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The Alexander Brothers

The Alexander Brothers were an easy-listening folk-music duo from Scotland, who had a long career beginning in the 1950s.

Career
Thomas Armit "Tom" Alexander (25 June 1934 – 9 January 2020) and John "Jack" Armit Alexander (11 November 1935 – 2 November 2013) were born at Thrashbush Avenue in Cambusnethan, near Wishaw. Encouraged by their musical mother, they started instrument lessons at an early age, with Tom favouring the accordion and Jack the piano. On leaving school in the early 1950s, the brothers pursued a trade as painters and decorators by day, and entertainers by night, and spent most of their spare time performing for elderly people in hospitals and for various charitable institutions in and around their hometown. In the spring of 1958, they entered a talent contest which was held in their local cinema. They easily won the contest and one of the judges (who was a well known Scottish theatrical agent) was so impressed, he placed the boys under contract that summer. They made their professional debut at the Webster Hall, Arbroath. It was during this season that they received their first long term contract for five winter seasons at Glasgow's Metropole Theatre. Following Arbroath they were engaged to appear at the Metropolitan Theatre, Edgware Road, London, and it was during this season they were spotted and signed to Pye Records. They cut their first LP six weeks later.

Their most popular recording was "Nobody's Child" in 1964, which is said to have "sold more than The Beatles in Scotland". Their other popular songs include "These Are My Mountains", "The Northern Lights of Old Aberdeen", "Bonnie Wee Jeannie McColl", and "Two Highland Lads". Their 1966 album, These Are My Mountains was their only chart success, peaking at #29 in the UK Albums Chart. Though their popularity had peaked, the duo enjoyed a long touring career. They toured Canada, the United States, Australia and New Zealand. They appeared at the Sydney Opera House with Jimmy Shand as a guest, and also played in Carnegie Hall in New York City. A famous fan was Charlton Heston, who regularly saw them in Los Angeles. In the mid 1990s, The Alexander Brothers began to release music videos, and later DVDs, to supplement their live performances. These new recordings contained many religious or devotional songs. Their most recent CDs and DVDs were produced by Bill Garden and Dougie Stevenson of the Kilsyth based company Scotdisc.

In recognition of their contributions to the world of music, they received MBEs from the Queen in the 2005 New Year Honours List. The ceremony took place in Holyrood Palace in Edinburgh.

On 2 November 2013, Jack died aged 77. Tom continued to occasionally perform as a solo act. Tom died on 9 January 2020 aged 85.

title: The Alexander Brothers


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Nigel Pegrum

Nigel John Pegrum (born 22 January 1949) is a music producer and former drummer, most known for playing on many albums by Steeleye Span.

Biography
Nigel Pegrum played drums with an early line-up of the Small Faces, then with Lee Grant And The Capitols before joining Spice, who subsequently changed their name to Uriah Heep and replaced him with a drummer who had a heavier style of playing, but not before recording the "Lansdowne Tapes". These sessions have since been released under the Uriah Heep name, and feature Pegrum on drums on some tracks. He then joined the art-rock/prog-rock band Gnidrolog, where he was able to use his ability on the flute and oboe. He recorded two studio albums with them, plus a live album before playing with Halcyon and then living on a commune in Worcestershire in 1973. Steeleye Span had finally decided to use a full-time drummer and invited him to join them. Two weeks later he was touring America, with them as the supporting act for Jethro Tull. He remained with Steeleye Span for 17 years, then moved to Australia where he has recorded world-beat albums with aboriginal musicians. He rejoined Steeleye Span for a one-off project, titled The Journey, in 1995.

In 1979, Pegrum joined up with Steeleye Span bassist Rick Kemp to create Plant Life Records. A third member of Steeleye Span, Maddy Prior, released one of her albums on the label. The label's most successful recordings were with the Tannahill Weavers. Pegrum was producer of over 30 albums on the label, which closed down in 1984. He has been a session drummer for June Tabor, Wizz Jones, Rosie Hardman and John Otway. He worked as a freelance producer before emigrating to Australia, where he works with Australian Sun Records.

Both Pegrum and Rick Kemp were members of the punk parody band the Pork Dukes in 1977, using pseudonyms.

Pegrum produced two albums of the German folk band Lorbass (Wie es uns gefällt in 1979 and Wohl bekomm's in 1981, both on Burlington Records) on which he played drums as a guest musician.

In 1980, he joined up with the German band Stenderband with Stefan Stoppok. He recorded one album, titled Erfrischungen.

In 1982, he played the drums on the album Drucksache with the German band Bernie's Autobahn Band.

Pegrum now operates his own recording studio, Pegasus Studios, in Whitfield, a suburb of Cairns, Queensland.

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

authors: Я сошла с ума

title: Nigel Pegrum


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Peter Bellamy

Peter Franklyn Bellamy (8 September 1944 – 24 September 1991) was an English folk singer. He was a founding member of The Young Tradition and also had a long solo career, recording numerous albums and touring folk clubs and concert halls. He is noted for his ballad-opera The Transports, and has been acknowledged as a major influence by performers of later generations including Damien Barber, Oli Steadman, and Jon Boden.

Early years
Peter Bellamy was born in Bournemouth, England, and spent his formative years in North Norfolk, living in the village of Warham and attending Fakenham Grammar School in the late 1950s and early 1960s. His father, Richard Reynell Bellamy, worked as a farm bailiff at that time. Peter Bellamy studied at Norwich School of Art, and later at Maidstone College of Art, and decades later still retained something of the flamboyant art student image, being described as looking like a latter-day Andy Warhol, with blond hair often worn in a ponytail and tied back with a ribbon, a scarlet jacket and florally patterned trousers which he made himself from furnishing fabric.

Encouraged by his friend Anne Briggs he dropped out of college in 1965 to become a member of "The Young Tradition" with Royston Wood and Heather Wood. The trio recorded mainly traditional songs in close harmony and mostly without accompaniment. The Young Tradition projected their voices powerfully, clearly influenced by The Watersons, the Copper Family and Ewan MacColl. They recorded three albums together plus a collaboration with Shirley Collins called The Holly Bears The Crown. Although recorded in 1969, this was not released in full until the 90s.

The Young Tradition's final concert was at Cecil Sharp House in October 1969, after which they split up, with Bellamy wanting to concentrate on traditional English music, whilst the other members had developed interests in mediaeval music.

In 1971, Bellamy recorded a collaboration with Louis Killen: "Won't You Go My Way?".

Solo work
Peter Bellamy's first solo album Mainly Norfolk (1968) indicated his desire to promote the folk music of his part of England. It drew heavily on the repertoire of Harry Cox, still alive at that time, who was the most famous traditional singer of Norfolk songs. On the album, Bellamy sang all songs unaccompanied. Beginning on his second album, Fair England's Shore (1968), he began to accompany himself on the Anglo concertina. Still later, he occasionally recorded with guitar.

It wasn't until Bellamy's eighth album in 1975 that he recorded any of his own compositions. In the same year he recorded a collection of Rudyard Kipling's Barrack Room Ballads (see below).

Having mastered the art of putting new words to a traditional song and his own words to a traditional tune, he wrote a ballad-opera, The Transports, in 1973, but it took him 4 years to find a company willing to produce it. It then became the folk record of the year for 1977 vindicating his long wait and many efforts to get it released. Many prominent names in the folk scene collaborated on the project, including Dolly Collins (a composer, the sister of Shirley Collins), Martin Carthy, Mike Waterson, Norma Waterson, June Tabor, Nic Jones, A.L. Lloyd, Cyril Tawney and Dave Swarbrick. It told the true story of the first transport ship to land in Australia and the first couple, Henry and Susannah Cable (or Kabel), to marry on Australian soil, based on a story Peter found in the local newspaper in Norfolk and followed by his research into the details at the city museum and library. Descendants of the Kabel family still live in Sydney and became friends of Peter. In 2004 it was re-released together with a new production involving Simon Nicol and Fairport Convention. In 1986 Sid Kipper and others devised a ballad opera called Crab Wars. It was partly a parody of The Transports, but Bellamy took it in good humour and even sang the role of narrator.

