text:
User:JamieC2005

Hi, my name is Jamie Carmichael, and I live in Canterbury, which is in South East England. I've known about Wikipedia for a while, but didn't realise exactly what it was for untill a few months after I found it. When I did finally find out that it was a free contributing service thing, I joined immediatley. I'm 19 years old and I'm a National Diploma and Foundation student at the Kent Institute of Art and Design in Canterbury.

= My Contributions =

Articles that I have written so far

 * Jedi Temple
 * Jedi Archives
 * Corde

Articles that I have contributed to
= My Interests =

Change Ringing
I've been a bellringer in Canterbury for seven years, as of December 2004, and it's one of the most self-fulfilling aspects of my life at the moment, even though it's a voluntary profession and you don't get paid. I'm not really good at maths and I'm not really into sport, but the great thing about bellringing is that you don't need either brains or brawn, not at first anyway, although nearly eight years of non-stop ringing has made me pretty strong, and developed my reflexes incredibly, and it's cheaper than going to the gym three times a week :-). I'm currently a member of three churches in Canterbury, the Company of St Stephen's church, St Dunstan's church and the Change Ringing Company of Canterbury Cathedral.

In February 2005, I conducted my first Quarter Peal at St Stephen's, in my opinion one of the most difficult things I've had to do with my skills at ringing since I began. I was awarded my Gold Badge for Change Ringing at St Stephen's in March 2004, just before my 18th birthday, and I had a Quarter Peal rung in my honour!
 * I was made a memeber of St Stephens in 1998, the same year that I became a member of my County Association, the Kent County Accosiation of Change Ringers (KCACR). St Stephen's is Canterbury's training tower, and nearly every new ringer in the local city area comes there to learn. I'm still a regular ringer there, although I've had to waylay my involvement in the tower occasionally over the last couple of years.

In January the next year, 2002, I was invited to the Cathedral's Annual General Meeting (CAGM), and I was made an Associate Member, meaning that I was officially on the Company register, but not acnowledged as a competant Member. I continued to ring regularly at the Cathedral for practices on Thursday evening and Sunday morning. I contributed in the ringing for the enthronement of Archbishop of Canterbury Rowan Williams in 2003, and I helped in the Cathedral Open Evenings in November each year, the only day in the year that the Cathedral Bell Towers are open to the public. In January of 2005, I was again invited to the CAGM, and since I had succesfully learned the ringing method Grandsire Caters, a method rung on nine bells and a requirement for membership at the Cathedral, I was made a full member of the Company without opposition.
 * In January 2001 I willingly ended my ringing on Sunday's at St Stephen's, since I was told that there was a greater need for my services on Sunday at the tower of Canterbury Cathedral. I had already been ringing there irregularly for about five months, so I accepted, gladly, since the starting time of ringing on Sunday morning at the Cathedral was 10:15am, while the starting time at St Stephen's was 9:45am, which gave me an extra half-hour sleep in on Sunday!

Since it was a six bell tower, St Stephen's having eight bells and the Cathedral 12, it allowed me to learn the easier methods that I had had to bypass during my training at St Stephen's. After ringing there for three years, apparently becoming 'a great contributer' to the tower, ringing-wise anyway, and learning my first conducting skills for Plain Bob Doubles there, I was made a member of the tower in February 2005, again without opposition.
 * I have been ringing at St Dunstan's Church regularly since December 2002, when I was forced to stop ringing at St Stephen's alltogether, after I joined the AS-Level Textiles class at school, which was at the same time as practice at St Stephen's.

 * As well as these three towers I ring almost regularly at St Nicholas's Church in Sturry, a village less than a mile East of Canterbury City, and have just begun ringing at the redundant tower of St Mary's at Chislet, a hamlet on the outskirts of the Canterbury District.

Art and Design
I've been very interested in Art since I was very young, since my Uncle was an artist, and both my aunts on my Dad's side were amateur artists. My art medium is mostly with graphite pencil or fineliner pens. I also tend to draw in a technical style, like architectural or design concept drawings. I was admitted to the Kent Institute of Art and Design (KIAD) in Canterbury in May 2004 and I enrolled in September of the same year as a student in the National Diploma course. My first year at KIAD has taught me a lot about art, design, textiles, and several types of art I didn't even know about, and I have passed every term assesment so far with decent grades. At the end of my first course year (10th June 2005), I still have one year of study left to go, during which I will hopefully specialise in a specific area of art or design, after which I will have to decide whether or not to take on the degree course at KIAD, go to a university elsewhere, or simply take up a starter career in art and design.

Lord of the Rings
Since then, I've become almost an expert on Lord of the Rings, both the Tolkein and Jackson versions, and the special features of the DVDs have opened up the possibility of stage or set design as a possible later career after I finish college.
 * I've been a fan of J.R.R. Tolkein and Lord of the Rings since long before the movies came out. When my dad was at college in Oxford he actully met Tolkein and had lunch with him. I saw the animated version of the books for the first time when I was 5, which is a pretty good representation spliced together into one long movie. I first watched it at my Nan's house, and remeber it scared both me and my cousin, Hannah, to death, after which she refused to ever watch it again. I, on the other hand, couldn't get enough of it, and watched it at least twice a month for the next year or so, after which i got bored of it, and my dad suggested that I read the books, but being roughly six years old at the time, the sight of the three, two-inch thick novels didn't really appeal to me.
 * My dad then read the books to me the about a year later, when I was 7-8, reading one chapter per night of Fellowship of the Ring and Two Towers, which took about 18 months! After this, I took over at about age 9.5, reading The Return of the King myself, which took me longer then it took my dad to read me the first two!
 * Later on, when I was about 13, in 1999, I asked my dad to read them to me again while we were in the Lake District for two weeks. Since this was holiday time, and not during the school term like before, reading the Fellowship of the Ring only took the first two weeks of the summer holiday, and then we continued to read the Two Towers, and Return of the King between then and Christmas.
 * That Spring the next year, the Spring of 2000, my parents finally relented to the call of the new Millennium and purchased a new computer, complete with the Internet, something I had only used about twice before at Secondary School, where I wasn't allowed to look at things other than schoolwork. Now I used our new computer to surf the net for things concerning Lord of the Rings, among other things, which is where I first saw the artwork that people like John Howe and Alan Lee had made for the books, which is also probably where my growing interest in art and design was first born. I also learned some small details about the history of Middle-earth from timelines taked from the Appendices made by Tolkein.
 * I first saw Peter Jackson's version of Fellowship of the Rings in 2002, during the movie's third premiere week in Canterbury's Odeon Cinema. It became one of my favourite movies ever, next to Titanic and Gladiator (you can see my love of Epics!). I saw the Two Towers eqaully fast the next year, but, due to my A-Level exam studies, I was unable to see the Return of the King in the Cinema, and was reduced to watching it along on DVD a few months later.

Arthur Ransome

 * Like Lord of the Rings, my interest in the Swallows and Amazons novels by Arthur Ransome was begun by my dad, who had read the books since he was 10, and read all twelve books to me between when I was 4 and 12, when I started reading them myself.
 * Unlike most childrens books I've read, like those by Enid Blyton and C.S. Lewis, the Swallows and Amazons books have never really got past me age wise, the language never becoming irritating and boring, and the stories never seeming too repetitive, and I'm still reading them at age 19, going on 20, and they haven't yet lost their appeal. When I was 15, my parents took me and my brother to the Lake District, where most of the Swallows and Amazons books are set, where we stayed in a small cottage at the foot of Lake Windermere which is also where I first learned to sail a small boat (though not very well) at that point. Even though my enthusiasm in Lord of the Rings was in its prime at this time, I still read the Arthur Ransome books in my spare time, and while we were driving around from place to place.

title: User:JamieC2005


text:
Alaska Court of Appeals

The Alaska Court of Appeals is an intermediate court of appeals for criminal cases in the State of Alaska's judicial department (Alaska Court System), created in 1980 by the Alaska Legislature as an additional appellate court to lessen the burden on the Alaska Supreme Court. The court of appeals consists of a chief judge and three associate judges, who are all appointed by the governor of Alaska (see List of governors of Alaska) and face judicial retention elections every eight years; the chief judge of the court of appeals is selected from among the four by the chief justice of the supreme court to serve a two-year term.

The court of appeals hears oral argument from lower state trial courts on a regular basis in Anchorage.

Appointment and composition
All Alaska state court judges are selected in accordance with the Missouri Plan. The governor of Alaska appoints a court of appeals judge from a list of qualified candidates submitted by the Alaska Judicial Council. To be eligible for appointment, a person must be a citizen of the United States and a resident of Alaska for five years prior to appointment. A court of appeals judge must be licensed to practice law in Alaska at the time of appointment and must have engaged in the active practice of law for eight years. The appointed judge must be approved by the voters on a nonpartisan ballot at the first statewide general election held more than three years after appointment; thereafter, each court of appeals judge must participate in another retention election every eight years.

Current judges
The members of Alaskan Court of Appeals, by order of seniority, include:

Jurisdiction
The court of appeals has jurisdiction to hear appeals from judgments in criminal cases and certain other quasi-criminal cases in which a minor is accused of committing a crime (juvenile delinquency cases), cases in which prisoners are challenging the legality of their confinement (habeas corpus and post-conviction relief matters), and cases involving probation and parole decisions. Also, a defendant in a criminal case who appeals from district court to superior court can ask the court of appeals to review the resulting decision of the superior court, but the court of appeals may, in its discretion, refuse to hear the appeal.

The court of appeals' jurisdiction is therefore over criminal and quasi-criminal matters rather than civil matters; it was created in 1980 to take the burden of these matters from the supreme court, which is therefore able to concentrate on civil matters. However, unlike the Supreme Court of the United States, the Alaska Supreme Court is required to hear appeals in civil cases in the first (and usually last) instance and is not able to exercise its discretion whether to consider appeals previously heard by other appellate courts. Although granting both civil and criminal jurisdiction to the new court of appeals (freeing the supreme court to be purely an appellate court of last resort rather than first instance) had been considered by some proponents in 1980, it was not then believed that the Alaska legislature would be amenable to creating such a court.

Decisions
The court of appeals usually announces its decisions of cases by issuing memorandum opinions and judgments (MO&Js) and orders summarily ruling on the merits of cases or dismissing them, as well as opinions for official publication (in Westlaw, the Pacific Reporter and the Alaska Reporter). Although the MO&Js and most orders are not published, the MO&Js are available for public inspection at the Anchorage, Fairbanks, and Juneau offices of the clerk of the appellate courts, and the orders are filed in the clerk's Anchorage office. Current MO&Js are also available on the Alaska Court System website. Nevertheless, MO&Js are binding only upon the parties and stare decisis does not apply.

