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David Gulpilil

David Dhalatnghu Gulpilil  (1 July 1953 – 29 November 2021) was an Australian actor and dancer. He was known for his roles in the films Walkabout (1971), Storm Boy (1976), The Last Wave (1977), Crocodile Dundee (1986), Rabbit-Proof Fence, The Tracker (both 2002) and Australia (2008).

An Indigenous Australian and Yolŋu person, he was raised in a traditional lifestyle in Arnhem Land. A skilled dancer, his talent was noticed by British filmmaker Nicolas Roeg, who cast him in his first feature film role in Walkabout. He also made several appearances on stage. Recognised as one of Australia's greatest actors and a trailblazer for Indigenous Australians in film, he was honoured with numerous awards and honours, including a lifetime achievement award at the 2019 NAIDOC Awards. After his death in November 2021, he would be posthumously referred to as David Dalaithngu for a short period upon his family's request to avoid naming the dead in accordance with Indigenous practices.

Early life and education
Gulpilil was probably born in 1953, although he stated in the 2021 documentary about his life, My Name is Gulpilil, that he did not know how old he was. Local missionaries recorded his birth on 1 July 1953, based on "guesswork". He was a man of the Mandjalpingu (Djilba) clan of the Yolngu people, who are an Aboriginal people of Arnhem Land in the Northern Territory of Australia.

As a young boy, Gulpilil was an accomplished hunter, tracker, and ceremonial dancer. Gulpilil spent his childhood in the bush, outside the range of non-Aboriginal influences and did not set eyes on a white man until he was 8 years old. He received a traditional upbringing in the care of his family, until the death of his parents, after which he attended the school at Maningrida in North East Arnhem Land, where he was assigned the name "David". When he came of age, Gulpilil was initiated into the Mandhalpuyngu tribal group. His skin group totemic animal was the kingfisher (the meaning of the name Gulpilil) and his homeland was Marwuyu.

After appearing in his first film, Walkabout (1971), Gulipilil became fluent in English, adding to his linguistic ability in several Aboriginal languages.

Film and television
In 1969, Gulpilil's skill as a tribal dancer caught the attention of British filmmaker Nicolas Roeg, who had come to Maningrida scouting locations for a forthcoming film. Roeg promptly cast the 16-year-old unknown to play a principal role in his internationally acclaimed motion picture Walkabout, released in 1971. This was also groundbreaking, as it was the first time that an Aboriginal character had been portrayed as sexually attractive. Gulpilil's on-screen charisma, combined with his acting and dancing skills, was such that he became an instant national and international celebrity. He travelled internationally, mingled with prominent people, and was presented to heads of state. During these travels to promote the film, he met and was impressed with John Lennon, Bob Marley, Bruce Lee, Marlon Brando, and Jimi Hendrix. He taught Bob Marley how to play the didgeridoo, while Marley introduced him to "ganja".

Gulpilil appeared in many more films and television productions. He played a lead role in the commercially successful and critically acclaimed Storm Boy (1976). He "dominated" the film The Last Wave (1977) with his charismatic performance as the conflicted urban tribal Aboriginal man Chris Lee.

A documentary about his life, Gulpilil: One Red Blood, was aired on ABC Television in 2003. The title comes from a quote by Gulpilil: "We are all one blood. No matter where we are from, we are all one blood, the same".

Gulpilil was a major creative influence throughout his life in both dance and film. He initiated and narrated the film Ten Canoes which won a Special Jury Prize at the 2006 Cannes Festival. The prize-winning, low-budget film, based on a 1,000-year-old traditional story of misplaced love and revenge, features non-professional Aboriginal actors speaking their local language. Gulpilil collaborated with the director, Rolf de Heer, urging him to make the film, and although he ultimately withdrew from a central role in the project for "complex reasons," Gulpilil also provided the voice of the storyteller for the film. De Heer had directed Gulpilil in another film, The Tracker (2002).

In 2007, he starred in Richard Friar's hour-long independent documentary, Think About It! which was focussed on Indigenous rights and the anti-war movement and included commentary from former Prime Minister Malcolm Fraser, former Greens leader Bob Brown, and David Hicks, then a detainee at Guantanamo Bay detention camp.

In 2014, he again collaborated with De Heer, this time sharing on screenwriting credits for Charlie's Country. The film won several awards, including Best Actor in Un Certain Regard at the Cannes Film Festival.

In 2015, Gulpilil appeared in the documentary Another Country directed by Molly Reynolds. In this film, Gulpilil narrates the story of his life, from when he was a child living on country, the arrival of the first white men ("ghosts"), in the form of missionaries, through The Intervention and the introduction of the BasicsCard, often making serious criticisms hidden beneath his trademark humour.

Gulpilil again worked with Reynolds when she directed a documentary about his life, My Name Is Gulpilil, which premiered at the 2021 Adelaide Festival.

Gulpilil was renowned for portraying Aboriginal culture before it became threatened by the white civilisations, though the irony is that he became divorced from his own culture by doing so. He felt that he was stretched somewhere between the two, with "one tiptoe in champage and caviar, and the other in the dirt of his Dreamtime".

Stage
In March 2004, he performed in the autobiographical stage production, Gulpilil at the Adelaide Festival of Arts, to standing ovations. This work, co-written with Reg Cribb, and directed by Neil Armfield, was based on stories of his life assembled into a script. These included tales from the making of Walkabout, performing at Buckingham Palace, and inadvertently causing a bomb scare at Cannes. The show was later staged in Brisbane and Sydney. He also performed on stage in The Cradle of Hercules at the Sydney Opera House in 1974; the Commonwealth Gala Performance in Brisbane in 1982 (in front of Queen Elizabeth II and the Duke of Edinburgh, Prince Philip ); the Message Sticks Film Festival in Sydney in 2002.

Dance
Perhaps the most renowned traditional dancer in Australia, Gulpilil organised troupes of dancers and musicians and performed at festivals throughout the country, including the prestigious Darwin Australia Day Eisteddfod dance competition, which he won four times. In November 1997, Gulipilil's dance troupe performed at the second National Aboriginal Dance Conference in Adelaide (hosted by the National Aboriginal Dance Council Australia (NADCA) ), at which cultural and intellectual property rights and copyright issues for Australian Indigenous dancers were discussed. A free concert was given in Rymill Park / Murlawirrapurka. The troupe was given a A$9,000 grant from the Northern Territory Government to attend the third conference in Sydney in 1999.

Writing and painting
In addition to his career in dance, music, film and television, Gulpilil was also an acclaimed storyteller. He wrote the text for two volumes of children's stories based on Yolngu beliefs. These books also feature photographs and drawings by Australian artists, and convey Gulpilil's reverence for the landscape, people and traditional culture of his homeland.

King brown snake with blue tongue lizard at Gulparil waterhole, painted by Gulpilil in 2013–14, is in the Art Gallery of South Australia's collection.

Recognition and awards
Gulpilil was appointed a Member of the Order of Australia (AM) in 1987, and the Centenary Medal in 2001.

He twice received the AACTA/AFI Award for Best Actor in a Leading Role, for The Tracker in 2002 and Charlie's Country in 2014. He was also nominated for this award in 1977 for Storm Boy. Gulpilil was nominated for the AFI Award for Best Actor in a Supporting Role for Rabbit-Proof Fence in 2002. In 2003, he was awarded the inaugural Don Dunstan Award at the Adelaide Film Festival.

He was nominated for the Helpmann Award for Best Male Actor in a Play in 2004 for the stage production Gulpilil. A portrait of Gulpilil by Craig Ruddy won the 2004 Archibald Prize, Australia's best-known art prize.

In 2013 Gulpilil was the recipient of the Red Ochre Award, which is awarded annually by the Australia Council for the Arts to an outstanding Indigenous Australian (Aboriginal Australian or Torres Strait Islander) artist for lifetime achievement.

In May 2014, Gulpilil won a Best Actor award at the Cannes Film Festival for his performance in Rolf de Heer's film Charlie's Country. The award was in the Un Certain Regard section, a part of the festival that emphasises original, individual points of view and innovative film-making.

In 2019, Gulpilil was honoured with the lifetime achievement award at the 2019 NAIDOC Awards, and the Premier's Award for Lifetime Achievement in the South Australian Ruby Awards.

In June 2021, Ngarrindjeri-Arrernte artist Thomas Readett created a huge permanent mural on the eastern wall of the Tandanya National Aboriginal Cultural Institute in Adelaide. Featuring hand-painted black-and-white images representing Gulpilil's early career and later life, the mural was commissioned by ABCG Film, in partnership with Tandanya, Arts South Australia, Department of the Premier and Cabinet and Screen Australia.

During the Vision Splendid Outback Film Festival at Winton, Queensland in June 2021, Gulpilil was honoured with a star on Winton's Walk of Fame.

In August 2021, Tandanya mounted an exhibition entitled Djungi Gulpilil (Gulpilil family), featuring the work of many artists in his family, including his twin sister, one of his wives and his brother, as well as his own paintings. The exhibition was expressly created to honour and celebrate his life, and to bring him comfort as he is being treated a long way from home, yearning for "culture, language and kin".

At the 11th AACTA Awards, to be held on 8 December 2021, Gulpilil will be officially awarded the Longford Lyell Award for his contribution to the Australian film industry; he had informally received the award at his home a month earlier. His face will be projected onto the Sydney Opera House in the evening of the award ceremony.

Later life and death
Gulpilil was diagnosed with terminal lung cancer in 2017, and retired from acting in 2019. His illness prevented him from attending the 2019 NAIDOC Awards, where he was recognised with the lifetime achievement award.

Gulpilil died at his home in Murray Bridge, South Australia, on 29 November 2021. Following his death, his family requested that he be referred to as David Dalaithngu for a period of time to avoid naming the dead, and many news articles about his death refrained from using the actor's professional name, while warning that the articles contained his name and image.

Tributes were published in Australia by political leaders, including Minister for Indigenous Australians Ken Wyatt, federal opposition leader Anthony Albanese, and South Australian premier Steven Marshall; actors, including Hugh Jackman; film critics; and community elders and relatives, including Witiyana Marika. Overseas news outlets also published lengthy tributes and obituaries.

