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USS Ray (SS-271)

USS Ray (SS/SSR-271), a Gato-class submarine, was the first ship of the United States Navy to be named for the ray, a fish characterized by a flat body, large pectoral fins, and a whiplike tail.

Construction and commissioning
A fleet submarine, Ray was laid down on 20 July 1942; launched on 28 February 1943 by the Manitowoc Shipbuilding Company at Manitowoc, Wisconsin, sponsored by Mrs. S. C. Loomis; and commissioned on 27 July 1943.

Service history
After training in Lake Michigan until 15 August 1943, Ray arrived at Coco Solo, Panama Canal Zone, via New Orleans, Louisiana, on 31 August 1943 for intensive training. Departing Panama on 5 October, she reached Brisbane, Australia, on 30 October 1943.

First war patrol, November–December 1943
Departing Milne Bay, New Guinea, on 13 November for her first war patrol, Ray searched the area north of the Bismarck Archipelago. On the New Hanover-Truk shipping lane, she made radar contact with a three-ship convoy, escorted by three patrol craft. Attacking just before dawn she scored three hits on one of the freighters. Then, after evading the escorts' countermeasures, she followed the convoy and sank the converted gunboat Nikkai Maru with a spread of torpedoes. Before ending her patrol in December, Ray twice unsuccessfully attacked another convoy.

Second war patrol, December 1943–January 1944
Ray's second patrol, 11 December 1943 to 12 January 1944 was in the Celebes-Ambon-Timor area. Near midnight on 26 December she sighted an unescorted tanker standing out from Tioro Strait. When the enemy ship reached open water, Ray fired a spread of torpedoes which stopped Kyoko Maru dead in the water and sent a huge mushroom of flame into the night sky as the target disintegrated.

On 1 January 1944, SS-271 intercepted two ships with escorts in the mouth of Ambon Bay, Java, and sank converted gunboat Okuyo Maru with three hits. The accompanying cargo ship tried to ram the submarine, and a combined aerial attack by patrol bombers and a sustained depth charge attack forced Ray to run deep. Three days later, following an unsuccessful attack on two cargo ships escorted by a Chidori-class torpedo boat, Ray returned to Fremantle.

Third war patrol, February–March 1944
The third patrol, 6 February to 27 March, in the South China and Java Seas included the laying of a minefield off Saigon, Indochina, on 22 February. On the evening of 2 March, Ray intercepted a nine-ship convoy, and early on the 3rd came within firing range. A spread of four torpedoes damaged a tanker, but USS Bluefish (SS-222) crossed Ray's line of fire preventing a coup de grâce.

On 18 March Ray intercepted two Chidori-class torpedo boats and a patrol craft, fired six torpedoes, and dived deep. The submarine's crew heard an explosion. An intense depth charge attack followed. Ray escaped after sunset. The submarine ended her patrol at Fremantle.

Fourth war patrol, April–June 1944
SS-271 departed Fremantle on 23 April for her fourth patrol. Her hunting ground was the Davao Gulf-Molucca Passage area. On the afternoon of 21 May, she spotted a nine-ship convoy escorted by surface ships and seaplanes. Ray surfaced that night, pursued the convoy, and attacked early the next morning. She fired six "fish" at a large transport and an overlapping smaller cargo vessel sinking transport Tempei Maru and causing undetermined damage to the freighter. A spread fired from Ray's stern tubes resulted in hits on a tanker, and possibly a minelayer. During the ensuing confusion, Ray escaped by running at flank speed on the surface.

Overtaking the disorganized convoy, during a tropical squall the next day, Ray fired on two radar contacts scoring hits. When the weather cleared, Ray saw one ship whose stack was going under and whose bow was rising from the water. The second was enveloped in a cloud of smoke and her decks awash. Ray dived deep to escape Japanese patrol aircraft, and the sinking was never confirmed by captured records. As no further suitable contacts were found, the submarine returned to Fremantle, arriving on 14 June.

Fifth war patrol, July–August 1944
Her fifth patrol, 9 July to 31 August 1944, in the South China Sea and off the Philippines, drew blood on 18 July when Ray sank the tanker Janbi Maru. During the engagement, the submarine fired 22 torpedoes during six separate runs on the tanker which fired at Ray with her deck gun. Ray returned to Fremantle to reload, before returning to sea on 28 July.

At the south entrance to Makassar Strait, SS-271 intercepted a convoy of three ships and sank the cargo ship Kōshū Maru. Nine days later, she scored damaging hits on a transport and sank cargo ship Zuisho Maru. On 18 August, off northern Balabac Strait, Philippines, Ray closed a large convoy protected by surface escorts and planes, fired six "tin fish" at a tanker, and dived as a destroyer raced in to counterattack. Heavy explosions were heard, and a 2½-hour depth charge pounding followed. During the action, Ray heard another violent explosion and the sounds of a ship breaking up, as the tanker Nansei Maru went down. The submarine surfaced that evening and pursued the convoy into Palawan Bay.

Air cover prevented a daylight attack, but the wolfpack of Ray, USS Harder (SS-257), and USS Haddo (SS-255) waited for the ships to come out. Ray fired her four remaining torpedoes at a passenger-cargo ship. Three fish missed, but the fourth hit the Taketoyo Maru amidships. The escorts forced Ray to dive, but she heard the 7,000-ton cargo vessel break up. The submarine underwent a sustained depth charge pounding, but escaped serious damage, returning to Fremantle 31 August.

Sixth war patrol, September–December 1944
The submarine's sixth war patrol, 23 September to 8 December, took her to the familiar waters of the South China Sea. On 6 October and 7 October, she twice torpedoed a tanker, inflicting undetermined damage. Five days later, she destroyed the cargo ship Toko Maru with two direct hits and escaped a subsequent depth charge attack. On 14 October, while making a crash dive to escape a Japanese patrol plane, Ray's conning tower was flooded by an improperly secured hatch, but she was brought under control before reaching 85 ft. However, the damage forced the submarine to put into Mios Woendi for repairs during the last week of October.

On the afternoon of 1 November, Ray closed a five-ship convoy, sinking the cargo ship Horai Maru No. 7, and damaging a small tanker. Escaping the escorts, she landed men and supplies on the west coast of Mindoro, Philippines, picking up two downed Navy fliers, two Army POW's escaped from Corregidor, and an escaped Filipino political prisoner. On the night of 4 November, the sub sighted a cargo ship with its superstructure aflame, from an earlier attack by USS Bream (SS-243). She launched two torpedoes, scoring a hit amidships and blowing away the bow of the Kagu Maru.

On 6 November, SS-271 intercepted a convoy of two heavy cruisers, and several transports, protected by surface and air escorts. Ray fired six rear torpedoes at the JAPANESE CRUISER Kumano, damaged earlier by USS Raton (SS-270). One of Ray's torpedoes hit Kumano's forward magazine, destroying its bow. Immediately prior to this, Ray had been forced to dive under Kumano in order to escape aerial and surface attack, and would subsequently ground in shoal water, shearing off her starboard sound head and blowing the sound head cable back into the torpedo room. To prevent further flooding, the submarine came to periscope depth where she saw the bowless cruiser being towed away by a transport. Her own damage and the Japanese escorts kept Ray from following up the attack. Kumano was destroyed off Luzon by Navy carrier planes 25 November.

On the night of 14 November, Ray made a surface attack on a three-ship convoy, blowing up an 800-ton frigate with a direct hit in its magazines. Two days later she launched two torpedoes at a grounded transport, but could not complete the attack because of minefields and shoal water.

On 19 November, she rescued a downed pilot from USS Cowpens (CVL-25). The patrol terminated at Pearl Harbor 8 December 1944. From there the submarine headed east, arriving at Mare Island Naval Shipyard 16 December for a major overhaul. Departing San Francisco 26 March, she proceeded via Pearl Harbor to Guam, arriving at Apra Harbor on 29 April 1945.

Seventh war patrol, April–June 1945
Ray cleared Guam for her seventh war patrol 30 April to 16 June 1945. On 7 May while on lifeguard duty off Kyūshū she rescued 10 men from a downed B-29. On the night of 15 May – 16 May, she picked up the 10 crewmen of a PBM Mariner patrol bomber which was foundering in heavy seas. Ray transferred the rescued crews to USS Lionfish (SS-298) and USS Pompon (SS-267) and continued her patrol. On 19 May, she intercepted three small freighters. Her torpedoes ran beneath the targets, and the "freighters", a disguised hunter-killer group, converged on the area where Ray had dived, laying a depth charge pattern. The submarine surfaced and fired her deck gun at her pursuers as she dashed away at flank speed. The remainder of the patrol was devoted to attacking patrol craft and coastal vessels with gunfire until it ended at Midway on 16 June.

Eighth war patrol, July–August 1945
Her eighth and final wartime patrol, 11 July to 13 August, took Ray to the Gulf of Siam. On the evening of 7 August, she sank 16 small craft by gunfire off Bang Saponnoi, Thailand. That night two boarding parties from the submarine burned seven Junks anchored north of Lem Chong Pra. The submarine arrived at Subic Bay for more ammunition on 13 August, where her patrol was terminated with the end of hostilities on 15 August 1945.

1945–1947
Departing Subic Bay on 14 August 1945, Ray proceeded via Saipan, Pearl Harbor, and the Panama Canal to Naval Submarine Base New London at New London, Connecticut, which she reached on 5 October 1945. She served in a training capacity at New London until 12 February 1947, when she was decommissioned and placed in reserve.

Radar picket submarine (SSR-271), 1952–1958

In December 1950, Ray was towed to the Philadelphia Navy Yard in Philadelphia, Pennsylvania, for conversion to a radar picket submarine. Accordingly redesignated SSR-271 on 3 January 1951, she was recommissioned on 13 August 1952, Lieutenant Commander A. C. Burley in command.

Ray departed Philadelphia on 27 March 1953. The remainder of the year was occupied in fleet training operations along the United States East Coast and in the Caribbean.

From 1 March to 26 May 1954, she deployed to the 6th Fleet, serving as a picket ship. Returning to her homeport of Norfolk 26 May, she participated in joint United States-Canadian exercises off Nova Scotia in July and August. The remainder of 1954 and 1955 were spent in fleet exercises, type training, and an overhaul at Charleston Navy Yard from April to November 1955.

