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Thomas Bangalter

Thomas Bangalter (born 3 January 1975) is a French musician, record producer, singer, songwriter, DJ and composer. He is best known as one half of the former French house music duo Daft Punk, alongside Guy-Manuel de Homem-Christo. He has recorded and released music as a member of the trio Stardust, the duo Together, as well as a solo artist. Bangalter's work has influenced a wide range of artists in various genres.

Bangalter owned the music label Roulé until its liquidation in 2018. He has provided compositions for several films, leading the soundtrack to Irréversible, as well as the ballet Mythologies. Outside of music production, his credits include film director and cinematographer. Bangalter is the son of French music composer and artist Daniel Vangarde.

Early life
Bangalter was born on 3 January 1975 in Paris, France. He began playing the piano at the age of 6, taking lessons from a music staff member of the Paris Opera. Bangalter has stated that his parents were strict in keeping up his practice, for which he later thanked them. His father, Daniel Vangarde, was a songwriter and producer for performers such as the Gibson Brothers, Ottawan and Sheila B. Devotion. As expressed by Bangalter, "I never had any intention to do what my father was doing". Bangalter's father is French Jewish, but the family did not consider themselves religious.

1987–2000: early years and Daft Punk formation
Bangalter met Guy-Manuel de Homem-Christo while attending the Lycée Carnot school in 1987. They discovered their mutual fascination with films and music of the 1960s and 1970s, "very basic cult teenager things, from Easy Rider to the Velvet Underground." They and Laurent Brancowitz eventually joined to form an indie rock trio called Darlin', in which Bangalter performed bass guitar. Bangalter felt that "It was still maybe more a teenage thing at that time. It's like, you know, everybody wants to be in a band." A negative review from Melody Maker magazine referred to their music as "a daft punky thrash", which inspired Bangalter and de Homem-Christo's new band name.

Shortly before reaching the age of 18, Daft Punk became interested in electronic music, which led Brancowitz to leave the group in pursuit of efforts with fellow Parisian band Phoenix. In 1993 Bangalter presented a demo of Daft Punk material to Stuart Macmillan of Slam that led to their first single "The New Wave". Daniel Vangarde provided valuable advice for the duo. "He helped us by presenting to us what the situation was with the record industry and how it worked. Knowing that, we made certain choices in order to achieve what we wanted."

In 1996, Bangalter was in a group known as Da Mongoloids, consisting of Armand Van Helden, Bangalter, and Junior Sanchez, under the record label Strictly Rhythm. They created the song "Spark da Meth", which was their only song.

Vangarde was thanked for his efforts in the liner notes of Homework. The title of the album is partially attributed to the fact that Homework was recorded in Bangalter's bedroom. As he remarked, "I had to move the bed into another room to make space for the gear." In the years following the 1997 release, Bangalter focused on his own record label, Roulé ("rolled" in French). The label released singles by Romanthony, Roy Davis Jr., and Bangalter's own solo material among others. Bangalter's solo works were released on two vinyl-only EPs titled Trax on da Rocks in 1995 and 1998 respectively. The songs "Outrun", "Extra Dry" and "Turbo" from the EPs later appeared in the video game Midnight Club II. The track "On da Rocks" was featured in a "Da Funk" behind-the-scenes video included with D.A.F.T.: A Story About Dogs, Androids, Firemen and Tomatoes. Bangalter collaborated with Alan Braxe and Benjamin Diamond and in 1998 released the club hit "Music Sounds Better with You" under the name Stardust. Just as for Homework, the single was recorded in Bangalter's home studio.

Around the same time of "Music Sounds Better with You", Bangalter co-produced Bob Sinclar's second single titled "Gym Tonic". The single caused a minor dispute as it contained samples from a Jane Fonda workout tape, which led Fonda herself to refuse permission for the single to be released officially. A different act called Spacedust released a re-recorded version of the track, titled "Gym and Tonic" under East West Records to wider commercial success. "Gym and Tonic" became a number one single in the United Kingdom shortly after "Music Sounds Better with You" had peaked at number two in the same chart.

During 1998, Bangalter and de Homem-Christo collaborated with Romanthony in what would become the first of the Discovery sessions. One of tracks produced, "One More Time" became Daft Punk's most successful single in 2000. Bangalter also performed on a Yamaha CS-60 synthesizer on the track "Embuscade" in Phoenix's debut album United, which was released the same year. He also teamed up with DJ Falcon under the name Together to release their eponymous 2000 single.

2000–2020: further Daft Punk and solo productions
Bangalter produced the score to the film Irréversible, released in 2002. A soundtrack album of the same name was later released featuring Bangalter's tracks as well as the works by Gustav Mahler, Étienne Daho and Beethoven used in the film. North American pressings of the album feature only the Bangalter tracks. Three of the tracks from the Trax on da Rocks EPs were released on the album: "Outrun", "Ventura" and "Extra Dry". 2002 also saw the release of the Bangalter produced track "113 Fout La Merde" for French hip hop group 113. Bangalter can be seen dancing in the music video, wearing his Daft Punk helmet.

Together released the single "So Much Love to Give" in 2003. The Eric Prydz track "Call on Me" based on Steve Winwood's song "Valerie" was mistakenly thought to be a Together release. According to DJ Falcon, Together had previously sampled "Valerie" similarly in their solo mixes prior to Prydz's track, but they had no intention to release it as a single. In 2005 Daft Punk released their third studio album, Human After All. As de Homem-Christo noted, "Every album we've done is tightly linked with our lives. [...] The internal, personal stuff Thomas went through during Human After All made it closer to where he was at the time".

Bangalter was the sound effects director for the 2009 film Enter the Void, his second work with filmmaker Gaspar Noé following Irréversible. He initially had been approached by Noé to compose the soundtrack of Enter the Void, but Bangalter was preoccupied with work on the Tron: Legacy score at the time. Bangalter instead provided various clips of drones and ambiance for the film to be accompanied by music by other artists from the 1960s and 70s. He is billed in the credits as sound effects director, and the film features his track "Désaccords" originally composed for Irréversible.

In 2011, Bangalter directed and choreographed a short film featuring Élodie Bouchez that served as an advertisement for the fashion line Co. A year later, Bangalter scored the short film First Point directed by Richard Phillips and starring Lindsay Lohan.

In 2013 Bangalter and Homem-Christo released their fourth studio album, Random Access Memories. One of the collaborators on the album, Giorgio Moroder, recalled that the duo had a perfectionist approach; he had recorded his vocal contribution on multiple microphones despite the fact that only Bangalter would notice the difference. In 2016, Daft Punk produced and co-wrote two songs from The Weeknd's third studio album, "Starboy" and "I Feel It Coming," the former of which became the duo's first number one hit on the Billboard Hot 100. In June 2017, Daft Punk also produced and co-wrote a single for the Australian electropop band Parcels. The single would be Daft Punk's final released production.

Bangalter was one of the producers on Arcade Fire's album Everything Now, which released July 2017. In 2018 he worked with Noé again, providing two tracks for the film Climax, including the previously unreleased “Sangria.” He also co-produced and co-wrote two tracks from Matthieu Chedid's 2019 album Lettre infinie, while also mastering the album.

Later in 2018, Alan Braxe and Benjamin Diamond revealed that they and Bangalter returned to the studio to work on a remastered version of "Music Sounds Better with You" for the song's twentieth anniversary. Bangalter's label Roulé was liquidated the same year. The remaster released on 28 June 2019.

2021–present: Daft Punk disbandment and current solo projects
On 22 February 2021, Daft Punk released a video announcing their breakup. Upon request for an official statement regarding the disbandment, Bangalter released a handwritten note quoting the Daft Punk song "Touch" alongside a clip of the 1936 film Modern Times, in which one character tells another to smile before they both walk away into the distance. Friend and collaborator Todd Edwards clarified that Bangalter and Homem-Christo remain active separately, and that Bangalter in particular was looking into potential solo projects. The two still share a studio and equipment.

The 2022 film En Corps, directed by Cédric Klapisch, features a score by Hofesh Shechter with a brief contribution from Bangalter.

In July 2021, it was announced that Bangalter's first major solo project following Daft Punk's split would be providing the score to a French ballet titled Mythologies, presented by Ballet Preljocaj. The 90-minute ballet, premiering in July 2022, features direction and choreography by Angelin Preljocaj and original music by Bangalter, with musical direction by Romain Dumas. The ballet premiered at the Grand Théâtre de Bordeaux, with the show having plans to tour. An album version of the score was later announced for release on vinyl and CD in April 2023 by Erato Records.

During the promotion of Mythologies, Bangalter spoke to several news outlets about the solo project, Daft Punk's anniversary releases, and the duo's split. He noted that he would eschew his robotic persona, citing concerns in AI and technological developments: "As much as I love this character, the last thing I would want to be, in the world we live in, in 2023, is a robot." When asked if he was renouncing electronic music entirely, Bangalter clarified that, while Daft Punk was a "thing of the past," he had no intention of permanently abandoning drum machines and synthesizers for future projects. The press release of Mythologies included a drawing of his unmasked face by Vulture Magazine illustrator Stéphane Manel, and contemporaneous interviews feature Bangalter without a costume.

In October 2023, Bangalter was one of the participants in a 25-hour event called "La Grande Veillée" celebrating the reopening of the Théâtre de la Ville in Paris. He performed an original composition alongside 32 dancers on stage choreographed by Saïdo Lehlouh.

