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Mustard Plug

Mustard Plug is an American ska punk band from Grand Rapids, Michigan, consisting of Dave Kirchgessner (vocals), Brandon Jenison (trumpet), Jim Hofer (trombone), Nate Cohn (drums), Colin Clive (guitar/vocals), Mark Petz (tenor saxophone) and Greg Witulski (bass).

Formed in 1991, the band has regularly toured throughout the United States, Europe, Japan, and South America. They have toured with the Warped Tour twice, and participated in the Ska Against Racism Tour. , the band has released eight studio albums and continues to tour actively.

Explaining the band's goal, Jim Hofer said, "We may have some messages in our music, but essentially we just do this because we love it and we want people to lighten up and have fun."

History
The band formed in 1991 after Colin and Dave both attended a Special Beat show. The band's original members were Dave Kirchgessner, Mike McKendrick, Colin Clive, and Anthony Vilchez. There was virtually no ska scene in Grand Rapids at the time, so Mustard Plug was able to develop a unique sound and draw a large following.

Brandon Jenison stated in an interview that their band name originated when "a guy in the early stages of the band was making a sandwich and that crusty stuff that forms on the mustard bottle when you put it in the fridge without wiping it off first gave him an interesting idea for a name."

In 2002, the band released Yellow #5, and supported the album for years on tour. In 2005, they released the "greatest hits" album Masterpieces: 1991–2002.

Mustard Plug was on the label Hopeless Records for many years, but had a period of free agency until their signing with Bad Time Records.

The band celebrated their 20th anniversary in 2011 with a national tour.

In 2012, the band had an idea for a live album called Mustard Plug:Live!, but canceled in favor of their 2014 album Can't Contain It, the recording of which was funded via Kickstarter. The album features cover art by Jeff Rosenstock of Bomb the Music Industry.

In May 2017, the band performed at Pouzza Fest in Montreal. In 2019, they embarked on a tour of Japan. The band continues to perform around the United States on a regular basis. In 2021, long-time bassist Rick Johnson left the group.

On September 8, 2023, the band released Where Did All My Friends Go?, their first studio album in 9 years, on DIY label Bad Time Records.

Albums

 * Skapocalypse Now! (1992, Dashiki Clout)
 * Big Daddy Multitude (1993, Asbestos Records)
 * Evildoers Beware! (1997, Hopeless Records)
 * Pray for Mojo (1999, Hopeless Records)
 * Yellow No. 5 (2002, Hopeless Records)
 * Masterpieces: 1991-2002 (2005, Hopeless Records)
 * In Black and White (2007, Hopeless Records)
 * Can't Contain It (2014, No Idea Records)
 * Where Did All My Friends Go? (2023, Bad Time Records)

Music videos

 * Summertime (1992)
 * Mr. Smiley (1993)
 * Beer (song) (1995)
 * You (1997)
 * Everything Girl (1999)
 * Hit Me! Hit Me! (2007)
 * Over the Edge (2007)
 * Fall Apart (2023)
 * Vampire (2023)
 * Doin' What We Do (2023)
 * Where Did All My Friends Go? (2023)
 * Why Does it Have To Be So Hard? (2023)

Lost music videos

 * 7-11 Man (1991) - A rare live performance of this song was seen once before disappearing.
 * Mendoza (1996) - Aired once on Vh1. Now considered to be lost.
 * Send You Back (1998) - This video was seen on MTV only once before disappearing off air.

Hopeless Records compilation appearances

 * Lolita and Never Be appear on Hopelessly Devoted to You, Vol. II (1998)
 * Yesterday and Already Gone appear on Hopelessly Devoted to You, Vol. 3 (2000)
 * Away from Here and Not Enough appear on Hopelessly Devoted to You, Vol. 4 (2002)
 * You and Over the Edge appear on Hopelessly Devoted to You, Vol. 6 (2006)

Line-up

 * Dave Kirchgessner - lead vocals (1991–present)
 * Colin Clive - guitar, vocals (1991–present)
 * Nathan Cohn - drums (2005–present)
 * Brandon Jenison - trumpet, backing vocals (1994–present)
 * Jim Hofer - trombone (1994–present)
 * Mark Petz - tenor saxophone (1993–1998; 2021–present)
 * Greg Witulski - bass (2021–present)

Past members

 * Rick Johnson - bass (2004–2021)
 * Anthony Vilchez - bass (1991–1994)
 * Craig DeYoung - bass (1994–2001), alto saxophone (1992–1994)
 * Matt Van - bass (2001–2004)
 * Mike McKendrick - drums (1991–1993)
 * Michael Skowron - trombone (1993-1995), tenor saxophone (1993-1995)
 * Nick Varano - drums (1993–1999)
 * Brad Rozier - drums (1999–2004)
 * John Massel - drums (2004-2005)
 * Bob Engelsman - trombone (1992–1994)
 * Bleu VanDyke - trombone (1995–1998)
 * Kevin Dixon - tenor saxophone (1996–1998)