Deploying again to the Mediterranean as a radar picket submarine from 5 March to 4 June 1956, she operated with NATO and U.S. Navy units. The remaining months of Ray's operating schedule in 1956 and 1957 were involved in type training and fleet exercises in the Atlantic and Caribbean, including representing Submarine Force, U.S. Atlantic Fleet, at the International Naval Review at Hampton Roads in June 1957 and participating in the NATO Exercise "Strikeback" held off Scotland, France, and Portugal in September and October 1957. The early part of 1958 was spent in fleet exercises off the east coast and the Caribbean. She departed Norfolk 30 June 1958 and entered the Charleston Navy Yard for inactivation.

Decommissioning and disposal
Ray was decommissioned and placed in reserve on 30 September 1958 and was struck from the Navy List on 1 April 1960. Her hulk was sold for scrap to the Commercial Metals Company on 18 December 1960.

Honors and awards
For action during World War II, Ray was awarded seven battle stars, the Navy Unit Commendation (for patrol 6), and the Philippine Republic Presidential Unit Citation.

 * U.S. Navy Unit Commendation ribbon.svg Navy Unit Commendation
 * Presidential Unit Citation (Philippines).svg Philippine Republic Presidential Unit Citation

title: USS Ray (SS-271)


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Lil Wyte

Patrick Dhane Lanshaw (born October 6, 1982), better known by his stage name Lil Wyte, is an American rapper. He is a member of the rap collective Hypnotize Minds and owner of the independent label Wyte Music.

Early life
Growing up in Frayser, Lil Wyte discovered his rapping talent at a young age as he could rap Sir Mix-a-Lot's entire song "Baby Got Back" completely. He participated in freestyle battles at high school when he was in ninth grade. Lanshaw rapped with his friend "Lil Black", who inspired him to use the pseudonym "Lil Wyte" and write songs instead of freestyling.

Lanshaw dropped out of high school, but eventually earned his high school diploma.

Music career
Lil Wyte was part of a local rap group, the Shelby Forest Click.

The group's home-made demo tape came to the attention of Three 6 Mafia. Juicy J and DJ Paul (one song in particular is said to have gotten him signed, a song titled Memphiz Playaz). Three 6 Mafia signed the rapper and worked later with his debut album. Lil Wyte appeared on Project Pat's song "Crash da Club" from his album Layin' da Smack Down in 2002. His debut album Doubt Me Now was released in 2003 and it became popular, selling over 135,000 copies without promotion. The album Doubt Me Now featured Juvenile, Three 6 Mafia, Frayser Boy, La Chat and Josey Scott. The album had three popular songs: "Oxy Cotton", "My Smoking Song", and "Acid".

He has been described as a rapid lyricist.

Personal life
Lil Wyte passed up the opportunity of writing the song "It's Hard out Here for a Pimp", because he could not relate to the lyrics of having more than one woman.

Lil Wyte used three strains of marijuana to create his own strain of medical cannabis called OG WYTE Kush. It's available in 11 states. The three original strains are Og Kush, White Widow and Grand Daddy Purp.

In 2012 he was arrested in Clarksville, Tennessee, for DUI and drug possession.

Discography

 * Studio albums

 * Mixtapes
 * 2008: Cocaine & Kush
 * 2009: Cocaine Kush 2 (Love, Hate, Betrayal)
 * 2009: Wyte Christmas
 * 2010: Wyte Christmas 2 (Let It SNO)
 * 2011: Wyte Christmas 3
 * 2012: Wyte Out
 * 2012: Wyte Boyz Wasted (with Barzz & J.P)
 * 2013: Wyte Out Pt. 2
 * 2013: July 16 (with JellyRoll)
 * 2013: Wyte Christmas 4
 * 2014: Wyte Lytes (with DJ Hylyte)
 * 2016: Wyte Christmas 6 (with DJ Ritz)
 * Date unknown: House full of guns

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

title: Lil Wyte


text: User talk:24.1.151.35

title: User talk:24.1.151.35


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Industrial folk music

Industrial folk music, industrial folk song, industrial work song or working song is a subgenre of folk or traditional music that developed from the 18th century, particularly in Britain and North America, with songs dealing with the lives and experiences of industrial workers. The origins of industrial folk song are in the British industrial revolution of the eighteenth century as workers tended to take the forms of music with which they were familiar, including ballads and agricultural work songs, and adapt them to their new experiences and circumstances. They also developed in France and the US as these countries began to industrialise.

The genre declined in the twentieth century, but were popularised as part of the folk revival by A. L. Lloyd, George Korson, John Lomax, Pete Seeger, Alan Lomax and Archie Green. Because of their political content they have been adapted by rock musicians.

Origins
Industrial folk song emerged in Britain, the first nation to industrialise, in the 18th century, as workers and their families moved from a predominately rural and agricultural society to an increasingly urban and industrial one. These workers tended to take the forms of music with which they were familiar, including ballads and agricultural work songs, and adapt them to their new experiences and circumstances. Unlike agricultural work songs, it was often unnecessary to use music to synchronise actions between workers, as the pace would be increasingly determined by water, steam, chemical and eventually electric power, and frequently impossible because of the noise of early industry. As a result, industrial folk songs tended to be descriptive of work, circumstances, or political in nature, making them amongst the earliest protest songs and were sung between work shifts or in leisure hours, rather than during work. This pattern can be seen in the first industry to fully develop, textile production, which was particularly important in Lancashire, with songs like 'Poverty knock' which described the relentless movement and noise of the loom. The same trends were soon evident in mining and eventually steel, shipbuilding, rail working and other industries. As other nations industrialised their folk song underwent a similar process of change, as can be seen for example in France, where Saint-Simon noted the rise of 'Chansons Industrielles' among clothworkers in the early 19th century, and in the USA where industrialisation expanded rapidly after the Civil War.

Definitions and characteristics
A. L. Lloyd defined the industrial work song as 'the kind of vernacular songs made by workers themselves directly out of their own experiences, expressing their own interest and aspirations, and incidentally passed on among themselves by oral means...'. His definition did not include songs created by learned writers on behalf of the working class, but he was prepared to accept some popular and musical hall songs that had been adopted by the workers. His definition has been criticised, as it depends on a concept of a pure working class culture unaffected by outside class or media influences, which is at variance with what we know of the spread of ideas and new forms of media from the late 19th century.

Lloyd also pointed to various types of song, including chants of labour, love and erotic occupational songs and industrial protest songs, which included narratives of disasters (particularly among miners), laments for conditions, as well as overtly political strike ballads. He also noted the existence of songs about heroic and mythical figures of industrial work, like the coal miners the 'Big Hewer' or 'Big Isaac' Lewis. This tendency was even more marked in early American industrial songs, where representative heroes like Casey Jones and John Henry were eulogised in blues ballads from the 19th century.

The folk revival
The first wave of folk song revival in Britain and America the later 19th century and early 20th century was largely unconcerned with recording industrial songs. It tended to focus on the rural and agricultural and has been criticised as being obsessed with a rural idyll. As a result, industrial songs tended to be seen as a threat to traditional forms of music, rather than a development from them. In the second wave of revival, which was much more influenced by progressive or labour politics and as a result tended to show a much greater interest in the lives of working people and their music. This movement was evident first in the USA where George Korson followed John Lomax's collection of the work songs of Cowboys with investigations of coal miner's songs, particularly from the Appalachians, from 1927. Despite reservations about these songs, whose authors were often known and so they did not fit into the mould of traditional music, after World War II folklorists largely accepted this music as folk song. Pete Seeger's Folkways LP American Industrial Ballads (1956) was an early survey of this kind of song. The American song collection of over 200 songs in Hard Hitting Songs For Hard Hit People by Woody Guthrie, Pete Seeger and Alan Lomax in the 1940s (not published till 1967), explored worker's song further. The work of labour historian Archie Green, which included the production of recordings of labour and work songs, provided a wider context for understanding industrial folk song within a wider field of 'labor lore'. Songs written by Seeger and Guthrie, were also important in continuing the tradition and moving it into progressive folk music. Among the most successful of these composed industrial songs was Merle Travis' Sixteen Tons, first recorded in 1946, but made probably the most commercially successful industrial song when it was a major hit for 'Tennessee' Ernie Ford in 1955.

In Britain the leading proponent of, and commentator on, industrial folk music was A. L. Lloyd. His Come All Ye Bold Miners: Ballads and Songs from the Coalfields, a collection of mining songs was published in 1952. Of his own recordings the most influential were his arrangement of various industrial songs on the LP The Iron Muse: a Panorama of Industrial Folk Song (1963). A. L. Lloyd wrote in the 1965 Encyclopædia Britannica a paragraph on 'Industrial Song', part his broader entry on 'Folk Music' and his Folk Song in England (1967) concluded with a chapter titled 'Industrial Folk Song', which popularised the term. Subsequently, David Harker criticised Lloyd for his romanticisation of industrial workers. The other major figure of the second British folk revival, Ewan MacColl also played a significant part in popularising British Industrial folk song, making Shuttle and Cage a 10" LP with Peggy Seeger for Topic Records in 1958 and alone an LP for Stinson in 1963 called British Industrial Folk Songs. From 1957 to 1964 probably the widest audience for British work songs was achieved through the Radio Ballads, of MacColl and Peggy Seeger, many of which focused on work, including rail workers, road building, fishing and coal mining. However, many of the songs in the Radio Ballads were written by MacColl himself in the style of the songs that he, Lloyd and others had collected e.g. 'Shoals of Herring'. In the British folk rock movement of the 1970s industrial folk music was less prominent than traditional ballads, but largely accepted as part of folk music, with songs like 'Blackleg Miner' being recorded beside medieval ballads by leading bands of the genre like Steeleye Span.

Decline and survival
Industrial folk song overlapped with other forms of music from the late 19th century, such as Music hall and popular music and began to disappear as a genre from the mid-20th century as different forms of song provided alternatives and the decline of major industries began to undermine it. However, because of its political associations it has been revived, particularly in times of political and social upheaval such as the 1980s, when anarchist punk band Chumbawamba included several industrial work and protest songs on their English Rebel Songs 1381-1914 album (1988) and the tradition was taken up by folk artists like Billy Bragg. In the United States, arguably the most successful inheritor of the tradition is Bruce Springsteen, often focusing more on industrial decline in songs like "Youngstown" on his 1995 album The Ghost of Tom Joad. Songs from the tradition continue to be recorded, as in the Grammy nominated Music of Coal: Mining Songs from the Appalachian Coalfields (2007), a two CD compilation and booklet of mining songs.

title: Industrial folk music


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Alfred Rosmer

Alfred Rosmer (born Alfred Griot, 23 August 1877 – 6 May 1964) was an American-born French Communist political activist and historian who was a leading member of the Comintern. Rosmer is best remembered as a political associate of Leon Trotsky and a memoirist.