On 2 December 2021, a statement was posted by Tandanya on Facebook on behalf of the Yolngu community and Gulpilil's kin: "David was an inimitable talent who ‘walked between two worlds’, that of his Country and Culture, and that of the film world, placing him in a unique position regarding posthumous naming cultural practice.

David wanted people to know his name, remember his work, and know his immense legacy to Australian cinema and Australian culture. He was rightfully proud. He wanted his storytelling through film to be shared, to be on the record for the generations to come.

As were his wishes, the Community now give permission for all of his names to be used. He may be referred to as:
 * David Gulpilil
 * David Gulpilil Ridjimiraril Dalaithngu
 * David Gulpilil AM
 * David Gulpilil Ridjimiraril Dalaithngu AM

The permission remains to use his image in films and photographs." The announcement was also reported in newspapers.

Personal life and family
Gulpilil suffered from alcoholism, having been introduced to grog during filming of Walkabout. In later life, it led to several clashes with the law. In 2006, Gulpilil was charged with carrying an offensive weapon after an altercation at the house of a friend in Darwin, when Gulpilil had allegedly armed himself with a machete after he and his wife had been asked to leave the home by the homeowners, who had allegedly armed themselves with a totem pole and a garden hoe. However, he was found not guilty after the judge accepted that the machete was used for cultural purposes, including carving didgeridoos, and had not been intended for use as a weapon.

On 30 March 2007, a Darwin magistrate imposed a 12-month domestic violence order on Gulpilil over an incident which had involved his wife, Miriam Ashley, on 28 December 2006; Gulpilil was ordered to stay away from her while drinking. In December 2010, Gulpilil was charged with aggravated assault against Ashley, with the court hearing that he had thrown a broom at her, fracturing her arm. In September 2011, he was found guilty and sentenced to twelve months in Berrimah Prison in Darwin. After this stint in prison, he finally got sober.

Gulpilil's other wives or partners included Airlie Thomas and Robyn Djunginy. Two of his daughters are Phoebe Marson and Makia McLaughlin. Seven children survived him: Jida (a musician and actor), Milan, Makia, Andrew, Jamie, Phoebe and Malakai. Witiyana Marika, Yolngu elder, musician and band member of Yothu Yindi, is his son by lore.

Several members of his family are artists, including his twin sister (yapa), Mary Dhalapany, a leading weaver; his brother, Peter Minygululu, known for his story-telling and detailed artworks; and former wife Robyn Djunginy, who was known for her bottle paintings. His nephew (waku), Bobby Bununggurr, is a singer, dancer, law man and reconciliation advocate. During the 1970s and 1980s, the two men travelled widely together, performing, dancing, and singing.

title: David Gulpilil


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User talk:Zagadka~enwiki

This is to warn you that removing votes from VfD is a serious offense. What you removed needs to move, not be deleted. (It is also important to use the Edit summary pane to document even moves of misplaced ones, and where they are headed. --Jerzy(t) 05:26, 2004 Dec 6 (UTC)

I apologize for my carelessness! It's late here, and i had already seen your contrib on VfD, and misread the history as saying you removed, when in fact you added it.

But please do not edit the VfD page itself to add a comment. Instead, click on the "[edit]" link at the section's right margin, which let's you edit the sub-page, and keeps your contrib from being ignored by many of those interested.

And thanks for your interest! --Jerzy(t) 05:32, 2004 Dec 6 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Zagadka. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Zagadka~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 04:12, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 20:49, 22 April 2015 (UTC)

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

title: User talk:Zagadka~enwiki


text: Category:Comedy troupes

title: Category:Comedy troupes


text:
Talk:Elk Grove, California

❣
I lived in Elk Grove when it was a one stop-light town. It was beautiful then! 2603:6010:2B06:19C5:A8E6:470B:26B1:9BA3 (talk) 20:42, 21 February 2022 (UTC)

Wiki Education assignment: Writing 1 MW
— Assignment last updated by Chengng (talk) 19:49, 13 November 2023 (UTC)

Infobox image shows wrong place
The upper-left infobox image captioned “Elk Grove Historic District” is not of Elk Grove, and it should be removed and relabeled.

It is an image of the Walnut Grove Iron Works in Walnut Grove. The partially obscured sign behind the gate in the photo evidently says “Iron Works.” And there is no such building, or business by that name, in Elk Grove. 2603:3006:10F6:100:982D:DACE:7DEC:AD72 (talk) 23:36, 15 January 2024 (UTC)

 * Good eye. I confirmed and removed the offending image. Cheers. Dag330 (talk) 02:14, 26 January 2024 (UTC)

title: Talk:Elk Grove, California


text:
A Million Open Doors

A Million Open Doors (1992) is a science fiction novel by American writer John Barnes, the first book of his Thousand Cultures series. The story is told from the perspective of a maturing adult from a parochial culture who encounters many obstacles in a different and even more parochial culture which causes him to become a fully engaged citizen in the Interstellar culture. A Million Open Doors is a study of the effects of globalization.

The novel was nominated for the Nebula Award for Best Novel in 1992 and the Arthur C. Clarke Award in 1994.

Plot summary
The story begins sometime in the 29th century on the planet Wilson (orbiting Arcturus) with a young man named Giraut and his romantic, swashbuckling friends, who are all members of the Nou Occitan culture and residents in the Quartier de Jovents, a sort of playground for teens and twenty-somethings who have not yet moved on to the more "grown-up" lifestyle of their parents. Technologically safeguarded, these young adults have swordfights in the streets with "neuroducer" épées and frequent the taverns of the Quartier, living in an imaginative recreation of Occitan literature and the trobador tradition.

However, Giraut is forced to grow up much more quickly than most of his friends, because one day his friend Aimeric, who was, before coming to Wilson and becoming a jovent, an economist in the Caledon culture of the nearest inhabited planet, Nansen (orbiting Mufrid), is called upon by the government to return to his home planet on a mission to regulate the effects of the springer on Caledonian economy. The springer is a method of instantaneous transportation which is quickly reuniting humanity across known space.

Giraut decides to leave when he catches his girlfriend getting into the Interstellar "arts scene" (the art is called "sadoporn") which is an acting out against the exclusive values and code of honor valued by Giraut and his friends. Thus, Aimeric and Giraut advise the rational council of the Caledonians to adjust their economy to that of the rest of the universe so that the springer will have as few adverse effects as possible.

When the Caledonians decide that Aimeric and Giraut, as well as the Interstellar government, are trying to usurp their power, they begin to try to seize back control of everything, and an urban conflict ensues. Giraut discovers among the strife who he really is and begins to see how fake his life back home was, and recognize faults in his home culture.

Literary significance & criticism
In her review at tor.com, Jo Walton called the book a "wonderful immersive science fiction novel," and wrote that "this is perhaps his best book."

title: A Million Open Doors


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Showtime (The J. Geils Band album)

Showtime! is the third and final live album by American rock band The J. Geils Band during their career. It was recorded at the Pine Knob Music Theater in Clarkston, Michigan on September 4, 1982. While some critics consider it to be weaker than the group's two earlier live albums "Live" Full House (1972) and Blow Your Face Out (1976), this release captures the band at its commercial peak. The tracks are drawn primarily from the four studio albums released since Blow Your Face Out: Monkey Island (1977); Sanctuary (1978); Love Stinks (1980); and Freeze Frame (1981). This was the last release by the band before frontman Peter Wolf's departure in 1983.

Track listing
All songs written by Seth Justman and Peter Wolf, except where noted.

 * 1) "Jus' Can't Stop Me" (from Sanctuary) – 3:44
 * 2) "Just Can't Wait" (from Love Stinks) – 3:27
 * 3) "Till the Walls Come Tumblin' Down" (from Love Stinks) – 3:31
 * 4) "Sanctuary" (from Sanctuary) – 3:49
 * 5) "I'm Falling" (from Monkey Island) – 6:01
 * 6) "Love Rap" – 5:14
 * 7) "Love Stinks" (from Love Stinks) – 3:28
 * 8) "Stoop Down #39" (from Nightmares...and Other Tales from the Vinyl Jungle) – 5:56
 * 9) "I Do (from Monkey Island)" (Melvin Mason, Johnny Paden, Frank Paden, Jesse Smith, Willie Stephenson) – 3:04
 * 10) "Centerfold" (from Freeze Frame)  (Justman) – 4:03
 * 11) "Land of a Thousand Dances" (Chris Kenner) – 5:41

Note: on the LP version of the album, the cross-fade between "Love Rap" and "Love Stinks" is divided with an abrupt ending of "Love Rap" at the end of Side 1, and continuing with "Love Stinks" at the beginning of Side 2.