Another of Bellamy's ambitious projects, The Maritime Suite, was broadcast on BBC Radio 2 but never issued on record.

The economics of folk singing meant that Bellamy sold his own limited edition cassettes at folk clubs, and many performances exist only as pirated tapes. It is said that Celtic Records have a large cache of quality recordings that are unlikely to be issued.

Continuing his early talents with the visual arts, Bellamy generally designed his own album jackets and also drew cartoons for Fred Woods's Folk Review magazine (for which he also showed considerable talent and fluency as a writer of reviews and features). He continued to exhibit and sell his paintings throughout his life.

Sydney Opera House once hosted a concert by him and he toured in the USA.

Although at folk clubs, and in private, he often accompanied blues on bottleneck guitar, these performances rarely appeared on his albums: an exception is an attenuated version of Robert Johnson's "Stones in My Passway", on the Young Tradition's Galleries. A hiss redolent of an old 78 record was added, but this joke misfired: a Transatlantic Records press officer later told interviewer Michael Grosvenor Myer that quite a few copies were returned as 'faulty' as a result!

In 2009 Topic Records included in their 70-year anniversary boxed set Three Score and Ten "When I Die" from Both Sides Then as track nine of the second CD.

Recording Kipling's ballads
Bellamy started his exploration of Kipling as a source for songs, not with the Barrack Room Ballads but with the songs from Kipling's Children's books, (Puck of Pook's Hill and Rewards and Fairies) from which he produced two albums, Oak Ash and Thorn and Merlyn's Isle of Gramarye.

Kipling's Barrack Room Ballads were published in 1892, and Bellamy started setting them to music in 1973. He was struck by people's misconceptions about Kipling, who many perceived as (in Bellamy's words) "one of the reactionary old guard, and therefore obviously a writer of no merit whatsoever". In reality, Kipling had captured a real insight into the attitudes of the ordinary soldiers, such as their contempt for those civilians who would shrug the soldiers off during peacetime but will encourage and cheer them on when the soldiers are leaving for battle: It's Tommy this, an' Tommy that, an' 'Chuck him out, the brute!' But it's 'Saviour of 'is country' when the guns begin to shoot. An' it's Tommy this, an' Tommy that, an' anything you please; An' Tommy ain't a bloomin' fool – you bet that Tommy sees!" (Tommy)

When composing the musical settings for Kipling's poetry, Bellamy had a theory, shared with many others, that highly metrical poets like Kipling used song tunes to keep their poems flowing properly. Some of Kipling's contemporaries confirm that he was in the habit of humming and whistling as he composed. It has, for example, been claimed that in The Loot, there is a "hidden" tune being worked to, and that nothing else can explain the strange refrains. Bellamy became excited when the line in "Dutch in the Medway" "our ships in every harbour...." reminded him of the line in the song "Cupid's Garden" "Twas down in Portsmouth Harbour...". This observation suggested the tune for the Kipling poem and made him wonder whether Kipling had actually composed to that tune, it being a common folk song in the 19th century and certainly part of the repertoire of the remarkable Copper family of Sussex who had lived in Rottingdean when Kipling was also living there. (A local man called Copper appears briefly in Rewards and Fairies.) It has also been suggested that Kipling's "My name is O'Kelly, I've heard the reveille..." was written to the common Irish song and Army marching tune "Lillibullero". Bellamy found a different tune but agreed that "Lillibullero" was more likely to have been on Kipling's mind at the time of composition.

Initially, Bellamy's proposal to record the Ballads was vetoed by Kipling's daughter, and he had to wait until her death in 1976 before permission was finally granted by the Kipling Society.

The Barrack Room Ballads album was recorded by Bill Leader, with Chris Birch (brother of Bellamy's first wife) on fiddle and Tony Hall on melodeon. Chris also contributed to numerous other Bellamy albums, playing fiddle and guitar, singing and providing vocal arrangements. The Kipling Society went on to appreciate Bellamy's contribution to Kipling's legacy and he was elected a Fellow of the Kipling Society, becoming a vice-president in 1981.

A tribute album Oak, Ash and Thorn comprising songs from Bellamy's Oak, Ash & Thorn and Merlin's Isle of Gramarye, was released in 2011, with contributions from artists including Jon Boden, Olivia Chaney, Charlie Parr, Fay Hield, Tim Eriksen, Trembling Bells, The Unthanks, Jackie Oates, Sam Lee, Lisa Knapp and The Owl Service.

Suicide
Bellamy committed suicide on 24 September 1991 in Keighley, an event that baffled many in the folk music community. At the time, he was working with Fellside Records on a project to record major British unaccompanied singing talents. However, according to a thread called 'Boring, Bleating Old Traddy' on the online Mudcat Cafe folk music forum, several of his friends had found him depressed at the way his folk club bookings had unaccountably fallen away after the respect with which The Transports had been received. Folk music journalist and critic Michael Grosvenor Myer, one of those who had named The Transports his record of the year in The Guardian, where he was subsequently to write his obituary, relates how Bellamy showed him an empty engagement book, saying, in sad and puzzled tones, "The Transports was a runaway success, since when my career has gone ppppffff!" Similarly from fellow folksinger Brian Peters: "The saddest Bellamy moment arose after I'd complimented him on a barnstorming performance the last time I'd seen him. With a wan smile, he picked up his diary and, holding it up for me to see, leafed through empty page after empty page, without saying a word." American folksinger Lisa Null, a longtime friend, writes "He was broke, unable to find gigs, unable to adapt. He complained so much about this, many of us kind of got used to it -- a bad mistake. He was sending out warning signs." Another singer, Nick Dow, adds, "In respect of his empty gig diary, we were chatting on the phone, and he asked me 'Nick how do you get so much work?' I answered that it was because I was a persuasive bastard and wasn't averse to making a nuisance of myself. He replied that he couldn't easily ring up and ask for a gig, he found it so embarrassing. He was a singer and performer, not a businessman in any shape or form. Peter needed our help, and the oxygen of the appreciation of his art."

Shortly before his death, his widow, Jenny, later told Michael Grosvenor Myer, he had spent a whole day listening intently and self-critically to his entire record output, saying at the end "But I am good. What the hell has gone wrong?" Karl Dallas's obituary published in The Independent concluded with the words: "Though his roots were obvious to anyone with half an ear, he added much of himself to what he inherited, and was a giant in a world where the pygmy is the standard by which all must be measured. It was unable to contain him, but now he is dead he will no doubt be consigned to the pantheon where the more threatening icons of our time can be tucked away safely, as relics of a past golden age. Peter Bellamy knew that the golden age is now, and he made it more glorious with his presence. His vast recorded output will be an inspiration to all who follow after."

His life and work were fondly celebrated by a day of performances including The Transports at Conway Hall in London on 2 October 1992, 13 months after his death. Heather Wood, his erstwhile Young Tradition colleague now living in New York, came over specifically to be present on the occasion.

