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The Hackensaw Boys

The Hackensaw Boys are a string band based in central Virginia that formed in 1999. The band has drawn on many musical influences and are "[k]nown best for rowdy, energetic live shows." They have performed at Bonnaroo, Lockn', FloydFest, and the All Good Music Festival. The band tours continuously and claims twenty or more current and former members. The current four-piece lineup contains only one original member, David Sickmen, who rejoined the group in 2012 (after quitting in 2005).

In April 2016 the band released Charismo on Free Dirt Records, their first studio album in almost a decade — which was produced by Larry Campbell.

History
The Hackensaw Boys were founded in the Fall of 1999 by Rob Bullington, Tom Peloso, David Sickmen, and Robert "Bobby" St. Ours who were all living in Charlottesville, Virginia at the time. Sickmen and Bullington met in Harrisonburg, Virginia in the early 1990s when the latter was attending James Madison University there. Bullington was playing in a band called Fried Moose, while Sickmen was in a group called Pieboy with Ward Harrison (who would later join Hackensaw).Peloso formed a band with some friends in the same decade called Chigger, singing lead and playing the "doghouse bass". All had performed as young musicians on the open mic stage at the Little Grill diner in Harrisonburg, as well.

Before starting The Hackensaw Boys, Sickmen and Peloso had been talking about other possible music projects. The four founding members decided to form an old-time music group — infused with the energy and spirit of punk rock.

Hackensaw would later develop their own sound busking on the streets of Virginia. Ferd Moyse joined the group at the Town Pump Tavern in Black Mountain, North Carolina where they would often play. As a bartender at the tavern, Moyse would sit in with the band on "old-time fiddle" until he "just had to join".

"We've been around since 1999 in various incarnations. I guess we're more like a family than a band. ... It's been an odyssey, a constantly movable feast. People have moved back and forth and in and out and we've had our ups and downs."

After experiencing vocal trouble for almost a decade, Sickmen had surgery to remove vocal polyps in 2015. Though the operation may not have improved his singing voice, he says, his voice is "stronger" as a result of undergoing it.

"Actually, at one point, I didn't have a bass, and so Dave [Sickmen] had a '63 Buick Wildcat that he traded for a standup bass."

- Tom Peloso, former member

"The Dirty Bird"
In the Fall of 2000, an enlarged group of twelve musicians departed from Virginia in a 1964 GMC motorcoach, nicknamed "The Dirty Bird", on the six-week Get Some Tour of "theaters, bars, street corners and alleys." The bus had been given to the group by Charlottesville developer Oliver Kuttner, together with a second one dubbed "Ramblin' Fever," which went to Mark S. Hahn, then owner of the Blue Moon Diner. Hahn briefly served as manager for the group.

Touring
"We'd been around the country once on our own and then Cake picked us up for a tour after we opened up for them. And then that sort of spawned them picking us up for that package tour . . it sort of thrust us into the world of big arena touring. So we were like, 'This is easy! We can do this.' And then it's not always like that. Before that, and even since then, we play a lot of small-scale, half-attended bars in random cities all over the countries and so did all those bands."

- Rob Bullington, former member

The group took part in the Unlimited Sunshine Tour the first two years. The 2002 tour included headliner Cake, De La Soul, The Flaming Lips, Modest Mouse, and Kinky. In addition to Cake, the 2003 tour featured Cheap Trick, "garage rockers" The Detroit Cobras, and "country legend" Charlie Louvin of the Louvin Brothers. In 2003 they served as Country Music Hall of Fame member Charlie Louvin's backing band on one of his last nationwide tours. They opened for Modest Mouse twice (a group founding member Tom Peloso eventually joined). The group continued to gain "a following as it traveled." It has performed with such major acts as Cracker, Camper Van Beethoven, and Railroad Earth. A tour in Europe featured events in Belgium and the Netherlands. Overseas they have performed in such cities as Antwerp, Amsterdam (Paradiso), London, Dublin, Brussels, and Utrecht. At the height of their popularity they have played venues in major music towns like Seattle, Asheville, San Francisco, Minneapolis, Knoxville, New York, Portland, Baltimore, Atlanta, Chicago, and Los Angeles.

Prior tours included appearances at the Bonnaroo Music Festival (2003 and 2004), Telluride Bluegrass Festival in Colorado (2003), All Good Music Festival (2004 and 2006), FloydFest in Virginia (2003), and Pickathon in Oregon. Appearances at European music festivals include Pukkelpop in Belgium (2005) and Bergenfest in Norway (2007 and 2008).

Nicknames
They came up with nicknames for each other because it seemed all of the old country and blues performers had them. This became a big part of their act. Original members included Robert "Mahlon" Bullington (1999–2011), Thomas "Pee Paw" Peloso (1999–2004), David "Shiner" Sickmen (1999–2005; rejoined 2012), and Robert "Uncle Blind Bobby" St. Ours (1999–2003). Phillip "Jigsaw" St. Ours played washboard in both Hackensaw and Old Crow early on (1999–2001), and then for Hackensaw in (2008). Other early members included Jesse "Baby J." Fiske (1999–2011), Phil "Slate Hill Phil" Gianniny (1999–2001; d. 2006), and Jimmy "Kooky-Eyed Fox" Stelling (1999–2007). Others to join the ever-evolving group have included Chris "Sawzall" Johnson (1999–2001), Justin "Salvage" Neuhardt (1999–2010), David "Bellows Lugusi" Goldstein (1999–2004), Charlie "C.B." Bell (1999–2004), and Shawn "Plantain" Galbraith (2007–2012). Ferd "Four" Moyse joined in 2004, Ward "Cousin Spits" Harrison in 2006, Brian "Nugget" Gorby in 2010, and Ben "JuJu" Jacobs in 2012.

