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Godzilla Against Mechagodzilla

Godzilla Against Mechagodzilla (ゴジラ×メカゴジラ) is a 2002 Japanese kaiju film directed by Masaaki Tezuka, with special effects by Yūichi Kikuchi. Distributed by Toho and produced under their subsidiary Toho Pictures, it is the 27th film in the Godzilla franchise and the fourth film in the franchise's Millennium period, and is also the 26th Godzilla film produced by Toho. The film features the fictional giant monster character Godzilla, along with an updated version of the mecha character Mechagodzilla, who is referred to in the film as Kiryu. The film stars Yumiko Shaku, Shin Takuma, Kou Takasugi, Yuusuke Tomoi, Kumi Mizuno, and Akira Nakao, with Tsutomu Kitagawa as Godzilla and Hirofumi Ishigaki as Kiryu.

Like the previous films in the franchise's Millennium era, Godzilla Against Mechagodzilla is a reboot that ignores the events of every installment in the Godzilla film series aside from the original 1954 Godzilla. A direct sequel, Godzilla: Tokyo S.O.S., was released on December 13, 2003.

Plot
In 1999, 45 years after the original Godzilla's attack, maser-cannon technician Lieutenant Akane Yashiro is unable to kill a new member of Godzilla's species during her first fight with it, leading to her commanding officer and some of her fellow soldiers being killed by the monster. As a result, Akane is demoted while scientists, including single father Tokumitsu Yuhara, are gathered to build a bio-mechanical robot from the original Godzilla's skeleton. In time, the cyborg Godzilla, Kiryu, is finished and inducted into the Japan Self-Defense Forces along with its human pilots, the Kiryu Squadron, with Akane as the primary pilot. However, memories of Akane's actions during the original fight still linger as one of her squadron mates, Second Lieutenant Susumu Hayama, holds her responsible for the death of his brother.

Four years later, Kiryu is unveiled in a global presentation where its remote systems, use of command aircraft, and Absolute Zero Cannon are shown. Simultaneously, Godzilla returns and Kiryu is launched into battle. In the midst of this however, Godzilla's roar causes Kiryu to experience memories of the original Godzilla's death and destroy the city while Godzilla retreats. The horrified Kiryu Squadron is powerless to stop the rampaging cyborg until it runs out of energy and is brought back to headquarters for repairs.

Meanwhile, Akane deals with Hayama's attempts to make her leave and Tokumitsu's attempts to get to know her despite her desiring solitude, though she begins to develop a bond with Tokumitsu's young daughter Sara. As Godzilla mounts another attack, the repaired Kiryu is deployed and confronts Godzilla once more. Kiryu gains the upper hand, but as it prepares the Absolute Zero Cannon, Godzilla fires its atomic breath, knocking the cyborg away and diverting the blast. With Kiryu disabled and the remote piloting system taken off-line, Akane orders Hayama to land his command craft so that she can use Kiryu's internal backup cockpit. Before she leaves, Hayama wishes her luck, forgiving her. Piloting Kiryu directly, Akane closes in on Godzilla, hoping to use the Absolute Zero Cannon a point-blank range. As the two monsters collide, Akane uses Kiryu's thrusters to propel them out to sea before firing. In the aftermath, a wounded Godzilla retreats once more while Kiryu is heavily damaged. With the Kiryu Squadron successful in repelling Godzilla, Kiryu is taken back to base for repairs. In a post-credits scene, Akane agrees to have dinner with the Yuharas and salutes Kiryu.

Production
Following the successful revival of the monsters Mothra and King Ghidorah the previous year, Toho elected to bring back Mechagodzilla for the next installment in the Godzilla franchise. Unlike previous iterations of Mechagodzilla, this version is mostly referred to by the name Kiryu (derived from Kikai-ryu, the Japanese word for "machine dragon") throughout the film. This was done to differentiate the character from previous versions. It was, however, referred to as "Mecha-G" and "Mechagodzilla" in the English dubbing of the next film, Godzilla: Tokyo S.O.S..

Japanese baseball star Hideki Matsui has a cameo as himself in the film, due to his nickname "Godzilla".

As has been done since the early 1970s, Toho had the international version of Godzilla Against Mechagodzilla dubbed in Hong Kong. This dubbed version was released on DVD by Sony Pictures Home Entertainment in 2004.

Soundtrack
Godzilla Against Mechagodzilla the first film of the series with a soundtrack recorded outside of Japan. Director Masaaki Tezuka once again turned to composer Michiru Oshima following their successful collaboration on Godzilla X Megagurius, with the score itself being recorded by Moscow International Symphonic Orchestra, under conductor Konstantin D. Krimets. Tezuka and Oshima would both return for the film's sequel, Godzilla: Tokyo S.O.S.

Theatrical
Godzilla Against Mechagodzilla was released in Japan on 14 December 2002. The film was released in select theaters in the United States for one day on November 3, 2022 via Fathom Events to commemorate the franchise's 68th anniversary, dubbed "Godzilla Day." It pulled $335,000 for the latter release, a respectable gross for a film released only for a single night with no major advertisement beforehand.

Home media
The film was released by Sony Pictures/Columbia Tristar Home Entertainment on DVD on March 23, 2004. It was released under the American title, Godzilla Against MechaGodzilla - International Version, which has new English opening and closing credits but is otherwise the same as the original Japanese version.

Its second release was on Blu-ray by Sony as part of the Toho Godzilla Collection. and was released on September 9, 2014 as part of a 2-disc double feature with Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack.

Critical response
Reviews of Godzilla Against Mechagodzilla have been positive. Mike Pinsky of DVD Talk gave the film three stars out of five, saying: "While I did have some minor complaints, [this is] a fine entry in the series." Pinsky said "the plot is more interesting than most giant monster movies," and "the battle scenes, which are the main reason anyone watches these films to begin with, were great." Giving the film a "B+" score, Mark Zimmer of Digitally Obsessed said that it's "a good deal of fun and one of the better entries in the series." Digital Monster Island gave the film a "B" score, calling it "a fun and exciting film that should please most kaiju fans."

title: Godzilla Against Mechagodzilla


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Maria Solheim

Maria Solheim (born 19 January 1982 in Alsvåg, Øksnes, Vesterålen) is a Norwegian singer-songwriter. She was discovered at 15 years old, by a travelling musician, singing her own songs in a small fishing village. She has released 7 solo albums.

Career
Solheim signed her first record deal with the label Kirkelig Kulturverksted in 1999 at the age of 17, and her first album was released two years later. She frequently tours Norway and Germany. Her music was featured at the 'Grateful Sound' event in the anime adaptation of the manga series BECK.

In 2006 Solheim chose to withdraw from the limelight for a period, getting married and having a daughter. Then in 2009, she had a joint No. 1 hit alongside Hans Erik Dyvik Husby in the Norwegian Singles Chart with "Rom for alle". The song stayed at No. 1 for 3 weeks including the Christmas chart for 2009.

After the horrific bomb attack in Oslo and massacre at Utøya on 22 July 2011, Solheim was a part of the «Rosetogmarkeringen», in Oslo singing «Mitt lille land» and «Barn av regnbuen».

She released her fifth solo album In The Deep in 2012. Solheim participated in Melodi Grand Prix 2021 with the song "Nordlyset".

