text:
Peter Stollery

Peter Alan Stollery (born November 29, 1935) is a former Canadian politician and businessman.

Background
An old Yorkville family, the Stollerys owned a furnishings store named Stollery's, which opened in 1901 in downtown Toronto. Peter Stollery, the founder’s grandson, worked on and off at the haberdashery for 24 years, first as a furnishings’ man and eventually as a manager from 1965 to 1968 after his father, Alan Stollery, died suddenly. His attachment to these roots explain his later designation in the Senate of Canada as Senator for "Bloor and Yonge", the intersection at which the store was located.

Before entering public life, Stollery also worked as a teacher in Algeria and travel writer for Maclean's. He is a Fellow of the Royal Geographical Society, and a Member of the National Liberal Club in London.

Career in Parliament
Stollery was elected to the House of Commons of Canada as a Liberal candidate in the 1972 election for Spadina riding in Toronto defeating incumbent MP Perry Ryan who had left the Liberals and crossed the floor to the Progressive Conservatives. He was re-elected in the 1974, 1979 and 1980 elections. He served for a time as chairman of the Liberal Caucus (1976–1978), and as parliamentary secretary to the Secretary of State and to the Minister of Communications (1980–1981).

In 1981, Stollery was appointed to the Senate of Canada on the recommendation of Prime Minister Pierre Trudeau. Trudeau wanted to open Stollery's Spadina riding so his aide James Coutts could be elected to Parliament in a by-election. The voters rebelled, and in the subsequent by-election Coutts was defeated in what had been a safe Liberal seat by Dan Heap of the New Democratic Party. He retired from the Senate on November 29, 2010, upon reaching the mandatory retirement age of 75, at which point he had served in Parliament for over 38 years, including more than 29 years in the Senate.

In the Senate, Stollery served on several committees. He took part in numerous overseas delegations and assumed the position of Chair of the Standing Committee on Foreign Affairs (1999–2005). He continued to serve on the committee as Vice-Chair until his retirement from the Senate. He has been involved with the Canada-Europe Interparliamentary Union.

Controversy
On May 29, 2006, during a session of the Standing Senate Committee on National Security and Defence, Stollery criticized Hamid Karzai, then President of Afghanistan. Although Karzai was democratically elected, Stollery implied that Karzai's ascent to power was due to US influence. He argued that Canadian troops could be better used to help “create a democratic society in Afghanistan”.

In September 2006, Stollery added that the limited presence of Canadian troops on the African continent was a result of military officials believing it was not as "sexy" as helping the U.S. by fighting in Afghanistan. He was subsequently criticized by Liberal Senator Roméo Dallaire, who called Stollery's comments "scandalous language." Dallaire stated that "Nothing is sexy in war. The whole concept of war is perverse, and the reason we're in one area and not another is because political decisions have been taken."

title: Peter Stollery


text:
Talk:Tank (video games)

Untitled
I am not sure I agree with the comparison of Meat Shields to Human shields (although I am not sure enough to change it.) Human shields are always non-combatants, whereas Meat Shields are always combatants, even if they are weak, useless ones.

 * I disagree that "human shield" always means non-combatant, but I guess it could evoke some wrong ideas. I changed the wording to "brute force" to maintain the article's meaning with less chance of misunderstanding. --Mrwojo 23:28, 22 Dec 2004 (UTC)

Move this to Tank (computer gaming)?
In light of the recent redirects and such, now Tank (role-playing game terminology) (recently created) redirects here. While I don't mind this article being called Meat shield, perhaps we can take a moment and think of where it might better fit into the gaming substructure?

The article does talk about both RPGs and FPSs, and I assume the appelation tank applies to paper RPGs as well (though the article doesn't mention pen and papers).

Possible moves I can see off the top of my head:
 * 1) move to Tank (role-playing game terminology) (with or without the - in roleplaying, depending on how similar articles are titled)
 * 2) move to Tank (computer gaming) (which would cover RPGs AND FPSs, but not pen and paper)

Any thoughts? --Syrthiss 16:12, 14 November 2005 (UTC)
 * Moved as per your suggestion #2. --Muchness 07:03, 1 December 2005 (UTC)

Jocularly?
If I heard somebody calling me a meat shield, I'd see how they liked taking a few hundred damage to their soft squishy body. Who's a meat shield now, clothie? Iceberg3k 14:19, 16 February 2006 (UTC)
 * By jocular, I meant to convey that "meat shield" is generally a tongue-in-cheek term. A google search doesn't suggest that meat shield is generally intended as an insult, so I'm rephrasing to clarify. --Muchness 15:29, 16 February 2006 (UTC)

GW "tanks"
In Guild Wars, in the long run, warriors also deal the most single-target damage (it's just the easiest to mitigate). Is this worth pointing out? 130.58.235.187 05:56, 28 November 2006 (UTC)

 * No. If you want to discuss Guild Wars, use the GuildWiki website.  This page isn't about Guild Wars, it's about a gaming term. 206.100.221.113 02:39, 24 May 2007 (UTC)
 * Plus, that was never true: Even when Factions and Nightfall didn't exist, the Elementalist could always do more damage than a Warrior. And now, with the damage-crazy Factions Assassin and the DPS Machine that is the Nightfall Dervish, it's even less true than then.

meat shield?
i would disagree that meat shield is synonimous for tank. though they are both designed primarily to distract damage away from more offensive allies, the name tank impies that its a qualty character that has so much armor and/or damage reduction and/or health that it can take a lot of damage without dieing, that its hard to kill, takes damage better then any other character, while a meat shield means that its a cheap character thats only good in dying. i think thats a more then significant difference, in a way, even eachothers opposites. Lygophile  has   spoken  01:42, 25 January 2007 (UTC)

 * "Meat" just refers to the fact that a living person is serving as the metaphorical shield or wall for the rest of the team, and his sole purpose (usually) is to take as much damage from the enemy as possible, having little damage output himself. If they weren't any good at defense, they wouldn't be a "shield"—they'd be a "glass cannon", a "squishy", "cannon fodder", etc. Tanks are my favorite class, and I refer to myself as a meat shield all the time. Really, it's just a comment on the silliness of a single person absorbing massive amounts of damage while the rest of the group stands comfortably behind him dealing damage. 98.182.33.64 (talk) 12:11, 23 February 2010 (UTC)

Wall?
In some turn-based RPGs, particularly the Pokemon series, tanks could also be referred to as a "wall". Should this be added? Totema1 18:23, 18 February 2007 (UTC)

Meat Shields
Meat shield does not equal cannon fodder. While in most games tanks have high defence and specialised skills (aggro skills, shield blocking etc.) meat shields are in most cases melee warriors with high Hit Points allowing them to survive long. However they are unable to keep aggro on them in other way than dealing damage. But they are in no way 'cheap' or 'useless'.
 * Possibly the language has changed (into 'relatively expendable', 'inconsequential' and 'its death is preferred') but I still agree it needs to change. A Tank character is highly valuable in drawing the attention of foes - when the tank is killed, that often signals the imminent destruction of the entire force. 85.227.226.168 07:47, 6 May 2007 (UTC)
 * I do agree there are games where tough units are sent in to die, as a distraction (and then good armour and many hit points enable that unit to continute the distraction for as long as posssible). While that may be only nuances in intention, I still think that is a different role (one that a human player wouldn't volunteer to - but I guess you don't tell the distraction units what their real purpose is...). —The preceding unsigned comment was added by 85.227.226.168 (talk) 07:51, 6 May 2007 (UTC).

Other roles?
This article is missing an introduction to the main roles available, of which the tank is one. Either as new text or as a link to some page discussing combat roles in general.

(I am specifically missing links to the equivalent page for the healer and damage-dealer respectively)

85.227.226.168 07:45, 6 May 2007 (UTC)

Buffer?
The introduction to the article claims that the tank is also known as a "Buffer". I don't know about other games, but as a longtime WoW player, I've never heard the term "Buffer" used to describe a tank. A Buffer would be a utility class that casts status bonuses and dispels negative effects from friendly players. Typically, a Tank is not a class equipped to do that. 159.116.54.138 17:07, 26 June 2007 (UTC)

WoW is a weird game where it takes the old pentagram of power roles made famous in DnDesque games and tried to apply video game simplicity to it. as such they have dumbed what used to be 5/6 unique combat roles down to 3. as such i wouldn't worry about the terminology much. strikers, smashers, slingers, kitter, buffer, etc are all terms used to seperate old school terms but are more or less interchangeable with modern equivalents now. a buffer between your dps and death is a rare but not inacurrate term. plus some MMO a tank is still a buff/debuff class with little to do than stand there and look pretty while being hit. if we used every MMO terms though we would be here all day. 164.97.245.84 (talk) 04:27, 21 November 2022 (UTC)

Reference gathering
I'm just collecting some links that might be useful for references: MarašmusïneTalk 17:39, 26 July 2007 (UTC)
 * - Good summary of Tanks from OGaming. I don't know the author - unsure about reliability.
 * ,  two reviews that mention "tank characters"

final fantasy XI
I dont know what sort of sites would be considdered good referance, but i have to say that using monk as a main or subjob these days is pretty much never done for tanking purposes. The artlice should be changed to at least referance the fact that changes have resulted in a shift away from using monks as tanks, due to the fact that their high hit points are meaningless without the ability to keep hate as well as other jobs on demand and that the basic system would make the healer have to tank quite a bit as well due to the amount of hate that would be created curing them. —Preceding unsigned comment added by 124.168.195.21 (talk) 13:05, 13 October 2007 (UTC)

EVE Online
Actually, Speed tanking is not used alot. Only the Minmatar ships actually have a chance of being good 'Speed/Dodge Tankers'. In EVE the majority of Tanks consist of modules repairing armour or shields, and modules increasing the damage being made in the first place with modules increasing the Armour's resistance. The resistance modules can be active (more resistance, needs capacitor power and to be activated to increase resistance) or passive (less resistant, no capacitor power needed and doesn't have you hammering the module's thumbnail when you're attacked.) --121.72.71.239 (talk) 05:19, 7 December 2007 (UTC)

World of warcraft
From what I understand, Paladins can also taunt using Righteous Defense. Warriors are good for mobs that use a combination of physical and spell damage. Druids are good for taking pure physical damage. Paladins can handle spike damage well (since they take less when they are low on health). Warlocks do well in when dealing with pure magical damage (which is rare).Subanark (talk) 20:34, 26 February 2008 (UTC)