In November 2023, Bangalter worked with the French artist JR and choreographer Damien Jalet on a unique art project called Chiroptera presented in front of the Place de l'Opera. Bangalter worked on creating music, with Jalet choreographing over 150 dancers in front of a cave display. It was performed to the public for free twice on the evening of November 12. The soundtrack was released in June 2024 on digital platforms and will release on vinyl in August. Alongside the finished music of the performance, a nearly six-hour track of raw music materials by Bangalter related to Chiroptera was released as well.

Bangalter composed the music for Quentin Dupieux's film Daaaaaalí! which premiered at the 2023 Venice Film Festival and will have a wide release in 2024. Bangalter's original score was released on streaming services and on a limited 10" vinyl via Ed Banger Records in February 2024.

Bangalter will appear on the 2024 solo album Time from former Kraftwerk member Wolfgang Flür.

Personal life
Bangalter is married to French actress Élodie Bouchez, with whom he has two sons named Tara-Jay (born 2002) and Roxan (born 2008). In 2004, they took up residence in Beverly Hills, California, due to Bouchez's Hollywood career and Bangalter's own interests in filmmaking. , they live in Paris, while Daft Punk's creative offices remained in Los Angeles.

It was reported that Bangalter had quit DJing in clubs due to developing tinnitus in 2002, saying, "I've given up because I want to protect my ears." Orde Meikle of Slam later stated that Bangalter had sufficiently recovered from the condition, stating that "he had a bit of a scare and thought he'd damaged his ear and had to take obviously reasonably drastic steps to see how bad the damage was".

Solo work

 * EPs and singles
 * Trax on da Rocks (1995)
 * Spinal Scratch (1996)
 * Trax on da Rocks Vol. 2 (1998)
 * Outrage (2003)

 * Soundtracks and scores

 * Irréversible (2002) from the film of the same name
 * "Riga (Take 5)" (2017) from the film Riga (Take 1)
 * "Sangria" (2018) from the film Climax
 * "That Night in Brazil" [with Hofesh Shechter] (2022) from the film En Corps
 * Mythologies (2022)
 * Daaaaaalí! (2023)
 * Chiroptera (2024)

As part of Together

 * "Together" (2000)
 * "So Much Love To Give" (2002)

title: Thomas Bangalter


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Sci-Fi Lullabies

Sci-Fi Lullabies is a two-disc compilation album by English alternative rock band Suede released by Nude Records on 6 October 1997, consisting of B-sides from the singles that were released from the group's first three albums. It reached no. 9 on the UK Albums Chart, and received universal acclaim on release. In subsequent years, the record has been hailed as one of the finest B-side compilations in popular music.

Background
The album spans two discs and displays the band in its most prolific era. The first disc is dominated by tracks written by the Brett Anderson/Bernard Butler songwriting partnership (the exceptions are "Together," "Bentswood Boys" and "Europe is Our Playground") while the second showcases the various intra-band songwriting variations (Anderson/Richard Oakes and Anderson/Neil Codling, plus Anderson solo and compositions contributed to by the whole band) that emerged following Butler's departure and the subsequent recruitment of a new guitarist, Richard Oakes and keyboardist Neil Codling.

The album is not entirely comprehensive, missing out around half a dozen exclusive songs released as B-sides by the band during the period it covers. Missing Anderson/Butler B-sides are "Painted People" (from "Animal Nitrate"), "Dolly" (from "So Young") and "This World Needs a Father" (from "The Wild Ones" Disc 1), which was the last B-side of the Butler era. Omitted Anderson solo compositions include "Asda Town" (from "The Wild Ones" Disc 2) and "Sam" (from "Beautiful Ones"). Codling's "Digging a Hole" and the band's group effort "Feel", (both from "Lazy"), were omitted from the collection. Live performances released as B-sides (on "New Generation" Disc 2 and "Filmstar" Disc 2) are also not included, neither is Suede's cover of the Pet Shop Boys' "Rent". The track "Eno's Introducing The Band" (from "The Wild Ones" Disc 2) is also not included.

Bassist Mat Osman outlined the band's reasons for the release of the collection, saying: "We had the tracks, we liked them and wanted people to hear them... We were going to release them before our last album (Coming Up in April), but that would have been backwards. Also, a load of bootlegs have begun appearing in Europe, and they cost a sum of money. These are songs we want people to hear. This tends to tie up all the loose ends." The album is considered an important one for fans of the band, partially because of the wealth of material and partially as many of the songs on the compilation are considered to be as strong as or even stronger than the singles from which they came. In Hindsight, in a 2016 interview with Canadian magazine Vice, Anderson revealed some regrets over the content of the collection, which he felt could have been better and possibly his favourite of all Suede albums.

Reception
The collection was released to universal acclaim, with some of the best reviews coming from the American music press. Tom Lanham of Entertainment Weekly said that Anderson is a "tireless diarist, judging from this anthology of 27 U.K.-single B sides, each one—like the grim concert staple 'Killing of a Flash Boy'—as fey, somber, and solid as any album track." David Daley of the Hartford Courant felt the album was akin to a "best of" release, writing: "Far from an assortment of throwaways that didn't make the albums, this essential double-disc, 27-song set contains some of Suede's strongest material... the perfect antidote to Oasis' cartoonish 'Best Band' claims."

Likewise, also comparing Suede to Oasis, Ed Masley of the Pittsburgh Post-Gazette admitted that Suede would always be the underdog to their Britpop rivals. However, he said that the songs on Sci-Fi Lullabies "could outshine most of their better-known UK rivals' finest gems." Kurt B. Reighley of CMJ New Music Monthly found the compilation to be overlong and, in contrast to other writers, pointed to the second disc as the strongest. He conceded, however, that "there's nary a track among these 27 that wouldn't have made a worthwhile album cut, and a few that merit A-side status." In a retrospective review, Stephen Thomas Erlewine of AllMusic noted that CD1 "is as strong as any of their albums," and that several tracks are "strong enough to be A-sides." Overall he said, "this is absolutely essential material, confirming the group's status as one of the '90s' greatest bands."

The collection was widely praised by several notable music critics of the UK press. Mark Beaumont of NME said that while the second disc resembles a typical B-sides album, the first "stakes a formidable claim as the fourth Suede album in its own right" and is arguably superior to three acclaimed studio albums of the period: Radiohead's OK Computer, Spiritualized's Ladies and Gentlemen We Are Floating in Space, and Suede's own Coming Up. John Harris of Select said the album plays like "a retelling of the entire Suede movie script" and is "truly as good as most Greatest Hits albums." Writing for Vox, Simon Price felt that Anderson wrote some of his funniest lyrics on CD2, on the tracks "Young Men" and "Jumble Sale Mums". Aside from "Duchess", which he called "lazy rubbish," he had strong praise for both discs.

The album continued Suede's run of consecutive top ten albums, peaking at no. 9 in October 1997. Despite never placing on any of Billboard's charts, Sci-Fi Lullabies had sold 19,000 units in the US by 2008, according to Nielsen SoundScan.

Legacy
Keith Phipps of The A.V. Club and Scott Plagenhoef of Stylus Magazine spoke of the effort invested in Suede's B-sides, with the band discarding "failed" ideas or experiments in favour of high quality tracks. Plagenhoef asserted: "Those early B-sides—collected on disc one of Sci-Fi Lullabies remain Suede's strongest collection of songs." The album has been named as one of the finest in the B-side/rarity genre. Independent critic Simon Price hailed it as "the greatest B-sides album ever made." Kevin Courtney of The Irish Times expressed similar views of the album's quality, while admitting that only The Smiths' Hatful Of Hollow could supersede it. Another Irish Times writer Brian Boyd felt that a compressed version of the collection would be a hit record, writing: "if this was a single 12-track album, it would be pushing for inclusion in the album of the year lists."

In 2017, Pitchfork ranked the record at number thirty in its list, "The 50 Best Britpop Albums." The A.V. Club included the compilation in its list of 35 essential B-side/rarity/outtakes collections. The article described Sci-Fi Lullabies as being "as good as any of Suede's proper albums." NME featured the compilation in their list of "30 Killer B-Side And Rarities Albums You Might've Missed", noting that Suede's B-sides "were as exciting as anything Britpop could muster." The record was also included in a 2013 NME poll of the 500 greatest albums of all time, where it placed at number 448. The 1995 book, Spin Alternative Record Guide wrote: "Like the Smiths, Suede littered many of its best songs on its B-sides, a case in point being the fine 'My Insatiable One'." The song was covered by former Smiths singer Morrissey during his 1992 solo world tour.

Live performances
The Suede B-sides have been an integral part of Suede's live shows as well as Anderson's solo performances. Favourites from disc one include "The Living Dead" and "Killing of a Flash Boy", which were performed at Suede's March 2010 reunion shows in London. Anderson and Butler made their last TV appearance on MTV's Most Wanted in March 1994, where they performed the popular "Stay Together" B-sides "The Living Dead" and "My Dark Star". In April 1997, Suede played an entire set of B-sides at a fanclub gig at the Kentish Town Forum.

Title and artwork
The title of the album is from the lyrics of "Introducing the Band", a song from the band's second album Dog Man Star. The title had previously been considered as a title for that album.

The collection is accompanied by a 32-page, full-color lyric booklet designed by Peter Saville. The front cover, whose artistic similarities to J. G. Ballard were noted by the BBC's Stephen Dowling, features a destroyed English Electric Lightning aircraft abandoned and used for target practice at the Otterburn Training Area in Northumberland. It was taken by North East photographer John Kippin.