Solo albums

 * 2001: Barefoot (Kirkelig Kulturverksted)
 * 2002: Behind Closed Doors (Kirkelig Kulturverksted)
 * 2004: Frail (Kirkelig Kulturverksted)
 * 2006: Will There Be Spring (Kirkelig Kulturverksted)
 * 2012: In The Deep (MBN / Universal)
 * 2018: Stories Of New Mornings (Kirkelig Kulturverksted)
 * 2021: The Bird Has Flown (Kirkelig Kulturverksted)

Singles

 * 2007: Wildest Day (Strange Ways Records)
 * 2009: Rom for alle (a duo with Hans Erik Dyvik Husby)

With other artists

 * 2011: Mitt lille land (Sony Music)

Appears on

 * 2002: Bagateller (Folk & Røvere)
 * 2002: Stolpesko (Various artists)
 * 2003: Paradigms (Extol)
 * 2003: Salmer for Gud og hvermann (Various artists)
 * 2004: Kind Of Cold (Meister)
 * 2005: On a Bridge Between Clouds (Mujaji)
 * 2008: Alleviat (Benea Reach)
 * 2013: Aura (Benea Reach)

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

title: Maria Solheim


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Gilf Kebir

Gilf Kebir (جلف كبير) (var. Gilf al-Kebir, Jilf al Kabir, Gilf Kebir Plateau) is a plateau in the New Valley Governorate of the remote southwest corner of Egypt, and southeast Libya. Its name translates as "the Great Barrier". This 7770 km2 sandstone plateau, roughly the size of Puerto Rico, rises 300 m from the Libyan Desert floor. It is the true heart of the Gilf Kebir National Park.

The name Gilf Kebir was given to the plateau by Prince Kamal el Dine Hussein in 1925, as it had no local name. It is known for its rugged beauty, remoteness, geological interest, and the dramatic cliff paintings-pictographs and rock carvings-petroglyphs which depict an earlier era of abundant animal life and human habitation.

Geography and climate
The Uweinat mountain range at the very south of the plateau extends from Egypt into Libya and Sudan.

Wadis
The plateau is crisscrossed by Wadis (dry, seasonal riverbeds). These include:
 * Wadi Hamra وادي حمرا
 * Wadi Akhdar وادى الاخضر
 * Wadi Bakht وادى بخت
 * Wadi Dayiq وادى الضيق
 * Wadi Firaq وادى فراق
 * Wadi Gazayir وادى الجزائر
 * Wadi Maftuh وادى مفتوح
 * Wadi Mashi وادى ماشى
 * Wadi Sura وادي صورة
 * Wadi Wassa وادى واسع
 * Wadi Abd el-Malik وادي عبد المالك

Climate
Gilf Kebir Plateau lies in the heart of the eastern part of the vast Sahara Desert, and, thus, gets some of the most extreme climates on Earth. This is the driest place on the planet, not only because the area is totally rainless (the annual average rainfall amount hardly reaches 0.1 mm) but also because the geological aridity index/dryness ratio is over 200, which means that the solar energy received at the ground evaporates 200 times the amount of precipitation received. Rainfall may fall every twenty years in Gilf Kebir.

Petroglyphs
The Gilf Kebir is known for its prehistoric Neolithic petroglyphs
 * Rock engravings in the upper part of wadi Hamra.
 * Magharet el Kantara in the southern Gilf Kebir contains only one known rock art site, a cave discovered by Shaw & party in 1936.
 * Wadi Sura in the southwestern Gilf Kebir: the "Cave of Swimmers", discovered by the Hungarian Count László Almásy (The English Patient), plus many other paintings nearby.
 * In January 2003, Zerzura Expeditions and Jacopo Foggini independently discovered a major new rock art site in the Western Gilf Kebir (Foggini-Mestekawi Cave).
 * The North-western half of the Gilf Kebir aside from Wadi Sura has only a few scattered engravings, of an apparently very ancient age.
 * Karkur Talh and Karkur Murr: major eastern valleys of the Uweinat contain one of the richest concentrations of rock art in the whole Sahara.
 * Western Uweinat: Shelters under the huge granite boulders in the western Uweinat contain numerous paintings, including the famous sites of Ain Doua.
 * Jebel Arkenu, Jebel Kissu & Yerguehda Hill, the lesser granite massifs around Uweinat have many smaller sites.

Saharan rock art has been found to resemble the art of Nile valleys. The Saharan area was wetter until mid-Holocene or about 4000 BC, when the monsoon retreated southwards, forcing humans to migrate. Some retreated eastward to the Nile valley, taking with them their beliefs and influencing Egyptian art.

20th century exploration
The hills of the Gilf Kebir were first seen from a distance by European explorers in 1910 - with W. J. Harding-King in 1910 and 1911, and Ball and Lieutenant Moore in 1918. The high southern part of the plateau was sighted for the first time by Prince Kamal el Dine Hussein in 1925, and on another expedition, in the following year, he fixed the eastern escarpment of the plateau and first realised the true size of the plateau. In 1930 an expedition headed by Ralph Alger Bagnold followed the same route. In the winter of 1930-1, P. A. Clayton surveyed some of the areas.

The western side of the Gilf Kebir was explored in 1932 by the Clayton-Almásy Expedition, headed by Sir Robert East Clayton and Count László E. Almásy, and accompanied by Patrick A. Clayton, Squadron Leader H. W. G. J. Penderel, three Arabian car drivers and a cook. The expedition explored the area by Gypsy Moth plane, by car, and on foot.

1933 Patrick Clayton and Ladislaus Almasy discovered the Aqaba-Pass, the only way up Gilf Kebir from the southern plains i.e. from wadi Sura.

WWII archeology
The plateau was the site for various British logistical operations during the Second World War, and due to the extremely dry conditions and lack of population, remains of this occupation are often found intact. A large airbase, including huge navigation arrows laid out in army petrol cans, can still be seen at the Eight Bells Hills spot in the southeast of Gilf Kebir.

It was also the site of the 2007 discovery of a bag that had been lost in the Second World War by a dispatch rider (Alec Ross) of the Long Range Desert Group, part of the British Army. This contained the rider's personal letters and photographs and had been well preserved.

Literary setting
The Gilf Kebir is the setting for part of Michael Ondaatje's novel The English Patient. It also plays an important role in Paul Sussman's The Hidden Oasis.

title: Gilf Kebir


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Pronto Monto

Pronto Monto is the third album by Kate & Anna McGarrigle, released in 1978. The title is an approximate pronunciation of the French phrase "prends ton manteau", which means "take your coat". The album did not meet sales expectations, and the sisters were dropped from Warner Bros. Records soon afterward. In 2016, the album was released on CD by Omnivore Recordings.

Critical reception
The New York Times wrote that the album has a "shiny gloss, and it robs their songs of some of the innocence that distinguished them before."

Track listing

 * 1) "Oh My Heart" (Anna McGarrigle, Dane Lanken) – 3:07
 * 2) "Side of Fries" (Kate McGarrigle, Philippe Tatartcheff) – 3:22
 * 3) "Just Another Broken Heart" (David Nichtern) – 3:33
 * 4) "NaCl (Sodium Chloride)" (Kate McGarrigle) – 2:28
 * 5) "Pronto Monto (Prends ton manteau)" (Kate & Anna McGarrigle, Philippe Tatartcheff) – 2:51
 * 6) "Stella by Artois" (Kate McGarrigle) – 3:53
 * 7) "Bundle of Sorrow, Bundle of Joy" (Anna McGarrigle) – 4:04
 * 8) "Come Back Baby" (Kate McGarrigle) – 3:18
 * 9) "Tryin' to Get to You" (Charlie Singleton, Rose McCoy) – 2:39
 * 10) "Fixture in the Park" (Anna McGarrigle) – 3:37
 * 11) "Dead Weight" (Anna McGarrigle) – 2:27
 * 12) "Cover Up My Head" (William Dumaresq, Galt MacDermot) – 2:53

Personnel

 * Kate and Anna McGarrigle - vocals, piano, accordion, acoustic guitar
 * David Spinozza, Jeff Mironov, Jerry Donahue, Scot Lang, David Nichtern, Richard Resnicoff – guitar
 * Jon Sholle – electric steel guitar, F-hole guitar, acoustic guitar
 * Tony Levin, Gordon Edwards, Freebo, Bob Glaub, Pat Donaldson – bass
 * Michael Moore – double bass
 * Ken "Disco Stu" Pearson – keyboards
 * Steve Gadd, Bernard Purdie, Gary Mallaber, Grady Tate, Gary Mure – drums
 * Susan Evans, George Devens, Victor Feldman – percussion
 * Kenny Kosek – fiddle
 * Chaim Tannenbaum – mandolin, harmonica, backing vocals
 * David Woodford, Bryan Cumming – tenor saxophone
 * George Young – clarinet
 * David Campbell - string arrangements
 * Howard Johnson - horn arrangements

title: Pronto Monto


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Pseudocholinesterase

Pseudocholinesterase may refer to:
 * Butyrylcholinesterase, an enzyme
 * Aryl-acylamidase, an enzyme

title: Pseudocholinesterase


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Carnosauria

Carnosauria is an extinct group of carnivorous theropod dinosaurs that lived during the Jurassic and Cretaceous periods.