I think we need to change the name
I did found some links who think this article refers to a Tank (Armored Vehicle with Treads, Cannon and a Machine Gun) in RTS Video Games, not to ~SkArMbLiSs~-Style Tank (Who Absorbs Damage), however, in Pok'emon, Skarmory and Blissey are "Walls" not "Tanks" (Like Snorlax, Swampert and the Physical Dragons (Gyarados and Garchomp) to some extent), as "Walls" deal relatively Small Damage (Defensive Threats), while "Tanks" can Sweep Teams sometimes, and them are also Offensive Threats (That nasty Advance curselax, ALWAYS did give me problems). I think you should change this so links that reference to the Military Tank won't go to the Pokemon-Style Tank. 196.1.52.48 (talk) 20:11, 19 March 2008 (UTC)

Shaman tanking in WoW?
Shamans don't tank, for reasons too many to list here. They are neither viable as, nor intented to be a tanking class. Unigolyn (talk) 14:22, 23 May 2008 (UTC)

shouldn't is not same as don't... a mage can tank and often ice mages tank in mythic+ runs if the true tank dies. but they def not built for it long term. as for shaman... historically they were a tanking class in classic and built well for it but as times changed they have been moved to a support/dps class or a healer. 164.97.245.84 (talk) 04:31, 21 November 2022 (UTC)

Dodge header should be changed to Avoidance
Typically tanks have multiple methods of avoiding damage altogether. Dodge is a member of the Avoidance group of abilities or skills. Other methods of avoidance are mentioned under this header. As another example - in world of warcraft a tank's avoidance is their combined chance to Dodge, Block, or Parry an incoming attack. —Preceding unsigned comment added by 199.46.199.230 (talk) 15:28, 31 July 2008 (UTC)

LOTRO
Guardians are certainly the tank of choose in LOTRO, but champions are virtually useless in that roll. Captains however Do have the ability to pull and hold aggro with a series of Marks and Shouts. They were meant to be an off-tank, and thus can fill in when the MT is unavailable or is otherwise occupied. Making the edit to reflect this. --Coldbourne (talk) 12:58, 2 November 2008 (UTC)

Main stream use
"Tanking" made it to the mainstream culture, see like http://edition.cnn.com/2008/POLITICS/11/05/obama.challenges/index.html for an example. How about making the article generic?
 * That's different. In that article, "tanking" means "dropping", or "failing". Also, please sign your posts.  Aar  ►  00:53, 11 May 2009 (UTC)

Blood Vs. Blink Tanks
I added the section on "types" of tanks, however, if someone has a better explanation by all means edit away. The only MMO I am familiar with is Final Fantasy XI, which I used as an example, but any other input on other games with these different tank types would be much appreciated. I'm sure FFXI is not the only game to feature more then the generic "Conan The Barbarian" Tank model... - Effedup (talk) 15:56, 5 May 2010 (UTC)

Original Research
There's a lot of original research/uncited information in this article - not surprising given the topic, but still. The article should be reviewed for compliance with WP:NOR (as well a serious grammar and style review.) 98.206.179.6 (talk) 22:01, 14 January 2012 (UTC)

Allods Online
Allods Online has two tanking archetypes: Warrior and Paladin. They should be mentioned up there. I am playing both archetypes and would love to say something, however Allods is my first experience with MMORPG. So, don't know. Someone who knows better. I prefer Paladin, however this is me. :)

Who played with Mess on Cadillacs & Dinosaurs as kid on the arcades? Who? :P
 * The Mad Hatter (talk)

For a non Starcraft player this makes no sense
"Many basic strategies in games such as StarCraft and Warcraft III revolve around learning to micro-manage units so they attack tanks first so that the tanks do not continually attack units."

Not knowing anything about these games, this sounds illogical. The tank is drawing fire, attacking them is falling for the bait. Why would the tank attacking units be a problem? Isn't it the supposed weaker range units it is tanking for, that is the real problem, which should be dealth with first?

Clearify this.

88.206.149.235 (talk) 11:32, 23 May 2014 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:First-person (gaming) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 19:01, 2 September 2018 (UTC)

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

title: Talk:Tank (video games)


text: Talk:Adrian James Croce (album)

title: Talk:Adrian James Croce (album)


text:
Christa Winsloe

Christa Winsloe (23 December 1888 – 10 June 1944), formerly Baroness Christa von Hatvany-Deutsch, was a German-Hungarian novelist, playwright and sculptor, best known for her play Gestern und heute (known under several titles, see below), filmed in 1931 as Mädchen in Uniform and the 1958 remake. Winsloe was the first to write a play on female homosexuality in the Weimar Republic, yet without a "radical critique of the social discrimination of lesbian women."

Early life
Christa Kate Winsloe was born in Darmstadt to the military officer Arthur Winsloe and his wife Katharina Elisabeth Scherz. Her mother died unexpectedly in 1900. Upon her death, Christa was sent to the Kaiserin-Augusta-Stift, a very strict boarding school in Potsdam. In this institution, the girls of the aristocracy were drilled to learn discipline and submission. The experience would inspire Winsloe's later body of work: "as an adult Winsloe had to write down this nightmare to get it off her chest."

In 1909, she studied sculpture in Munich (specifically, her interest was sculpting animals), against her family's consent. Sculpture-making was considered an "unfeminine" profession at the time.

In 1913, she married Baron (1880–1961), a rich Hungarian writer and landowner. Thus, she became known as Baroness Christa von Hatvany-Deutsch. While married to Hatvany, Winsloe began to write Das Mädchen Manuela ("The Child Manuela"), a short novel based on her experiences at Kaiserin-Augusta but held off on publishing. Soon after, her marriage failed, but Hatvany made Winsloe a generous allowance after the divorce.

Winsloe was involved in a relationship with newspaper reporter Dorothy Thompson, probably before World War II when Thompson was reporting from Berlin.

Career
In 1930, Winsloe wrote the play ‘Knight Nerestan’ which was produced in Leipzig and then Berlin under the title Gestern und heute (‘Yesterday and Today'). The play's success led to a 1931 film version called Mädchen in Uniform (Girls in Uniform) with Winsloe as one of the screenwriters. The play ends differently from the film. In the play, the young student, Manuela, is destroyed because of rejection by her teacher, Fräulein Elizabeth von Bernburg, who did not dare to side with Manuela against the headmistress or oppose the brutal educational methods. Manuela commits suicide. The film is more ambiguous, with von Bernburg attempting to defend the student and herself. The film version was also a considerable success, both financially and critically. This was due to its ambitiously aesthetic form and the fact that only women performed in it. The lesbian aspect of the story was downplayed and depicted as an adolescent crush, even though Winsloe co-authored the script, and Leontine Sagan, who in the play had stressed the lesbian aspect, acted as director.

In response to the play and film's downplaying of the lesbian themes, Winsloe completed and published her novel Das Mädchen Manuela (The Child Manuela) in 1933. It was a bolder novelized version of the screenplay that emphasized the lesbian storyline.

Winsloe did not publish anymore after Das Mädchen Manuela because she did not want to write under the rules and conditions of the German Literature Department. Soon enough, all of Winsloe's books and articles were on the Nazi index of "undesired literature". The author was considered as "politically unreliable". During World War II, however, she wrote scripts for G.W. Pabst.

Personal life and death
On the strength of Mädchen in Uniform 's acclaim, Winsloe moved to Berlin, where at the time there was a lesbian sub-culture. She had plenty of money (from her ex-husband's allowance), worked as an animal sculptor, and had a wide circle of friends. She was a member of the SPD (the German Social Democrats, then largely reform Marxist in orientation), and was open about her sexuality.

Early in World War II, Winsloe fled the Nazis with her partner, Dorothy Thompson (Thompson had warned against Hitler early on, and was one of the first women who interviewed Hitler). They spent time in Italy and then Winsloe followed Thompson to the U.S., but Winsloe did not like it there. Her scripts were rejected from Hollywood producers and she did not want to write in English, so she left Thompson and returned to Europe in 1935. She spent the next years travelling between Italy, France, Hungary, Austria, and Germany.

In October 1939, Winsloe moved south and settled in Cagnes, where she met the Swiss author Simone Gentet. They stayed together during the following years and Gentet translated some of Winsloe's works into French. The two women also offered temporary support and refuge for people fleeing the Nazis.

Following an immediate evacuation order on 10 June 1944, Winsloe and Gentet were falsely accused of being Nazi spies by four Frenchmen. They shot and killed the two women in a forest near the country town of Cluny.

Plays

 * Gestern und heute (1930)
 * Published in English as Children in Uniform (1932)

Films

 * Mädchen in Uniform (1931)

Novels

 * Das Mädchen Manuela (1933)
 * Published in English as The Child Manuela (1934, translated by Agnes Neill Scott)
 * Life Begins (1935)
 * Also published in the U.S. as Girl Alone (1936)

Unpublished works

 * Sylvia and Sybille (play, 1931)
 * Die halbe Geige (novel, 1935, 'Half the Violin')

title: Christa Winsloe


text:
Tom Brown Jr.

Tom Brown Jr. (born January 29, 1950) is an American naturalist, tracker, survivalist, and author from New Jersey, where he runs the Tom Brown Jr. Tracker School.

In his books, Brown writes that, from the age of seven, he and his childhood friend Rick were trained in tracking and wilderness survival by Rick's grandfather, "Stalking Wolf" (whom Brown states was Lipan Apache). Brown writes that Stalking Wolf died when Brown was 17, and that Rick was killed in an accident in Europe shortly thereafter.

Brown spent the next ten years working odd jobs to support his wilderness adventures. He then set out to find other people in New Jersey who were interested in his experiences. Initially Brown met with little success, but was eventually called on to help locate a crime suspect. Though the case won him national attention, he and authorities in the Ramsey, N.J. area were subsequently sued for 5 million dollars for charging the wrong person. Despite this controversy, he was able to build on this exposure to develop a profession as a full-time tracker, advertising his services for locating lost persons, dangerous animals, and fugitives from the law. According to People magazine, "He stalks men and animals, mostly in New Jersey."

The Tracker School
Tom Brown Jr.'s Tracker School is located in New Jersey. Most classes offered by Tracker School are held in "Primitive Camp", which is located in the Pine Barrens of New Jersey. However, classes are also offered in California. Workshops involve Brown's versions of Plains Indian ceremonies, including the sweat lodge and vision quest.