Personnel

 * Peter Wolf – lead vocals
 * J. Geils – guitar
 * Magic Dick – harmonica
 * Seth Justman – keyboards, vocals
 * Danny Klein – bass
 * Stephen Jo Bladd – drums, vocals
 * The Uptown Horns - Crispin Cioe (saxophone), Arno Hecht (tenor saxophone), Paul “Hollywood” Litteral (trumpet)

Production

 * Producer: Seth Justman
 * Engineers: David Brown, Phil Gitomer, David Hewitt, Jon Mathias, Kooster McAllister, Frank Pavlich
 * Mixing assistant: Steve Marcantonio
 * Mastering: Joe Brescio
 * Live sound engineer: Frank Pavlich
 * Lighting: Dave Berndt
 * Arranger: Seth Justman
 * Art direction: Carin Goldberg
 * Design: Carin Goldberg
 * Illustrations: Leslie Cabarga
 * Lettering: Leslie Cabarga
 * Liner notes: John Tobler

Charts
Album

Singles

title: Showtime (The J. Geils Band album)


text:
Talk:Showtime (The J. Geils Band album)

Requested move 7 December 2017

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: moved as proposed. (closed by page mover) Brad  v  04:10, 17 December 2017 (UTC)

Showtime! → Showtime (The J. Geils Band album) – decorative "!". WP:COMMONNAME; this article has no sources, but a GBooks search shows COMMONNAME in Billboard and Musician mentioning the album without the "!" as straight "Showtime" no exclamation, Musician 1987 "J. Geils Band ... when Showtime, a live set that was Wolfs pet project, stiffed commercially right after the band had hit the top with Freeze Frame.. Therefore ! isn't likely to recognizable as = (The J. Geils Band album) when the result Showtime! pops up in autocomplete searches. NB we have 11 other Showtime (album) articles. In ictu oculi (talk) 10:14, 7 December 2017 (UTC)
 * Support per nom. Unless we have evidence that independent reliable sources consistently include the exclamation mark, we shouldn't include it, and disambiguation by the artist name also seems necessary. —BarrelProof (talk) 19:26, 8 December 2017 (UTC)
 * Oppose per natural disambiguation. This form is used in both the reviews so it looks like it's pretty consistently used, at least enough to allow us to avoid a parentheses.--Cúchullain t/ c 17:16, 12 December 2017 (UTC)
 * Support per MOS:TM; if the independent reliable sources regularly drop the "!" stylization WP does so as well.  — SMcCandlish ☏ ¢ >ʌⱷ҅ᴥⱷʌ<  16:04, 13 December 2017 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

title: Talk:Showtime (The J. Geils Band album)


text: Category:Brazilian composers

title: Category:Brazilian composers


text:
User:Msjumbu

So it has to be me.

title: User:Msjumbu


text:
ICRA

ICRA may refer to:

 * ICRA Limited, an Indian credit ratings agency
 * Indian Civil Rights Act of 1968, a United States Act regarding civil rights of American Indians/Native Americans
 * International Cultivar Registration Authority, organisation responsible for registering new cultivars of a particular genus
 * Internet Content Rating Association, an international non-profit organization
 * Irish Civil Rights Association, a United Kingdom political party
 * International Conference on Robotics and Automation, an academic conference sponsored by IEEE
 * International Center for Relativistic Astrophysics, research organization with headquarters in Rome, Italy
 * The Catalan Institute for Water Research
 * Infection Control Risk Assessment, a documented process to identify and develop infection prevention within hospitals

title: ICRA


text: Category:Abolitionists

title: Category:Abolitionists


text: Category:Abolitionism

title: Category:Abolitionism


text:
User talk:Youngbuck

Do not change the votes of other people on vfd. If you do this again you will be blocked. Gamaliel 05:34, 6 Dec 2004 (UTC)

title: User talk:Youngbuck


text: Category:British abolitionists

title: Category:British abolitionists


text: File:J. Geils Band - You're Gettin' Even While I'm Gettin' Odd.jpg


text:
BRCA2

BRCA2 and BRCA2 are human genes and their protein products, respectively. The official symbol (BRCA2, italic for the gene, nonitalic for the protein) and the official name (originally breast cancer 2; currently BRCA2, DNA repair associated) are maintained by the HUGO Gene Nomenclature Committee. One alternative symbol, FANCD1, recognizes its association with the FANC protein complex. Orthologs, styled Brca2 and Brca2, are common in other vertebrate species. BRCA2 is a human tumor suppressor gene (specifically, a caretaker gene), found in all humans; its protein, also called by the synonym breast cancer type 2 susceptibility protein, is responsible for repairing DNA.

BRCA2 and BRCA1 are normally expressed in the cells of breast and other tissue, where they help repair damaged DNA or destroy cells if DNA cannot be repaired. They are involved in the repair of chromosomal damage with an important role in the error-free repair of DNA double strand breaks. If BRCA1 or BRCA2 itself is damaged by a BRCA mutation, damaged DNA is not repaired properly, and this increases the risk for breast cancer. BRCA1 and BRCA2 have been described as "breast cancer susceptibility genes" and "breast cancer susceptibility proteins". The predominant allele has a normal tumor suppressive function whereas high penetrance mutations in these genes cause a loss of tumor suppressive function, which correlates with an increased risk of breast cancer.

The BRCA2 gene is located on the long (q) arm of chromosome 13 at position 12.3 (13q12.3). The human reference BRCA2 gene contains 27 exons, and the cDNA has 10,254 base pairs coding for a protein of 3418 amino acids.

Function

Although the structures of the BRCA1 and BRCA2 genes are very different, at least some functions are interrelated. The proteins made by both genes are essential for repairing damaged DNA (see Figure of recombinational repair steps). BRCA2 binds the single strand DNA and directly interacts with the recombinase RAD51 to stimulate and maintain strand invasion, a vital step of homologous recombination. The localization of RAD51 to the DNA double-strand break requires the formation of the BRCA1-PALB2-BRCA2 complex. PALB2 (Partner and localizer of BRCA2) can function synergistically with a BRCA2 chimera (termed piccolo, or piBRCA2) to further promote strand invasion. These breaks can be caused by natural and medical radiation or other environmental exposures, but also occur when chromosomes exchange genetic material during a special type of cell division that creates sperm and eggs (meiosis). Double strand breaks are also generated during repair of DNA cross links. By repairing DNA, these proteins play a role in maintaining the stability of the human genome and prevent dangerous gene rearrangements that can lead to hematologic and other cancers.

BRCA2 has been shown to possess a crucial role in protection from the MRE11-dependent nucleolytic degradation of the reversed forks that are forming during DNA replication fork stalling (caused by obstacles such as mutations, intercalating agents etc.).

Like BRCA1, BRCA2 probably regulates the activity of other genes and plays a critical role in embryo development.

Clinical significance

Certain variations of the BRCA2 gene increase risks for breast cancer as part of a hereditary breast–ovarian cancer syndrome. Researchers have identified hundreds of mutations in the BRCA2 gene, many of which cause an increased risk of cancer. BRCA2 mutations are usually insertions or deletions of a small number of DNA base pairs in the gene. As a result of these mutations, the protein product of the BRCA2 gene is abnormal, and does not function properly. Researchers believe that the defective BRCA2 protein is unable to fix DNA damage that occurs throughout the genome. As a result, there is an increase in mutations due to error-prone translesion synthesis past un-repaired DNA damage, and some of these mutations can cause cells to divide in an uncontrolled way and form a tumor.

People who have two mutated copies of the BRCA2 gene have one type of Fanconi anemia. This condition is caused by extremely reduced levels of the BRCA2 protein in cells, which allows the accumulation of damaged DNA. Patients with Fanconi anemia are prone to several types of leukemia (a type of blood cell cancer); solid tumors, particularly of the head, neck, skin, and reproductive organs; and bone marrow suppression (reduced blood cell production that leads to anemia). Women having inherited a defective BRCA1 or BRCA2 gene have risks for breast and ovarian cancer that are so high and seem so selective that many mutation carriers choose to have prophylactic surgery. There has been much conjecture to explain such apparently striking tissue specificity. Major determinants of where BRCA1- and BRCA2-associated hereditary cancers occur are related to tissue specificity of the cancer pathogen, the agent that causes chronic inflammation, or the carcinogen. The target tissue may have receptors for the pathogen, become selectively exposed to carcinogens and an infectious process. An innate genomic deficit impairs normal responses and exacerbates the susceptibility to disease in organ targets. This theory also fits data for several tumor suppressors beyond BRCA1 or BRCA2. A major advantage of this model is that it suggests there are some options in addition to prophylactic surgery.

In addition to breast cancer in men and women, mutations in BRCA2 also lead to an increased risk of ovarian, uterine tube, prostate and pancreatic cancer. In some studies, mutations in the central part of the gene have been associated with a higher risk of ovarian cancer and a lower risk of prostate cancer than mutations in other parts of the gene. Several other types of cancer have also been seen in certain families with BRCA2 mutations.

In general, strongly inherited gene mutations (including mutations in BRCA2) account for only 5-10% of breast cancer cases; the specific risk of getting breast or other cancer for anyone carrying a BRCA2 mutation depends on many factors.

History
The BRCA2 gene was discovered in 1994. In 1996, Kenneth Offit and his research group at Memorial Sloan Kettering Cancer Center successfully identified the most common mutation on the gene associated with breast and ovarian cancer among individuals of Ashkenazi Jewish ancestry.

The gene was first cloned by scientists at Myriad Genetics, Endo Recherche, Inc., HSC Research & Development Limited Partnership, and the University of Pennsylvania.

Methods to diagnose the likelihood of a patient with mutations in BRCA1 and BRCA2 getting cancer were covered by patents owned or controlled by Myriad Genetics. Myriad's business model of exclusively offering the diagnostic test led from Myriad's beginnings as a startup in 1994 to its being a publicly traded company with 1200 employees and about $500M in annual revenue in 2012; it also led to controversy over high test prices and the unavailability of second opinions from other diagnostic labs, which in turn led to the landmark Association for Molecular Pathology v. Myriad Genetics lawsuit.

Germline mutations and founder effect
All germline BRCA2 mutations identified to date have been inherited, suggesting the possibility of a large "founder" effect in which a certain mutation is common to a well-defined population group and can theoretically be traced back to a common ancestor. Given the complexity of mutation screening for BRCA2, these common mutations may simplify the methods required for mutation screening in certain populations. Analysis of mutations that occur with high frequency also permits the study of their clinical expression. A striking example of a founder mutation is found in Iceland, where a single BRCA2 (999del5) mutation accounts for virtually all breast/ovarian cancer families. This frame-shift mutation leads to a highly truncated protein product. In a large study examining hundreds of cancer and control individuals, this 999del5 mutation was found in 0.6% of the general population. Of note, while 72% of patients who were found to be carriers had a moderate or strong family history of breast cancer, 28% had little or no family history of the disease. This strongly suggests the presence of modifying genes that affect the phenotypic expression of this mutation, or possibly the interaction of the BRCA2 mutation with environmental factors. Additional examples of founder mutations in BRCA2 are given in the table below.

Meiosis
In the plant Arabidopsis thaliana, loss of the BRCA2 homolog AtBRCA2 causes severe defects in both male meiosis and in the development of the female gametocyte. AtBRCA2 protein is required for proper localization of the synaptonemal complex protein AtZYP1 and the recombinases AtRAD51 and AtDMC1. Furthermore, AtBRCA2 is required for proper meiotic synapsis. Thus AtBRCA2 is likely important for meiotic recombination. It appears that AtBRCA2 acts during meiosis to control the single-strand invasion steps mediated by AtRAD51 and AtDMC1 occurring during meiotic homologous recombinational repair of DNA damages.