While Carnosauria was historically considered largely synonymous with Allosauroidea, some recent studies have revived Carnosauria as clade including both Allosauroidea and Megalosauroidea (which is sometimes recovered as paraphyletic with respect to Allosauroidea), and thus including the majority of non-coleurosaurian members of theropod clade Tetanurae. Other researchers have found Allosauroidea and Megalosauroidea to be unrelated groups.

Distinctive characteristics of carnosaurs include large eye sockets, a long narrow skull and modifications of the legs and pelvis such as the thigh (femur) being longer than the shin (tibia).

Carnosaurs first appeared in the Middle Jurassic, around 176 mya. The last definite known carnosaurs, the carcharodontosaurs, became extinct in the Turonian epoch of the Cretaceous, roughly 90 mya; reportedly later remains of carcharodontosaurids, from the late Maastrichtian (70–66 Ma ago) Bauru Group in Brazil, were later interpreted as those of abelisaurids. The phylogenetically problematic megaraptorans, which may or may not be carnosaurs, became extinct around 66 mya. Unquillosaurus is another possible carnosaur that has an extended their potential geological range, being discovered in rocks dated to the Campanian, around 75-70 mya.

History of study
Carnosauria has traditionally been used as a dumping ground for all large theropods. Even non-dinosaurs, such as the rauisuchian Teratosaurus, were once considered carnosaurs. However, analysis in the 1980s and 1990s revealed that other than size, the group shared very few characteristics, making it polyphyletic. Most former carnosaurs (such as the megalosaurids, the spinosaurids, and the ceratosaurs) were reclassified as more primitive theropods. Others (such as the tyrannosaurids) that were more closely related to birds were placed in Coelurosauria. Modern cladistic analysis defines Carnosauria as those tetanurans sharing a more recent common ancestor with Allosaurus than with modern birds.

Anatomy
Carnosaurs share certain distinctive features, one of which is a triangular-shaped pubic boot. They also have 3 fingers per hand, with the second and third digit being approximately equal in length. The femur is larger than the tibia. Another defining feature of carnosaurs is that the chevron bases on their tails have anterior and posterior bone growth. The largest carnosaurs can reach up to 10 meters in length. The length of the body from the tail to the hip is between 54% and 62% of the total body length, and the length of the body from the head to the hip is between 38% and 46% of the total body length. Carnosaurs scaled their limbs relative to their body in a way similar to how other large theropods, like the tyrannosaurids, did. During the Cretaceous, some carnosaurs grew to sizes similar to those of the largest tyrannosaurids. These large carnosaurs lived in the same time period as the other large theropods found in the upper Morrison and Tendaguru formations.

Carnosaurs maintained a similar center of mass across all sizes, which is found to be between 37% and 58% of the femoral length anterior to the hip. Other similarities across all carnosaurs include the structure of their hind limb and pelvis. The pelvis in particular is thought to be designed to reduce stress regardless of body size. In particular, the way the femur is inclined reduces the bending and torsion stress. Furthermore, like other animals with tails, carnosaurs possess a caudofemoralis longus (CFL) muscle that allowed them to flex theirs. Larger carnosaurs are found to have a lower CFL muscle-to-body-mass proportion that smaller carnosaurs.

In addition to body similarities, most carnosaurs, especially most allosauroids are also united by certain skull features. Some of the defining ones include a smaller mandibular fenestra, a short quadrate bone, and a short connection between the braincase and the palate. Allosauroid skulls are about 2.5 to 3 times longer as they are tall. Their narrow skull along with their serrated teeth allow carnosaurs to better slice flesh off of their prey. Carnosaur teeth are flat and have equally-sized denticles on both edges. The flat side of the tooth face the sides of the skull, while the edges align on the same plane as the skull. From analyzing the skull of different carnosaurs, the volume of the cranial vault ranges between 95 milliliters in Sinraptor to 250 milliliters in Giganotosaurus.

Allosaurus and Concavenator preserve skin impressions showing their integument. In Allosaurus, skin impressions showing small scales measuring 1-3 mm are known from the side of the torso and the mandible. Another skin impression from the ventral side of the neck preserves scutes. An impression from the base of the tail preserves larger scales around 2 cm in diameter. However, it has been noted that these may be sauropod scales due to their similarity and the fact that non-theropod remains were discovered associated with the tail of this particular Allosaurus specimen. Concavenator preserves scutes on the underside of the tail, as well as scutes on the feet along with small scales. A series of knobs on the ulna of Concavenator have been interpreted by some authors as quill knobs theorized to have supported primitive quills; however this interpretation has been questioned, and they have been suggested to represent traces of ligaments instead.

Classification
Within Carnosauria, there is a slightly more exclusive clade, Allosauroidea. The clade Allosauroidea was originally named by Othniel Charles Marsh, but it was given a formal definition by Phil Currie and Zhao, and later used as a stem-based taxon by Paul Sereno in 1997. Sereno was the first to provide a stem-based definition for the Allosauroidea in 1998, defining the clade as "All neotetanurans closer to Allosaurus than to Neornithes." Kevin Padian used a node-based definition in his 2007 study which defined the Allosauroidea as Allosaurus, Sinraptor, their most recent common ancestor, and all of its descendants. Thomas R. Holtz and colleagues and Phil Currie and Ken Carpenter, among others, have followed this node-based definition. Depending on the study, Carnosauria and Allosauroidea are sometimes considered synonymous. In such cases, several researchers have elected to use Allosauroidea over Carnosauria.

Conventional phylogeny
The following family tree illustrates the position of Carnosauria within Theropoda. It is a simplified version of the tree presented in a synthesis of the relationships of the major theropod groups based on various studies conducted in the 2010s.

The cladogram presented below illustrates the interrelationships between the four major groups (or families) of carnosaurs. It is a simplified version of the tree presented in the 2012 analysis by Carrano, Benson and Sampson after they excluded three "wildcard" taxa Poekilopleuron, Xuanhanosaurus, and Streptospondylus.

Alternative hypotheses
The composition of the clade Carnosauria has been controversial among scientists since at least 2010. Different clades have been recovered by different authors, and a scientific consensus has yet to emerge.

One such clade is Neovenatoridae, a proposed clade of carcharodontosaurian carnosaurs uniting some primitive members of the group such as Neovenator with the Megaraptora, a group of theropods with controversial affinities. Other studies recover megaraptorans as basal coelurosaurs unrelated to carcharodontosaurs. Other theropods with uncertain affinities such as Gualicho, Chilantaisaurus and Deltadromeus are also sometimes included.