Personal life
In July 1977 Tom Brown Jr. married Judy Duck Ford, 33. At the time Judy had a daughter Kerry, 15, and a son Paul, 11, from a previous marriage. The two had one child, Tom Brown III, together. Brown later married Debbie Brown and had two children with her, Coty Tracker Brown and River Scout Brown. Brown is currently married to his third wife, Celeste Brown.

Publications and media
Brown has written 18 books to date. His first book The Tracker, in 1978, chronicled his coming of age. Reader's Digest printed a condensed version of the story and provided information about Brown's new Tracker School. Tom Brown's books are published by Penguin Books:
 * The Tracker (1978, 1986), ISBN 978-0-42-510133-9
 * The Search (1980, 2001), ISBN 978-0-42-518181-2
 * Field Guide to Living With the Earth (1984), ISBN 0-425-09147-3
 * Guide to Wild Edible and Medicinal Plants (1986), ISBN 978-0-42-510063-9
 * Guide to City and Suburban Survival (1986), ISBN 978-0-425-09172-2
 * Field Guide to Living with the Earth (1986), ISBN 978-0-42-509147-0
 * Field Guide to Nature Observation and Tracking (1986), ISBN 978-0-42-509966-7
 * Field Guide to the Forgotten Wilderness (1987), ISBN 978-0-42-509715-1
 * Field Guide to Wilderness Survival (1987), ISBN 978-0-42-510572-6
 * The Vision (1988), ISBN 978-0-42-510703-4
 * Field Guide to Nature and Survival for Children (1989), ISBN 978-0-42-511106-2
 * The Quest (1991), ISBN 0-425-12660-9
 * The Journey (1992), ISBN 0-425-13364-8
 * Grandfather (1993, 2001), ISBN 978-0-42-518174-4, audio book (2007)
 * Awakening Spirits (1994), ISBN 978-0-42-514140-3
 * The Way of the Scout (1995), ISBN 0-425-14779-7
 * The Science and Art of Tracking (1999), ISBN 978-0-42-515772-5
 * Case Files of the Tracker (2003), ISBN 978-0-42-518755-5
 * Guide to Healing the Earth (2019), ISBN 978-0-42-525738-8

The Mother Earth News website provides these articles by Tom Brown Jr.:
 * Issue 71, Sep-Oct 1981: Wilderness Shelter
 * Issue 72, Nov-Dec 1981: Finding Water
 * Issue 73, Jan-Feb 1982: Fire Starting
 * Issue 74, Mar-Apr 1982: Hunting & Traps
 * Issue 75, May-Jun 1982: Edible Plants
 * Issue 76, Jul-Aug 1982: Survival Cooking
 * Issue 77, Sep-Oct 1982: Animal Tracking
 * Issue 79, Jan-Feb 1983: Natural Cordage
 * Issue 87, May-Jun 1984: Bow Making
 * Issue 93, May-Jun 1985: Survival Skills
 * Issue 95, Sep-Oct 1985: Advanced Shelters

 * CBS News reports:  24 June 2005   6 December 2006

title: Tom Brown Jr.


text:
Davis Dam

Davis Dam is a dam on the Colorado River about 70 mi downstream from Hoover Dam. It stretches across the border between Arizona and Nevada. Originally called Bullhead Dam, Davis Dam was renamed after Arthur Powell Davis, who was the director of the U.S. Bureau of Reclamation from 1914 to 1923. The United States Bureau of Reclamation owns and operates the dam, which was completed in 1951.

Davis Dam impounds the Colorado River and forms Lake Mohave.

Description
Davis Dam is a zoned earth-fill dam with a concrete spillway, 1600 ft in length at the crest, and 200 ft high. The earth fill dam begins on the Nevada side, but it does not extend to the Arizona side on the east. Instead, there is an inlet formed by earth and concrete, that includes the spillway. The hydroelectric power plant is beside the inlet.
 * Davis Dam

The dam's purpose is to re-regulate releases from Hoover Dam upstream, and facilitate the delivery of Colorado River water to Mexico. Bullhead City, Arizona, and Laughlin, Nevada, are located just below the dam along the river. Davis Camp is also nearby, operated as a park by Mohave County. Bullhead City was originally a construction town for workers building the dam.

A road is located on the crest of the earth fill portion of the dam and a Forebay Bridge spans the Forebay. It was formerly part of Arizona State Route 68 to Nevada. In April 2004, the roadway was shut down to vehicle traffic. Pedestrian and bicycle traffic are permitted. The old roadway is now an extension of the Heritage Trail system. Barriers have been placed on the former road at each end of the earthen dam. The facility is heavily patrolled by security forces who strictly enforce parking regulations.

The Davis Dam Power Plant is a hydroelectric power plant located on the Arizona side of the dam, beside the inlet. The hydroelectric plant generates between 1 and 2 terawatt-hours of electricity annually. The plant has a capacity of 251 MW and the tops of its five Francis turbines are visible from outside the plant. The plant's head is 136 ft.
 * Davis Dam Hydroelectric Power Plant

title: Davis Dam


text:
Childhood development of fine motor skills

Fine motor skills are the coordination of small muscle movements which occur e.g., in the fingers, usually in coordination with the eyes. In application to motor skills of hands (and fingers) the term dexterity is commonly used. "The term 'dexterity' is defined by Latash and Turrey (1996) as a 'harmony in movements' (p. 20). Dexterity is a type of fine coordination usually demonstrated in upper extremity function (Kohlmeyer, 1998)."

The abilities which involve the use of hands develop over time, starting with primitive gestures such as grabbing at objects to more precise activities that involve precise eye–hand coordination. Fine motor skills are skills that involve a refined use of the small muscles controlling the hand, fingers, and thumb. The development of these skills allows one to be able to complete tasks such as writing, drawing, and buttoning.

According to the results of a study conducted in the USA assessing the difference in foundational motor skills between males and females between the age of five and six years old, there was no significant difference between gender. However, the results displayed a difference in the ability to catch and aim between the six-year-old males and females. The study's results proposed that these gender differences are not concrete when adding age as an observing factor.

Young children's lives consistent with visual and performing arts that hold as much importance as language and play (Child Development Division, & California Department of Education. 2011, p. 40). "The arts build skills such as problem-solving and critical thinking; they bring parallel opportunities for the development of language/communication, mathematics, and the development of social and interpersonal skills. The following activities are often referred to as children's play: scribbling with a crayon, pretending to be a pirate or a bird, humming bits of a tune, banging on a drum, or swaying to music".

Self-care skills
As children refine their motor skills, they are able to help themselves by completing daily activities independently. For example, children between the ages of 2 and 3 are able to put on and take off simplistic articles of clothing. They are able to manipulate clothing with zippers, use spoons, string together beads with large holes, and open doors with doorknobs. When children are between the ages of 3 and 4, they are able to manipulate clothing with larger buttons, use scissors to cut paper, and are able to copy simple lined shapes using a pencil. At 4 to 5 years of age, children are able to dress and undress themselves without assistance. They are also able to manipulate a fork, and have gained the dexterity to cut around shapes with a pair of scissors. By age 6, a child is able to cut softer foods with a knife and is able to tie their own shoes. Because all children develop at their own rate, these ages are not exact to when every child will develop these skills.

Writing skills
Parental involvement can influence the stage of writing within their child. Parents, who are more involved in their child's learning process, will see significant improvements in their child's accuracy and clarity. Those children who are exposed to the support of their parents will develop more proficient fine motor skills. This involvement in a child's development is a first step towards the concept of parent engagement. Parent engagement is defined as "...parents and teachers sharing a responsibility to help their children learn and meet educational goals. Parent engagement happens when teachers involve parents in school meetings or events, and parents volunteer their support at home and at school. In this way, they make a commitment. Parents commit to prioritizing their child's educational goals, and teachers commit to listening and providing a space for collaboration with parents". According to "... fifty different studies on parental engagement, educational researchers found a connection between family involvement and academic achievement".

Children who show a better grasp of fine motor skills are known to have better outcomes in academics. According to the results of a study conducted by Wolff, Gunnoe, and Cohen, observing the development of fine motor skills may provide us with an idea of the strength and capability a child obtains to achieve successful motor skills and academic proficiency. Basic fine motor skills that are associated with the predictability of the success of a child's development and achievement in their academic and personal life are typically known as "visual-motor integration, fine motor accuracy, visual-spatial perception, kinesthesia, and imitation of postures".

Children's drawings
Children's drawings also develop as a child ages and refines their fine motor skills. This has been widely studied, especially by Rhoda Kellogg (1898–1987), following children from 2 years to 8 years of age. Her research has found that the artistic gestures of children evolve from basic scribbles to consistent symbols. The first symbols that are formed by children are the circle, the upright cross, the diagonal cross, the rectangle, and other common forms. When the child is 3 years old, they begin to form face shapes and by age 4, humans. At 4 to 5 years old, the child draws a human form with arms and legs, and eventually the child adds a trunk and clothes. Children then evolve to include other pictorials in their art, such as houses, animals and boats, by the age of 5.

Manipulative materials
Toys that require a child to manipulate it with their fingers and hands can be categorized as a manipulative. Manipulatives involve coordinating the eye to what the hands are needed to do. They stimulate fine motor development because they require controlled use of hand and finger muscles. Some manipulative toys, such as puzzles, are self-correcting, fitting together in only one specific way. These types of toys only fit together one way and allow children to work until they achieve success. Play-Doh is a manipulative that can help strengthen a child's fine motor skills. Dough can be rolled into balls, tooth picks can be used to create designs in the dough, and plastic knives can be used to cut the dough (with supervision).

Eye-Coordination
"Any of the manipulative activities requiring utensils develop eye-hand coordination. Constructing with Legos, blocks, or popsicle sticks builds eye-hand coordination. Balancing objects such as blocks requires precise hand motions.Other precision motor activities include playing the piano, playing with a cash register, pushing buttons, typing, working puzzles, stringing beads, weaving, and sewing. Even large muscle activities such as climbing a ladder, playing Simon Says, and jumping rope help build eye-hand coordination."

Positioning
Another way to assist a child who is having difficulties developing their fine motor skills is to provide the child with proper positioning of their hands and body to accomplish tasks. As motor skills develop, children's hand grip positioning changes as well. Their grip starts off with a palmar supinate grasp. This grasp involves wrapping the entire hand around the implement used in the shape of a fist with the palm facing upwards. Children then progress to a digital pronate grasp, in which they hold the implement with their palm facing downward. The pronate grasp involves using the middle finger and thumb. Children at this stage are able to use their thumb for tactile prehension. This stage can be mastered by the age of 2–4 years old. They then progress to a static tri-posture grasp and then to a dynamic tripod grasp as their fingers and thumb start to play more of a function. Over time, their hands will begin to move closer to the tip of the implement used, allowing for more precise control over movement technique. The refinement in the position in which they hold the writing utensil goes from holding it from the top to the bottom (closer to the tip).