Vocal singing style
Bellamy had a distinctive singing style. In a "Borfolk" cartoon in the October 1980 edition of Southern Rag, commenting on an event at Cecil Sharp House compered by Peter Bellamy, he was given the anagrammatical name "Elmer P. Bleaty", a humorous comment on the slightly nasal vibrato of his voice. (Peter Bellamy later obtained, framed and hung the original of the cartoon in his home.)

Folk singer Jon Boden is a fan of Peter's bellowing style. He has jocularly put on his website "Bellamists subscribe to a belief in the absolute purity and oneness of all things Bellamy, and bleat daily incantations in the hope of advancing the day when he will finally return to reign in ever-lasting glory." He was himself good-natured, and even a bit proprietorial, about references to his style as "bleating". In addition to the self-given sobriquet of "boring bleating old traddy", picked out in letters on a Scrabble board on a self-designed record-sleeve photograph by Valerie Grosvenor Myer and used, as noted above, as title of a Mudcat Cafe thread, and to the anagrammatic name attributed to the cartoon character based on him mentioned in the previous paragraph, he once rejoined to a Folk Review magazine correspondent, who had attributed to his influence a preponderance of (Toytown character) "Larry the Lamb" imitators in folk clubs, "Larry the Lamb imitations, dear Madam, are strictly my copyright!"

Discography

 * The Young Tradition
 * The Young Tradition (1966)
 * So Cheerfully Round (1967)
 * Galleries (1968)
 * The Young Tradition and Shirley and Dolly Collins
 * The Holly Bears The Crown (1969)
 * Louis Killen and Peter Bellamy
 * Won't You Go My Way? (1971)
 * Solo albums
 * Mainly Norfolk (1968)
 * Fair England's Shore (1968)
 * The Fox Jumped Over The Parson's Gate (1969)
 * Oak Ash and Thorn (1970)
 * Won't You Go My Way (1971)
 * Merlin's Island of Gramarye (1972)
 * Barrack Room Ballads of Rudyard Kipling (1975)
 * Peter Bellamy (1975)
 * Tell It Like It Was (1975)
 * Both Sides Then (1979)
 * Keep on Kipling (1982)
 * The Maritime England Suite (1982)
 * Fair Annie (1983)
 * Second Wind (1985)
 * Rudyard Kipling Made Exceedingly Good Songs (1989)
 * Soldiers Three (1990)
 * Songs and Rummy Conjurin' Tricks (1991)
 * Compilation
 * Wake The Vaulted Echoes (1999)
 * The Ballads of Peter Bellamy (2008)
 * Various artists including Peter Bellamy
 * The Transports (1977)
 * "Friends of Peter Bellamy"
 * The Transports (2004)

title: Peter Bellamy


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Talk:Shrine of Remembrance

Pictures
Could we possibly get some pictures of the recent redevelopment? A picture of inside the building would also be great. Might need some juggling though with so many pictures already. T.P.K. 09:50, 23 Oct 2004 (UTC)

Unauthorised photography is not allowed inside the Shrine, and to use the Shrine's own photos (see the Website) would presumably require someone's permission. Adam 10:07, 23 Oct 2004 (UTC)

 * "there are no memorials to individuals at the Shrine itself."

Doesn't Simpson qualify? And I understood the Cenotaph to be a memorial to all three WW2 service arms, not just the RAN. Geoff/Gsl 10:13, 23 Oct 2004 (UTC)

 * I think the Simpson statue is some distance from the Shrine itself. It should be mentioned, however.
 * You may be right about the pillar. It has "RAN" inscribed on the north face (see photo), and nothing except the sword on the east face. It is possible that it has the Army and the RAAF on the other two faces, but I confess I didn't look. If you know this for a fact, change the caption and the text accordingly. Adam 10:20, 23 Oct 2004 (UTC)

Simpson can't be more than 20 metres from the new east entrance to the Visitor Centre. I don't know what the boundaries of the "Shrine" are though. He's closer to the Shrine building than the Cenotaph is. I get the point of your sentence though.

As for the Cenotaph, the Shrine website says "The 12.5 metre pillar in the Forecourt supports statuary representing six men in the battle-dress of the Navy, Army and Air Services, carrying a bier on which lies a dead comrade." but I have no good recollection of what is inscribed on it, other than the face near the Eternal Flame says "1939-45". Geoff/Gsl 10:32, 23 Oct 2004 (UTC)

Ah, then you are correct, and I will change the text. I suppose it would be odd for the RAN to have such a huge monument and the other services not. Adam 10:58, 23 Oct 2004 (UTC)

Does the battle honour inscription really read "Rumani"? I know that's what the website says but it should probably be "Romani" as in "Battle of Romani". Also, excuse the criticism but I think some of the photos need to be retaken without the shadows. In particular the Eternal Flame and the south view. Also I would drop the photo of the west wall (the inscription is illegible and is quoted in the text). Perhaps a photo of "The Driver" or "Wipers" instead. Geoff/Gsl 07:45, 24 Oct 2004 (UTC)

Romani is certainly the more common spelling, but it may not have been when the Shrine was built: as with Romania, Rumania and Roumania, fashions in spelling of placenames change over time. I'm sorry you don't like my photos - I thought the evening light was rather evocative. I may go back and take some more. I didn't take photos of the Driver and Wipers statues because they are copies of originals in London. Adam 01:42, 25 Oct 2004 (UTC)

 * I have some writings from 1919 that use "Romani" so I am pretty sure it has never been anything else but until I check for myself, I can't say what is used on the Shrine. Re: the photos, I was just making a suggestion.  You evidently didn't like my photo but that's OK, I didn't either. Geoff/Gsl 04:52, 25 Oct 2004 (UTC)

 * I've checked for myself and "Rumani" it is. Geoff/Gsl 06:14, 31 Oct 2004 (UTC)

there must b an error, the title talks of 114,000 dead of victoria, and 60,000 dead from all of austrilia, how can the national total be less than the state total? or am i being stupid?

It's the 114,000 who served, not died. Adam 02:20, 9 Nov 2004 (UTC)

The wording is odd though, a memorial implies honoring the dead. I would refer to the site as a monument if it is implied that some of those honored are still alive.

 * I wasn't aware of this semantic distinction between a monument and a memorial. It is officially a shrine. Adam 06:39, 9 Nov 2004 (UTC)

another reference
I just added the sculptor's name and another reference. There is a very interesting cartoon on page 316 of that book about the Shrine. However it needs to clear copyright first and since the book is published by. . . .well, think about it. Oh yes, I like the photos, think the shadows add drama. Carptrash 05:06, 9 Nov 2004 (UTC)

photo of interior
I recently replaced the existing photo of the interior of the Shrine with a higher res image. It got reverted, and I'd like to discuss the pros vs cons of each of the two photos. Speaking for my own photo, (and to explain why I think it is superior) it has the Australian flag (a good feature), contains pretty much all of the center box. It also has the silver pillar on the far right (I'm not sure if this is significant) and I also think the lack of people is better. Please share your comments --Fir0002 11:28, 15 January 2006 (UTC)
 * As the photographer of the original image, I am probably a little biased. I think both images have their merits, but I do feel mine is perhaps more suitable as an interior photo. One, it shows a greater angle of view. Two, it gives it a sense of scale of the interior as you can see two participating visitors in relation to it. Diliff  | (Talk)   (Contribs) 16:26, 15 January 2006 (UTC)

 * I prefer the first one. 58.163.142.32 08:01, 16 January 2006 (UTC)

 * As do I.--cj | talk 06:51, 17 January 2006 (UTC)
 * I prefer the first photo; the angle and the presence of visitors improves it. (I know I always try to take photos without people but I intellectually know that people in the photo often improve it because they do give scale and their presence can improve the composition.)--A Y  Arktos 10:17, 17 January 2006 (UTC)

