hollywood (Down on Your Luck)", was performed live for the first time in Germany in late August. Also around this time, Lynott and drummer Brian Downey reunited with the band's original guitarist Eric Bell, who had left in 1973, to record "Song for Jimmy". This was never considered for the Renegade album, although possibly for Lynott's solo album, but it ultimately appeared on a flexi disc given away with Flexipop magazine in the UK in August.

Change of co-producer
The band continued working at Odyssey Studios and Morgan Studios, recording overdubs and developing more material during September. At this point Lynott and co-producer Kit Woolven had a disagreement about sharing studio time between Thin Lizzy and Lynott's solo project. Woolven had become frustrated: "I wanted to try and make sure that the solo album sounded one way and the Lizzy stuff sounded another way. If you're flipping between things all the time, it's quite confusing." He also said he was not keen on the Renegade material: "It didn't do it for me. I stuck with the solo stuff as it was more interesting." Downey added, "There was definitely confusion, absolutely. There was a definite crossover where you didn't know which album the songs were going to appear on... Kit questioned the whole procedure, and I had to agree with him."

Young producer Chris Tsangarides was working at Morgan Studios at the time, and he met with the band and reviewed their progress, agreeing to help them finish the album. He expressed concern at the lack of focus within the material, and urged the band to write some new songs. As well as the two covers from the failed single, other songs were dropped. These consisted of songs considered best suited to Lynott's solo project, such as "Beat of the Drum" and "Someone Else's Dream", and unfinished material like "Bad Is Bad", "Only Woman" and "Moving Away From Here". Also abandoned were "For Always" and the "Trouble Boys" soundalike "Kill (Gotta Get a Gun)". New songs brought in included the revamped "Disaster", now titled "Angel of Death", which was also considered as an album title. Gorham expressed his dislike of the title, and the song: "I thought "Angel of Death" was too heavy metal for words, and I hated it." He later clarified, "For a time there, it wasn't one of our favourites... [but] that song, more than any other song convinced me that [Wharton] had a right to be in Thin Lizzy."

Also recorded at this stage were "The Pressure Will Blow" and "No-One Told Him", as well as a reworking of an idea of White's from earlier in the year with the title "If You Save Souls". On leaving the studio for a break, Lynott saw a biker with the Thin Lizzy and Motörhead logos on his jacket. Also on the man's jacket was the word "Renegade", which inspired Lynott to rewrite "If You Save Souls" as "Renegade", giving him the idea for the album title at the same time. Lynott was also inspired by reading "The Rebel" by Albert Camus. "It sort of came in a blinding flash: the idea of there being a rebel in us all," he said.

Completion
"Angel of Death" opened the album and represented Wharton's first co-writing credit with the band. Lynott's lyrics were inspired by seeing The Man Who Saw Tomorrow, about the predictions of Nostradamus. The title track "Renegade" follows, co-written by White with most of the lead guitar played by him. Tsangarides remembered: "That was mostly all Snowy on "Renegade". The whole style of the song was really him." He added that this was the song which needed most work at the time he took over the co-producer role. White has named it as his favourite Thin Lizzy song. Next was "The Pressure Will Blow", co-written with Gorham, which Lynott explained was about a man who discovered his partner's affair, and who told her to leave before he became violent. "So it's controlled anger," he said. The last song on side one, "Leave This Town", was influenced by ZZ Top. On hearing Gorham play the riff, Lynott later said, "Immediately I sort of ripped off ZZ Top for all their worth."

Side two opened with "Hollywood (Down on Your Luck)", which was released as the only single from the album in March 1982, after the album was released. It reached number 53, the same position as "Trouble Boys" a few months earlier. Tsangarides said they all struggled to find a single to release from the album, "but I think we felt that "Hollywood" was the closest." It is followed by "No-One Told Him", one of only two songs written solely by Lynott. Some members of the band expressed reservations about the Lynott/White collaboration "Fats", about Fats Waller and somewhat in Waller's style. Gorham said, "I remember "Fats" going down on tape and thinking, 'Whoa, what was that?'" Wharton added, "Despite the fact I got to do a piano solo, I thought "Fats" missed the mark. So did "Mexican Blood" and one or two others." Downey, however, liked the Western-themed "Mexican Blood": "I play some timbales as well as marimbas on "Mexican Blood". Good song, I like that one." The album closes with "It's Getting Dangerous", one of the first ideas Lynott brought to the sessions at Compass Point in January, with a lyric describing friends drifting apart. Tsangarides stated, "It's one of my favourite tracks that I still listen to, to this day."

Cover
Regular Thin Lizzy artist Jim Fitzpatrick was initially engaged in designing the album cover, and drew an apocalyptic scene as a preliminary idea while the album title was pencilled in as Angel of Death. Once the title was established as Renegade, Fitzpatrick drew rough drafts of a cover featuring Lynott on a wanted poster reminiscent of the Wild West, which Lynott liked. However, Phonogram / Vertigo were unwilling to provide funding for an outside artist, and the final cover was photographed by Graham Hughes, a cousin of Roger Daltrey. One idea was to show the band superimposed on a dark mountain with a red sky in the background, but the final version showed an arm waving a deep red flag with a yellow five-pointed star on it. On release, Lynott said the flag had nothing to do with communism, "It's not supposed to be a communist flag," he said, "although it looks like one... nothing to do with North Vietnam or anything." The red colour was inspired by Lynott seeing the colour of a box of Dunhill cigarettes belonging to co-producer Tsangarides, although Lynott claimed at the time they were his own.

The back cover featured Hughes' portraits of four of the band members, with Wharton omitted. The record company said the layout of the back cover dictated that there was only room for four photos, which angered Wharton: "It was a horrible excuse and it hurt me a great deal," he said. Another suggestion was that the record company were unaware that Wharton was by this time a full member of the band. Lynott was keen at the time to quash any suggestion of the group breaking up.

Reception
Greg Prato of AllMusic claimed that Renegade is Thin Lizzy's worst album, with "blatant pop leanings and a production too similar to British heavy metal bands of the early '80s", blaming Snowy White's incompatibility with the group, Lynott's "flat vocals" and the band's drug problems. Prato named "The Pressure Will Blow", "Leave This Town" and "Hollywood (Down on Your Luck)" as the album's better songs. David Fricke in his review for Rolling Stone stated his disappointment for Lynott's performance as singer and songwriter on the album, writing that "only the rousing chorus of "Hollywood (Down on Your Luck)" and the poignant sense of loss in "It's Getting Dangerous" hint at the sensitive yet anthemic writing and hard-rock smarts that usually separate Thin Lizzy from the lunkheads". On the contrary, Canadian journalist Martin Popoff praised the album for its superb production and the professional state-of-the-art sound, calling Renegade "an absolute masterpiece of deeply soulful and richly textured hard rock", whose "fullness and maturity tend to emerge only when played repeatedly".

Co-producer Chris Tsangarides said later, "When I hear the Renegade album now, I get it... I think it was maybe ahead of its time. It was just too diverse for people to accept when it was first released. If you listen to it you'll notice that no one song on there is like another."

Track listing
A remastered and expanded edition of Renegade was released on 23 September 2013 and includes five bonus tracks:

Singles

 * "Trouble Boys" / "Memory Pain" – 31 July 1981
 * "Hollywood" / "The Pressure Will Blow"
 * A picture disc single was also released.
 * In the Netherlands, the B-side was "Mexican Blood". In Canada, the B-side was the Phil Lynott solo track, "Girls".