title: Mustard Plug


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 * %27%27%27Flag+of%27%27%27+is+either%3A%0A%2A+%5B%5BFlag+of+Greenland%5D%5D%0A%2A+%5B%5BFlag+of+Puerto+Rico%5D%5D%0A%2A+%5B%5BFlag+of+Jersey%5D%5D%0A%2A+%5B%5BFlag+of+the+Netherlands+Antilles%5D%5D%0A%2A+%5B%5BFlag+of+Cayman+Islands%5D%5D%0A%2A+%5B%5BFlag+of+Guam%5D%5D%0A%2A+%5B%5BFlag+of+Russia%5D%5D%0A%2A+%5B%5BFlag+of+Guernsey%5D%5D%0A%2A+%5B%5BFlag+of+the+Isle+of+Man%5D%5D%0A%2A+%5B%5BFlag+of+Norfolk+Island%5D%5D%0A%2A+%5B%5BFlag+of+Bermuda%5D%5D%0A%2A+%5B%5BFlag+of+the+Falkland+Islands%5D%5D%0A%2A+%5B%5BFlag+of+the+Northern+Mariana+Islands%5D%5D%0A%2A+%5B%5BFlag+of+the+Faroe+Islands%5D%5D%0A%2A+%5B%5BFlag+of+Hong+Kong%5D%5D%0A%2A+%5B%5BFlag+of+Cook+Islands%5D%5D%0A%2A+%5B%5BFlag+of+the+British+Virgin+Islands%5D%5D%0A%2A+%5B%5BFlag+of+the+United+States+Virgin+Islands%5D%5D%0A%2A+%5B%5BFlag+of+Anguilla%5D%5D%0A%2A+%5B%5BFlag+of+French+Polynesia%5D%5D%0A%2A+%5B%5BFlag+of+Croatia%5D%5D%0A%2A+%5B%5BFlag+of+Wales%5D%5D%0A%2A+%5B%5BFlag+of+Montserrat%5D%5D%0A%2A+%5B%5BFlag+of+Serbia+and+Montenegro%5D%5D%0A%2A+%5B%5BFlag+of+the+Czech+Republic%5D%5D%0A%2A+%5B%5BFlag+of+Aruba%5D%5D%0A%2A+%5B%5BFlag+of+Macau%5D%5D%0A%2A+%5B%5BFlag+of+Slovakia%5D%5D%0A%2A+%5B%5BFlag+of+Gibraltar%5D%5D%0A%2A+%5B%5BFlag+of+Slovenia%5D%5D%0A%2A+%5B%5BFlag+of+Turks+and+Caicos+Islands%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5BFlag+of+Greenland%5D%5D%2C+%5B%5BFlag+of+Puerto+Rico%5D%5D%2C+%5B%5BFlag+of+Jersey%5D%5D%2C+%5B%5BFlag+of+the+Netherlands+Antilles%5D%5D%2C+%5B%5BFlag+of+Cayman+Islands%5D%5D%2C+%5B%5BFlag+of+Guam%5D%5D%2C+%5B%5BFlag+of+Russia%5D%5D%2C+%5B%5BFlag+of+Guernsey%5D%5D%2C+%5B%5BFlag+of+the+Isle+of+Man%5D%5D%2C+%5B%5BFlag+of+Norfolk+Island%5D%5D%2C+%5B%5BFlag+of+Bermuda%5D%5D%2C+%5B%5BFlag+of+the+Falkland+Islands%5D%5D%2C+%5B%5BFlag+of+the+Northern+Mariana+Islands%5D%5D%2C+%5B%5BFlag+of+the+Faroe+Islands%5D%5D%2C+%5B%5BFlag+of+Hong+Kong%5D%5D%2C+%5B%5BFlag+of+Cook+Islands%5D%5D%2C+%5B%5BFlag+of+the+British+Virgin+Islands%5D%5D%2C+%5B%5BFlag+of+the+United+States+Virgin+Islands%5D%5D%2C+%5B%5BFlag+of+Anguilla%5D%5D%2C+%5B%5BFlag+of+French+Polynesia%5D%5D%2C+%5B%5BFlag+of+Croatia%5D%5D%2C+%5B%5BFlag+of+Wales%5D%5D%2C+%5B%5BFlag+of+Montserrat%5D%5D%2C+%5B%5BFlag+of+Serbia+and+Montenegro%5D%5D%2C+%5B%5BFlag+of+the+Czech+Republic%5D%5D%2C+%5B%5BFlag+of+Aruba%5D%5D%2C+%5B%5BFlag+of+Macau%5D%5D%2C+%5B%5BFlag+of+Slovakia%5D%5D%2C+%5B%5BFlag+of+Gibraltar%5D%5D%2C+%5B%5BFlag+of+Slovenia%5D%5D%2C+%5B%5BFlag+of+Turks+and+Caicos+Islands%5D%5D &wpPreview=1 Easy Preview Flag of is either: Not useful.
 * %27%27%27Car+designation%27%27%27+is+either%3A%0A%2A+%5B%5BItalian+license+plates%5D%5D%0A%2A+%5B%5BLicense+plates+in+Germany%5D%5D%0A%2A+%5B%5BGreek+car+number+plates%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5BItalian+license+plates%5D%5D%2C+%5B%5BLicense+plates+in+Germany%5D%5D%2C+%5B%5BGreek+car+number+plates%5D%5D &wpPreview=1 Easy Preview Car designation is either: - made rd to License plate instead.
 * %27%27%27AUT%27%27%27+is+either%3A%0A%2A+%5B%5B1975+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1982+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1974+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1977+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1987+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1983+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1976+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1986+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1978+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1981+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1973+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1985+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1984+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1972+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1970+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B2000+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1980+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1971+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1979+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1999+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B2002+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1964+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B2003+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1997+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B2001+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5B1998+Austrian+Grand+Prix%5D%5D%0A%2A+%5B%5BAustria%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5B1975+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1982+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1974+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1977+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1987+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1983+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1976+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1986+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1978+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1981+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1973+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1985+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1984+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1972+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1970+Austrian+Grand+Prix%5D%5D%2C+%5B%5B2000+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1980+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1971+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1979+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1999+Austrian+Grand+Prix%5D%5D%2C+%5B%5B2002+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1964+Austrian+Grand+Prix%5D%5D%2C+%5B%5B2003+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1997+Austrian+Grand+Prix%5D%5D%2C+%5B%5B2001+Austrian+Grand+Prix%5D%5D%2C+%5B%5B1998+Austrian+Grand+Prix%5D%5D%2C+%5B%5BAustria%5D%5D &wpPreview=1 Easy Preview AUT is either: - Austria
 * %27%27%27Aus%27%27%27+is+either%3A%0A%2A+%5B%5BAustralia%5D%5D%0A%2A+%5B%5B1989+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1988+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1991+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1987+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1990+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1992+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1994+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1986+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1993+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1995+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1985+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B2000+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B2002+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B2004+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1996+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B2003+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1999+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1997+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B2001+Australian+Grand+Prix%5D%5D%0A%2A+%5B%5B1998+Australian+Grand+Prix%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5BAustralia%5D%5D%2C+%5B%5B1989+Australian+Grand+Prix%5D%5D%2C+%5B%5B1988+Australian+Grand+Prix%5D%5D%2C+%5B%5B1991+Australian+Grand+Prix%5D%5D%2C+%5B%5B1987+Australian+Grand+Prix%5D%5D%2C+%5B%5B1990+Australian+Grand+Prix%5D%5D%2C+%5B%5B1992+Australian+Grand+Prix%5D%5D%2C+%5B%5B1994+Australian+Grand+Prix%5D%5D%2C+%5B%5B1986+Australian+Grand+Prix%5D%5D%2C+%5B%5B1993+Australian+Grand+Prix%5D%5D%2C+%5B%5B1995+Australian+Grand+Prix%5D%5D%2C+%5B%5B1985+Australian+Grand+Prix%5D%5D%2C+%5B%5B2000+Australian+Grand+Prix%5D%5D%2C+%5B%5B2002+Australian+Grand+Prix%5D%5D%2C+%5B%5B2004+Australian+Grand+Prix%5D%5D%2C+%5B%5B1996+Australian+Grand+Prix%5D%5D%2C+%5B%5B2003+Australian+Grand+Prix%5D%5D%2C+%5B%5B1999+Australian+Grand+Prix%5D%5D%2C+%5B%5B1997+Australian+Grand+Prix%5D%5D%2C+%5B%5B2001+Australian+Grand+Prix%5D%5D%2C+%5B%5B1998+Australian+Grand+Prix%5D%5D &wpPreview=1 Easy Preview Aus is either: - Australia
 * %27%27%27JPN%27%27%27+is+either%3A%0A%2A+%5B%5B1989+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1988+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1991+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1990+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1987+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1992+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1994+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1995+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1976+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1993+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B2000+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1977+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B2003+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B2004+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1997+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5BJapan%5D%5D%0A%2A+%5B%5B1996+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B2002+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1998+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B1999+Japanese+Grand+Prix%5D%5D%0A%2A+%5B%5B2001+Japanese+Grand+Prix%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5B1989+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1988+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1991+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1990+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1987+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1992+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1994+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1995+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1976+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1993+Japanese+Grand+Prix%5D%5D%2C+%5B%5B2000+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1977+Japanese+Grand+Prix%5D%5D%2C+%5B%5B2003+Japanese+Grand+Prix%5D%5D%2C+%5B%5B2004+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1997+Japanese+Grand+Prix%5D%5D%2C+%5B%5BJapan%5D%5D%2C+%5B%5B1996+Japanese+Grand+Prix%5D%5D%2C+%5B%5B2002+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1998+Japanese+Grand+Prix%5D%5D%2C+%5B%5B1999+Japanese+Grand+Prix%5D%5D%2C+%5B%5B2001+Japanese+Grand+Prix%5D%5D &wpPreview=1 Easy Preview JPN is either: - Japan
 * %27%27%27POR%27%27%27+is+either%3A%0A%2A+%5B%5B1989+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1988+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1990+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1991+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1987+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1992+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1986+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1993+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1994+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1984+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1985+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1995+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1958+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1996+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1959+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5B1960+Portuguese+Grand+Prix%5D%5D%0A%2A+%5B%5BPortugal%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5B1989+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1988+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1990+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1991+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1987+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1992+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1986+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1993+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1994+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1984+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1985+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1995+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1958+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1996+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1959+Portuguese+Grand+Prix%5D%5D%2C+%5B%5B1960+Portuguese+Grand+Prix%5D%5D%2C+%5B%5BPortugal%5D%5D &wpPreview=1 Easy Preview POR is either: - Portugal
 * %27%27%27MEX%27%27%27+is+either%3A%0A%2A+%5B%5B1989+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1990+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1991+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1988+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1992+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1987+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1986+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1963+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1968+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1967+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1969+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1965+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1964+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1970+Mexican+Grand+Prix%5D%5D%0A%2A+%5B%5B1966+Mexican+Grand+Prix%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5B1989+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1990+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1991+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1988+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1992+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1987+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1986+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1963+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1968+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1967+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1969+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1965+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1964+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1970+Mexican+Grand+Prix%5D%5D%2C+%5B%5B1966+Mexican+Grand+Prix%5D%5D &wpPreview=1 Easy Preview MEX is either: - Mexico
 * %27%27%27World+Championships%27%27%27+is+either%3A%0A%2A+%5B%5BIAAF+World+Championships+in+Athletics%5D%5D%0A%2A+%5B%5BIce+Hockey+World+Championships%5D%5D%0A%2A+%5B%5B2003+World+Championships+in+Athletics%5D%5D%0A%2A+%5B%5B1997+World+Championships+in+Athletics%5D%5D%0A%2A+%5B%5B1999+World+Championships+in+Athletics%5D%5D%0A%2A+%5B%5B1991+World+Championships+in+Athletics%5D%5D%0A%2A+%5B%5B2001+World+Championships+in+Athletics%5D%5D%0A%2A+%5B%5B1995+World+Championships+in+Athletics%5D%5D%0A%2A+%5B%5B1987+World+Championships+in+Athletics%5D%5D%0A%2A+%5B%5BWorld+Snooker+Championship%5D%5D%0A%2A+%5B%5B1993+World+Championships+in+Athletics%5D%5D%0A%2A+%5B%5B1983+World+Championships+in+Athletics%5D%5D%0A%2A+%5B%5BWorld+Figure+Skating+Championships%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5BIAAF+World+Championships+in+Athletics%5D%5D%2C+%5B%5BIce+Hockey+World+Championships%5D%5D%2C+%5B%5B2003+World+Championships+in+Athletics%5D%5D%2C+%5B%5B1997+World+Championships+in+Athletics%5D%5D%2C+%5B%5B1999+World+Championships+in+Athletics%5D%5D%2C+%5B%5B1991+World+Championships+in+Athletics%5D%5D%2C+%5B%5B2001+World+Championships+in+Athletics%5D%5D%2C+%5B%5B1995+World+Championships+in+Athletics%5D%5D%2C+%5B%5B1987+World+Championships+in+Athletics%5D%5D%2C+%5B%5BWorld+Snooker+Championship%5D%5D%2C+%5B%5B1993+World+Championships+in+Athletics%5D%5D%2C+%5B%5B1983+World+Championships+in+Athletics%5D%5D%2C+%5B%5BWorld+Figure+Skating+Championships%5D%5D &wpPreview=1 Easy Preview World Championships is either: - rd to World Championship
 * %27%27%2714th%27%27%27+is+either%3A%0A%2A+%5B%5B14th+century%5D%5D%0A%2A+%5B%5B14th+century+BC%5D%5D%0A%2A+%5B%5BFourteenth+Amendment+to+the+United+States+Constitution%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5B14th+century%5D%5D%2C+%5B%5B14th+century+BC%5D%5D%2C+%5B%5BFourteenth+Amendment+to+the+United+States+Constitution%5D%5D &wpPreview=1 Easy Preview 14th is either: - bad idea
 * %27%27%27king+of+Armenia%27%27%27+is+either%3A%0A%2A+%5B%5BArmenian+Kingdom+of+Cilicia%5D%5D%0A%2A+%5B%5BMonarchs+of+the+Armenian+Kingdom+of+Cilicia%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5BArmenian+Kingdom+of+Cilicia%5D%5D%2C+%5B%5BMonarchs+of+the+Armenian+Kingdom+of+Cilicia%5D%5D &wpPreview=1 Easy Preview king of Armenia is either: - Made rd instead
 * %27%27%27SWI%27%27%27+is+either%3A%0A%2A+%5B%5B1952+Swiss+Grand+Prix%5D%5D%0A%2A+%5B%5B1982+Swiss+Grand+Prix%5D%5D%0A%2A+%5B%5B1951+Swiss+Grand+Prix%5D%5D%0A%2A+%5B%5B1950+Swiss+Grand+Prix%5D%5D%0A%2A+%5B%5B1953+Swiss+Grand+Prix%5D%5D%0A%2A+%5B%5B1954+Swiss+Grand+Prix%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5B1952+Swiss+Grand+Prix%5D%5D%2C+%5B%5B1982+Swiss+Grand+Prix%5D%5D%2C+%5B%5B1951+Swiss+Grand+Prix%5D%5D%2C+%5B%5B1950+Swiss+Grand+Prix%5D%5D%2C+%5B%5B1953+Swiss+Grand+Prix%5D%5D%2C+%5B%5B1954+Swiss+Grand+Prix%5D%5D &wpPreview=1 Easy Preview SWI is either: - Switzerland
 * %27%27%2712th%27%27%27+is+either%3A%0A%2A+%5B%5B12th+century%5D%5D%0A%2A+%5B%5B12th+century+BC%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5B12th+century%5D%5D%2C+%5B%5B12th+century+BC%5D%5D &wpPreview=1 Easy Preview 12th is either: - bad idea
 * %27%27%2713th%27%27%27+is+either%3A%0A%2A+%5B%5B13th+century%5D%5D%0A%2A+%5B%5B13th+century+BC%5D%5D%0A%7B%7Bdisambig%7D%7D%0A&action=edit&wpSummary=Add+disambig+to+%5B%5B13th+century%5D%5D%2C+%5B%5B13th+century+BC%5D%5D &wpPreview=1 Easy Preview 13th is either:
 * 13th century 77
 * 13th century BC 6 Ditto above.