Disambig link
When a primary topic disambiguation is employed, then the primary article must link to the disambiguation page else there's no point in it existing. Please see Disambiguation. Thanks, --cj | talk 06:51, 17 January 2006 (UTC)

Size
"The Shrine of Remembrance, located in St Kilda Road, Melbourne, is one of the largest war memorials in Australia." Can anyone name a larger one? Adam 10:08, 8 August 2006 (UTC)

The Australian War Memorial in Canberra?--A Y Arktos\talk 10:19, 8 August 2006 (UTC)

Possibly, but of course the AWM is much more than a war memorial. It is a museum and an archival centre as well. We need a criterion of "large" to measure them by. Adam 10:33, 8 August 2006 (UTC)

The AWM doesn't call itself a military museum or an archive - just a memorial - we remember in different ways. I don't think size is always a useful comparison - bigger does not equal better or more meaningful but ...--A Y Arktos\talk 10:44, 8 August 2006 (UTC)

 * In terms of physical size of the building - which is the only practical measurement criterion, Canberra is largest, followed by Melbourne and then Sydney. --Centauri 11:52, 8 August 2006 (UTC)

GREATER LOVE HATH NO MAN
The article discusses the absence of religious elements, yet the above quotation appears to be John 15:13-14, which in full reads thus: Greater love hath no man than this, that a man lay down his life for his friends. It is thus a very apt quotation. It would be worth checking that this is indeed the source of the quotation. It would also be useful to provide attribution for the quotation in the article. At present the quotation is just given with neither attribution nor explanation. -- B.D.Mills  (T, C) 00:29, 11 March 2008 (UTC)
 * Now included, thanks--Melburnian (talk) 13:57, 13 July 2008 (UTC)
 * I totally agree - an image of the marble stone with the text would be good also. Anon —Preceding unsigned comment added by 61.68.136.35 (talk) 06:11, 23 April 2008 (UTC)

Referencing
I've started adding references, and I should be able to add most of the others tomorrow. It is slower going than I expected, but I'm rewording sections to match as I go, and one or two bits don't seem to be in keeping with the refs I can find, so I'm having to make bigger changes there. Where I don't have a specific reference at the moment I'm adding fact tags, although I think many of those can be found, particularly in the biographies of Monash which I don't yet have access to. Thus while the fact tags are cluttering things up at the moment, I doubt that they will stay for too long. - Bilby (talk) 15:32, 12 July 2008 (UTC)

Unknown Soldier
I've removed the reference to Monash opposing the inclusion of an Unknown Soldier to the shrine, as the two references I have make no reference to Monash on this issue, instead focusing (when they focus on anyone) on Treloar and Lawson. However, I suspect that Monash would have had something to say - and this would probably be covered in one of the biographies of Monash that I don't currently have access to. - Bilby (talk) 02:12, 13 July 2008 (UTC)

Restructure
I've had a shot at restructuring the page - I haven't changed any content (so it will be easy to revert), just moved it around and added headings. The photos now tend to be attached to the relevant parts of the text, although I think they need work. At any rate, are other editors happy with this? If not, feel free to try something better, or just revert it to how it was. :) - Bilby (talk) 00:52, 14 July 2008 (UTC)
 * I should add, as this was a reasonably bold change, I won't edit for a bit until I know if consensus is towards reverting or not, just to make the process simpler. :) - Bilby (talk) 00:57, 14 July 2008 (UTC)
 * A restructure was much needed, keep on going with your good work, I say. --Melburnian (talk) 02:16, 14 July 2008 (UTC)
 * If you're happy with it, then, I'll leave the new structure in place and continue from there. Thanks! - Bilby (talk) 02:38, 14 July 2008 (UTC)

Gallery and Infobox
Given the number of pictures floating around in Commons, is it worth adding a gallery section? And is it worth having an infobox? Once the rest of the article is done the lead will need to be rewritten, and doing so will mean that most of the infobox informtion will be covered there, but I presume it is worth thinking about. - Bilby (talk) 16:45, 16 July 2008 (UTC)
 * I think that when an artice has featured status and is quite long, as this is, a gallery is not needed as there is sufficient space to display the most relevant photos, with the rest accessible via the commons link . An infobox seems a good idea - Template:Infobox Military Memorial is used at Australian War Memorial Melburnian (talk) 02:35, 17 July 2008 (UTC)
 * That makes sense. I've added the Infobox - if nothing else, it makes better use of the space than the photo on its own did, which was looking lonely due to the whitespace with navigation box. - Bilby (talk) 11:16, 17 July 2008 (UTC)
 * Yes, it does help balance the page Melburnian (talk) 14:25, 17 July 2008 (UTC)

Great Depression
I've removed:

 * The onset of the Great Depression at the end of 1929 slowed construction work on the Shrine. But from 1930 onwards the Depression actually assisted the Shrine's progress, because large numbers of unemployed men were hired at sustenance wages to work on the project as a form of unemployment relief. Many of these were war veterans who welcomed the chance to help finish the Shrine.

After much digging, I can't find any source that specifically discusses the Great Depression, beyond to mention how impressive it was that money was raised during that time, or that the Shrine provided work to some people. So for now I've removed it, but I'll put it back if I dig up a source. :) - Bilby (talk) 14:03, 17 July 2008 (UTC)
 * All I could find is this from a radio transcript: "They used the unemployed ex-servicemen to build the hill on which the Shrine of Remembrance stands, and that's Monash's enduring monument, and it was also a practical way of dealing with the problem of the unemployed." But I'd like to see a firmer source with more detail to support the removed paragraph prior to any reinstatement. --Melburnian (talk) 14:29, 17 July 2008 (UTC)

Granite or Granodiorite?
see Tynong and Granodiorite - The Shrine is made from Tynong granodiorite which explains the rust now appearing from leached iron from the hornblende component (however if references all say,loosely, granite then maybe it should stay??) (Epistemos (talk) 03:09, 24 July 2008 (UTC)).
 * There was only one reference that mentioned Granodiorite that I dug up. All of the others (by all I mean about 6) mentioned just granite. Not knowing anything about geology (I studied it at uni, but only for the dinosaurs, so I ignored the boring rock stuff), my assumption was that granite was a more generic term that, in common usage, encompassed granodiorite. I may well be wrong in this. :) I suspect that it is worth confirming either way. - Bilby (talk) 10:31, 24 July 2008 (UTC)

According to Taylor
The article by Taylor has been quoted in the article, and while Taylor has been acknowledged as the source of the information, he has not been acknowledged as the source of the precise wording. Taylor's writing is colourful and journalistic, and may not express exactly what took place.

There is a statement (quoted direct) that a particular inscription was objected to because it contained no Christian (or indeed religious) reference. While it may well be true that people objected because the reference was not specifically Christian, it contains blatantly Judaeo-Christian references, and only someone who is exceeding ignorant of the Bible could fail to recognise them.

The notion that one is "on Holy Ground" pertains to the story of Moses and the Burning Bush. The reference to "remembrance" comes directly from "The Last Supper" and Jesus' words "do this in remembrance of me". It is possible these two notions have become so imbedded in Western thought that the critics simply failed to perceive them.

Also: I have removed the repeated emphasis and implication that the decoration of the Shrine was somehow un-Christian. This is not the case. Ever since Early Christian artists adorned the catacombs of Rome, Classical motifs have been utilised to express Christian values. For example: The idea of using a person to symbolise a human quality is a Classical one that has been widely applied to Christian Art. A Town Hall might display figures representing Peace, Prosperity, Industry and Agriculture. The forms might derive from Classical antiquity, but the intended meaning has nothing whatsoever to do with paganism. A Christian church will have stained glass windows with three figures very similar to those at the town hall, representing the Christian qualities of Faith, Hope and Charity. (Faith with a cross, Hope with an anchor and Charity with children, sometimes breast-feeding).