Homologs of BRCA2 are also essential for meiosis in the fungus Ustilago maydis, the worm Caenorhabditis elegans, and the fruitfly Drosophila melanogaster.

Mice that produce truncated versions of BRCA2 are viable but sterile. BRCA2 mutant rats have a phenotype of growth inhibition and sterility in both sexes. Aspermatogenesis in these mutant rats is due to a failure of homologous chromosome synapsis during meiosis.

BRC repeat sequences
DMC1 (DNA meiotic recombinase 1) is a meiosis specific homolog of RAD51 that mediates strand exchange during homologous recombinational repair. DMC1 promotes the formation of DNA strand invasion products (joint molecules) between homologous DNA molecules. Human DMC1 interacts directly with each of a series of repeat sequences in the BRCA2 protein (called BRC repeats) that stimulate joint molecule formation by DMC1. BRC repeats conform to a motif consisting of a sequence of about 35 highly conserved amino acids that are present at least once in all BRCA2-like proteins. The BRCA2 BRC repeats stimulate joint molecule formation by promoting the interaction of single-stranded DNA (ssDNA) with DMC1. The ssDNA complexed with DMC1 can pair with homologous ssDNA from another chromosome during the synopsis stage of meiosis to form a joint molecule, a central step in homologous recombination. Thus the BRC repeat sequences of BRCA2 appear to play a key role in recombinational repair of DNA damages during meiotic recombination.

Overall, it appears that homologous recombination during meiosis functions to repair DNA damages, and that BRCA2 plays a key role in performing this function.

Neurogenesis
BRCA2 is required in the mouse for neurogenesis and suppression of medulloblastoma. ‘’BRCA2’’ loss profoundly affects neurogenesis, particularly during embryonic and postnatal neural development. These neurological defects arise from DNA damage.

Epigenetic control
Epigenetic alterations in expression of BRCA2 (causing over-expression or under-expression) are very frequent in sporadic cancers (see Table below) while mutations in BRCA2 are rarely found.

In non-small cell lung cancer, BRCA2 is epigenetically repressed by hypermethylation of the promoter. In this case, promoter hypermethylation is significantly associated with low mRNA expression and low protein expression but not with loss of heterozygosity of the gene.

In sporadic ovarian cancer, an opposite effect is found. BRCA2 promoter and 5'-UTR regions have relatively few or no methylated CpG dinucleotides in the tumor DNA compared with that of non-tumor DNA, and a significant correlation is found between hypomethylation and a >3-fold over-expression of BRCA2. This indicates that hypomethylation of the BRCA2 promoter and 5'-UTR regions leads to over-expression of BRCA2 mRNA.

One report indicated some epigenetic control of BRCA2 expression by the microRNAs miR-146a and miR-148a.

BRCA2 expression in cancer
In eukaryotes, BRCA2 protein has an important role in homologous recombinational repair. In mice and humans, BRCA2 primarily mediates orderly assembly of RAD51 on single-stranded (ss) DNA, the form that is active for homologous pairing and strand invasion. BRCA2 also redirects RAD51 from double-stranded DNA and prevents dissociation from ssDNA. In addition, the four paralogs of RAD51, consisting of RAD51B (RAD51L1), RAD51C (RAD51L2), RAD51D (RAD51L3), XRCC2 form a complex called the BCDX2 complex (see Figure: Recombinational repair of DNA). This complex participates in RAD51 recruitment or stabilization at damage sites. The BCDX2 complex appears to act by facilitating the assembly or stability of the RAD51 nucleoprotein filament. RAD51 catalyses strand transfer between a broken sequence and its undamaged homologue to allow re-synthesis of the damaged region (see homologous recombination models).

Some studies of cancers report over-expressed BRCA2 whereas other studies report under-expression of BRCA2. At least two reports found over-expression in some sporadic breast tumors and under-expression in other sporadic breast tumors. (see Table).

Many cancers have epigenetic deficiencies in various DNA repair genes (see Frequencies of epimutations in DNA repair genes in cancers). These repair deficiencies likely cause increased unrepaired DNA damages. The over-expression of BRCA2 seen in many cancers may reflect compensatory BRCA2 over-expression and increased homologous recombinational repair to at least partially deal with such excess DNA damages. Egawa et al. suggest that increased expression of BRCA2 can be explained by the genomic instability frequently seen in cancers, which induces BRCA2 mRNA expression due to an increased need for BRCA2 for DNA repair.

Under-expression of BRCA2 would itself lead to increased unrepaired DNA damages. Replication errors past these damages (see translesion synthesis) would lead to increased mutations and cancer.

Interactions
BRCA2 has been shown to interact with

 * BRE,
 * BARD1,
 * BCCIP,
 * BRCA1,
 * BRCC3,
 * BUB1B,
 * CREBBP,
 * C11orf30,
 * FANCD2,
 * FANCG,
 * FLNA,
 * HMG20B,
 * P53,
 * PALB2,
 * PCAF,
 * PLK1,
 * RAD51,
 * RPA1,
 * SHFM1 and
 * SMAD3.

Domain architecture
BRCA2 contains a number of 39 amino acid repeats that are critical for binding to RAD51 (a key protein in DNA recombinational repair) and resistance to methyl methanesulphonate treatment.

The BRCA2 helical domain adopts a helical structure, consisting of a four-helix cluster core (alpha 1, alpha 8, alpha 9, alpha 10) and two successive beta-hairpins (beta 1 to beta 4). An approximately 50-amino acid segment that contains four short helices (alpha 2 to alpha 4), meanders around the surface of the core structure. In BRCA2, the alpha 9 and alpha 10 helices pack with the BRCA2 OB1 domain through van der Waals contacts involving hydrophobic and aromatic residues, and also through side-chain and backbone hydrogen bonds. This domain binds the 70-amino acid DSS1 (deleted in split-hand/split foot syndrome) protein, which was originally identified as one of three genes that map to a 1.5-Mb locus deleted in an inherited developmental malformation syndrome.

The BRCA OB1 domain assumes an OB fold, which consists of a highly curved five-stranded beta-sheet that closes on itself to form a beta-barrel. OB1 has a shallow groove formed by one face of the curved sheet and is demarcated by two loops, one between beta 1 and beta 2 and another between beta 4 and beta 5, which allows for weak single strand DNA binding. The domain also binds the 70-amino acid DSS1 (deleted in split-hand/split foot syndrome) protein.

The BRCA OB3 domain assumes an OB fold, which consists of a highly curved five-stranded beta-sheet that closes on itself to form a beta-barrel. OB3 has a pronounced groove formed by one face of the curved sheet and is demarcated by two loops, one between beta 1 and beta 2 and another between beta 4 and beta 5, which allows for strong ssDNA binding.

The Tower domain adopts a secondary structure consisting of a pair of long, antiparallel alpha-helices (the stem) that support a three-helix bundle (3HB) at their end. The 3HB contains a helix-turn-helix motif and is similar to the DNA binding domains of the bacterial site-specific recombinases, and of eukaryotic Myb and homeodomain transcription factors. The Tower domain has an important role in the tumour suppressor function of BRCA2, and is essential for appropriate binding of BRCA2 to DNA. Studies shown that conformation of this tower domain is allosterically controlled by a small protein "DSS1", which interacts with helical, OB1 and OB2 domains of BRCA2.

Patents, enforcement, litigation, and controversy
A patent application for the isolated BRCA1 gene and cancer-cancer promoting mutations, as well as methods to diagnose the likelihood of getting breast cancer, was filed by the University of Utah, National Institute of Environmental Health Sciences (NIEHS) and Myriad Genetics in 1994; over the next year, Myriad, in collaboration with other investigators, isolated and sequenced the BRCA2 gene and identified relevant mutations, and the first BRCA2 patent was filed in the U.S. by Myriad and the other institutions in 1995. Myriad is the exclusive licensee of these patents and has enforced them in the US against clinical diagnostic labs. This business model led from Myriad being a startup in 1994 to being a publicly traded company with 1200 employees and about $500M in annual revenue in 2012; it also led to controversy over high prices and the inability to get second opinions from other diagnostic labs, which in turn led to the landmark Association for Molecular Pathology v. Myriad Genetics lawsuit. The patents begin to expire in 2014.

Peter Meldrum, CEO of Myriad Genetics, has acknowledged that Myriad has "other competitive advantages that may make such [patent] enforcement unnecessary" in Europe.

Legal decisions surrounding the BRCA1 and BRCA2 patents will affect the field of genetic testing in general. In June 2013, in Association for Molecular Pathology v. Myriad Genetics (No. 12-398), the US Supreme Court unanimously ruled that, "A naturally occurring DNA segment is a product of nature and not patent eligible merely because it has been isolated," invalidating Myriad's patents on the BRCA1 and BRCA2 genes. However, the Court also held that manipulation of a gene to create something not found in nature could still be eligible for patent protection. The Federal Court of Australia came to the opposite conclusion, upholding the validity of an Australian Myriad Genetics patent over the BRCA1 gene in February 2013, but this decision is being appealed and the appeal will include consideration of the US Supreme Court ruling.

title: BRCA2


text: User:Charles Matthews/collaborations

title: User:Charles Matthews/collaborations


text:
Fairytale of New York

"Fairytale of New York" is a song written by Jem Finer and Shane MacGowan and recorded by their London-based band the Pogues, featuring English singer-songwriter Kirsty MacColl on vocals. The song is an Irish folk-style ballad and was written as a duet, with the Pogues' singer MacGowan taking the role of the male character and MacColl playing the female character. It was originally released as a single on 23 November 1987 and later featured on the Pogues' 1988 album If I Should Fall from Grace with God.

Originally begun in 1985, the song had a troubled two-year development history, undergoing rewrites and aborted attempts at recording, and losing its original female vocalist along the way, before finally being completed in August 1987. Although the single has never been the UK Christmas number one, being kept at number two on its original release in 1987 by the Pet Shop Boys' cover of "Always on My Mind", it has proved enduringly popular with both music critics and the public: to date, the song has reached the UK Top 20 on twenty separate occasions since its original release in 1987, including every year at Christmas since 2005. As of September 2017, it had sold 1.2 million copies in the UK, with an additional 249,626 streaming equivalent sales, for a total of 1.5 million combined sales. In December 2023, the song was certified sextuple platinum in the UK for 3.6 million combined sales.