Early life
Alfred Griot was born in 1877 in Paterson, New Jersey. His father worked as a barber in the United States, returning with the family to France in 1884. Having learned English as a child, Rosmer remained fluent in the language for the rest of his life.

French syndicalist
He took the political pseudonym Rosmer from the hero of a play by Henrik Ibsen.

Rosmer was a syndicalist leader before World War I, active in the Confédération générale du travail (CGT), the French general federation of unions. Together with Pierre Monatte, he issued a journal called La Vie ouvrière (Worker's Life), which was terminated as a result of French entry into World War I.

The antiwar French syndicalists had been represented at the Zimmerwald Conference in 1915 and then organised as the Committee for the Resumption of International Relations in which Rosmer participated. After the end of the war, a strike wave swept France in which the syndicalists played an active role. La Vie ouvrière was resurrected by Rosmer and Monatte in March 1919.

In May 1919, Rosmer and Fernand Loriot transformed the former Committee for the Resumption of International Relations into a new organization, known as the Committee for Adhesion to the Third International. The group remained isolated and without significant influence, however, largely removed from active communication with Moscow.

A friendship with Leon Trotsky dated from that period, when the latter was briefly living in France.

Communist Party leader
After the war, he became a leading figure in the Communist Party of France (PCF). He was sent to Moscow in 1920 as a representative of the French left, being assigned there to positions in the Communist International (Comintern) and the Red International of Labor Unions (RILU).

In 1923 and 1924 Rosmer was one of the top leaders of the PCF, until his expulsion in the fall of 1924 along with Boris Souvarine and Monatte for opposing the organised campaign against Trotsky.

Trotskyism
After his expulsion from the PCF, Rosmer helped found the journal La Révolutuion prolétarienne (The Proletarian Revolution) and participated in political activities in a circle organised around this magazine. He became the only member of the group to establish the first Trotskyist movement in 1929, but he left it in 1931 because of differences over political tactics.

Nevertheless, he remained a convinced revolutionary, and his friendship with Trotsky was later repaired. He visited the exiled Trotsky in Mexico in 1939.

In Mexico, Rosmer was a member of the Dewey Commission, which cleared Trotsky of all charges made during the Moscow Trials.

Later life
Unable to return to France because of the outbreak of World War II, Rosmer, an American by birth, lived in the United States after his Mexican interlude. He finally obtained permission to return home in 1947. Rosmer published an autobiography detailing his activities in Soviet Russia as well as a two-volume history of the antiwar movement in France during the years of World War I.

Rosmer died in 1964.

In French

 * La Conférence de Zimmerwald (The Zimmerwald Conference). Paris: Imp. spéciale de la "Vie ouvrière", 1915.
 * Un coup d'oeil en arrière: Pierre Monatte. Lettre de démission au Comité confédéral (décembre 1914). Alfred Rosmer. Première lettre aux abonnés de la "Vie ouvrière" (novembre 1915). La Circulaire de lancement de la "Vie ouvrière" (avril 1919). (A Look Back: Pierre Monatte, Letter of Resignation to the Confederation Committee (Dec. 1914). Alfred Rosmer, First Letter to Subscribes of the "Vie ouvrière." The Circular launching "Vie ouvrière," April 1919.) Paris: Éditions de la Bibliothèque du travail, 1921.
 * Le mouvement ouvrier pendant la guerre. (The Labor Movement during the War). In two volumes. Paris: Librairie du travail, 1936. —Reissued as Le mouvement ouvrier pendant la Première guerre mondiale.
 * Moscou sous Lenine (Moscow Under Lenin). In two volumes. Paris : Maspero, 1970.

English translations

 * Moscow Under Lenin. New York: Monthly Review Press, 1972. —Reissued as Lenin's Moscow.
 * From Syndicalism to Trotskyism: Writings of Alfred and Marguerite Rosmer. With Marguerite Rosmer. London: Porcupine Press/Socialist Platform, 2000.

title: Alfred Rosmer


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Talk:Wezembeek-Oppem

[Untitled]
The words "radicals" and "coexist" should be changed in ordre tot maintain the neutrality in this article about such a delicat subject.

 * Why do you feel these words are not neutral ? How should they be changed ? --FvdP 17:36, 23 May 2005 (UTC)

paragraph on linguistic facilities "situation"
The following paragraph isn't very clear:
 * Many Flemings regard these measures as only transitory for the time needed for French-speaking locals to "integrate themselves in Flanders", that is to convert to using Dutch. Many French-speaking people however see these facilities as a permanent right, that compensates for the irreversible attribution of the commune to Flanders. This situation is made more difficult by this commune's satellite status to the Brussels-Capital Region, in which both French and Dutch are official languages.

How is the situation made difficult? What is difficult in the situation? Is this specific to Wezembeek-Oppem or should this be moved to Municipalities with language facilities? -moyogo (talk) 19:54, 6 April 2008 (UTC)

The paragraph is politically biassed.

Wezembeek-Oppem has language facilities because at a certain time, a significant proportion of the population spoke an official language other than the language of the region. See:Municipalities with language facilities

The paragraphs on what the "flemish perspective" is and what "Many French-speaking people ... see" are opinion and not fact, and are not supported.

Jezthomas (talk) 13:34, 25 August 2010 (UTC)

 * Jez, I agree with you. I think your edit is a good step, removing what appears to be WP:OR and providing a link to a separate article in which the language issues can be better discussed. Thanks -- Timberframe (talk) 14:49, 25 August 2010 (UTC)

Orphanage during World War II
I have re-written what seemed to be a somewhat misunderstood or biased version. I found some sources hinting at the current version, but it should be looked over by an expert on Belgium during World War II. --Sasper (talk) 04:02, 9 April 2009 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20090310003827/http://www.carrefour.be/histoire.htm to http://www.carrefour.be/histoire.htm

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title: Talk:Wezembeek-Oppem


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God's Son (album)

God's Son is the sixth studio album by American rapper Nas. It was released on December 13, 2002, by Ill Will and Columbia Records. Production took place during 2001 to 2002, and was handled by several producers, including Salaam Remi, Chucky Thompson, Ron Browz, Eminem, and The Alchemist. The album also includes guest appearances from artists such as Alicia Keys, Kelis, and a posthumous feature from 2Pac. Musically, God's Son blends hardcore hip hop with elements of soul and jazz. Partly inspired by the death of his mother in early 2002, God's Son covers lyrical themes such as religion, violence, grief, redemption and his own emotional experiences. It has been recognized by critics as some of Nas' most personal work.

The album debuted at number 18 on the US Billboard 200, selling 156,000 copies in its first week of sales. It produced three singles that achieved Billboard chart success, and received critical acclaim, with critics praising Nas' lyricism and viewing it as progression from his previous work. On January 14, 2003, the album was certified platinum by the Recording Industry Association of America (RIAA) for sales surpassing one million copies..

Background
Nas's debut album, Illmatic (1994), received much critical acclaim, but his next few releases were considered to have been more commercial, which received criticism. Fellow New York rapper Jay-Z dissed Nas on "Takeover". Nas responded with "Ether," elevating a heated feud. "Ether" was released on 2001's Stillmatic, an acclaimed album that signaled Nas' return to "hip-Hop prominence." Jay-Z later challenged Nas to a pay-per-view Rap battle, but Nas rejected, and said: "Pay-per-view is for wrestlers and boxers. I make records. If Jay-Z wants to battle, he should drop his album the same day I do and let the people decide" referring to God's Son and Jay-Z's The Blueprint 2 release.

After the release of Stillmatic, Nas spent time tending to his ill mother, Ann Jones, until she died of breast cancer in April 2002. Nas has described Jay-Z's disses during this time period as "sneak attack[s]" because Nas did not want to record music while his mother was sick. Nas' mother died in his arms, and later served as inspiration for various songs on God's Son. At the time, Nas was nearing the end of his feud with Jay-Z, which also inspired the album's emotional and personal material. During 2002, fans and critics speculated that Nas was still willing to make commercial music as he started associating himself with artists from Murder Inc., a label distributing mainstream hip hop/rap. Irv Gotti claimed that Nas might sign with him, and he said: "I will definitely be affiliated [with Nas] and I'll definitely be a part of [his projects], me and my brother Ja Rule." Nas soon appeared on "The Pledge (Remix)," a song by Ja Rule in which Nas hints at signing with the hip hop label.

By October, God's Son was expected to be released on December 17, with production from Salaam Remi, Large Professor and The Alchemist, as well as songs recorded with Ja Rule in Miami. Around the same time, a music video for the single "Made You Look" was being shot. In December, Nas appeared in the video for a 2Pac single, "Thugz Mansion (N.Y.)," a song of which an alternative version was later released on God's Son, featuring two verses from Nas and one from 2Pac. On December 4, Nas decided to push up the release date for God's Son by a few days in order to prevent bootlegging. Commenting on this, he said, "God's Son is my most personal album and I poured my heart and spirit into it[.] It's important to me that the fans hear my album the way I intended. When you buy a bootleg or pirate a download off the Net, you don't get the real thing. The sound sucks, the sequencing is wrong, you're probably missing some tracks, and you don't even get the artwork and CD bonuses."

Production
God's Son featured production from various producers, including Salaam Remi, Eminem and Alchemist. Remi produced 5 tracks while all other producers work on 2 or less tracks. Music critic Serena Kim of Vibe magazine supports Nas' use of a variety of commercially risky producers saying, "The risks he takes with the production are a big part of the allure of God's Son. In a time when a Neptunes beat is as essential as a savvy marketing plan, Nas goes in the other direction, giving producer Salaam Remi plenty of room." "Get Down" is a funky rework of "The Boss" and "Funky Drummer" by James Brown, while "Last Real Nigga Alive" contains a simplistic beat dominated by eerie keys that seem to be made by a Casio keyboard. Remi samples many genres of music from classical (Beethoven's "Für Elise" in "I Can") to deep funk (Incredible Bongo Band's "Apache" in "Made You Look") while other producers do not rely on samples at all. "Dance," a Chucky Thompson production, contains a simple beat consisting of a bass guitar riff and faint drums, neither of which are sampled. Another track that is notable for its lack of sampling is "Thugz Mansion (N.Y.)." Produced by Claudio Cueni and Michael Herring, it contains a beat consisting solely of an acoustic guitar riff. Brett Berliner of Stylus Magazine described the sound of "Made You Look" as old-school influenced and "trunk-rattling", while he wrote that "Dance", a plea by Nas for one more day with his recently passed mother, features production that "sounds straight out of 1995 and a Hootie and the Blowfish album." Berliner summed up the album's diverse productions, stating:

"In some places, like 'I Can' and the Eminem track 'The Cross', the production is chilling and haunting, but in others, like the generic 'radio' track 'Hey Nas', it is flat and uninspiring. However, to his credit, Nas tries do something different with many of the remaining tracks. 'Get Down', the introduction, is unique because it seems to contain many influences, from funk, Soul and Pop to Jazz and Reggae. 'Thugz Mansion (NY)', featuring a posthumous verse from 2Pac, is much stronger than its West Coast version on 2Pac's new album, Better Dayz, strengthened by an acoustic guitar ... Finally, 'Heaven' appears to have a drum 'n bass influence that accentuates Nas' odd vision of what heaven is to him."