Band name
The Hackensaw Boys derived their name "from the actions you perform on a mandolin (hack) and a fiddle (saw)." Says Bullington "it was one of those jokes that sort of sticks . . and after about a week and you've played six or seven shows during the course of that week, you have no choice but to keep the name."

Recordings
The first two Hackensaw Boys albums were released by the Valley Entertainment label: Get Some in 2000 and Keep It Simple in 2002. The releases proved to have limited commercial appeal.

"Our guitar player wrote 'Keep It Simple'; there's been some times where things seem to get so complicated with this whole thing. He wrote this song and played it over the phone, left a message, kinda sayin', 'Let's not forget where we came from, let's remember to keep it simple and not let things get away from us.'"

- Tom Peloso, former member

"Keep It Simple, is packed with vigorous, pitchy bursts" notes Amanda Petrusich in her Pitchfork review, noting the album "doesn't perfectly reflect the band's fast-and-fierce live show ..

". . but it offers a solid glimpse of their proclivity for catchy melodies, classic harmonizing, and stringy noodling. Somehow, the band infuses their grassy tornado with brazen punk attitude and catchy pop structure, while simultaneously remaining vehemently sincere; tracks like "Dance Around" feature prototypically bluegrassian lyrics ("Dancin' with the girls/ That's a mighty fine thing/ You ain't gotta buy no wedding ring") without mocking the traditions from which they came."

Get Some was recorded by Rhoderick Cole in his Charlottesville mansion. Keep It Simple was recorded in Sickmen's apartment in Charlottesville's Linen Building, also by Cole who did the sound engineering on both recordings. Give It Back, released in 2004, was self-produced.

The group signed with the music label Nettwerk for the 2005 release of "Love What You Do". Their second release for Nettwerk Records, Look Out! in 2007, was a "celebratory but defiant sound culled from old-time mountains, backstage doorways and punishing drives through the evolving American landscape" according to Isthmus/The Daily Page.

"In many ways (Look Out!) is a return to classic Hackensaw form, the punk-amped, old time foot-stompers and ragged harmonies that gained the band its reputation in the live setting when it formed seven years ago. One of the best additions is fiddler Ferd Moyse, who tears through the opening 'Look Out Dog, Slow Down Train!' with blazing fury."

- The Daily Progress

Another reviewer concurred, stating the album "is the Boys at their best, a perfect medium between their raw early years and the more polished sound of their previous release." Bullington states Look Out! "was definitely an attempt to capture sonically and as beautifully as possible, the sound of the Hackensaws onstage." The group went into the studio "with the defined intention of . . trying to capture the live performance as best as we possibly could. And I think we totally succeeded in doing that." The album "got to No. 6 on the Americana music charts" and "contained nine originals including a couple from the sometimes Modest Mouse, sometimes Hackensaw Tom Peloso."

Following the release of Love What You Do and Look Out!, The Hackensaws departed from Nettwerk Records to release two independently produced six-song EPs, The Old Sound of Music, Vol. 1 and The Old Sound of Music, Vol. 2 These two collections are "recommended for anyone who feels that time, popularity and (maybe) Don Was has watered down Old Crow Medicine Show, The Hackensaw Boys bring the Appalachian string band roots with punk rock flowers hard and raw." The albums resulted from recording sessions held at the Sound of Music studios in Richmond, Virginia. They were mastered by Grammy award winner Charlie Pilzer. As with Look Out! in 2007, all songs were engineered by Bryan Hoffa, archival audio restoration specialist at the Library of Congress. The titles, bestowed by Ferd Lionel Moyse IV were inspired by the fact that these were the last two recording projects to come out of the old Sound Of Music facility, which has recently moved to a new building in Richmond.

Charismo (2016)
The group released Charismo through Free Dirt Records in 2016, after almost a decade without putting together a studio album. Larry Campbell produced. Glide Magazine said of the album that the group take "a tack similar to that of Old Crow Medicine Show, the Punk Brothers, The Howlin' Brothers and other modern outfits that draw from the past to make an impression in the present." They went on to say that theirs is "a sound once heard on back porches throughout the heartland, now brought to life with the stirring enthusiasm of would-be rock stars performing for appreciative audiences."