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

title: Alaska Court of Appeals


text:
Marcel Cadieux

Marcel Cadieux, (June 17, 1915 – March 19, 1981) was a Canadian civil servant and diplomat.

Early life and education
Cadieux was born in Montreal, Quebec. He studied at the Collège André Grasset, obtained a Master's degree in law from the Université de Montréal, and studied constitutional law at McGill University in Montreal.

Career
Cadieux joined the Department of External Affairs in 1941, served as senior adviser to Canadian members of the International Control Commission in Vietnam in 1954, and became the legal advisor to the Department of External Affairs in 1956.

A professor of international law at the University of Ottawa, he was the first Canadian to sit on the United Nations International Law Commission. From 1964 to 1970, he was Under-Secretary of State for External Affairs.

Cadieux served on the negotiating committee to determine maritime boundaries with the United States. He was Canada's first francophone Ambassador to the United States from 1970 to 1975, and head of the Canadian Mission to the European Communities from 1975.

He was appointed to advise the Royal Canadian Mounted Police (RCMP) in 1978. He also wrote several books on Canadian diplomacy.

In 1969, he was made a Companion of the Order of Canada.

Family
He married Anita Comtois, and they had two sons.

title: Marcel Cadieux


text:
User:Matthias Herzhoff

Matthias Herzhoff is a resident of a small town east of cologne, Germany.

Shout In's
Hey Hisim!! --Cybertnt 20:00, 11 Apr 2005 (UTC)

title: User:Matthias Herzhoff


text:
Talk:Denaturation (fissile materials)

The info on this page comes from the denaturation page. However, I moved the original denaturation to Denaturation (Biochemistry), so refer to the latter for the page history.

Detail might not be warranted
On second thought lots of references and detail may not be warranted, given all the nut cases and terrorists roaming about. Hadrianheugh 23:16, 5 September 2007 (UTC)

title: Talk:Denaturation (fissile materials)


text:
DDP

DDP may refer to:

Commerce

 * Delivered Duty Paid, an international shipping method
 * Devil's Due Publishing, a comic book publisher
 * Disability and Development Partners, a UK international organisation
 * Double Dragon Publishing, a science-fiction and fantasy publisher

Computing

 * Datagram Delivery Protocol, a networking protocol in the AppleTalk suite
 * DDP-316, family of minicomputer systems, including DDP-116, DDP-516, DDP-716.
 * Differential dynamic programming, a second-order algorithm for trajectory optimization
 * Digital DawgPound, a hacker group
 * Disc Description Protocol, a generic disc image file format
 * Distributed Data Processing, a 1970s term referring to one of IBM's combined offerings
 * Distributed Data Protocol, a client-server protocol for querying and updating a database
 * Dolby Digital Plus, a multichannel audio compression technology

Medicine and science

 * Deafness dystonia polypeptide, a protein/gene also known as TIMM8A
 * DNA Doe Project, a non-profit, volunteer group that identifies John and Jane Does using genetic genealogy techniques
 * Dyadic developmental psychotherapy, for children with serious emotional disorders

Politics and government

 * Deutsche Demokratische Partei (German Democratic Party), a 1918–1930 political party in the German Weimar Republic
 * Deputy Director for Plans, former name of the Deputy Director of CIA for Operations
 * Direct Democracy Party of New Zealand, a 2005–2009 political party
 * Doordarshi Party, a 1980–1997 Indian political party

Other uses

 * Diamond Dallas Page, a professional wrestler
 * Disney Dining Plan, a meal package for Walt Disney World hotel guests
 * DoDonPachi, a 1997 video game
 * Dominicans Don't Play, a New York-based street gang of Latino youths whose heritage is traced to the Dominican Republic
 * Dongdaemun Design Plaza, a Seoul landmark
 * Dricus du Plessis, a South African professional mixed martial artist
 * Dublin Death Patrol, an American thrash metal band
 * Dudley Port railway station (station code), in Tipton, England, United Kingdom

title: DDP


text:
Talk:Robert Crowley (CIA)

Untitled
This entry needs to be differentiated from the Robert Crowley AKA Croleus born in about 1517. — Preceding unsigned comment added by Dpknauss  (talk • contribs)  14:44, 8 April 2005 (UTC)

title: Talk:Robert Crowley (CIA)


text:
Sunderland lustreware

Sunderland lustreware is a type of lustreware pottery made, mostly in the early 19th century, in several potteries around Sunderland, England.

According to Michael Gibson there were 16 potteries in Sunderland of which 7 are known to have produced lustrewares (alongside conventional wares of various types) in the nineteenth century. Many are not marked, and are hard or impossible to distinguish from similar wares made in Staffordshire pottery, as well as Newcastle upon Tyne and North Shields, so to some extent Sunderland has become a term for the style, rather than a specific indication of origin.

Lustreware was not made in England before the start of the 19th century, and was initially developed in Staffordshire, where Wedgwood developed a pink or gold lustre finish about 1805, which they sold as "Moonlight". The Sunderland factories mostly made fairly cheap and popular pieces, many of them plaques, especially rectangular ones with "picture frame" edges, and an image of inscription in the central panel; these are usually in the characteristic pink colour. These might be a transfer-printed image of a ship, celebrity, or building, or a painted personal inscription (known as presentation pieces). Many used the "splash lustre" effect, achieved by dropping drops of oil onto the lustred piece before firing.

This pottery is now very collectible. It is normally found in a pink form, but orange and other colours are also found. Typical pieces are plaques with moral or religious images and texts, and jugs featuring a design incorporating the bridge over the River Wear, or various heraldic - especially Masonic - devices. The Wearmouth Bridge re-opened after a major reconstruction in 1859. Most of the pieces available today were produced in Anthony Scott's Pottery in Southwick, Dawson's Pottery in Low Ford (now South Hylton), or at Dixon, Austin & Co.

A comprehensive collection is on display in the Sunderland Museum and Winter Gardens.

title: Sunderland lustreware


text:
Template:PerseusAuthor

Works by at Perseus Project

title: Template:PerseusAuthor


text:
Talk:Gigantour

Gigantour 2
Please don't post any rumors.

We weon't, but, as long as we're on the talk page, have you heard any?

I heard somewhere Dave wanted Gigantour 2 to be Megadeth, Anthrax, Testament and Exodus. Try looking on Google for something.

VfD
On April 18, 2005, this article was nominated for deletion. The result was keep. See Votes for deletion/Gigantour for a record of the discussion. Mindspillage (spill yours?) 04:19, 2 May 2005 (UTC)

Bring me the Horizon
Can someone please tell me if they're really going to be their. Thanks Welshy1791 07:16, 10 September 2007 (UTC)

 * Yes they are playing some dates in Australia. Hopefully they can fit all the hair dressers into the moving truck though :D CHSoarer 08:33, 11 September 2007 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Gigantour. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20111007092931/http://www.megadeth.com/pr/Gigantour2012.html to http://www.megadeth.com/pr/Gigantour2012.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 20:29, 11 January 2017 (UTC)

title: Talk:Gigantour


text:
Joshua Middleton

Joshua Middleton (sometimes credited as Josh Middleton) is an artist and designer working in the animation, film, comics, and book industries. In 2004 he was nominated for an Eisner Award as "Best Cover Artist" for his work on Marvel's NYX, X-Men Unlimited, and New Mutants.

Career
Middleton started his career as a comic book artist in 2000 as penciler for CrossGen's Meridian, written by Barbara Kesel. After that, he joined a small independent British publisher, Com.x, planning to release there his creator-owned series Sky Between Branches, but only did a preview issue in early 2002, along with some other work for the publisher.

After contributing covers and short stories to Marvel's X-Men Unlimited series beginning in late 2002, he signed an exclusive contract in 2003, and created NYX with Joe Quesada as writer, but left the title after four issues in 2004 when his contract ran out.

Following his stint at Marvel he signed exclusively with DC Comics in 2004. His first DC series was Superman/Shazam: First Thunder, a miniseries that launched in September 2005. Along with illustrating some short stories and single issues, Middleton also served as regular cover artist for the Vertigo series American Virgin and DC Comics' Supergirl ongoing series.

Middleton worked as one of the conceptual artists on the 2005 science fiction film Serenity. Since then he has been working as an artist for Warner Bros. Animation. Middleton began working for WB Animation in October 2009 as a character designer, but was quickly promoted to be an art director for the Green Lantern: The Animated Series, where he has worked hand-in-hand with Bruce Timm to carve out the look and feel of the first Warner Brothers' CG television series.

In addition to his comic book work, Joshua Middleton has illustrated book covers for several major publishers, including Scholastic, Abrams, Penguin, Viking, Tor, and Disney Press. Middleton has also served as a conceptual artist/illustrator for feature films produced by Universal Studios, Warner Bros., Disney, Marvel Studios, Sony Pictures Entertainment, and Sony Pictures Animation.

In late 2010, Middleton decided to leave animation and return to his work in comics. Middleton has been the cover artist for the Aquaman and Batgirl series for DC Comics. He drew the 1980s variant cover for Action Comics #1000 (June 2018).

Covers only

 * X-Men Unlimited #40, 47, 49 (Marvel, 2003)
 * New Mutants #1–6 (Marvel, 2003)
 * Runaways #11–12 (Marvel, 2004)
 * NYX #5–7 (Marvel, 2004–2005)
 * Majestic #1 (Wildstorm, 2005)
 * Serenity #3 (Dark Horse, 2005)
 * Gotham Central #36 (DC Comics, 2006)
 * American Virgin #4–14 (Vertigo, 2006–2007)
 * All-Flash vol. 2 #1 (DC Comics, 2007)
 * JLA: Classified #50–54 (DC Comics, 2008)
 * Supergirl #34, 36–43, 45–51 (DC Comics, 2008–2009)
 * Vixen: Return of the Lion #1–5 (DC Comics, 2009)
 * The War that Time Forgot #8 (DC Comics, 2009)
 * Wonder Woman vol. 3 #30 (DC Comics, 2009)
 * Wonder Woman #611, 614 (DC Comics, 2011)
 * Green Arrow vol. 5 #13–14 (DC Comics, 2011)
 * Aquaman vol. 8 #1-present (DC Comics, 2016–present)
 * Action Comics #1000 (DC Comics, 2018)

title: Joshua Middleton


text: User talk:81.154.120.185

title: User talk:81.154.120.185


text:
Natalie Bassingthwaighte

Natalie Bassingthwaighte (born 1 September 1975) is an Australian singer, actress and television personality. Born in Crookwell and raised in Wollongong, New South Wales, she began her career in musical theatre. She later pursued an acting career in 1998 with guest appearances in television shows. Bassingthwaighte rose to prominence in 2003 on the Australian soap opera Neighbours for her role as Izzy Hoyland, which earned her three Logie Award nominations.