Although there is no actual musical band or ensemble for God's Son, various musicians play instruments on it; Mercedes Abal plays the flute, Jeff Bass plays the keyboards, Olu Dara plays the horns and Michael Herring plays the guitar.

Lyrical themes
Although guest appearances are made by Kelis, Alicia Keys, and others, God's Son is considered to be a personal album, in which he covers lyrical themes of his own emotional experiences The personal lyrics are a result of Nas' mother dying less than a year before the album's release. He dedicates "Dance" to his mom, and references her in "Warrior Song" and "Last Real Nigga Alive." "Dance" is considered to be one of Nas' most introspective tracks, and has been described as "a requiem for Nas' mother" that "is touching rather than mawkish." Nas' lyrics also deal with religion as the album's title conveys. He ponders the concept of heaven on "Heaven", and makes various biblical references to describe himself on "The Cross". Even with similar themes, each track is distinct from the rest providing God's Son with a "narrative sense". One noteworthy concept track is "Book of Rhymes" where Nas raps songs that he had written in his rhyme book years ago. At times, he stops rapping, and starts commenting on how bad some of his lyrics are amongst other things. According to one writer, "The self-examination that inevitably accompanies the death of a loved one has also provoked a renewed sense of socio-political consciousness in Nas."

Singles
"Made You Look" was released as the first single for God's Son on February 12, 2003. It was produced by Salaam Remi and samples "Apache" performed by Incredible Bongo Band. Jason Birchmeier of AllMusic claims that the first single on God's Son "announces Nas' periodic return with fury and bombast" and is a "Marley Marl-fashioned track." Jon Robinson of IGN.com claims that "Made You Look" shows Nas' "lyrical genius." Additionally, Ethan Brown of New York Magazine, says it to be "extraordinarily powerful." It was the second most successful single for God's Son reaching at number 32 on the Billboard Hot 100. It reached at number 16 and number 47 in "Singles of the Year" lists from Blender magazine and Pitchfork, respectively. Q magazine also ranked it as the 903rd best song ever in 2003, and Blender followed suit, ranking it as the 185th best song from the 1980s to the 2000s in 2005.

The second and most successful single, "I Can", was released as early as March 4, 2003, internationally. It boasts production from Salaam Remi, who samples from "Für Elise" by Ludwig van Beethoven and "Impeach the President" by The Honey Drippers for the song's beat. Its lyrics are positive, encouraging the youth to stay drug-free, and pursue their dreams. The lyrics also detail various events in African history, but Christian Hoard of Rolling Stone magazine labels "I Can" as "a silly stay-in-school ad attached to a Beethoven sample." This comment may be attributed to the "singsongy" call and response chorus featuring the voices of young children. Other reviewers appreciated "I Can" more: Jon Robinson of IGN.com claims that on his second single, "Nas delivers some of his most inspiring lyrics to date." "I Can" received significant commercial success, reaching #12 on the Billboard Hot 100 and #7 on the Rhythmic Top 40 charts.

The third and final single, "Get Down" was released in July 2003. Produced by Salaam Remi and Nas, it samples James Brown's "The Boss", the percussion from James Brown's "Funky Drummer" and "Rock Creek Park" by The Blackbyrds. Its lyrics detail 3 loosely described criminal stories from different locations. The first story takes place in New York City, New York, where an alleged criminal steals the gun of a court officer, and starts shooting. The 2nd story deals with cocaine dealers from Tennessee who provide Nas with a laced blunt. The final story takes place in Los Angeles where Nas goes to a violent funeral in Crenshaw with his cousin, and later kills 3 people. The stories are linked together by a speech from Salaam Remi that implies that black people will never "get up" if they "get down" in crime. Christian Hoard of Rolling Stone considers "Get Down" to be the best song on God's Son, as does columnist Serena Kim of Vibe. The single was not a significant commercial success, and it failed to reach the Billboard Hot 100 chart.

Critical reception
God's Son was released to acclaim from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 81, based on 18 reviews. AllMusic and IGN place it below Illmatic and Stillmatic. Despite calling the production "lukewarm", Pitchfork's Sam Chennault lauded Nas' verbal ability, describing him as "technically stunning" as an emcee, as well as "rhythmically versatile and intellectually astute." Chennault also compared God's Son to Nas' debut album, writing that the former has more emotional depth than Illmatic, and stating "In many ways, God's Son is lyrically superior to Illmatic. Nas has created an album that is at once mournful and resilient, street-savvy and academic." Serena Kim of Vibe gave the album a 4 out of 5 disc-rating and stated "He's disarmingly self-deprecating here, and gives us a rare look into his artistic process". Ethan Brown of New York praised Nas' lyricism and found its musically significant, stating:

"Here, Nas is so fierce, so plainspoken, so lean with words, that he demolishes not just the oeuvre of our ruling rappers and recalls the music's lyrical champs like Rakim, he even brings to mind hip-hop progenitors like Muhammad Ali in the 'Rumble in the Jungle' era ... Like pathbreaking projects past, God's Son is not simply a great album, it's a reminder of what we've been missing ... Nas brings hip-Hop back to the basics with a rough break-beat and a well-told story. This is the essence of punk; let's see if Nas's stripped-down rap starts a revolution."

In a mixed review, Ta-Nehisi Coates of The Village Voice criticized Nas for abandoning his role as "rap's foremost observer" for "the ballad of the learned thug" and stated, "Nas has rendered himself mediocre. At his worst, he becomes a Tupac clone content to contemplate hackneyed hip-hop maxims, like whether there is a heaven for gangsters (see 'Thugz Mansion N.Y.'). A more apt question is whether there is a heaven for a cliché, because several cuts on God's Son are begging for funerals." Spin commented that "Nas' heart is in the right place, but his mind is somewhere else entirely", adding that God's Son follows what "we were really waiting for", The Lost Tapes. Stylus Magazine editor Brett Berliner stated, "Honestly, if Nas had chosen to drop about 4 tracks and cut it down to Illmatic's 10, it would be in the class of Stillmatic, and we’d be talking about it as Nas’ 4th classic." However, Berliner viewed that Nas' performance makes up for the album's flaws, commenting that "Nas stays poignant, clever and intelligent, and, in doing so, adds an extra incentive to purchase his album: simply put, he's the best lyricist in Rap today, maybe all time. Specifically, his consistency is such that he has the ability to save poorly produced songs with his rhymes alone."

In his consumer guide for The Village Voice, Robert Christgau gave the album a three-star honorable mention, indicating "an enjoyable effort consumers attuned to its overriding aesthetic or individual vision may well treasure." Christgau cited "Book of Rhymes" and "Get Down" as highlights and quipped, "confessions of a mama's boy, tales of a hustler, lies of a mortal man". Despite criticizing it for its "boring-ass filler", Christian Hoard of Rolling Stone lauded Nas' "talent" throughout the album, and stated "he may yet have another masterpiece in him. Either way, he's hip-hop's Comeback Playa of the Year." Spin named "Made You Look" the ninth best single of 2003. The Village Voice ranked God's Son number 52 on its Pazz & Jop critics' poll. Kludge included it on their list of best albums of 2002. The website aggregator Metacritic ranked it as the 25th best-reviewed album of 2002. Henry Adaso of About.com cited God's Son in retrospect as the one album where Nas shows "growth and maturity".

Commercial performance
God's Son debuted at #18 on the Billboard 200 chart with first week sales of 156,000 copies, ultimately peaking at number 12. It sold 630,000 copies in its 3 weeks within the Top 20 of the chart. It reached #1 on the Top R&B/Hip-Hop Albums chart and was certified Platinum in sales on January 14, 2003, by the RIAA. Additionally, its three singles performed well on the charts. "I Can" was a Rhythmic Top 40 and Top 40 Mainstream hit that peaked #12 on the Billboard Hot 100. "Made You Look" peaked #32 on the Hot 100 singles chart, while "Get Down" peaked at #76 on the Hot R&B/Hip-Hop Singles & Tracks chart. The success of its singles allowed God's Son to obtain Platinum RIAA status.

Impact
After the releases of "Ether" and Stillmatic, Nas gained renewed respect and acclaim as the best rapper in New York, also known as the "King of New York". God's Son was a chance for Nas to either reassure his prolific status or prove to be an inconsistent artist. In a review of God's Son, Joseph Jones of PopMatters stated:

"God's Son is monumental in terms of the current power struggle in hip hop. Whether you like it or not, 'Ether' did this. With God's Son, Nas has the opportunity to cement his status as the King of N.Y., at least for another 3-4 year term, or he could prove that he is not the savior that hip-hop fans should be pinning their hopes on."

On God's Son, Nas referenced his feud with Jay-Z on various tracks. Most notably, Nas references Jay-Z's attacks on Nas "Last Real Nigga Alive" as "sneak attack[s]" while he was caring for his mother. This track also revealed roots of his feud with Jay-Z including his feud with The Notorious B.I.G. In fact, Nas ends the first verse of "Last Real Nigga Alive" by saying, "There's more shit than wanting to be this King of New York shit." Similarly, on "Mastermind," Nas says: "This King Of New York shit only last 15 minutes." Additionally, on "The Cross", Nas explained how he was the old king of New York Rap, and soon reinvented himself to reign again as New York's king. Amy Linden of Yahoo! Music found it to be an album "worthy of [Nas'] landmark 1994 debut" Illmatic and elaborated on God's Son's significance at the time, stating "If this is the last round with Jay, as the surprisingly civil tone and anti-battle messages imply, then God's Son is going out on top."

Track listing
Credits adapted from the album's liner notes.