". . when we were making this record, we realized that the only true constant in this band from the very first tour on to the present day has been the charismo. So that is what we named the new record, because it personifies our work ethic. It's like -- you have to put something together, then try to maintain it, find new players for it. You know, its like holding something together that looks like it could fall apart, and that is what this band has been about."  New Material - Lineup Change (2018-2019)

In January of 2018, the band saw the exit of Ferd Moyse and Brian Gorby, to focus on family and other musical projects. Face to face with the possibility and fear of having to hang it all up, David recruited long-time friend and former band-mate from a previous project, Beau Dodson for charismo, drums/percussion and vocals. Chris Stevens, who had sat in on bass for Hackensaw in the past, was brought on full time, adding bass to the line-up once again after a stint without. To round out the new line-up, Chris recommended his astonishingly talent band-mate and pal Caleb Powers for fiddle and vocals. In December of 2018 the reformed team entered the studio to record a five song EP, due to be released in the spring of 2019.

Charismo (the instrument)

A distinctive aspect of the Hackensaw live-performance experience is the percussion instrument known as a "charismo". Invented and played by former band member Justin "Salvage" Neuhardt, who also performed on spoons and the musical saw, it is described as "a home-made tin can contraption." As founder Sickmen remembers it:

"Just before we went out on a 6-week tour, Justin came to us and said, "I can't come on tour for 6 weeks JUST playing the spoons," but at the time we didn't want a drummer with a full kit, so I said to him, "Why don't you just make something up?" So he did! He came back with the very first Charismo, which he'd made out of tin cans, hub caps, and general scrap he'd found around the diner. It was pretty primitive, but when he hit it with those metal brushes and I heard that train sound, I knew it was what we wanted.""

Calvin James Pynn of The Tartan (Radford University) states "Neuhardt's charismo" is the "most notable" of the group's instruments:

". . a homemade percussion instrument made from tin cans, license plates, a hubcap, and book bag straps, and then mercilessly beat with wire-brush sticks. While old-time music is generally marked by its strict absence of percussion, the charismo has an almost symbolic presence in The Hackensaw Boys' music and live shows, and is an irreplaceable aspect of their sound."

In an interview with Scott Simon of NPR, Neuhardt himself explains how it came to be:

"Q: Salvage . . now you say you play a pile of junk?

A: That's right.

Q: We're looking at your instrument now has. . like, half a dozen tin cans, a punctured aerosol can. .

A: A coconut milk can, tea can, breath mints, bike bells. .

Q: Hubcap is that?

A: Hubcap, yep, found on the border of Colorado. Most of it has just come from where ever we've been, and various recycling centers around the United States.

Q: So you keep adding to your instrument?

A: Well, I, uh, usually just make 'em and break 'em, and then make a new one. It's kind of ever-evolving, sort of ever-changing."

Brian Gorby, Neuhardt's friend and former bandmate in the percussion-heavy jam-band Humble Sacrifice, has carried on the charismo's tradition in the Hackensaw Boys as their touring percussionist. With funk influences, Gorby uses the charismo to bring a rambunctious flair to the band's old-time style.

Musical style
"When we typically do our shows, there's the raucous and the wild show and then we hop off the microphones and do acoustic songs. That is the testing ground for the new material. There's not as much pressure under the microphones and the lights. That is where we sneak stuff in. . . it's one of our favorite times of the show . . If you don't have a porch, we bring the porch to you."

- Ward Harrison, former member

"Like the name dictates, the Hacksensaw Boys are all about finger picking banjos, fiddles and baritone harmonies run through the punk rock blue grass ringer. They are as likely to hit home with hippies as rockabillies, or anyone who wants to raise a glass and stomp a hole through the ole wooden dance floor."

- Herohill

"I don't get that fired up that many other times in my life like when we play our songs. It's remarkable how it can transform you that way, especially when you see old people get up and shuffle around dance style. I've seen some people make fools of themselves in a most delightful way. We play at ridiculous tempos, screaming and hollering, seemingly doing musically questionable, possibly atrocious things by pop culture standards, but if you're there and involved with it there's raw excitement. You can't package that."

- Jesse Fiske, former member

As former member and founder Bullington puts it "we can play an old folks home in the afternoon and then play for a bunch of punk rockers, or whoever else might still be up and ready for a good time, or some music at midnight. They all seem to enjoy it equally." Fellow founder Sickmen claims "the original intent of the band . . was to bring old-time Appalachian country punk rock." Band member Jesse "Baby J." Fiske questions the importance of assigning a specific style: "We're not really an old-time band either. As long as we speak to someone, it doesn't really matter what the genre is." The group largely performs original material, with a traditional feel. As former member Shawn Galbraith, banjo player, puts it: "We play original material provided by different members of the band. There are some traditional elements to our sound for sure, but we always try to maintain some uniqueness." "I don't think many people would call us a traditional oldtime band," states bandleader David Sickmen: "I'd say our songs are about ninety percent originals. Then we have some old-time songs we play in our own way."

"As always, the band has been touring across the country like a pack of mad dogs, delivering the old-time, front-porch sounds of the Blue Ridge Mountains through a filter of punk angst."