Thin Lizzy

 * Phil Lynott – bass guitar, vocals
 * Scott Gorham – guitars, backing vocals
 * Snowy White – guitars, backing vocals
 * Darren Wharton – keyboards, organ, Minimoog, backing vocals
 * Brian Downey – drums, percussion

Production

 * Chris Tsangarides – producer, engineer
 * Kit Woolven, Andrew Warwick – engineers
 * Ian Cooper – mastering at Townhouse Studios, London

title: Renegade (Thin Lizzy album)


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Shimo-kitazawa Station

Shimo-kitazawa Station (下北沢駅) is an interchange station on the Odakyu Odawara and the Keio Inokashira lines located in Kitazawa, Setagaya, Tokyo, and jointly operated by the private railway operators Odakyu Electric Railway and Keio Corporation.

The station gives its name to the surrounding Shimokitazawa neighborhood in the southern corner of the Kitazawa district, which is a popular area for young people in large numbers. It includes small independently owned shops, cafes, live music venues and theaters.

Lines
Shimo-kitazawa Station is served by the Odakyu Odawara Line from Shinjuku in Tokyo, and also by the 12.7 km Keio Inokashira Line from Shibuya in Tokyo to Kichijōji. Located between Ikenoue and Shindaita, it is 3.0 km from the Shibuya terminus of the Inokashira Line.

Service pattern
On the Keio Inokashira Line, both all-stations "Local" services and limited-stop "Express" services stop at this station. On the Odakyu Odawara Line, only Limited Express services pass the station.

Station layout
The Odakyu Odawara and Keio Inokashira lines cross at this station, with the Keio line on elevated tracks above the Odakyu line. After a major station reconstruction project, the Odakyu lines were relocated in March 2013 from their prior surface position to new platforms three stories underground. Additional construction work, ending in 2018, separated the express line trains from the local line trains, one level above. Now, the four-track route that formerly ended at Umegaoka is complete as far as Yoyogi-Uehara station.

An unusual feature of Shimo-kitazawa Station for many years was the use of a single ticket gate serving two independent lines and ticketing systems; this was a legacy of the Inokashira Line's former ownership by Odakyu. Additionally, there were no ticket gates between the two lines. However, as part of a major Station renovation construction project, this was changed in March 2019. Now, both lines have separate entrances and ticket gates, and it is necessary to exit and enter ticket gates in order to switch between lines.

Odakyu platforms
The Odakyu station consists of two underground island platforms located on the first and second basement levels, serving two tracks each.

Keio platforms
The Keio station consists of an elevated island platform serving two tracks.

History
The Odakyu section was opened on 1 April 1927, and the Keio section on 1 August 1933.

From 22 February 2013, station numbering was introduced on Keio lines, with Shimo-kitazawa being assigned station number IN05.

From 23 March 2013, trains used the new underground platforms located on the third basement (B3F) level, and the original ground-level platforms were taken out of service. As of 3 March 2018, platforms on the second basement (B2F) level have opened for use by all-stations services, with the lower platforms used by limited-stop services only.

Station numbering was introduced to the Odakyu platforms in 2014 with Shimo-kitazawa being assigned station number OH07.

Passenger statistics
In fiscal 2011, the Keio station was used by an average of 127,124 passengers daily. The passenger figures for previous years are as shown below.

Surrounding area

 * Setagaya Ward Office

title: Shimo-kitazawa Station


text:
Talk:Renegade (Thin Lizzy album)

album cover
does anybody know anything about the meaning of the album cover. it seems to be a socialist/communist flag being flown on a battle axe of some sort. (killer cover i must say) but whats the actually meaning. was thin lizzy communist/socialist? —The preceding unsigned comment was added by Patrick (talk) 06:05, 13 December 2006 (UTC)
 * Of course not - how do you see this flag as "communist/socialist"? It looks like an Irish battle flag from medieval times. 50.111.18.208 (talk) 02:19, 3 June 2019 (UTC)
 * 'Of course not' is not the right response. I was unable to find any information about the cover other than that it was photographed by Graham Hughes (source, not as reliable as I'd like); he also shot the band photos. This post by Jim Fitzpatrick, who did most of their older covers, talks a little bit about the situation with the art. Accrdoing to him there was some kind of trouble with the label and Phil Lynott attempted to comission him on his own (for portraits of all the band members), but in the end the label wouldn't accept his art. So in the absence of anything else I'm not sure if this is something they managed to get the label to agree to, something the management wanted them to use, or something they had to do at the last minute with the photographer because nothing could be arranged. Anyway, it's all very surprising because, yeah, it simply must be a socialist flag. We suppose this because there are no other flags that look like this: it's red and has a gold star on it. This is common to virtually all socialist flags. It's almost identical to the flag of the Socialist Republic of Vietnam, but the star is off-center. It's also similar to the People's Republic of China but lacks the other stars.

 * Flags didn't look like this in the middle ages, and I'm not sure that any flags were used at all in Ireland then. You can look at the page for List of flags of Ireland, especially under Historical military flags, and the only flags that are similar are socialist flags. If you look up 'Irish battle flag' you'll only find the Starry Plough, the flag of the Irish Citizen Army, socialists. The cover also positions the flag, curling in the wind, parallel with a pitch-black cloud, unmistakably forming the black and red anarcho-communist flag used by many militants contemporary to the ICA such as the CNT in Spain; it would be very surprising to me if this wasn't an intentional allusion.

 * Perhaps it shouldn't surprise us too much to find an Irish band engaging with socialist imagery - socialism was such an important element of the movement for Irish independence that you cannot talk about the latter without talking about the former. Still, it's a very strange way for a band to begin this engagement, and is the only such engagement I'm aware of; also a strange time considering the strained relationship with the label. We'd also find it very surprising if a big record company was suggesting it..! You wonder if it was something that Hughes had lying around and they picked it because it felt a little 'martial' and didn't really understand the connotation. Iesbian (talk) 22:53, 19 October 2020 (UTC)

"No-One Told Him"
Written by Lynott alone - Gorham had no part in this one, even though Allmusic says he did. Bretonbanquet (talk) 19:29, 20 September 2011 (UTC)
 * You're right, my copy (which is a completely different edition) says so too. I'm going to add a note of clarification. --Muhandes (talk) 11:15, 21 September 2011 (UTC)

title: Talk:Renegade (Thin Lizzy album)


text:
Different Trains

Different Trains is a three-movement piece for string quartet and tape written by Steve Reich in 1988.

Background
During World War II, Reich made train journeys between New York and Los Angeles to visit his parents, who had separated. Years later, he pondered the fact that, as a Jew, had he been in Europe instead of the United States at that time, he might have been traveling in Holocaust trains.

Steve Reich's earlier work had frequently used tape, looped and played back at different speeds. However, Different Trains was a novel experiment, using recorded speech as a source for melodies.

Structure
Different Trains is made up of three movements, which bear the following titles:

1. America – Before the War

2. Europe – During the War

3. After the War

In each part, melodies are introduced, usually by a single instrument (viola for women and cello for men ), a recording of the spoken phrase from which the melody derives is played. The melody is then developed for a while, with the instruments playing along with the recording of the phrase or part of the phrase. The music for the strings makes extensive use of paradiddle rhythms, with alternating pitches instead of alternating drum sticking. In addition to speech, the piece includes recordings of train sounds, as well as of sirens and warning bells, and prerecorded multiple lines by the string quartet, thus effectively creating four quartets out of one, reflective of three Counterpoint pieces that preceded it: Vermont Counterpoint for multiple multitracked flutes, New York Counterpoint for multiple multitracked clarinets, and Electric Counterpoint for multiple multitracked electric guitars.

The recorded version on this album lasts for approximately 27 minutes. The recorded speech that forms the basis for Different Trains is taken from interviews with people in the United States and Europe about the years leading up to, during, and immediately after World War II. In the first movement, America — Before the War, Reich's governess Virginia and Lawrence Davis, a Pullman porter, reminisce about train travel in the U.S. while American train sounds are heard in the background. In the second movement, Europe — During the War, three Holocaust survivors (identified by Reich as Paul, Rachel, and Rachella) speak about their experiences in Europe during the war, including their train trips to concentration camps. European train sounds and sirens are heard in this movement. The American train whistles are long perfect intervals of ninths and fifths, while the European train whistles are mostly short triadic shrieks. The third movement, After the War, features the Holocaust survivors talking about the years immediately following World War II, along with recordings of Davis and Virginia. There is a return to the American train sounds from the first movement.