Personnel
Suede
 * Brett Anderson – vocals
 * Bernard Butler - guitars, keyboards (disc one: tracks 1–11)
 * Richard Oakes – guitars (disc one: tracks 12–14 and disc two)
 * Neil Codling - keyboards (disc one: track 14 and disc two)
 * Mat Osman - bass
 * Simon Gilbert – drums

Production
 * Ed Buller – production (except disc one: track 14 and disc two: tracks 10–13), mixing (disc one: tracks 1–11)
 * Bruce Lampcov – production (disc two: tracks 10, 11)
 * Ian Caple – production (disc two: tracks 12, 13)
 * Miti Adhikari – recording (disc one: track 14)

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

title: Sci-Fi Lullabies


text: User talk:200.30.222.170

title: User talk:200.30.222.170


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User talk:Maneeshsahu

Maneesh Sahu's Blog

title: User talk:Maneeshsahu


text: Category:Compositions by Olivier Messiaen


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Anti-Soviet agitation

Anti-Soviet agitation and propaganda (ASA) (антисове́тская агита́ция и пропага́нда (АСА)) was a criminal offence in the Soviet Union. Initially, the term was interchangeably used with counter-revolutionary agitation. The latter term was in use immediately after the October Revolution of 1917. The offence was codified in criminal law in the 1920s, and revised in the 1950s in two articles of the Russian SFSR Criminal Code. The offence was widely used against Soviet dissidents.

Stalin era
The new Criminal Codes of the 1920s introduced the offence of anti-Soviet agitation and propaganda as one of the many forms of counter-revolutionary activity grouped together under Article 58 of the Russian RSFSR Penal Code. The article was put in force on 25 February 1927 and remained in force throughout the period of Stalinism. Article 58:10, "propaganda and agitation that called to overturn or undermining of the Soviet regime", was punishable with at least 6 months of imprisonment, up to and including the death sentence in periods of war or unrest.

As applied under during Stalin's rule, the phrase in practice could mean virtually anything that a State security interrogator or informant wanted it to mean; consequently, the charge became an exceedingly potent weapon in political or personal quarrels and intrigues.

Article 70
The offence was significantly revised in the post-Stalin Criminal Code of the Russian SFSR, introduced in 1958. Article 58.10 was replaced by Article 70, Anti-Soviet agitation and propaganda.

It was defined as:
 * 1) propaganda or agitation with the purpose of undermining or weakening of the Soviet power or with the purpose of committing or incitement to commit particularly grave crimes against the Soviet state (as defined in the law);
 * 2) the spreading with the same purposes of slanderous fabrications that target the Soviet political and social system;
 * 3) production, dissemination or storage, for the same purposes, of literature with anti-Soviet content.

The new definition, despite being less draconian than its predecessor, had few if any parallels in the criminal codes of democratic countries.

The penalty was from six months to 7 years of imprisonment, with possible subsequent internal exile from 2 to 5 years. Article 70 was considered by critics of the Soviet regime as a grave violation of freedom of speech. It was one of the two main legal instruments for the prosecution of Soviet dissidents, the other being Article 190 of the Russian SFSR Criminal Code. Other means of control were extrajudicial, such as the use of punitive psychiatry or the generalised offence of "social parasitism". In particular, the clause about literature targeted samizdat.

Article 190-1
Shortly after the Sinyavsky-Daniel show trial, the Soviet Penal Code was augmented with Article 190–1, Dissemination of knowingly false fabrications that defame the Soviet state and social system (1966), which was a weaker version of Article 70. It basically repeated the Article 70, with the omitted provision of the "anti-Soviet purpose". The penalty was lower: up to three years of imprisonment.

Application
Petro Grigorenko in his memoirs wrote that any critique of the Soviet government or events in the Soviet Union was easily classified as ASA. Dissemination of any information which was not officially recognized was classified as "anti-Soviet slander". In this way, nearly all members of the Helsinki Watch human rights group were imprisoned. Anti-Soviet political behavior, in particular, being outspoken in opposition to the authorities, demonstrating for reform, and writing books, were defined in some persons as being simultaneously a criminal act (e.g., violation of Articles 70 or 190–1), a symptom (e.g., "delusion of reformism"), and a diagnosis (e.g., "sluggish schizophrenia"). The 70th and 190th Articles of the Criminal Code concerning "slanderous fabrications that discredited the Soviet system" and "anti-Soviet agitation and propaganda" served as the formal basis to sentence Vladimir Bukovsky, Pyotr Grigorenko, Valeria Novodvorskaya, Zhores Medvedev, Andrei Amalrik and many dissidents to months and sometimes years of indefinite confinement in psychiatric institutions.

On 19 February 1986, nuclear physicist and dissident Andrei Dmitrievich Sakharov in his letter to Mikhail Gorbachev wrote, "application by courts of Articles 70 and 190-1 is pronounced persecution for beliefs."

In 1990, a year before the very end of the Soviet regime, "anti-Soviet agitation and propaganda" was excluded from the Russian SFSR Criminal Code after the three decades of its application.

Post-Soviet Russia
In April 1989, Article 70 was reformulated as part of a series of statutory changes made under perestroika. It was more strictly formulated and became explicitly related to violent actions. The terms "anti-Soviet agitation and propaganda" were replaced by "public appeals", "subversion" (podryv, подрыв) and "overthrow" (sverzheniye, свержение).

In October 1992, following the dissolution of the Soviet Union, Russian law retained an offense of "public appeals to alter the constitutional order by force or to seize power, as well as the largescale distribution of material with such content", punishable by detention for a period of up to three years or a fine of twenty monthly minimum wages.

In the new Criminal Code of the Russian Federation, effective from 1 January 1997, the offence of "anti-Soviet propaganda" has no parallel. More recently, a retrogressive trend in amendments to existing laws led attorney Henri Reznik to raise the alarm about the appearance of the phrase "anti-Russian" in certain legislative proposals.

title: Anti-Soviet agitation


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File:Singles (Suede).jpg

Summary
Album cover of the Suede compilation, "Singles".

title: File:Singles (Suede).jpg


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Zoogeography

Zoogeography is the branch of the science of biogeography that is concerned with geographic distribution (present and past) of animal species.

As a multifaceted field of study, zoogeography incorporates methods of molecular biology, genetics, morphology, phylogenetics, and Geographic Information Systems (GIS) to delineate evolutionary events within defined regions of study around the globe. As proposed by Alfred Russel Wallace, known as the father of zoogeography, phylogenetic affinities can be quantified among zoogeographic regions, further elucidating the phenomena surrounding geographic distributions of organisms and explaining evolutionary relationships of taxa.

Advancements in molecular biology and theory of evolution within zoological research has unraveled questions concerning speciation events and has expanded phylogenic relationships amongst taxa. Integration of phylogenetics with GIS provides a means for communicating evolutionary origins through cartographic design. Related research linking phylogenetics and GIS has been conducted in areas of the southern Atlantic, Mediterranean, and Pacific Oceans. Recent innovations in DNA bar-coding, for example, have allowed for explanations of phylogenetic relationships within two families of marine venomous fishes, scorpaenidae and tetraodontidae, residing in the Andaman Sea. Continued efforts to understand species evolutionary divergence articulated in the geologic time scale based on fossil records for killifish (Aphanius and Aphanolebias) in locales of the Mediterranean and Paratethys areas revealed climatological influences during the Miocene Further development of research within zoogeography has expanded upon knowledge of the productivity of South Atlantic ocean regions and distribution of organisms in analogous regions, providing both ecological and geographic data to supply a framework for the taxonomic relationships and evolutionary branching of benthic polychaetes.

Modern-day zoogeography also places a reliance on GIS to integrate a more precise understanding and predictive model of the past, current, and future population dynamics of animal species both on land and in the ocean. Through employment of GIS technology, linkages between abiotic factors of habitat such as topography, latitude, longitude, temperatures, and sea level can serve to explain the distribution of species populations through geologic time. Understanding correlations of habitat formation and the migration patterns of organisms at an ecological level allows for explanations of speciation events that may have arisen due to physical geographic isolation events or the incorporation of new refugia to survive unfavorable environmental conditions

Zoogeographic regions
Schmarda (1853) proposed 21 regions, while Woodward proposed 27 terrestrial and 18 marine, Murray (1866) proposed 4, Blyth (1871) proposed 7, Allen (1871) 8 regions, Heilprin (1871) proposed 6, Newton (1893) proposed 6, Gadow (1893) proposed 4.

Philip Sclater (1858) and Alfred Wallace (1876) identified the main zoogeographic regions of the world used today: Palaearctic, Aethiopian (today Afrotropic), India (today Indomalayan), Australasian, Nearctic and Neotropical.

Marine regionalization began with Ortmann (1896).

In a similar way to geobotanic divisions, our planet is divided in zoogeographical (or faunal) regions (further divided as provinces, territories and districts), sometimes including the categories Empire and Domain.

The current trend is to classify the floristic kingdoms of botany or zoogeographic regions of zoology as biogeographic realms.