- Jedd Ferris

Awards, honors, distinctions

 * Hackensaw Boys served as Country Music Hall of Fame member Charlie Louvin's backing band on a nationwide tour in 2003.
 * Hackensaw Boys opened, along with King Wilkie, for The Del McCoury Band at that group's 2004 New Year's Eve bluegrass blowout at Nashville's Ryman Auditorium (former home of the Grand Ole Opry). The bill also featured the Waybacks and Whitey Johnson.
 * Hackensaw Boys have performed at many prominent U.S. music festivals, including All Good Music Festival (2004 and 2006), Bonnaroo (2004), Telluride (2003), and FloydFest (2003).
 * Hackensaw Boys appeared on National Public Radio's Weekend Edition with Scott Simon Saturday on November 26, 2005 and again on April 23, 2016. Making Their Own Kind of Music featured interviews and performances Robert Bullington, David Sickmen, Justin Neuhardt, Jesse Fiske, Jimmy Stelling, and Ferd Moyse, IV.
 * Hackensaw Boys have twice performed at the prestigious European music festival in Norway, Bergenfest, where they shared the stage with Marianne Faithfull, Pet Shop Boys, and Shooter Jennings—in 2007—and Delbert McClinton, Mary Gauthier, Patti Smith, and Southside Johnny & The Asbury Jukes—in 2008.
 * Hackensaw Boys were nominated for the Independent Country Music Awards "Best Bluegrass Band, Duo, or Group" category, 2012.

Personnel
Current line-up as of May 2022:

 * David Sickmen - Guitar/Vocal
 * Caleb Powers - Fiddle/Vocal
 * Chris Stevens - Bass
 * Jonah Gillespie-Sickmen - Charismo/Drums/Percussion/Vocal

Discography
LPs:

 * Get Some (2000) Valley Entertainment
 * Keep It Simple (2002) Valley Entertainment
 * Give It Back (2004) - live (self-produced)
 * Love What You Do (2005) Nettwerk Records
 * Look Out! (2007) Nettwerk Records
 * For The Love Of A Friend. Live in Kinderdijk (2012)
 * Till the sweet by and by (2013) Milkcow Records
 * Charismo (2016) Free Dirt Records

EPs:

 * Who's Lookin' After Me? (2007)
 * The Old Sound Of Music, Vol. 1 (2011)
 * The Old Sound Of Music, Vol. 2 (2011)
 * A Fireproof House of Sunshine (2019)

Music Videos:
 * Alabama Shamrock (2006)

Video

 * Hackensaw Boys - Wolves Are Howlin' At My Door Hackensaw Boys recorded live for the Mokum Sessions at Paradiso in Amsterdam, May 8, 2015
 * Hackensaw Boys - C'Mon Baby Don't Bet Against Me Hackensaw Boys recorded live on WNRN, Charlottesville, VA June 11, 2014
 * Hackensaw Boys - Look Out Dog, Slow Down Train Hackensaw Boys recorded live at the AB Club, Brussels Monday 23 April 2007.
 * Hackensaw Boys - Radio (Live) Hackensaw Boys performing "Radio" from their release "Look Out!". Recorded live at the N9 Villa, Eeklo, Belgium Friday September 21, 2007.
 * Cannonball - Hackensaw Boys Hackensaw Boys play "Cannonball" at the Lewis Ginter Botanical Gardens, Richmond, Virginia Summer 2006 (double bill with The Avett Brothers).

Appearances

 * Making Old-Time New Again interview with Scott Simon, NPR's Weekend Edition Saturday on April 23, 2016.
 * The Hackensaw Boys: Live at KDHX in St. Louis, Missouri on 3/3/12.
 * Hackensaw Boys - Down South Blues Hackensaw Boys perform "Down South Blues" at WNRN in Charlottesville, Virginia on September 11, 2009.
 * Hackensaw Boys - Nashville - 12/02/2006 Knoxville, TN WDVX Hackensaw Boys perform "Nashville" on the WDVX Blue Plate Special show in Knoxville, TN on December 2, 2006.
 * Making Their Own Kind of Music interview with Scott Simon, NPR's Weekend Edition Saturday on November 26, 2005.

title: The Hackensaw Boys


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

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File:Smoke em if you got em.jpg

first Reverend Horton Heat album cover

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Talk:Persian cuisine

Any passers by...please let me know what you think this page needs, or make the necessary additions. I am getting ready to do a pretty big edit here and I want to have suggestions on how to structure the article before I go into it.

--IRelayer 17:12, 21 Apr 2005 (UTC)
 * Hmm.. Well, I do have a question for you. The common practice is to categorize articles by country, for instance, Cuisine of Ethiopia, Cuisine of Mexico, Cuisine of Argentina, etc. If this article's scope does not include substantial non-Iranian Persian cuisine, for example, American Chinese cuisine, then I see no reason why it should not be moved to Cuisine of Iran.

 * Aside from that, as I have no knowledge of the subject, I can only make a few generic suggestions: 1. more pictures, caption for the picture, and tag the pic's copyright status or find one that is known, 2. provide sections with helpful headings, not all one section, 3. give more references, especially print ones if possible, and include a "see also" section for links to related Wikipedia articles 4. link more of the text, it looks rather bare, and 5. explain what encompasses the term "Persian" and also talk about any peculiarities to their particular brand of cuisine (i.e., unique cooking implement, style, ingredient, etc.); it is important to explain what distinguishes it. Also, some brief historical info would be great context. I wish you luck! --Dmcdevit 04:11, 26 Apr 2005 (UTC)

Healthy?
Is Persian/Iranian foods healthy? Delisious, yes it is, but healthy I doubt it. With lots of fat, oil and carb. Could someone exapnd on this? I also think we need a section on regular diet and regional foods in Iran. Mahanchian 20:55, 21 February 2006 (UTC)

Merged
To see article, go to Iranian cuisine Judgesurreal777 05:28, 6 March 2006 (UTC)

title: Talk:Persian cuisine


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Talk:Radio galaxy

Rationale
The article Radio galaxy should be made into a separate article from Active galaxy. Radio Galaxies are a sub-category of Active Galaxies, as are quasars, blazars, and BL Lac objects. Basically, "Radio Galaxy" and "Active Galaxy" are not interchangeable terms.