It follows that if a sculpture on such a memorial was to pictorially represent the heroic qualities associated with War, then virtually the only way to do it was by the use of symbolic figures. The traditional nature of such symbolism, in Western Society, generally stems from Classical models. On the other hand, the main, the most significant inscription, the focal point of the entire complex refers to none other than Jesus Christ. "Greater love hath no man....".

A few more points:
 * Art Deco, the prevalent style, was a Classical revival style that reacted against the organic style of Art Nouveau.
 * Art Deco drew on Ancient Classical styles of various sorts, including Greek, Roman and Egyptian.
 * Classicism (of one sort or another) had long been considered the appropriate style for something monumental and secular.
 * The Mausoleum on which the Shrine was based was believed to be the greatest such funeral monument to have existed in Western Civilisation.
 * Sydney's war memorial was under construction at the same time. Unlike the Shrine of Remembrance, it follows no clearly identifiable Ancient model. It is a new and highly original creation. While there may have been some critism of the sculpture at Melbourne's Shrine, at least it followed the precedent of being Classical. Not like Raynor Hoff's work in Sydney which set ultra-modern low-reliefs of people on the battle front around the buildings and placed, high up at the corners, monolithic, Henry-Moorish figures of servicemen and women in all there lumpish, boring, uniformed anonymity. Raynor Hoff's bronze sculpture of the naked, symbolically-crucified body of a serviceman born on a shield and sword by women standing like a single column is one of the most challenging memorials to war ever created, particularly since the figure is smooth and youthful, closer in type to Donatello's David than to any Classical sculpture. There is a direct reference to Christ in this sculpture, but it is alarmingly out of context.
 * Far away in London, there was general outcry because the gunners' memorial was simply too realistic altogether. It dared to show a very realistically sculptured soldier lying dead with his feet and one hand protruding from under the duffle coat with which he has been shouded.

Amandajm (talk) 06:33, 4 January 2009 (UTC)

Current Development
Is it time to insert some reference to the current development?Lexysexy (talk) 11:28, 29 May 2013 (UTC)
 * I've added a mention of the upcoming "Galleries of Remembrance" project.--Melburnian (talk) 01:20, 30 May 2013 (UTC)
 * ThanksLexysexy (talk) 02:21, 30 May 2013 (UTC)

Images
From my visit in October, here are a number of photographs including all the new areas thanks to the Shrine Staff, Interpretation Australia and Wikimedia Australia for making it possible to get these images Gnangarra 09:27, 1 January 2016 (UTC)

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Shrine of Remembrance
kjgyuok — Preceding unsigned comment added by 124.168.226.207 (talk) 07:41, 20 March 2019 (UTC)

title: Talk:Shrine of Remembrance


text:
Mbula language

Mbula (also known as Mangap-Mbula, Mangaaba, Mangaawa, Mangaava, Kaimanga) is an Austronesian language spoken by around 2,500 people on Umboi Island and Sakar Island in the Morobe Province of Papua New Guinea. Its basic word order is subject–verb–object; it has a nominative–accusative case-marking strategy.

Name
Mbula speakers generally display difficulty expressing a name for their language. Historically it has been referenced as Mangap or Kaimanga but Kaimanga is considered an offensive term along the lines of "unsophisticated bush person". Mangap is not in known use; however, Mangaaba is the name given to Mbula speakers by Siassi Islanders. Mbula is the only name known to have been used by Mbula speakers themselves, though many of them are unfamiliar with this.

Language family and origin
Mbula is a member of the Oceanic group of Austronesian languages. It was originally proposed as a member of the Siassi language group which is a set of languages extending from Karkar Island in the Madang Province of Papua New Guinea, along the coast of Finschafen and across New Britain. However, more recent evidence suggests that it is a descendant of the Vitiaz Dialect Linkage. Its nearest genetic relations are the Kilenge and Maleu languages; its nearest geographic neighbour is the Papuan Kovai language.

Location
Mbula speakers are generally located in seven villages: Gaura, Yangla, Birik, Marile, Kampalap, Kabi and Sakar. These villages are located on Sakar Island and the eastern half of Umboi Island. Both islands are inactive volcanoes and both are rich in game, timber and fish. Location has influenced the language in that there are many specific vocabulary items for species of fish, shells, canoes, nets, spears and a pair of motion verbs -pet 'to go out, appear, happen' and -le 'to enter' which specifically describe paths of motion which are radially outward toward the sea or radially inward from the sea.

People and culture
Colonialism has had a fair impact on the culture of Mbula speakers. Missionization began in 1884 and the vast majority of Mbula speakers now identify themselves as Christian. Some traditions are retained from tribal religions; foremost among them are those concerning sorcery, white magic and divination. Two general types of magic are identified among speakers, naborou, a beneficial love magic used by many young men in their pursuit of young ladies and yaamba, a kind of mildly destructive magic used to curse and hurt others. A third kind, pu, is considered the most evil, used only to kill or disable people.

Language contact
The Mangap-Mbula are part of a previously extensive trading network with bordering language groups, especially those in the Ngero language group of the Siassi islands which formed the hub of the trading network. As a result, approximately 65% of Mbula speakers are at least somewhat bilingual in Tok Pisin and some 30% speak and understand some Ngero. Due to missionization and other factors, 35% can speak and write English.

Consonants
The consonant phonemes of Mbula are as shown in the following table:

The consonant is realised as  intervocalically. Prenasalised stops, while requiring two phonetic units, exist as a single phonemic unit. The palatal glide is treated as being underlyingly vocalic in morphophonemic analysis while the labio-velar glide  is analysed consonantally. All voiceless plosives,, are optionally pronounced with a voiceless nasal release word finally. All velars are fronted or backed, depending on the vowel immediately contiguous to them within the same syllable. is palatalized to a voiceless, laminal, post-alveolar plosive when followed by a morpheme boundary and.

Vowels
Mbula has five vowel phonemes as shown in the following table. Phonetically front vowels are unrounded and back vowels are rounded. and can be lax or tense and  can be half close tense and half open lax. All vowels can be short or long, though this is interpreted in the phonology as a sequence of two vowels rather than as the existence of long vowel phonemes. The two high vowels and  are lowered slightly when followed by, , or.

Vowels are subject to two rules: penultimate lengthening, which means that external realisations may be long vowels while the underlying form is a short vowel, and epenthesis, which means the insertion of a vowel where the underlying form of the morpheme does not contain one. Epenthesis is regressive, which means that epenthetic vowels take on the quality of the first vowel in the rest of the form. Vowel length is contrastive as can be seen in the following examples:

Suprasegmentals
The placement of stress is predictable. In most words, primary stress falls on the penultimate syllable.

Syllable patterns
Syllable structure is generally (C)V(C). VV can sometimes form a syllable in the case of a diphthong or long vowel and syllable structure can be analysed as CCV when or  is analysed as a C.

Orthography
As stated above, vowel length is contrastive. What would be written phonetically as a: is represented by aa. All long vowels are written this way. All alveolars are dental-alveolars. They are represented in the orthography by t, d, n and nd. The sound is represented by y. The complete orthography of Mbula is as follows:

Syntax and word classes
In an ideal grammar each classificatory word type would belong only to one category and in Mbula that is mostly the case. However, in the following three areas, word forms exist which are hard to nail down as one or the other:

 * 1) verbs and prepositions
 * 2) verbs and adverbs
 * 3) verbs and instrumental nouns

The occurrence of a form in a wide range of conversational environments can result in the gradual loss of morphological features which are not appropriate to some particular conversational environments as well as the morphological gain of features which are appropriate to other conversational environments. This can mean ultimately either category shift of a word class or even just the general greying of the word classes as iron-clad categories.