In the UK, "Fairytale of New York" is the most-played Christmas song of the 21st century. It is frequently cited as the best Christmas song of all time in various television, radio, and magazine-related polls in the UK and Ireland, including the UK television special on ITV in December 2012 where it was voted The Nation's Favourite Christmas Song.

Background and song development
Although there is agreement among the band that "Fairytale of New York" was first written in 1985, the origins of the song are disputed. MacGowan insisted that it arose as a result of a wager made by the Pogues' producer at the time, Elvis Costello, that the band would not be able to write a Christmas hit single, while the Pogues' manager Frank Murray has stated that it was originally his idea that the band should try to write a Christmas song as he thought it would be "interesting". Banjo player Finer came up with the melody and the original concept for the song, which was set in County Clare on Ireland's west coast, involving a sailor in New York looking out over the ocean and reminiscing about being back home in Ireland. Finer's wife Marcia did not like the original seafaring story, and suggested new lyrics regarding a conversation between a couple at Christmas. Finer told NME, "I had written two songs complete with tunes, one had a good tune and crap lyrics, the other had the idea for 'Fairytale' but the tune was poxy, I gave them both to Shane and he gave it a Broadway melody, and there it was".

The song's title, the musical structure, and its lyrical theme of a conversation between a couple were in place by the end of 1985, and were described by MacGowan in an interview with Melody Maker in its 1985 Christmas issue: "I sat down, opened the sherry, got the peanuts out and pretended it was Christmas. It's even called 'A Fairy Tale of New York', it's quite sloppy, more like 'A Pair of Brown Eyes' than 'Sally MacLennane', but there's also a céilidh bit in the middle which you can definitely dance to. Like a country and Irish ballad, but one you can do a brisk waltz to, especially when you've got about three of these [drinks] inside you... But the song itself is quite depressing in the end, it's about these old Irish-American Broadway stars who are sitting round at Christmas talking about whether things are going okay."

MacGowan had decided to name the song after J. P. Donleavy's 1973 novel A Fairy Tale of New York, which Finer was reading at the time and had left lying around the recording studio. In the same Melody Maker interview, MacGowan expressed regret that the song had not been completed in time to be released for Christmas that year and hinted that the track would appear on an EP that the Pogues were due to record shortly. In January 1986, the group recorded the song during the sessions with Costello that would produce the Poguetry in Motion EP, with bass player Cait O'Riordan singing the female part. Costello suggested naming the song "Christmas Eve in the Drunk Tank", after the song's opening lines, but the band were scornful of Costello's suggestion, with MacGowan pointing out to Costello that a song with such a title was unlikely to be favourably received and played by radio stations. The majority of the lyrics had been written while MacGowan was recovering in a bed in Malmö after being struck down with double pneumonia during a Pogues tour of Scandinavia in late 1985 – he later said, "you get a lot of delirium and stuff, so I got quite a few good images out of that". However, despite several attempts at recording it, the group were unhappy with the results and the song was temporarily put aside, to be returned to at a later date. Guitarist Philip Chevron later said, "It was not quite there. It needed to have a full-on, confident performance from the band, which it lacked." The producer of the final version, Steve Lillywhite, diplomatically described the version recorded with O'Riordan's vocals as not "fully realised". Extracts from these earlier versions of the song are included on the 2008 box set Just Look Them Straight in the Eye and Say... POGUEMAHONE!!.

In March 1986, the Pogues toured the US for the first time. The opening date of the tour was in New York City, a place which had long fascinated MacGowan and which inspired him to write new lyrics for the song. Among the members of the city's Irish-American community who saw the show and visited the band backstage after the concert were film-maker Peter Dougherty and actor Matt Dillon: both later became friends with the Pogues and played important roles in the video for "Fairytale of New York". Another inspiration was Sergio Leone's film Once Upon a Time in America, which MacGowan and whistle player Spider Stacy watched over and over again in the tour bus. Apart from shaping the ideas for the lyrics, MacGowan wrote a slow, piano-based introduction to "Fairytale of New York" influenced by the film's score by Ennio Morricone; the intro was later edited together with the more upbeat original melody to create the final song.

As 1986 went on, the Pogues encountered various problems that brought a halt to their recording activity. Their record label Stiff ran into financial difficulties and went into administration, although as the label still owned the rights to the Pogues' recordings this meant that a distribution deal had to be negotiated with a new label to release any new Pogues material. The group's deteriorating relationship with Costello saw them part ways with their producer, and, after increasingly erratic behaviour, Cait O'Riordan, who had become romantically involved with Costello, left the band in October 1986. The departure of O'Riordan meant the song had now lost its intended female singer.

Recording
The problems at Stiff were eventually resolved, and the Pogues were finally able to enter a recording studio again in early 1987 to start work on their third album, now with Steve Lillywhite producing. A new demo of "Fairytale of New York" was recorded at London's Abbey Road Studios in March 1987, with MacGowan singing both the male and female roles. However, it was not until the third set of recording sessions in August 1987 in nearby RAK Studios that it was suggested that Lillywhite take the track back to his home studio and let his wife Kirsty MacColl lay down a new guide vocal for the song. Having worked on her vocals meticulously, Lillywhite brought the recording back to the studio where the Pogues were impressed with MacColl's singing and realised she would be the ideal voice for the female character in the song.

MacGowan later said, "Kirsty knew exactly the right measure of viciousness and femininity and romance to put into it and she had a very strong character and it came across in a big way... In operas, if you have a double aria, it's what the woman does that really matters. The man lies, the woman tells the truth." MacGowan re-recorded his vocals alongside the tape of MacColl's contribution (the duo never recorded the song together in the studio) and the song was duly completed with the addition of a harp played by Siobhan Sheahan and horns and a string section. The French horns and strings were recorded at Townhouse Studios on the last day of recording If I Should Fall from Grace with God, arranged by Fiachra Trench after band member James Fearnley had mocked up an arrangement on a keyboard.

Reflecting on the recording of the song during a 2020 interview, MacGowan said "it was a happy time for the group. It's our Bohemian Rhapsody". He paid tribute to MacColl for lending her vocals to the song: "I was very grateful to Kirsty. I don't think it would have been such a big hit without her contribution."

Composition
The song follows an Irish immigrant's Christmas Eve reverie about holidays past while sleeping off a binge in a New York City drunk tank. When an inebriated old man also in the cell sings a passage from the Irish ballad "The Rare Old Mountain Dew", the narrator (MacGowan) begins to dream of a former lover. The remainder of the song (which may be an internal monologue) takes the form of a call and response between the couple, their youthful hopes crushed by alcoholism and drug addiction, as they reminisce and bicker on Christmas Eve. The phrases "Sinatra was swinging" and "cars big as bars" seem to place the song in the late 1940s, although the music video clearly depicts a contemporary 1980s New York. On the impact of the lyrics, Helen Brown of The Daily Telegraph writes,

"In careening wildly through a gamut of moods from maudlin to euphoric, sentimental to profane, mud-slinging to sincerely devoted in the space of four glorious minutes – it's seemed perfectly suited to Christmas – a time which highlights the disparity between the haves and have nots around the world. Those of us lucky enough to spend the day with friends and families by a cosy fire with a full stomach think of the lonely, the homeless and the hungry. As MacColl and MacGowan's dialogue descends from the ecstasy of their first kiss into an increasingly vitriolic argument their words puts the average family's seasonal bickering into perspective. "You're a bum you're a punk/ You're an old slut on junk..." The song's row ends with an expression of love and hope (against all the odds) as MacGowan's character promises MacColl's that, far from wrecking her dreams he has kept them with his own "Can't make it all alone," he pleads, "I've built my dreams around you.""

Music video
The video for the song was directed by Peter Dougherty and filmed in New York during a bitterly cold week in November 1987. The video opens with MacGowan sitting at a piano as if playing the song's opening refrain: however, as MacGowan could not actually play the instrument, the close-up shot featured the hands of the band's pianist Fearnley wearing MacGowan's rings on his fingers. Fearnley later said that he found the experience "humiliating" but accepted the idea that it looked better in the video to show MacGowan seated at the piano.

Part of the video was filmed inside a real police station on the Lower East Side. Actor Matt Dillon plays a police officer who arrests MacGowan and takes him to the cells. Dillon recalled that he had been afraid to handle MacGowan roughly, and had to be encouraged by Dougherty and MacGowan to use force. MacGowan and the rest of the band were drinking throughout the shoot, and the police became concerned about their increasingly rowdy behaviour in the cells. Dillon, who was sober, had to intervene and reassure the police that there would be no problems.

The chorus of the song includes the line "The boys of the NYPD choir still singing 'Galway Bay'". In reality, the NYPD (New York City Police Department) does not have a choir, the closest thing being the NYPD Pipes and Drums who are featured in the video for the song. The NYPD Pipes and Drums did not know "Galway Bay" and so sang a song that all of them knew the words to – the "Mickey Mouse March", the theme tune for The Mickey Mouse Club television series. The footage was then slowed down and shown in brief sections to disguise the fact the Pipes and Drums were singing a different song. Murray recalled that the Pipes and Drums had been drinking on the coach that brought them to the video shoot, and by the time they arrived they were more drunk than the band, refusing to work unless they were supplied with more alcohol.

Critical reception
The song received widepread praise from the UK music press. In Sounds, Neil Perry awarded it "Single of the Week" and observed, "In fine MacGowan tradition it's not long before the insults are flying, still carried innocently along by the magical – and unforgettable – melody." Lysette Cohen of Record Mirror also made the record one of the magazine's Singles of the Week, calling it "the most wonderful Christmas record ever" and "staggering and drunkenly inspirational". In NME, James Brown said that "The Pogues excel themselves and release a record worthy of the Christmas no. 1 spot", concluding that the band "have claimed the art of the ballad to be their own – on the strength of 'New York' they deserve it". Andy Darling of Melody Maker stated that he was turned off by the idea that drinking was a prerequisite for artistic genius, but that "this [song] makes up for a lot though".