 * This is now done. I can see a couple of things wrong with it as it stands, but I'll let the world loose on it and see what happens Mhardcastle 23:40, 5 February 2006 (UTC)

Say what?
The introductory paragraph is so full of technobabble that even as a physician, my brain hurts reading it and it actively drives me away from even skimming the rest. Needs to be rewritten at a more appropriate level for lay users, despite the technical nature, as specified by Wikipedia policies. — Preceding unsigned comment added by 164.167.34.67 (talk) 07:15, 25 October 2013 (UTC)

I disagree, but you raise an important issue. This is a very good helpful advanced article and it should not be butchered. Many articles should have two versions, an advanced version and a simpler explanatory version for the large majority of the public. What if you as a physician were writing or reading an article on DNA? What type of article would you want? Both types have great value. Detailed articles or advanced articles could also have a simpler explanatory introduction section. On this particular subject there is a lot of complicated data to analyze, what is going on is still not well understood, and an honest expert writer could well feel uncomfortable writing a simple explanatory summary at this time.

 * I am adding to the discussion of the first paragraph. (Note that the preceding comment was written by someone else.) The first paragraph currently says, "They have luminosities at radio wavelengths up to 10[exponent]39 W between 10 MHz and 100 GHz." I believe the sentence has a misplaced modifier and should read, "They have luminosities up to 10[exponent 39] W at radio wavelengths between 10 MHz and 100 GHz." I am not familiar with the topic, so can someone please confirm? I checked the source but did not understand it well enough to find the info. Thanks. –  Kekki1978  (talk ✉ | contribs ✎) 14:41, 24 November 2022 (UTC)

 * I looked in the edit history and found where the clauses got out of order. I reversed them to how they were before. –  Kekki1978  (talk ✉ | contribs ✎) 22:51, 24 November 2022 (UTC)

title: Talk:Radio galaxy


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Tracor

Tracor was a major North American defense electronics contractor which was acquired by Marconi Electronic Systems (MES), a subsidiary of General Electric Company plc, in 1998. Following the purchase of MES by British Aerospace in November 1999 to form BAE Systems, Tracor became BAE Systems Integrated Defense Solutions. Following a 2005 reorganisation, the company became BAE Systems Sensor Integration, part of Electronics and Integrated Solutions.

History
Tracor was founded in 1954 as Associated Consultants and Engineers. Tracor was the brainchild of physicist Richard N. Lane, its first president. He recruited Frank W. McBee, Chester McKinney, and Jess Stanbrough as its founders, and these four added an attorney friend, Harry Pollard, and machinist Byron Grisham, Jr. Early contracts included sales to Union Carbide and the United States Navy. The company's early focus on research and development soon expanded to the manufacture of instruments and components. In 1960 the company was renamed Texas Research Associates and in 1962 merged with Textran Corporation (formed by physicist O. J. Baltzer, mechanical engineer Marcel Gres, mathematician Gene Smith, and accountant George Strandtmann) to become Tracor.

D. Van Holliday was one of Tracor's founding employees

In 1976, Tracor became the first Austin, Texas, based company on the New York Stock Exchange.

In 1981, Tracor created Rokar International in Jerusalem, Israel for the development of advanced electronics for military and commercial applications.

Tracor was acquired by Westmark Systems in 1986. Westmark was soon in financial difficulties partly because the $866 million deal was highly leveraged but also due to a collapse in oil prices. Westmark filed for bankruptcy protection in 1989 and in 1991 Tracor was split from the company.

In 1993, Tracor increased its size dramatically with the acquisition of Vitro Corporation from Penn Central Transportation Company for $94 million. In 1994, Tracor purchased GDE Systems Inc. from the Carlyle Group. (GDE Systems was originally the General Dynamics Electronics Division before it was spun off.) In February 1996, Tracor acquired AEL Industries, an electronic warfare systems and components manufacturer which became part of the Tracor Aerospace division in March 1997.

In September 1996, the company acquired Cordant Inc., a privately held provider of computer services to the government

Tracor had a 30-year history of support of the Aegis defense system on United States Navy cruisers and destroyers. Tracor had great success in its later years designing and producing flare and chaff cartridges and their dispenser systems for military aircraft in defense against infrared- and radar-targeting missiles.

GEC takeover
General Electric Company plc announced its intention to acquire Tracor in April 1998 and to merge it with a North American subsidiary. Following a review by the Committee on Foreign Investment in the United States (CFIUS) (to ensure there were no national security implications) GEC completed the transaction in June 1998. The relatively quick decision, particularly for such an important defense contractor, was due to the relationship which already existed between GEC and the Defense Department. A condition of the purchase was that GEC must appoint a "proxy board". This is a mechanism where the company is run locally by American managers and was employed in this case due to the many sensitive projects which Tracor was involved in. The General Electric Company plc was a British company, not affiliated with the similarly named company which is based in the United States. It has since been renamed to Marconi plc.