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

title: User:Nickj/disambig-000.txt


text:
Talk:Klingonaase

Language group
I read somewhere (the swedish translation of the Klingon dictionary, I think...) that Klingon was considered a "language group" or "continuum", similar to german, or (possibly) chinese, and that certain dialects were unintelligible to others. The main dialect was the one the klingon chief leader decided to use, and it was considered quite subversive to use another dialect (for official purposes or for inter-klingon communication, I'd guess.) Anyway, I guess this was some kind of explanation for "klingonaase" and other old "dialects", if this could be attested by others, we could add it to the page. I thought it was interesting.

 * That's possible, but far more likely is the simpler idea that there may be more than one Klingon language. Klingonaase has almost nothing in common with tlhIngan Hol, and I think it would be sensible to just call them two different languages. After all, there are more than six thousand Terran languages. thefamouseccles 23:44, 19 Aug 2005 (UTC)

 * Hmmm, but terrans are a species of quite unorderly individuals, who, since as far back as we know, quite haphazardly make up their own standards of thinking and living in small groups, regardless of what other people are doing at a different place...

 * Klingons are a WARRIOR culture, which suggests that they've had a history of war on their planet. In turn, that suggests that, at least historically, there must've been at least a few distinct cultures with separate languages.  It seems reasonable that some of thsoe would've survived.  Besides, unless their planet has only a single small continent, it's hard to imagine how a single language could exist Nik42 02:39, 27 July 2006 (UTC)

 * Are the two languages mutually inteligible? That is, can a speaker of Klingon understand a speaker of Klingonaase and vice versa? Mutual intelligibility is a good test of whether Klingonaase is a dialect of Klingon or not. --Funkmaster 801 16:32, 17 January 2006 (UTC)

 * As I stated in my first post, it seemed the different dialects could be unintelligible. (The source is the official English edition of the Klingon dictionary, btw, don't remember the exact quote). I don't think the word "dialect" is used in a strict linguistic sense. The Klingonaase corpus is very limited, but seems freely available online, uhh, somewhere. Maybe someone with good knowledge of Klingon could add examples of common Klingonaase words along with their Klingon equivalents. (According to thefamouseccles' statement "Klingonaase has almost nothing in common with tlhIngan Hol", I'd interpret it as the two languages likely being mutually unintelligible.) 惑乱 分からん 02:20, 29 January 2006 (UTC)

 * Since the above 29 January 2006 comment, a klingonaase/tlhIngan Hol word comparison table has been added to the main klingonaase page.  Except for what they both took from the few Klingon words (devised by James Doohan and spoken by Mark Lenard) in Star Trek: The Motion Picture, Ford's klingonaase and Okrand's tlhIngan Hol have no vocabulary in common, and the few phrases (as opposed to single words) that appear in klingonaase do not suggest anything resembling tlhIngan Hol's distinctive syntax.   This has not stopped Klingon fans from using both languages, as indicated here. -- SAJordan 14:22, 23 October 2006 (UTC)

Non-canon
"...Ford's version of Klingon language and culture have never been used in any canonical Star Trek work." - debatable; Ford was the first to portray Klingons positively, as protagonists; His influence made figures like Lt. Worf and later Klingons possible. Gene Roddenberry might've come up with the idea independently, but The Final Reflection made the idea a hit with the fans before Roddenberry came up with Lt. Worf and all later positive portrayals of the Klingons. -JJR

 * In "Requiescat in Pace, John M. Ford", Eric Burns suggests that the popularity of Ford's inside look at Klingon culture, and his positive portrayal of Klingons as an honorable people by their own lights (not simply stock villains), also influenced the canonical depiction in later incarnations of Star Trek, paving the way for honor-driven Klingons like Worf, and episodes that would likewise explore Klingon culture in more depth than the original series had done. Burns details specific aspects of Klingon culture (such as a disdain for taking hostages) that appeared first in The Final Reflection and later in TV episodes. -- SAJordan 13:30, 23 October 2006 (UTC)

Disambiguation proposal
The structural relation of pages on klingonaase and tlhIngan Hol is a topic at Talk:Klingon_language, in the sections Merge with Klingonaase? and Disambiguation proposal. -- SAJordan 13:52, 23 October 2006 (UTC)

Redirect
I've redirected this article to Klingon language. This topic seems to be a tiny sliver of content used by a single author, not subject to significant third-party coverage -- i.e. not notable. The edit history remains for anyone who'd like to migrate some material to the main language article. --EEMIV (talk) 23:20, 14 February 2009 (UTC)
 * I disagree about the notability - Klingonaase is used in books, RPGs, Wargames, & Fan fiction.
 * I disagree about redirecting it to Klingon Language - that article is about another subject & only :refers to Klingonaase to point out it is different to that subject.
 * I disagree with you blanking an article, which several people have worked on, without any attempt to reach consensus.  Tachyonuk (talk) 12:27, 23 February 2009 (UTC)

title: Talk:Klingonaase


text:
Talk:Kingdom of Yugoslavia

pred-suc infobox
Only timely manner adjacent entities are shown, per the given timeline, per logic.(KIENGIR (talk) 17:40, 4 February 2021 (UTC))
 * I'm not sure this is even accurate. The government-in-exile existed until 7 March 1945. Surely the successor state of the Kingdom of Yugoslavia was Democratic Federal Yugoslavia? None of the annexations or occupations were recognised internationally or concluded via treaties, and were therefore not legitimate. Peacemaker67 (click to talk to me) 09:13, 5 February 2021 (UTC)
 * Peacemaker67,
 * we should not enter the same issue, that we once already discussed, surely many part would have conflicting recognition, but apart from this, the infobox pred-suc issues has nothing to do with this. See earlier discussions between me and Havsjö at Austria-Hungary, or the recent discussion at Second Polish Republic about infobox pred-succ.(KIENGIR (talk) 10:56, 5 February 2021 (UTC))
 * It needs a community consensus about whether these pre-suc boxes are even needed in such articles, as well as what should go in them. Peacemaker67 (click to talk to me) 12:08, 5 February 2021 (UTC)
 * I still don’t get if the Democratic Federal Yugoslavia founded 1943 during the war is not a successor state? It overlapped the region like the Nazi puppet state or territories as well as the Kingdom of Yugoslavia in exile during the time. They existed at the same time for two years and then 1945 the kingdom was out of the picture. Seemed weird not to have it. OyMosby (talk) 12:21, 5 February 2021 (UTC)
 * Peacemaker67,
 * well, so far since over a decade they formed as they are, at least I maximum understand the principles as they were formed. OyMosby, what you miss still is the time barrier. The article has a scope intervall between A and B (A-B). Pred list contains everything that is touching A (pred=X-A), succ touches everything that is touching B (succ=B-Z). The entity you wanted to insert is not touching B.(KIENGIR (talk) 14:41, 5 February 2021 (UTC))
 * I'll look at some other articles of higher quality and come back to you. Peacemaker67 (click to talk to me) 21:55, 5 February 2021 (UTC)

title: Talk:Kingdom of Yugoslavia


text:
G. Owen Bonawit

G. Owen Bonawit (1891–1971) was an artist whose studio created thousands of pieces of stained glass for Yale, Duke, Northwestern, and Southeast Missouri State universities; Connecticut College; Bethesda By The Sea Episcopal Church in Palm Beach, Florida and at private homes. There are, by one count, 887 pieces in Yale's Sterling Memorial Library. Bonawit worked often and closely with the architect James Gamble Rogers. His career peaked around 1930; his last major commission was in 1940.

Works

 * Duke University Chapel
 * Deering Library (Northwestern University)
 * Connecticut College, New London
 * Kent Library (Southeast Missouri State University)

Yale University

 * Branford College
 * Saybrook College
 * Sterling Memorial Library
 * Berkeley College
 * Hall of Graduate Studies

title: G. Owen Bonawit


text:
Rock music in Russia

Russian rock music originated in the Soviet Union in the 1960s based on the influence of Western rock music and bard songs, and was developed by both amateur bands and official VIA.