Following, some examples of regionalizations:

Sclater (1857)
Creatio Palaeogeana Creatio Neogeana
 * I. Regio Palaearctica
 * II. Regio Aethiopica
 * III. Regio Indica
 * IV. Regio Australiana
 * V. Regio Nearctica
 * VI. Regio Neotropica

Huxley (1868)
Huxley (1868) scheme:
 * Arctogea
 * Nearctic province
 * Palaearctic province
 * Ethiopian province
 * Indian province
 * Notogea
 * Austro-Columbia province (= Neotropical)
 * Australasia province (= Australian; Eastern Palaeotropical)

Wallace (1876)

 * Palaearctic region
 * Ethiopian region
 * Oriental region
 * Australian region
 * Neotropical region
 * Nearctic region

Trouessart (1890)
Scheme by Trouessart (1890):
 * Arctic region
 * Antarctic region
 * Palearctic region
 * Nearctic region
 * Ethiopian region
 * Oriental region
 * Neotropical region
 * Australian region

Darlington (1957)
First scheme:
 * Realm Megagea (Arctogea): the main part of the world
 * 1. Ethiopian Region: Africa (except the northern corner), with part of southern Arabia
 * 2. Oriental Region: tropical Asia, with associated continental islands
 * 3. Palearctic Region: Eurasia above the tropics, with the northern corner of Africa
 * 4. Nearctic Region: North America, excepting the tropical part of Mexico
 * Realm Neogea
 * 5. Neotropical Region: South and Central America with the tropical part of Mexico
 * Realm Notogea
 * 6. Australian Region: Australia, with New Guinea, etc.

Second scheme:
 * Climate-limited regions
 * 1. Palearctic Region
 * 2. Nearctic Region
 * Main regions of the Old World tropics
 * 3. Oriental Region
 * 4. Ethiopian Region
 * Barrier-limited regions
 * 5. Neotropical Region
 * 6. Australian Region

title: Zoogeography


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Uprock

Uprock, or Rocking, as it was referred to, also known as Rock, Rock Dance, Brooklyn Rock, Burning or Freestyle is a competitive urban street dance, performed to the beats and rhythms of soul, rock and funk music, but was mostly danced to a specific and exclusive collection of songs that contained a hard driving beat. An example of such a song is the Funk classic "It's Just Begun" by noted jazz musician Jimmy Castor. The dance consists of foot shuffles, spins, turns, drops, freestyle movements and more characteristically a four-point sudden body movement called "jerk".

Use of gestures
Although women participated in this style of dance, it was usually danced by two men facing each other. The underlying philosophy of Rocking was to undermine the "opponent" with hand gestures called "burns". One would "burn" one's opponent with a variety of these hand gestures that would mimic an action that would be considered detrimental to the dancer's adversary. Two examples of typical and fundamental burns are the bow and arrow, and the shotgun. The "winner" of these mock battles was usually the individual who was able to choreograph and execute his or her burns creatively and even artistically to the rhythm and syncopation of the music.

In this sophisticated and rhythmic form of Rock paper scissors, one would have to dance thoughtfully as to not step forward and inadvertently get one's head "sledge hammered". Although it is common knowledge that Uprocking is supposed to be a mock battle, those who are less professional sometimes get carried away with the dance which can result in real violence.

History
Rock dance evolved in Brooklyn New York circa in the late 1960s.

As Rocking/Uprocking developed, body movements called "jerks" and hand gestures called "burns" (as defined above in this article), would be added to emulate a fight against an opposing dancer. Being skillful in this new dance form, Apache (a Brooklyn dancer) would get the better of his opponents by skillfully using burns. Dancers throughout New York City in all Boroughs continued to invent new movements and gestures to create a street dance. Many gang members began to perform this dance. Rocking/Uprocking became a competitive dance that caught on very quickly.

Early 1970s
By the early 1970s Rock evolved and became a local dance performed mostly by adolescent men throughout the New York City. Some say it originated in Brooklyn in the late 1960s, while many others say it was developed in the Bronx. However, it is now more widely accepted that the Dance Culture itself spread throughout New York City into all Boroughs because the best dancers danced mostly at Manhattan Clubs, where everyone took notice of the different styles and incorporated some of the moves into their own style of dancing.

It was common to see this form of dance at block parties, teen dances and festive gatherings, and in particular at St. Mary's Recreation Center in the South Bronx, where dancers from all over the city would come and dance every Tuesday and Thursday until October 1, 1974 when Rubberband, one of the most popular Rock dancers in the City from back in those days, got stabbed to Death by a 14-year-old youth, after an argument over a Dollar. Rubberband was 21 years old at the time of his death.

In Bushwick Brooklyn, you had Dancers like Lil Dave, Bushwick Joe, Chuck, Apache, Vinny, Noel, Blackie, Sammy, Papo774, Angel, Ralph Cassanova and several others who actually danced at the New York Clubs and contributed to this dance culture as much as anyone else throughout New York City.

In Park Slope and South Brooklyn you had dancers such as Spice One, Lil Star, Brother George, Jose and Ron of J&R Dancers, Paydro, Eve Rock, Nako Avatar, Burn One, Viejo, Slinky, Batman, the Twins IND's and Eddie Santana.

In Manhattan and the Bronx there were dancers such as Dee Dee, Rubberband, Mexico, Salsa, Mike Dominquez, Danny Rodriguez, Markie D, Ito, Kid Terrific, Choco, Shaky, Willie Marineboy, Willie (Whip) Rivera, Frank Rojas, Enoch Torres, Robert (Lucky) Feliciano, Hector Barrios, Pete Martinez, and many others some of which are still active today around the world to this day.

Some dance battles created problems because of the disrespectful style of battling which was soon gone from the South Bronx because of the fights that would break out during some those encounters. Brooklyn however kept that style of Rock Battle Dancing alive, where it still exists today. Though many battles would end peacefully, several others did not. Some of the best dancers from the Bronx danced professionally with the Latin Symbolics Dance Company who were the first Professional Urban Street Dance Team in New York City History, founded in 1972 as a Mambo Team by George Vascones RIP, who was also the President of the Dance Company.

Late 1970s
Rock dance was taken seriously by some of its participants and supporters as it was an integral part of socializing. Prize money, women, bragging rights were all coveted and to the better and popular dancers went the spoils. Mimicking gang mentality where a member from one gang would successfully take the "colors" (jacket with gang insignia) from a member of a rival gang, dancers would sometimes compete for their respective shirts, however this practice was mostly done in Brooklyn, where the dance remained a bit primitive with the mind set of burning the other dancer with disrespectful hand gestures. Similar to gang idiosyncrasy, this was considered a particularly severe humiliation, thus, it was considered one of the highest stakes in a battle. If you lost your shirt, you would sometimes lose your nickname and/or your crew's name.

While other Rock Dancers throughout the City had critical acclaim from dancing in City Wide Rock Competitions Brooklyn Rockers kept their beloved style of Jerks and Burning in Brooklyn in local competitions. However, a few dancers from Brooklyn competed in competitions against the better dancers from other boroughs at contests in clubs like The Bon Sua, The Footsteps, Latin Times and the Starship Discovery in Manhattan where they placed in the top 5. One of the biggest City Wide Rock Contests was hosted by The Hoe Ave Boys Club on 174th St. in the Bronx in 1977. Dancers from all Boroughs competed and it was won by Hector Barrios and Pete Martinez from the Latin Symbolics Rock Team.

Fading popularity
At first, the popularity of Rocking was challenged by the well known disco dance called the Hustle. Some talented Rockers preferred the gracefulness of dancing with women that the Hustle provided, as opposed to the adversarial and sometimes dangerous climate of competing against another male dancer. By the mid-1980s and into the 1990s Rocking began to fade into history. At the same time, another competitive form of urban dance called Breaking all but replaced Rocking, though many breakers would do Rock movements as part of the dance. In the late 1990s there was a revival by Danny Boy, Ralph Casanova AKA King Uprock, Richard Santiago "Break Easy", Burn One, Charlie Uprock, Mr. Loose, Spice One, Forrest Getem Gump and got global attention through the internet with mostly the Brooklyn style of Rocking being done in a Burn & Jerk type of style, which Brooklyn is known for. In the 2008 another resurgence of the Bronx Style, spearheaded by Willie Marine Boy, Frank Rojas and Enoch Torres, is a popular style because there is more freestyle movement in the style, which requires more dancing as opposed to the Burn & Jerk Style Brooklyn does. However, the 2nd generation Rockers also came from Manhattan and Bronx referred to as Breakers/Bboys, such as Ken Swift and Doze Green of the Rock Steady Crew, also called used the term "Uprock" only they did a lot more floor moves, and innovated a different way of Uprocking. https://www.youtube.com/watch?v=lop7B5QuFyk

Rock Dance Today
There are still active Rock Dance Crews in all the boroughs of New York City and around the world such as the VII Gems Rock Division, Mastermind Rockers (Global), The Bronx Boys (Global), Dynasty Rockers (Global), Time 2 Rock (CA), Forever We Rock (CA), Breaks Kru, Rock Lordz (MN, KS, NV), Ready to Rock (Global), Incredible Rockers and For The Rock (Russia).

There is an active internet presence of Rock dance on YouTube, Facebook and other platforms as well as Rock competitions all over the world at various dance events.

Brooklyn Dance
The dance involves two opposing dancers, or teams dancing alternatively or simultaneously performing a choreographed "battle" throughout the duration of a complete song. Although some of the moves Rockers execute emulate fighting, physical contact is never allowed. As stated above, physical contact is usually a sign of inexperience and/or dysfunctional behavior. If a Rocker is experienced he or she will not make any contact in order to "burn" his or her opponent. Rocking's rules of engagement penalizes any dancer who actually touches the opponent, even if contact was made unintentionally.