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Altares

Altares is a freguesia ("civil parish") in the municipality of Angra do Heroísmo on the Portuguese island of Terceira in the archipelago of the Azores. The population in 2011 was 901, in an area of 28.22 km2.

History
Situated on relatively flat land with fertile soils, although situated far from major population centres, the region was settled early, sometime before the year 1480. Owing to the severity of the coast, access to this region was obtained from the port of Biscoitos, some 6 km east, and from the early settlement along the ravines of Quatro Ribeiras. The clearing and logging that proceeded along the territory, and from the agrarian structure and morphology of the land, settlement must have progressed from east to west, until the parish of Raminho (which was then known as Folhadais) was last to be settled.

Due to the island's date of colonization and the progress of settlement along the north, the first occupation occurred around 1460, resulting in the foundation by the end of the 15th century. The fertility of the soils supported the establishment of agriculture and woad commerce (today remembered in the name of the Canada dos Engenhos) which helped establish the wealth of many of the Terceirense families. Referring to agriculture in Altares, Gaspar Frutuoso affirmed:
 * Until the Church of São Roque the land is flat, almost half a league from the square, and weak, providing little wheat and much, thin woad, that which has the lowest price among all the others, to have mixed "bagacina", almost like pumice; pastel costs little to do and less weeding for the land give little grass.

By the middle of the 15th century, the first important settlers arrived on the island, such as João Valadão, Gonçalo Álvares Pamplona (founder of Arrochela), Manuel Borges da Costa (descendant of João Borges "The Older", one of the first inhabitants on the island) and João Álvares Homem (relative of Álvaro Martins Homem), founder of the city of Angra. One of João Valadão daughters married Martim Simão (later identified with the toponymy of the parish, for example Pico de Matias Simão or Pico de Martim Simão).

It is unclear when the settlement was elevated to the status of parish, but it may have occurred before 1480, associated with a reference to a parish priest. The limits of the parish were relatively undefined, but included the northwest of the island, from Fajã (today an uninhabited site below Mata da Serreta and territory in the parish of Serreta) to the locality of Ponta Negra, including a part of Arrochela (today part of Biscoitos).

The centre of the parish, dominated by parochial church, was founded on the margins of the Ribeira de São Roque, in the immediate confluence of the Ribeira das Lajinhas, an area covered in vegetation and dominated by a large, evergreen bog. The settlement was supported by ravines and natural springs that ran from the mountainous Serra de Santa Bárbara, some 4 km from the settlement.

Geography
The parish is located in the northwestern part of the island, about 19 kilometres from the city of Angra do Heroísmo. It is bounded on the east by the parish of Biscoitos, which belongs to the municipality of Praia da Vitória, on the west by the parish of Raminho, on the north by the Atlantic Ocean, and on the south and southwest by the caldera of the Santa Bárbara volcano and by the parish also called Santa Bárbara.

Altares is located along the northern flanks of the Serra de Santa Bárbara massif, extending from the northern and western edges of the caldera of Santa Barbara volcano to the seaside cliffs on the north coast of the island. Topographically, the civil parish is bounded on the east by the course of the Ribeira do Pamplona (Pamplona Ravine), which also serves as the border to the municipality of Angra do Heroísmo, and on the west by a line drawn from the 827 m summit of Pico Rachado to the sea. This line follows the course of the Ribeira dos Gatos (Ravine of the Cats), but then it diverts to the west to include the hamlet of Cerro da Ribeira dos Gatos, a ridge of hills and miscellaneous buildings.

The territory of the parish rises gradually from the coast, first as a relatively gentle slope, but at an increasingly rugged grade as one approaches the heights of the Serra de Santa Bárbara, where five streams have their sources: the Riberia dos Gatos, the Ribeira de São Roque, the Ribeira das Lajinhas, the Ribeira da Lapa, and the Ribeira do Pamplona. Although crossed by various river courses, the parish is actually poor in hydrographic resources, since surface water is intermittent. In fact, ravine water is primarily from intense precipitation in the foothills, lasting a short time normally. This was not the case during the period of early colonization, since the forest and tuber vegetation would regulate waterflow, resulting in light continuously flowing streams throughout the year. From east to west, the following ravines are the primarily affluent in the parish:
 * Ribeira do Pamplona, apart from delimiting the parish, it is also the frontier of Angra do Heroísmo;
 * Ribeira de Lapa, one of the more intensely flowing watercourses;
 * Ribeira da Luz;
 * Ribeira de São Roque, alongside the parochial church (in the centre of the parish), and to its left the Ribeira das Lajinhas;
 * Ribeira dos Gatos

Religious
For many years after settlement, small nuclei coalesced around the roadways parallel the coast dominated by chapels and hermitages, transforming into centre of the religious cults: the Hermitage of Santa Catarina of the Pamplona family (constructed in 1525) centre of the locality of Arrochela; the Hermitage of São Mateus situated in Outeiro de São Mateus and pilgrim church during the 16th century, a hermitage erected in 1530, by Margarida Valadão, daughter of João Valadão); the Hermitage of Nossa Senhora da Luz, situated in Achadas, along the margins of Ribeira da Luz (where today stands a Marian niche), that pertained to the Pereira family of Faial, who hand lands here; and the Hermitage of Mãe de Deus, in Folhadais, today the parochial Church of São Francisco Xavier of Raminho. Most of these hermitages have since been abandoned and disappeared from the landscape, although (in 1843), Jerónimo Emiliano de Andrade affirmed the existence of many of the hermitages.

Today these religious structures have been classified as national patrimony:
 * Church of São Roque (Igreja Paroquial de Altares/Igreja de São Roque), the parochial single-nave church, dedicated to Saint Roch, was completed in the 15th century, and is located on an elevated terrain occupied along with the parochial school, Museu Etnográfico dos Altares, with an important collection of instruments associated with agriculture and traditional Azorean activities (including exhibition of flora, fauna and ecologia of Terceira).
 * Império of the Holy Spirit of Altares (Império do Espírito Santo de Altares), dating to the early 20th century, the single-room rectangular building is used the festivals associated the Cult of the Holy Spirit held annually by the Brotherhood of the Holy Spirit; it is a highly decorated facade with three gothic-style windows and door, and triangular frontispiece, but also includes annex when the events of the festivals extends.

title: Altares


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Drew Hayes

Lawrence Andrew "Drew" Hayes (July 20, 1969 – March 21, 2007) was a writer and comic book artist who is best known as the creator of the long-running independent comic book series Poison Elves.

Biography
Hayes' early influences included Dungeons & Dragons, Elfquest, and Cerebus.

Hayes began self-publishing I, Lusiphur under the Mulehide Graphics imprint in 1991. He changed the series title to Poison Elves with issue #8 (Feb 1993), and continued through issue #20 (Feb 1995). During this period, he was a prominent example of creators distributing their black-and-white comics to the direct market.

In 1995, Hayes brought Poison Elves to Sirius Entertainment; and, in 2000, according to Sirius publisher Robb Horan, Hayes "signed a long-term agreement for the property that was specifically intended to allow for an expanding universe and an unhindered continuation of the relationship under any circumstances." With Sirius, Hayes produced another 79 issues of Poison Elves and a color special, the last of which was published in September 2004. During this time, Hayes engaged in an ongoing mock "feud" with fellow comics creator Brian Bendis in the letters pages of their books. Sirius published twelve Poison Elves paperbacks, as well as a number of Poison Elves short series and one-shots, most of which were produced by other creative teams.

Death
Hayes suffered from health problems which hampered his ability to create comics. He was overweight, had suffered cardiac damage from sleep apnea, and had been hospitalized more than once. After undergoing treatment in the hospital and losing weight, he planned to resume creating new issues of Poison Elves, but died at the age of 37, of a heart attack while suffering from pneumonia.

Works

 * Deaththreats, The Life and Times of a Comic Book Rock Star (Sirius Entertainment, 2009, 384 pages, ISBN 978-1-579-89092-6) — collects all 100 of the Starting Notes from Poison Elves (annotated and illustrated to provide context), as well as extended excerpts from Hayes' Deathreats letter columns.

Poison Elves comics

 * I, Lusiphur/Poison Elves
 * Poison Elves Overstreet Fan Edition
 * Lusipher and Lirilith
 * Requiem for an Elf
 * Traumatic Dogs
 * Desert of the Third Sin
 * Patrons
 * The Mulehide Years (collection of vol 1–4)
 * Sanctuary
 * Guild War
 * Salvation
 * Rogues

Other art

 * "Season in the Sun" (poster)
 * "The Pub Scene" (color print)
 * "Hyena" (B&W print)
 * "Dryad" (color print)
 * "Cover Prints"
 * "Strange Attractors/Poison Elves Jam Poster" – with Michael Cohen.
 * Poison Elves T-shirts (four different designs)
 * Poison Elves Limited Edition Portfolio I – A set of six plates reprinting covers from Mulehide issues of the comic and a new plate.
 * Poison Elves trading cards

Art in other comics

 * Hunters printed in Elfquest—Hidden Years, #10, Blood of Ten Chiefs #4, and New Blood #13.
 * Necromancer #3
 * Moon Marauders (pinup )
 * Strange Attractors #6-#8 (coloring for the cover art)
 * Drew Fiend's Rare Bit Haze (appears in Roarin' Rick's Rare Bit Fiends #5)
 * G.A.S.P. contains excerpt from Poison Elves #17
 * Indy #10 for interview with Dan DeBono (cover art with Barry Blair)
 * Wandering Star #9 (pinup art)
 * Overstreet's Fan #7 (illustration of Lusiphur on the cover.)
 * Overstreet's Fan #10 (cover art)
 * The Crow (appears in Mythography #1)

Miscellaneous art

 * "Lady Death Chromium II" (Card #64)
 * "Strangers in Paradise Card Set" (Card #76)

title: Drew Hayes


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Dazzle camouflage

Dazzle camouflage, also known as razzle dazzle (in the U.S.) or dazzle painting, is a family of ship camouflage that was used extensively in World War I, and to a lesser extent in World War II and afterwards. Credited to the British marine artist Norman Wilkinson, though with a rejected prior claim by the zoologist John Graham Kerr, it consisted of complex patterns of geometric shapes in contrasting colours interrupting and intersecting each other.