The "golden age" of Russian rock was during the 1980s (especially the era of perestroika), when the Soviet underground rock bands became able to release their records officially. During this period, "rock clubs" were created, bands like "Kino", "Alisa", "DDT", "Bravo", "Nautilus Pompilius", "Aria", "Chaif", and "Grazhdanskaya Oborona" appeared and gained popularity, and already known groups, such as "Mashina Vremeni" and "Aquarium", began to publish albums officially.

Russian rock's characteristic feature was the emphasis on the lyrics. Due to its lyrical emphasis, it became a symbol of the youth of the Perestroika era. Russian rock of the 20th century is often considered a united cultural movement that has some common musical, aesthetic and ideological features. In the 21st century, almost all genres of rock music exist in Russia, which is why "Russian rock" has become a more vague concept. The majority of the Russian bands perform in the Russian language.

According to various polls,  the most popular Russian rock bands include Kino, Aquarium, Aria, Alisa, DDT and Agatha Christie.

The early 1960s: Local bard music and first western influences
By the mid-1960s, beat groups had formed in Moscow and Leningrad, at first performing cover versions of foreign hits on home-made equipment. Among these groups were "Sokol", "Scythians", "Buffoons" and "Slavs" (Alexander Gradsky's groups), and "Forest Brothers". In 1965, the band Sokol released the first rock song in Russian, "Gde tot krai?" ("Где тот край?"). The beat quartet "Integral" performed jazz music and compositions in the style of The Shadows and The Swinging Blue Jeans, and also composed their own twists and rock 'n' rolls. With the spread of Beatlemania, almost every school had its own rock band. The movement was partly influenced by the ideology of the Western hippies.

At the same time, Russian rock was partly influenced by bard music, a style referred to as avtorskaya pesnya (авторская песня), mostly played on unaccompanied acoustic guitar. It was characterized by a strong emphasis on lyrics that sometimes carried a subversive meaning, as well as a lively and informal approach to the theme - romance, everyday life, military songs, patriotic songs, satire, irony etc. The most famous performers of the bard song were Alexander Galich, Vladimir Vysotsky, Bulat Okudzhava.

Meanwhile, Western music was either being smuggled across the border or released by Melodiya as part of what was essentially state-run media piracy, with The Beatles taking a firm place in Soviet popular culture, and artists such as The Rolling Stones and Deep Purple completing a somewhat distorted picture of Western music.

The late 1960s and 1970s: Formation of the movement

In the late 1960s, the most advanced Russian rockers began experimenting with folk sound.

The beat music movement developed in the provinces. The first Russian rock and roll magazine "Beat-Echo" was released in 1965 (as samizdat). On December 18, 1966, the first rock festival in the USSR was held in Kamensk-Uralsky, Sverdlovsk region. In May 1969, the festival later known as "Woodstock-na-Donu" was held in Rostov-na-Donu.

However, the musicians of independent bands faced two problems that limited their activities. The first was the unavailability of recording studios (then sole record label, Melodiya, would later forge a partnership with international label EMI in the 70s ). The second problem was that after completing higher education, musicians had to make a choice: to leave to work in their specialty or join a professional band - VIA (Вокально-инструментальный ансамбль).

Guitar-driven bands evolved during this time, including Leningrad-based Pojuschie Gitary and Belarusian Pesnyary. These bands started the VIA movement, and were followed by others, such as Tsvety, Ariel,, and Sinyaya Ptitsa. Some Soviet composers — David Tukhmanov, Yury Antonov — tried to combine the traditions of Soviet estrada with modern musical ideas, including those introduced by Western rock music. At the same time, Mashina Vremeni in Moscow and Aquarium in Leningrad started as nominally amateur bands and soon became popular, performing underground concerts.

In the early 1970s, Yuri Morozov invented a kind of Russian psychedelic rock, using elements of progressive rock and ethnic Russian music. His sound influenced DDT, Aquarium, Chizh & Co, and many others, while he worked with them as a sound engineer. Morozov, as well as "Scythians", "Sadko" and "Tin Soldiers", released the earliest Russian rock recordings through samizdat.

Another notable artist who started his activity at the same time is Alexander Gradsky, who fused bard music with Western rock. As successful composer and singer, he was able to release some of his recordings through Melodiya since 1973.

In 1970 and 1971, the first All-Soviet rock festival "Silver Strings" was held. In 1971 and 1972, the "Pop Federation" organization was engaged in underground rock concerts. Moscow Power Engineering Institute was the most famous venue for rock bands of the 1970s in Moscow. In March 1976, Tallinn (ESSR) hosted the "Tallinn Youth Songs" Rock Festival, which brought together bands from different republics of the Soviet Union. During this period, concert recordings, rather than studio recordings, were mainly distributed, which were rewritten as self-published from one owner of the tape recorder to another. Since 1979, new underground recording studios have emerged (AnTrop, Sverdlovsk Studio etc.).

For Leningrad, the concept of acoustic kvartirnik (house concert) was spread; Moscow bands performed mainly in electricity. "Ruby Attack", "Argonauts", "Mify", "Successful Acquisition", "Mashina Vremeni", "Sankt-Peterburg", "Rossiyane", "Vysokosnoe leto", "Autograph", and "Voskreseniye" were among the main groups of the 1970s underground scene. Most of them were influenced by the styles of art rock, hard rock and progressive rock.

Some of the first officially published full-length rock albums were "Russian pictures" VIA "Ariel" (1977) and "Guslar" VIA "Pesnyary" (1979). Some Soviet composers of the turn of the 70s - 80s worked in the rock opera format; the most famous works are "Orpheus and Eurydice" (1975), "The Star and the Death of Joaquin Murieta" (1978), and "Juno and Avos" (1981).

The 1980s: Golden era
In the 1980s, an underground scene of rock artists emerged who based their style on a mix of Western rock music (particularly from the 1960s and 1970s, but also, increasingly, on the emerging New Wave,   NWOBHM and Western punk rock) and the Russian bard traditions. Bands such as Voskreseniye, Alisa, Autograph, Kino, Mashina Vremeni, Nautilus Pompilius, Aquarium, Secret, Piknik, DDT, Krematorij, Grazhdanskaya Oborona, and Agatha Christie became influential in the development of the genre, with subsequent artists influenced by their style. At the same time, many bands of the 1980s were, in a sense, a group accompanying a songwriter. Often bands were formed around such an author of lyrics (and sometimes music), who was usually considered a "leader" and, just like the band, became widely known.

In 1980, Spring Rhythms: Tbilisi-80 took place in Tbilisi in the Georgian SSR. It was the first official rock festival in the Soviet Union. Many of the prize-winners at the festival were rock groups from the Russian SFSR, as well as Georgia and the Baltics. The "Fiztech—1982" festival actually launched the popularity of new wave.

In the late 1970s and early 1980s, a lot of amateur bands who signed labor agreements and contracts with various philharmonic societies of the USSR, such as "Mashina Vremeni", "Zemlyane", "Autograph", "Cruise", and "Dialog", among others, were able to break into professional scene.

Since the mid-80s Russian rock was also influenced by the Russian art group Mitki.

The lyrics of the Soviet rock bands often dealt with the darkest sides of 1980s Soviet life, such as domestic violence, alcoholism (an infamous song by Nautilus Pompilius contained the lines "Alain Delon drinks a double bourbon/Alain Delon doesn't drink eau de cologne" as a sarcastic contrast to the alcoholic father described in the song and an indictment of the escapist attitudes of state-run media) and crime, and often carried a hidden political message.

In consequence, the mainstream Soviet radio and television ignored Soviet rock bands, which often reached audiences only through word of mouth. The monopoly for music publishing in the USSR belonged to Melodiya, the Soviet record label owned and operated by the Council of Ministers through the Ministry of Culture. Melodiya had a strict policy against publishing rock music or underground musicians, while promoting VIAs, whose members (as well as the composers and writers who worked with them) were members of the Union of Composers. Some rock musicians (Yuri Shevchuk, Yegor Letov and many others) had problems with the KGB due to their public activities. During the early 1980s, Soviet authorities started to exert heavy pressure on amateur bands, banning underground concerts as a sort of illegal commercial activity and imprisoning some music promoters and sound engineers for earning money from underground concerts.

Many of the bands from the 1980s remain active and popular among Russian youth. The term Russian rock is often used to refer to the particular sound of these bands.

Various music scenes

In the early- to mid-1980s, rock clubs were founded in Moscow, Leningrad (now Saint Petersburg) and Sverdlovsk (now Yekaterinburg). These three cities had their own rock scenes and friendly collaborations between artists were commonplace.

The Leningrad Rock Club, founded in 1981 and supported by the CPSU, Komsomol, and the city and federal governments, was probably the biggest venue, featuring "classic Russian rock" by Aquarium, Kino, Zoopark, Piknik, Alisa, DDT, Televizor, N.E.P., etc. It also included the nascent Russian art-rock movement, typified by bands such as Auktyon. An important figure in the Leningrad Rock scene was Sergey Kuryokhin, a well-known piano/keyboard player of different music genres including rock and free-jazz, and leader of his ambitious multimedia project Pop Mekhanika, was one of the first Soviet underground musicians to release albums in Europe and the United States.

Bands from Sverdlovsk, such as Nautilus Pompilius, Chaif, and Agatha Christie, produced more melodic music, making heavy use of keyboards and synthesizers.

Moscow rock bands, such as Aria, Mashina Vremeni, Voskreseniye, Center, Krematorij and Zvuki Mu, were rather different from the others, and sometimes more discreet.