Neovenatoridae, as formulated by these authors, contained Neovenator, Chilantaisaurus, and a newly named clade: Megaraptora. Megaraptora contained Megaraptor, Fukuiraptor, Orkoraptor, Aerosteon, and Australovenator. These genera were allied with the other neovenatorids on the basis of several features spread out throughout the skeleton, particularly the large amount of pneumatization present. The pneumatic ilium of Aerosteon was particularly notable, as Neovenator was the only other taxon known to have that trait at the time. Neovenatorids were envisioned as the latest-surviving allosauroids, which were able to persist well into the Late Cretaceous due to their low profile and coelurosaur-like adaptations. Later studies supported this hypothesis, such as Carrano, Benson & Sampson large study of tetanuran relationships in 2012, and Zanno & Makovicky description of the newly discovered theropod Siats in 2013, which they placed within Megaraptora. Fukuiraptor and Australovenator were consistently found to be close relatives of each other; this was also the case for Aerosteon and Megaraptor. Orkoraptor was a "wildcard" taxon difficult to place with certainty.

Phylogenetic studies conducted by Benson, Carrano and Brusatte (2010) and Carrano, Benson and Sampson (2012) recovered the group Megaraptora and a few other taxa as members of the Neovenatoridae. This would make neovenatorids the latest-surviving allosauroids; at least one megaraptoran, Orkoraptor, lived near the end of the Mesozoic era, dating to the early Maastrichtian stage of the latest Cretaceous period, about 70 million years ago.

The cladogram below follows a 2016 analysis by Sebastián Apesteguía, Nathan D. Smith, Rubén Juarez Valieri, and Peter J. Makovicky based on the dataset of Carrano et al. (2012).

Subsequent analyses have contradicted the above hypothesis. Novas and collagues conducted an analysis in 2012 which found that Neovenator was closely related to carcharodontosaurids, simultaneously found Megaraptor and related genera to be coelurosaurs closely related to tyrannosaurids. However, Novas et al. subsequently found that megaraptorans lacked most of the key features in the hands of derived coelurosaurs including Guanlong and Deinonychus. Instead, their hands retain a number of primitive characteristics seen in basal tetanurans such as Allosaurus. Nevertheless, there are still a number of other traits that support megaraptorans as members of the Coelurosauria. Other taxa like Deltadromeus and Gualicho have been alternatively recovered as coelurosaurs or noasaurid ceratosaurs.

Several recent analyses do not find a relationship between Neovenator and megaraptorans, which suggests that the latter were not carnosaurs or allosauroids. As a result of these findings, and the fact that Neovenator itself is the only uncontroversial neovenatorid, the family Neovenatoridae sees little use in recent publications.

In 2019, Rauhut and Pol described Asfaltovenator vialidadi, a basal allosauroid displaying a mosaic of primitive and derived features seen within Tetanurae. Their phylogenetic analysis found traditional Megalosauroidea to represent a basal grade of carnosaurs, paraphyletic with respect to Allosauroidea. Because the authors amended the definition of Allosauroidea to include all theropods that are closer to Allosaurus fragilis than to either Megalosaurus bucklandii or Neornithes, the Piatnitzkysauridae was found to fall within Allosauroidea. A cladogram displaying the relationships they recovered is shown below.

The relationship between allosauroids and megalosauroids was also supported by a provisional analysis published by Andrea Cau in 2021. This publication is also the origin of the hypothesis that several "compsognathids" from Europe may have been juvenile carnosaurs. The results of this analysis differ from those of Rauhut and Pol in that Cau finds Megalosauroidea to be monophyletic and the sister-taxon of Allosauroidea within Carnosauria. An abbreviated version of this phylogeny is shown below.

In 2024, Andrea Cau published a paper which presented an analysis of theropod ontogeny which suggested that several theropods that were traditionally considered coelurosaurs may be juvenile allosauroids or megalosauroids. These included Aorun, Juravenator, Sciurumimus, Scipionyx, and Compsognathus. This hypothesis has not been universally accepted, and it notably conflicts with Cau's 2021 publication by finding Megalosauroidea as monophyletic and the sister taxon of Avetheropoda, a grouping which includes both carnosaurs (or allosauroids) and coelurosaurs. Notably, this analysis also treats the abelisauroid genus Kryptops as a chimera and suggests that the postcranial remains of this taxon belong to a carnosaur (possibly Sauroniops). An abbreviated version of the cladogram from that analysis is shown below.

Paleobiology and behavior
Multiple severe injuries have been found on allosauroid remains, which implies that allosauroids were frequently in dangerous situations and supports the hypothesis of an active, predatory lifestyle. Despite the multitude of injuries, only a few of those injuries show signs of infection. For those injuries that did become infected, the infections were usually local to the site of the injury, implying that the allosauroid immune response was able to quickly stop any infection from spreading to the rest of the body. This type of immune response is similar to modern reptilian immune responses; reptiles secrete fibrin near infected areas and localize the infection before it can spread via the bloodstream.

The injuries were also found to be mostly healed. This healing may indicate that allosauroids had an intermediate metabolic rate, similar to non-avian reptiles, which means they require fewer nutrients in order to survive. A lower nutrient requirement means allosauroids do not need to undertake frequent hunts, which lowers their risk of sustaining traumatic injuries.

Although the remains of other large theropods like tyrannosaurids bear evidence of fighting within their species and with other predators, the remains of allosauroids do not bear much evidence of injuries from theropod combat. Most notably, despite a good fossil record, allosauroid skulls lack the distinctive face-biting wounds that are common in tyrannosaurid skulls, leaving open the question of if allosauroids engaged in interspecies and intraspecies fighting. Remains of the allosauroid Mapusaurus are also often found in groups, which could imply the existence of social behavior. While there are alternative explanations for the groupings, like predator traps or habitat reduction due to drought, the frequency of finding allosauroid remains in groups supports the social animal theory. As social animals, allosauroids would share the burden of hunting, allowing injured members of the pack to recover faster.

Paleobiogeography
The paleobiogeographical history of allosauroids closely follows the order that Pangaea separated into the modern continents. By the Middle Jurassic period, tetanurans had spread to every continent and diverged into the allosauroids and the coelurosaurs. Allosauroids first appeared in the Middle Jurassic period and were the first giant taxa (weighing more than 2 tons) in theropod history. Along with members of the superfamily Megalosauroidea, allosauroids were the apex predators that occupied the Middle Jurassic to the early Late Cretaceous periods. Allosauroids have been found in North America, South America, Europe, Africa, and Asia. Specifically, a world-wide dispersal of carcharodontosaurids likely happened in the Early Cretaceous. It has been hypothesized that the dispersal involved Italy's Apulia region (the “heel” of the Italian peninsula), which was connected to Africa by a land bridge during the Early Cretaceous period; various dinosaur footprints found in Apulia support this theory.

Allosauroids were present in both the northern and southern continents during the Jurassic and Early Cretaceous, but they were later displaced by the tyrannosauroids in North America and Asia during the Late Cretaceous. This is likely due to regional extinction events, which, along with increased species isolation through the severing of land connections between the continents, differentiated many dinosaurs in the Late Cretaceous.

title: Carnosauria


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Logo of StWC (UK)

title: File:StWC Logo.png


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Category:Canadian railroad holding companies

Holding companies that own railroads in Canada.


text:
The Golden Ocean

The Golden Ocean is a historical novel written by Patrick O'Brian, first published in 1956. It tells the story of a novice midshipman, Peter Palafox, who joins George Anson's voyage around the world beginning in 1740. The story is written much in the language and spelling of the mid-18th century. Palafox is a Protestant Irish boy from the west coast of Ireland, schooled by his father, a churchman, and eager to join the Royal Navy. He learns naval discipline and how to determine his ship's position at sea as part of a large berth of midshipmen on HMS Centurion. His friend Sean O'Mara joins with him, considered his servant initially by officers and put among the seamen, rising in rank as he shows his abilities, to bosun's mate.