Unlike other forms of camouflage, the intention of dazzle is not to conceal but to make it difficult to estimate a target's range, speed, and heading. Norman Wilkinson explained in 1919 that he had intended dazzle primarily to mislead the enemy about a ship's course and so cause them to take up a poor firing position.

Dazzle was adopted by the Admiralty in the UK, and then by the United States Navy. Each ship's dazzle pattern was unique to avoid making classes of ships instantly recognisable to the enemy. The result was that a profusion of dazzle schemes was tried, and the evidence for their success was, at best, mixed. So many factors were involved that it was impossible to determine which were important, and whether any of the colour schemes were effective. Experiments were carried out on aircraft in both World Wars with little success.

Dazzle attracted the notice of artists such as Picasso, who claimed that Cubists like himself had invented it. Edward Wadsworth, who supervised the camouflaging of over 2,000 ships during the First World War, painted a series of canvases of dazzle ships   after the war, based on his wartime work. Arthur Lismer similarly painted a series of dazzle ship canvases.

Intended purposes

At first glance, dazzle seems an unlikely form of camouflage, drawing attention to the ship rather than hiding it. The approach was developed after Allied navies were unable to develop effective means to hide ships in all weather conditions. The British zoologist John Graham Kerr proposed the application of camouflage to British warships in the First World War, outlining what he believed to be the applicable principle, disruptive camouflage, in a letter to Winston Churchill in 1914 explaining the goal was to confuse, not to conceal, by disrupting a ship's outline. Kerr compared the effect to that created by the patterns on a series of land animals, the giraffe, zebra and jaguar.

Taking up the zebra example, Kerr proposed that the vertical lines of ships' masts be disrupted with irregular white bands. Hiding these would make ships less conspicuous, and would "greatly increase the difficulty of accurate range finding". However, in the same letter, Kerr also called for countershading, the use of paint to obliterate self-shading and thus to flatten out the appearance of solid, recognisable shapes. For example, he proposed painting ships' guns grey on top, grading to white below, so the guns would disappear against a grey background.

Similarly, he advised painting shaded parts of the ship white, and brightly lit parts in grey, again with smooth grading between them, making shapes and structures invisible. Kerr was thus hoping to achieve both a measure of invisibility and a degree of confusion for the enemy using a rangefinder. Whether through this mixing of goals, or the Admiralty's scepticism about "any theory based upon the analogy of animals", the Admiralty claimed in July 1915 to have conducted "various trials" and decided to paint its ships in monotone grey, not adopting any of Kerr's suggestions. It had made up its mind, and all Kerr's subsequent letters achieved nothing.

The American artist Abbott Handerson Thayer had developed a theory of camouflage based on countershading and disruptive coloration, which he had published in the controversial 1909 book Concealing-Coloration in the Animal Kingdom. Seeing the opportunity to put his theory into service, Thayer wrote to Churchill in February 1915, proposing to camouflage submarines by countershading them like fish such as mackerel, and advocating painting ships white to make them invisible. His ideas were considered by the Admiralty, but rejected along with Kerr's proposals as being "freak methods of painting ships ... of academic interest but not of practical advantage".

The Admiralty noted that the required camouflage would vary depending on the light, the changing colours of sea and sky, the time of day, and the angle of the sun. Thayer made repeated and desperate efforts to persuade the authorities, and in November 1915 travelled to England where he gave demonstrations of his theory around the country. He had a warm welcome from Kerr in Glasgow, and was so enthused by this show of support that he avoided meeting the War Office, who he had been intending to win over, and instead sailed home, continuing to write ineffective letters to the British and American authorities.

The marine artist and Royal Naval Volunteer Reserve officer Norman Wilkinson, agreed with Kerr that dazzle's aim was confusion rather than concealment, but disagreed about the type of confusion to be sown in the enemy's mind. What Wilkinson wanted to do was to make it difficult for an enemy to estimate a ship's type, size, speed, and heading, and thereby confuse enemy ship commanders into taking mistaken or poor firing positions. An observer would find it difficult to know exactly whether the stern or the bow was in view; and it would be correspondingly difficult to estimate whether the observed vessel was moving towards or away from the observer's position.

Wilkinson advocated "masses of strongly contrasted colour" to confuse the enemy about a ship's heading. Thus, while dazzle, in some lighting conditions or at close ranges, might actually increase a ship's visibility, the conspicuous patterns would obscure the outlines of the ship's hull (though admittedly not the superstructure ), disguising the ship's correct heading and making it harder to hit.

Dazzle was created in response to an extreme need, and hosted by an organisation, the Admiralty, which had already rejected an approach supported by scientific theory: Kerr's proposal to use "parti-colouring" based on the known camouflage methods of disruptive coloration and countershading. This was dropped in favour of an admittedly non-scientific approach, led by the socially well-connected Wilkinson. Kerr's explanations of the principles were clear, logical, and based on years of study, while Wilkinson's were simple and inspirational, based on an artist's perception. The decision was likely because the Admiralty felt comfortable with Wilkinson, in sharp contrast to their awkward relationship with the stubborn and pedantic Kerr.

Wilkinson claimed not to have known of the zoological theories of camouflage of Kerr and Thayer, admitting only to having heard of the "old invisibility-idea" from Roman times.

Disrupting rangefinding
In 1973, the naval museum curator Robert F. Sumrall (following Kerr ) suggested a mechanism by which dazzle camouflage may have sown the kind of confusion that Wilkinson had intended for it. Coincidence rangefinders used for naval artillery had an optical mechanism, operated by a human to compute the range. The operator adjusted the mechanism until the two half-images of the target lined up in a complete picture. Dazzle, Sumrall argued, was intended to make that hard, as clashing patterns looked abnormal even when the two halves were aligned, something that became more important when submarine periscopes included such rangefinders. Patterns sometimes also included a false bow wave to make it difficult for an enemy to estimate the ship's speed.

Disguising heading and speed

The historian Sam Willis argued that since Wilkinson knew it was impossible to make a ship invisible with paint, the "extreme opposite" was the answer, using conspicuous shapes and violent colour contrasts to confuse enemy submarine commanders. Willis pointed out, using the HMT Olympic dazzle scheme as an example, that different mechanisms could have been at work. The contradictory patterns on the ship's funnels could imply the ship was on a different heading (as Wilkinson had said ). The curve on the hull below the front funnel could seem to be a false bow wave, creating a misleading impression of the ship's speed. And the striped patterns at bow and stern could create confusion about which end of the ship was which.

That dazzle did indeed work along these lines is suggested by the testimony of a U-boat captain:

"It was not until she was within half a mile that I could make out she was one ship [not several] steering a course at right angles, crossing from starboard to port. The dark painted stripes on her after part made her stern appear her bow, and a broad cut of green paint amidships looks like a patch of water. The weather was bright and visibility good; this was the best camouflage I have ever seen."

Motion dazzle
In 2011, the scientist Nicholas E. Scott-Samuel and colleagues presented evidence using moving patterns on a computer that human perception of speed is distorted by dazzle patterns. However, the speeds required for motion dazzle are much larger than were available to First World War ships: Scott-Samuel notes that the targets in the experiment would correspond to a dazzle-patterned Land Rover vehicle at a range of 70 m, travelling at 90 km/h. If such a dazzling target causes a 7% confusion in the observed speed, a rocket propelled grenade travelling that distance in half a second would strike 90 cm from the intended aiming point, or 7% of the distance moved by the target. This might be enough to save lives in the dazzle-patterned vehicle, and perhaps to cause the missile to miss entirely.

British Royal Navy
In 1914, Kerr persuaded the First Lord of the Admiralty, Winston Churchill, to adopt a form of military camouflage which he called "parti-colouring". He argued both for countershading (following the American artist Abbott Thayer), and for disruptive coloration, both as used by animals. A general order to the British fleet issued on 10 November 1914 advocated use of Kerr's approach. It was applied in various ways to British warships such as HMS Implacable (1899), where officers noted approvingly that the pattern "increased difficulty of accurate range finding". However, following Churchill's departure from the Admiralty, the Royal Navy reverted to plain grey paint schemes, informing Kerr in July 1915 that "various trials had been undertaken and that the range of conditions of light and surroundings rendered it necessary to modify considerably any theory based upon the analogy of [the colours and patterns of] animals".

The British Army inaugurated its Camouflage Section for land use at the end of 1916. At sea in 1917, heavy losses of merchant ships to Germany's unrestricted submarine warfare campaign led to new desire for camouflage. The marine painter Norman Wilkinson promoted a system of stripes and broken lines "to distort the external shape by violent colour contrasts" and confuse the enemy about the speed and dimensions of a ship.

Wilkinson, then a lieutenant commander on Royal Navy patrol duty, implemented the precursor of "dazzle" beginning with the merchantman SS Industry. Wilkinson was put in charge of a camouflage unit which used the technique on large groups of merchant ships. Over 4000 British merchant ships were painted in what came to be known as "dazzle camouflage"; dazzle was also applied to some 400 naval vessels, starting in August 1917.

All British patterns were different, first tested on small wooden models viewed through a periscope in a studio. Most of the model designs were painted by women from London's Royal Academy of Arts. A foreman then scaled up their designs for the real thing. Painters, however, were not alone in the project. Creative people including sculptors, artists, and set designers designed camouflage.

Wilkinson's dazzle camouflage was accepted by the Admiralty, even without practical visual assessment protocols for improving performance by modifying designs and colours. The dazzle camouflage strategy was adopted by other navies. This led to more scientific studies of colour options which might enhance camouflage effectiveness.

After the war, starting on 27 October 1919, an Admiralty committee met to determine who had priority for the invention of dazzle. Kerr was asked whether he thought Wilkinson had personally benefited from anything that he, Kerr, had written. Kerr avoided the question, implying that he had not, and said "I make no claim to have invented the principle of parti-colouring, this principle was, of course, invented by nature". He agreed also that he had not suggested anywhere in his letters that his system would "create an illusion as to the course of the vessel painted". In October 1920 the Admiralty told Kerr that he was not seen as responsible for dazzle painting. In 1922 Wilkinson was awarded the sum of £2000 for the invention.

Royal Flying Corps

In the First World War, experiments were conducted on British aircraft such as the Royal Flying Corps' Sopwith Camels to make their angle and direction difficult to judge for an enemy gunner. Similarly the Royal Navy painted some of their Felixstowe flying boats with bold disrupting lines similar to those of their ship camouflage. The effect remained dubious, but was found to reduce the incidence of the planes being targeted by anti-aircraft gunners on their own side.