Experienced Rockers are usually familiar with the songs that they dance to and use the lyrics and sounds of the music to out-do their opponent. The music is the guideline for when to execute a jerk, burn, or freestyle. The dancer uses the music's lyrics or sounds in his or her favor in order to create the physical narration of the mock battle that manifests.

It becomes monotonous if not redundant should a Rocker utilize burn after burn while dancing. Really good dancers tend to maintain Rocking as an art form and not just an all out burnfest. There should be a constant give and take of burns and jerks in order to give each opponent the space to burn the other, but also exhibit dance moves.

Opposing dancers can also face off in a line formation called the "Apache Line". In contrast to the circle formation in breakdancing, the Apache line allows multiple opposing dancers or crews to face each other and execute their burns. Back in the 1970s it was a fascinating display to watch. Each Rocker must keep in his/her line formation while battling. One form of Apache line competition utilized rotation positioning. In other words, dancers would battle until either he is tapped to step out by another Rocker, or the opponent has been worn down.

These days, in the initiation of a new Rocker who intends on joining a particular crew, an Apache line is created. Borrowing again from gang culture social protocol, the new Rocker must battle each member on the Apache line. The new Rocker must dance down the center of the Apache Line and battle each Rocker while maintaining a discipline in the use of jerks, burns and freestyle for which he is then evaluated.

This style of dancing was done mostly in Brooklyn, other Boroughs had different ways of doing things, and the Bronx faded out this style of dancing Rock at an early point. Brooklyn continues to dance along the same mind set and rules which existed when they first started battling each other.

Etymology
Many also called this dance "Freestyle" mostly because it was improvised steps to the music.

No one is sure where the term "Rocking" came from or why this form of dance was named using this word. It may have been that because of the dance's inherent nature of conflict, the colloquialism of "Rocking" as in "Rocking" the opponent was used. An example would be in describing a triumphant boxer or fighter by saying, "He rocked that dude."

Another school of thought is that it was called "Rock" because early on rockers danced mainly to a specific range of rock and roll songs that fell into a category that would be more accurately categorized as a hybrid of rock/funk. Examples of songs that fell into this genre would be "It's Just Begun" by Jimmy Castor, and the live version of "Sex Machine" by James Brown. These and many other songs were not quite soul nor rock and roll, yet, they provided the kind of hard driving beat that fueled the Uprock style of dance.

A dance hall flyer announcing a "Rock Contest", would confuse some who were not familiar with the term Rocking as it related to this specific form of dance. Individuals would show up at an organized party event expecting a rock concert having mistaken the event as a "Rock and roll dance". After about a decade since its inception, "Rocking" became known as "Uprocking". It was the same dance with a different name.

title: Uprock


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Wikipedia:Articles for deletion/Slow glass

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was - kept - SimonP 13:16, May 21, 2005 (UTC)

Slow glass
Delete. Three reasons - first, I can find no evidence that the term 'slow glass' is commonly used in scientific literature as a name for BEC. The physics categorisation is therefore invalid. Secondly, the article is currently inaccurate. The concept of slow glass was specifically not that of a BEC - rather, it was a real piece of glass through which photons travelled by a spiral trajectory, increasing the distance they had to go. Thirdly, I don't think a device in a short story really needs an article of its own, especially when the entry for the short story itself is only a one-liner disambig.--Fangz 21:45, 16 Apr 2005 (UTC)
 * This nomination was not linked from the VfD logs; I have linked it to today's log. No vote. --cesarb 01:23, 15 May 2005 (UTC)

 * Keep but drastically rewrite. If the term is being used for a BEC, then this nickname has come about because of Shaw's stories (plural), not the other way round. The concept of slow glass is widely used in science fiction. For the record, the novel "Other days, other eyes" was based on four different slow glass stories ("The light of other days", "Burden of Proof", "A Dome of Many-Coloured Glass" and "Other days, other eyes"), and a later novel by Arthur C Clarke and Stephen baxter (also confusingly titled "The light of other days") also made use of the concept, as have Marvel Comics (with "Sandson O. Tyme and Earth-Slow Glass". Grutness...  wha?  01:46, 15 May 2005 (UTC)
 * Keep, cleanup and expand. The concept dates back to sci fi novels in the late 1960s and Shaw's book Other Days, Other Eyes (1972). Megan1967 04:15, 15 May 2005 (UTC)
 * Keep. I think the relationship of Shaw's slow glass to the ideas of Bose and Einstein is  at best tangential, but the former is one of the classic inventions of hard SF. --Tony Sidaway|Talk 05:37, 15 May 2005 (UTC)
 * Keep. Reasons cited by others above.  --Unfocused 05:58, 15 May 2005 (UTC)
 * Delete. Google test of <"slow glass" Bose-Einstein condensate> gives 65 hits. -MarSch 13:11, 15 May 2005 (UTC)

 * Keep, cleanup and expand Rangek 04:32, 2005 May 16 (UTC)
 * Keep, not well known, but important SF concept 66.94.94.154 12:27, 16 May 2005 (UTC)
 * Delete I liked the story, but this doesn't get it's own article. We already cover BEC. Gmaxwell 06:19, 17 May 2005 (UTC)
 * Merge, then? Radiant_* 13:32, May 17, 2005 (UTC)
 * Keep. I see no evidence that the physicists are using this term, but in SF it's spread beyond Shaw. Kumquat 09:02, 18 May 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


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Gefle IF

Gefle Idrottsförening, also known simply as Gefle IF, Gefle (, as if spelled Gävle), or locally Gif, are a Swedish professional football club based in Gävle. The club is affiliated with Gestriklands Fotbollförbund and play their home games at Gavlevallen since the 2015 season. The club colours are blue and white. Formed on 5 December 1882 as Gefle SK, the club have played fifteen seasons in Sweden's highest football league Allsvenskan, with the first season being 1933–34. The club is currently playing in Superettan, the second tier of Swedish football.

History
Gefle IF was originally formed as Gefle SK in December 1882 but changed the name to its current form only months after. The name "Gefle" is one of the old variations of spelling for the town Gävle which was used from the 1500s to the early 1900s. The multisports club mainly focused on winter sports during its early years, with rowing being their only summertime activity. In 1896 the club started having regular football training sessions under the guidance of an English accountant by the name of Robert Carrick. Born in England, he had grown up in Gävle but returned to his homeland for a few years as a student. There he had picked up the new sport which he brought back with him to Sweden and introduced at Gefle IF.

The club found early success at the turn of the century by winning one of the biggest swedish cups at the time, Rosenska Pokalen, three times. Due to high travel costs Gefle declined to participate in the other major swedish football tournament, Svenska Mästerskapet, during those years. Therefore, the clubs golden generation never got the chance to play against the nations other dominant team at the time, Örgryte IS from Gothenburg.

An ever-increasing number of football clubs were starting up in the early 1900s and Gefle were not able to maintain its dominant position among all the new competition. When the first swedish league Svenska Serien started in 1910 Gefle IF were not included and when they entered into the second tier of the league system in 1912–13 they finished dead last.

During the rest of the 20th century the club mostly moved up and down between the second and third level of the Swedish football league system. They only managed two short lived stints at the top level Allsvenskan, one in the early 1930s and one in the early 1980s. Between the 1979 and 1981 season Gefle IF and Brynäs IF merged and played under the name Gefle IF/Brynäs, but the merger split up again in 1982. In 2004 manager Kenneth Rosén was finally able to bring the club back to the top division after finishing second in the 2004 Superettan. Rosén had missed part of the previous season due to illness and after the club was promoted he again had to be hospitalized and died soon after. Long-time club servant Per "Pelle" Olsson immediately stepped in and took over as manager during the off-season and managed to keep the club at the top level. Olsson would remain as the manager until 2014 when he was announced as Djurgårdens IF:s new manager.

Supporters
Due to their status as a second or third division club the Gefle supporters were late starters in creating an organized supporters club. After some fledgeling attempts in the mid-1990s when the interest in traveling to away games increased, the "Sky Blues" was finally founded in 2001 as the official supporter group.

In 2009 Gefle IF caused controversy among its fans by changing the sky blue home shirt to white, the color which the club played in during its first 80 years. This caused groups of fans to boycott the singing sections of the home stadium. Eventually before the start of the 2011 season a compromise was reached where they kept the white shirt for their home kit but brought back the sky blue as their new away kit. Further compromise was then reached for the 2015 Allsvenskan season when a new sky blue and white striped kit was launched, inspired by the Argentina national football team. A decision that satisfied both the fans and the club.

Stadium
Gefle IF played at Strömvallen, built in 1923, for 92 years. On 30 May 2013 it was announced that the club had agreed with Gävle Municipality to build a new stadium in the Sätraåsen area of Gävle. The stadium, Gavlevallen, was ready for the 2015 season.

European Cups history
None of Gefle's appearances in European competition have been due to cup wins or their league positions (11th, 10th and 11th in the respective years). Instead they have qualified through the Fair Play initiative each time.