Reich developed his "speech melody" work further with projects such as The Cave (1993) and City Life (1995). The technique also appears in WTC 9/11 (2011), a similar work dealing with human tragedy juxtaposed with everyday life and responses to it.

Reich created these works by transferring his speech recordings into a digital sampling keyboard (a Casio FZ-1). City Life used sampling keyboards in performance (rather than using a backing tape) and the samples are notated and played in exactly the same way as the conventional instruments.

Reception
The world premiere was performed by the Kronos Quartet at the First Presbyterian Church in Miami, during the 1988 New Music America festival.

Its original recording, also performed by the Kronos Quartet, won the Grammy Award for Best Classical Contemporary Composition in 1989.

title: Different Trains


text:
Thunder and Lightning (album)

Thunder and Lightning is the twelfth and final studio album by Irish hard rock band Thin Lizzy, released on 4 March 1983. Guitarist John Sykes was hired to replace Snowy White after 1981's Renegade, and Sykes helped to provide a heavier sound and guitar tone than Thin Lizzy had used on previous albums. However, the bulk of the songwriting (except for "Cold Sweat") was completed before he joined the band. Keyboard player Darren Wharton also offered a stronger musical influence to Thin Lizzy's final studio album, co-writing many of the tracks including "Some Day She Is Going to Hit Back", and the final single "The Sun Goes Down". A farewell tour followed the album's release, followed by the live album Life. The group's co-founder, frontman and bass player Phil Lynott died in 1986.

Reception
AllMusic's Greg Prato proclaimed Thunder and Lightning "a definite improvement" compared to much of their other output in the 1980s, but remarked that the record was not the "best release" by the band.

Track listings
The limited edition double LP and cassette version of the album adds four tracks, recorded live in Britain while Snowy White was still a member of the band.

2013 Deluxe Edition
In 2013, a deluxe edition of the album was released. It consisted of two discs: disc one included the original release, and disc two contained live recordings from a 1981 Hammersmith Odeon show and a number of demos.

 * Tracks 1–6 recorded live in 1981 at the Hammersmith Odeon, London, 27 November 1981.
 * Tracks 1–2 originally issued as B-sides on the "Cold Sweat" single.
 * Tracks 3–6 originally included as bonus tracks on double LP and cassette versions of the album.
 * Tracks 7–15 are original album demo versions.

Singles

 * "Cold Sweat" / "Bad Habits" – 4 February 1983
 * A double single pack and 12" were also released, the other tracks being "Angel of Death" (live) / "Don't Believe a Word" (live).

 * "Thunder and Lightning" / "Still in Love with You" (live) – April 1983
 * A 12" was also released, featuring the same two tracks and a poster.

 * "The Sun Goes Down" / "Baby Please Don't Go" – July 1983
 * The B-side in the Netherlands was "Bad Habits".

 * "The Sun Goes Down (Remix)" / "The Sun Goes Down (Extended)" / "Baby Please Don't Go" – 12" (1983)

Thin Lizzy

 * Phil Lynott – bass guitar, vocals
 * Scott Gorham – guitar, backing vocals
 * John Sykes – guitar, backing vocals
 * Darren Wharton – keyboards, backing vocals
 * Brian Downey – drums, percussion

Production

 * Chris Tsangarides – producer, engineer, mixing
 * Andrew Warwick – engineer
 * Chris Ludwinski – tape op, assistant engineer
 * Ian Cooper – mastering at Townhouse Studios, London

title: Thunder and Lightning (album)


text:
User:Nagasaka

My name is Masanari Nagasaka.

I am a PhD student at the University of Tokyo. My affiliation is the Department of Chemistry, Graduate School of Science, the University of Tokyo, Japan.

My research field is surface science. Recently, I have studied water formation on a Pt(111) surface. I perform experiments using synchrotron radiation at the Photon Factory (KEK-PF) in Tsukuba. I also perform dynamic Monte Carlo simulations to explain the experimental results.

title: User:Nagasaka


text:
United States District Court for the Southern District of Georgia

The United States District Court for the Southern District of Georgia (in case citations, S.D. Ga.) is a federal court in the Eleventh Circuit (except for patent claims and claims against the U.S. government under the Tucker Act, which are appealed to the Federal Circuit).

the United States attorney for the District is Jill E. Steinberg.

History
The United States District Court for the District of Georgia was one of the original thirteen courts established by the Judiciary Act of 1789,, on September 24, 1789. The District was further subdivided into Northern and Southern Districts on August 11, 1848, by. The Middle District was formed from portions of both the Northern and Southern Districts on May 28, 1926, by.

Jurisdiction
The Augusta Division comprises the following counties: Burke, Columbia, Glascock, Jefferson, Lincoln, McDuffie, Richmond, Taliaferro, Warren and Wilkes.

The Brunswick Division comprises the following counties: Appling, Camden, Glynn, Long, McIntosh, Jeff Davis, and Wayne.

The Dublin Division comprises the following counties: Dodge, Johnson, Laurens, Montgomery, Telfair, Treutlen, and Wheeler.

The Savannah Division comprises the following counties: Bryan, Chatham, Effingham, and Liberty.

The Statesboro Division comprises the following counties: Bulloch, Candler, Emanuel, Evans, Jenkins, Screven, Tattnall, and Toombs.

The Waycross Division comprises the following counties: Atkinson, Bacon, Brantley, Charlton, Coffee, Pierce, and Ware.

U.S. Attorneys

 * Sion A. Darnell 1882–86
 * Dupont Guerry 1886–1901
 * Marion Erwin 1901-12
 * Alexander Akerman 1912–14
 * Erle M. Donalson 1914–19
 * John W. Bennett 1919–22
 * F. G. Boatright 1922–27
 * Charles L. Redding 1927–32
 * Walter W. Sheppard 1932–33
 * Charles L. Redding 1933
 * J. Saxton Daniel 1933–53
 * William C. Calhoun 1953–61
 * Donald H. Fraser 1961–69 R.
 * R. Jackson B. Smith, Jr. 1969–77
 * William T. Moore, Jr. 1977–81
 * Hinton R. Pierce 1981–92
 * Jay D. Gardner 1992–94
 * Harry Donival Dixon, Jr. 1994–2001
 * Richard S. Thompson 2001–2004
 * Paul B. Murphy 2004
 * Lisa Godbey Wood 2004–2007
 * Edmund A. Booth, Jr. 2007–2009
 * Edward J. Tarver 2009–2017
 * Bobby Christine 2017–2021
 * David H. Estes 2021–2023
 * Jill E. Steinberg 2023–present


text: Talk:Thunder and Lightning (album)

title: Talk:Thunder and Lightning (album)


text:
User talk:Nagasaka

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

Here are some tips to help you get started:

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P.S. One last helpful hint. To sign your posts like I did above (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).

title: User talk:Nagasaka


text:
User talk:Lucas Rodríguez Cervera

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

Here are some tips to help you get started:

 * Try the Tutorial, and feel free to experiment in the test area.
 * If you need help, post a question at the Help Desk
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

[[User:Meelar|Meelar (talk)]]

P.S. One last helpful hint. To sign your posts like I did above (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).

Structured business modeling moved to draftspace
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title: User talk:Lucas Rodríguez Cervera


text: Category:1555 deaths

title: Category:1555 deaths


text:
Lorica (prayer)

In the Irish (Hiberno-Scottish) monastic tradition, a lorica is a prayer recited for protection. It is essentially a 'protection prayer' in which the petitioner invokes all the power of God as a safeguard against evil in its many forms.