Sample credits
"Get Down"
 * "Get Up and Get Down" by The Dramatics
 * "Funky Drummer" by James Brown
 * "The Boss" by James Brown
 * "Rock Creek Park" by The Blackbyrds

"Made You Look"
 * "Apache" by Incredible Bongo Band

"Hey Nas" "I Can"
 * "Risin' to the Top" by Keni Burke
 * "Für Elise" by Ludwig van Beethoven
 * "Impeach the President" by The Honey Drippers

"Book of Rhymes"
 * "For the Dollar Bill" by Tommy Tate

"Warrior Song"
 * "Na Poi" by Fela Kuti

"Revolutionary Warfare"
 * "We Made It" by Black Ivory

"Dance"
 * "Aïcha" by Cheb Khaled
 * "I Hope You Dance" by Lee Ann Womack

"Heaven"
 * "I Love You" by Eddie Holman

"Pussy Killz"
 * "My Hero Is a Gun" by Diana Ross

Musicians

 * Nas – vocals, executive producer; co-producer (track 1)
 * Bravehearts – vocals (track 5)
 * Claudette Ortiz – vocals (track 6)
 * Kelis – vocals (track 6)
 * J. Phoenix – vocals (track 9)
 * 2Pac – vocals (track 9)
 * Alicia Keys – vocals, producer (track 11)
 * Lake – vocals (track 12)
 * Jully Black – vocals (track 14)

Production

 * The Alchemist – producer (tracks: 8, 10, 12, 15)
 * Eminem – producer (track 2)
 * Ron Browz – producer (track 4)
 * Claudio Cueni – co-producer (track 9)
 * Michael Herring – producer (track 9)
 * Chucky Thompson – producer (track 13)
 * Agile – co-producer (track 14)
 * Saukrates – producer (track co-produced 14)
 * Chris Gehringer – mastering engineer
 * Steve Stoute – executive producer
 * David Belgrave – marketing
 * Chris a.k.a. "Brother Feldmann" – art direction, design
 * James Hunter – graphic artist
 * Jarrett Demartino – illustration
 * Jonathan Mannion – photography

title: God's Son (album)


text:
Teo Macero

Attilio Joseph "Teo" Macero (October 30, 1925 – February 19, 2008) was an American jazz record producer, saxophonist, and composer. He was a producer at Columbia Records for twenty years. Macero produced Miles Davis' Bitches Brew and Dave Brubeck's Time Out, two of the best-selling and most influential jazz albums of all time. Macero was known for his innovative use of editing and tape manipulation unprecedented in jazz and proving influential on subsequent fusion, experimental rock, electronica, post-punk, no wave, and acid jazz.

Early work
Teo Macero was born and raised in Glens Falls, New York, United States. After serving in the United States Navy, he moved to New York City in 1948 to attend the Juilliard School of Music. He studied composition, and graduated from Juilliard in 1953 with Bachelor's and Master's degrees.

In 1953, Macero co-founded Charles Mingus' Jazz Composers Workshop, and became a major contributor to the New York City avant-garde jazz scene. As a composer, Macero wrote in an atonal style, as well as in third stream, a synthesis of jazz and classical music. He performed live, and recorded several albums with Mingus and the other Workshop members over the next three years, including Jazzical Moods (in 1954) and Jazz Composers Workshop (in 1955).

During this time, Macero also recorded Explorations (DLP-6). While he had contributed compositions to other albums, this was the first full album of his own compositions, and Macero's first album as a leader. Macero plays tenor and alto saxophones on the album, and is joined by Orlando DiGirolamo on accordion, both Mingus and Lou Labella on basses, and Ed Shaughnessy on drums. Explorations was originally released in 1954 on Mingus' Debut Records, and was reissued on CD in 2006 on Fresh Sounds Records, with additional tracks.

The 1958 short experimental film Bridges-Go-Round by filmmaker Shirley Clarke featured two alternative soundtracks, one by Louis and Bebe Barron and one by Macero.

Composer and arranger
Macero's first projects for Columbia included one side of What's New?, an album of original music in the emerging Third Stream genre that was shared with Bob Prince as well as arrangements for the first Johnny Mathis album.

Macero continued to compose and arrange for a variety of artists during his time as a producer at Columbia, contributing tracks to (and still producing) several albums including Monk's Monk's Blues, and Something New, Something Blue, a collection of blues compositions and arrangements by Macero, Teddy Charles, Manny Albam, and Bill Russo. He contributed a track to (and produced) John Lewis and Gunther Schuller's Orchestra U.S.A. album, Sonorities, an album of third stream compositions, and he arranged music for easy listening pioneer, André Kostelanetz.

He composed, conducted, and produced numerous television and film soundtracks and scores. He scored the 1970 Muhammad Ali documentary, a.k.a. Cassius Clay, and produced soundtrack music for True Romance, Finding Forrester, and Martin Scorsese's The Blues.

Macero also composed for, conducted, and performed with Leonard Bernstein and the New York Philharmonic, the London Philharmonic Orchestra, the Salt Lake Symphony, the Kansas City Symphony, and the Juilliard School; and was commissioned by, and composed ballets for, the Joffrey Ballet Company, the Anna Sokolow Ballet Company, the London Ballet Company, the Juilliard Ballet Company, and the American Ballet Theatre.

Columbia Records producer
Macero found greater fame as a producer for Columbia Records. He joined in 1957, and produced hundreds of records while at the label, working with dozens of artists including Charles Mingus, Duke Ellington, Ella Fitzgerald, Thelonious Monk, Johnny Mathis, Count Basie, Dave Brubeck, Tony Bennett, Charlie Byrd, Maynard Ferguson, Stan Getz, Andre Kostelanetz and Les and Larry Elgart. He was also responsible for signing Mingus, Monk, and Byrd to Columbia. Additionally, Macero produced over 100 albums of classical orchestral music for Columbia, including less conventional, contemporary pieces such as And God Created Great Whales by Alan Hovhaness, which required him to overlay recordings of humpbacked whale songs on to the orchestral track.

Macero produced the seminal Dave Brubeck Quartet album Time Out, and Thelonious Monk's first Columbia recording, Monk's Dream, as well as his Underground. He also produced Mingus' first Columbia album, Mingus Ah Um. Macero is also acknowledged on the 1973 Mingus album Let My Children Hear Music, for "his untiring efforts in producing the best album I have ever made." Beyond jazz, he was an associate producer on a number of Broadway original cast recordings including A Chorus Line and Bye Bye Birdie. And he produced the soundtrack to The Graduate, by Simon and Garfunkel. In another deviation from his standard focus on jazz, Macero produced Irish folk albums with the Clancy Brothers and Tommy Makem in the late 1960s.

While Macero produced many artists' albums, he had an especially long and prolific relationship with Miles Davis. He produced or co-produced most of Davis' Columbia catalog including the classics Sketches of Spain and Someday My Prince Will Come. Macero's role of producer was further expanded on Davis' later forays into electric fusion, such as In a Silent Way, Bitches Brew, and A Tribute to Jack Johnson, which were highlighted by Macero's innovative mixing and editing techniques. In 2001, Miles Davis biographer Paul Tingen likened Macero's role in the electric music of Davis to that of George Martin with the Beatles. Taking his cue from Tingen, Nick Southall described the impact of Macero's work on In a Silent Way in a 2003 Stylus Magazine article: Behind the scenes, Miles and Teo took the tapes of the In a Silent Way sessions and transformed some beautiful, folk-tinged, melody-driven sets into two exquisite, beguiling and otherworldly pieces of music. Using techniques that pre-dated the proliferation of tape loops, cut-ups, edits and sequencing in rock, pop, hip hop and dance music, Miles and Teo took apart the original recording and reassembled them outside of any traditional or accepted jazz structure or melodic framework. This idea of taking jazz away from its birth, genesis and flowering as a live art and into the studio would soon become standard practice, but in 1969 it was groundbreaking.

Some listeners and critics have complained that Macero overproduced Davis' recordings, and cut too much. But after hearing the unedited tapes from the In a Silent Way sessions, jazz critic John Ballon wrote that the original editing and production "attests to the producing genius of Teo Macero." Ballon continues: It took a force like Teo to splice together a cohesive album out of so many inspired pieces. Not only did Teo have the balls to stand up to Miles on creative decisions, he had the right. And Miles knew it. And while his ego rebelled against any producer messing with his music, Miles knew that incredibly great records were borne out of the conflict and compromise of his relationship with Teo.

On Davis' 1970 release Bitches Brew, Macero continued to expand his innovative practices, and "Bitches Brew not only became a controversial classic of musical innovation, it also became renowned for its pioneering use of studio technology." Some of the controversy at the time also stemmed from the use of the word bitches in the title. Macero recalls that when Davis told him that he wanted to call it Bitches Brew, "I thought he was kidding." The album became the best-selling jazz album of its time, selling 500,000 copies by 1976, when most successful jazz albums sold less than 30,000 copies.

Macero produced M.F. Horn 3 for Maynard Ferguson in 1973 as well as Ferguson's next album in 1974, M.F. Horn 4&5: Live At Jimmy's. On that album, Ferguson can be heard thanking Macero, noting that Macero "is sitting out in the street in the mobile thing" monitoring the recording. The album includes the piece Teonova in Macero's honor.

Macero's innovative techniques were inspired partially by his association with avant-garde composer Edgard Varèse, and they continue to impact the way musicians, producers, and remixers work in the studio today. Brian Eno, a producer who has worked extensively with U2 and Talking Heads, among others, talked about Macero's influence on him in a 1996 interview with jazzthetik magazine. Eno describes being "fascinated" by Macero's editing techniques and the "spatial" quality he added to the music. "He did something that was extremely modern."

In 1975, Macero left Columbia and formed his own production company. However, he continued to work with Davis until 1983 and continued to produce records for Columbia throughout his career.

Other work
After his tenure at Columbia, Macero continued as a player and producer on other projects, working with Brubeck, Tony Bennett, Herbie Hancock, Asha Puthli, Michel Legrand, Wallace Roney, Shirley MacLaine, Vernon Reid, Robert Palmer, and DJ Logic.

In the 1970s and 1980s, Macero released a handful of his own albums, including Time Plus Seven, Impressions of Charles Mingus, and Acoustical Suspension, before founding his own label, Teorecords, in 1999. Subsequently, he released over a dozen albums of original compositions, and continued to produce reissues of Miles Davis and other artists for various record companies. However, Macero was outspoken in his opposition to the practice of adding back alternate takes that didn't appear on the original albums, or otherwise altering the original music, on the grounds that it corrupts the intentions of the musicians and the producer at the time the recording was made. "They put all the mistakes back in," said Macero. "Don't destroy the original record."