Managers
Source:

 * 🏴 Robert Carrick (1900–07)
 * 🇸🇪 Sven Klang (1933–34)
 * 🇸🇪 Erik Nilsson (1935)
 * 🇨🇿 Václav Simon (1945–46)
 * 🇸🇪 Erik Norin (1960)
 * 🇸🇪 Matts Larsson (1961)
 * 🇸🇪 Sven Bergsten (1963)
 * 🇸🇪 Sigge Parling (1965)
 * 🇸🇪 Jörgen Stark (1970–71)
 * 🇸🇪 Lennart Söderberg (1972–75)
 * 🇩🇪 Peter Antoine (1976)
 * 🇸🇪 Rune Karlsson (1977)
 * 🇸🇪 Bo Andersson (1978–79)
 * 🇸🇪 Leif Widén (1980–81)
 * 🇸🇪 Stefan Lundin (1982–83)
 * 🇸🇪 Björn Bolling (1984)
 * 🇸🇪 Bo Andersson (1985–86)
 * 🇸🇪 Lennart Söderberg (1987–89)
 * 🇵🇱 Marek Skurczynski (1990–92)
 * 🇸🇪 Stefan Lundin (1992–96)
 * 🇸🇪 Pelle Olsson (1996–02)
 * 🇸🇪 Kenneth Rosén (2003–04)
 * 🇸🇪 Pelle Olsson (2005–13)
 * 🇸🇪 Roger Sandberg (2014–2016)
 * 🇸🇪 Thomas Andersson (2016–2017)
 * 🇸🇪 Poya Asbaghi (2017)
 * 🇸🇪 Johan Mjällby (2018)
 * 🇸🇪 Marcus Bengtsson (2018–2019)
 * 🇸🇪 Mikael Bengtsson (2020–present)

League

 * Superettan:
 * Runners-up (1): 2004
 * Division 1 Norra:
 * Winners (1): 2022
 * Runners-up (1): 1995

Cups

 * Svenska Cupen:
 * Runners-up (1): 2006
 * Rosenska Pokalen:
 * Winners (3): 1899, 1900, 1902

title: Gefle IF


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Hit to Death in the Future Head

Hit to Death in the Future Head is the fifth studio album by American rock band the Flaming Lips, released on August 11, 1992, by Warner Bros. Records. "Talkin' 'Bout the Smiling Deathporn Immortality Blues (Everyone Wants to Live Forever)" was released as the lead track on the EP Yeah, I Know It's a Drag... But Wastin' Pigs Is Still Radical to promote the album. The title provided the inspiration for the name of the British band the Futureheads.

Recording and release
Recorded in 1991 by the same lineup that had been featured on In a Priest Driven Ambulance, the album's release was delayed for nearly a year due to the use of a sample from Michael Kamen's score for the film Brazil in the track "You Have to Be Joking (Autopsy of the Devil's Brain)", which required a lengthy clearance process. During the intervening period, both Nathan Roberts and Jonathan Donahue left the band (the latter resuming his duties in Mercury Rev). By the time of the album's release both Steven Drozd and Ronald Jones had joined, and performed on the subsequent tour.

The album is known for a particularly long hidden track at the end of the CD that consists of a continuous burst of staccato noise that pans from channel to channel and lasts for nearly a half-hour. This track is omitted from the vinyl release, possibly due to time constraints.

Reception
From contemporary reviews, Andrew Perry of Select gave Hit to Death in the Future Head a five out of five rating, noting the groups "gorgeously melodic garage pop is rarely short of breathtaking", and compared the band to Mercury Rev, declaring that if "Yerself Is Steam has seldom left your turntable, this won't either. Magnificent."

From retrospective reviews, AllMusic's Jason Ankeny noted that even though the album's "not as conceptually tight as In a Priest Driven Ambulance", it's "no less cohesive or imaginative", and ultimately concluded that the album "serves as the bridge between the band's noisier, more hallucinatory indie work and the acid-bubblegum aesthetic perfected on their later Warner Bros. albums".

Personnel

 * Wayne Coyne – vocals, guitar
 * Michael Ivins – bass
 * Jonathan Donahue – guitar
 * Nathan Roberts – drums

title: Hit to Death in the Future Head


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List of Commonwealth visits made by Elizabeth II

Queen Elizabeth II became Head of the Commonwealth upon the death of her father, King George VI, on 6 February 1952 and remained Head of the Commonwealth until her death on 8 September 2022. During that time, she toured the Commonwealth of Nations widely. She visited all member states except for Cameroon, and the three most recently joined member states, Rwanda, Togo and Gabon. Her first foreign tour was before her accession when she accompanied her parents to the countries of Southern Africa in 1947.

Tours of the British Islands are excluded from the list below.


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Bayside, Dublin

Bayside is a small residential suburb on the Northside of Dublin, Ireland, purpose-built from 1967 on lands previously part of Kilbarrack. It has a planned central service area with retail facilities and lies inshore of Bull Island. It absorbed a neighbouring development, Sutton Park, Dublin, also on Kilbarrack lands adjacent to Baldoyle. Established under Dublin Corporation, it was later moved to the jurisdiction of Fingal County Council.

Location and access
Bayside is located beside the sea, lying inshore of North Bull Island and Dublin Bay, and about 10 km north-east of the city centre. Built in the late 1960s and 1970s, it is situated between Kilbarrack Road in Kilbarrack, from which it was formed and Baldoyle, and lies near Sutton.

Bayside is accessed from the main coastal road from the city centre to Howth, and from Kilbarrack Road. It is easily accessible from Dublin city using the Dublin Area Rapid Transit (DART) suburban rail system, having its own station, which opened on 11 June 1973. It can also be reached by Dublin Bus routes N6, H2 and H3, and route 6. It is also connected by a seafront cycleway to Sutton and to Fairview (with works ongoing to connect the cycleway to Sandymount).

The area lies within the civil parish of Kilbarrack and is made up of the townlands of Kilbarrack Upper and Kilbarrack Lower.

Governance and representation
Established under Dublin Corporation in 1967, the area was later allocated to Fingal when County Dublin was split into three administrative areas.

Bayside was formerly (1937–1977 and 1981–2016) part of the Dublin North-East constituency. In 2016 it became part of the Dublin Bay North constituency. It is located within the electoral division known as "Sutton".

History
Bayside was a planned development in the later 1960s, on part of the lands of the large old district of Kilbarrack, whose largest settlement lay near what is now the centre of the new area. Title deeds for property in the area still show Kilbarrack. Kilbarrack's historic church and graveyard, formerly The Chapel of Mone, dating from the 13th century and once the mariners' church for Dublin, lie about two thirds of the way along Bayside's seafront towards Howth.

In 2017, celebrations, organised by the Bayside Community Association, were held for the suburb's fiftieth year.

Structure
Built by Wates Group in the late 1960s and 1970s, Bayside falls within the postal district Dublin 13. It comprises the housing developments of Sarto, Alden, Verbena, Montini, Roncalli, Sutton Park and associated roads including the Bayside Boulevards. All of these roads are interconnected by roads and pedestrian lanes in an "island" development between the railway line and the coast road, with connection to outside roads only at two locations on Kilbarrack Road and two on the coast road (one for the original Bayside, one for Sutton Park). Most properties within the development are two-storey terraced or semi-detached houses of 2-4 bedrooms, with some "maisonettes" (three-storey buildings with a two-bedroom house built over a garden apartment), and a small number of later-added apartments.

Bayside train station was built on the line between Howth and the city centre in the early seventies. A decade later this line would become the first section of the Dublin Area Rapid Transport (DART) development.

Amenities
Bayside is built up around a central shopping and civic area. Plans to build a multi-storey apartment and retail complex at the location of the current shopping centre car-park were resisted by local residents from 2007 to 2011, but were, after multiple modifications, approved by planning authorities. By October 2017 the centre had been modernised, including the addition of a building for Aldi and a medical practice and gym; at the same time, the squash courts and an old community centre were demolished. There is a modern Roman Catholic parish church, the Church of the Resurrection, within this civic area.

The area has a chipper known as 'Munchies' which has been there for decades and a pub called the 'Bayside Inn'. There is a Maxol service station on the coast road nearby.

There is a park officially called "Bayside Park" but colloquially referred to as the Lamb Chop, a large green in Sutton Park, and a tunnel near the DART station provides immediate access to Seagrange Park in Baldoyle.

Education
There is one primary school, Scoil Mhuire agus Iosef, and the district is serviced by a number of post-primary schools in nearby areas.

Culture
Bayside is home to the Third Day Chorale multi-denominational musical group, operating since 1975. Under the musical directorship of Ruaidhrí Ó Dálaigh the group meets every Wednesday night between 7:45 and 10:00 to sing a wide range of sacred and secular choral music.

People

 * Alex Barclay, crime fiction writer and former journalist
 * Martin Fay of The Chieftains was a resident in Bayside
 * Pat Hooper, Olympian
 * Ronan Keating of Boyzone is a former resident of Bayside.
 * Becky Lynch, professional wrestler, former resident
 * Fergal O'Brien, professional snooker player, is a former resident
 * Averil Power, former Fianna Fáil Senator
 * Steve Wickham, of The Waterboys

title: Bayside, Dublin


text:
User talk:An MP

Welcome
Hello , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome!
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 * You gotta play by the rules, an MP. Padraic

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Hello An MP! Thank you for your contributions. I am a bot alerting you that 1 of the articles that you created  is tagged as an Unreferenced Biography of a Living Person. The biographies of living persons policy requires that all personal or potentially controversial information be sourced. In addition, to ensure verifiability, all biographies should be based on reliable sources. If you were to bring this article up to standards, it would greatly help us with the current Category:All_unreferenced_BLPs article backlog. Once the article is adequately referenced, please remove the unreferencedBLP tag. Here is the article:

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title: User talk:An MP


text:
User:Hommingberger Gepardenforelle~enwiki

This user is de:Benutzer:Hommingberger Gepardenforelle on the German Wikipedia.