Effectiveness
Dazzle's effectiveness was highly uncertain at the time of the First World War, but it was nonetheless adopted both in the UK and North America. In 1918, the Admiralty analysed shipping losses, but was unable to draw clear conclusions. Dazzle ships had been attacked in 1.47% of sailings, compared to 1.12% for uncamouflaged ships, suggesting increased visibility, but as Wilkinson had argued, dazzle was not attempting to make ships hard to see. Suggestively, of the ships that were struck by torpedoes, 43% of the dazzle ships sank, compared to 54% of the uncamouflaged.

Similarly, 41% of the dazzle ships were struck amidships, compared to 52% of the uncamouflaged. These comparisons could be taken to imply that submarine commanders had more difficulty in deciding where a ship was heading and where to aim. Furthermore, the ships painted in dazzle were larger than the uncamouflaged ships, 38% of them being over 5000 tons compared to only 13% of uncamouflaged ships, making comparisons unreliable.

With hindsight, too many factors (choice of colour scheme; size and speed of ships; tactics used) had been varied for it to be possible to determine which factors were significant or which schemes worked best. Thayer did carry out an experiment on dazzle camouflage, but it failed to show any reliable advantage over plain paintwork.

The American data were analysed by Harold Van Buskirk in 1919. About 1,256 ships were painted in dazzle between 1 March 1918 and the end of the war on 11 November that year. Among American merchantmen 2,500 tons and over, 78 uncamouflaged ships were sunk, and only 18 camouflaged ships; out of these 18, 11 were sunk by torpedoes, 4 in collisions and 3 by mines. No US Navy ships (all camouflaged) were sunk in the period.

Ships

However effective dazzle camouflage may have been in World War I, it became less useful as rangefinders and especially aircraft became more advanced, and, by the time it was put to use again in World War II, radar further reduced its effectiveness. However, it may still have confounded enemy submarines.

In the Royal Navy, dazzle paint schemes reappeared in January 1940. These were unofficial, and competitions were often held between ships for the best camouflage patterns. The Royal Navy's Camouflage Department came up with a scheme devised by a young naval officer, Peter Scott, a wildlife artist, which were developed into the Western Approaches Schemes. In 1942 the Admiralty Intermediate Disruptive Pattern came into use, followed in 1944 by the Admiralty Standard Schemes. Dazzle patterns were tested on small model ships at the Royal Navy's Directorate of Camouflage in Leamington Spa; these were painted and then viewed in a shallow tank on the building's roof.

The United States Navy implemented a camouflage painting program in World War II, and applied it to many ship classes, from patrol craft and auxiliaries to battleships and some Essex-class aircraft carriers. The designs (known as Measures, each identified with a number) were not arbitrary, but were standardised in a process which involved a planning stage, then a review, and then fleet-wide implementation.

Not all United States Navy measures involved dazzle patterns; some were simple or even totally unsophisticated, such as a false bow wave on traditional Haze Gray, or Deck Blue replacing grey over part or all of the ship (the latter to counter the kamikaze threat). Dazzle measures were used until 1945; in February 1945 the United States Navy's Pacific Fleet decided to repaint its ships in non-dazzle measures against the kamikaze threat, while the Atlantic Fleet continued to use dazzle, ships being repainted if transferred to the Pacific.

Nazi Germany's Kriegsmarine first used camouflage in the 1940 Norwegian campaign. A wide range of patterns were authorised, but most commonly black and white diagonal stripes were used. Most patterns were designed to hide ships in harbour or near the coast; they were often painted over with plain grey when operating in the Atlantic.

Aircraft
In 1940, the US Navy conducted experiments with dazzle-type camouflage for aircraft. The artist McClelland Barclay designed "pattern camouflage" schemes for US Navy aircraft such as the Douglas TBD Devastator and the Brewster F2A Buffalo to make it difficult for the enemy to gauge the shape and position of the aircraft. The camouflaged aircraft were flown in combat, but the effect was found not to be satisfactory.

Renewed naval use

In 2019, the Royal Canadian Navy frigate HMCS Regina was painted in a 1944 pattern to commemorate the 75th anniversary of the Battle of the Atlantic; the pattern was described variously as "dazzle" and "disruptive". In 2021, the Royal Navy painted HMS Tamar, a River-class offshore patrol vessel, in patches of black and four shades of grey. It described this as "dazzle camouflage", making the ship the first Royal Navy vessel to have such a paint scheme since the Second World War. It stated that the scheme was "more about supporting the unique identity of the squadron" than for concealment. HMS Spey (P234) and most recently HMS Medway (P223) River-class offshore patrol vessel has been painted in this Dazzle Camouflage.

For concealment purposes, the United States Navy littoral combat ship USS Freedom used the "Measure 32" paint scheme during a deployment to Singapore in 2013. It was also reported that during the Russian invasion of Ukraine, the Russian Navy painted "dark stripes on its warships to make them look smaller and confuse Ukrainian drones".

Arts
The abstract patterns in dazzle camouflage inspired artists including Picasso. He claimed credit for camouflage experiments, which seemed to him a quintessentially Cubist technique. In a conversation with Gertrude Stein shortly after he first saw a painted cannon trundling through the streets of Paris he remarked, "Yes it is we who made it, that is cubism". In Britain, Edward Wadsworth, who supervised dazzle camouflage painting in the war, created a series of canvases after the war based on his dazzle work on ships. His work later inspired Peter Saville's cover and the title of Orchestral Manoeuvres in the Dark's 1983 album Dazzle Ships. In Canada, Arthur Lismer used dazzle ships in some of his wartime compositions. In America, Burnell Poole painted canvases of United States Navy ships in dazzle camouflage at sea. The historian of camouflage Peter Forbes comments that the ships had a Modernist look, their designs succeeding as avant-garde or Vorticist art.

In 2007, the art of camouflage, including the evolution of dazzle, was featured as the theme for a show at the Imperial War Museum. In 2009, the Fleet Library at the Rhode Island School of Design exhibited its rediscovered collection of lithographic printed plans for the camouflage of American World War I merchant ships, in an exhibition titled "Bedazzled".

In 2014, the Centenary Art Commission backed three dazzle camouflage installations in Britain: Carlos Cruz-Diez covered the pilot ship MV Edmund Gardner in Liverpool's Canning Dock with bright multi-coloured dazzle artwork, as part of the city's 2014 Liverpool Biennial art festival; and Tobias Rehberger painted HMS President (1918), anchored since 1922 at Blackfriars Bridge in London, to commemorate the use of dazzle, a century on. Peter Blake was commissioned to design exterior paintwork for MV Snowdrop, a Mersey Ferry, which he called "Everybody Razzle Dazzle", combining his trademark motifs (stars, targets etc.) with First World War dazzle designs.

Other uses

In civilian life, patterns reminiscent of dazzle camouflage are sometimes used to mask a test car during trials, to make determining its exterior design difficult. During the 2015 Formula 1 testing period, the Red Bull RB11 car was painted in a scheme intended to confound rival teams' ability to analyse its aerodynamics.

The designer Adam Harvey has similarly proposed a form of camouflage reminiscent of dazzle for personal camouflage from face-detection technology, which he calls computer vision dazzle. Its intention is to block detection by facial recognition technologies such as DeepFace "by creating an 'anti-face. It uses occlusion, covering certain facial features; transformation, altering the shape or colour of parts of the face; and a combination of the two.

The Sea Shepherd Conservation Society has used dazzle patterns on its fleet since 2009 for recognition rather than camouflage.

English football team Manchester United used a football kit during the 2020–21 season that resembled a dazzle design.

title: Dazzle camouflage


text:
Sender Zehlendorf

Sender Zehlendorf or Zehlendorf (radio) transmission facility was a radio transmission facility which was in service since 1936, when a short wave transmitter was built on the occasion of the Berlin 1936 Summer Olympics in Zehlendorf (a village near Oranienburg) as part of the establishment of permanent radio services. This Zehlendorf site, which until the end of World War II was referred to as the Rehmate Radio Transmission Centre (Funksendestelle Rehmate), had 26 different antennas at the time (that is, before and at the end of World War II).

In 2017 the last antenna at the site was demolished by controlled implosion, ending the era of the transmission towers in Zehlendorf.

History
In 1945, most of the Rehmate Radio Transmission Centre was dismantled by the Soviet occupying forces as reparation, who left only three wooden radio masts. Two of these wooden masts supplied the building material for a 100-metre-tall transmission tower built at Golm in 1948, which was used until 1979.

In 1952 it was decided to build at the location of the former radio transmission center Rehmate the central long wave transmitter of the GDR. For this between 1956 and 1958 a triangle plane aerial, which was hung up on three 150 metres high guyed masts of lattice steel, which were insulated against ground, was built. A second transmitting antenna, which would become the main antenna, was built between 1960 and 1962. It consisted of a 351 m, lattice steel framework mast, at which a conical cage aerial was mounted, making it the tallest structure in Europe between 1962 and 1964. With this antenna a transmitting power of 750 kilowatts in the long-wave range on a frequency, which was reduced in course of the time gradually for the reduction by interference from 185 kHz to 177 kHz, was possible. The maximum transmitting power, which was possible over the triangle plane aerial, was 500 kilowatts.

On 18 May 1978 the main mast collapsed after being struck by a Russian airplane of the type Mig-21. After the cause of the collapse was certain, the Soviet Union promised to supply a new mast and to rebuild the mast. In order not to stop the progress of the construction work by the stricter German safety regulations, for the duration of the construction work the area in the radius of 300 metres was explained as Soviet exclave. In August 1979 the new mast with a height of 359.7 metres was finished.

In 1990 the plant was taken over by the Deutsche Telekom AG. At first it was planned to shut down the facility: so the cage aerial at the 359.7 m main mast was dismantled and the transmitting power of the long wave transmitter was reduced occasionally to 100 kilowatts. In the second half of the 1990s a reorientation occurred. The long wave transmitter was modernized and the main antenna tower received a new cage aerial. Also the transmitting power of the long wave transmitter was increased again to 500 kW. In the year 2000 a 129 m, guyed, grounded mast of lattice steel carrying a cage aerial for medium wave was built. This took over the function of the former Transmitter Berlin-Koepenick and served apart from the spreading of the program of MEGARADIO also for transmitting of programs of the Voice of Russia, partly in the Simulcast mode.