The acquisition was as a major expansion of GEC's defence division, GEC-Marconi (later Marconi Electronic Systems), however seven months later GEC announced the demerger of Marconi Electronic Systems (including the North American defence businesses) which would then merge with British Aerospace (BAe) to form BAE Systems. This process was completed on November 30, 1999. Commentators have described Tracor as the jewel in crown of GEC-Marconi North America.

BAE Systems
In the new company GEC's North American defense businesses were merged with BAe's U.S. interests to form BAE Systems North America. In the years since, BAE Systems has pursued growth in America more aggressively than any other area in order to take advantage of the large U.S. procurement and research budgets. Today BAE Systems Inc. (of which Tracor is part) is the largest foreign player in the U.S. defense market.

Organization

 * Tracor Information Systems
 * Tracor Aerospace
 * Tracor Systems Technologies
 * Tracor Instruments
 * Tracor Applied Sciences

title: Tracor


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Ted Woolsey

Ted Woolsey is an American video game translator and producer. He had the primary role in the North American production and localization of Square's role-playing video games released for the Super NES between 1991 and 1996. He is best known for translating Final Fantasy VI and Chrono Trigger during his time at Square. Limitations on text length and strict content guidelines forced Woolsey to make many script changes in his translation work, which became known as "Woolseyisms" in popular culture and were both praised and criticized.

Woolsey resigned from Square in 1996 when the company moved offices to another city. Since then, his work in the video game industry shifted to a producer role at Big Rain, a company he co-founded, as well as others like Crave Entertainment and RealNetworks. After managing the relationship on the Microsoft Studios side for several years, Woolsey joined Undead Labs as General Manager in 2015.

At Square
Although born in America, Woolsey spent five years living and studying in Japan as a young adult. He received a Bachelor of Arts degree in English literature at the University of California, Santa Barbara. He spent time as a graduate student at the University of Washington, where he completed a master's degree in Japanese literature. He quit his Ph.D. studies to join Square's American office in Redmond, Washington, shortly after that in 1991. At the time, Final Fantasy IV had just been released in the United States (under the title Final Fantasy II) and did not sell according to their expectations. At this point, Square had no localization department, and a Square employee who spoke some English ended up translating Final Fantasy II. Other employees, including one in the financial department and a senior vice president, helped with editing after hours in their spare time. Woolsey's first project with Square was the translation of Final Fantasy Legend III, and the company asked him to review and avoid a repeat of Final Fantasy IIs messy translation.

During this time, Nintendo of America (NoA) had strict policies regarding what kind of content could appear in games on the Super Nintendo Entertainment System (SNES). The 1993 congressional hearings on video games had made NoA especially sensitive to "controversial" video game content, such as violence, sexuality, religion, and profanity. As a result, Woolsey had to avoid or write around these topics and translate the words at the same time. He would fly to Japan for a typical project and have about thirty days to translate a script based on the finished Japanese version of the game, which had been broken up idiosyncratically by programmers to fit in cartridge memory. He made a nearly finished translation of Final Fantasy V before Square canceled the overseas release. By the time he worked on localizing Final Fantasy VI (retitled Final Fantasy III in the United States), he was familiar enough with NoA's policies to anticipate potential violations and proactively reframe them while retaining as much of the original context and drama as possible. Another challenge was the limited storage space on SNES cartridges. English requires roughly twice as many letters as Japanese to convey the same meaning, which forced Woolsey to cut down the scripts to fit within the cartridge memory. Together, these changes have become known as "Woolseyisms" and are the subject of both criticism and praise. A famous Woolseyism is Kefka's exclamation, "Son of a submariner!"; the line was changed entirely from Japanese "Heee! Damn it!" (ヒーーー　くっそー！) to avoid profanity and inject character into the script. Other titles he localized included Final Fantasy Mystic Quest, Secret of Mana, Capcom's Breath of Fire, and Chrono Trigger. While at Square, Woolsey received fan mail from players who enjoyed games he worked on, as well as hate mail from people who believed his translations were inaccurate. In addition to localization, Woolsey was in charge of marketing for Square.

Post-Square
When Square's offices moved to Los Angeles in 1996, Woolsey decided to stay in Washington and leased his old employer's office space for his next company, Big Rain. Woolsey's last project with Square was the translation of Super Mario RPG and left before the English localization of Final Fantasy VII began. At Big Rain, he served as Vice President of Marketing and Business Development. The company moved to Seattle in 1997, where Crave Entertainment purchased it. Woolsey signed on as Vice President of Internal Development and oversaw the development of Shadow Madness, a Japanese-inspired role-playing game. Upon its release in 1999, Shadow Madness sold poorly, and Woolsey left the company to join RealNetworks as the Director of Business Development. As the director, he managed RealArcade, the network's online gaming client. Between 2000 and 2004, he worked on the distribution of the service to publishers and internet service providers and helped launch RealArcade in Japan.