The Latin word lōrīca originally meant "armour" (body armor, in the sense of chainmail or cuirass). The idea underlying the name is probably derived from Ephesians 6:14, where Paul bids his readers stand, "having put on the breast-plate of righteousness,". The Greek word here translated as "breast-plate" is θώραξ, in the Vulgata version rendered lorica.

Invocation
Similar to a litany, the lorica often listed whose protection was requested. "Gabriel be my breastplate, Michael be my belt, Raphael be my shield..."

Notable loricas include Rob tu mo bhoile, a Comdi cride, which in its English translation provides the text for the hymn Be Thou My Vision, the Lorica of Laidcenn, and the Lorica of Gildas.

Lorica of St Patrick
The Lorica of Saint Patrick, begins:
 * I arise today
 * Through a mighty strength, the invocation of the Trinity,
 * Through a belief in the Threeness,
 * Through confession of the Oneness
 * Of the Creator of creation.

Linguists cannot trace this lorica back further than the eighth century, which raises the question of whether it was based on an earlier poem dating back to the time of St. Patrick (fifth century), or whether it was actually completely unknown to the saint to whom it has been ascribed.

Lorica of St Fursey (or Fursa)
The Lorica of St Fursa dates from the early seventh century and is still a popular prayer in Ireland. The original text of the Fursey Lorica is held in the British Library. The translation, from Old Irish and German, was made by Fr Francis Mullaghy CSSR and Fr Richard Tobin CSSR, for use in St Joseph's Monastery, Dundalk, County Louth. This Lorica translation is quoted by John Ó Ríordáin (3) and begins: The arms of God be around my shoulders, The touch of the Holy Spirit upon my head, The sign of Christ’s cross upon my forehead, The sound of the Holy Spirit in my ears,

Caim
A "caim" is similar to a lorica, being a type of protection prayer. The word "caim" possibly derives from Scottish Gaelic as listed in the Carmina Gadelica meaning "loop, curve, circle, or sanctuary". English lexicographer Edward Dwelly's dictionary of Scottish Gaelic lists "sf Stain, blot, fault. 2(AC) Loop, curve, circle, sanctuary, guard, imaginary circle described with the hand round himself by a person in fear, danger or distress."

The Carmina Gadelica does not contain liturgical rubrics, nor is there a ritual action described that accompanies the prayer. However, one usage of a caim prayer involves the creation of an invisible circle around the self with the index finger while the individual turns round.

One prayer that is used can be found in the Carmina Gadelic with additions, and by tradition is often attributed to St. Columba: Be to me a bright flame before me Be to me a guiding star above me, Be to me a smooth path below me, Be to me a kind shepherd behind me, Today, tonight, and forever.

title: Lorica (prayer)


text:
Johnson Street Bridge

Four known bridges have spanned the narrows between the Inner Harbour and Upper Harbour of Victoria, British Columbia, connecting Johnson Street on the east shore with Esquimalt Road on the west shore. The current bridge is Canada's largest single-leaf bascule bridge.

First bridge, 1855–1862
A low wagon bridge was completed in 1855, which blocked marine traffic. It was dismantled in 1862 and was replaced with a ferry service.

Second bridge, 1888–1923

In 1888, a hand-operated swing bridge of limited load capacity was built for rail and foot traffic only.

Description
The third Johnson Street Bridge was built as two adjacent, independent, heel trunnion bascule bridges, a three-lane road span of 350 LT, and a single-track rail span of 150 LT. The approaches were fixed steel girders; the east 34 m and the west 22 m. Counterweights were of hollow concrete weighing 780 LT. Operating struts were moved by pinions powered by 75 hp electric motors.

History
The Johnson Street Bridge was designed under the direction of Mr. F. M. Preston, City Engineer in 1920. The Strauss Bascule Bridge Company, which held the patents on the design, prepared the plans for the 45 m bascule spans and the operating machinery. The superstructure of the bridge was fabricated in Walkerville, Ontario of 100 tons of steel. The sub-structure was built by the City of Victoria Engineering Department and required 9144 m3 of concrete. The bridge was completed at a cost of $918,000 (27 per cent higher than the estimated cost of $720,000) and opened in January 1924.

The bridge originally had street car rails running down the center of the road span, but they were never used, and were removed a few years later. In 1966, the wood deck was replaced with steel grid, as rainwater absorbed by the deck unbalanced the bridge, straining the lifting gear. In 1979, extensive repairs were made to the superstructure, which had become severely corroded. Following these repairs, the bridge was painted blue. The paint was selected because the oxides of its pigment are the same colour as the paint so that little fading of the colour occurs. The City of Victoria had used the same blue paint for the lamp standards throughout the city.

In 1995, abnormally high temperatures caused the steel decking to expand to the point the bridge would not open or close properly. This necessitated the removal of about 1 in of the decking.

Daily traffic in 2010 was 30,000 trips a day at peak usage, of which 4000 are pedestrians, 3000 cyclists, and 23,000 vehicles. Until 2011, the rail span for the E&N was used twice a day by the Via Rail Dayliner, for trips up the island towards Duncan, Nanaimo and Courtenay.

Condition assessment
On April 2, 2009, the preliminary results of an overall condition assessment of the Johnson Street Bridge were presented to Victoria City Council; Council gave approval-in-principle on April 23, 2009 to replace the 85-year-old Johnson Street Bridge.

The Delcan Report concluded: Based on the findings of this study either a repair or a replacement option could be justified from a cost perspective. There is, however, in our opinion a need to address the seismic vulnerability of the existing bridge given that it is heavily trafficked and located in the most seismically active city in Canada. In this report we have suggested that this vulnerability should be addressed within 2 to 3 years by implementing a seismic retrofit or by replacing the bridge.

After a detailed presentation by City Engineering staff and Delcan engineering consultants, and lengthy discussion by council, an approval-in-principle to proceed with replacement of the bridge was made. "Today’s decision is an exciting first step that will significantly improve a vital transportation corridor to downtown. There is a tremendous amount of work ahead and we will continue to make thoughtful, prudent decisions as we proceed through this process." Mayor Dean Fortin. On July 9, 2009, Victoria City Council asked staff to proceed with pursuing a design-build model and developing terms of reference for an advisory panel of community representatives to participate in the Johnson Street Bridge Replacement Project.

On July 24, 2009, seven residents of Greater Victoria were named to the Johnson Street Bridge Citizen Advisory Committee and City Council awarded the Owner's Representative contract to MMM Group Limited to project manage the replacement of the 85-year-old bascule bridge. Victoria City Council was presented on September 8, 2009 with the 3 design concepts for the new Johnson Street Bridge.

On September 24, 2009, City Council decided on the Rolling Bascule Bridge as the design for the new Johnson Street Bridge after reviewing public feedback, recommendations from the Citizens Advisory Committee and advice from a staff technical committee. On November 19, 2009, the city council voted in favour of an Alternate Approval Process to require a counter petition. (Vote, out of 8: 4 in favour, 2 against, 2 absent) If more than 10% of residents (6400) would oppose the borrowing bylaw, then the issue would go to a referendum.

During October and November 2009, the Province of BC declined to contribute to funding the bridge project. A few weeks later the federal government approved a $21 million grant for the replacement project. Federal funding came from the Build Canada Fund.