The Siberian rock scene began in the 1980s, with songwriters such as Egor Letov (Grazhdanskaya Oborona, Omsk), Kalinov most, Alexander Bashlachev and Yanka Dyagileva. Their music varied from simple lo-fi punk to indie rock (sometimes acoustic), and the core of their songs were the lyrics. Many albums were first self-released and distributed among fans via trading, then officially re-released years later. Lyrics were often obscene, and showed that the writers had major problems with the Soviet administration and KGB. A notable act that was not a member of any of the three Rock-Clubs, but nonetheless highly popular, is rock and roll band Secret.

At that time, the Russian heavy-metal scene originated thanks to bands like Aria, Chorny Kofe and Master (formed by a few ex-members of Aria).

The glam-metal band Gorky Park achieved high popularity in the west, and was even aired on MTV.

Russian punk's unique style is generally accepted to be most idealized by Grazhdanskaya Oborona and by Egor Letov's other projects. The music mixes equal parts Western punk and traditional Russian influences, with gritty production and extremely charged and political lyrics.

Punk music movement
The Soviet Union punk-rock culture started in the 1980s, mostly as a protest movement against the corruption of the regime and the sense there was "no future". It differed from British punk culture in that the Soviet Union did not have an explicit class society, and the society as such was communist; as a result, Soviet punk became a protest against the social climate of the time. Soviet punks usually wore boots and coats found in military shops. While in the UK punk arose partly as a protest against more-established rock-music genres like progressive rock or glam rock, in the Soviet Union all rock music remained in the underground, which made for a certain solidarity between punk-rock fans and other rock fans in Russia.

Aside from the traditional anarchist ideology, many Russian punks belong to the National Bolshevik movement (with its founder Eduard Limonov, being a punk himself in his youth) and Yegor Letov, the godfather of Russian punk, linking it to the movement.

Yegor Letov is considered the godfather of Russian punk with his band Grazhdanskaya Oborona, which started performing in the early 1980s. During Soviet times, the band frequently got in trouble with the authorities, and each of the members wasarrested for their activities at some point.

In the late 1980s another band started operating in Russia, reaching a cult status: Sektor Gaza. They proclaimed themselves as "kolkhoz punk rockers", mixing elements from Russian village life with punk music. However, while some called the band "original" and "true folk punk", others criticized the band's style. Mikhail Gorsheniov from Korol i Shut said: "Sektor Gaza were never a part of the punk rock wave! They have no idea in music at all".

Another cult band formed a few years later was Korol i Shut, introducing horror punk, using costumes and lyrics in the form of tales and fables. Through sophisticated texts and themes not usually explored by punk, and through a sophisticated punk sound, Korol i Shut achieved the status of one of the most popular bands in Russia.

Tatars
Traditionally, Tatar rock music has been a Tatar language version of rock music in Russia. Therefore, the lyrics and vocals take priority over instrumental sounds. Some of the earliest Tatar rock bands were Soviet bands Saq-Soq and Bolgar, as well as Başqarma from Finland, all bands active in the late 1980s. Today, the most popular Tatar rock bands are Alqanat (since 2005) from Aqtanış and Xat (since 2001) from Sarman. Some other popular bands are KGB, Yar band, İlsöyä Bädretdineva, İsmail, rhymes and 116.

Other pop-rock groups include Malaylar, Yarda and Ataqlı Radio Şäxeslär. Pop singer Alsou has sung, at times, in her native Tatar.

From underground to publicity

The late 1980s was a period of breakthrough for soviet rock music entering the public eye. Political and social changes in the country were very important for this process.

The censorship was still present, but not as rigid as it was in the 1970s or early 1980s. It took years for the first Soviet rock bands to enter radio and television programs, tour in major concert halls over the USSR, and to release their albums officially on Melodiya, in direct competition with the VIA groups.

The rock music situation changed during the perestroika era. Many Russian rock bands were able to tour and record in Europe and United States for the first time. As a result, in 1989-1991 the situation was completely different from that of 1985. Moscow Music Peace Festival was held in Moscow featuring western rock artists, Gorbachev accepted Scorpions in Kremlin, Brian Eno produced an album by Zvuki Mu, and Dave Stewart (of Eurythmics fame) produced Radio Silence by Boris Grebenshchikov for the release in the western world.

With Joanna Stingray's initiative, in 1986 the Red Wave compilation was released in the United States. It was a double split album with four bands from Leningrad: Aquarium, Kino, Alisa, and Strannye Igry, with one side of vinyl for each band. This compilation was the first official Russian rock release in the west. Stingray sent copies of the release to Ronald Reagan and Gorbachev, with a statement saying that musicians had already done what both presidents could not do diplomatically. Melodiya's reaction was an official release of a record by Aquarium in order to create the illusion that recordings of the band were also widely released in the USSR.

Television and film also contributed to the breakthrough of Russian rock to the public in the 1980s. New musical television shows, such as Muzykalny Ring (Музыкальный ринг) and Programma A (Программа "А"), invited rock artists for interviews and live shows. In the late 1980s, several films featuring Russian rock musicians as actors were released. These films include Igla and Assa featuring Viktor Tsoi and music by Aquarium and Taxi Blues featuring Pyotr Mamonov. The Canadian filmmaker Peter Vronsky travelled to Moscow and Leningrad in February 1988, and shot a series of music videos with Televizor, Aquarium, Nebo i Zemlya, Zvuki Mu and other bands. The music videos were tied together in the documentary film Russian Rock Underground, which aired on MuchMusic television in Canada and on Italian television.

Estimates of the popularity explosion of Russian rock in that period are ambiguous. In a series of articles devoted to the history of the Soviet Union, "Argumenty I Fakty" noted: "Young people plunged headlong into rock, which came out of the underground, which, as recognized by the best musicians of this direction, didn't have a creative agenda at that moment."

The 1990s: Post-Soviet era
The beginning of the 1990s are considered to be the end of the "classic" Russian rock era. The two events that mark its end are the death of Viktor Tsoi in 1990 and the dissolution of the Soviet Union in 1991. Nevertheless, the Russian rock sound continued to live, and the new Russian rock sound of the '90s was based on it. Many Soviet rock bands, such as DDT, Nautilus Pompilius, Mashina Vremeni, were still popular. In 1996 the recording company Moroz started releasing the highly popular series Legends of Russian Rock.

In the mid-late 1990s the radio station Nashe Radio was created to promote Russian rock artists, broadcasting in all major Russian cities. Nashe Radio notably influenced the public's auditory taste, and helped many artists gain popularity. The radio station founded Nashestvie, the largest open-air rock festival of Russian rock music, performed annually from 1999-2019, and was always headlined with famous rock acts.

Often aired by Nashe Radio, bands like Splean, Nochniye Snaiperi, Smisloviye Galutzinatzii, Chicherina, and Bi-2 created a refreshed Russian rock sound which adopted many elements from Alternative rock. Dolphin created a mixture between alternative rock, electronic music and rapcore.

An eminent representative of the heavy metal music genre was Aria, which had achieved great recognition and popularity among a wide audience in the 1990s.

In the late 1990s, numerous punk, pop-punk and grunge bands broke through. Sektor Gaza was first Russian band to use curse words and vulgar short stories in its lyrics. The horror punk band Korol i Shut managed to achieve a cult status and mainstream success using fairy-tale inspired lyrics. Other notable punk artists included Pilot, Lumen, Tarakany!, and Nogu Svelo!. Many of them developed an original sound and included involvement of unconventional instruments like violin.

Ska punk was brought to popularity mainly by the band Leningrad, notable for the extensive use of mat (Russian profanity) in its lyrics.

The Russian instrumental rock artist Victor Zinchuk reached international success with his solo career, and with that brought the Russian instrumental rock scene to a bigger audience.

Indie rock was represented by bands such as Masha i medvedi.

The western Pop rock sound was introduced by Ilya Lagoutenko's Mumiy Troll, who made their records in the UK under the guidance of UK producers. This less lyrically loaded and more energetic style, frequently referred to as rockapops, which was also used by other notable musicians such as Zemfira, and became prevalent among the younger public.

The Russian crime films Brother, with its soundtrack featuring the band Nautilus Pompilius, and its sequel Brother 2, which featured music from various Russian rock artists, brought many young fans to Russian rock.

The 2000s: Further development

The 2000s in Russian rock were marked by both a continuance of the 1990s and something of a comeback of the classic 1980s sound. In the years following the renaissance of Russian cinema and rock, rock in Russia seemed to gain enough ground to differentiate widely through various genres. The 2005 Live 8 concert in Moscow featured mainly Russian rock artists.

Alternative metal, Nu metal and metalcore gained wider popularity at that time. In the mid-2000s, bands like Amatory, Tracktor Bowling, Grenouer, Slot, and 5 Diez were established, and were intensively promoted by the Russian television channel A-One. The channel awarded many of them with the.

The Russian heavy metal scene continued to develop, with power metal bands like Catharsis and Epidemia, founded in the 1990s, receiving more attention, and progressive metal band Orgia Pravednikov rising to prominence. In 2002, Valery Kipelov left Aria and formed the band Kipelov with other ex-members of Aria.

Folk rock music had a revival following Pelageya's and Melnitsa's rise from underground acts to bands that were played on the radio, and the attention pagan metal bands like Arkona received.

Though the Russian progressive rock scene had existed since the 1970s, it entered the public eye of Russian rock fans in the 2000s, with bands like Little Tragedies and The Gourishankar being its most obvious representatives. Since 2001, a prog-music festival named InProg was held almost yearly in Moscow. Its popularity constantly grew, and in 2005 it turned from a local festival into an international one. The Russian instrumental rock scene, with bands like EXIT project, Disen Gage, Dvar and Kostarev Group, also received more recognition at that time.