Woolsey moved to Microsoft Studios in 2007, where he was Senior Director of First Party Publishing for the Xbox Live Arcade service. In this role, he brought games such as Limbo, Dust: An Elysian Tail, Killer Instinct, and Ori and the Blind Forest to Xbox platforms. He later became General Manager of Undead Labs in 2015 after acting as a liaison between Microsoft and that team for four years to bring the game State of Decay to market.

title: Ted Woolsey


text:
Smoke 'Em If You Got 'Em (The Reverend Horton Heat album)

Smoke 'Em If You Got 'Em is the first album by the Dallas, Texas based rockabilly/psychobilly trio known as the Reverend Horton Heat. It was released in 1990 on the label Sub Pop. An early version of the album had been recorded in the traditional manner (instruments and vocals recorded separately, then mixed in the studio). However, the band and the label decided that it did not fit with their vision, so it was re-recorded "live in the studio" direct to two-track, with the exception of "Love Whip."

The phrase "Smoke 'em if You Got 'em" or "Smoke if You Got 'em" predates this album and is slang for "do what you want, if you have the means." The first phrase was popular during World War II, meaning to take a break. Officers would say "Smoke 'em if you got 'em" allowing the soldiers to take a break and smoke their cigarettes. [Vic Morrow - Combat! ABC television series October 1962]

It is occasionally used by live performers as part of a repartee bidding goodnight to an audience or introducing the last or next to last song of the night.

"Psychobilly Freakout" was covered by the musical organization WaveGroup Cover Studios for inclusion in Activision's Guitar Hero II video game. In contrast, the original master recording is featured on Guitar Hero Smash Hits.

Critical reception
Trouser Press called the album "fresh but mild," writing that the band "never really cut loose." MusicHound Rock: The Essential Album Guide wrote that the album "shows RHH before it grew out of its kitchy [sic] phase." The New Rolling Stone Album Guide called it "entirely derivative ... but it's also got plenty of verve and a touch of wit."

Track listing

 * 1) "Bullet" – 3:06
 * 2) "I'm Mad" – 3:16
 * 3) "Bad Reputation" – 2:25
 * 4) "It's a Dark Day" – 5:04
 * 5) "Big Dwarf Rodeo" – 3:02
 * 6) "Psychobilly Freakout" – 2:39
 * 7) "Put It to Me Straight" – 2:34
 * 8) "Marijuana" – 4:49
 * 9) "Baby, You Know Who" – 2:39
 * 10) "Eat Steak" – 2:33
 * 11) "'D' for Dangerous" – 4:05
 * 12) "Love Whip" – 3:43

Members and Included

 * Jim "Reverend Horton" Heath - vocals, guitar
 * Jimbo Wallace - upright bass
 * Patrick "Taz" Bentley - drums
 * Tim Alexander (of Asleep at the Wheel) - piano (on "Love Whip")
 * Hook Herrerra (Hook and the Hitch-Hikers) - harmonica (on "Love Whip")
 * The Psychic Plowboy Horn Section (a.k.a., The Hooterville Horns) - horns (on "Love Whip")


text:
Talk:Agricultural Adjustment Act

Agricultural Adjustment Act Amendment of 1935
The Agricultural Adjustment Act Amendment of 1935 adds sections 21 and 22 after section 20 of this act, but the external link shows no section 20, and sections 21 and 22 unrelated to the amendment Section 22 of the Agricultural Adjustment Act is about import quotas; in the external link, section 22 is about farm mortgages). If the sections were added to this act, where is section 20, and what happened to the original sections 21 and 22? Peter James (talk) 16:00, 10 November 2019 (UTC)

title: Talk:Agricultural Adjustment Act


text:
Bob Skelly

Robert Evan Skelly (14 April 1943 – 6 August 2022) was a Canadian politician from British Columbia.

Skelly was born 14 April 1943, at New Westminster, British Columbia. The son of Robert Daniel Skelly and Dorothy Graham, he was educated at the University of British Columbia. In 1965, he married Sonia Alexandra Shewchuk. He had a daughter, Susan Kathleen Skelly, born 1973; and a son, Robert Mark William Skelly, born 1975. Susan married Michael Ramsay, and they have three children: Rebecca Ruth, born 2001; Sarah-Grace Victoria, born 2002; and Maria Anne Heather, born 2010.

He served in the BC Legislature from 1972 to 1987. The longest-serving member for Alberni constituency in history, he was elected five times. Skelly began his career as MLA by making his maiden speech in the Legislature on recognizing aboriginal rights in British Columbia. He became environment critic for the NDP. He was opposed to uranium mining and worked with the Skagit Valley committee against using nuclear power in Canada. He opposed the river dam at Site C on the Peace River, and the diversion of the Fraser watershed into the Arctic Sea. After visiting Bernie Sanders in Vermont, he proposed the construction of a number of 50 megawatt wood fired electric generators. He also campaigned to have the Esquimalt and Nanaimo Railway continue its operation as promised by the Dominion government of 1871.