The book contains a wealth of period detail, and includes historical figures, like Anson, the midshipman Keppel, Mr Walter, the chaplain to Anson and kind guide and keeper of the purse for Peter Palafox, and captains of other vessels in the squadron.

Reviews in 1994 found it not a mature work from the author, but showing signs of "the Conradian force that shows where O'Brian was headed as a narrative writer." Another reviewer felt this novel showed nearly "all the naval lore and sense of place that grace the Aubrey/Maturin books". It was aimed at younger readers, but two reviewers felt that all readers "will be swept up by the richness of O'Brian's prodigious imagination", and it was "A humorous adventure for all collections."

Plot summary
In spring 1740, Peter Palafox, his friend Sean O'Mara and Sean's uncle Liam are riding from Connaught to Cork so that Peter can join the Royal Navy as a midshipman. Sean decides to join, too, so Liam will take the horses back home. They meet Peregrine FitzGerald at the market fair, another boy heading for HMS Centurion. Both lose their money. FitzGerald meets Lord Culmore who loans him ten guineas, solving their money problems. They meet the brig Mary Rose, at Cove of Cork and reach HMS Centurion at Spithead on time. Peter is wearing all his best clothes, including a green stone given to him as a "luck giver". On board Peter learns he must have a sea chest and a uniform. Mr Walter, the chaplain, recognises the emerald pinned to his neck cloth, which can supply all that Peter needs. The emerald from a Spanish ship of the Armada now helps Peter as England fights Spain. Peter likes the ship HMS Centurion, but takes time to be at ease with naval discipline. Peter knows the Irish names for the parts of a ship, but not yet the English names. At dinner with Commodore Anson he meets officers on his ship and others in the squadron. Neighbour to Peter is Captain Callis, a man who loved Peter's mother long ago and lost her to Peter's father. Anson remarks on the terrible decision by the Admiralty to include the Chelsea pensioners (500 infirm sailors) as part of his crew.

Peter tells the chaplain that he knows the ship's destination, to the golden ocean, the Pacific, to fight the Spanish. Anson is disappointed that his secret mission is common knowledge on the Irish coast. Common knowledge also knows that the Spanish have a squadron of the same number of ships, under Pizarro. The true voyage begins, after the squadron escorts merchant ships heading east. Six weeks of contrary winds keep them in the English Channel, long enough for the landsman to be used to the sea. FitzGerald, wounded in his fight with Ransome, is now ready for duty, assigned to a watch. When sent to the topmast, FitzGerald can barely do it. Ransome helps him down, so FitzGerald apologises to him. Peter is at home up on the masts, with no fear of heights or the motion of the ship. At Funchal in Madeira in November, FitzGerald returns to England, carrying a letter from Peter to his father, and many gifts for his siblings. Mr Elliot, midshipman, teaches Peter the trigonometry, by the example of a stick of known height and its shadow, a tree whose shadow is paced out, thus the height of the tree is calculated; Peter understands it and succeeds in his classes on board. Before the equator, Peter gets a delirious fever, lasting until they land at Saint Catherine's island off Brazil, where they stay past Christmas. Many die of tropical diseases. Mr Ransome is friendlier with him, but still calls him Teague, an insulting name for an Irish boy. Rounding Cape Horn is fierce. They meet with high winds, thick fog, bitter cold and storms, naming several rendezvous points in the Pacific. Pearl rejoins after having fallen in with five Spanish ships, the fleet Peter described to Anson. In March 1741, they reach 52 degrees 32 minutes south. Peter is glad for the warm clothes from FitzGerald. None agree on the longitude in waters uncharted by the English. Peter's ribs are broken from a rope that froze in this cold, windy weather; he feels lucky he was not tossed into the sea like so many others. Mr Elliot is taken by the scurvy in April, a sore loss to Peter, just after they lose Pearl and Severn.

Centurion, Gloucester, Wager, Tryal and the pink Anna think they are west enough to turn north. Hopelessness pervades. Commodore Anson appears to be made of "iron and oak", a little more affable the worse the weather gets. Sean is captain of the foretop, as he performs well, being sure-footed and brave with frozen sails and ropes. Centurion reaches Juan Fernandez, staying there a few months to fix ships and heal the men with good food there. Peter spends a second birthday as a midshipman, having learned the tone of authority and grown out of his best clothes. Peter computes the losses of crew on Centurion, Gloucester and Tryal since leaving England: 961 sailed out, 626 dead after reaching Juan Fernandez. Tryal takes a prize, a Spanish merchant ship, which vessel replaces the damaged Tryal. Spanish passengers are well-treated, a wise move. Wager never makes this rendezvous. Reduced squadron sails north, reaching Paita. Centurion and Tryal crews take the town, made easier by the fear of the locals, who flee on seeing them. An Irishman living there tells Peter where the huge merchant treasure is. They take the ship with the merchant treasure, truly great wealth. All the crew become experts on the rules of sharing prizes, happy with the share they will see. They keep sailing north, aiming for the Acapulco Galleon, which sails between Manila and Acapulco with treasure. Missing the galleon, the Commodore sails west to Manila. Storm damaged Gloucester is burned at sea, and her crew taken aboard Centurion, the only ship of the squadron now.

Centurion stops at Tinian Island in September 1742. Peter is carried ashore. His health is improved by the fresh food. Centurion sails to Macau, next to Canton, to refit the ship. Peter spends two years of pay in less than a month. They lose Mr Walter and some officers, who take a merchant ship on the well-travelled route back to England, to report progress and carry mail and gifts home. Refit and rested, Centurion is homeward bound. Commodore Anson, once at sea, informs the crew of 227 that they will try again for the Acapulco Galleon, before she reaches Manila. Sailing east, Centurion waits for the galleon, engaging her in close battle on June 20, 1743, taking her and her cargo of silver and gold. Mr Saumarez sails the prize and both ships stopped in Macau to transfer the treasure to Centurion. Sean is promoted to bosun's mate, guarding the treasure aboard the prize and Centurion for the year's voyage home. Truly homeward bound, they put in at Prince's Island, Cape Town (gaining Dutch seamen), speeding to England through a fog in the Channel where they pass unseen French ships, now at war with England. Peter and Sean are paid their shares of the prizes. All of his family is on the lookout for him, for a joyous reunion after four years away. Peter gives his father the good round sum of 1,000 pounds, which will lift his family from genteel poverty.