The 2010s: Decline
Despite the fact many bands from previous decades are still active, such as DDT and Splean, due to the lack of new bands gaining significant attention, there is a common view that Russian rock is in decline. Ilya Chert, from the band Pilot, said: "I can see the decline of Russian rock. We are going back to the times, when those who are really talented and wise are operating in basements and clubs with the capacity of 50 people, as they don't commercialize themselves and no one commercializes them". Artemy Troitsky, the famous Russian rock critic, wrote an article titled "Rock died a long time ago, but the funeral was impressive", where he brought up the lack of new faces in the Russian rock scene, and accused bands like Mashina Vremeni and Garik Sukachev for "selling out" and not protesting against the current government. In 2008 MTV Russia cancelled the nomination "Best Rock Project", with the resulting headlines being "MTV Recognized the Death of Russian Rock". From 2009 to 2013, Samara hosted a one-day international rock festival in Europe — Rock on the Volga.

Rock musicians divided by the Crimean Crisis
The annexation of Crimea by the Russian Federation in 2014 divided the Russian rock community into supporters and opposers of the move. Former Aria leader, and current leader of the band Kipelov, Valery Kipelov, expressed support of the "annexation", and stated that it should've been done in 1991. He performed at music festivals celebrating the event in Crimea.

Konstantin Kinchev and his band Alisa, considered to be among the pioneers of Russian rock, expressed support of the move, and cancelled all of his concerts in Ukraine. Kinchev had already expressed views supporting the return of Crimea to Russia in 2008.

Other prominent figures in Russian rock who expressed support of the move included Chaif, Chicherina, Alexander F. Sklyar, and Vadim Samoylov (ex-Agatha Christie member).

On the other hand, Andrey Makarevich was one of the organizers of the 2014 anti-war protests in Russia, and harshly criticized the annexation Another prominent figure to criticize the annexation was Yuri Shevchuk (DDT) Singer Zemfira expressed her opposition by waving a Ukrainian flag while performing on stage.

The musicians who didn't criticize the annexation, spoke against war in general, and called for peace between the peoples, were prominent figures such as Boris Grebenshchikov (Aquarium) and Vyacheslav Butusov (Nautilus Pompilius).

Characteristics

Fans of Russian Rock would frequently refer to most of the music on MTV Russia dismissively as "popsa", a dichotomy that appeared in the '80s, when government-controlled radio and TV stations would air only politically harmless music by performers such as Philipp Kirkorov. The lines are still quite clearly drawn, with bands such as Nogu Svelo! - who recorded a song with pop-singer Nataliya Vetlitskaya - being an anomaly.

In contrast to Western rock, Russian rock is often said to have less drive; it is characterized by different rhythms, instruments and more involved lyrics. Unconventional instruments have often been used in addition to the standard electric guitars and drums associated with rock music (very often violin and wind instruments).

Another characteristic of Russian Rock is being partly folk rock. Very often, Russian Rock songs, especially those of the classic 80s bands, talk about national themes, and feature elements from Russian folk music. Aquarium, DDT and Yuri Morozov are examples of this.

Considering its poetic roots (Russian literature, bard music), lyrics play a far larger role in Russian rock than Western rock. Vocal melody is sometimes eschewed in favor of a more impassioned delivery (Viktor Tsoi, the lead singer of Kino, pioneered a characteristically strained, monotonous style of singing that has been imitated by many).

The metaphor of Russia facing both East and West is epitomized by the double-headed Eagle on its coat-of-arms. The Eastern influence in the Russian rock is heard in soundtracks from movies like Day Watch, which has Tamerlane's legend of the Chalk of Destiny at its roots. Russian rock expressively used and integrated elements from both Western and Eastern culture (especially from countries of the USSR).

Yngvar Bordrewich Steinholt (University of Tromsø, Norway) has written a PhD thesis in English, printed by The Mass Media Music Scholars Press, titled "Rock in the Reservation" (2004), about the Leningrad Rock Club. It also touched upon the history of rock in Russia and its counter-cultural tendencies.

Wordplay
In Russian, the original meaning of word "рок" is "fate" or "doom". The word is used almost exclusively in fiction, especially poetry (a more widely used synonym is "судьба"). These correlate with the poetic roots of Russian rock and its attention to "serious" topics.

The wordplay is used in the song "This is Fate" (Это рок) from Aria's debut album Mania Velichia.

title: Rock music in Russia


text:
Sterling Memorial Library

Sterling Memorial Library (SML) is the main library building of the Yale University Library system in New Haven, Connecticut, United States. Opened in 1931, the library was designed by James Gamble Rogers as the centerpiece of Yale's Gothic Revival campus. The library's tower has sixteen levels of bookstacks containing over 4 million volumes. Several special collections—including the university's Manuscripts & Archives—are also housed in the building. It connects via tunnel to the underground Bass Library, which holds an additional 150,000 volumes.

The library is named for John W. Sterling, a lawyer representing Standard Oil, whose huge bequest to Yale required that an "enduring, useful and architecturally beautiful edifice" be built. Sterling Library is elaborately ornamented, featuring extensive sculpture and painting as well as hundreds of panes of stained glass created by G. Owen Bonawit. In addition to the book tower, Rogers' design featured five large reading rooms and two courtyards, one of which is now a music library.

While the library's nave and main reading rooms can be visited on guided tours, its collections are restricted to cardholders.

History
For the ninety years prior to the construction of Sterling Memorial Library, Yale's library collections had been held in the College Library, a chapel-like Gothic Revival building on Yale's Old Campus now known as Dwight Hall. Built to house a collection of 40,000 books in the 1840s, and later expanded to Linsly Hall and Chittenden Hall, the old library could not hold Yale's swelling book collection, which had grown to over one million volumes. In 1918, Yale received a $17-million bequest from John W. Sterling, founder of the New York law firm Shearman & Sterling, providing that Yale construct "at least one enduring, useful and architecturally beautiful edifice." The largest bequest in the history of any American university, it initiated a major period of construction on Yale's central campus. Because of the library collection's growth, the university decided to make the centerpiece of Sterling's gift a new library with a capacity for 3.5 million volumes.

The building's original architect, Bertram Goodhue, intended the library to resemble his State Capitol Building in Lincoln, Nebraska, with the library's books in a prominent tower. When Goodhue died in 1924, the project passed to James Gamble Rogers, the university's consulting architect. Rogers' work on a "General Plan" for the Yale campus allowed him to incorporate the main library project into his neo-Gothic scheme for Yale's expansion.

Roger's campus plan called for the library to sit on a new main courtyard, now called Cross Campus. Originally, he planned to balance the courtyard with a 5,000-seat chapel facing opposite the library. With the end of compulsory undergraduate chapel services in 1926 and the lack of a financier, the chapel was never built. Expanding on Goodhue's tower concept, Rogers proposed the library take the form of a cathedral, which, in his own words, would be "as near to modern Gothic as we dared to make it." He modeled the library's entrance hall to resemble a vaulted nave and commissioned extensive stained glass and stone ornament to decorate the building's exterior and interior.

The library's 122500 sqft footprint would take up more than half a city block. Twenty buildings were cleared for its construction, many of them private homes. Although excavation began in the fall of 1927, the construction site was not fully secured until July 1928, when the final holdout homeowner agreed to sell.

While the new library was planned and constructed, Yale began soliciting gifts from its alumni for the new library. By 1931, the collection had grown to nearly 2 million volumes, many of them rare books and manuscripts. Among the most important of these acquisitions was a Gutenberg Bible donated by Anna Harkness. The bible became the centerpiece of the new library's Rare Book Room, which allowed students and researchers to browse the most valuable books in the university's collection for the first time, a function later subsumed in part by the Beinecke Rare Book & Manuscript Library.

At the time of its construction, the choice of cathedral architecture attracted criticism. Like much of Yale's revivalist construction of the same era, the new library was criticized as expensive and retrograde. William Harlan Hale, writing in The Nation, scorned it as a "cathedral orgy," criticized the library's bastardized cathedral aesthetics and the university's timid anti-modernism. Many students of architecture leveled similar criticisms. Others asserted that the project was either sanctimonious or sacrilegious for merging academic purpose and religious architecture. Later critics have praised the building's ambition, beauty, and pragmatism.

Building
The library is situated on Yale's Cross Campus, the central quadrangle of the university. Surrounding buildings, including Berkeley College, Trumbull College, and Sterling Law Building were designed by Rogers and built in the same period and Gothic Revival style as the library.

Nave
The entrance hall of the library is known as the "nave" because it imitates the main approach of a cathedral. At its western terminus is a chancel containing an ornate circulation desk and altarpiece mural painted by Eugene Savage. Constructed of Indiana limestone and Ohio sandstone blocks, the nave is a self-supporting stone structure with none of the steel reinforcement used elsewhere in the library. It is elaborately decorated with stone and wood carving, ironwork, stained glass windows, and ceiling bosses. The main hall is flanked by two aisles, which originally held card catalogs for the library bookstacks. Though the original catalog drawers remain in the aisles, the cards have been removed and the aisles converted to seating areas and a computer lab. At its western end it is intersected by a transept, which leads to the library's main reading room on one end and its wing on the other. For many years, smoking was allowed in the nave, which left a layer of soot on its upper levels. Beginning in 2013, the nave underwent a $20-million, yearlong renovation to clean its surfaces, restore its architectural details, overhaul building systems, and reconfigure visitor circulation and services.

Tower
Fifteen levels of library materials, primarily books, are housed in the building's tower, commonly referred to as the "Stacks". Originally intended to house 3.5 million volumes, it is a seven-story structure, with eight mezzanine levels interleaved between the main stories. Although encased in a Gothic exterior, the tower's structural system is a welded steel frame, which permits a vertical rise that traditional Gothic techniques would not. The crenelated roof of the tower is elaborately decorated, complete with a castle-like housing for air handling equipment.