Films
A Teo Macero documentary film, Play That, Teo, is being directed and produced by Olana DiGirolamo, daughter of Macero's friend and collaborator, Orlando DiGirolamo. Shot by cinematographer Fortunato Procopio, the film features a behind-the-scenes look at the person behind the persona, and includes photos, archival footage, and recordings from Macero's personal collection.

A short film, Teo, was filmed by producer/director Daragh McCarthy and features Teo Macero's last recording session and extensive interviews.

Tributes
Both Miles Davis and Thelonious Monk dedicated a song titled Teo to Macero: Davis in the 1961 album Someday My Prince Will Come, Monk in the 1964 album Monk. The song Teonova (Dedicated to Teo Macero), written by Pete Jackson, appears on the 1974 Maynard Ferguson album M.F. Horn 4&5: Live At Jimmy's, produced by Macero.

Death
On the evening of February 19, 2008, Macero died in his sleep, having long suffered from pneumonia. He was 82.

Awards

 * BMI Student Composer Award in 1953
 * Two Guggenheim Fellowships for composition in 1957 and 1958
 * National Endowment for the Arts grant in 1974
 * Over 20 RIAA Gold, Platinum, and Multi-platinum certifications

As leader

 * Explorations (Debut, 1953)
 * What's New? (Columbia, 1956)
 * Teo (Prestige, 1957)
 * Impressions of Charles Mingus (Palo Alto, 1983)
 * Acoustical Suspension (Doctor Jazz, 1985)
 * Impressions of Thelonious Monk (Teo, 2003)

As sideman
With Miles Davis
 * In a Silent Way (Columbia, 1969)
 * Jack Johnson (Columbia, 1971) – recorded in 1970
 * On the Corner (Columbia, 1972)

With Kip Hanrahan
 * Coup de Tete (American Clave, 1981)
 * Desire Develops an Edge (American Clave, 1983)

With Michel Legrand
 * Legrand Jazz (Columbia, 1958)
 * Michel Legrand Meets Miles Davis (Philips, 1970)

With Charles Mingus
 * The Moods of Mingus (Savoy, 1955)
 * Jazz Composers Workshop (Savoy, 1956)
 * The Jazz Experiments of Charlie Mingus (Bethlehem, 1957)

With others
 * Dave Brubeck, Jazz Collection (Columbia, 1995)
 * Charlie Byrd, Byrdland (Columbia, 1966)
 * Al Foster, Mixed Roots (CBS/Sony, 1978)
 * Lionel Hampton, Saturday Night Jazz Fever (Laurie, 1978)
 * Kenyon Hopkins, Rooms (Cadence, 1957)
 * Marty Manning, The Twilight Zone (Columbia, 1961)
 * Gunther Schuller & George Russell, Brandeis Jazz Festival (CBS/Sony, 1977)
 * Charles Thompson, Rockin' Rhythm (Columbia, 1961)

As Producer (Selected Discography)
For Miles Davis
 * Sketches of Spain (1960)
 * Someday My Prince Will Come (1961)
 * Seven Steps to Heaven (1963)
 * My Funny Valentine (1965)
 * Bitches Brew (1970)

For Charles Mingus
 * Mingus Ah Um (1959)
 * Mingus Dynasty (1960)

For Thelonious Monk
 * Monk's Dream (1963)
 * Criss-Cross (1963)
 * Monk (1964)
 * Underground (1967)
 * Straight, No Chaser (1967)
 * Monk's Blues (1968)

title: Teo Macero


text:
User talk:Ben davison

Welcome
Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~ ~ ~. Four tildes (~ ~ ) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! --Lst27 21:41, 24 Oct 2004 (UTC)
 * How to edit a page
 * Editing tutorial
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 * Naming conventions
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Hi there - good work on the football articles you've created so far! Just a note about signatures - we don't add signatures to the end of articles, as people can look the history page to see the list of authors. Feel free to sign all your comments on Talk: pages, User: pages and so on, just not the articles themselves. Cheers, sjorford 10:43, 25 Oct 2004 (UTC)

Hi. I had a question about the Genoa 1893 article. Is the start date for the trainers credited to technical commission meant to be 1883, as it displays, or 1893, when the club was founded? thanks. Nateji77 08:06, 5 Feb 2005 (UTC)

It was meant to be 1893. I've changed it. --Ben davison 15:01, 5 Feb 2005 (UTC)

William Symington
Your edit and reorganisation with added information is welcome, but a few points have been omitted. These were taken from the references shown under "External links". I'm considering adding these back into the new structure, and would be interested if you have any references that contest these points. Thanks, dave souza 20:26, 28 Feb 2005 (UTC)

Small note on categories
When you put someone in a category, make sure to use the |: as opposed to just  (the former will put Stan Mortensen under "Mortensen" and the latter under "Stan"). I fixed some of the pages you got listed on your user page, but not sure if you made some other ones. Also, we have a new stub for players: footybio-stub. Keep up the great work! --Dryazan 04:54, 15 Mar 2005 (UTC)

Auditory phonetics
Hi Ben: Thank you for your interest in Auditory phonetics. Please would you have another look at the changes that you made and consider whether you may have over-wikied things. It seems to me that it is unlikely that any reader of this article is going to wish to refer to articles on apple, cat, church and so on, whilst reading this. As I understand the wikipedia structure, wiki links should be made only where they will enhance understanding. --Theo (Talk) 00:31, 12 Apr 2005 (UTC)

Hi Ben: Thank you for taking the message to heart and making those changes so promptly. --Theo (Talk) 10:59, 12 Apr 2005 (UTC)

Ha ha ha ha--Crestville 13:23, 12 Apr 2005 (UTC)

? --Ben davison 13:24, 12 Apr 2005 (UTC)

What?--Crestville 19:47, 16 Jun 2005 (UTC)

No, really. What? Leave it out.--Crestville 20:35, 1 September 2005 (UTC)

My '?' means why did you say 'Ha ha ha ha'. Ben davison 21:07, 1 September 2005 (UTC)

Ahhhh. Coz you got told off for being a bit rubbish. Just thought I'd stick me oar in. Unpleasant, isn't it?--Crestville 21:17, 7 December 2005 (UTC)

Not really. I grew out of taking offence at 'ha ha' when I was about 7. If you'll notice, I took the 'telling off', changed what i had done, and received a kind message in reply. That's what we grown-ups do, I suppose. Ben davison 23:49, 9 December 2005 (UTC)

 * Nice one. I love the way it's the people who try hardest to offend, who are the first to take offence. Saw a beauty here - and the vandal had spent so long putting in words like poop and cleavage... JackyR 18:08, 6 February 2006 (UTC)

minor edits...
Just a friendly reminder to use minor edits for things like spelling, formatting, syntax, etc. If you are actually adding content (i.e. adding Jeanne Calment to day articles), please do not mark that as minor, and please write in the edit summary what you've done. it saves the time of others :)

Happy editing! Kingturtle 16:29, 7 May 2005 (UTC)

Subcategories
Just a helpful comment: it is not necessary to add articles to categories if they are already in a subcategory of that. eg Category:Scottish business people and Category:Glaswegians are both sub categories of Category:Scottish people (as all 'Scottish business people' are by definition 'Scottish people' etc). Also the same for 'Cricketers' / 'English cricketers' etc. Thanks. Vclaw 23:26, 1 Jun 2005 (UTC)

You learn something new every day. --Ben davison 01:03, 2 Jun 2005 (UTC)

I'm not quite sure how lenghty discussions between two users works.. so excuse me if this is the wrong way to do it. In response to your redirection questions.. I don't know. Isn't there a history you can look at for the people who set it up as such? Jerec 16:15, 10 August 2005 (UTC)

Category:Millennial Wikipedians
Category:Millennial Wikipedians has been listed on categories for deletion. Since you are using it on your user page please weigh in on the vote and that of the other generational categories here. Thanks. -JCarriker 20:00, August 26, 2005 (UTC)

Army Postal Corps
The Post Office Rifles founded in 1868 was a volunteer infantry battalion formed from employees of the Post Office. The Army Postal Corps founded in 1882 was actually a postal corps of the regular army. The section of the Royal Engineers article you quote actually says that the RE Postal Section was formed in 1908 and is the direct predecessor of the current RLC Postal and Courier Service. Since the Post Office Rifles existed until after WWI, they can hardly be the same unit. It's the mention of the APC in the Post Office Rifles article that's misleading. They were entirely separate units. -- Necrothesp 20:15, 1 September 2005 (UTC)

I think mention of the APC should be mentioned from the Post Office Rifles article, yes. -- Necrothesp 21:22, 1 September 2005 (UTC)

Sorry, deleted from. -- Necrothesp 21:28, 1 September 2005 (UTC)

James Clark Ross
Hi. I don't think Ross could have been KBE, as this award was created by George V. Can you check your source. Thanks. Smallweed 09:09, 10 October 2005 (UTC)
 * You've also added to a lot of articles about people who have been knighted. Please don't assume they have been granted the KBE, as most people in entertainment and sport etc. are Knights bachelor. Thanks Craigy [[Image:Flag of the United Kingdom.svg|15px]] (talk) 08:28, 3 January 2006 (UTC)

Category:Millennial Generation Wikipedians
You are currently listed in Category:Generation Y Wikipedians or Category:Millennial Wikipedians. In a CfD issue, it has been proposed to create a new Category:Millennial Generation Wikipedians to merge these two. Please consider adding yourself to this new category; you might be interested in taking part in the discussion about these, too. --Army1987 14:49, 12 October 2005 (UTC)

Jesus
Check out the Jesus article and edit it to keep it focused on Jesus and a biographical account of Him. Watch the Jesus page to keep it focused on Him. Thank you. Scifiintel 21:41, 6 December 2005 (UTC)

Football World Cup move
As a contributor to football articles you may wish to vote at talk:Football World Cup Jooler 13:45, 1 January 2006 (UTC)

Post Office Rifles
Hi there, I've posted on the discussion page of this article, which you're a major contributor to. Wonder if you could take a look. Cheers, JackyR 17:44, 6 February 2006 (UTC)

Wikiethics
Hi,

We started a proposal Wikiethics to state the existing policies coherently and make suggestions on improving the editorial standards in Wiki. I thought you might be interested in contributing to that proposal.