Characters

 * Peter Palafox: Son of the Protestant clergyman and wife née Dillon, he has an appointment letter as midshipman on HMS Centurion under Commodore Anson. He was raised in Ballynasaggart in Connaught on the coast, very poor but well educated by his father, speaking English, Irish, Latin and Greek. His birthday is November 4.
 * Sean O'Mara: He comes along for the excitement and the glory, son of Peter's nurse. He runs very fast. He is accepted as Peter's servant and put in the crew, where he advances for his good work.
 * Liam: Uncle to Sean and tenant to Peter's father ("farms my father's glebe" ), who rides with them to Cork, and takes the horses home.
 * Mr Richard Walter: He was in seminary with Peter's father. He secured the appointment for Peter and is Chaplain aboard ship. He is modelled on the real person, Chaplain to Commodore Anson.
 * Peregrine FitzGerald: He is a boy in powdered red hair with a strong sense of honour and offence. He sails to England with Peter, also to be midshipman on Centurion; he is very sea-sick and slow to take to the discipline. He leaves the ship at Funchal, Madeira to join the merchants of the East India Company. He leaves behind his cold weather clothes, a boon to Peter and Sean.
 * Lord Culmore: He is a friend to FitzGerald, who loans him 10 guineas after FitzGerald lost his money to gambling and Peter lost his to a thief.
 * Commodore Anson: He leads the squadron and is captain of HMS Centurion, a strong leader.
 * Mr Keppel: He is already 5 years at sea, a midshipman since age 10, who appears so very young to Peter, and a character from history who rose high in the navy and in society.
 * Mr Ransome: He is an older boy in the midshipmen's berth, once in the crew and promoted by Anson. He is tall and strong and at sea since age 8.
 * Mr Elliot: Midshipman who helps Peter to understand the trigonometry after Funchal. He dies of scurvy while ship goes so slowly around Cape Horn.
 * Captain Callis: He also courted Peter's mother, asks to be remembered to Peter's parents at dinner aboard Centurion.
 * Captain Dandy Kidd: The first Captain of HMS Wager, who Peter meets at dinner with the Commodore.
 * Mr John Byron: Midshipman aboard Wager, who Peter meets at dinner with the Commodore.
 * Mr Saunders: First lieutenant of the Centurion, who often corrects Peter in his duty. He is later promoted to captain on another ship in the squadron.
 * Colonel Cratcherode: Head of the land forces for the squadron, who Peter meets at dinner with the Commodore.
 * Mr Pascoe Thomas: He is schoolmaster for the midshipman, who is long in his position, after 35 years teaching boys at sea.
 * Mr Blew: Master for the Centurion, who teaches navigation to the midshipmen.
 * Mr Saumarez: He is a lieutenant aboard HMS Centurion, who holds Mr Saunders place when he is sent to be captain on HMS Tryal. He is based on a real person in the Royal Navy.

Ships
Anson's squadron
 * HMS Centurion: fourth-rate ship of 1,005 tons, 60 guns, 400 men and the flagship
 * HMS Gloucester: 853 tons, 50 guns, 300 men
 * HMS Severn: 853 tons, 50 guns, 300 men
 * HMS Pearl: 600 tons, 40 guns, 250 men
 * HMS Wager: 599 tons, 24 guns, 120 men
 * HMS Tryal: 200 tons, 8 guns, 70 men
 * Anna and Industry: two store ships meant to part when the stores could be transferred to the squadron

Spanish
 * Manila Galleon Nuestra Señora de la Covadonga: 42 guns, 550 men

Reviews
Reviews collected were written in 1994 when W W Norton republished the 1956 novel, and more than half of the Aubrey-Maturin series novels had been published. Reviewers viewed the novel as it stood and in contrast to the author's later level of accomplishments in that series.

Publishers Weekly, writing in 1994, says this first sea novel by O'Brian "can stand on its own as an entertaining and psychologically astute narrative". They see in this 1956 novel "practically all the naval lore and sense of place that grace the Aubrey/Maturin books". Specifically, "Shipboard life rings true, the story never flags and humor abounds: "Well, he is a wonderful poacher for a Protestant," observes one Anglo-Irishman.

Kirkus Reviews finds this novel "Not a mature piece of work, but appealing enough to satisfy fans of O'Brian's naval sagas."

Tom Clark writing in the Los Angeles Times says that "evidently in keeping with an aim of appealing to a younger audience, the darker aspects of the crew's experience are played down in favor of a robust and exhilarating rendering of the great adventure of it all." It is a first sea novel with a young boy as the main character, but "if there's any character in The Golden Ocean with heavyweight potential, it's the sea itself, whose power as a kind of fate is rendered with the Conradian force that shows where O'Brian was headed as a narrative writer." Clark notes that "At least two of those accounts, those of Anson's chaplain, Richard Walter, and of a young Irish midshipman, John Philips, appear to have supplied O'Brian much of what he needed to paint with charming pictorial realism the life both above and below decks on Anson's flagship Centurion."

Library Journal noted that this book by O'Brian "set the course they [Aubrey-Maturin series] later followed." It is recommended for all ages: "A humorous adventure for all collections."

Scott Veale writing in The New York Times was upbeat about this novel, saying that "As always, the author's erudition and humor are on display, whether he's describing the singing of the masts in the wind, the harrowing seas of Cape Horn or 18th-century superstitions." Veale found the period detail to be "uncompromising", and expected that readers "will be swept up by the richness of O'Brian's prodigious imagination."

Related novels by O'Brian and contrasts to them
The same expedition is described from the perspective of two on one of the ships in the squadron that did not make it around the globe in O'Brian's The Unknown Shore. It focusses on the ship HMS Wager and different main characters, including John Byron, then a midshipman, age 18.

Mr Walter the chaplain wrote his own account of the voyage of Anson, noted by Clark (above) as one of O'Brian's historical sources for this novel and the interactions among the officers and crew. An original copy was at auction in 2009.

In 1969, O'Brian published Master and Commander, the first book in a 20 novel series, known as the Aubrey-Maturin series. It is set in the Napoleonic Wars, begins in 1800, and features a pair of men who become the closest of friends, Captain Jack Aubrey and Stephen Maturin, physician and natural philosopher. In Post Captain, the second novel of the series, Aubrey recalls Anson, and asks Maturin if he has read Anson's book. Maturin has, but finds Anson's journey wasteful, as Anson noted nothing of the natural world that he saw on the journey. Aubrey is impressed that Anson made the journey and succeeded in it. The Royal Navy has changed since Anson's voyage, as have the politics of the world, with the thirteen British colonies in North America now the nation of the United States of America, the War of the Austrian Succession over, including the exit of France from nearly all its North American colonies, the French Revolution in the past, and the Irish Rebellion of 1798 also a past event. The Royal Navy and physicians have learned the need for fresh food and citrus to combat scurvy, a disease which killed so many in Anson's squadron, before this connection was made between scurvy and fresh food. The Napoleonic Wars endured so long, that they make a broad canvas of history against which the author sets the lives of his main characters, still keeping a sharp eye to historical detail and period language, which is a different structure than The Golden Ocean, which tells the tale of one long and daring voyage. In one sense, O'Brian views the long eighteenth century as the setting of his works, putting this novel in the same time period as the later series, while technically happening in two different centuries, the 18th and the 19th. They are both set in the Age of Sail, an even longer period of time than the long eighteenth century.

Allusions to history and real places
The story is based on a real event, George Anson's voyage around the world that began in 1740. Places named in Ireland, England, Madeira, the Pacific coast of South America, Manila, Macau and Canton in China are real, including St. Catherine's Island off Brazil at 24 degrees South latitude, shown on this map.

The Spanish galleon Nuestra Señora de la Covadonga, after the battle, was sold at Macau and the treasure transferred to Centurion, which proceeded to England after a brief rest, arriving there in June 1744.

Narrative point of view
This novel was aimed at younger readers, as well as adults, and takes the viewpoint of a new midshipman joining the Royal Navy on HMS Centurion in 1740 on this voyage. The boy is on the one ship that makes the entire voyage, and he is one of the survivors. Seen by the midshipman Peter Palafox, the sense of the adventure is depicted, as he sees the world and learns the discipline, hardships and rewards of the Royal Navy. The hardships of the voyage are not dismissed, with counts of the deaths from scurvy, whose cure was not yet understood, and the problems of navigation without the precise knowledge of location gained by chronometers to measure longitude, depicted in detail.

Publication history
Rupert Hart-Davis published many of O'Brian's works, including translations (e.g., Papillon and Banco: The Further Advancement of Papillon in 1970 and 1973), The Road to Samarcand, The Golden Ocean, The Unknown Shore and short stories from 1953 to 1974. In 1994, The Golden Ocean was re-issued by HarperCollins in the UK and W W Norton in the US.

title: The Golden Ocean


text:
The Unknown Shore

The Unknown Shore is a novel published in 1959 by Patrick O'Brian. It is the story of two friends, Jack Byron and Tobias Barrow, who sail aboard HMS Wager as part of the voyage around the world led by Anson in 1740. Their ship did not make it all the way around the world, unlike the flagship. The novel is a fictionalised version of actual events which occurred during the Wager Mutiny.