The long wave transmitter changed over on 29 August 2005 as first German large transmitter to Digital Radio Mondiale. The long wave transmitter ceased operation on December 31, 2014 as part of the general shutdown in Germany of AM radio services to the public. The mast continued to support VHF radio antennas providing FM broadcast services.

The triangle plane antenna masts (3 of them, 150 meters high each) were demolished in 2007, with the antenna itself having been taken out of service in 2003.

In 2015, the 129-meter mast was demolished; transmission from it had ceased in 2014.

The last mast (the highest, main mast of 359.7 meters height) at the site was demolished in 2017, and radio operations at the site ended.

title: Sender Zehlendorf


text:
Sukhoi Su-9 (1946)

The Sukhoi Su-9 (Самолёт K; USAF/DoD designation: Type 8) was an early jet fighter built in the Soviet Union shortly after World War II. The design began in 1944 and was intended to use Soviet-designed turbojet engines. The design was heavily influenced by captured German jet fighters and it was subsequently redesigned to use a Soviet copy of a German turbojet. The Su-9 was slower than competing Soviet aircraft and it was cancelled as a result. A modified version with different engines and a revised wing became the Su-11 (Samolyot KL), but this did not enter production either. The Su-13 (Samolyot KT) was a proposal to re-engine the aircraft with Soviet copies of the Rolls-Royce Derwent turbojet as well as to modify it for night fighting, but neither proposal was accepted.

Su-9
In 1944, the Sukhoi design bureau (OKB) began designing a twin-engined fighter powered by two Lyulka TR-1 turbojets, known internally as the Samolyet or Izdeliye (item or product) K. The ultimate design was very probably influenced by a captured Messerschmitt Me 262, but the Su-9 was not a copy of the German aircraft. The Su-9 had an oval cross-section, all-metal stressed skin monocoque fuselage that housed a single cockpit. The pilot was protected by armor plates to his front, an armored seat back and a bulletproof windscreen for the bubble canopy. He was provided with an ejection seat, copied from that used in the Heinkel He 162. The aircraft carried a total of 1350 kg of fuel in two bladder tanks, one each ahead and behind the pilot. The low-mounted, straight wing had a single-spar and a slight dihedral of 4°20'. The outer flaps were split and could act as air brakes. The Su-9 was the first Soviet aircraft to use hydraulic-powered controls. A Soviet copy of the Junkers Jumo 004B turbojet, known as the RD-10, was hung under each wing in a streamlined nacelle. The aircraft had a tricycle undercarriage that retracted into the fuselage. The Su-9 was designed with a very high wing loading which increased the aircraft's speed and reduced its dimensions. This consequently increased the take-off and landing speeds so it was equipped with a provision for two JATO bottles (11.27 kN (530 lbf) thrust for 8 seconds) mounted on the sides of the fuselage. These reduced the take-off distance by nearly 50 percent and a braking parachute was fitted to reduce the landing distance.

The nose housed the armament of one 37 mm Nudelman N-37 autocannon and two 23 mm Nudelman-Suranov NS-23 autocannon. The N-37 could be replaced by a 45 mm Nudelman-Suranov NS-45. The aircraft carried 100 rounds for each NS-23 and 40 rounds for the N-37. Two 250 kg FAB-250 high explosive bombs could be carried underneath the forward fuselage, but the N-37 had to be dismounted to do so.

As the TR-1 engines originally intended for the Su-9 were not yet ready for flight testing in late 1945, Pavel Sukhoi suggested substituting a pair of Jumo 004 engines and this was approved on 15 December. The full-scale mockup was found to be acceptable on 16 February 1946 and the Council of People's Commissars issued an order on 26 February that the manufacturer's flight testing was to begin on 1 November. This goal was not met because the OKB was heavily committed to other projects like the trainer version of the Tupolev Tu-2 bomber, inexperience with JATO units, and late delivery of RD-10 engines. The first prototype was completed in mid-October and made its first flight on 13 November. The test pilots found the aircraft easy to fly, but the control forces were very high at speed and it lacked enough directional stability. Enlarging the vertical stabilizer cured this last problem and hydraulic boosters were fitted for the control system.

The aircraft was revealed to the general public on 3 August 1947 at a flypast at Moscow's Tushino Airfield and the aircraft began its state acceptance trials three days later. Flight testing was completed by 25 May 1948 after 136 flights had been completed. It demonstrated a top speed of 885 km/h at an altitude of 8000 m and an endurance of one hour and 44 minutes. It had very docile handling qualities with one engine inoperative. The aircraft was recommended for production, but it was significantly slower than the Mikoyan-Gurevich MiG-9 and Yakovlev Yak-15. The government declined to do so and the program was terminated.

A two-seat trainer version, the Su-9UT, was planned during 1946, but it too was cancelled. The cockpit for the student would have been positioned ahead of the instructor's cockpit and each would have had a separate canopy. The armament would have been reduced to a pair of 20 mm Berezin B-20 autocannon, each with a hundred rounds of ammunition. The armor would have been removed to save weight.

Su-11
Another prototype was begun in 1946, but this aircraft was intended to use the Yakovlev-designed version of the afterburning RD-10F engine. However, wind tunnel testing of the Su-9 in September revealed that drag could be reduced if the engine nacelles were mounted in the wing rather than underneath it, and the wing tips were redesigned to use a different airfoil that significantly reduced Mach tuck. These changes required that the entire wing be redesigned; the wing spar was bent into an inverted U to accommodate the engines and slotted flaps replaced the simple flaps previously used. The tailplane was given a 5° dihedral to move it out of the engine exhaust.

Before the prototype was finished, Sukhoi was ordered to use the Lyulka TR-1 turbojets originally intended for the Su-9. This aircraft was designated the Su-11 and was called Samolyet KL by the OKB. Each TR-1 developed only 12.7 kN (2,865 lbf) thrust each, rather than the 15 kN (3300 lbf) required. The aircraft made its first flight on 28 May 1947 and also participated in the flypast at Tushino in August. It had a maximum speed of 940 km/h at sea level, but flight testing revealed that it lacked longitudinal stability at high speeds. Modifications of the wing/nacelle fillets and lengthening the engine nacelles failed to cure these problems. Coupled with the unavailability of mature TR-1 engines, these problems caused the program to be cancelled.

Su-13
The Su-13, (Samolyet KT), was the final attempt to further increase performance of the basic Su-9 design, using wing sections reduced from 11% to 9% thickness/chord ratio and swept tailplanes. The aircraft was also fitted with a pair of Klimov RD-500 (unlicensed copies of the Rolls-Royce Derwent) engines with 15.6 kN (3,500 lbf) thrust each. The armament was changed to three 37 mm Nudelman N-37 cannon, while drop tanks could be fitted underneath the wingtips. A night fighter version with a Torii radar was also proposed, but this required major structural changes to accommodate the radar. Neither version made it off the drawing board.

Operators

 * Soviet Air Force
 * Soviet Air Force

Variants

 * Su-9UT – Planned two-seat trainer version, never built.
 * Su-11 (Samolyet KL) – Modified Su-9 with new wings and Lyulka TR-1 engines. One prototype built.
 * Su-13 (Samolyet KT) – Su-9 with Klimov RD-500 engines. Night fighter version also proposed. Neither version was built.

title: Sukhoi Su-9 (1946)


text:
Volume integral

In mathematics (particularly multivariable calculus), a volume integral (∭) is an integral over a 3-dimensional domain; that is, it is a special case of multiple integrals. Volume integrals are especially important in physics for many applications, for example, to calculate flux densities, or to calculate mass from a corresponding density function.

In coordinates
It can also mean a triple integral within a region $$D \subset \R^3$$ of a function $$f(x,y,z),$$ and is usually written as: $$\iiint_D f(x,y,z)\,dx\,dy\,dz.$$

A volume integral in cylindrical coordinates is $$\iiint_D f(\rho,\varphi,z) \rho \,d\rho \,d\varphi \,dz,$$ and a volume integral in spherical coordinates (using the ISO convention for angles with $$\varphi$$ as the azimuth and $$\theta$$ measured from the polar axis (see more on conventions)) has the form $$\iiint_D f(r,\theta,\varphi) r^2 \sin\theta \,dr \,d\theta\, d\varphi .$$

Example
Integrating the equation $$ f(x,y,z) = 1 $$ over a unit cube yields the following result: $$\int_0^1 \int_0^1 \int_0^1 1 \,dx \,dy \,dz = \int_0^1 \int_0^1 (1 - 0) \,dy \,dz = \int_0^1 \left(1 - 0\right) dz = 1 - 0 = 1$$

So the volume of the unit cube is 1 as expected. This is rather trivial however, and a volume integral is far more powerful. For instance if we have a scalar density function on the unit cube then the volume integral will give the total mass of the cube. For example for density function: $$ \begin{cases} f: \R^3 \to \R \\ f: (x,y,z) \mapsto x+y+z \end{cases}$$ the total mass of the cube is: $$\int_0^1 \int_0^1 \int_0^1 (x+y+z) \,dx \,dy \,dz = \int_0^1 \int_0^1 \left(\frac 1 2 + y + z\right) dy \,dz = \int_0^1 (1 + z) \, dz = \frac 3 2$$

title: Volume integral


text:
File:KUOMINTANG.jpg

this is free to distribute over the net

title: File:KUOMINTANG.jpg


text: User talk:68.163.7.98

title: User talk:68.163.7.98


text:
John Norum

John Terry Norum (born 23 February 1964) is a Norwegian-Swedish guitarist and one of the founders of the rock band Europe. Concurrent to his role with Europe, he also maintains a career as a solo artist.

Biography
As an infant, Norum moved with his parents to Upplands Väsby (a Stockholm suburb), where he grew up and has spent most of his life.

During his career in music, Norum has played with Eddie Meduza & the Roaring Cadillacs, Dokken, Don Dokken's solo band, as well as collaborated with other well-known artists on his solo albums, including Glenn Hughes, Kelly Keeling, Peter Baltes, Simon Wright and Göran Edman. His influences include Gary Moore, Michael Schenker, Frank Marino, John Sykes and Ritchie Blackmore.

In 1979, John Norum formed Force, which was Europe's first name, with vocalist Joey Tempest. Europe participated in and won the "Rock Sm", Swedish championship of rock, broadcast on television in 1982, with Norum being voted best guitarist and Joey best vocalist. The championship prize was the recording of a studio album by a small Swedish label.