Verbs and prepositions
Prototypical verbs and prototypical prepositions exist along a cline with verbs at the start, prepositions at the end, and multicategoried word types in the middle:

 * 1) forms inflected with the subject prefixes which function syntactically only as predicates in sentences
 * 2) forms not inflected with the subject prefixes which syntactically function only as predicates in sentences (the uninflected verbs discussed below in verbs)
 * 3) forms potentially exhibiting subject agreement inflection which function syntactically as both predicates in sentences and in serial constructions (the prepositional verbs discussed below)
 * 4) forms never exhibiting inflection and which function syntactically only as prepositions

Verbs and adverbs
Prototypical verbs and adverbs exist along a cline with verbs at the start, adverbs at the end and multicategoried word types in the middle:

 * 1) inflected verbs which never occur as modifiers within the predicate phrase and never occur in cosubordinate adverbial predications
 * 2) inflected verbs which never occur as modifiers within the predicate phrase, and can occur in either a preceding or following cosubordinate adverbial predication
 * 3) uninflected verbs which never occur as modifiers within the predicate phrase, but which can occur in either a preceding or following cosubordinate adverbial predication
 * 4) forms which can occur as modifiers in the predicate phrase after the object or occur as uninflected verbs in an adjacent cosubordinate adverbial predication
 * 5) forms which occur immediately after the object and never function as predicates in an adjacent cosubordinate adverbial construction
 * 6) forms which can occur immediately after the predicate and never function as a predicate in an adjacent cosubordinate adverbial construction

Verbs and instrumental nouns
Verbs and instrumental nouns crossover in that verbs theoretically derived from these nouns appear in an identical form. I.e., there is no overt morphological derivation which might indicate what direction the derivation has occurred in. Examples include:

 * didi – 'wall'
 * -didi – 'to wall in'
 * peeze – 'paddle'
 * -peeze – 'to paddle'
 * kor – implement for sweeping
 * -kor – 'to sweep up' using this implement
 * ris – 'a line'
 * -ris – 'to draw a line'

Nouns
There is no syntactic distinction between nouns and adjectives in Mbula. Nouns are syntactically distinguished by the following three characteristics:

 * 1) They may function 'in isolation' (i.e. without any further syntactic modification) as arguments in a predication, a property that distinguishes them from non-inflecting stative verbs.
 * 2) When functioning as the heads of noun phrases, nouns occur phrase initially with all modifiers following.
 * 3) A subclass of nouns is morphologically distinguished by being obligatorily inflected with a set of genitive suffixes.

There are eight semantic features of noun referents which are especially important for characterising the morphosyntactic behaviour of Mbula nouns:

 * 1) human referent
 * 2) animate referent
 * 3) potent (the referent of the noun can be viewed as the ultimate cause of some process which affects another entity)
 * 4) concrete (the noun can potentially refer to a physical location to which, at which, or from which an event takes place)
 * 5) temporal (the noun may be used to delineate the time at which an event takes place)
 * 6) potentially consumable (the referent of the noun can be eaten or drunk)
 * 7) individuated/count (the referent of the noun may be easily separated from its environment and may not be divided without changing its essential nature/character)
 * 8) inalienable genitive (the referent of the item is inherently associated with some other entity)

Pronouns
Pronouns make the following person/number distinctions.

 * 1 singular
 * 1 dual exclusive
 * 1 dual inclusive
 * 1 plural exclusive
 * 1 plural inclusive
 * 2 singular
 * 2 dual
 * 2 plural
 * 3 singular
 * 3 dual
 * 3 plural

Pronouns also inflect for nominative, accusative, referent and locative cases. Most pronouns are composed of an initial case marker plus a person-number marker. The nominative series of pronouns is generally used to encode animate participants which function as subjects. There are three demonstrative pronouns: ingi ('this one, these ones'), ina ('that one, those ones') and inga ('that one over there, those ones over there'). Accusative pronouns encode animate participants which function as objects. The referent pronouns encode virtually any animate oblique argument. Locative pronouns indicate an animate location toward which an action is taking place in dynamic predications, or at which an item is located. The locative form is also used to encode possession. Interrogative pronouns such as who, when, where, operate in a replacement fashion. That is, the interrogative pronoun is used in place of the normal syntactic position of the item being questioned.

Verbs
The characteristic syntactic function of verbs is to act as the heads of predications in which they occur. They are defined by a number of properties:

 * 1) They typically index the person and number of the subject of the sentence.
 * 2) They may contain transitivity-altering prefixes.
 * 3) They may not function as noun-phrase modifiers in certain frames.

Uninflected verbs
There are several categories of non-inflecting verbs in Mbula:

 * 1) stative experiential verbs
 * 2) stative verbs encoding properties
 * 3) verbs of manner
 * 4) aspectual verbs

All of these non-inflecting verbs function only as predicates in clauses. Thus they cannot function as heads of noun phrases and they cannot function as restrictive modifiers of nouns unless they are relativised or nominalised. Syntactically, they resemble inflected verbs. They are only distinguished from other verbs morphologically.

Adverbials
This class is called adverbials and not adverbs because Mbula contains a large collection of words which are defined as modifiers of constituents other than nouns. Semantically, such forms typically encode notions of time, aspect, manner and modality.

Quantifiers
Quantifiers are uninflected forms which always occur in noun phrases following nouns, locative/alienable genitive pronouns, and attributive stative nouns, but before determiners, locative/alienable genitive prepositional phrases, relative clauses and demonstratives. The Mbula counting system is based upon the notions of five and twenty.

Prepositions
Prepositions are generally uninflected forms which govern a single noun phrase complement and relate it to a head or predicate. Mbula employs five categories of prepositions:

 * 1) the referent preposition -pa- used for oblique arguments
 * 2) the locative preposition -ki- used for animate goals towards which some entity moves, sites at which some entity is located and body parts which perceive something
 * 3) the preposition -kembei- used to express resemblance, similarity or approximate equality (i.e., like, as)
 * 4) the comitative and manner prepositions -ramaki-/-raama- used for accompaniment and manner
 * 5) prepositional verbs discussed below

Prepositional verbs
These forms are a set of optionally inflected verbs which occur in serialisations functioning as case markers. As they may potentially contain inflection for third person singular in these serialisations, they depart from the typical uninflected preposition. However, they retain the prepositional function of relating a dependent noun phrase to a verbal head.

Historical demonstratives and deictic expressions
Regarding the deictic term for 'that, there', there does not seem to be a major change in the pronunciation of the term in Mangap-Mbula (ina) from Proto-Malayo Polynesian (PMP; *i-na). However, the context in which ina is used has narrowed, as it is used anaphorically to mean 'that'.

Morpho-syntactic features
Demonstrative pronouns and spatial deictic expressions Mangap-Mbula has three different free demonstrative pronouns which do not differentiate between singular and plural:

In Example 1, iŋgi is a free demonstrative used situationally and functions as a modifier of a singular noun phrase, as it is introducing the 'younger brother'. Additionally, iŋgi also has two other functions. The first is as the modal adverb meaning 'this is true now', and the second as a morphological part of the demonstratives tiŋgi and taiŋgi.

iŋgi nio tizi-ŋ.

this.one NOM.1SG younger.sibling-GEN.1SG

This is my younger brother.