The tower's shelves are estimated to stretch 80 mi, contained within 6.5 mi of aisles. In addition to the library collections, the tower houses reading rooms, study carrels, library offices, and special collections, including the Babylonian Collection. Access to the Stacks is restricted to affiliates of the university and library patrons.

Reading rooms
Four reading rooms sit near the nave on the first floor of the library:

 * Starr Reading Room, the main reading room of the library, is at the south end of the library, next to Trumbull College. It is a reference room designed in the style of a monastic refectory. Under a barrel-vaulted ceiling, the room is lined with traceried windows and oak bookshelves decorated with a botanical frieze. A 1998 restoration was funded by The Starr Foundation.
 * The Periodical Reading Room, lined with oak shelves like those of the main reading room, is reached through from a vestibule on the north side of the nave. The room can hold 1,800 periodicals and features windows decorated with signs of the zodiac to symbolize periodicity.
 * Linonia and Brothers Reading Room, a Tudor-style browsing room at the building's northeast corner. It is named for Yale's two 18th-century literary societies, Linonia and Brothers in Unity, and holds about 20,000 books. Intended to be a "gentlemen's club" for leisure reading, it was not opened to women until the 1960s.
 * Franke Family Reading Room, a periodical browsing room, is in the library's southeast corner. Originally a room for frequently-used materials known as the Reserve Book Room, its collections were moved to Cross Campus Library in 1971.

The tower holds smaller reading rooms for the library's area studies holdings, including African, East Asian, Latin American, Near East, Slavic and East European, Southeast Asian, and Judaica collections. There are also dedicated reading rooms for several fields of study, including American Studies, History, and Philosophy.

Wing
Sterling's northern wing, accessed from the nave via a cloister hallway, contains the library's offices as well as three major rooms: a lecture hall, the Memorabilia Room, and the Rare Book Room. The Memorabilia Room hosts temporary exhibitions of Yale's archival collections and university history, and serves as an antechamber to the 120-seat lecture hall.

The Rare Book Room, designed after English Jacobean architecture, was built to allow library patrons to browse Yale's collection of rare books and manuscripts. A vaulted, octagonal chapel behind the room was specially constructed to house a copy of the Gutenberg Bible. The completion of the Beinecke Library in 1963 provided a more secure, climate-controlled repository for rare books, and the room and chapel now serve as a browsing room for the library's Manuscripts & Archives department.

Courtyard
The library originally had two courtyards designed and landscaped by Beatrix Farrand. In 1997, the western courtyard was enclosed and renovated to become the Irving S. Gilmore Music Library. Sterling's remaining courtyard, named the Selin Courtyard, features motifs from the history of printing.

Decoration
The library is one of the most elaborate buildings on the Yale campus. Rogers commissioned artisans, including stained glass artist G. Owen Bonawit and blacksmith Samuel Yellin, who worked with Rogers on many of his buildings, sculptor Rene Paul Chambellan, and painter Eugene Savage. The building's exterior is decorated with stone gargoyles, reliefs, and inscriptions. The nave is the most ornately decorated library interior, although ornamental features, particularly stained-glass windows, can be found in nearly every room in the building.

Entrance relief
A relief above the library's main entrance symbolizes the scholarly achievements of ancient civilizations. It is the work of architectural sculptor Rene Paul Chambellan, who executed a design produced by Lee Lawrie. The scene depicts Cro-Magnon, Egyptian, Assyrian, Hebrew, Arab, Greek, Mayan, and Chinese scholars in low relief, with inscriptions from major works in each writing system. At center is a medieval scholar, and directly above the doors are symbolic representations of major civilizations, which include a Phoenician ship, a Babylonian lamassu and the Capitoline wolf of Rome.

Alma Mater mural
At the western end of the nave is a fresco painted by Eugene Savage, a professor in the Yale School of Art and Architecture. Savage titled it "The Imagination that Directs the University's Spiritual and Intellectual Efforts," but it is commonly known as the Alma Mater mural for its depiction of a personified "University." Savage, an expert in Early Renaissance techniques, painted the mural in his characteristic style, an Art Deco interpretation of traditional Renaissance composition. Surrounding "Alma Mater" are personifications of academic disciplines.

Stained glass
680 unique stained glass panels by G. Owen Bonawit adorn the nave, reading rooms, offices, and tower of the library. Eighty decorate the nave, depicting scenes from the history of Yale and New Haven. Most reading rooms have stained glass panels that represent themes from their subject matter. Bonawit's firm also designed over 2,000 small outline images to inset in windows without stained glass panes. Although Sterling contains the most in number, Bonawit's panels can be found in many of Yale's Gothic Revival buildings of the same period, including the Sterling Law Building, the Hall of Graduate Studies, and the residential colleges.

Other notable ornament
In the nave, ten high relief stone panels by Chambellan depict the history of the Yale University Library up to 1865. Bosses on the nave's ceiling depict writing implements. Samuel Yellin, the blacksmith who shaped most of the ironwork for Yale's Gothic buildings, created handwrought elevator doors for the Stacks depicting major trades, as well as ironwork and gates for the building. Other decorative stonework by Chambellan—gargoyles, corbels, and reliefs—can be found throughout the building. While most of his works depict scholarship and university life, several are humorous interpretations of the lives of students and librarians.

Several tributes in the library commemorate pioneering graduates of the university. A portrait of Edward Bouchet, one of Yale's earliest African American graduates, hangs in the nave's transept. Near the Franke Family Reading Room is a statue of Yung Wing, the first Chinese graduate of Yale. In 2016 a portrait of the first seven women to receive Ph.D.s from Yale, which those seven women all did in 1894, was placed in the library. The women include Mary Augusta Scott, Elizabeth Deering Hanscom, Margaretta Palmer, Charlotte Fitch Roberts, Cornelia H.B. Rogers, Sara Bulkley Rogers, and Laura Johnson Wylie. The portrait is the first painting hanging in the library to have women as subjects. Brenda Zlamany was the artist.

Catalog
The large majority of materials in Sterling are housed in the bookstacks, which are contained in the building's tower. The bookstacks use two classification systems: the Yale Library system and the Library of Congress system. Adopted in the 1890s, the non-standard Yale system became cumbersome and inefficient for cataloging. Though replaced in 1970 by the Library of Congress system, many of the 5.7 million volumes held by the library at that time remain filed in the Yale system. The card catalogs in the nave once contained as many as 9.5 million cards, sorted in 8,700 trays.

Manuscripts & Archives
Manuscripts & Archives is the primary archival repository of the university, housing Yale memorabilia, university archives, historical manuscripts, and personal papers donated to the university. Though the archive uses the former Rare Book Room as its primary reading room, most of the collection is held off-site. Significant materials within Manuscripts & Archives include the papers of Charles Lindbergh, Eero Saarinen, Eli Whitney, John Maley and the audio library of Osama bin Laden. The archives hosts a notable collection of diplomatic papers, including those of Dean Acheson, Henry Kissinger, Henry Stimson, and Cyrus Vance.

Music Library
Audio, visual, and paper materials related to music are retained in the Irving S. Gilmore Music Library, a facility converted from one of Sterling's courtyards. The collection was established in the mid-19th century under Gustave J. Stoeckel, and was expanded by the acquisition of Lowell Mason's papers and library in 1873. Its collections include one of the largest catalogs of recordings and scores in the United States, including the papers of Charles Ives, Carl Ruggles, Quincy Porter, Horatio Parker, Virgil Thomson, Clarence Watters, Richard Donovan, and J. Rosamond Johnson. The collection was moved to Sprague Hall of the Yale School of Music in 1955, then to Sterling after the Gilmore Library was completed in 1997.

Film Archive
The seventh floor of Sterling Memorial Library holds the Yale Film Archive, which holds collections of more than 7,000 film elements, including hundreds of unique 35mm and 16mm prints and original negatives, as well as more than 50,000 items in its circulating video collection. The archive, which grew from a small collection of 16mm prints acquired for use in teaching film in 1968, was formally established in 1982 and moved to Sterling in 2021. Its collections include original material by filmmakers including Mary Ellen Bute, Frank Mouris, Warrington Hudlin, and Willie Ruff. The Film Archive collects, preserves, and screens films in its collection, and is an Associate of the International Federation of Film Archives.

Special collections
The library houses several special collections:
 * The Yale Babylonian Collection, the largest collection of Babylonian cuneiform writing in North America;
 * The library of the American Oriental Society, the oldest American learned society for area studies, whose catalog has been housed at Yale since 1855;
 * The Map Collection, a collection of over 200,000 print maps as well as Geographic Information Systems data;
 * Arts of the Book, a variety of materials related to printing, bookbinding, woodblock, and graphic design.
 * The "Near East Collection holds one of the most comprehensive assemblies of Arabic and Islamic studies materials in the US."