The album Europe was released in February 1983, and became a hit in the band's home country and in Japan. In February 1984 Wings of Tomorrow, the band's next album was released, and the band started to become very popular on the Swedish scene, touring throughout the country, and also gaining recognition in Japan. The band signed to Epic Records in 1985 and recorded the album The Final Countdown at the end of the year. In May 1986, The Final Countdown was released, and quickly achieved success in several European countries, Japan, and United States. A series of disagreements between Norum and the band's manager Thomas Erdtman began to occur even before the tour began, which led the guitarist to decide to leave the band in October 1986.

After having left Europe, Norum signed a solo contract for three studio albums with Europe's label. His solo debut, Total Control, was released in October 1987. Norum sang on almost all of the songs, while Göran Edman sang on the other three. The album was successful in Sweden, getting to No. 4 in the Swedish charts and gaining platinum status (the single "Let Me Love You" also went to No. 4 in the Swedish charts; the ballad "Back on the Streets" to No. 34 Billboard US Rock). Norum won all the music awards of the year in the country in 1988. The band toured Sweden. Their last show took place at the Hammersmith Odeon in London, England in late 1988. Norum's talent, evident on albums with Europe and his first solo album, sparked the interest of vocalist Don Dokken of the American band Dokken, who split up in 1988. Norum was enlisted to contribute to the album Up from the Ashes, which came out as Don Dokken's first solo album in 1990, and they went on tour in 1991. In 1990, Norum released a mini EP live, recorded in 1988, Live in Stockholm.

In 1992, the album Face the Truth was released. The album was a project with former Deep Purple frontman Glenn Hughes, with Hughes singing practically all of the songs. Joey Tempest also guested on the album.

In 1995, the album Another Destination was released, being his last release for Epic Records. He toured behind the album in Sweden with new vocalist, Kelly Keeling, who had also sung on the album. In December 1996, another album, Worlds Away released (again with Keeling singing), through a new record company, Mascot Records. The following year, a show in Japan was recorded (with new singer, Leif Sundin), which was released as the Face It Live album. At the end of 1997, John Norum performed 15 shows as part of Dokken in the United States, replacing George Lynch who had once again left the band.

In 1999, Norum released his last solo album before his return to Europe, Slipped into Tomorrow, with him on vocals. He went on tour in Scandinavia, with Thin Lizzy guitar player Brian Robertson playing songs of that band.

At the turn of the millennium, Norum participated in Europe's inaugural concert for Swedish TV, playing with the band again after 14 years of absence. He again joined the band that same year, this time at the Hard Rock Cafe in Stockholm, to play "Rock the Night".

In 2001, Norum joined Dokken as an official member. They toured the United States in 2001 and in 2002 released the Long Way Home album. During a tour of Europe, not satisfied with Don Dokken's temperament, he decided to leave the band. In 2003, Europe announced its official reforming of the classic five-man lineup, with Norum officially returning to the band, having not been a member for 17 years. He refused an offer by UFO before rejoining Europe (Norum had already rejected an offer from UFO in 1996, plus Michael Schenker who had left, upon learning of the offer made to Norum, returned to the band).

Since 2004, Europe has released six further studio albums, while Norum released a further sixth and seventh solo album, Optimus in 2005, and Play Yard Blues in 2010, singing on both albums. His latest solo album Gone to Stay was released in 2022.

Personal life
Norum started and developed his musical career in Sweden, but has also lived in the United States for a few years, where he met and married Michelle Meldrum, founder and lead guitarist of the all-female hard rock band Phantom Blue and the Swedish metal band Meldrum, in 1995. The couple had one son, Jake Thomas, born on 22 September 2004. On 21 May 2008, Michelle died from a cystic growth in her brain. Another son, Jim Henry, was born on 16 April 2012, to him and his Swedish fiancée Camilla Wåhlander. The couple also had a daughter, Celine Margareta, born on 28 July 2014.

Norum is the older brother of singer Tone Norum. and his stepfather is Thomas Witt, a former record producer, Columbia executive and drummer for Eddie Meduza.

Equipment
His guitar goes through the Wah into the chorus pedal, from where the separate outputs connect to the two amp heads, with the delay connected in the effects loop of the JCM 800 only.
 * Fender Stratocaster guitars
 * Gibson Les Paul guitars
 * Gibson Flying V guitars
 * Paoletti John Norum Signature guitars
 * Marshall JCM 800 2205 head
 * Marshall '72 4x12 Cabinets with Celestion Greenbacks
 * Dunlop Cry Baby Joe Bonamassa Wah Wah pedal
 * Boss CE-2 Chorus pedal
 * MXR Carbon Copy Analog Delay pedal
 * MXR Phase 90 pedal
 * Roland SDE 3000 Digital Delay
 * Shure microphones

Discography
Eddie Meduza
 * Eddie Meduza & the Roaring Cadillacs (1979)
 * The Eddie Meduza Rock 'n' Roll Show (1979)
 * Dåren É Lös! - The Roaring Cadillac's Live (1983)
 * West A Fool Away (1984)

Europe
 * Europe (1983)
 * Wings of Tomorrow (1984)
 * The Final Countdown (1986)
 * Start from the Dark (2004)
 * Secret Society (2006)
 * Last Look at Eden (2009)
 * Bag of Bones (2012)
 * War of Kings (2015)
 * Walk the Earth (2017)

As soloist
 * Total Control (1987)
 * Face the Truth (1992)
 * Another Destination (1995)
 * Worlds Away (1996)
 * Slipped into Tomorrow (1999)
 * Optimus (2005)
 * Play Yard Blues (2010)
 * Gone to stay (2022)

Don Dokken
 * Up from the Ashes (1990)

Dokken
 * Long Way Home (2002)

Filmography

 * On the Loose (1985)

title: John Norum


text:
Damoiseau (crater)

Damoiseau is a lunar impact crater that is located just to the west of the Oceanus Procellarum, in the western part of the Moon's near side. It lies due east of the prominent crater Grimaldi, a walled plain with a distinctive dark floor. Due south of Damoiseau is the crater Sirsalis.

The low outer rim of Damoiseau is not quite circular, having an outward protrusion to the northeast and smaller bulges to the north and southeast. The interior floor is irregular and complex, with a series of ridges and small clefts (similar to Vitello). The crater is concentric with a larger, older crater designated Damoiseau M that is approximately twice the diameter. This outer feature is missing a rim to the northeast where it intersects the lunar mare.

To the southeast is a rille system named the Rimae Grimaldi. This continues to the west and south, for a maximum dimension of 230 kilometers.

Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Damoiseau.

title: Damoiseau (crater)


text:
User:Jiangshan

HI, 我是江山, 我是中國未来的希望.

title: User:Jiangshan


text:
A. J. Croce

Adrian James "A.J." Croce (born September 28, 1971) is an American singer-songwriter. His parents are Ingrid Croce and Jim Croce.

Early life
Croce was born in Bryn Mawr, Pennsylvania, on September 28, 1971, the son of singers Jim Croce, who was from an Italian Roman Catholic family, and Ingrid Croce, who is Jewish. His father died in a plane crash in September 1973, at age 30, eight days before A.J.'s second birthday. Shortly before his father's death, in the summer of 1973, the family moved to San Diego. When he was four years old, he was temporarily blinded as a result of abuse from his mother's boyfriend. He was hospitalized for six months and was totally blind in both eyes for six years. Croce grew up listening to Ray Charles, Sam Cooke, a lot of soul music, early rock 'n' roll, jazz, and blues. He learned how to play the piano, inspired by Ray Charles and Stevie Wonder. He later regained sight in one eye. For junior high, Croce attended Hebrew school. When he was 15, in 1987, the family's house burned down.

Career
Croce's first paying gig was at the age of 12, when he was paid $20 to perform 25–30 minutes of cover versions at a bar mitzvah party. Croce played music for a living from the age of 15. By the age of 16, Croce was performing regularly at San Diego nightclubs as a sideman and band leader.

When he was 17, while staying at the house of Arlo Guthrie, he met Mae Boren Axton, who invited him to Nashville to record with Jack Clement.

Ron Goldstein and Peter Baumann of Private Music signed Croce to his first recording contract, at age 19. He recorded two albums for Private Music: his self-titled debut, A. J. Croce, produced by T-Bone Burnett and John Simon; and That's Me in the Bar, produced by Jim Keltner, and featuring Ry Cooder and David Hidalgo.

Croce's third album, Fit to Serve, was recorded in 1998 in Memphis and produced by Jim Gaines, who produced Van Morrison, Carlos Santana, and the Steve Miller Band.

Songs on Transit, released in 2000, were compared to the works of The Beatles, Elvis Costello, and The Posies.

In 2003, Croce launched his own record label, Seedling Records.

Croce's next three albums were self-produced. Adrian James Croce, Croce's only pop-oriented album, was the only independently produced album of 2004 to chart in the Top 40 in the U.S. The album won Best Pop album at the 2004 San Diego Music Awards. His 2006 album, Cantos, on his own label, Seedling Records, features Ben Harper. In 2009, his album Cage of Muses was released on Seedling, garnering a 4-star review from Rolling Stone.

In 2012, he publicly performed an entire set of his father's songs for the first time.

In 2013, Croce signed with Compass Records and released Twelve Tales. He recorded two songs with each of six producers in five U.S. cities over 12 months, releasing one song per month exclusively on iTunes in 2013. The full album was released in 2014. The album's producers were Jack Clement, Allen Toussaint, Mitchell Froom, Kevin Killen, Tony Berg, and Greg Cohen. Croce co-wrote a few of the songs on Twelve Tales, including one song with Leon Russell.

In 2014, Croce spoke at TEDxLaJolla, an independently produced TED.

His 2017 album, Just Like Medicine, according to ABC News, "sounds like it was crafted with the influence of greats like Van Morrison, Bob Dylan and Elvis Costello in mind".

Personal life
Croce lives in East Nashville, Tennessee. In 2018, his wife, Marlo Gordon Croce, died of a rare and sudden heart virus while he was in the midst of his own health scare. A.J. was left a single father to two children.

Discography

 * A. J. Croce (Private Music, 1993)
 * That's Me in the Bar (Private Music, 1995)
 * Fit to Serve (1998)
 * Transit (2000)
 * Adrian James Croce (2004)
 * Early On – The American Recordings 1993–1998 (2005)
 * Cantos (2006)
 * Cage of Muses (2009)
 * Twelve Tales (2014)
 * Just Like Medicine (2017)
 * By Request (2021)

title: A. J. Croce