In December 2009, a counter petition was launched to force the city to go to a referendum to obtain approval for funding bylaw No.09-057 to borrow $42 million towards the total of $63 million, with $21 million coming from federal funding. The text of the petition reads: "I, the undersigned elector residing or owning real property within the City of Victoria, do hereby present my name on this elector response form for the purpose of opposing the Council of the City of Victoria adopting Loan Authorization (Johnson Street Bridge) Bylaw No. 09-057 without first obtaining the assent of the electors by a vote (referendum)." Signatures were to be gathered by January 4, 2010. On January 4, 2010, organizers presented a successful counter petition to City Hall, with 9872 valid Victoria elector signatures. The borrowing bylaw for the bridge project went to a referendum. In February 2010, the city commissioned MMM Group to prepare a full Class C report on comparable options for replacement and rehabilitation.

On May 27, 2010, the results of an Ipsos Reid survey were released. Residents taking the survey ranked their priority factors for the bridge as: a dedicated pedestrian walkway, lifespan of the bridge, cost, dedicated bike lanes, accessibility for other users (wheelchairs, scooters, strollers, visually impaired), and safety, above heritage value and having a rail crossing. Business owners did not see a benefit from one bridge option over the other, but concerns over cost and construction issues including potential closures were noted.

On June 11, 2010, Banjar Management's Economic Impact Assessment identified economic benefits of the bridge to "range between $48 million and $54 million for the rehabilitation alternative and $47 to $53 million for replacement of the bridge over the four to five years required for project delivery." Negative economic impacts were assessed as follows:
 * DOWNTOWN VICTORIA BUSINESS IMPAIRMENT
 * Full closure $10.3 million
 * One lane open $5.1 million
 * Two lanes open $2.6 million
 * VEHICLE DIVERSION TRAVEL TIME COSTS
 * Full closure $1.6 million
 * One lane open $1.0 million
 * Two lanes open $0.4 million
 * BUS DIVERSION COSTS ONE YEAR (TWO YEAR)
 * Transit Operation Cost $0.5 million ($1.0 million)
 * Transit passenger travel time $1.0 million ($2.0 million)

On June 14, 2010, MMM Engineering Group made a presentation to council of their report on the rehabilitation and replacement options, including updated cost estimates, revised timelines,  economic impact study of potential closures and options for different levels of seismic upgrading (6.5m vs 8.5m). Refurbishment, with seismic upgrades to 8.5 as recommended in the report, and a third, new span to be a multi-use bridge, was estimated to cost 103 million. Replacement of the existing structure, with accompanying work on the approaches to the bridge, with priority given to a mix of users including vehicles, pedestrians and cyclists, was estimated to cost 89 million. The MMM Group study was also peer-reviewed by Stantec Consulting Ltd, Victoria. Stantec found the proposed bridge "technically appropriate", and that the projected costs for both rehab and replacement were "considered reasonable."

On June 17, the city council decided to ask other municipalities to help fund the costs of maintaining the rail link. This would reduce the cost of refurbishment by $23 million, and replacement by $12 million. Long-term planning for commuter rail to the western communities will be affected if the rail line no longer crosses into downtown Victoria, and instead terminates in Victoria West. The deadline for obtaining this funding was August 12, 2010. The city council also voted on this date to update the bridge to a seismic standard of 8.5 magnitude.

On July 8, 2010, information packages and numbered surveys were sent out to all Victoria residents. The city invited input up to the August 12 deadline. During the month of July, City of Victoria hosted 2 open houses and bridge tours to provide information on the projects to residents. City staff, engineers, and project managers were present to answer questions.

On August 12, 2010, Victoria city councillors voted to replace the Johnson Street Bridge, rather than refurbish the existing bridge. All councillors except for Coun. Geoff Young supported replacing the bridge. The vote was done after tours, open houses, and surveys were done to inform residents of Victoria of the options. An Ipsos-Reid survey found that 64% and 68% of residents and businesses respectively preferred replacing the bridge with a new one. A referendum would still be held on November 20, 2010 to ask residents if they support the city borrowing money for the cost of the new bridge. On November 20, 2010 the referendum to support the city borrowing money for the cost of the new bridge passed 61% to 39%. The new bridge was scheduled to be completed in 2015, at which time the old bridge would be removed.

Closure of rail span
On March 31, 2011, the rail span was closed to rail traffic after a routine inspection found corrosion damage on key structural elements. A preliminary estimate of repair costs was $120,000. The railway span and approaches were removed in February 2012 to make room for the new bridge.

Rail freight service up Store St. to commercial properties on the east side of the Upper Harbour had been discontinued decades before. Since then, the line terminated at a small passenger station beside the bridge. Victoria–Courtenay passenger service was suspended indefinitely in March 2011 due to deteriorating track.

Closure of bridge
On March 31, 2018, the road span was closed to pedestrian traffic, after being closed to vehicular traffic two days earlier. The closing/commissioning ceremony was attended by Victoria City Councillors, mayors from across the Capital Regional District, project managers and engineers for the new bridge, and members of the public. The road span and approaches were removed during spring 2018.

Fourth bridge, 2018–present

Construction of a rolling bascule bridge beside the third bridge began in 2013, and opened to the public on March 31, 2018. As of December 31, 2017, actual costs of $96.08 million had been incurred, to an approved budget of $105.06 million. The bridge affords a three-lane roadway, a pedestrian walkway on the south side, and a multi-use pathway on the north side.

title: Johnson Street Bridge


text:
Gloria Brame

Gloria Brame (born August 20, 1955) is an American sexologist, writer and sex therapist based in Athens, Georgia. She is a member of the American College of Sexologists, and clinical sexologist. Her sex therapy practice specializes in consensual BDSM, sexual fetishism and sexual dysfunction.

Dr. Brame is also an author, educator, and advocate for safe, sane, and consensual relating, especially among the BDSM, fetish, and LGBTQ communities.

Education
Brame earned her PhD degree in Human Sexuality from the Institute for Advanced Study of Human Sexuality in 2000 and an M.A. in English literature from Columbia University in 1978.

Career
Brame wrote several books, including:
 * Different Loving: the World of Sexual Dominance and Submission
 * Come Hither: A Commonsense Guide To Kinky Sex

Different Loving, published in 1993, was an evidence based re-evaluation of SM/fetish/kink as an expression of normal minds and lives, challenging the bias against safe, sane, and consensual behavior as somehow pathological or problematic.

Come Hither was selected as the "official guide to kinky sex" by the Institute for Advanced Study of Human Sexuality.

Other titles by Brame include: Sex for Grown-Ups, Where the Boys Are, The Truth About Sex (Vols. I and II), and Different Loving Too.

Brame testified against then-US Attorney General in Nitke vs Ashcroft, a major case challenging the Communications Decency Act before the Southern District of New York.

In 2012 Brame joined the board of directors of the Woodhull Sexual Freedom Alliance and co-hosted a web radio talk show on Spreaker.

Brame has been cited as a fetish sex expert in a number of media articles,    and has been a regular contributor to Cosmopolitan, Working Woman, and other mainstream magazines. Her biography of the Marquis de Sade appears in International Encyclopedia of Human Sexuality (2015).

Brame is on the board of governors for the Leather Hall of Fame.

Internet presence
Brame has interacted with professional BDSM/Fetish blogs on Reddit.com. She also hosted the Gloria Brame Show (podcast) on BlogTalkRadio and Spreaker, with focus on sexual freedoms and BDSM/LGBTQ rights.

Media
Brame has given numerous live-radio and television interviews with BBC, CBS, NBC, CNBC, FOX, PBS and foreign media. She has been cited in numerous magazines and newspapers, including a 2004 profile in The Washington Post.

Teaching
2002 – 2015, professor at the Institute for Advanced Study of Human Sexuality.

1987 – 1991, adjunct professor of English, NYU, guest lecturer in creative writing, York College (CUNY), associate professor of poetry and creative writing, Hofstra.

Awards and associations
One of the "10 Best Sex and Dating Experts," by DatingAdvice.com

National Leather Association International Cynthia Slater Non-Fiction Article Award (2010) for "Transformation and Transcendence in BDSM"

American College of Sexologists

Bisexuality-Aware Professionals Directory Directory of Therapists Experienced in the Treatment Of Transgender Persons.