Lyrical controversy and censorship
The song's lyrical content attracted attention from the start due to language contained in its second verse, where MacGowan's character refers to MacColl's character as "an old slut on junk", to which MacColl responds with a tirade that includes the words "faggot" and "arse". When the song was performed on Top of the Pops on its initial release, the BBC requested that MacColl's singing of "arse" be replaced with the perceived-less-offensive "ass". During a live performance on Top of the Pops in January 1992, MacColl changed the lyric further, singing "You're cheap and you're haggard". When Katie Melua performed the song with the Pogues on CD:UK in December 2005, ITV censored the word "arse", but left "faggot" uncensored.

On 18 December 2007, BBC Radio 1 edited the words "faggot" and "slut" from the track to "avoid offence". MacColl's mother described the ban as "too ridiculous", while the Pogues said they found it "amusing". The BBC stated, "We are playing an edited version because some members of the audience might find it offensive". The BBC later announced they had reversed their decision and continued to play the song uncensored. Other BBC radio stations, including the traditionally more conservative Radio 2, had continued to play the original version throughout this period, the ban having applied to Radio 1 only. The MTV channels in the UK also removed and scrambled the words "slut", "faggot" and "arse" from the song.

In December 2018, two broadcasters on Ireland's RTÉ 2fm pop music station caused controversy by asking for the word "faggot" to be bleeped from broadcasts of the song. RTÉ announced they would not censor the lyric. Some days later, MacGowan defended the lyrics in a statement released to Virgin Media Television's The Tonight Show: "The word was used by the character because it fitted with the way she would speak and with her character. She is not supposed to be a nice person, or even a wholesome person. She is a woman of a certain generation at a certain time in history and she is down on her luck and desperate. Her dialogue is as accurate as I could make it but she is not intended to offend! She is just supposed to be an authentic character and not all characters in songs and stories are angels or even decent and respectable, sometimes characters in songs and stories have to be evil or nasty to tell the story effectively. If people don't understand that I was trying to accurately portray the character as authentically as possible, then I am absolutely fine with them bleeping the word, but I don't want to get into an argument."

In December 2019, BBC Radio Solent radio presenter Alex Dyke announced on his Twitter account that he would not be playing "Fairytale of New York" on his show, calling it a "nasty, nasty song" and "an offensive pile of downmarket chav bilge". Other journalists have also criticised the song's lyrics.

In November 2020, the BBC again announced that Radio 1 would play a censored version with the words "faggot" and "slut" removed, while Radio 2 would play the original, and 6 Music presenters would each decide for themselves which version to play. In response musician Nick Cave accused the BBC of "mutilating" the song, stating it would be "stripped of its value". Meanwhile, The Pogues' official Twitter account responded to Laurence Fox's call to get the original to the top of the charts and "#DefundTheBBC" with, "Fuck off you little herrenvolk shite".

On 19 November 2020, PinkNews journalist Josh Milton described the seemingly annual argument over whether the use of the word "faggot" was offensive as "Britain's worst festive tradition". He also stated that in 2010 the musical comedian Mitch Benn argued the word "faggot" was Irish and Liverpudlian slang for a lazy person although modern Irish news outlets focus on the word's use as an anti-gay slur.

In December 2020, an alternative version with MacColl singing "you're cheap and you're haggard", replacing the contentious line, was included in the compilation album TikTok Christmas. The same censored version was utilized for the official Marvel Entertainment playlist soundtrack of the 2022 special short film The Guardians of the Galaxy Holiday Special.

On 2 December 2023, The Telegraph reported that the UK's Boom Radio would play the uncensored version of "Fairytale of New York" after 91% of listeners who responded to a poll said they would not be offended by the lyrics.

Releases and promotion
The song was released in the United Kingdom and Ireland in November 1987 and swiftly became a hit, spending five weeks at Number 1 in the Irish charts. On 17 December 1987, the Pogues and MacColl performed the song on the BBC's television show Top of the Pops, and it was propelled to number two on the official UK Top 75. Although the song finished 1987 as the 48th best seller of the year despite only a month's sales, it was denied the UK Christmas number one by the Pet Shop Boys' synth-pop version of "Always on My Mind". MacGowan was reported to have said "We were beaten by two queens and a drum machine". MacColl later said that she did not feel they were really in competition with the Pet Shop Boys as they were doing a completely different type of music.

The song was re-released by the Pogues in the UK in 1991 (reaching No. 36), and again in the UK and Ireland for Christmas 2005, reaching number three in the UK. All proceeds from the latter release were donated towards a mixture of homeless charities and Justice for Kirsty, a campaign to find out the truth behind MacColl's death in 2000. Due to the eligibility of downloads to chart even without a physical release, coupled with a more recent further boost from streaming data, the song has re-entered the Top 75 every December since 2005. It has now made the Top 20 on twenty separate occasions including nineteen times in successive years, and the Top 10 on eleven separate occasions including individual runs of three and seven successive years, feats that no other single can match. Its 21 visits to the chart to date now total 118 weeks on the official UK Top 75 (as of w/e 4 January 2024), making it the fifth most charted song of all time. In late 2012 it was declared a UK million-seller. The song is considerably less well known in the US.

On hearing the song following the vocalist MacColl's death in 2000, MacGowan stated "for a while it used to depress me. But now I just think it's a tribute to Kirsty." On 22 December 2005, the Pogues performed the song on a Friday Night with Jonathan Ross Christmas special on BBC One, with the female vocals taken by singer Katie Melua.

Following MacGowan's death in 2023, the song returned to No 1 in the Irish Singles Chart, on the same day as MacGowan's funeral and 36 years after it first topped the charts in Ireland. On 13 December 2023, The Pogues reissued the song as a charity 7-inch single in tribute to MacGowan and to benefit the Dublin Simon Community, an organization fighting homelessness, that MacGowan supported.

Legacy
"Fairytale of New York" was announced as The Nation's Favourite Christmas Song in a 90-minute special on ITV on 22 December 2012, following a UK-wide survey of ITV viewers. In the UK it is the most-played Christmas song of the 21st century. The song has featured in many UK and Ireland-based surveys and polls:
 * Number 1 in the VH1 greatest Christmas song chart three years running, in 2004, 2005, and 2006.
 * Number 11 in Channel 4's 100 Greatest Christmas Moments.
 * Number 27 on VH1's Greatest Songs Never to Make Number One.
 * Number 23 on VH1's greatest lyrics.
 * Number 96 in Q magazine's 100 Greatest Songs Of All Time.
 * Number 84 on BBC Radio 2's top 100 greatest songs of all time poll.
 * Number 204 in NME's 500 Greatest Songs of All Time.
 * The Music Factory poll in December 2008 which found that the song was the favourite Christmas song.
 * The UK's second-favourite single to have missed the number 1 slot.
 * RTÉ 2fm listeners voted it second on The Ultimate Irish Playlist.
 * Topped a blinkbox poll for the UK's favourite Christmas song, with the 1980s also voted the best decade for Christmas music (the other 1980s songs in the top 10 were Wham!'s "Last Christmas", Band Aid's "Do They Know It's Christmas?" and Chris Rea's "Driving Home for Christmas").

In topping another UK poll in December 2014, The Independent states, "The poll is the latest in a number of surveys that has named "Fairytale of New York" the nation's favourite Christmas song." The song was the subject of BBC Radio 4's Soul Music series on 22 December 2015.

Other versions
Comedian Bill Murray sang it in his 2015 television special A Very Murray Christmas. In December 2017, singer-songwriter Ed Sheeran and Anne-Marie performed the song on BBC Radio 1's Live Lounge. In December 2018, Irish actress Saoirse Ronan and host Jimmy Fallon performed it on his talk show, The Tonight Show Starring Jimmy Fallon. In the BBC's Gavin & Stacey – Christmas Special, broadcast on Christmas Day 2019, Ruth Jones and Rob Brydon sang the uncensored version of the song as their characters Nessa Jenkins and Uncle Bryn.

The song was covered by American singer Jon Bon Jovi in 2020 as part of a three-track EP, A Jon Bon Jovi Christmas, and features re-written lyrics as well as Bon Jovi singing both vocal parts. The version was widely panned by both critics and fans, and labelled one of the worst songs of 2020 by several publications. Irish musician Rob Smith said: "I have heard Bon Jovi's cover of Fairytale of New York. It's the worst thing to ever happen to music, and I am including both the murder of John Lennon and Brian McFadden's solo career in there. This is worse!" The Pogues' Twitter account retweeted the post, adding "What Rob said". Steve Lillywhite, producer of the original track, additionally wrote, "The worst ever version of this song. Sorry Jon... embarrassing and pointless". However, MacGowan reportedly enjoyed the "interesting and soulful" cover, according to a tweet from his wife Victoria Mary Clarke.

In 1999, punk rock band No Use for a Name covered the song for their 1999 album More Betterness!, with Cinder Block, the lead singer of the punk rock band Tilt, performing MacColl's parts. AllMusic reviewer Mike DaRonco complimented the band's "abrasive" cover of the song.

In 2023, NFL players and brothers Jason Kelce and Travis Kelce covered the song, with the title changed to "Fairytale of Philadelphia", for the charity album A Philly Special Christmas, raising money for the Children's Crisis Treatment Center and Children's Hospital of Philadelphia.

1987 original release

 * 7" single
 * 1) "Fairytale of New York" (Jem Finer, Shane MacGowan) – 4:33
 * 2) "The Battle March Medley" (Terry Woods) – 4:07

 * 12", cassette and CD single
 * 1) "Fairytale of New York" (Finer, MacGowan) – 4:33
 * 2) "The Battle March Medley" (Terry Woods) – 4:07
 * 3) "Shanne Bradley" (MacGowan) – 3:38

Note: Shanne Bradley was one of MacGowan's bandmates in his previous group the Nips.