Unfortunately, a pro-porn and pro-offense lobby is trying to make this proposal a failure. They unilaterally started an approval poll although almost no one including me believe that it is time for a vote, simply because the policy is not ready. It is not even written completely.

Editors who thinks that the policy needs to be improved rather than killed by an unfair poll at the beginning of the proposal, started another poll ('Do we really need a poll at this stage?') at the same time. The poll is vandalized for a while but it is stable now. A NO vote on this ('Do we really need a poll now?') poll will strengthen the position of the editors who are willing to improve the ethics policy further.

If you have concerns about the ethics and editorial standards in Wiki, please visit the page Wikiethics with your suggestions on the policy. We have two subpages: Arguments and Sections. You might want to consider reviewing these pages as well...

Thanks in advance. Resid Gulerdem 00:10, 23 March 2006 (UTC)

I would love your help.
Hi,

I know you are interested in christianity, and I recently started a new wiki over at wikicities which is on the subject of christianity. Christian Knowledge Base is the site.

The goal is to have a knowledgebase on christianity from a distinctly "C(hristian)POV" rather than the NPOV. It is not meant to be a mere Christian Encyclopedia, but to foster a real sense of community. I'd like to include things like current events, news, stories, and anything that would add to both an understanding of Christianity, but also its enjoyment. I'm looking for help to build a resource that could really enrich the lives of Christians.

I know you are busy but I am actively seeking new sysops/admins to help me build this site up, and I would be positively thrilled if you could contribute in any capacity whatsoever. nsandwich 05:51, 24 March 2006 (UTC)

Blue plaques
Please add the location of blue plaques to the articles, not just the category; that way the presence of the plaque can be sourced and verified. See Categories for the requirement that it be obvious why X is in the category by looking at the article; for example, with Palmerston, not just that he was PM, and so notable, but which building the plaque is on. Thanks. 18:31, 23 July 2006 (UTC)

Declining knighthood
Is this revert is correct, the category should be removed from Maharajkumar of Vizianagram too. Tagore returned it on principle; Vizzy because, I suspect, it was inconvenient. Waiting for your response Tintin (talk) 05:12, 24 July 2006 (UTC)

 * List of people who have declined a British honour says in the intro that includes those who refused it and those who returned it. So, for the time being, will it help if I add a line in Category:People who have declined a British honour to say it includes both kinds of people ? Tintin (talk) 10:42, 26 July 2006 (UTC)

I see that you hav added Frank Auerbach to Category:People who have declined a British honour. As far as I see at a quick read, nothing in our article on him substantiates this. Could you please add the information, with citation, to the article, since I presume you are basing this on something. - Jmabel | Talk 22:21, 27 July 2006 (UTC)

 * I didn't mean to be hostile at all. It's just odd to see a category like this appear in an article where nothing in the text bears it out. Remember, I had no way to know you were basing this on a list. But looking now at the list, there are no specifics there on what Auerbach is said to have declined, and it doesn't have any real citation either: just "a confidential document containing over 300 names of such people was leaked to The Sunday Times". I'm willing to believe that is probably true, but shouldn't it cite an article in The Times that bears that out? Again, nothing hostile here; I happen to have a strong interest in Auerbach as an artist, this was totally new to me, and usually categories are somehow encapsulations of material already in a given article; otherwise, they'd completely slip by the usual requirements for verifiability. - Jmabel | Talk 22:47, 27 July 2006 (UTC)

 * Looks like the Sunday Times article is no longer available online, and they don't let the Web Archive Internet Archive archive their site. Googling '"Sunday Times" 2003 "Honor Blackman"', '"Sunday Times" 2003 "Frank Auerbach"', etc. turns up some interesting stories on it, including one in The Guardian, but at least among the first few hits there was no comprehensive list. Similar methods would probably verify any given one of these, but a comprehensive list would sure be nice to have. I'll see what I can do to follow this up, too. - Jmabel | Talk 00:26, 28 July 2006 (UTC)

Thank you. Tintin (talk) 10:22, 30 July 2006 (UTC)

Saw your post on the authors WP
Wasn't sure if that WikiProject was still active? I posted an invitation on the Talk page but I noticed you were also interested in implementing 1.0 assessments. We have that infrastructure in place that you guys would be able to use without having to do the coding yourself. plange 02:53, 1 August 2006 (UTC)

AfD nomination of 100 Greatest Britons
An editor has nominated one or more articles which you have created or worked on, for deletion. The nominated article is 100 Greatest Britons. We appreciate your contributions, but the nominator doesn't believe that the article satisfies Wikipedia's criteria for inclusion and has explained why in his/her nomination (see also Notability and "What Wikipedia is not").

Your opinions on whether the article meets inclusion criteria and what should be done with the article are welcome; please participate in the discussion(s) by adding your comments to Articles for deletion/100 Greatest Britons (2nd nomination). Please be sure to sign your comments with four tildes ( ~ ).

You may also edit the article during the discussion to improve it but should not remove the articles for deletion template from the top of the article; such removal will not end the deletion debate.

Please note: This is an automatic notification by a bot. I have nothing to do with this article or the deletion nomination, and can't do anything about it. --Erwin85Bot (talk) 01:08, 18 February 2010 (UTC)

Nomination of List of top association football goal scorers by country for deletion
A discussion is taking place as to whether the article List of top association football goal scorers by country is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/List of top association football goal scorers by country until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. JMHamo (talk) 12:26, 17 March 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:52, 23 November 2015 (UTC)

Eliza Gladys Milvina Dean listed at Redirects for discussion
An editor has asked for a discussion to address the redirect Eliza Gladys Milvina Dean. Since you had some involvement with the Eliza Gladys Milvina Dean redirect, you might want to participate in the redirect discussion if you have not already done so. --Nevé–selbert 18:45, 5 January 2017 (UTC)

title: User talk:Ben davison


text:
APS underwater rifle

The APS underwater assault rifle (APS stands for Avtomat Podvodny Spetsialnyy (Автомат Подводный Специальный) or "Special Underwater Assault Rifle") is an underwater firearm designed by the Soviet Union in the early 1970s. It was adopted in 1975. Made by the Tula Arms Plant (Тульский Оружейный Завод, Tul'skiy Oruzheynyy Zavod) in Russia, it is exported by Rosoboronexport.

Under water, ordinary bullets are inaccurate and have a very short range. The APS fires a 120 mm, 5.66 mm calibre steel bolt specially designed for this weapon. Its magazine holds 26 rounds. The APS's barrel is not rifled; the fired projectile is kept in line by hydrodynamic effects; as a result, the APS is somewhat inaccurate when fired out of water.

The APS has a longer range and more penetrating power than spearguns. This is useful in such situations such as shooting an opposing diver through a reinforced dry suit, a protective helmet (whether air-holding or not), thick tough parts of breathing sets and their harnesses, and the plastic casings and transparent covers of some small underwater vehicles.

The APS is more powerful than a pistol, but is bulkier, heavier and takes longer to aim, particularly swinging its long barrel and large flat magazine sideways through water.

History
The rising threat of attacks by frogmen in naval bases caused various anti-frogman techniques to be developed. In the USSR, one of these techniques was guard frogmen sent to stop the attackers. At first these guard frogmen were armed only with knives and AK-type rifles. The rifle was carried in a waterproof case and could be used only on the surface, so the only effective underwater weapon against enemy frogmen was the knife.

The SPP-1 underwater pistol was accepted in 1971, but soon proved to be useful for close-up self-defence rather than in attacking more distant targets. Vladimir Simonov undertook the job of developing an underwater assault rifle. To allow the rifle's mechanism to work under water, there had to be room for the flow of the water pushed aside by moving parts and by the gas produced by the propellant explosive in the cartridge. The APS rifle was accepted for use in the mid-1970s. One special improvement was a perforated gas tube, and in the sighting. Its design engineer received a state award in 1983.

As with the SPP-1 the first stage of the work was to develop a cartridge. A 5.45 mm by 39 mm cartridge was lengthened by about 115 mm to fit the sharp-fronted steel bolt. Another cartridge version was designed that contained a miniature rocket, which when fired makes a visible streak in the water. Next, Vladimir Simonov designed the rifle. The objective was ambitious; nobody had ever before tried to build a functioning automatic underwater firearm. The most important problem was designing a receiver that could work under water. Water is essentially incompressible, so the structure had to let water move around easily; as a result, its receiver is open at the rear. Since it operates on the principle of gas discharge, it has a gas controller to let it work both underwater and on land. The APS was adopted in the mid-1970s. Afterwards, there was lengthy improvement work on the APS. One improvement was fitting a perforated gas pipe with a special shield to break up the emitted gas bubbles, making targeting easier and reducing the visibility of the bubbles, allowing stealthier firing of the weapon.

The APS was the primary weapon of Soviet frogmen and Serbian river flotilla frogmen.

However, since the conception of this new weapon there were objections. It was the perfect weapon for the Soviet frogmen's underwater operations, but it was less useful for Spetsnaz soldiers fighting both on land and underwater. The APS can operate on land, but its effective range does not exceed 50 metres, and the rifle's lifetime drops to 180 shots in air from 2,000 shots underwater. Therefore, they mostly carried a SPP-1 pistol for self-defence under water and an AK-74 to fight on land. At the end of the 1980s the ASM-DT amphibious rifle was developed.

Users

 * 🇦🇿 Azerbaijan
 * 🇧🇾 Belarus
 * 🇮🇳 India: Used by MARCOS commandos.
 * 🇰🇿 Kazakhstan
 * 🇷🇺 Russia
 * 🇷🇸 Serbia: by the 82nd River Underwater Demolition Company of the 72nd Brigade for Special Operations

title: APS underwater rifle


text:
Teeth blackening

Teeth blackening or teeth lacquering is a custom of dyeing one's teeth black. It was most predominantly practiced in Southeast Asian and Oceanic cultures, particularly among Austronesian, Austroasiatic, and Kra–Dai-speaking peoples. It was also practiced in Japan prior to the Meiji era, as well as in India. It was also performed among some groups in the Americas, most notably among the Shuar people of northern Peru and Ecuador.

Teeth blackening is usually done during puberty. It was seen as a sign of maturity, beauty, and civilization. A common belief is that blackened teeth differentiated humans from animals. Teeth blackening is often done in conjunction with traditions of tooth sharpening and dental evulsion, as well as other body modification customs like tattoos. Teeth blackening and filing were regarded with fascination and disapproval by early European explorers and colonists.