Some reviewers feel that the midshipman Byron and the somewhat unworldly surgeon's mate Barrow are prototypes for Jack Aubrey and Stephen Maturin, who appear in O'Brian's Aubrey–Maturin series set in the Napoleonic Wars.

Plot summary
In the early part of the novel, set in London, other members of the expedition are featured. They appear in more detail in The Golden Ocean, another O'Brian novel about the Anson expedition.

The expedition is beset by storms while rounding of Cape Horn, the Wager is shipwrecked off the coast of Chile as their position could not be determined. The crew rejected the authority of their officers, once the ship was wrecked and left the captain, some officers, and some other crew on the island when they sailed away in a boat built from the wreck. The marooned officers make their way to a Spanish settlement with the help of the native people. The novel is based on the accounts of the survivors. Survivors from the lower deck made their way back to Britain long before the officers. The novel describes the crew members asserting that the officers had no authority over them, once their ship was wrecked.

Characters in The Unknown Shore

 * Jack Byron – protagonist
 * Tobias Barrow – "Jack's" friend

Allusions to real events, the shipwreck
The Wager's crew did reject the authority of their officers, once the ship was wrecked. The lesson of the wreck of the Wager played a role in revising naval discipline, so that officers did retain formal authority over crew members, even when their ships were lost or captured.

Allusions to real persons
John "Jack" Byron was a historical person and the basic facts of the story are true. He went on to a distinguished naval career, rising to the rank of vice-admiral. There is an "easter egg" that O'Brian includes in the novel: his Jack Byron secretly writes poetry. He wants Tobias to refrain from mentioning it to any of his peers. The famous poet Lord Byron was one of John Byron's grandsons.

title: The Unknown Shore


text:
Entre la jeunesse et la sagesse

Entre la jeunesse et la sagesse is the fourth album by Kate & Anna McGarrigle, released in 1980. Consisting entirely of songs in French, the album was initially available only in Canada. The subsequent international release was simply called French Record.

The title of the first track is a pun: Lajeunesse is a street name in Montreal, Quebec but, since la jeunesse means youth and la sagesse means wisdom, the title of the album means "between youth and wisdom".

Critical reception
In his review in Melody Maker, Colin Irwin wrote: "I love French Record. I'm intoxicated by its shambling nonchalance; I'm seduced by its gentle, subtle nuances; and I'm in gleeful awe of its absolute, uncalculating disregard for the dictates of current style and influence. [...] It exudes such an enchanting atmosphere that it doesn't matter that you can't understand a damn thing they're on about (though translations are supplied on the sleeve). [...] It's a collection that swamps you in its sheer romance; yet stealthily avoids the danger of being dragged into slush by the discreet arrangements and surprisingly broad array of styles within the sentiment. [...] The music contains such a depth of feeling and emotion, it's obviously a work Kate and Anna have had in their hearts for a long time. [...] Ultimately, it's those harmonies that grab you tightest... joyful, mournful, bright, dour... no studio effect on Earth can communicate the disparate highs and lows of human emotion as eloquently as the bare voices of these two girls. You don't need to be a Frenchman to be convinced of that."

In his review in Rolling Stone, Don Shewey stated: "All [tracks] boast the tunefulness, instant familiarity and (judging from the characteristically whimsical liner notes) intelligently emotional subject matter for which the McGarrigles are known and loved. Fortunately, their usual spicy folk instrumentation remains intact. [...] "Unexpectedly, singing in French inspires the McGarrigles, especially Anna, to new levels of passion. The author of "Heart Like a Wheel" (which Linda Ronstadt made famous), Anna has generally sung in a wistfully frail soprano. But on French Record, particularly in "Mais Quand Tu Danses" and "Excursion à Venise," she reveals a large, gutsy, even guttural voice that's a pleasure to discover. [...] Nearly all the songs, whether by Kate or Anna, are collaborations with Canadian poet Philippe Tatartcheff. Most are distinctive for their offhand imagery and dry wit. [...] It's good to have the mischievous McGarrigles back!"

In his review in Folk Roots magazine, Lawrence H. Heath stated: "French Record was put on Earth to be enjoyed, to be delighted in [...]. It's just two French-Canadian sisters with heaven-sent voices and heartfelt harmonies, singing melodies that could move mountains to tears in the company of musicians whose empathy is exceeded only by their sureness of touch. [...] It's just the best album Kate and Anna McGarrigle have made to date, that's all (and everything!) [...] French Record is one of those rare albums without a single duff track — or nanosecond for that matter."

Release history
The album was released on vinyl LP with two different covers: the first by Kébec-Disc in Canada, titled Entre la jeunesse et la sagesse [sic] in May 1980, and the second by Hannibal Records in the rest of the world, titled simply French Record, in February 1981.

it was re-released on CD in 2003 by La Tribu, with both French Record and Entre Lajeunesse et la sagesse [sic] appearing in the title, and on the same cover as the original Hannibal LP.

Overview
The album comprises eleven songs, including three that had been released on earlier albums:

 * "Complainte pour Ste-Catherine", on Kate & Anna McGarrigle (1976)
 * "Naufragée du tendre", on Dancer with Bruised Knees (1977); this is a new, re-recorded version of the song
 * "Prends ton manteau", on Pronto Monto (1978).

Track listing
Most of the songs were co-written by the McGarrigle sisters with Philippe Tatartcheff, in various combinations.
 * 1) "Entre Lajeunesse et la sagesse" (Kate McGarrigle, Philippe Tatartcheff) – 4:28
 * 2) "Complainte pour Ste-Catherine" (Anna McGarrigle, Philippe Tatartcheff) – 2:47
 * 3) "Mais quand tu danses" (Anna McGarrigle, Philippe Tatartcheff) – 3:50
 * 4) "Cheminant à la ville" (Kate McGarrigle, Philippe Tatartcheff) – 2:13
 * 5) "Excursion à Venise" (Anna McGarrigle, Philippe Tatartcheff) – 4:26
 * 6) "En filant ma quenouille" (Traditional; arranged by Kate & Anna McGarrigle) – 2:00
 * 7) "La belle s'est étourdie" (Kate & Anna McGarrigle) – 3:20
 * 8) "Naufragée du tendre" (Anna McGarrigle, Philippe Tatartcheff) – 3:40
 * 9) "Avant la guerre" (Anna McGarrigle, Philippe Tatartcheff) – 3:59
 * 10) "À Boire" (Anna McGarrigle, Philippe Tatartcheff) – 2:36
 * 11) "Prends ton manteau" (Kate & Anna McGarrigle, Philippe Tatartcheff) – 2:51

Personnel

 * Kate McGarrigle - piano, Hammond B3 organ, accordion, acoustic guitar, banjo, vocals
 * Anna McGarrigle - piano, accordion, vocals
 * Jane McGarrigle - Hammond B3 organ
 * Chaim Tannenbaum, Joel Topp - Harmonium
 * Alun Davies - acoustic guitar
 * Scott Lang - acoustic guitar, electric guitar, rhythm guitar
 * David Spinozza - electric guitar
 * Andrew Gold - electric guitar
 * Gregg Prestopino - electric guitar
 * Jorn Reissner - electric guitar, slide guitar
 * Andrew Cowan - electric guitar, tambourine
 * Peter Weldon - banjo
 * Pat Donaldson - bass
 * Tony Levin - bass - ("Complainte pour Ste-Catherine")
 * Freebo - bass
 * Jay Ungar, Floyd Guilbeau - Violins
 * Gerry Conway - drums
 * Gary Moore - drums
 * Steve Gadd - drums
 * Densil Lang - percussions
 * George Boham - brass
 * Roger Walls - trumpet
 * Carlyle Miller - saxophone
 * Gary Nagels - trombone

title: Entre la jeunesse et la sagesse


text:
Talk:Patrice Lumumba

Assassination?
You could call it unjust imprisonment and execution but it was not an assassination. From the Free Dictionary:

as·sas·si·nate (ə-săs′ə-nāt′) tr.v. as·sas·si·nat·ed, as·sas·si·nat·ing, as·sas·si·nates 1. To murder (a prominent person) by surprise attack, as for political reasons. 2. To destroy or injure treacherously: assassinate a rival's character.