In 2004, she was recruited as the lead singer of Australian electro-pop band, Rogue Traders. After leaving Neighbours in 2006 to focus on her music career, Bassingthwaighte released a cover of "Don't Give Up" with Shannon Noll, which peaked at number two on the ARIA Singles Chart and was certified platinum. In 2008, she left Rogue Traders to pursue her solo music career. Bassingthwaighte released her debut solo album 1000 Stars in 2009, which spawned the platinum top-ten hits "Alive" and "Someday Soon". The album was a commercial success, debuting at number one on the ARIA Albums Chart and was certified gold. After seven years away from Rogue Traders, Bassingthwaighte returned as the band's lead singer in 2015.

Aside from her acting and music career, Bassingthwaighte co-wrote her first book, Sistahood: A Journal of Self-Discovery, with her younger sister in 2008. That same year, she made her debut as a television presenter, hosting So You Think You Can Dance Australia for its first three seasons, which earned her another three Logie Award nominations. From 2011 to 2014, she was a judge and mentor on The X Factor Australia, and briefly joined The X Factor New Zealand in 2015. That same year, Bassingthwaighte launched her own children's clothing label, Chi Khi. Bassingthwaighte has been married twice; in 1998 she married Graham Wilmott, a chef from Wollongong, for two years. In December 2011, she married her former Rogue Traders bandmate Cameron McGlinchey. The couple have two children, a daughter named Harper Rain Sinclair McGlinchey and a son named Hendrix John Hickson McGlinchey.

Early life
Natalie Bassingthwaighte was born on 1 September 1975 in Wollongong, New South Wales, to Betty (born ca. 1953) and Michael Bassingthwaighte (AM) (born ca. 1952). Betty has worked as a theatre nurse. Since 1982 Michael has worked as the CEO of a health care insurance provider. Bassingthwaighte grew up in the suburb of Mount Warrigal as the second of four daughters with her older sister Melinda (born ca. 1974) and the twins, Lisa and Nicole (born ca. 1982). From a young age, she used to charge 20 cents for family and friends to come and see her dress up and put on mini concerts. Bassingthwaighte got her first role in a primary school production at Balarang Primary School of Peter Pan, playing the character Tinker Bell. She enrolled at Wollongong High School of the Performing Arts and graduated from the Australian College of Entertainment.

After college, Bassingthwaighte successfully auditioned for a job at a theme park, Wonderland Sydney. She participated in a variety of performances, including 1950s, 1970s, country and Hanna-Barbera shows. After working at Wonderland Sydney, Bassingthwaighte performed for two seasons as lead vocalist and stand-up comic at the Kaos Comedy Theatre restaurant in Sydney. During that time she auditioned for other musicals. Bassingthwaighte was chosen from over 6,000 people for the role as Mrs. Cohen in the Australian tour of the rock musical, Rent (1999). During Rent's tour, she auditioned for another stage production, Chicago. The casting directors were initially dubious given that she was not an A-List dancer, however she won the role of June and understudied the principal role of Roxie Hart. In 2002, during Chicago's run in Perth, Bassingthwaighte and some cast and crew members decided to visit The Pinnacles, a limestone formation and tourist attraction about 190 km north-west of Perth. On the way there they became lost and their 4WD broke down; they were rescued by a Navy helicopter. Her first lead role was in the Asian production Chang & Eng, which depicts the biography of the first Siamese twins; Bassingthwaighte portrayed Adelaide Yates in both the Singapore and Bangkok seasons of the show.

2004–08: Rogue Traders
Bassingthwaighte had considered a music career for some years and had been a member of an R&B group, but it did not work out, and her interest focused on other options. By 2004, she had begun working on her own demos: songs with an acoustic-rock sound and, later that year, she was recruited as the lead singer for Australian electro-pop band, Rogue Traders. Formed in 2002 with James Ash on keyboards and Steve Davis on guitars, the group had used a variety of guest vocalists and issued a debut album before seeking a permanent singer. After being presented with the band's music, Bassingthwaighte auditioned for Ash and Davis. The pair had auditioned 15 to 20 candidates, and after she performed their song "Voodoo Child", she became the band's front-woman.

In May 2005, the band released "Voodoo Child" as their fifth single—the first with Bassingthwaighte—which reached number four on the ARIA Singles Chart and was certified platinum for shipments of 70,000 units in Australia. "Voodoo Child" also reached number seven on the New Zealand Singles Chart, number three on the UK Singles Chart and number fifteen on the Irish Singles Chart. The single won the award for "Best Dance Video" at the 2006 MTV Australia Awards. The follow-up singles "Way to Go!" and "Watching You" also reached the ARIA top ten and both were certified gold for shipment of 35,000 units. In October 2005, Bassingthwaighte performed the Australian national anthem at the 2005 NRL Grand Final. Also that month Rogue Traders issued their second studio album, Here Come the Drums, which reached number two on the ARIA Albums Chart and spent a total of seventy-four weeks in the Top 50. It was certified 4× platinum and became their most successful album. The album received four nominations at the ARIA Music Awards of 2006 for "Breakthrough Artist – Album", "Best Pop Release", "Highest Selling Album" and "Best Group".

While Bassingthwaighte was still a member of Rogue Traders, she also made solo appearances and releases. In December 2006 she performed a duet with label mate Shannon Noll on their cover version of Peter Gabriel and Kate Bush's "Don't Give Up", for the various artists' album Home: Songs of Hope & Journey. Noll and Bassingthwaighte's version reached number two on the ARIA Singles Chart. She recorded "O Holy Night" for the album The Spirit of Christmas 2006, a Christmas compilation album for which all proceeds go to The Salvation Army in Australia. In 2007 Bassingthwaighte and Noll teamed up again for "Please Come Home for Christmas" on the album, The Spirit of Christmas 2007.

In October 2007 Rogue Traders released their third album, Better in the Dark, which spawned the hit singles "Don't You Wanna Feel" and "I Never Liked You"—both were certified gold, and "What You're On". The album debuted on the ARIA Albums Chart at number four and gained a platinum accreditation. For this album, Bassingthwaighte is credited as a co-composer for five of its twelve tracks, including all three singles. She worked with Ash and his wife Melinda Appleby on some tracks, "[w]e'd sit in a room and throw ideas around … It was interesting that all three of us instinctively knew when we had a great idea". At the APRA Awards of 2009, "Don't You Wanna Feel" was nominated as Dance Work of the Year. In June 2008, Bassingthwaighte left the group to pursue her solo career. She had signed a recording contract with Sony Music Australia in 2006 to embark on a solo career. In November 2009, Rogue Traders recruited Mindi Jackson as her replacement.

2008–present: 1000 Stars and subsequent ventures
In June 2008, Bassingthwaighte began working on her debut solo album, 1000 Stars. In October 2008, the album's lead single, "Alive", was released; it peaked at number eight on the ARIA Singles Chart and gained a platinum certificate. In January 2009, a second single, "Someday Soon", was issued which became Bassingthwaighte's third top-ten single on the ARIA Charts and was also certified platinum. The album was released on 20 February 2009, which debuted on the ARIA Albums Chart at number one and was certified gold.

In April 2009, the album's title track was released as the third single. It reached number thirty on the ARIA Singles Chart. "Not For You" was released in July 2009 as the fourth single and it failed to chart. The fifth single, "Love Like This", appeared in January 2010, which reached the Top 100. It was used to raise awareness by the Aids Council of New South Wales for the 'Wear It With Pride' T-shirt campaign in the lead-up to that year's Sydney Mardi Gras parade. For 1000 Stars, Bassingthwaighte co-composed seven of its fifteen tracks, including "Alive" and "Someday Soon".

In January 2011, Bassingthwaighte returned to theatre, performing at the Sydney Opera House, in Love, Loss and What I Wore, a play "about women, their relationships and memories", where she co-starred with Judi Farr, Mirrah Foulkes, Amanda Muggleton and Magda Szubanski. On 28 August 2011, Bassingthwaighte told The Daily Telegraph that she had recorded several new tracks, with her single "All We Have" expected to be released soon. She said, "Everything is coming together … I did lose my mojo for a while, I just didn't believe in doing something unless you're totally up for it. I wasn't feeling creative and then, suddenly, it was Christmas and it just felt right". "All We Have" was released in September 2011 and it failed to chart. In February 2012, Bassingthwaighte was announced as a Moomba Monarch alongside Harry Kewell, the Australian socceroo. In December 2014, Bassingthwaighte and other Australian singers recorded a cover version of Kate Bush's "This Woman's Work" under the name "Hope for Isla and Jude", and released it as a charity single to help raise funds for two siblings who suffer from the rare disease Sanfilippo syndrome. In September 2015, Bassingthwaighte reunited with her former band Rogue Traders, performing together for the first time in seven years, at a corporate show in Gold Coast. They later reunited again in December for a New Year's Eve show, where they hinted at the possibility of future shows, and confirmed that Bassingthwaighte's former replacement Mindi Jackson had given the band's reunion her blessing.

Acting
Bassingthwaighte's first television role as an actress was in a 1998 episode of the hospital-based drama series All Saints. In 2000, she had a guest appearance in an episode of The Lost World, playing the role of Raina. In 2003, Bassingthwaighte appeared in the telemovies The Mystery of Natalie Wood, and Counterstrike, playing the character of Kelly. The following year, she filmed a part in Rohan Spong's student film When Darkness Falls. She portrayed the character of Jinx De-Luxe, which involved a performance of the Marilyn Monroe song "Every Baby Needs a Da-da-daddy". She gained greater popular acclaim on the Australian soap opera Neighbours, playing the role of Izzy Hoyland from 2003 to 2006. This was her first full-time television role. Upon securing the role, she relocated from Sydney to Melbourne. Bassingthwaighte was nominated for a Gold Logie Award for Most Popular Personality and a Silver Logie Award for Most Popular Actress in 2006, for her role on the show. Bassingthwaighte left Neighbours in 2006 to focus on her music career and filmed her final scenes on 2 June 2006. In March 2007, she reprised her role as Izzy Hoyland in scenes shot while on location in London in November 2006. Bassingthwaighte received another nomination for Most Popular Actress at the 2007 Logie Awards. Bassingthwaighte appeared in a documentary special celebrating the show's 30th anniversary titled Neighbours 30th: The Stars Reunite, which aired in Australia and the United Kingdom in March 2015. She reprised her role as Izzy Hoyland for a guest appearance on Neighbours in February 2018, and was again back for the final episodes of the series in 2022.