Ina functions similarly to the third person pronouns ni and zin. It is frequently being used to refer to non-humans, and its main function is to reestablish a participant, who has already been introduced, as a topic or to single them out. In Example 2, ina is referring to two non-human, singular entities: the wallaby and the tree kangaroo. As the direct translation for each of these entities were not mentioned here, it can be inferred that they are both used anaphorically.

2SG+walk+RED and 2SG+go and say=NF dog 3PL-ascend LOC SPEC-NON.REF GIV 2SG+look for that.on say=NF dog hunter then-GIV 3PL-get=ACC.3SG and say=NF dog SPEC bad.hunter=PROX GIV that.one 3SG-able 3PL-get=ACC.3SG NEG

You keep walking until the dogs happen to come upon one (a wallaby), and then look out. For it (=the wallaby), he dogs, if they are good hunters, then they will get it. But if they are bad hunters, then it (the tree kangaroo), they will not be able to get it.

In Example 3, iŋga is a free demonstrative used situationally and conveys two pieces of information: (1) the entity to which it is referring to, and (2) its location in reference to the speaker (i.e. a place adverb).

Iŋga i-kaam so?

that.one.over.there 3SG-do+RED what

What is that one/thing over there doing?

Locative adverbial forms In Mangap-Mbula, there are no differences between deictic expressions that denote noun phrases and ones that denote location in sentences. Thus, they are considered as being a single form class.

Ti-kam uraata taŋga.

3PL-do work over.there

They worked over there.

Ruumu taŋga i-saana kek.

house over.there 3SG-deteriorate PERF

That house over there is ruined.

In Examples 4 and 5, taŋga is used situationally as a place adverb for where a group of people work and where in relation to the speaker, is the house located, respectively.

Problems with prepositions

Zin ti-kam uraata taŋga

NOM.3PL 3PL-do work over.there

They worked

Zin ti-kam uraata meleebe

NOM.3PL 3PL-do work below

They worked

Zin ti-kam uraata pa lele toro

NOM.3PL 3PL-do work in another place

They worked

Examples 6, 7, and 8 demonstrate that the demonstrative taŋga and the adverbial meleebe are semantically and positionally similar to the preposition phrase pa lele toro. This resemblance suggests that both could potentially fall under the same category of prepositional phrases, which further suggests that prepositions could be split into a transitive (location adverbs and demonstratives) and intransitive (true prepositions) sub-category. However, viewing things this way could have two issues: (1) the adverbial meleebe would have to be left as being noun phrase modifiers, but this could be due to the semantics; (2) the noun phrase shows the demonstrative occurring after the 'true' prepositiona' phrase with the noun phrase complement. But if both are deemed as coming from the syntactic group, why then would there be an ordering restriction? As a result of these problems, a demonstrative form class is recognised.

Noun phrases

man tatariigi ta-na

bird chicken SPEC-GIV

that chicken

moori sa ta-na

female NON.REF SPEC.GIV

that (hypothetical) woman (about whom I am talking)

ke ta nu mbotmbot pa ta-na

tree SPEC NOM.2SG 2SG+stay+RED REF SPEC-GIV

that tree where you are staying

In the examples given above, ta-na is used situationally as a determiner for either the chicken (Example 9), the woman (Example 10) or the tree (Example 11). Ta refers to the specific entity (i.e. 'that'), and na refers to the entity that has already been revealed in the sentence. In Example 10 however, the woman is not present situationally, but is referred to hypothetically.

There are two functions of tana: (1) as a demonstrative, or (2) to convey reason-result sequences. They are homophones. The demonstrative denotes (1) entities that are accessible or nearby the speaker and (2) textually revealed participants.

Motion verbs

Similar to many other Oceanic languages, Mangap-Mbula makes a three-way distinction depending on relative space: near speaker, near hearer or near neither. This sense of deictic orientation can be conveyed in motion verbs through the use of suffixes. These verbs often compound the root (which states the spatial positioning of motion) and the deictic orientation of motion in regards to the speaker and listener. This is shown in Table 2.

These are some examples:

Ni ko i-su.

NOM.3SG UC 3SG-descend

He will come down to me.

Nio ko aŋ-ma Mande.

NOM.1SG UC 1SG-come.to.you Monday

I will come to you on Monday.

Nio ko aŋ-su-ma.

NOM.1SG UC 1SG-descend-come.to.you

I will come down to you.

These are all examples of bound deictic morphemes.

Aerial comparison
Other Oceanic languages which share the same pronunciation for the term ina (meaning 'that, there') have a slightly different meaning, such as Suau and Motu, where ina means 'this', and Chuukese, where ina means 'there it is (by you)'. There are also other Oceanic languages with a closer meaning to Mangap-Mbula's ina, but have an additional sound at the beginning. They are Dobuan (where n-ina means 'that') and Nakanamanga (where wa-ina means 'that (distant)').

Mangap-Mbula is a noun-demonstrative order language. This order is usual for neighbouring languages in the Morobe Province, such as Sio and Selepet, as well as in West New Britain, such as Maleu and Amara. Examples 9, 10 and 11 demonstrate this lexical ordering.

Complementizers
Complementisers are uninflected forms which only govern a following sentence. The combination of a complementiser and a following sentence becomes the constituent in a noun or predicate phrase. Mbula contains seven types of complementiser:

 * 1) kokena – lest (I don't want this to happen)
 * 2) be ~ nothing – non-presupposition of factuality (I do not say this is something which has happened)
 * 3) (ta)kembei – like (I think like this)
 * 4) nothing – asserted factuality (I say this is something which has happened or is happening)
 * 5) ta(u) ~ nothing – presupposed factuality (I know that this is something which has happened and I think you know about it too)
 * 6) tabe – presupposed non-factuality (I know that this is something which has not happened and I think you know about it)
 * 7) ki – habitual event (This is the kind of thing that is always happening)

Conjunctions
There are a great deal of conjunctions in Mbula that each encode their own subtly different meaning. However, all conjunctions fall broadly into four categories: temporal conjunctions, conditional conjunctions, causal conjunctions and disjunctions.

Interjections
There are a number of interjections in Mbula, all of which play no role in the grammar of the language, but which function to convey the speaker's attitudes and intentions. They always occur sentence initially and include the following examples:

 * a – I want to say something
 * ais – I want something
 * ha – I hear something, I don't know what it is
 * ii – I don't know
 * lak – I want to ask you something
 * som – I do not agree with you
 * yo(o) – I say you did something good
 * ywe – I think you are bad

Morphology
Word structure in the Mbula language is not complex. There is little inflection of both nouns and verbs and few derivational processes. Most words in Mbula are mono-morphemic. Multi-morphemic words can be formed via the following processes:

 * indexing on verbs for the person and number of the Subject
 * inflection of inalienable nouns for the person and number of their genitives
 * reduplication
 * derivation of predicates to increase or decrease their transitivity
 * compounding
 * nominalisation

These processes will be discussed below.

Inflectional morphology
The only types of inflectional processes in the language are on verbs for the person and number of the subject, inflection of inalienable nouns for the person and number of their genitives as well as pronoun person/number distinctions.