Lesbian Business Community MediAngels Global E-Hospital Open Relationship Resources Psychology Today Therapist Directory

title: Gloria Brame


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Hannah Duston

Hannah Duston (also spelled Dustin, Dustan, Durstan, Dustun, Dunstun, or Durstun) (born Hannah Emerson, December 23, 1657 – March 6, 1736, 1737 or 1738 ) was a colonial Massachusetts Puritan woman who was taken captive by Abenaki people from Quebec during King William's War, with her newborn daughter, during the 1697 raid on Haverhill, in which 27 colonists, 15 of them children, were killed. In her account she stated that the Abenaki killed her baby soon after they were captured. While detained on an island in the Merrimack River in present-day Boscawen, New Hampshire, she killed and scalped ten of the Native American family members holding them hostage, with the assistance of two other captives.

Duston's captivity narrative became famous more than 100 years after she died. During the 19th century, she was referred to as a folk hero and the "mother of the American tradition of scalp-hunting." Some scholars assert Duston's story became legend in the 19th century only because the United States used her story to defend its violence against Native Americans as innocent, defensive, and virtuous. Duston is believed to be the first American woman honored with a statue.

Early life
Hannah Emerson was born December 23, 1657, in Haverhill, Massachusetts, to Michael Emerson and Hannah Webster Emerson; she was the oldest of 15 children. At age 20, she married Thomas Duston Jr., a farmer and brick-maker. The Emerson family had previously been the subject of attention when Elizabeth Emerson, Hannah's younger sister, was hanged for infanticide on June 8, 1693. One of Hannah's cousins, Martha Toothaker Emerson, and her father, Roger Toothaker, were accused of practicing witchcraft and tried at the Salem witch trials (1692–93).

Captivity
During King William's War, Hannah, her husband Thomas, and their nine children, including a newborn baby, lived in Haverhill, Massachusetts. On March 15, 1697, when she was 40 years old, the town was raided by a group of about 30 Abenaki from Quebec. In the attack, 27 colonists were killed (half of them children), and 13 were taken captive, to be either adopted or held as hostages for the French. Hannah's husband Thomas, who was building a new brick home about half a mile away, fled with eight of their nine children. The Indians captured Hannah and her nurse, Mary Neff (1646–1722, née Corliss), set fire to Hannah's home, and forced the two women to march into the wilderness, Hannah carrying her newborn daughter, Martha. According to the account Hannah gave to Cotton Mather, along the way her captors killed six-day-old Martha by smashing her head against a tree:

"About 19 or 20 Indians now led these away, with about half a score of other English captives, but ere they had gone many steps, they dash'd out the brains of the infant against a tree, and several of the other captives, as they began to tire in the sad journey, were soon sent unto their long home."

Hannah and Mary were assigned to a family group of 12 people (probably Pennacooks) and taken north, "unto a rendezvous...somewhere beyond Penacook; and they still told these poor women that when they came to this town, they must be stript, and scourg'd, and run the gauntlet through the whole army of Indians." The group included Samuel Lennardson (1683–1718, also spelled Leonardson, Lenorson or Lennarson), a 14-year-old boy captured in Worcester, Massachusetts, in late 1695.

Massacre and escape
The captives were taken north to an island in the Merrimack River at the mouth of the Contoocook River, where, during the night of April 29 or 30, while the Indians were sleeping, Hannah led Mary and Samuel in a revolt:

"...furnishing themselves with hatchets for the purpose, they struck home such blows upon the heads of their sleeping oppressors, that ere they could any of them struggle...they fell down dead."

Hannah used a hatchet to kill one of the two grown men (Lennardson killed the second), two adult women, and six children. According to Cotton Mather's account, Hannah and her partners let one of the children sleep, "intending to bring him away with them," but the boy awoke and escaped. One severely wounded Abenaki woman also managed to escape the attack.

The former captives immediately left in a canoe, after scalping the dead as proof of the incident and to collect a bounty. They went downriver, traveling only during the night, and after several days reached Haverhill.

Reward
A few days later, Thomas Duston brought Hannah, Samuel and Mary to Boston, along with the scalps, the hatchet and a flintlock musket they had taken from the Indians. Although New Hampshire had become a colony in its own right in 1680, the Merrimack River and its adjacent territories were considered part of Massachusetts; therefore, Hannah and the other former captives applied to the Massachusetts Government for the scalp bounty. The state of Massachusetts had posted a bounty of 50 pounds per scalp in September 1694, which was reduced to 25 pounds in June 1695, and then entirely repealed in December 1696. Wives had no legal status at that time in colonial New England, so her husband petitioned the Legislature on behalf of Hannah Duston, requesting that the bounties for the scalps be paid, even though the law providing for them had been repealed:

"The Humble Petition of Thomas Durstan of Haverhill Sheweth That the wife of ye petitioner (with one Mary Neff) hath in her Late captivity among the Barbarous Indians, been disposed & assisted by heaven to do an extraordinary action, in the just slaughter of so many of the Barbarians, as would by the law of the Province which [only] a few months ago, have entitled the actors unto considerable recompense from the Publick. That tho the [want] of that good Law [warrants] no claims to any such consideration from the publick, yet your petitioner humbly [asserts] that the merit of the action still remains the same; & it seems a matter of universal desire thro the whole Province that it should not pass unrecompensed... Your Petitioner, Thomas Durstun"

On June 16, 1697, the Massachusetts General Court voted to give them a reward for killing their captors; Hannah Duston received 25 pounds, and Neff and Lennardson split another 25 pounds:

"Vote for allowing fifty pounds to Thomas Dustun in behalf of his wife Hannah, and to Mary Neff, and Samuel Leonardson, captives escaped from the Indians, for their service in slaying their captors. Voted, in concurrence with the representatives, that there be allowed and ordered, out of the public treasury, unto Thomas Dunston of Haverhill, on behalf of Hannah his wife, the sum of twenty-five pounds; to Mary Neffe, the sum of twelve pounds ten shillings; and to Samuel Leonardson, the sum of twelve pounds ten shillings...as a reward for their service."

Later life
Following her return, Hannah gave birth to a daughter, Lydia, on October 4, 1698. Her neighbor Hannah Heath Bradley, who had also been abducted in the 1697 raid (and two of her children killed), was held for nearly two years before she was ransomed, returning to Haverhill in 1699. During Queen Anne's War Indians raided Haverhill again in 1704 and 1707. In yet another raid on Haverhill (1708), Algonquin and Abenaki Indians led by the French officer Jean-Baptiste Hertel de Rouville killed sixteen, including the town's minister.

Although she claimed to have been baptized as a child, Hannah rarely attended church and did not take communion until late in life, for reasons that are unclear. In May 1724 she asked to be formally admitted to the Haverhill Center Congregational Church. Her husband had made a similar petition in January of that year.

Following her husband's death (between 1724 and 1732) Hannah Duston is believed to have lived with her son Jonathan on his farm in southwest Haverhill. She probably died between 1736 and 1738, and was most likely buried near Jonathan Duston's home.

Samuel Lennardson moved to Preston, Connecticut, to join his father. He married and had five children and died on May 11, 1718. Mary Neff died in Haverhill on October 17, 1722. In 1739 Mary Neff's son Joseph was granted two hundred acres of land at Penacook by the General Court of New Hampshire "in consideration of his mother's services in assisting Hannah Duston in killing divers Indians."