In 2009, Bassingthwaighte starred in the Australian horror film Prey alongside Jesse Johnson, Christian Clark and Nicholas Bell, playing the role of Kate, an ambitious young surgeon working in the emergency department of a major city hospital. Part of the plot concerned three couples who become lost in outback Western Australia—Bassingthwaighte remembered similarities to her trip to The Pinnacles. The film was directed by George T. Miller and grossed $744 at the box office in Australia. In 2010, for a DVD release in the U.S., it was re-titled as The Outback. From April to June 2010, Bassingthwaighte starred in the 13-part television crime mini-series, Underbelly: The Golden Mile, playing the role of Maria Haken, the wife of Trevor Haken, who is a corrupt Kings Cross detective. The Hakens are a real-life couple, where the husband, Trevor, became an informant and witness at the Wood Royal Commission into police corruption. Bassingthwaighte's character was described as "the adulterous and neglected wife" and her husband's "drinking and neglect led [her] to begin an affair with another police officer". In 2016, Bassingthwaighte starred in the two-part miniseries Brock, based on the life of Australian motor racing driver Peter Brock, playing the role of Julie Bamford, Brock's girlfriend before he died. In September 2017, she appeared in the second season of the drama series The Wrong Girl, playing the recurring role of pastry chef Gillian.

Reality television
In 2008, Bassingthwaighte made her debut as a television presenter, hosting the Australian version of So You Think You Can Dance. She hosted the show for its first three seasons and received two nominations at the 2009 Logie Awards for a Gold Logie Award for Most Popular Personality and a Silver Logie Award for Most Popular Presenter. She received another nomination for Most Popular Presenter at the 2010 Logie Awards. In 2011, Bassingthwaighte replaced Natalie Imbruglia as a judge and mentor on the third season of The X Factor Australia. She also returned for the show's fourth, fifth and sixth seasons. In 2015, Bassingthwaighte replaced Natalia Kills midway through the second season of The X Factor New Zealand after Kills was fired from the show for humiliating a contestant. In 2017, she became a contestant on the third season of the reality series I'm a Celebrity...Get Me Out of Here! Australia, where she competed for her chosen charity, the Sister2Sister program for the Life Changing Experiences Foundation. Bassingthwaighte made it to the show's grand finale and placed third in the competition. In May 2024, Network 10 announced that Bassingthwaight would appear on the forthcoming eighth season of The Amazing Race Australia as a celebrity contestant alongside her sister Melinda Sheldrick. It is the second celebrity season of the show.

Other ventures
In April 2008, Bassingthwaighte released her first book, Sistahood: A Journal of Self-Discovery. It was co-written, over two years, with her younger sister Nicole Moore, and is aimed at boosting teen and pre-teen girls' self-esteem. The book features activities and is filled with pictures of Bassingthwaighte's life with her three sisters: Moore, Lisa Fogarty and Melinda Sheldrick. In March–April 2012, Bassingthwaighte travelled to Bangladesh as an ambassador for Vicks Australia and Save the Children's project, Breathe for Life, which highlighted pneumonia-infected children and their parents' inability to afford health care. She encouraged fellow Australians to support the project to train health workers, village doctors and caregivers and reduce the impact of pneumonia. In March 2015, Bassingthwaighte launched her own children's clothing label, Chi Khi. The collection features natural bamboo cotton fabrics and clothing for both boys and girls aged zero to four. It was made available to buy online from 2 March 2015.

Personal life
Bassingthwaighte is often referred to as Nat Bass in the media and by fans. At 161 cm, she is described as "pint-sized" and "tiny". During adolescence, Bassingthwaighte was bullied at school about her body shape and lack of development. In late 1998, she married Graham Wilmott, a chef from Wollongong; the couple were together for two years.

In 2010, Bassingthwaighte and her long-time boyfriend Cameron McGlinchey had a daughter. Bassingthwaighte and McGlinchey were married on 4 December 2011. In 2013, she gave birth to their second child, a son. The couple separated in August 2023. In November 2023, Bassingthwaighte revealed she is in a relationship with a woman.

title: Natalie Bassingthwaighte


text:
Titchmarsh, Northamptonshire

Titchmarsh is a village and civil parish in North Northamptonshire, England. The 2001 census recorded a parish population of 543 people, increasing to 598 at the 2011 Census.

History
The village's name means 'Young goat marsh'. Maybe, perhaps, 'marsh of Ticcea'.

Titchmarsh Castle was in fact a fortified manor house with a moat. Sir John Lovel received a licence to crenellate it in 1304 but it was in ruins by 1363.

The Church of England parish church of Saint Mary may originally have been 12th century, as a Norman doorway of that date survives in the chancel. The doorway is not in its original position but has been re-set. The north aisle and arcade are 13th century. The ornate Perpendicular Gothic bell-tower is notable. Dr. F.J. Allen, who was an authority on the notable late medieval Somerset towers, described St. Mary's tower as "the finest parish church tower in England outside Somerset". The tower, including the pinnacles, is 103 feet (31 metres) high. Many of St. Mary's church windows are also Perpendicular Gothic; with three, four or five lights.

As a boy the poet John Dryden lived here and probably received his first education in the village. There is a monument to him in St. Mary's parish church.

Brookside Farmhouse was built in 1628 and enlarged in the 18th century. It is believed to have been the family home of the Drydens. The Pickering almshouses were built in 1756.

Amenities
One hundred years ago the village had two public houses: the Dog and Partridge and the Wheatsheaf. The Dog and Partridge has been converted into a residential property. A shop was officially opened on 21 September 2007 by the gardener and television presenter Alan Titchmarsh. The village has a primary school. Children from the parish travel to Oundle for secondary education.

title: Titchmarsh, Northamptonshire


text:
In a Silent Way

In a Silent Way is a studio album by the American jazz trumpeter, composer, and bandleader Miles Davis, released on July 30, 1969, on Columbia Records. Produced by Teo Macero, the album was recorded in one session date on February 18, 1969, at CBS 30th Street Studio in New York City. Macero edited and arranged Davis's recordings from the session to produce the album. Marking the beginning of his "electric" period, In a Silent Way has been regarded by music writers as Davis's first fusion recording, following a stylistic shift toward the genre in his previous records and live performances.

Upon its release, the album was met by controversy among music critics, particularly those of jazz and rock music, who were divided in their reaction to its experimental musical structure and Davis's electric approach. Since its initial reception, it has been regarded by fans and critics as one of Davis's greatest and most influential works. In 2001, Columbia Legacy and Sony Music released the three-disc box set The Complete In a Silent Way Sessions, which includes additional tracks.

Background and recording
By January 1969, Davis' core working band had stabilised around Wayne Shorter on soprano saxophone, Dave Holland on bass, Chick Corea on electric piano, and Jack DeJohnette on drums. For his next studio album, Davis also brought in drummer Tony Williams and keyboardist Herbie Hancock, previously members of his Second Great Quintet. In the following month, the six were joined by Austrian keyboardist Josef Zawinul and English guitarist John McLaughlin, who had been in the United States for less than two weeks to join The Tony Williams Lifetime before Davis asked him to attend the recording session. McLaughlin had been a longtime fan of Davis, and spoke with Davis of his nervousness at the prospect of recording with his idol. Among the compositions by Zawinul that Davis took a liking to was "In a Silent Way", an atmospheric piece that was titled at the suggestion of Cannonball Adderley while Zawinul was in his band. Adderley wished to use the piece for himself, but Zawinul turned him down after he learned that Davis also wanted to record it.

Although Davis' live performances and recent albums Miles in the Sky and Filles de Kilimanjaro (both 1968) had indicated his stylistic shift towards jazz fusion and increasing incorporation of electric instrumentation, In a Silent Way marked a complete transition into the style, marking the beginning of his "electric" period. It was also his first recording to be constructed largely by the editing and arrangement of Davis and producer Teo Macero, whose editing techniques on In a Silent Way were informed by classical sonata form. Both tracks on the album consist of three distinct parts that could be thought of as an exposition, development, and recapitulation, with the first and third section of each track being the same piece.

In a Silent Way was assembled from various takes from a three-hour session on February 18, 1969, at CBS 30th Street Studio's Studio B in Manhattan. "Shhh/Peaceful" was composed solely by Davis, while the opening and closing section to "In a Silent Way/It's About That Time" is based on Zawinul's "In a Silent Way" which he would record in its original form in 1970 for his third solo album Zawinul (1971). After Zawinul presented the tune to the group, it was rehearsed as it was originally written, but Davis wished for it to sound more rock-oriented and stripped the various chord changes to leave a more basic melody built around a pedal point. McLaughlin had some difficulty playing in the manner Davis wished of him, but found his way after the trumpeter suggested he play the guitar as if he were a novice. Davis believed that Zawinul was never happy with his adaptation of "In a Silent Way", but felt that the album would have been less successful had its original arrangement been kept. Zawinul had expressed some dislike of Davis' arrangement, in particular of two chords that he believed that Davis was wrong to remove. Zawinul claimed that he was responsible for the melodic bass line and descending melody of "It's About That Time" but was not credited; he blamed Macero for this, as he "always put things together so that it came out as if Miles had written it."

Two days after the February 18 session, Davis returned to the studio and recorded "Ghetto Walk" with drummer Joe Chambers. "Ghetto Walk" was intended to be included on In a Silent Way with "Shhh/Peaceful", but it was later swapped for "In a Silent Way/It's About That Time". The group also played through "Early Minor", another Zawinul piece, on February 20, but it too was scrapped.

Release
In a Silent Way was originally released on July 30, 1969.

In 2001, Columbia/Legacy released the three-disc box set The Complete In a Silent Way Sessions, which includes the original album, two tracks from Filles de Kilimanjaro, additional unreleased tracks, and the unedited takes utilized for production purposes.

In 2002, Sony Music released a 5.1 surround sound mix of the album, produced by Bob Belden and engineered by Mark Wilder.

Reception
Peaking at number 134 on the U.S. Billboard Top LPs chart, In a Silent Way became Davis's first album since My Funny Valentine in 1965 to reach the chart. While it performed better commercially than most of his previous work, critics were divided in their reaction to the album upon its release. The album's incorporation of electric instrumentation and tape editing became sources of controversy among jazz critics. According to The Rolling Stone Album Guide (1992), Davis' recording process and producer Teo Macero's studio editing of individual recordings into separate tracks for the album "seemed near heretical by jazz standards". In his book Running the Voodoo Down: The Electric Music of Miles Davis, Phil Freeman writes of critical response to the album: "Rock critics thought In a Silent Way sounded like rock, or at least thought Miles was nodding in their direction, and practically wet themselves with joy. Jazz critics, especially ones who didn't listen to much rock, thought it sounded like rock too, and they reacted less favorably". Freeman continues by expressing that both reactions were "rooted, at least partly, in the critic's paranoia about his place in the world", writing that rock criticism was in its early stage of existence and such critics found "reassurance" in viewing the album as having psychedelic rock elements, while jazz critics felt "betrayed" amid the genre's decreasing popularity at the time.