Verbal inflection
Verbs typically index the person and number of the subject of the sentence with the following set of subject prefixes:

Inflection of inalienable nouns
Mbula contains a class of nouns which are obligatorily inflected with genitive suffixes. Inalienable describes the semantic nature of the nouns. That is, they are semantically considered in speakers’ minds to be inalienable or inseparable from something. Examples include body parts and family members – concepts which exist in relation to something else, just the way an edge cannot exist without being the edge of something. Following is a list of the genitive suffixes:

Pronoun inflection
Pronouns in Mbula inflect for first, second and third person as well as singular, dual and plural, as well as inclusive and exclusive in the first person. They also change depending on whether they are in the nominative, accusative, referent or locative case. The following table details the paradigm:

Derivational morphology
The following types of derivation occur in Mbula: compounding of nouns and verbs, creation of nouns by means other than compounding, derivational devices which alter the transitivity of verbs, reduplication and some other minor processes. Compounding is not a very productive process in Mbula though is far more common in verbs than in nouns. Verbs can compound with adverbs, nouns and other verbs to create verbs. Nouns are more likely to be derived by the nominalising suffix -nga. When combined with adverbs it yields stative nouns; with nouns it can either signal an intensification of meaning or a slight change in meaning (with no intensification); it turns stative verbs into stative nouns and dynamic verbs into nouns. Semantically, -nga derivations tend to convey the idea of generic, habitual or characteristic actions. A further nominalisation suffix -i exists but is far less productive than -nga. Transitivity of predicates can be altered by the addition of one or more of the following prefixes: pa, par, and m, and these are extremely productive processes. Finally, reduplication can result in any one of the following meanings: plurality, distribution, intensification, diminution or habitual-durative action (action that is somehow extended).

title: Mbula language


text:
Plant Life Records

Plant Life Records was a record label that existed from 1977 until 1984. It was formed by Nigel Pegrum, at that time drummer for Steeleye Span. Maddy Prior recorded one album for the label, as did Wizz Jones in 1977. Its most successful recordings were by The Tannahill Weavers and Blowzabella. Most of the thirty or so albums were produced by Pegrum and seven were produced by Paul James. Late in its life, the label began issuing records under licence from other labels and was linked to the Burlington record label, which was also issued with the Plant Life logo on the later labels.

title: Plant Life Records


text:
Battle of Newbury

Battle of Newbury may refer to:

 * First Battle of Newbury, 20 September 1643
 * Second Battle of Newbury, 27 October 1644
 * Third Battle of Newbury, January--April 1996, a large anti-road protest over the building of the Newbury Bypass.

title: Battle of Newbury


text:
Grave (band)

Grave is a Swedish death metal band that was formed in 1986 by vocalist and guitarist Ola Lindgren who is their only constant member. The band had particular success in the early 1990s, and their first four albums, Into the Grave, You'll Never See..., Soulless and Hating Life, cemented their reputation as one of Sweden's foremost death metal bands. Grave went on hiatus in 1997, but got back together two years later. Since then, they have released seven more albums, making a total of eleven studio albums. Along with Dismember, Entombed and Unleashed, Grave is considered one of the "big four" of Swedish death metal.

Early career (1986–1993)
The band started in 1986 under the name Corpse and changed it to Grave in 1988. They recorded various demos from 1986 to 1991, and recorded some singles and EPs as well. Their debut full-length album Into the Grave was released in 1991. The release led to a European and American tour.

In 1992, the band released their second album You'll Never See..., which was a continuation of the style featured on their debut. However, bassist Jonas Torndal left the band as a result of his increasing dislike for touring. After unsuccessfully trying to find a replacement, the group made a decision to become a trio, with guitarist Jörgen Sandström switching to bass. A European tour followed with compatriots Dismember and headliner Morbid Angel.

Two more albums, hiatus and return (1994–2003)
The band's third album, 1994's Soulless, showed a somewhat different style, blending more experimental and industrial tones into the death metal of the previous album. Sandström departed in 1996, and Lindgren took over the vocals on their fourth album Hating Life. This album progressed further into the style started on Soulless. Another European and American tour followed, which resulted in the live album Extremely Rotten Live. Thereafter, the band more or less split up.

1999 was the first year the members rejoined and started rehearsing; nevertheless the band took it slow. Ultimately this led to a warm-up European tour and a new album in 2002. Back from the Grave was a return to the style featured on their second album, You'll Never See..., with minimal influence from Soulless. As a bonus, a CD containing three demo recordings was included with the album.

Fiendish Regression and As Rapture Comes (2004–2007)
The 2004 album Fiendish Regression saw the departure of drummer Paulsson, who was replaced by Coercion drummer Pelle Ekegren. This album showcased more aggressive and generally somewhat faster songs. Touring followed through Europe in conjunction with the Canadian band Cryptopsy.

Two years later in 2006, As Rapture Comes was released, further increasing the overall speed and aggression of the band's musical style. Noteworthy is the inclusion of the Alice in Chains cover of "Them Bones". In support of the album the band toured with Dismember, Vital Remains, Demiricous, and Withered through the US and Canada. In November 2006 they toured Europe as part of the Masters of Death tour, with Unleashed, Dismember, Entombed and Exterminator. In September, Grave embarked on a European tour with Nile for their album Ithyphallic.

Recent years (2008–present)
In 2008 the band returned with their eighth full-length studio album Dominion VIII. Stylistically it stepped back to the band's old-school death metal roots. The next album, Burial Ground, continued the same style. In 2010, Fredrik Isaksson left the lineup and was replaced by Dismember's Tobias Cristiansson.

In July 2011, it was reported that Grave was expected to begin recording their tenth album that fall and have it out in 2012. Titled Endless Procession of Souls, it was released on 27 August 2012, in Europe and in North America on the next day.

Grave released their eleventh studio album Out of Respect for the Dead in October 2015. On 4 September the band revealed the cover artwork of the album, which was created by Costin Chioreanu.

On 1 December 2017, Grave announced their split with their drummer for eleven years Ronnie Bergerståhl; six months later, the band hired Tomas Lagrén as his replacement. Grave has been in the process of working on a new album.

In January 2024, both Tobias Cristiansson and Mika Lagrén parted ways with the band. Live shows were canceled indefinitely.

Full lengths

 * Into the Grave (1991)
 * You'll Never See… (1992)
 * Soulless (1994)
 * Hating Life (1996)
 * Back from the Grave (2002)
 * Fiendish Regression (2004)
 * As Rapture Comes (2006)
 * Dominion VIII (2008)
 * Burial Ground (2010)
 * Endless Procession of Souls (2012)
 * Out of Respect for the Dead (2015)

EPs and singles

 * Tremendous Pain (1991)
 * ...And Here I Die... Satisfied (1993)
 * Morbid Ascent (2013)

Live albums

 * Extremely Rotten Live (1997)

Boxed sets

 * Morbid Ways to Die (2003)

DVDs

 * Enraptured (2006)

Members
Source:

Current members

 * Ola Lindgren – lead vocals (1995–1996, 2001–present), rhythm guitar (1992–1996, 2001–present), lead guitar (1986–1996, 2024–present), bass (1986–1989, 1995–1996, 2024–present), backing vocals (1986–1995)
 * Tomas Lagrén – drums (2018–present)

Former members

 * Magnus Martinsson – lead guitar (2008–2011)
 * Jonas Torndal – bass (1989–1992, 1996), lead guitar (2001–2007)
 * Jörgen Sandström – lead vocals (1986–1995), rhythm guitar (1986–1992), bass (1992–1995)
 * Fredrik "Fredda" Isaksson – bass, backing vocals (2001–2010)
 * Jens "Jensa" Paulsson – drums (1986–1996, 2001–2002)
 * Pelle Eckegren – drums (2002–2006)
 * Ronnie Bergerståhl – drums (2006–2017)
 * Tobias Cristiansson – bass, backing vocals (2010–2024)
 * Mika Lagrén – lead guitar (2011–2024)

title: Grave (band)