The background about the Hommingberger Gepardenforelle can be found here.


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Greatest Hits Vol. 2 (ABBA album)

Greatest Hits Vol. 2 is a compilation album by Swedish pop group ABBA, released on 29 October 1979 to coincide with their tour of North America and Europe (taking place between September and November 1979). It was ABBA's second chart-topping album of the year, the first being Voulez-Vous, and contained the brand new single "Gimme! Gimme! Gimme! (A Man After Midnight)", recorded in August 1979.

History
A round-up of ABBA's hits since their first Greatest Hits album (released in 1975), the album exclusively included material recorded between the years 1976 and 1979 (albums Arrival, The Album and Voulez-Vous plus non-album single "Summer Night City") - with one exception, "Rock Me" from 1975 album ABBA, issued as a single and became a top 5 hit in Australia and New Zealand after the release of the band's first hits package Greatest Hits and also part of the setlist on the 1979 world tour.

"Angeleyes" was included primarily due to its success as a single in the UK, where it was the lead track of a double A-side with "Voulez-Vous". Elsewhere, "Voulez-Vous" had been the A-side in its own right but it was not included on the album. However, the track "I Wonder (Departure)" was not believed to have been released as a single anywhere, but was featured.

Greatest Hits Vol. 2 was released on CD in 1982 by Polydor but was deleted from their ABBA CD range in 1992 when it was replaced with ABBA Gold. It was also released in the US by Atlantic Records in 1983 with the same mastering as the Polydor CD but was discontinued there in the late 1980s as well.

Commercial reception
Greatest Hits Vol. 2 received massive commercial success in Japan, selling in excess of 920,000 units on the chart (it was the best-selling album by non-domestic artists at the time, until Michael Jackson's Thriller each sold over 1 million copies in the 1980s). It is certified Gold in the U.S.

Track listing
All songs written by Benny Andersson & Björn Ulvaeus, except where noted.

Personnel

 * Agnetha Fältskog - lead vocals (1, 10, 14), co-lead vocals (3, 6, 7, 8, 9, 11, 13), backing vocals
 * Anni-Frid Lyngstad - lead vocals (2, 4, 12), co-lead vocals (3, 6, 7, 8, 9, 11, 13), backing vocals
 * Björn Ulvaeus - lead vocals (5, 9, 11), acoustic guitar, electric guitar, backing vocals
 * Benny Andersson - keyboards, synthesizer, backing vocals
 * Rolf Alex - drums
 * Ola Brunkert - drums
 * Lars Carlsson - horn
 * Christer Danielson - horn
 * Andrew Eijas - horn
 * Malando Gassama - percussion
 * Rutger Gunnarsson - bass
 * Gloria Lundell - harp
 * Roger Palm - drums
 * Halldor Palsson - saxophone
 * Janne Schaffer - guitar
 * Bengt Sundberg - horn
 * Åke Sundqvist - percussion
 * Mike Watson - bass
 * Lasse Wellander - guitar
 * Gunnar Wenneborg - horn
 * Kajtek Wojciechowski - saxophone

Production

 * Producers: Benny Andersson & Björn Ulvaeus
 * Arrangers: Benny Andersson & Björn Ulvaeus
 * Engineer: Michael B. Tretow

title: Greatest Hits Vol. 2 (ABBA album)


text: User talk:68.229.165.217

title: User talk:68.229.165.217


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King's Police Medal

The King's Police Medal (KPM) is awarded to police in the United Kingdom for gallantry or distinguished service. It was also formerly awarded within the wider British Empire, including Commonwealth countries, most of which now have their own honours systems. The medal was established on 7 July 1909, initially inspired by the need to recognise the gallantry of the police officers involved in the Tottenham Outrage. Renamed the King's Police and Fire Services Medal (KPFSM) in 1940, it was replaced on 19 May 1954 by the Queen's Police Medal (QPM), when a separate Queen's Fire Service Medal was also instituted. The current award was renamed the King's Police Medal following the death of Queen Elizabeth II in 2022 and the accession of King Charles III to the throne of the United Kingdom.

Between 1909 and 1979, the medal was bestowed 4,070 times, for both gallantry and distinguished service, including dominion and empire awards. A total 54 bars and one second bar were awarded in this period.

King's Police Medal
The original KPM, despite its name, was also awarded to members of recognised fire brigades. It was originally intended that the medal should be awarded once a year, to no more than 120 recipients, with a maximum of: 40 from the United Kingdom and Crown dependencies; 30 from the dominions; and 50 from the Indian Empire. More could be awarded in exceptional circumstances. Those who received a further award were to wear a silver bar on the ribbon in lieu of a further issue, or a rosette where the ribbon alone was worn. Initially recipients were required to have shown:

"(a) Conspicuous gallantry in saving life and property, or in preventing crime or arresting criminals; the risks incurred to be estimated with due regard to the obligations and duties of the officer concerned.

(b) A specially distinguished record in administrative or detective service.

(c) Success in organizing Police Forces or Fire Brigades or Departments, or in maintaining their organization under special difficulties.

(d) Special services in dealing with serious or widespread outbreaks of crime or public disorder, or of fire.

(e) Valuable political and secret services.

(f) Special services to Royalty and Heads of States.

(g) Prolonged service; but only when distinguished by very exceptional ability and merit."

Provision was also made for the forfeiture of the award in the event of a recipient later being convicted of a criminal offence.

Minor amendments to the warrant were made on 3 October 1916. On 1 October 1930, changes were made to the forfeiture provisions, no longer specifying grounds for forfeiture, but also allowing the medal to be restored again. The 1932 New Year Honours list specified those medals awarded for gallantry. On 27 December 1933, the warrant was officially amended to introduce distinctions as to whether the medal was awarded for gallantry or for distinguished service, by adding an appropriate inscription to the reverse, and adding a central red stripe to the ribbon for gallantry awards. The award criteria were changed so recipients had:

"either performed acts of exceptional courage and skill or exhibited conspicuous devotion to duty; and that such award shall be made only on a recommendation ... by the Secretary of State for the Home Department."

In 1936, amendments of 25 May gave greater provision for territories to opt to award their own equivalent medals. Further minor amendments were made on 15 December.

King's Police and Fire Services Medal
On 6 September 1940, the name was changed to the King's Police and Fire Services Medal to better reflect the eligibility of fire service personnel. There was no longer any limit on the number to be awarded in one year.

The last award of the medal for gallantry to a living recipient was in 1950, after which time it was awarded only posthumously.

Queen's Police Medal
In a warrant of 19 May 1954 the current version of the medal, named the Queen's Police Medal was introduced; at the same time a separate medal for the fire service was created, the Queen's Fire Service Medal. It was still to be awarded for both "conspicuous devotion to duty" and "acts of exceptional courage and skill", but for the first time added a proviso to the latter limiting it to such acts "at the cost of their lives" - there were only 34 such awards after 1954, the last being to Stephen Tibble in 1976, since which time the Queen's Gallantry Medal can also be awarded posthumously. Notable acts of gallantry in the police service normally now attract awards of the George Cross, George Medal, Queen's Gallantry Medal or the Queen's Commendation for Bravery. On 11 March 2022 the Queen approved amendments to the Royal Warrant to expressly state that members of the Special Constabulary in England and Wales were eligible for the medal, with members of the Special Constabulary in Scotland already eligible.

Over time, many Commonwealth countries have created their own police medals, replacing the issue of the QPM to police in those countries. For example, Australia created the Australian Police Medal in 1986. It did not supersede the QPM which continued to be awarded to Australians until 1989. On 5 October 1992, Australian Prime Minister, Paul Keating, announced that Australia would make no further recommendations for British honours. The Australian Order of Wear states that "all imperial British awards made to Australian citizens after 5 October 1992 are foreign awards and should be worn accordingly".

King's South African Medal (South African version)
The South Africa version was introduced in 1937, awarded on the same basis as the British medal. It had a similar design, but with differences in its inscriptions, including a bi-lingual reverse. A total of 30 medals for gallantry and 17 for distinguished service were bestowed, with the last award in 1960.

Post-nominal letters
Recipients may use the post-nominal letters QPM, KPM or KPFSM, as appropriate, although the right to use these was only granted officially on 20 July 1969.

Description
It is a circular silver medal, 36 mm in diameter, with the ribbon suspended from a ring. While the basic design has remained the same since 1909, there have been a number of changes.

 * The obverse has the profile of the reigning monarch with an appropriate inscription:

 * The reverse depicts Saint Michael, patron Saint of Police officers, holding a sword and shield at rest depicting that whilst armed and ready, he prefers peace. The exergue of the 1909 issue contains a laurel spray, but in 1933 this was replaced with the inscription For Distinguished Police Service or For Gallantry. Since 1954 the distinguished service version has the wording inscribed around the edge of the medal, with a laurel spray in the exergue, the gallantry version remaining unchanged.
 * The name, rank and force of the recipient is inscribed on the rim of the medal.
 * The 1.38 in wide ribbon was originally dark blue with a silver stripe at each edge. In 1916 an additional central silver stripe was added with, from 1933, a thin red stripe down the middle of each silver stripe for awards for gallantry.

title: King's Police Medal


text: User talk:217.42.74.254

title: User talk:217.42.74.254


text:
Something's Afoot

Something's Afoot is a musical that spoofs detective stories, mainly the works of Agatha Christie, and especially her 1939 detective novel And Then There Were None. The book, music, and lyrics were written by James McDonald, David Vos, and Robert Gerlach, with additional music by Ed Linderman. The musical involves a group of people who are invited to the lake estate of Lord Dudley Rancour. When the wealthy lord is found dead, it is a race against the clock to find out who is the murderer.