Contemporary accounts
The event became well known, due in part to Cotton Mather's account in Magnalia Christi Americana: The Ecclesiastical History of New England (1702). Mather interviewed Hannah after her return to Haverhill, and on May 6, 1697, he preached a sermon celebrating her return from captivity, with Hannah herself in the audience. He later published the story three times in five years: in Humiliations follow'd with Deliverances (1697), Decennium Luctuosum (1699), and in Magnalia Christi Americana (1702). Mather titled the story "A Notable Exploit: Dux Faemina Facti," (Latin: "The leader of this deed/exploit was a woman") and compared Hannah Duston's story to the murder of Sisera by Jael in the Old Testament, and to the captivity narratives of Hannah Swarton (captured in 1690) and Mary Rowlandson (captured in 1675). Captivity narratives featuring women were often used as metaphors for the identity struggle evolving in New England at that time, wherein submissive, humble and obedient Puritan women fought to regain their freedom from the oppression of their Native American captors, in the same way that the long-suffering colonists resisted oppressive governance by the British crown.

Hannah's story also appears in the diary of Samuel Sewall, who had heard the story directly from her on May 12, 1697, less than two weeks after her escape. Sewall's account adds the detail that the night before their escape, one of their male captors showed Samuel Lennardson how to take a scalp:

"April 29...is signalized by the achievement of Hannah Dustun, Mary Neff, and Samuel Lennerson, who killed two men, their masters, and two women and six others, and have brought in ten scalps...May 12:...Hannah Dustan came to see us; . . . She said her master, whom she kill'd did formerly live with Mr. Roulandson at Lancaster...The single man shewed the night before, to Saml Lenarson, how he used to knock Englishmen on the head and take off their Scalps; little thinking that the Captives would make some of their first experiment upon himself. Sam. Lenarson kill'd him."

Hannah's story is recorded in the diary of John Marshall (1634–1732), a bricklayer in Quincy, Massachusetts, who wrote the following entry for April 29, 1697: "At the latter end of this month two women and a young lad that had been taken captive from Haverhill in March before, watching their opportunity when the Indians were asleep, killed ten of them, scalped them all and came home to Boston. [They] brought a gun with them and some other things. The chief of these Indians took one of the women captive when she had lain in childbed but a few days, and knocked her child in [the] head before her eyes, which woman killed and scalped that very Indian."

Another reference to Hannah Duston is found in the journal of John Pike (1634–1714, son of New Jersey judge John Pike), in the following entry:

"March 15: The Indians fell upon some part of Haverhill, about 7 in the morning, killed and carried away 39 or 40 persons -- two of these Captive women, viz. Dunstan & Neff (with another young man), slew ten of the Indians & returned home w[i]th ye scalps."

Although Hannah herself never provided a written account of her captivity and escape (there is no evidence that she was literate), the Haverhill Historical Society possesses a letter dated May 17, 1724, addressed to the elders of the church, declaring her desire to be admitted as a full member of the church so that she might take communion with the other congregants, and offering a confession. It seems likely to have been composed from dictation by her minister. In reference to her captivity, the letter states simply: "I am Thankful for my Captivity, twas the Comfortablest time that ever I had; In my Affliction God made his Word Comfortable to me."

Later renditions
After Cotton Mather's death, Hannah Duston's story was largely forgotten until it was included in Travels in New England and New York by Timothy Dwight IV, published in 1821. After this, Duston became more famous in the 19th century as her story was retold by Nathaniel Hawthorne, John Greenleaf Whittier, and Henry David Thoreau. Thoreau's version adheres to information provided in primary sources, whereas Whittier describes her "'thirst of revenge...an insatiate longing for blood. An instantaneous change had been wrought in her very nature; the angel had become a demon, —and she followed her captors, with a stern determination to embrace the earliest opportunity for a bloody retribution.'" Hawthorne, clearly horrified, pauses in his retelling to exclaim: "'But, Oh the children! Their skins are red; yet spare them, Hannah Duston, spare those seven little ones, for the sake of the seven that have fed at your own breast.'"

Duston's story entered popular imagination along with other tales of violent murder perpetrated by women, sold as cheap works of short fiction or portrayed on stage in productions intended to appeal to working-class crowds. The massacre was illustrated in theatrical style in Junius Brutus Stearns' historical painting, Hannah Duston Killing the Indians (1847) in which Stearns, for reasons that remain unclear, depicted Samuel Lennardson as a woman. The Indian children Duston killed are omitted. A second painting, showing Hannah's husband fleeing with her children, is now lost. Violent revenge against Native Americans was another popular subject of literature and theater, as in Robert Montgomery Bird's 1837 novel Nick of the Woods.

From the 1820s until the 1870s, Duston's story was included in nearly all books about American history, as well as many biographies, children's books, and magazine articles. The story was popular among white Americans when the country was engaged in the westward expansion, which increased conflict with the Native American groups living in places where settlers wanted to live. In the 1830s and later, the story was partially sanitized by not mentioning the six children that Duston killed.

Later versions of the story added numerous details (including dialogue and the names of the Indians) not found in any primary source, as in Robert Boody Caverly's Heroism of Hannah Duston (1875). Haverhill tradition, recorded in Mirick's History of Haverhill (1832), adds the details that Hannah was wearing only one shoe when she was captured, that her daughter was thrown against an apple tree from which local people remembered eating fruit, and that the captives had already started down the river when Hannah insisted that they return to take the Indian scalps.

Memorials
There are six memorials to Hannah Duston.

Aborted first memorial (erected 1861–1865)
The campaign to build the first monument in Haverhill, Massachusetts, began in 1852, at a time when building public monuments was still a somewhat rare occurrence. The monument chosen was a simple marble column that would cost about $1,350, and by 1861 the necessary funds had been raised. On its base was a shield, surrounded by a musket, bow, arrows, tomahawk, and scalping knife. Engravings on its sides told the story of the "barbarous" murder of Duston's baby and her "remarkable exploit;" the column was topped by an eagle. The monument was erected on June 1, 1861, at the site of Duston's capture, but it was never fully paid for. Some subscribers were upset that the monument was in the middle of farmland on the outskirts of town instead of Haverhill Common. After successfully suing the association, the builders quietly removed the monument in August 1865, erased the inscription, engraved a new one, and resold it to the town of Barre, Massachusetts, where it stands to this day as a memorial to that town's Civil War soldiers.

First successful memorial (erected 1874)
Now known as the Hannah Duston Memorial State Historic Site, the first Duston memorial actually executed was sculpted by William Andrews (1836–1927), a marble worker from Lowell, Massachusetts. An attorney named Robert Boody Caverly, author of The Heroism of Hannah Duston, Together with the Indian Wars of New England (1875), raised $6,000 from 450 subscribers to erect the 35-foot-tall statue depicting Hannah with a hatchet in one hand and ten scalps in the other. It was dedicated on June 17, 1874, on the island in Boscawen, New Hampshire, where Duston killed her captors. An inscription on the east side reads:
 * The war whoop, tomahawk, faggot & infanticides were at Haverhill
 * The ashes of wigwam-camp-fires at night & of ten of the tribe are here.

A crowd of almost five thousand people overwhelmed the island on the day of its dedication, with speeches presented all day long, culminating with a dedication by Governor James A. Weston. It was the first publicly funded statue in New Hampshire and the first statue in the US to honor an American woman.

Over the years, the statue has been repeatedly vandalized, including twice by gunshots to the face. On May 6, 2020, the monument was defaced with splashes of red paint. Local members of the Cowasuck Band of the Pennacook Abenaki People have proposed adding another statue to the island park to honor fallen Abenaki, in order to "tell a more complete story about New England's indigenous peoples." They also want to erect plaques with historical information on the Merrimack and Contoocook rivers and the old railroad track that runs across to the island.

Second memorial (erected 1879)
In 1879, a bronze statue of Hannah Duston grasping a hatchet was created by Calvin H. Weeks (1834–1907) in Haverhill town square (now Grand Army Park), where it still stands on the site of the Haverhill Center Congregational Church, of which Hannah Duston became a member in 1724. It depicts Hannah wearing only one shoe, per Haverhill tradition. On October 31, 1934, the statue's hatchet was stolen, but it was later recovered and welded back into place. On July 10, 2020, the words "Haverhill's own monument to genocide" were found written on the statue's base in pink chalk. The statue was vandalized again on August 28, 2020, with splashes of red paint.