The practice survives in some isolated ethnic groups in Southeast Asia and Oceania but has mostly disappeared after the introduction of Western beauty standards during the colonial era. It is mainly prevalent in older women, though the practice is still carried on by some younger women. Sometimes artificial teeth are used to achieve blackened teeth.

Teeth blackening is commonly confused with the red-stained teeth from betel chewing. However, betel chewing damages the teeth and gums, while teeth blackening does not.

Japan

In Japan, teeth blackening is known as ohaguro (お歯黒). existed in one form or another for hundreds of years, and was seen amongst the population as beautiful until the end of the Meiji period (1868–1911). Objects that were pitch black, such as glaze-like lacquer, were seen as beautiful.

Name
The word was an aristocratic term. There is an alternate term for, lit. 'iron drink' (鉄漿). At the old Imperial palace in Kyoto, it was called fushimizu (五倍子水). Among civilians, such words as kanetsuke (鉄漿付け), tsukegane (つけがね) and hagurome (歯黒め) were used.

History
Traces of blackened teeth can be seen in the buried bones and of the Kofun period (300–538 CE). References to exist in The Tale of Genji and. At the end of the Heian period, at the time when aristocratic men and women reached puberty and celebrated their or, the Taira clan and other samurai, and pages working at large temples, dyed their teeth using kanemizu, a solution made from ferric acetate, created from soaking iron filings in vinegar, and tannins, derived from vegetables or tea. The Imperial family and other high-ranking aristocrats who had finished their (ceremony where a child is fitted with a ) blackened their teeth and painted their eyebrows (hikimayu (引眉)). This was done in the Imperial household until the end of the Edo era.

In the Muromachi period (1336–1573), was generally seen among adults, though when the Sengoku period (1467–1615) began, so as to prepare for political marriages of convenience, when the daughters of military commanders were around 8 to 10 years old, they would blacken their teeth as a marking of their coming of age. Relatives and guardians of the bride who blackened their teeth were called kaneoya (鉄漿親). It is said that military commanders who were struck in the head on the battlefield and who did not want to be ugly would wear average women's makeup and would blacken their teeth. These faces imitated the Noh masks of women and young boys.

After the Edo period (1603–1867), only men of the Imperial House of Japan and the aristocracy blackened their teeth. Due to the odor and labor required for the process, as well as a feeling among young women that they were ageing, was done only by married women, unmarried women who were older than 18, sex workers and geisha. For rural people, was done only at times of special celebrations, such as Japanese festivals, wedding ceremonies, and funerals. There were also depictions of in fairy tales, such as "Gon, the Little Fox".

On February 5, 1870, the government banned and the process gradually became obsolete. After the Meiji period, it temporarily spread, but it almost entirely died out in the Taishō period (1912–1926).

In contemporary times, the only places where can be seen is in plays, on some older apprentice geisha, some festivals, and movies.

History
In Vietnam, teeth blackening (Vietnamese: nhuộm răng) was practiced by the majority Vietnamese people as well as by minority ethnic groups such as the men of Si La people who paint their teeth red while the women paint theirs black. These traditions declined in the 20th century, decade by decade with each new generation with in part due to Western influence from French colonists, colonial medical reports from the 1930s, stated that ‘80 percent’ of Tonkinese farmers had darkened teeth. Archaeological discovery show that teeth blackening was practiced as early as 400 BCE. Teeth blackening was seen as a sign of beauty. It was also a demonstration of civilization, as there was an idea that white teeth belonged to animals, savages, and evil spirits. In the 1920s, most women in Hanoi had blackened teeth.

Process
The process of teeth blackening begins with the sanitisation of the mouth, this was done by brushing the teeth with a mixture of dried betel, stewed charcoal powder, and salt. Before dyeing the teeth, the person who was dyeing had to chew and rinse their teeth with a rice wine-lemon juice mixture to prepare the surface of the teeth for dyeing. This part of the process is often very painful as it causes the gums to become swollen. A solution of burnt coconut shells is then used on the teeth to dye it. Other solutions that were used to dye the teeth black also included an iron solution.

Accounts
A passage in a 16th century biography of a Korean trader that went to Vietnam, Jowanbyeokjeon, also mentions these customs, "In that country (Vietnam), both men and women all tie up their hair and go barefoot, without shoes or sandals. Even officials and nobility are the same. As for the respected individuals, they lacquer their teeth."

Another passage in the 12th century Chinese book, Lingwai Daida notes that,

"The people of that country (Vietnam) wear black clothes, have black teeth, wear their hair in a bun, go barefoot, and there is no distinction between noble and commoner; all are the same."

In the 17th century book, An Nam chí nguyên, it also records,

"The Outer Chronicles of Nanyue states that the people there either wear their hair in a topknot or cut it short, have tattooed bodies, and go barefoot. Their mouths are red and their teeth black, and both the rich and poor chew betel nut."

In the 17th century book, A Description of the Kingdom of Tonqueen by Samuel Baron, notes

"Both boys and girls, when they are past sixteen or seventeen years of age, black their teeth as the Japanese do, and let their nails grow as the Chinese, the longest being accounted the finest, which has place amongst persons of quality and those of wealth only."

The 16th century Ming dynasty book Shuyu Zhouzi Lu which recorded history and customs of foreign nations around China had a section regarding teeth blackening in Vietnam,

"They push up their hair into a bun and cut their hair short, tattoo their bodies, go barefoot, have red mouths and black teeth, and like to chew betel nut."

During a brushtalk between Korean envoy (I Sangbong; Korean: 이상봉; Hanja: 李商鳳) and Vietnamese envoy (Lê Quý Đôn; chữ Hán: 黎貴惇) on 30 December 1760, I Sangbong mentioned the Vietnamese custom of teeth blackening that he observed in Lê Quý Đôn and the other Vietnamese envoys. "I Sangbong said: "Indeed, the cultural artifacts of your esteemed country, especially in rituals, music, and literature, are no less impressive than those of China. I have heard about it before. Today, seeing the splendid ceremonial attire and the regulations for attire and headgear, it seems reminiscent of our Eastern customs. Even the hairstyles and the lacquered teeth has its own basis. Fortunately, I can inquire and learn more. Please enlighten me."" During the Ming dynasty's conquest during the Ming–Hồ War, the Ming dynasty attempted a serious effort to assimilate the Vietnamese by ordering them to wear long hair and to stop teeth blackening so they could have white teeth and long hair like Chinese. The Vietnamese people were ordered to stop cutting and instead grow their hair long and switch to Han Chinese clothing in only a month by a Ming officials. Ming administrators said their mission was to "civilize" the unorthodox, by Han Chinese standards, appearance of the Vietnamese.

After regaining independence, a royal edict was issued by Vietnam in 1474, forbidding Vietnamese from adopting foreign languages, hairstyles and clothes like that of the Lao, Champa or the "Northerners" which referred to the Ming. The edict was recorded in the 1479 Complete Chronicle of Dai Viet of Ngô Sĩ Liên.

Literature
There is also a famous exhortation by emperor Quang Trung (1753-1792) before a battle with the Qing army where he mentions the customs of the Vietnamese people including teeth blackening,

The Philippines
In the Philippines, Spanish colonial official and historian, Antonio de Morga, recorded in his book, Sucesos de las Islas Filipinas (1609), on how local men and women of the Philippines cared and presented themselves at the time. It was noted by Morga:

"All are very careful of their teeth, which from a very early age they file and render even, with stones and iron. They dye them a black color, which is lasting, and which preserves their teeth until they are very old, although it is ugly to look at."

The late 19th century Filipino nationalist, writer, and polymath, José Rizal, commented in his annotations to Morga's account that: "This custom still exists... This custom exists also among the married women of Japan, as a Sign of their chastity. It is now falling into disuse."

Thailand
In Thailand, teeth darkening was an established symbol of beauty, achieved for centuries with a paste called, and love poems used to compare the dyed teeth of the beloveds to ebony and other valuable woods. When the 19th-century Thai king Mongkut lost his teeth, he replaced them with artificial teeth carved from dark red sappan wood.

Eastern India
Colouring teeth black was a tradition practised by various tribes of Eastern Himalayas, Naga Hills and Manipur in India, such as the Konyak Nagas and the Wancho Nagas.

Other areas
Teeth blackening has been documented throughout a number of other peoples in Asia and Oceania:

 * China
 * Blang people
 * Dai
 * Hmoob
 * Jino
 * Lahu
 * Yao
 * Taiwan
 * Taiwanese indigenous peoples
 * Laos
 * Hani
 * Katu
 * Phunoi
 * Philippines
 * Luzon
 * Mindanao
 * Pacific Islands
 * Palau
 * Yap
 * Mariana Islands
 * Thailand
 * Akha
 * Lisu
 * Vietnam
 * Kinh
 * Dao
 * Lu
 * Hmong people
 * Nùng
 * Si La

South Asia
Teeth blackening was also documented across Islamic culture in South Asia:

"The agent of choice for teeth blackening became known as missī, a powdery mixture of (1) iron and copper sulphate, (2) a plant source of tannins, such as myrobalans, and (3) flavouring agents. The use of missī, thought to be sanctified by Fāṭimah, the Prophet's daughter, became deeply engrained in Islamic culture across much of the subcontinent. Teeth blackening as a life cycle event related to sexual maturity and in its literary portrayals acquired distinct sexual overtones. It was integrated into the culture of courtesans and prostitutes where missī became synonymous with the ritual of selling a woman’s virginity. Although not a primary motivation, medicinal considerations also played a role in the use of missī. Early references to blackening the gums and edges of the teeth suggest a connection to an older tradition of filing the interstices between teeth which had become prohibited by Islamic law. Geographically and culturally distinct traditions of teeth blackening also prevailed among diverse indigenous groups living along the slopes of the Eastern Himalayas, from Nepal through Meghalaya and Assam to Nagaland. Here teeth were blackened by applying the wood tar of specific plants or chewing specific plant products. These practices related technologically and culturally to the wide-spread teeth blackening traditions of island and mainland South-east Asia and beyond."

There is also evidence of the use of in India among some practitioners of Hinduism, mainly to blacken the gums and sometimes the teeth; the 16th century poet Malik Muhammad Jayasi dedicated some lines in his epic poem Padmavat to the smile of the princess Rani Padmini, who ruled Chittorgarh in the 13th century, in which he compares her teeth to diamonds on black pedestals:

Africa
Further West, teeth blackening has been documented as far as Madagascar.

title: Teeth blackening


text: User talk:68.90.79.82

title: User talk:68.90.79.82