""It didn't swing, the solos weren't even a little bit heroic, and it had electric guitars... But though In a Silent Way wasn't exactly jazz, it certainly wasn't rock. It was the sound of Miles Davis and Teo Macero feeling their way down an unlit hall at three in the morning. It was the soundtrack to all the whispered conversations every creative artist has, all the time, with that doubting, taunting voice that lives in the back of your head, the one asking all the unanswerable questions.""

- Phill Freeman

In a rave review, Rolling Stone rock critic Lester Bangs described In a Silent Way as "the kind of album that gives you faith in the future of music. It is not rock and roll, but it's nothing stereotyped as jazz either. All at once, it owes almost as much to the techniques developed by rock improvisors in the last four years as to Davis' jazz background. It is part of a transcendental new music which flushes categories away and, while using musical devices from all styles and cultures, is defined mainly by its deep emotion and unaffected originality". Davis' next fusion album, Bitches Brew, showed him moving even further into the area that lay between the genres of rock and jazz. The dark, fractured dissonance of Bitches Brew ultimately proved to be instrumental in its success; it far outsold In a Silent Way.

In a Silent Way has been retrospectively regarded by fans and critics as one of Davis' best albums. In a retrospective review, Blender writer K. Leander Williams called it "a proto-ambient masterpiece". Citing it as "one of Davis's greatest achievements", Chip O'Brien of PopMatters viewed that producer Teo Macero's studio editing on the album helped Davis "embrace the marriage of music and technology". In regards to its musical significance, O'Brien wrote that In a Silent Way "transcends labels", writing "It is neither jazz nor rock. It isn't what will eventually become known as fusion, either. It is something altogether different, something universal. There is a beautiful resignation in the sounds of this album, as if Davis is willingly letting go of what has come before, of his early years with Charlie Parker, with John Coltrane and Cannonball Adderley, of his early '60s work, and is embracing the future, not only of jazz, but of music itself". Stylus Magazine writer Nick Southall called the album "timeless" and wrote of its influence on music, stating "The fresh modes of constructing music that it presented revolutionised the jazz community, and the shifting, ethereal beauty of the actual music contained within has remained beautiful and wonderful, its echoes heard through the last 30 years, touching dance music, electronica, rock, pop, all music". The Penguin Guide to Jazz has included In a Silent Way in its suggested "Core Collection". The album was also included in the 2005 book 1001 Albums You Must Hear Before You Die.

Track listing

 * "Shhh" – 6:14
 * "Peaceful" – 5:42
 * "Shhh" – 6:20

 * "In a Silent Way" – 4:11
 * "It's About That Time" – 11:27
 * "In a Silent Way" – 4:14

Personnel
Credits are adapted from the album's 1969 liner notes.

Musicians

 * Miles Davis – trumpet
 * Wayne Shorter – soprano saxophone
 * John McLaughlin – electric guitar
 * Chick Corea – electric piano
 * Herbie Hancock – electric piano
 * Joe Zawinul – electric piano, organ
 * Dave Holland – double bass
 * Tony Williams – drums

Production

 * Teo Macero – producer
 * Stan Tonkel – engineer
 * Russ Payne – engineer
 * Lee Friedlander – cover photo
 * John G. Walter – back cover photography
 * Frank Glenn – back cover notes

title: In a Silent Way


text:
Hendon railway station

Hendon railway station is on the Midland Main Line in England, in West Hendon in the London Borough of Barnet, north London. It is 6 mi down the line from St Pancras and is situated between Brent Cross West to the south and Mill Hill Broadway to the north. Its three-letter station code is HEN.

The station is served by Thameslink-operated trains on the Thameslink route. It is on the boundary of Travelcard Zone 3 and Zone 4.

It was built by the Midland Railway in 1868 on its extension to St. Pancras. From 1875 the Midland opened a service to Victoria on the London, Chatham and Dover Railway line and received coaches from the London and South Western Railway for attachment to northbound trains.

Location
The station is on Station Road in West Hendon, next to the M1 motorway, about 1 km from Hendon Central.

Services
All services at Hendon are operated by Thameslink using EMUs.

The typical off-peak service in trains per hour is:
 * 4 tph to St Albans City
 * 4 tph to Sutton (2 of these run via Mitcham Junction and 2 run via Wimbledon)

During the peak hours, the station is served by additional services to and from Luton, Orpington and Rainham, as well as some late evening services to and from Bedford.

The station is also served by a night service between Bedford and Three Bridges on Sunday to Friday nights.

Development
From March 2009, Southeastern and Thameslink began running some peak hour trains from Sevenoaks to Luton, though in the off-peak these services turn back at Kentish Town.

In 2017 the London Assembly and Transport for London published a plan to extend the London Overground network to Hendon. The scheme, known as the West London Orbital envisages re-opening the Dudding Hill freight line to passenger services and running trains from West Hampstead Thameslink and Hendon to Hounslow via the planned Old Oak Common Lane station. The plans are currently at public consultation stage with TfL.

Connections
London Buses routes 83, 183, SL10, school routes 653 and 683 and night routes N5 and N83 serve the station.

title: Hendon railway station


text:
Wikipedia:Articles for deletion/Matthew Kjar

 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 delete. - Mailer Diablo 16:48, 14 Apr 2005 (UTC)

Matthew Kjar
Non-notable. 0 Google search results as an exact phrase. --Jtalledo (talk) 14:53, 8 Apr 2005 (UTC)
 * Delete, not notable. Megan1967 20:05, 8 Apr 2005 (UTC)
 * Delete -- not notable - Longhair | Talk 13:03, 11 Apr 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.


text:
Frankenstein (1910 film)

Frankenstein is a 1910 American short silent horror film produced by Edison Studios. It was directed by J. Searle Dawley, who also wrote the one-reeler's screenplay, broadly basing his "scenario" on Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus. This short motion picture is generally recognized by film historians as the first screen adaptation of Shelley's work. The small cast, who are not credited in the surviving 1910 print of the film, includes Augustus Phillips as Dr. Frankenstein, Charles Ogle as Frankenstein's monster, and Mary Fuller as the doctor's fiancée.

Plot
Described as "a liberal adaptation of Mrs. Shelley's famous story", the film shows young Frankenstein (his first name in the book, Victor, is never mentioned) discovering the "mystery of life" after two years at university. He gives life to a creature built by mixing different chemicals, and the monster follows Frankenstein back to his parents' house. The conclusion, completely different from Mary Shelley's book, shows the creature disappearing after seeing its own reflection in the mirror, and without killing Victor's younger brother or his fiancée Elizabeth, as happened in the novel.

The film's plot description in a 1910 issue of the studio's trade periodical Edison Kinetogram provides considerable detail about the company's screen adaptation: "Frankenstein, a young student, is seen bidding his sweetheart and father goodbye, as he is leaving home to enter a college in order to study the sciences. Shortly after his arrival at college he becomes absorbed in the mysteries of life and death to the extent of forgetting practically everything else. His great ambition is to create a human being, and finally one night his dream is realized. He is convinced that he has found a way to create a most perfect human being that the world has ever seen. We see his experiment commence and the development of it. The formation of the hideous monster from the blazing chemicals of a huge cauldron in Frankenstein's laboratory is probably the most weird, mystifying and fascinating scene ever shown on a film. To Frankenstein's horror, instead of creating a marvel of physical beauty and grace, there is unfolded before his eyes and before the audience an awful, ghastly, abhorrent monster. As he realizes what he has done, Frankenstein rushes from the room, only to have the misshapen monster peer at him through the curtains of his bed. He falls fainting to the floor, where he is found by his servant, who revives him.

Charles Ogle In Frankenstein 1910.jpg After a few weeks' illness, he returns home, a broken, weary man, but under the loving care of father and sweetheart he regains his health and strength and begins to take a less morbid view of life. In other words, the story of the film brings out the fact that the creation of the monster was only possible because Frankenstein had allowed his normal mind to be overcome by evil and unnatural thoughts. His marriage is soon to take place. But one evening, while sitting in his library, he chances to glance in the mirror before him and sees the reflection of the monster which has just opened the door of his room. All the terror of the past comes over him and, fearing lest his sweetheart should learn the truth, he bids the monster conceal himself behind the curtain while he hurriedly induces his sweetheart, who then comes in, to stay only a moment. Then follows a strong, dramatic scene. The monster, who is following his creator with the devotion of a dog, is insanely jealous of anyone else. He snatches from Frankenstein's coat the rose which his sweetheart has given him, and in the struggle throws Frankenstein to the floor, here the monster looks up and for the first time confronts his own reflection in the mirror. Appalled and horrified at his own image he flees in terror from the room. Not being able, however, to live apart from his creator, he again comes to the house on the wedding night and, searching for the cause of his jealousy, goes into the bride's room. Frankenstein coming into the main room hears a shriek of terror, which is followed a moment after by his bride rushing in and falling in a faint at his feet. The monster then enters and after overpowering Frankenstein's feeble efforts by a slight exercise of his gigantic strength leaves the house.

Here comes the point which we have endeavored to bring out, namely: That when Frankenstein's love for his bride shall have attained full strength and freedom from impurity it will have such an effect upon his mind that the monster cannot exist. This theory is clearly demonstrated in the next and closing scene, which has probably never been surpassed in anything shown on the moving picture screen. The monster, broken down by his unsuccessful attempts to be with his creator, enters the room, stands before a large mirror and holds out his arms entreatingly. Gradually, the real monster fades away, leaving only the image in the mirror. A moment later Frankenstein himself enters. As he stands directly before the mirror we are amazed to see the image of the monster reflected instead of Frankenstein's own. Gradually, however, under the effect of love and his better nature, the monster's image fades and Frankenstein sees himself in his young manhood in the mirror. His bride joins him, and the film ends with their embrace, Frankenstein's mind now being relieved of the awful terror and weight it has been laboring under for so long."

Cast

 * Mary Fuller as Elizabeth
 * Charles Stanton Ogle as The Monster
 * Augustus Phillips as Frankenstein

Production

J. Searle Dawley, working in his third year for Edison Studios, shot the film in three days at the company's Bronx facilities in New York City on January 13, 15 and 17, 1910. Staff writers for the Edison Kinetogram assured theatergoers in 1910 that the company's film adaptation was deliberately designed to de-emphasize the horrific aspects of Shelley's story and to focus instead on the tale's "mystic and psychological" elements: "In making the film the Edison Co. has carefully tried to eliminate all actual repulsive situations and to concentrate its endeavors upon the mystic and psychological problems that are to be found in this weird tale. Whenever, therefore, the film differs from the original story it is purely with the idea of elimination of what would be repulsive to a moving picture audience."

The creation of the monster scene involved the burning of a dummy while manipulating its arms and head, and then reversing the footage to show the creature taking shape from nothingness by bringing together ashes and fumes.