Major editorial projects

 * The Papers of Benjamin Franklin, a project founded in 1954 to collect and publish all the papers of Benjamin Franklin. The library received a major donation of Franklin's papers when Sterling opened in 1935, and the collection formed the basis of Yale professor Edmund Morgan's best-selling biography of Franklin.
 * The Fortunoff Video Archive for Holocaust Testimonies, a collection of about 4,500 video-recorded testimonies from witness and survivors of the Holocaust, deposited in the library in 1981.
 * Boswell Editions, an edited collection of the papers and publications of Scottish lawyer James Boswell, the major biographer of the famous 18th century English literary figure Samuel Johnson.
 * Wing STC Revision Project, an effort begun in 1933 by Yale librarian Donald Wing to compile a Short-Title Catalogue, a bibliographic reference for books printed in England and its colonies between 1641 and 1700.

title: Sterling Memorial Library


text:
Talk:Smedley Butler

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Conspiracy theorist?
What conspiracy theories has Butler promoted? I could be mistaken but I don't see any mention of this in the article, however Butler is included in the category American conspiracy theorists. I am removing CT category for now. Yodabyte (talk) 01:36, 10 December 2021 (UTC)
 * That is probably a reference to the Business Plot which is described in the article.Historian932 (talk) 17:30, 21 January 2022 (UTC)

Still most decorated Marine in history?
The article says he was at the time of his death, does anyone know if this is still the case? Historian932 (talk) 17:31, 21 January 2022 (UTC)
 * Actually it looks like he was surpassed by Chesty Puller.Historian932 (talk) 17:32, 21 January 2022 (UTC)

Book The Plot to Seize the White House
Note that the book The Plot to Seize the White House by Jules Archer was republished in 2007, in paperback, by Skyhorse Publishing Inc.165.140.231.66 (talk) 02:58, 14 November 2022 (UTC)

title: Talk:Smedley Butler


text:
File:Mosque in Merv.jpg

Picture of the former mosque in Ierapetra
 * Source:
 * By Udo Langenohl
 * Picture taken August 1997

title: File:Mosque in Merv.jpg


text:
CHNO-FM

CHNO-FM is a Canadian radio station broadcasting at 103.9 FM in Sudbury, Ontario. Owned and operated by Stingray Radio, the station is branded on-air as Rewind 103.9 with a classic hits format.

History
The station began broadcasting on June 24, 1947 on AM 1440. It was a bilingual radio station, airing programming in both English and French, and was an affiliate of both CBC Radio's Dominion Network and Radio-Canada. It was operated by Sudbury Broadcasting, a company owned by F. Baxter Ricard and his wife Alma Ricard, and was the first bilingual radio station in Canada outside of Quebec.

CHNO's Studios and offices were located at 166 Elm Street West in Sudbury, while the RCA transmitter and two towers were situated in the McFarlane Lake district of Sudbury, along Burwash Road, on part of Lot 3, Concession 6, Broder Township.

In 1952, the station was the subject of controversy when Ricard refused to permit Local 598 of the International Union of Mine, Mill and Smelter Workers to purchase airtime on the station for a labour-oriented news program, on the grounds that the program represented "Communist propaganda". His objection had less to do with the program's spoken content and more to do with the host's choice of interstitial music between segments, including a song by Paul Robeson.

On November 9, 1954, CHNO moved to AM 900.

In 1957, Ricard opened CFBR on AM 550 as a full-time French-language station, and CHNO switched to full-time English. The licensing of CFBR, which took over the Radio-Canada affiliation from CHNO, made Sudbury Broadcasting the first commercial broadcaster in Canada licensed to operate two AM radio stations in the same city. In 1962, the station became independent following the dissolution of the Dominion Network. On December 31, 1969, CFBR and CHNO swapped frequencies, CHNO moving to 550 and CFBR taking over the 900 slot. On May 14, 1976, the CRTC denied an application by Sudbury Broadcasting Co. Ltd. to change CHNO's frequency from 550 kHz to 570 kHz.

In 1979, CHNO and CFBR moved out of their Elm Street building and moved to their new location at 295 Victoria Street in the old King George School building to accommodate a new FM station.

In 1980, Sudbury Broadcasting launched a new FM station CJMX. That same year, CHNO received approval to increase daytime power from 10,000 watts to 50,000 watts with the nighttime power to remain at 10,000 watts and would remain on 550 kHz. Also in 1980, Ricard also became a major shareholder in Mid-Canada Communications. Sudbury Broadcasting continued to operate independently, although it was eventually merged into Mid-Canada Radio in 1985. In 1990, Mid-Canada sold the stations to Pelmorex. Following this sale, CFBR adopted the new call letters CHYC.

In the 1970s and 1980s, CHNO was Northern Ontario's most listened-to and most influential radio station, broadcasting a Top 40 format branded as 55 CHNO, Rock Radio CHNO 55, "Sudbury's Best Rock", and "Sudbury's Hit Music Leader", NO55 (pronounced "N-oh fifty-five"). However, the 1990 launch of CJRQ ended CHNO's dominance, and on July 6, 1992 at 6:00 AM, CHNO flipped to an oldies format as Oldies 55. After struggling through a variety of formats, including classic rock as AM 55 The Crusher in 1994, country and talk in 1995 and 1996, the station reverted to oldies in 1997. Former program director Scott Jackson, now the manager of CJLF-FM in Barrie, has stated that CHNO and CJMX were the most neglected stations in the entire Pelmorex corporate family during the time that he worked there, despite being the network's nominal flagships. Also in 1997, CHNO, CHYC and CJMX-FM moved out of their 295 Victoria Street building into a new location at 493-B Barrydowne Road, where CHNO still remains to this day.

In 1998, Pelmorex sold CJMX to Telemedia. The following year, Pelmorex sold CHNO and CHYC to Haliburton Broadcasting Group.

Switch to FM
Haliburton applied to the CRTC to move both CHNO and CHYC to FM, which was approved on August 31, 1999. In November 1999, CHNO dropped its oldies format and adopted its new CHR/Top 40 format and Z103 branding on the old AM frequency a few months before the station made its official move to FM. CHNO began testing its 103.9 FM signal just days before officially launching on February 3, 2000. The FM and AM signals aired simultaneously for a few weeks, and on February 29, the AM signal was closed permanently.

The station was originally licensed to broadcast at 100 kWs, but because of transmitter interference to the Greater Sudbury Airport the station's license was permanently amended to 11 kilowatts.

As "Z103", the station recovered significantly in the local BBM ratings, jumping to a 22.1 per cent share of the local radio audience in 2000 from just 7.3 per cent in the 1999 ratings book.

As a Top 40 station, Z103 hosted live-to-air programs from area nightclubs in the city, as well as syndicated shows such as the Rick Dees Weekly Top 40, American Top 40 and Canadian Hit 30 Countdown. Positioning slogans during the Top 40 period included "Sudbury's Best Music", "Today's Best Music" and "Sudbury's #1 Hit Music Station."

On November 9, 2001, Haliburton sold CHNO to Newcap Broadcasting. Despite no longer having common ownership, however, CHYC and CHNO continued to operate from the same studio facility at 493 Barrydowne Road in Sudbury until 2009.

Newcap and Rogers Media soon entered into a joint sales agreement, under which Rogers held responsibility for advertising sales on CHNO as well as on its own CJRQ, CIGM and CJMX. In 2002, however, Friends of Canadian Broadcasting filed a brief with the CRTC opposing the station's license renewal — FCB took the position that in practice, the agreement was extending well beyond advertising sales and into both program production and news gathering, and thus constituted an illegal de facto local management agreement. On January 31, 2005, the CRTC disallowed the agreement, ruling in its license renewals for the four stations that the agreement must be terminated no later than May 31 of that year.

Big Daddy
At 12:00 AM on January 1, 2006, with little or no warning, the station flipped to a variety hits format branded as Big Daddy 103.9 with slogan "Playing Anything", ending another era of Top 40 music in the Sudbury market. The last song on "Z" was "Lose Yourself" by Eminem, while the first song on "Big Daddy" was "Start Me Up" by The Rolling Stones. General manager Darlene Palmer said the station wanted to offer Sudbury "music you can dance to, sing to, date to, divorce to." Some promotional bumpers for the station featured a stiff-voiced character representing "Big Daddy" himself. The stiff-voiced character was replaced by a new one around the middle of 2008.

In the first quarter BBM ratings for 2006, CHNO's first ratings book under the Big Daddy format, the station regained the #1 status in the Sudbury market for the first time since 1990. However, the move was controversial with some of the station's prior listeners, and in July 2006, just seven months after flipping CHNO to the adult hits format, Newcap applied to the CRTC for a new contemporary hit radio station in the Sudbury market. In the application, Newcap stated that its market research found that a contemporary hit radio station could only be profitable in the market as one station within an ownership cluster, and not as a standalone entity. However, the application was denied by the CRTC on July 12, 2007.

The denial of the proposed CHR/Top 40 station also became controversial, in part because the station that was licensed, CICS-FM, duplicated the format of an existing station in the market, Rogers' CIGM. In July 2008, however, Newcap announced a deal to acquire CIGM from Rogers in exchange for CFDR in Halifax. Both CIGM and CFDR were the sole remaining AM stations in their respective markets, and in both cases the current owner already had the maximum permitted number of FM stations in the applicable market, whereas the acquirer only had a single FM station. Both companies applied to move the stations to FM as part of the trade. This deal was approved on November 24, 2008.

On June 25, 2009, Newcap received approval from the CRTC to increase CHNO-FM's effected radiated power from 11,000 watts to 100,000 watts, to increase the station's antenna height and to relocate the transmitter. On August 17, 2009, the station increased their power to 100,000 watts the same day CHNO-FM's sister station CIGM-FM began on-air tests at 93.5 FM.

2010 format change
On May 21, 2010, at 12:00 AM without warning, the station dropped adult hits and switched to its current classic hits format as Rewind 103.9, playing 1960s, 1970s, 1980s and 1990s music with the slogan "Sudbury's Greatest Hits". The first song after the change was Bob Seger's "Old Time Rock and Roll". In 2011, CHNO-FM aired syndicated programs such as the 1970s reruns of American Top 40 with Casey Kasem, the Classic Countdown with Dick Bartley and the Donny Osmond show. The syndicated daily radio show, Daily Dees, hosted by Rick Dees was heard each weeknight. The station, like most classic hits stations, has evolved to playing more 80's and 90's and currently uses the slogan "70's, 80's and More!".

Despite the different branding, the station is closely aligned with Stingray's Boom FM-branded stations, with similar logo designs and partial sharing of programs and personalities.

title: CHNO-FM