On Thanksgiving Day, 2021, the statue was again vandalized with either red spray-paint or with splashes of red paint. To prevent further vandalism, city workers draped the statue in a blue plastic tarp, pending cleaning by the highway department.

Some local residents have proposed that the statue should be removed because it promotes harmful stereotypes of warlike Indians. A city council subcommittee was assigned to consider the possibility of moving the statue to another location after a period of public discussion. It has been suggested that the statue be moved to the Buttonwoods Museum or to the Dustin Garrison house, but these institutions indicated they were afraid that this would attract even more vandalism. In April, after several public meetings to consider moving the statue to a less conspicuous site, the City Council voted unanimously not to move it, and to provide space for a memorial honoring Indigenous peoples. Haverhill mayor James Fiorentini subsequently established the Native American Commemorative Task Force to examine the history and culture of the Native peoples of the Haverhill region, and to recommend ways in which the community might honor them.

In May, 2021, the city decided to keep the statue but alter some of the offensive language on the base, remove the hatchet and provide space in the park for a Native American monument, including a memorial to Duston's victims and information about Abenaki history. An additional debate is ongoing, over whether the name of the park should be changed. One proposal calls for renaming the New Hampshire site "Unity Park N'dakinna," which means "our land" in Abenaki.

Third memorial (1902)
In 1902 a third memorial was placed by the Daughters of the American Revolution on a small plot of land at Allds and Fifield streets in Nashua, New Hampshire, at the site of John Lovewell's home (part of Dunstable, New Hampshire, in Lovewell's time), where Hannah, Mary, and Samuel spent the night on their way home from captivity. The stone marker's inscription reads: "On this point of land dwelt John Lovewell, one of the earliest settlers of Dunstable at whose house Hannah Duston spent the night after her escape from the Indians at Penacook Island March 30, 1697. Erected by Matthew Thornton Chapter, DAR 1902"

Fourth memorial (1902)
In December 1902 a millstone was placed on the shores of the Merrimack River where Hannah, Mary, and Samuel beached their canoe upon their return to Haverhill.

Fifth memorial (inscribed in 1908)
The fifth memorial was created in 1908, when an inscription was placed on a boulder in memorial to both Hannah and Martha. The 30-ton glacial erratic rock was pulled out of Bradley Brook where it emptied into the Merrimack, near where Hannah landed her canoe after her escape, and placed on the site of Hannah's son Jonathan's home in Haverhill, where Hannah had lived during her final years. Hannah Duston died at this location circa 1736, 1737 or 1738 and is believed to have been buried nearby. Haverhill public library records say it took 30 horses with 14 drivers to haul the boulder to its present location.

Leonardson Memorial (1910)
The Worcester Society of Antiquity sponsored the bronze "Lenorson" tablet (using the spelling they considered correct) and dedicated it on October 22, 1910. The Worcester Sunday Telegram reported it was hung on the 42 ft Davis Tower at Lake Park in Worcester, at the site of the Lenorson boyhood home on the shore of Lake Quinsigamond. It was reported stolen in 1969, just before the tower was demolished, and has not been recovered.

Mount Dustan
Mount Dustan in Wentworth Location, New Hampshire, was named after Hannah Duston sometime before 1870, using an alternate spelling of her last name.

Duston hatchet
The original small axe or hatchet held by Hannah Duston can be found today in the Buttonwoods Museum. The Duston hatchet is not a tomahawk; it is usually called a Biscayan or biscayenne, a common trade item of the late 17th-century New England frontier. It is on display with the knife she allegedly used to scalp her captors, along with her letter of confession petitioning to join the Center Congregational Church of Haverhill.

Commemorative structures
Other commemorations, all in the city of Haverhill, include:
 * Dustin House, which Hannah's husband Thomas Duston was building at the time of the 1697 raid, was completed about 1700 and is listed on the U.S. National Register of Historic Places.
 * Haverhill Elementary school was renamed Hannah Dustin Elementary School on July 10, 1911. It closed in the 1980s.
 * The Hannah Duston Healthcare Center is located on Monument Street in Haverhill.

Controversy
Today, Hannah Duston's actions in freeing herself from captivity are controversial. Some Americans celebrate her as a hero, while others do not, given that the killing of her captors also involved the killing of six children. Some commentators have said her legend is racist and glorifies violence. Others have attributed her actions to self defense and taking vengeance on those that killed her child. Leaders of the Cowasuck Band of the Pennacook-Abenaki People do not believe that Hannah's captors killed her child, maintaining that they would have more likely adopted the child into the tribe.

As of September 2023, a documentary film about Duston, focusing on the cultural context of Duston's capture and the history of Native Americans in New Hampshire, was being produced by leaders of the Cowasuck Band.

title: Hannah Duston


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Cover for the album "Life" by Thin Lizzy

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User talk:Zen-master

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Good night
It's been fun chatting with you, but I'm going to sleep now. I appreciate the fact that you've remained "zen" even while you were greatly out-numbered on your proposal page. I also appreciate the fact that I think you are quite sincere and that your heart is in the right place, even if I disagree with your actual proposal. Ben Hocking (talk 01:50, 16 August 2007 (UTC)

Accounts
Do these edits belong to you? ·:· Will Beback ·:· 03:17, 16 August 2007 (UTC)
 * No. zen master T 04:03, 16 August 2007 (UTC)

Keep up your spirit
Regarding consiracy theories you are right on spot. Perhaps we need to rename all main stream theories as Conspiracy theories instead of changing the title of all current conspiracy theories to get people to understand your point :-) knutars 04:45, 16 August 2007 (UTC)
 * Although I understand your perspective, be careful not to tread into WP:POINT. Personally, I agree that if the goal is to de-stigmatize conspiracy theories, then using the term more, rather than less, would be more effective. Eliminating the word "conspiracy" from them, however, just causes one to lose information. Perhaps the troublesome word is "theory" and not "conspiracy", in which case "non-mainstream theories" and "alternative theories" doesn't really help any, does it? The word "conspiracy" in these cases is always quite descriptive, as that is what is being discussed. The only potential POV problem I see is the use of the word "theory", which, as I already mentioned on that talk page, is frequently abused by people throughout Wikipedia. (E.g., evolution is just a theory, although you rarely hear people say quantum mechanics or the atomic model is just a theory.) Ben Hocking (talk 12:49, 16 August 2007 (UTC)

Another chance for your two cents.
Seeing as your the conspiracy theory crusader perhaps youll want to chime in on this little revert war we have going on. The talk page speaks for itself, this is the revert im hoping you will want to see undone. revert me. Debeo Morium 07:07, 21 August 2007 (UTC)

 * The word "crusader" is not a good word to use. What do they have against those sources? zen master T 14:28, 21 August 2007 (UTC)

 * Seems you were blocked, but ill answer anyway. Nothing. I am the one who supports the sources, along with afew others. As far as i can tell only one person opposes it (maybe two, but i havent heard tom's view yet). I am the one trying to get it restored (and if need be edited to make better, but certainly not removed) Debeo Morium 20:08, 21 August 2007 (UTC)

Blocked
I have restored your indefinite block. Tom Harrison Talk 14:36, 21 August 2007 (UTC)

A study on how to cover scientific uncertainties/controversies
Hi. I have emailed you to ask whether you would agree to participate in a short survey on how to cover scientific uncertainties/controversies in articles pertaining to global warming and climate change (survey described here). If interested, please email me Encyclopaedia21 (talk) 13:24, 2 June 2009 (UTC)

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