Production history
Something's Afoot premiered at the Alliance Theater in Atlanta in 1972, and then was produced at the Goodspeed Opera House, East Haddam, Connecticut in 1973, at the American Theatre in Washington, D.C., and by the American Conservatory Theater in San Francisco and Los Angeles in 1975. The first two productions starred Mary Jo Catlett as Miss Tweed, and the latter three starred Lu Leonard in that role. After Los Angeles, Pat Carroll starred in a summer stock tour of the show in 1975. According to an article in The New York Times "...Pat Carroll stars in this show...which had an airing at Goodspeed in 1973, will be on the tryout trail all summer long, making stops at, among others, the Lakewood Theater in Skowhegan, Maine..." Something's Afoot received two Joseph Jefferson awards for its Chicago production.

Something's Afoot opened on Broadway at the Lyceum Theatre on May 27, 1976 and closed on July 18 after 61 performances and 13 previews. Directed and choreographed by Tony Tanner, the cast included Tessie O'Shea (Miss Tweed), Gary Beach (Nigel), and Liz Sheridan (Lady Manley-Prowe). It subsequently ran in 1977 in London at the Ambassadors Theatre for 232 performances starring Sally Smith, and was nominated that year for the Olivier Award as Best Musical of the Year.

After London the show was presented in many countries in several languages and has gone on to receive many productions all over the world.

A 1982 stage performance in London, starring Jean Stapleton as Miss Tweed and Andy Gibb as Geoffrey, was taped live with a theatre audience, for broadcast by Showtime Networks.

Act 1
In the country estate of Lord Dudley Rancour in the English lake district in late Spring, 1935, Dudley's servants—Clive, the overworked widower butler, Lettie, the new maid, and Flint, the "gripper" handyman—prepare for the arrival of guests. The guests—flighty Hope Langdon, proper Doctor Grayburn, black sheep nephew Nigel Rancour, supposedly French grande dame Lady Manley-Prowe, retired military Colonel Gillweather, and artist/detective Miss Tweed—express surprise at the presence of other guests, but look forward to their stay. ("A Marvelous Weekend")

Soon after they arrive, Clive announces that a storm has made the estate inaccessible, the power is in danger, Lord Rancour is dead, and that dinner is served. He is immediately killed when the staircase explodes. Miss Tweed appoints herself as leader of the survivors, and they express surprise that "the butler didn't do it". ("Something's Afoot") Doctor Grayburn discovers that Lord Rancour has been shot, and that the revolver is missing. The men leave to confirm that the bridge is flooding, leaving the women alone. Miss Tweed, Hope, and Lettie comfort Lady Manley-Prowe about her fears ("Carry On") and the women patrol the mansion with ornamental spears. Geoffrey, a college student, arrives in the mansion drenched, and is immediately tied and interrogated by the women. When the men return, they examine him and find a pistol, but they find that it is a starting pistol for his college's rowing team. He suggests that they telephone for help, but they find that the wire on every telephone has been cut with Flint's garden shears. Doctor Grayburn is tricked into answering a ringing telephone emerging from the wall, which gasses and kills him.

Geoffrey and Hope are left in a room together, and they find that they have fallen in love. ("I Don't Know Why I Trust You") Nigel confronts Lady Manley-Prowe about a letter he finds from her begging Lord Rancour for money. She reveals that she is the ex-wife of Lord Rancour, and that they divorced after she had an affair with an army lieutenant named Shirley. Nigel enlists her in his search for Rancour's will, in which he expects to be named the legal heir. While trying to distract Colonel Gillweather from Nigel's search, she discovers that he is the same Shirley, and the two reunite. ("The Man With the Ginger Moustache") She tells him that she had had his child, but that Lord Rancour had taken it from her to make it his heir. Nigel discovers the two of them, and they bicker until Miss Tweed interrupts. Geoffrey discovers a gun on Clive's body. Miss Tweed examines the clues, but she herself is under suspicion by the other guests because she "knows too much indeed." ("Suspicious") The power suddenly goes out. The Colonel yells to flip the light switch, and it electrocutes Lady Manley-Prowe when she tries to turn it on, killing her too.

Act 2
Gillweather mourns Lady Manley-Prowe. Flint gets the power back on by means of the generator, and as the rest of the survivors go off to examine it, Nigel searches for the will. When he finds it corked in a bottle, he is dismayed to find that he is not his uncle's heir, before having his head bashed in by a mechanical sconce ("The Legal Heir"). Gillweather discovers Nigel's corpse and the will, which he reads before being shot with a dart. He recognizes the poison and diagnoses that he has five minutes to live, but most of his time is taken up by Miss Tweed confiding in him about Flint's "gripper" tendencies and the discovery of Nigel. He is finally able to reveal Rancour's heir to Miss Tweed—Hope Langdon, whom he realizes is his daughter by Lady Manley-Prowe—before succumbing, dignified, to the poison.

Lettie panics at the mounting pile of bodies in the library and the survivors decide to pack up and leave as soon as climatically possible. While the others are doing so, Hope expresses her joy at finding someone like Geoffrey ("You Fell Out of the Sky") and nearly misses being hit by the falling chandelier. Lettie takes this to mean that Hope was supposed to be next, and Hope, Geoffrey, and Miss Tweed go off to pack. Lettie turns the gas on to make tea, but is distracted by Flint, who offers a means of escape by proposing they take his boat off the island. She eagerly accepts his advances this time. ("Problematical Solution [The Dinghy Song]") After he runs to pack, Lettie finds a letter in her pocket, revealing that Lord Rancour stores large sums of money in a large Ming vase. Upon discovering the vase, she cannot resist, and peeks inside, only to be sucked in and ground to bits, the vase spitting out only her shoe.

When the rest of the survivors, Miss Tweed, Geoffrey, Hope, and Flint, discover Lettie's remains, Flint goes to finish the tea. However, as he was smoking and the gas had never been turned off, there is an explosion, killing Flint. Miss Tweed concludes that since Flint's death had been accidental, he had been the murderer, with a motive of insanity. She shows Lord Rancour's will to Hope, revealing her parentage and fortune. Delighted, Geoffrey and Hope ask Miss Tweed how she solves her cases. Miss Tweed replies that all her knowledge comes from reading mystery novels. ("I Owe it All") However, as she thinks over the facts while painting Geoffrey's portrait, she declares that Flint was not the killer. Before she can tell who the true murderer was, she is strangled with her own scarf by a mechanical ornamental spear.

Geoffrey and Hope turn on each other, each suspecting the other of being the killer. However, the portrait of Lord Rancour opens to reveal a victrola, which contains the confession of Lord Rancour. He himself had planned the murders, all in order to let Hope inherit her fortune. He had killed her parents and himself so that she would never have the burden of a guardian, Clive because he had known of the existence of a child, Doctor Grayburn because he had delivered her, and Miss Tweed because she had been Hope's nanny. Rancour assumed that if the truth were revealed, the three of them would stand in her way. Nigel had been killed because he would have contested the will, Lettie because she was blackmailing Rancour, and Flint simply because he was "a gripper." Rancour explains that each murder was planned according to the victim's habits: Clive punctually announced dinner on the stairs at 7:15, for example, when the bomb was to be set off. Grieved, Hope stops listening. She and Geoffrey drink a toast to the new world that awaits them. ("New Day") However, they begin to feel ill as Rancour explains that Flint's death was meant to come from poisoned wine, which they have evidently just drunk (rather than the accidental gas explosion, which Rancour could not have anticipated). Hope and Geoffrey fall dead, thus ending the play.

Characters
The cast is a set of British stock characters typically found in the works of Agatha Christie. They are as follows (in order of appearance):
 * Lettie – "The saucy maid"
 * Flint – "The caretaker"
 * Clive – "The fussy butler"
 * Hope Langdon – "The Ingenue"
 * Dr. Grayburn – "The family doctor"
 * Nigel Rancour – "The black sheep nephew"
 * Lady Grace Manley-Prowe – "The Grande Dame"
 * Colonel Gillweather – "The old army man"
 * Miss Tweed – "The tweedy, elderly amateur detective"
 * Geoffrey – "The juvenile; the uninvited guest"

Musical numbers
It is suggested in the script that the song's participants are not (as is typical) listed with the song titles, thus not giving away the order in which the characters perish.

 * Act I
 * "A Marvelous Weekend" – Clive, Lettie, Hope, & Company
 * "Something's Afoot" – Company
 * "Carry On" – Miss Tweed, Lady Grace Manley-Prowde, Lettie and Hope Langdon
 * "I Don't Know Why I Trust You (But I Do)" – Hope Langdon and Geoffrey
 * "The Man With the Ginger Moustache" – Lady Grace Manley-Prowde
 * "Suspicious" – Company

 * Act II
 * "The Legal Heir" – Nigel Rancour
 * "You Fell Out of the Sky" – Hope Langdon
 * "Dinghy" – Flint and Lettie
 * "I Owe It All" – Miss Tweed, Hope Langdon and Geoffrey
 * "New Day" – Company

title: Something's Afoot