The film was reported in the Edison Kinetogram as having a length of 975 feet, giving it a runtime of approximately 16 minutes at silent film rates (16 FPS), or closer to eleven minutes at modern rates (24 FPS).

Reception
Newspapers and magazines of the time, such as New York newspapers The Film Index and The Moving Picture World, highlighted the monster creation scene as "the most remarkable ever committed to a film". After the film's official premiere, on April 9, The Moving Picture World published a negative review signed by W. Stephen Bush, probably one of the first critics to worry about what could be shown in films: "I have the sincerest admiration for the Edison and Vitagraph studios, but it must be said, with all due deference to these distinguished producers, that such films as 'Frankenstein' and 'The Mistery of Temple Court', while delightful literature to coroners, undertakers, gravediggers, and morgue-keepers, fail to please the general public. 'Fail to please' is putting it mildly. (…) Death scenes and executions are interesting historical reading, when well described, but a portrayal of these things on a living screen may well be dispensed with."

Music
Frankenstein was among the earliest silent films to have an associated cue sheet, providing suggested musical accompaniment. From the cue sheet: "At opening: Andante—'You Will Remember Me' Till Frankenstein's laboratory: Moderato—'Melody in F' Till monster is forming: Increasing agitato Till monster appears over bed: Dramatic music from 'Der Freischütz' Till father and girl in sitting room: Moderato Till Frankenstein returns home: Andante—'Annie Laurie' Till monster enters Frankenstein's sitting room: Dramatic—'Der Freischütz' Till girl enters with teapot: Andante—'Annie Laurie' Till monster comes from behind curtains: Dramatic—'Der Freischütz' Till wedding guests are leaving: Bridal Chorus from 'Lohengrin' Till monster appears: Dramatic—'Der Freischütz' Till Frankenstein enters: Agitato Till monster appears: Dramatic—'Der Freischütz' Till monster vanishes into mirror: Diminishing Agitato"

The pieces include "You'll Remember Me" from the 1843 opera The Bohemian Girl, the 1852 "Melody in F", "dramatic music" (presumably the "Wolf's Glen" scene) from the 1821 opera Der Freischütz, the 1835 song "Annie Laurie", and the Bridal Chorus from the 1850 opera Lohengrin.

Copyright status
The film, just as all other motion pictures released before, is now in the public domain in the United States.

Rediscovery and preservation
For many years, it was believed a lost film. In 1963, a plot description and stills (below) were discovered published from the March 15, 1910, issue of the film catalog The Edison Kinetogram. For many years, these images were the only widely available visual record of the Charles Ogle version of the monster.

In the early 1950s, a print of this film was purchased by a Wisconsin film collector, Alois F. Dettlaff, from his mother-in-law, who also collected films. He did not realize its rarity until many years later. Its existence was first revealed in the mid-1970s. Although somewhat deteriorated, the film was in viewable condition, complete with titles and tints as seen in 1910. Dettlaff had a 35 mm preservation copy made in the late 1970s. He also issued a DVD release of 1,000 copies.

BearManor Media released the public domain film in a restored edition on March 18, 2010, alongside the novel Edison's Frankenstein, which was written by Frederick C. Wiebel, Jr.

In 2016, the film society of the University of Geneva undertook their own restoration of the film, with image restoration by Julien Dumoulin and an original soundtrack by Nicolas Hafner, performed on a Wurlitzer theatre organ located at College Claparède. The restored version of the film was shown on 10 October 2016.

On November 15, 2018, in recognition of Mary Shelly's bicentennial, the Library of Congress announced via a blog post that it had completed a full restoration of the short film, having purchased the Dettlaff collection in 2014. The restoration was made available to the general public for streaming and downloading via its YouTube channel and online National Screening Room, as well as in the blog post announcing the restoration's completion. A new soundtrack was scored and performed by Donald Sosin.

Comic book adaptation
In 2003 Chris Yambar and Robb Bihun published the graphic novel Edison Frankenstein 1910, directly based on the 1910 Frankenstein film adaptation.

title: Frankenstein (1910 film)


text:
File:Widow for 1yr.jpg

Summary
A Widow for One Year book cover

title: File:Widow for 1yr.jpg


text:
User talk:Ray Small

Greetings to all Small family.

My name is Raymond Vincent Small, I live in Spryfield, Nova Scotia Canada and am wondering what info can be sent to me primarily regarding ancestry.

Our name dates back to the battle of Hastings, Renfrewhsire. In 1066.

My late father, rest in peace, was Joseph Frederick Small.

He died in Nova Scotia in 1989.

I am very proud of my Scottish roots and seek any info available.

Can someone out there help?

We are reaching out to all!!

Thanks..

written by Raymond V. Small

title: User talk:Ray Small


text:
John Godfrey Saxe

John Godfrey Saxe I (June 2, 1816 – March 31, 1887) was an American poet known for his re-telling of the Indian parable "The Blind Men and the Elephant", which introduced the story to a western audience.

Biography
Saxe was born in 1816 in Highgate, Vermont, at Saxe's Mills, where his grandfather, John Saxe (Johannes Sachse), a German immigrant and Loyalist, built the area's first gristmill in 1786. Saxe was the son of Peter Saxe – miller, judge and periodic member of the Vermont House of Representatives – and Elizabeth Jewett of Weybridge, Vermont. Saxe was named for two of his paternal uncles, John and Godfrey, who had died as young men before his birth. Raised in a strict Methodist home, Saxe was first sent, in 1835, to Wesleyan University, which he left after a year, and then to Middlebury College, from which he graduated in 1839.

In 1841, he married Sophia Newell Sollace, a sister of a Middlebury classmate, with whom he had six children, including John Theodore Saxe.

He was admitted to the Vermont bar in 1843 and tried to run a business with his dutiful and pious older brother, Charles Jewett Saxe. For some years, he practiced successfully in Franklin County. In 1850–51, he served as state's attorney for Chittenden County.

Bored by his legal work, Saxe began publishing poems for The Knickerbocker, of which "The Rhyme of the Rail" is his most famous early work. He soon caught the attention of the prominent Boston publishing house Ticknor and Fields. Though he received no royalties for his first volume, it ran to ten reprintings. He became a solid performer for Ticknor and Fields, though his sales ranked far behind those of his friend, Henry Wadsworth Longfellow. His poem "The Puzzled Census-Taker" amused many, and "Rhyme of the Rail" was possibly the most admired poem of the period about rail travel. Saxe was editor of the Sentinel in Burlington, Vermont from 1850 to 1856.

Saxe became a sought-after speaker, toured frequently and stayed prolific throughout the 1850s. In 1859 and 1860, he ran unsuccessfully for governor of Vermont. As a northern Democrat, he advocated a non-interference policy on slavery and supported Illinois senator Stephen A. Douglas's policy of "popular sovereignty", a position which rendered the poet extremely unpopular in Republican Vermont. After his second and even more punishing electoral defeat, Saxe left his home state in 1861 for Albany, New York. Convinced extremists on both sides had pushed the nation into a fratricidal war, he composed "The Blind Man and The Elephant", his most famous poem. Saxe never fully embraced abolition, opposed the enfranchisement of black voters, and became a critic of the federal policy on Reconstruction. He was one of the featured speakers at a mass rally in Manhattan in September 1866 opposing Reconstruction. His views clashed with those of his older brother, who had served in the New York Assembly as a War Democrat.

Saxe spent his summers in Saratoga, contributed articles for the Albany Evening Journal and Albany Morning Argus, and published poems in Harper's Magazine, The Atlantic, and The Ledger, and remained popular on the lecture circuit. "The Proud Miss McBride" and "Song of Saratoga" were some of famous works in this period. However, his attempts to re-enter politics remained unsuccessful. Always mercurial, Saxe became more erratic following the death of his oldest brother in 1867. He was not temperamentally suited to assume the role of head of the family. Instead, the poet's son, John Theodore Saxe, took the reins of his brother's lumber firm and managed the family's finances. In the 1870s, while he was living in Carroll Gardens, Brooklyn, a series of woes befell Saxe. His youngest daughter died of tuberculosis. In 1875, he suffered head injuries in a rail accident near Wheeling, West Virginia, from which he never fully recovered, and then over the next several years, his two other daughters, his eldest son, and daughter-in-law also died of tuberculosis. In July 31, 1880, his wife died of bronchitis. Including a young son who died in the 1840s, Saxe had lost five of his six children as well as his wife.

Saxe sank deep into depression and spent his final years in Albany to live with his last surviving child, Charles Gordon Saxe. His decline from the rollicking poet to grieving recluse earned the sympathy of the people of Albany, and when he died in 1887, the New York State Assembly ordered his likeness to be chiseled into the "poet's corner" of the Great Western Staircase in the New York State Capitol.

Legacy
His best remembered poem "The Blind Men and the Elephant", a version of the ancient tale Blind men and an elephant, was not his most famous in his day. Though a satirist, his poems written during more somber periods earned more recognition, including "Little Jerry the Miller", about his father's mill assistant; few of the satirical works which had made him famous are read today.

The poet's orphaned grandson, John Godfrey Saxe II, became a New York state senator, President of the New York Bar, and counsel of Columbia University.

According to Fred R. Shapiro, author of the Yale Book of Quotations, The Daily Cleveland Herald, in its issue of March 29, 1869, quotes Saxe as saying, "Laws, like sausages, cease to inspire respect in proportion as we know how they are made."

Partial bibliography

 * The Poems of John Godfrey Saxe (many editions)
 *  Progress : a satire (1847)
 * Table Rock Album and Sketches Of the Falls and Scenery Adjacent (1848)
 * The proud Miss MacBride,: a legend of Gotham (1850)
 * The money-king and other poems (1859)
 * Clever stories of many nations, rendered in rhyme (1855)
 * The Masquerade and other poems (1866)
 * Leisure-Day Rhymes (1875)
 * The poetical works of John Godfrey Saxe: Household Edition: with illustrations (1889)

title: John Godfrey Saxe


text:
Talk:BETA (programming language)

Untitled
The last line claims that BETA has an "optimal balance" between compile-time and run-time type checking. Sounds quite biased. Some people think Java has the optimal balance, while others think Smalltalk does. Wouter Lievens 14:57, 8 Apr 2005 (UTC)

Could someone please make this page readable to a lay audience, or at least add a paragraph dumbing it down to someone who doesn't know what a thing about basic programming concepts. This article sounds like it was written for people who already know what BETA is and just want a precise description. As such it is of no help to people like myself, who want to know why my blog site, my email site and my social networking sites are all going BETA. I don't have a clue what that means and I just read this page. Sorry for being trite. -Dwinetsk 21:04, 26 December 2006 (UTC)

"It is well known that it is not possible to obtain complete type checking at compile-time without sacrificing the expressiveness of the language." This sounds quite adventurous to me. If this is true, I expect at least some short explanation, or better, a reference, backing up that claim. --89.54.183.96 (talk) 21:20, 27 May 2008 (UTC)

Newbie question: Searching for "beta programming language" sent me to an article about IBM 7950 Harvest, which is a bit confusing. Is it possible to modify that result? Chei 13:50, 08 September 2008 (UTC)

I'd like to add that this article is an almost by word citation of a paper abstract; the paper can be found here (BETA-Overview). I don't have a problem with that, it should just SAY it somewhere to give credit. --91.67.242.168 (talk) 11:34, 20 September 2009 (UTC)

I have programmed in BETA
I have actualled programmed in BETA in the beginning of the 90's in the university of Aarhus, Denmark. I will try to dig up some more information about this programming language TraxPlayer (talk) 21:42, 16 May 2013 (UTC)

title: Talk:BETA (programming language)


text:
Mill Hill Broadway railway station

Mill Hill Broadway railway station is on the Midland Main Line in England, serving the suburb of Mill Hill in the London Borough of Barnet, north London. It is 9 mi down the line from St Pancras and is situated between Hendon to the south and Elstree & Borehamwood to the north. Its three-letter station code is MIL.