1991 reissue

 * 7" and cassette single
 * 1) "Fairytale of New York" (Finer, MacGowan) – 4:33
 * 2) "Fiesta" (Finer, MacGowan) – 4:33

 * 12" and CD single
 * 1) "Fairytale of New York" (Finer, MacGowan) – 4:33
 * 2) "A Pair of Brown Eyes" (Live) (MacGowan) – 3:40
 * 3) "The Sick Bed of Cúchulainn" (Live) (MacGowan) – 3:16
 * 4) "Maggie May" (Live) (Rod Stewart, Martin Quittenton) – 4:23

Live tracks recorded at Barrowland Ballroom, Glasgow, 1987

2005 reissue

 * 7" single
 * 1) "Fairytale of New York" (Finer, MacGowan) – 4:33
 * 2) "The Battle March Medley" (Woods) – 4:07

 * CD single
 * 1) "Fairytale of New York" (Finer, MacGowan) – 4:33
 * 2) "Fairytale of New York" (instrumental) (Finer, MacGowan) – 4:33

2012 reissue

 * 7" single
 * 1) "Fairytale of New York" (Finer, MacGowan) – 4:33
 * 2) "Fairytale of New York" (instrumental) (Finer, MacGowan) – 4:33

title: Fairytale of New York


text:
Glenwood, Oregon

Glenwood, Oregon refers to the name of three different unincorporated communities in the U.S. state of Oregon. They are:

 * Glenwood, Clatsop County, Oregon, a historic locale
 * Glenwood, Lane County, Oregon, a populated place
 * Glenwood, Washington County, Oregon, a populated place

title: Glenwood, Oregon


text:
Listuguj Miꞌgmaq First Nation

The Listuguj Mi'gmaq First Nation (Première Nation de Listuguj Mi'gmaq) (in Francis-Smith orthography Listukuj Míkmaq) is a Mi'gmaq First Nations band government with a registered population (2022) of 4,248 members, most of whom are of Mi'kmaq ancestry. The name Listuguj, is the origin for the name of the Restigouche River, as well as other nearby places also carrying the name Restigouche. Listuguj is also used as a name for one of the Míkmaq orthographies. Its southern border is adjacent to Pointe-à-la-Croix, Quebec.

Battle of the Restigouche (1760)
The "Battle of the Restigouche", was the last naval battle between the British and the French during the Seven Years' War. In 1760, after the fall of Quebec, the French hurried to send reinforcements across the Atlantic. 400 troops were sent in merchant ships from Bordeaux. However, when they reached the Saint Lawrence River, the fleet commander discovered that the area was already occupied by a strong British fleet. He decided to sail south to the bottom of the Bay of Chaleur, and established gun batteries on the shore of the Restigouche River, near Listuguj. Eventually, they were spotted by British Captain John Byron, who engaged battle there. The battle opposed 3 French ships and ground batteries and a coalition of Mi'gmaq, French and Acadian irregular troops, against a 70-gun British ship and 2 frigates. The French and their allies lost this battle, ending the hopes of reconquering Quebec.

1981 Salmon Raid
On June 11 and 20, 1981, the Quebec Provincial Police conducted controversial raids on the reserve to stop the Mi'gmaq from asserting their control over their native fishery. Federal Indian Affairs Minister John Munro was among those critical of the manner in which the Quebec government and provincial minister Lucien Lessard had acted. All convictions resulting from the arrests were eventually overturned.

The raids and their aftermath were documented by Alanis Obomsawin in her 1984 film Incident at Restigouche.

Arts and culture
The community is depicted in the 2021 documentary series Gespe'gewa'gi: The Last Land.

Government
Of the members of the Listuguj First Nation, 2,076 persons reside on the federal Indian reserve that was set aside by the legislature of Lower Canada in 1853, for the exclusive use of the majority of Mi'gmaq in this region. The remaining Mi'kmaq live off-reserve in the eastern United States and across Canada, but stay connected to the community through modern communications and travel to Listuguj for annual events such as the salmon harvest in June, St. Ann's Day in July, or the traditional powwow in August. All community members, regardless of residence, participate in democratic elections held every two years to elect one Chief and twelve Councillors in accordance with Canada's Indian Act Election Regulations, however only community members with residence in Listuguj could participate in the Ratification Vote for the Settlement Agreement which took place on December 13, 2014. The community is also allied to other Mi'gmaq communities in the Gaspé region of Quebec and in northern New Brunswick. Together, their elected Chiefs advance ancestral claims to self-government and to the traditional territory called Gespe'gewa'gi ('Kespékewáki), the last land.

Gespe'gewa'gi is the Mi'gmaq Nation District that extends from the Miramichi River to the tip of the Gaspé Peninsula, a land area that straddles the modern day Quebec/New Brunswick border. The First Nation is a strong advocate of Aboriginal peoples in Canada, and Aboriginal and treaty rights. Its main resource is the Atlantic salmon and other fruits of the waters and forests, including modern harvest of timber. Political representatives of the Mi'gmaq of Listuguj and the greater district of Gespe'gewa'gi continue talks with the Government of Quebec over access to traditional lands.

title: Listuguj Miꞌgmaq First Nation


text:
Draft document

In the context of written composition, drafting refers to any process of generating preliminary versions of a written work. Drafting happens at any stage of the writing process as writers generate trial versions of the text they're developing. At the phrasal level, these versions may last less than a second, as writers compose and then delete trial sentences; as fully developed attempts that have reached the end of a stage of usefulness, draft documents may last for perpetuity as saved "versions" or as paper files in archives.

For example, in a book that became popular in the 1950s, The Elements of Style, Strunk and White characterize a first draft as a less-edited version of the final draft with the purpose of "foresee[ing]...the shape of what is to come and pursue that shape". In Writing Without Teachers, a more recent take on the role of draft documents, Peter Elbow characterizes a draft less as a first attempt at a predetermined final point and more as an attempt at exploring and where a final version might end up. As he puts it, "[w]riting is a way to end up thinking something you couldn’t have started out thinking." According to Elbow, the best way to accomplish this is a series of drafts which come together to produce an emerging “center of gravity” that then translates into the main focus on the work—a holistic process, in other words, rather than the linear process envisioned by Strunk and White and early writing process theory. Elbow reasoned that if a writer "learns to maximize the interaction" among their "ideas or points of view, [they] can produce new ones that didn’t seem available."

Process
When drafting, a writer is most likely not scared of failure. Draft after draft, a writer can experiment on their work without being penalized for it. The more a writer drafts, the more they see as to what works and doesn't work for their writing. In a bad draft, the writer can reflect on the problems and fix them. As Brandie Bohney in Fail Forward! states, "mistakes are a success as long as you learn from it".

Empirical studies of writers at work indicate that writers can be doing any or all of the following during phases of drafting:
 * developing cohesion
 * organizing their thinking in relation to text produced so far
 * experimenting with phrasing
 * explaining or linking examples/ideas
 * generating transitions
 * discovering a central argument/point
 * elaborating on key ideas
 * pausing to make adjustments to spelling, word-choice, and syntax

Computers vs pen and paper
With the rise of technology in the 20th century, most writing is done on computers. Unlike with pen and paper, computers make it easier to compose new drafts thanks to word processing software that makes it easier to fix local, grammar and spelling errors.

However, drafting on a computer does not signify better drafts. Before word processing, when writers created a new draft, it was an investment of their time dedicated to completely rewriting the entirety of their work. When using word processors, it causes a writer to only correct minor grammar mistakes the computer points out and miss mistakes that affect the entirety of the work (global mistakes), in comparison to when writers create physical, handwritten drafts, as in physical writing they have to constantly reread or revisit their work, making more corrections based on ideas.

In order to benefit from both, it is possible to type drafts on a computer and then print them to make physical revisions. By typing on a computer, it allows the writer to fix the minor mistakes the word processor points out and revise the printed copy, while also allowing the writer to make global revisions. Thanks to the computer, the process of drafting, which includes creating numerous drafts, can save the writer time instead of having to physically rewrite the entirety of their drafts.

Drafting and peer review
When drafting, a major part of the process is allowing others to check over and revise the work. Through peer review, other people can give feedback to the writer, allowing said writer to fix previously unseen errors. Peer review of a draft is not exactly the same as proofreading, as peer review is not limited to only fixing spelling mistakes, but rather allows people with different worldviews to oversee a work, giving the writer greater insight as to the purpose of the work. Peer review can also point out sentence structure errors to the writer, potentially causing the draft to be entirely rewritten. Professional writers may use peer review while drafting for the previously stated reasons, although it is a time-consuming process.

title: Draft document


text:
Category:Indre-et-Loire

 is a département of France.

title: Category:Indre-et-Loire


text: Category:Isaac Asimov

title: Category:Isaac Asimov


text:
Cans

Cans may refer to:
 * the plural of can (see Can (disambiguation))
 * a colloquial term for headphones that enclose the ears
 * a colloquial term for a breasts
 * the ISO 15924 code of the Canadian Aboriginal syllabics
 * the surname of:
 * Joacim Cans, Swedish musician
 * an acronym for:
 * Childhood acute neuropsychiatric symptoms
 * Complaints of the arm, neck, and shoulder

title: Cans


text:
KBRD

KBRD (680 kHz) is a non-commercial radio station broadcasting a nostalgia radio format. It is licensed to Lacey, Washington, and serves the Olympia area. It is owned by the BJ & Skip's for the Music foundation, a non-profit 501(c)3 organization, so donations are tax deductible. KBRD is dedicated to the preservation of the music of the first half of the 20th century.

KBRD is a daytimer station, powered at 250 watts. Because 680 AM is a clear channel frequency reserved for Class A KNBR San Francisco, to avoid interference, KBRD can only broadcast from sunrise to sunset. But it is heard around the clock on 250-watt FM translator K266BM at 101.1 MHz in Olympia.

History
The station signed on the air on March 7, 1994. The original call sign was KNTE. On October 7, 1994, the station changed its call letters to KLDY. Then on February 17, 1995, it switched to the current KBRD.

Larry "Skip" Morrow owned an FM radio station but was interested in also owning an AM station. When he purchased the construction permit for KBRD, he didn't have enough radio equipment to go on the air. He was also interested in securing the KBRD call sign. When the station was ready to sign on, the call letters belonged to someone else, so the station began as KLDY. When the KBRD call sign became available, Morrow transferred the KLDY call letters to his Classical music AM station at 1280, clearing the way for 680 KBRD.