Al Legato (talk) 14:49, 19 May 2021 (UTC)

 * I've thought about this too. The thing is, scholars often talk about his death as an assassination (probably to point to the level of conspiracy surrounding it), most notably Lude de Witte, also Georges Nzongola-Ntalaja, Thomas Kanza, and Godfrey Mwakikagile. -Indy beetle (talk) 19:06, 19 May 2021 (UTC)

 * Then I think it depends on the definition one is using. If the emphasis is on 'surprise attack', then it wasn't an assassination but an execution. But Black Law's dictionary (quoted in the Wikipedia article about assassination) calls it "the act of murdering a prominent or important person", making this case definitely an assassination. And indeed, authoritative sources have called it an assassination. So I don't think there's a problem calling it as such. CBJH (talk) 19:33, 19 May 2021 (UTC)
 * Such a definition would imply that Muammar Gaddafi was assassinated. Does that seem right? The word does not normally apply when someone is no longer in power and is in the hands of their enemies. LastDodo (talk) 16:01, 2 August 2022 (UTC)
 * I would tend to agree that technically Lumumba's death was the immediate result of an "extrajudicial execution", or plainly a "murder", but the lions share of sources call it an assassination nonetheless. -Indy beetle (talk) 16:55, 2 August 2022 (UTC)
 * Well the sources have it wrong then. So I guess this is just one of those wikipedia rules I can't get along with. Oh Well. LastDodo (talk) 09:21, 3 August 2022 (UTC)

Belgian involvement section
I would like to make a comment on this section.

After the section on de committee report it states that Ludo de Witte found out about a cable talking about the definitive elimination of Patrice Lumumba by Count Lynden. This order makes it seem like this was new evidence after the committee report in Belgium. This is not the case. They knew about all these cables and afterwards concluded that Belgium did not order the assassination of Lumumba. The cable by Lynden was part of the political elimination of Premier Lumumba. It would be nice if someone added an actual proper link to the committee report. LouisBStevenson (talk) 12:16, 5 November 2022 (UTC)

US Was Not Involved In Lumumba Death
This article has the U.S. ‘involvement’ in the execution of Lubumba. Its content describes an aborted assassination, one having nothing to do with the killing. The Church Senate Committee Report on Foreign Assassination attempts includes the sentence: "It does not appear from the evidence that the United States was in any way involved in the killing." This in reference to the killing of Lumumba. That should be made clear. Maybe this website should not so often work to merit its nickname "Wokepedia" by always skewing articles to the left politically. Sychonic (talk) 19:03, 10 January 2023 (UTC)

 * While I agree that the present coverage of this is outdated, deficient, and somewhat misleading (according to what we know now), to say "US Was Not Involved In Lumumba Death" is probably not true. I have a copy of White Malice, so I might get around at some point towards rewriting this section. If you believe portraying the reality of this situation is a politically biased thing to do, that's a personal problem. There are many myths perpetuated about Lumumba which do serve political ends and have political slant, but the involvement of Belgium and the US in his downfall is not one of them -Indy beetle (talk) 22:23, 10 January 2023 (UTC)

 * Yeah I agree, the idea that the US assassinated him has been a popular conspiracy theory among some left leaning people for a while now. The only hard evidence is that his assassination was brought up by Eisenhower once, but that’s it. He never authorized anything, nor was any mission to kill him carried out. I do think the sentence from the Church Committee report that explicitly says that the US didn’t kill him should be included, since it is brought up multiple times and referenced in other articles to make the case for the alleged assassination plot.Friedbyrd (talk) — Preceding undated comment added 17:42, 7 February 2023 (UTC)

 * Also, maybe the section should be renamed “alleged foreign involvement” at least for the US since there has never been any solid evidence provided. I am not very familiar with Belgium and if they had a planned to assassinate him.Friedbyrd (talk) 17:50, 7 February 2023 (UTC)

 * It is well documented that the Eisenhower administration wanted Lumumba dead (whatever Eisenhower's vague words on the subject were) and the CIA tried to make this happen (the whole toothpaste plot and all, for example). That rises above mere allegation, but the operations started by Eisenhower's order were eventually suspended when Lumumba was placed under house arrest. It gets murkier after Lumumba's escape and recapture. This also happened around the time of the transition between Eisenhower and JFK's administrations. JFK didn't like Lumumba but did not want him killed, and was very alarmed to learn of his death shortly after he came into office in 1961. Where the popular romantic narratives get this wrong is by essentially implying the CIA organized Lumumba's execution because "muh imperialism", but that does not mean there was no involvement on the part of US officials. Belgium was much more clearly and directly involved in the sequence of events which put Lumumba before a firing squad, with Harold d'Aspremont Lynden, the former Belgian Minister of the Colonies, having sent a telegram to the Congolese central government advising them to take Lumumba to Katanga, where he was almost immediately killed. The UK involvement is much more speculative than either the US or Belgium. -Indy beetle (talk) 19:04, 7 February 2023 (UTC)

 * Eisenhower flirted with the idea of assassinating him at one NSA meeting, and the evidence for this was the note taker of that meeting recalling it years after the fact. That’s literally all the evidence for Eisenhower hand in his supposed murder by the USA. There is nothing that exist that JFK did anything to try and kill him. Other than this there are rumors and speculations and left wing conspiracy theories, but no actual evidence. This segment of the article if padded out by simply repeating the same information over (the note takers recollection of the NSA meeting), but as it’s been pointed out, this was part of the Church investigation which out right stated that there was no evidence found.Friedbyrd (talk) 16:47, 10 February 2023 (UTC)

 * Comment - our article cites 19 references describing discussion within the CIA or US government of a possible assassination of Lumumba, the planning of his assassination, and aborted attempts shortly prior to Lumumba's killing. The references also describe CIA arming and training of the political forces that ousted Lumumba from power, and CIA officers seeking to dispose of his body. The Church committee report does state that it could not find evidence that Lumumba's actual execution was plotted by the CIA. But it also states that given the secrecy of such operations, the committee can only become aware of any given plot if "facts are brought to the attention of an investigating body." Given these references, uninformed and unreferenced certainty about the US being uninvolved in Lumumba's death is tendentious and should be disregarded by editors. -Darouet (talk) 23:53, 15 February 2023 (UTC)

Blackwashing
The reference to the alleged white prostitute was added solely to infuriate many readers. Lumumba wanted to repatriate the diamond mines that has been taken by force, to the economic detriment of Belgium and New York. Thus branded a Communist. LoveOfMoney (talk) 16:19, 7 November 2023 (UTC)

title: Talk:Patrice Lumumba


text:
User:LeoDV

I don't have much to say.

I often fix or lightly expand things which don't look quite right when I read them, whether the problem is factual or stylistic. Thus, my main contributions are "minor" edits. I check that box when the changes I make do not add or remove content from the article.

title: User:LeoDV