The station is served by Thameslink-operated trains on the Thameslink route. It is in Transport for London's Travelcard Zone 4.

History
The station was built by the Midland Railway as simply "Mill Hill" in 1868 on its extension to St. Pancras, being renamed in 1950. The station was rebuilt in the 1960s in connection with the construction of the M1 motorway.

Since 14 September 2014 train services have been operated by Thameslink.

Prior to the major engineering works to create the "Thameslink Box" at St Pancras, Mill Hill Broadway was also served at peak times by Moorgate fast trains. These trains provided a non-stop service to King's Cross Thameslink twice an hour. In 2009, several morning peak southbound fast services (stopping only at West Hampstead) and several evening peak northbound fast services (stopping only at West Hampstead) were reinstated.

From March 2009, Southeastern and Thameslink began running some peak hour trains from Sevenoaks to Luton, though in the off-peak these services turn back at Kentish Town.

Services
All services at Mill Hill Broadway are operated by Thameslink using EMUs.

The typical off-peak service in trains per hour is:
 * 6 tph to St Albans City of which 2 continue to Luton
 * 2 tph to Rainham via Dartford
 * 4 tph to Sutton (2 of these run via Mitcham Junction and 2 run via Wimbledon)

During the peak hours, the station is served by additional services between Luton and Orpington via Catford, as well as some late evening services to and from Bedford.

The station is also served by a night service between Bedford and Three Bridges on Sunday to Friday nights.

Connections
London Buses routes 114, 186, 221, 240, 251, 302, 303, 605, 628 and 688 serve the station.

title: Mill Hill Broadway railway station


text:
Brian Daubach

Brian Michael Daubach (born February 11, 1972) is an American former Major League Baseball (MLB) player and current hitting coach for the Rochester Red Wings. During his playing career Daubach served as a first baseman, outfielder, and designated hitter.

Playing career
Daubach was selected by the Mets in the 17th round of the 1990 amateur draft. He toiled for seven years in the Mets' minor league system without breaking through to the majors before being granted free agency. In, he signed with the Florida Marlins organization and made his major league debut in 1998. Later he played for the Boston Red Sox (–, ) and Chicago White Sox.

During his time with the Red Sox, Daubach was involved in a bench-clearing brawl that occurred during a game between Boston and the Tampa Bay Devil Rays on August 29, 2000. During the fight, Daubach unintentionally injured teammate Lou Merloni, who would have to go to the hospital. As the game continued, Devil Rays pitchers would go on to throw at Daubach six times, hitting him twice. In all, eight members of the Devil Rays team were ejected from the game, which Boston won, with Red Sox pitcher Pedro Martínez nearly throwing a no-hitter.

He started with the Norfolk Tides, a Triple-A affiliate of the Mets in the International League. On June 16, 2005, he finally made his debut with the club that drafted him fifteen years earlier. He played for the Memphis Redbirds, the AAA-affiliate of the St. Louis Cardinals in 2006.

Daubach's best seasons were with the Red Sox; he averaged 21 homers and 75 RBI per year, and gained a reputation as a "Dirt Dog" for his style of play. He later received a World Series ring as a member of the 2004 Boston Red Sox. In his seven-season major league career, he compiled a .259 batting average with 93 home runs and 333 RBI in 661 games.

On April 8, 2008 Daubach represented the 2004 World Champion Boston Red Sox during the ring ceremony for their 2007 Championship season.

Post-playing career
On June 30, 2008 Brian Daubach was named the hitting coach for the Nashua Pride, coaching his first game July 1. Although the Pride went on to a losing season, Brian Daubach was named the manager of their successor team, the American Defenders of New Hampshire in November 2008.

Brian appeared on WEEI as one of the co-hosts of The Big Show and on Comcast cable for sports commentary. He also appeared on Fox Sports Net in St. Louis when he covered the 2006 World Series between the Cardinals and the Tigers.

On November 9, 2010 Daubach was named as the minor-league manager of the Hagerstown, MD Suns, a Single-A affiliate of the Washington Nationals.

In December 2012, the Nationals organization named Daubach as manager of the Potomac Nationals, the team's high A affiliate.

In December 2013, he was named manager of the Harrisburg Senators, the team's Double-A affiliate.

In 2018 he was named as the hitting coach for the Syracuse Chiefs.

In 2021 he was named as the hitting coach for the Rochester Red Wings.

title: Brian Daubach


text: User talk:68.73.82.20

title: User talk:68.73.82.20


text:
Zero Milestone

The Zero Milestone is a zero mile marker monument in Washington, D.C., intended as the initial milestone from which all road distances in the United States should be measured when it was built. At present, only roads in the Washington, D.C., area have distances measured from it.

Location
The monument stands just south of the White House at the north edge of the Ellipse, within President's Park. Atop the monument is a bronze 16-point compass rose with a very small worn-down pyramid at its center whose top serves as a National Geodetic Survey benchmark (HV1847).
 * Coordinates: 38.89511°N, -77.03655°W (NAD83)
 * Altitude: 8.382 m (27.50 ft) (NAVD88)

Description
Designed by Washington architect Horace W. Peaslee, the monolith is about 2 feet square and about 4 feet high. It is made of precambrian Milford granite from Milford, Massachusetts, light pinkish to greenish gray, with spots of black biotite mica. The bronze disk on top of the milestone is "an adaptation from ancient portolan charts of the so-called wind roses or compass roses from the points of which extended radial lines to all parts of the then known world—the prototype of the modern mariner's compass."

The monument has engravings on four surfaces:
 * North: Zero Milestone
 * East: Starting point of Second Transcontinental Motor Convoy over the Bankhead Highway, June 14, 1920
 * South: Point for the measurement of distances from Washington on highways of the United States
 * West: Starting point of First Transcontinental Motor Convoy over the Lincoln Highway, July 7, 1919

In addition, a "brass plate placed on the ground at the north base" shown below, contains the following inscription.

 * The U.S. Coast and Geodetic Survey determined the latitude, longitude and elevation of the Zero Milestone authorized by Act of Congress June 5, 1920 dedicated June 4, 1923

History
In his plan for Washington, Pierre (Peter) Charles L'Enfant intended a column to be placed 1 mi east of the Capitol, in what is now Lincoln Park, "from which all distances of places through the continent were to be calculated." Instead, in 1804, the Jefferson Stone or Jefferson Pier was placed on the meridian of the White House due west of the Capitol (390 ft WNW of the center of the Washington Monument) to mark the Washington meridian, 77° 02' 11.56".

The current Zero Milestone monument was conceived by Good Roads Movement advocate Dr. S. M. Johnson, formally proposed on June 7, 1919. He was inspired by ancient Rome's Golden Milestone located in the Forum. On July 7, 1919, a temporary marker for the Zero Milestone was dedicated on the Ellipse south of the White House during ceremonies launching the Army's first attempt to send a convoy of military vehicles across the country to San Francisco, California. On June 5, 1920, Congress authorized the Secretary of War to erect the current monument, design to be approved by the Commission of Fine Arts and installed at no expense to the government. Dr. Johnson took charge of the details and raised donations for the design and construction. The permanent Zero Milestone was dedicated in a ceremony on June 4, 1923.

title: Zero Milestone


text:
Jack Johnson (album)

Jack Johnson (also known as A Tribute To Jack Johnson on reissues) is a studio album and soundtrack by the American jazz trumpeter, composer, and bandleader Miles Davis. It was released on February 24, 1971, by Columbia Records.

The album was conceived by Davis for Bill Cayton's documentary of the same name, on the life of boxer Jack Johnson. Its two 25-minute-plus tracks were produced from recordings made on February 18 and April 7, 1970, at 30th Street Studio in New York City. Davis was inspired by the political and racial subtext of Johnson's saga as well as the hard rock and funk sounds of his own era, leading a rock-inspired line-up of musicians in the studio: guitarists John McLaughlin and Sonny Sharrock, keyboardists Herbie Hancock and Chick Corea, bass clarinetist Bennie Maupin, electric bassist Michael Henderson, and drummers Jack DeJohnette and Billy Cobham.

Jack Johnson performed modestly on the record charts and was generally well received by contemporary critics. It has since been regarded as one of the best albums from Davis' career and the jazz-rock genre, as well as his most overt venture into rock music. In 2003, the original album was reissued as part of The Complete Jack Johnson Sessions, a five-disc box set featuring previously unreleased music from the recording sessions.

Background
In 1970, Davis was asked by boxing promoter Bill Cayton to record music for a documentary he was producing, on the life of boxer Jack Johnson. Johnson's saga resonated personally with the musician, who wrote in the album's liner notes of Johnson's mastery as a boxer, his affinity for fast cars, jazz, clothes, and beautiful women, his unreconstructed blackness, and his threatening image of large black manhood to white men. The resulting album, Jack Johnson, was the second film score Davis had composed, after Ascenseur pour l'échafaud in 1957.

Recording and production
The music recorded for Jack Johnson reflected Davis' interest in the eclectic jazz fusion of the time while foreshadowing the hard-edged funk that would fascinate him in the next few years. Having wanted to put together what he called "the greatest rock and roll band you have ever heard", Davis played with a line-up featuring guitarists John McLaughlin and Sonny Sharrock, keyboardists Herbie Hancock and Chick Corea, bass clarinetist Bennie Maupin, and drummers Jack DeJohnette and Billy Cobham. The album's two tracks were mainly drawn from one session on April 7, 1970, which producer Teo Macero edited together with Davis' recordings from a February 18, 1969 "In A Silent Way" session

The first track, "Right Off", was constructed from several takes and a solo Davis had recorded in November 1969. It also contains a riff based on Sly and the Family Stone's "Sing a Simple Song", most prominently at 18:44. Much of the track "Yesternow" is built around a slightly modified version of the bassline from the James Brown song "Say It Loud – I'm Black and I'm Proud".