KBRD was named for BJ, Morrow's Moluccan cockatoo, whom he described as the "music director". If BJ danced to the music, it was put on KBRD's playlist. Morrow ran both KBRD and his FM radio station from his living room. Ten years after KBRD went on the air, Morrow died of cancer. Before his death, he transferred ownership of the radio station to a foundation he created: BJ and Skip's for The Music Foundation. The station is now run by Adrian DeBee (music) and Jack Ondracek (engineering).

Format
Although officially described as a "nostalgia" station, KBRD plays an eclectic mixture of jazz, rock, swing, country, dixieland, ragtime, zydeco, western swing, novelty and other music, much of which is not available on commercial radio stations.

A typical hour broadcast on KBRD might contain music by Artie Shaw, Aunt Dinah's Quilting Party, Bessie Smith, Boots Randolph, the Clicquot Club Eskimos, Captain Stubby and the Buccaneers, Bing Crosby, the Harmonicats, Sheb Wooley, Marty Robbins, Jelly Roll Morton, Nat King Cole, the Korn Kobblers, George Formby, Nana Mouskouri, Perry Como, Merle Travis, Louis Armstrong and the Hoosier Hot Shots.

KBRD broadcasts without commercial interruption. It seeks donations on the air and on its website.

Awards
The KBRD website states that the station was named the 9th best radio station in the country by E! Entertainment.

Listening online
KBRD's AM signal reaches out only about 35 mi from Lacey, Washington, and only during daylight hours. It can be heard around the clock on its FM translator, 101.1 K266BM. But that signal is also limited to Lacey, Olympia and adjacent communities. However, KBRD programming is available via streaming media worldwide from its website.

title: KBRD


text:
You're Gettin' Even While I'm Gettin' Odd

You're Gettin' Even While I'm Gettin' Odd is the eleventh and final studio album by American rock band the J. Geils Band and the only one recorded without singer Peter Wolf. The band's keyboardist Seth Justman produced the album, did all the song and horn arrangements, wrote all the songs with lyrical help from Paul Justman, and provided the majority of the album's lead vocals, with drummer Stephen Jo Bladd singing lead on three tracks. Compared to the band's earlier works, which leaned towards a more live rock band sound, You're Gettin' Even While I'm Gettin' Odd emphasizes overdubbing and production. The album was released on October 5, 1984, by EMI Records.

The album contained one single, "Concealed Weapons", which peaked at No. 63 on the Billboard Hot 100 chart. Cash Box said of "Concealed Weapons" that "J. Geils here rocks hard and with a contemporary feeling on a track that makes a statement of sorts against its title." Billboard called it a "playful rock 'n' roll stomper."

Track listing
All music written by Seth Justman, lyrics written by Seth and Paul Justman.

Personnel

 * The J. Geils Band
 * Seth Justman – keyboards, lead (1, 3–8) and backing vocals, spoken word (5)
 * J. Geils – guitars
 * Danny Klein – bass guitar, "flex bass"
 * Magic Dick – harmonicas (7, 8), soprano saxophone, backing vocals
 * Stephen Jo Bladd – drums, lead (2, 4, 9) and backing vocals

 * The Uptown Horns
 * Crispin Cioe – alto and baritone saxophones
 * Arno Hecht - tenor saxophone
 * Paul Litteral – trumpet

 * Additional personnel
 * Phoebe Snow – backing vocal (4)
 * Cookie Watkins, Fonda Rae, and Judith Spears - backing vocals (2, 4, 6, 9)
 * The Institutional Radio Choir (directed by Carl Williams, Jr.) – backing vocals (9)
 * Jim Donnelly - backing vocals

Charts
Album

Singles


text: Talk:You're Gettin' Even While I'm Gettin' Odd


text:
Port-Gentil

Port-Gentil or Mandji is the second-largest city of Gabon, and it is a leading seaport. It is the center of Gabon's petroleum and timber industries. The city is located on a delta island in the Ogooue delta. Nearby Cape Lopez is Gabon's westernmost point. As of 2013 census, it had a population of 136,462.

History
In 1473, the Portuguese navigator Lopo Gonçalves sailed near Cape Lopez. In 1722, pirates led by Bartholomew Roberts fought a battle in the Cape Lopez Bay against the Royal Navy. The encounter ended in Roberts' death. The settlement was established on Mandji Island in the delta of the Ogooué River by the French, who signed a treaty with the Orungu people in 1873. It was used as a base for the expeditions of de Brazza into the interior, then in 1894 a customs post was set up, becoming the nucleus of a trading center that included Hatton & Cookson, John Holt, Woermann, Société du Haut-Ogooué, and Compagnie d'Exploitations Forestières Africaines. The main products were initially rubber and ivory, gradually supplemented by woods, particularly okoumé for plywood. The town was named after the French colonial administrator Émile Gentil in 1900. After World War I it became a port for timber, but it grew rapidly only after Elf began oil exploration in the area. It received its first bank branch when Bank of West Africa (BAO) opened a branch there in 1928.

The city was the location of the exile of Moroccan nationalist leader Allal al-Fassi who resided in the city between 1937 and 1946.

A 1947 population of 4,500 grew to 21,000 by 1960. An oil refinery was established by SOGARA in the 1960s, with natural gas added in 1968.

The town is now known for its hotels and its nightlife, while attractions include the St Louis Church (built in 1927), a zoo, a casino, beaches and a golf course, as well as the wildlife in local swamps.

City districts
The city centre lies next to the harbour on the Port-Gentil Bay seaside. Hotels, banks, shops, and supermarkets (such as the Casino and Cecado brands) and the Casino de Port-Gentil are found within the downtown area between the Avenue Savorgnan de Brazzaville and the seaside. The area also concentrates a residential compound for foreign workforce. In the southern part, the BEAC building lies next to the port. The western Atlantic seaside is scarcely populated, mainly due to the presence of strong winds and sea currents. As is the case with other cities in Gabon, the authorities have not yet implemented house numbering in Port-Gentil, and the use of postal boxes is common.

Climate
The Köppen-Geiger climate classification system classifies Port-Gentil's climate as tropical wet and dry (Aw). Despite the fact that the city lies in close proximity to the equator, Port-Gentil experiences noticeably warmer and cooler periods of the year with average temperatures in July (the city's coolest month) hovering at around 23.5 C and average temperatures in February and March (the city's warmest months) at around 27 C. Port-Gentil features a lengthy wet season that runs from October through May and a relatively short dry season that covers the remaining four months. The city receives roughly 2000 mm of precipitation annually.

The highest recorded temperature was 38.0 C on 26 February 2016; the lowest recorded temperature was 13.2 C on 1 August 1953.

Transportation
The city has an airport, Port-Gentil International Airport, serving as the main channel of transportation with the world. Regular flights connect it with Libreville, capital of Gabon.

Port-Gentil is connected to the mainland by a series of roads and bridges, stretching 93 km southwards along the coast to Omboué. The project was funded by a loan from the Export–Import Bank of China and constructed by the China Road and Bridge Corporation and GAUFF Engineering.

The limited number of paved roads within the city are poorly maintained. The roads are paved in the inner city up to the outskirts of the new residential districts in N'Tchengue, where sandy paths with frequent potholes prevail. Traffic jams are common in road junctions such as the Carrefour Tobia or Léon Mba, close to the downtown area. There are plenty of shared taxi services for which the price of a drive is negotiable, starting usually at 400 CFA Francs. The taxi fare usually doubles for night drives. A premium price (doubled fare) is requested for passengers travelling beyond paved roads, given the hardships of the road, lack or non existence of illuminated roads at night, or pedestrians randomly walking on the road. Most of the cars are obsolete given the prohibitively high cost of new imported cars. Furthermore, the lack of local car spareparts manufacturers underscores the need to import such parts from as far as Europe, the increased price as well as the lengthy delivery duration penalize altogether the traffic.

Healthcare
Hospitals within Port-Gentil include: * Clinique Mandji, located in the Littoral district on the Route de la Sobraga, * Clinique du Littoral, located on the Boulevard du Gouverneur Pélieu, * Centre du Traitement Ambulatoire on the road to N'Tchengue.

Education
Schools include:
 * École Mixte Port-Gentil or École publique conventionnée de Port-Gentil
 * École primaire Léopold Sédar Senghor (French primary school)
 * Lycée Français Victor Hugo de Port-Gentil (French secondary school)

Places of worship
Among the places of worship, they are predominantly Christian churches and temples : Roman Catholic Diocese of Port-Gentil (Catholic Church), Assemblies of God, Evangelical Church of Gabon. There are also Muslim mosques.

Notable residents

 * Stéphane Lasme, professional basketball player
 * Alexander N'Doumbou, professional footballer

title: Port-Gentil


text:
Anderson Montague-Barlow

Sir Clement Anderson Montague-Barlow, 1st Baronet, KBE (28 February 1868 – 31 May 1951) was an English barrister and Conservative Party politician.

Life
Montague-Barlow was born Clement Anderson Barlow at St Bartholomew's Vicarage, Clifton, Gloucestershire, and preferred to be known under his second name, Anderson, rather than his first, Clement. He received a Master's degree and an LL.D. from the University of Cambridge and practised at the bar. Between 1910 and 1923 he represented Salford South in the House of Commons. In 1922 he was admitted to the Privy Council upon becoming Minister of Labour, a position he served in until 1924. He was made a Knight Commander of the Most Excellent Order of the British Empire in 1918 and in 1924 he was created a baronet, of Westminster in the County of London.

In 1938, Neville Chamberlain's government asked Barlow to chair a royal commission into the urban concentration of population and industry, "The Royal Commission on the Distribution of the Industrial Population", which became known as the Barlow Commission. Its report, published in 1940, raised the problem of large towns as a public issue for the first time, and concluded that "planned decentralisation" was favourable. The report was largely ignored at the time, as it came shortly after the outbreak of the Second World War, but its conclusions were a major factor behind the new towns movement after the war, which led to the creation of 27 new towns.

In 1946 Barlow changed his last name to Montague-Barlow.

Montague-Barlow died in May 1951, aged 83, when the baronetcy became extinct.

title: Anderson Montague-Barlow