"Right Off" comprises a series of improvisations based on a B♭ chord, but changes after about 20 minutes to an E chord. "Yesternow" has a similar B♭ ostinato and shifts to C minor. It concludes with a voiceover by actor Brock Peters: "I'm Jack Johnson, heavyweight champion of the world. I'm black. They never let me forget it. I'm black all right. I'll never let them forget it." Liner notes accompanying a later release of the album provide a description of the music:

Michael Henderson launches into an enormous boogie groove with Billy Cobham and John McLaughlin. Miles immediately leaves the control room to join in with them. He achieved exactly what he wanted for the soundtrack by creating the effect of a train going at full speed (which he compared to the force of a boxer). By chance, Herbie Hancock had arrived unexpectedly and started playing on a cheap keyboard that a sound engineer quickly connected.

According to The Guardian's Tim Cumming, Jack Johnson abandoned jazz and the broad textures of Bitches Brew in favor of a concerted take on hard rock and funk, inspired as well by politics, the black power movement, and boxing. "[Davis] had a trainer who travelled with the band", Holland recalled. "He used to go to the gym every day. He was in his 40s, and that's prime time for musicians, when you're strong and all your faculties are there. He was playing incredibly." Ken McLeod, an associate professor of music history and culture at the University of Toronto, later said the bassline featured on "Yesternow" (and adapted from James Brown's “Say It Loud—I'm Black and I'm Proud”) is "potentially a deliberate allusion to the song's black power theme as it relates to the film's subject. That Davis was so influenced by boxing is also overtly manifest in the titles of pieces named after fighters that were recorded at several of the sessions, both before and after those that resulted in Jack Johnson. Such pieces include 'Johnny Bratton,' 'Archie Moore,' 'Duran,' 'Sugar Ray,' and 'Ali.

Release and reception
Jack Johnson was released on February 24, 1971, by Columbia Records to some commercial success—peaking at number four on Billboard magazine's jazz chart and at number 47 on the R&B chart —despite little marketing from the label. According to Davis, the record was originally released with the wrong cover: a depiction of Johnson in his car, illustrated in stylized period fashion. The intended cover—a photo of Davis playing trumpet in a bent-backward stance—was used on subsequent pressings, which were titled A Tribute to Jack Johnson. In 2003, the album was included on The Complete Jack Johnson Sessions, a five-disc box set featuring previously unreleased music from the original recording sessions.

Reviewing the album in June 1971 for The Village Voice, rock critic Robert Christgau gave Jack Johnson an A-plus and said it is his favorite recording from Davis since Milestones (1958) and Kind of Blue (1959). While finding it lacking in the excitement of the best moments from Bitches Brew, Christgau believed the album coalesces its predecessor's "flashy ideas" into "one brilliant illumination." Steve Starger of The Hartford Courant called the album "magnificent" and "another gem" in Davis' 20-year "string of gems", and wrote that the tracks "really make up one long, churning, steaming, brooding, slashing musical experience that never dips below the highest of art." Starger found the sidemen's performances masterful and said that Peters' voiceover at the end gives "Johnson's words frightening majesty".

Less enthusiastic about the record was jazz musician and journalist Leonard Feather, who wrote a review for the Los Angeles Times titled "Miles Ahead and Miles Behind". Viewing Jack Johnson as a "letdown after the unflawed triumph" of Bitches Brew, Feather was particularly dismayed by Davis for aligning himself with "the thumping, clinking, whomping battering ram that passes for a rhythm section" on the album.

Legacy and reappraisal
Jack Johnson was a turning point in Davis' career and has since been viewed as one of his greatest works. According to JazzTimes, while his 1970 album Bitches Brew had helped spark the fusion of jazz and rock in the music scene, Jack Johnson was the trumpeter's most brazen and effective venture into rock, "the one that blew the fusion floodgates wide open, launching a whole new genre in its wake". According to McLaughlin, Davis considered it to be his best jazz-rock album. In The Penguin Guide to Jazz (2006), Richard Cook says Jack Johnson "stands at the head of what was to be Miles Davis's most difficult decade, artistically and personally", while Tom Hull names it one of the "true highlights" of the trumpeter's electric period and among his best albums. The Boston Herald cites it as one of Davis' "last truly great albums" and as "some of the most powerful and influential jazz-rock ever played."

Critics in retrospective appraisals also note the uniqueness of Davis' playing and the crucial contributions of his band and producer on the album. AllMusic's Thom Jurek highlights its "funky, dirty rock & roll jazz" and "chilling, overall high-energy rockist stance". He also calls it "the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero". John Fordham from The Guardian observes a transition in Davis's playing from a "whispering electric sound to some of the most trenchantly responsive straight-horn improvising he ever put on disc". According to Fordham:

Considering that it began as a jam between three bored Miles Davis sidemen, and that the eventual 1971 release was stitched together from a variety of takes, it's a miracle that this album turned out to be one of the most remarkable jazz-rock discs of the era. Columbia didn't even realise what it had with these sessions, and the mid-decade Miles albums that followed – angled toward the pop audience – were far more aggressively marketed than the Jack Johnson set ... Of course, it's a much starker, less subtly textured setting than Bitches Brew, but in the early jazz-rock hall of fame, it's up there on the top pedestal.

Jack Johnson and Davis' other electric-period albums influenced rock musician Iggy Pop's early music with the Stooges. Around 1985, he purchased copies of Davis' Sketches of Spain (1960) and Jack Johnson in a no frills used record shop for less than $5. "They have been my inspiring companions ever since", he told The Quietus in 2010. "The one tears me apart and the other puts me back together."

Track listing
All songs were composed by Miles Davis.

Personnel
The information below is taken from Sony Music's milesdavis.com.

The following lineup was recorded at Columbia Studios, New York, April 7, 1970:
 * Miles Davis – trumpet
 * Steve Grossman – soprano saxophone
 * John McLaughlin – electric guitar
 * Herbie Hancock – organ
 * Michael Henderson – electric bass
 * Billy Cobham – drums
 * Brock Peters – narration

Additionally, the following participants were credited for roles outside the band:

 * Teo Macero – conduction of "unknown orchestra", production
 * Stan Tonkel – engineering
 * Miles Davis – compositions

The following lineup, recorded at Columbia Studios, February 18, 1970, was uncredited on the original LP and are only heard on a section of "Yesternow" (from 14:00 to 23:55) playing a composition called "Willie Nelson":

 * Miles Davis – trumpet
 * Bennie Maupin – bass clarinet
 * John McLaughlin – electric guitar
 * Sonny Sharrock – electric guitar
 * Chick Corea – electric piano
 * Dave Holland – electric bass
 * Jack DeJohnette – drums

title: Jack Johnson (album)


text:
Wikipedia:Articles for deletion/Wikitag

 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 delete. - Mailer Diablo 16:48, 14 Apr 2005 (UTC)

Wikitag
Self-reference. Xezbeth 15:02, Apr 8, 2005 (UTC)

 * We have Glossary for this. Delete. Uncle G 17:29, 2005 Apr 8 (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.

title: Wikipedia:Articles for deletion/Wikitag


text: User talk:130.156.129.254

title: User talk:130.156.129.254


text:
User:AllyUnion/Sandbox

MediaWiki: to Template: to Votes for deletion to Articles for deletion Cleanup:
 * User:AllyUnion/MediaWiki moving
 * User:AllyUnion/MediaWiki moving/E
 * User:AllyUnion/MediaWiki moving/F
 * User:AllyUnion/MediaWiki moving/G
 * User:AllyUnion/MediaWiki moving/H
 * User:AllyUnion/MediaWiki moving/I
 * User:AllyUnion/MediaWiki moving/J
 * User:AllyUnion/MediaWiki moving/K
 * User:AllyUnion/MediaWiki moving/L
 * User:AllyUnion/MediaWiki moving/M
 * User:AllyUnion/MediaWiki moving/N
 * User:AllyUnion/MediaWiki moving/O
 * User:AllyUnion/MediaWiki moving/PQ
 * User:AllyUnion/MediaWiki moving/R
 * User:AllyUnion/MediaWiki moving/S
 * User:AllyUnion/MediaWiki moving/T
 * User:AllyUnion/MediaWiki moving/Remaining

AFD to VFD Cleanup:
 * User:AllyUnion/January 2005 2 3
 * User:AllyUnion/February 2005 2 3
 * User:AllyUnion/March 2005 2 3
 * User:AllyUnion/April 2005 2 3
 * User:AllyUnion/May 2005 2 3
 * User:AllyUnion/June 2005 2 3
 * User:AllyUnion/July 2005 2 3
 * User:AllyUnion/August 2005 2 3
 * User:AllyUnion/September 2005 2 3

title: User:AllyUnion/Sandbox


text:
Cruet

A cruet, also called a caster, is a small flat-bottomed vessel with a narrow neck. Cruets often have a lip or spout and may also have a handle. Unlike a small carafe, a cruet has a stopper or lid. Cruets are normally made of glass, ceramic, stainless steel, or copper.

Uses
Cruets today typically serve a culinary function, holding liquid condiments such as olive oil and balsamic vinegar. They often have a filter built into them to act as a strainer, so that vinegar containing herbs and other solid ingredients will pour clear. Cruets also serve as decanters for lemon juice and other oils. In Canada and the United Kingdom, a small cruet can also hold previously ground salt or pepper, according to Merriam-Webster sources.

They are also used for the serving of the wine and water in the Christian Mass, especially those of the Roman Catholic, Lutheran, and Anglican traditions.

History
The English word "cruet" originates with the Old French crue, "earthen pot". Some speculate that the early use of cruets was ecclesiastical —there is for example Biblical use of a "cruse of oil", a jug or jar to hold liquid (I Kings 17:16).

A few cruets dating from the Medieval ages still exist today. Its culinary use, however, was first introduced in the late 17th century. Cardinal Mazarin had a pair of salad cruets on his dining table at his home in France, one for olive oil and the other for vinegar.

The use of oil and vinegar cruets rapidly spread throughout Italy, where oil and vinegar were already in frequent use. Oil and vinegar cruets are common on Italian and Portuguese tables to this day.

Types

Cruets range from nominal decanters to the highly decorative cut glass. Some cruets are unusual, and can either be intended to be ornamental or functional.

During some Christian religious ceremonies, primarily the Eucharist, altar cruets are used to keep the sacramental wine and water. These cruets are usually made of glass, though sometimes they are made of precious metals such as gold or silver. Cruets specifically intended for religious ceremonies come in pairs: one to contain water, often marked A for Aqua, and one to contain wine, V for Vinum. These two liquids are mixed during the portion known as the Preparation of the Gifts.

title: Cruet