He was elected leader of the British Columbia New Democratic Party in 1984 and was Opposition Leader in the BC Legislature until 1987. During his campaign as leader of the NDP leading up to the 1986 election he made such gains that the Social Credit Party convinced Bennet to resign and replaced him with Bill Vander Zalm. The Social Credit Party went on to win 47 seats to the NDP's 22. The NDP had dropped in popular vote from the previous election, but scored a higher percentage than in the elections in 1972, 1991 and 1996. After the election, the distribution of electoral districts in the province was declared to be biased in favour of Social Credit. The courts then ordered a fair redistribution. In 1986, Skelly resigned as NDP leader, and the following year, a party convention acclaimed Michael Harcourt as his successor.

In late 1988 Skelly was elected to the House of Commons of Canada representing the Federal riding of Comox—Alberni from 1988 to 1993.

He became Aboriginal Affairs critic and was present during the Oka crisis. He ran for a second term but was defeated in the 1993 general election in which the New Democratic Party collapsed to nine seats.

Skelly served in Parliament at the same time as his brother Ray Skelly.

Skelly died of Parkinson's disease on 6 August 2022, in Colwood, British Columbia. He was 79.

title: Bob Skelly


text:
Lev Oborin

Lev Nikolayevich Oborin (Лев Николаевич Оборин; Moscow, 11 September 1907 – Moscow, 5 January 1974) was a Soviet and Russian pianist, composer and pedagogue. He was the winner of the first International Chopin Piano Competition in 1927.

Life and career
Oborin's family moved frequently during his early childhood. When they settled down in Moscow in 1914, he was sent to music school. He studied with Elena Gnesina, a pupil of Ferruccio Busoni. At the same time, he studied composition with Alexander Gretchaninov and achieved admirable results.

In 1921, Oborin was accepted into Moscow Conservatory as a student of piano and composition. He completed his piano studies in 1926. In the same year, news reached Moscow of the First International Frédéric Chopin Piano Competition, to be held in Warsaw in 1927, and his piano teacher Konstantin Igumnov immediately thought of him. After winning first prize in the competition, he gave concerts in Poland and in Germany. Until 1945 he performed exclusively in Russia and taught at the Moscow Conservatory at the same time.

In 1935 he played his first concert with the violinist David Oistrakh, with whom he continued to collaborate all of his life.

Aram Khachaturian dedicated his Piano Concerto in D-flat major to Oborin, and wrote "When I was working on my concerto I dreamed of hearing it played by Lev Oborin. My dream came true in the summer of 1937. The wonderful performance by this outstanding pianist ensured its success".

During the years 1941 to 1963, Oborin played in a piano trio with David Oistrakh and the cellist Sviatoslav Knushevitsky, achieving international fame. Khachaturian's three concertos, one each for piano, violin and cello, were written for the individual members of this trio.

He gave first public performances of the works of several modern composers, including Khachaturian, Shebalin, Myaskovsky, Prokofiev (including the Violin Sonata No. 1 with Oistrakh), and Shostakovich.

He trained many pianists, including Vladimir Ashkenazy (winner of the second prize at the 1955 Chopin Competition), Anatoly Dokumentov, Mikhail Voskresensky, Minoru Nojima, Dmitri Sakharov, Alexander Bakhchiev, Andrei Egorov, Lev Natochenny, Boris Berman, Eduard Miansarov and Olga Kiun.

Oborin was a member of the jury of the Fourth and Fifth International Chopin Competitions, and of other competitions in Moscow, Lisbon, Paris, Leeds and Zwickau.

He died in 1974, aged 66.

Honours and awards

 * Stalin Prize, second class (1943) - for a concert and performing activities
 * People's Artist of the RSFSR (1955)
 * People's Artist of the USSR (1964)
 * Glinka State Prize of the RSFSR (1966) - for a concert and performing activities
 * Two Orders of Lenin (1946, in connection with the 80th anniversary of the Moscow Conservatory; 1966, in connection with the 100th anniversary of the Moscow Conservatory)
 * Order of the Red Banner of Labour
 * Order of the Badge of Honour (1937)

title: Lev Oborin


text:
Category:Vladimir Nabokov

These articles are related to the Russian-born writer and lepidopterist Vladimir Nabokov.

title: Category:Vladimir Nabokov


text:
User talk:JavOs

Welcome to the Wikipedia
I noticed you were new, and wanted to share some links I thought useful:

 * Tutorial
 * Help desk
 * Foundation issues
 * Policy Library

For more information click  here . You can sign your name by typing 4 tildes, like this: ~.

Sam Spade 17:18, 21 Apr 2005 (UTC)

File permission problem with File:2000pppratio.gif
Thanks for uploading File:2000pppratio.gif. I noticed that while you provided a valid copyright licensing tag, there is no proof that the creator of the file agreed to license it under the given license.

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 * make a note permitting reuse under the CC-BY-SA or another acceptable free license (see this list) at the site of the original publication; or
 * Send an email from an address associated with the original publication to , stating your ownership of the material and your intention to publish it under a free license. You can find a sample permission letter here. If you take this step, add OTRS pending to the file description page to prevent premature deletion.

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If you believe the media meets the criteria at Non-free content, use a tag such as or one of the other tags listed at File copyright tags, and add a rationale justifying the file's use on the article or articles where it is included. See File copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have provided evidence that their copyright owners have agreed to license their works under the tags you supplied, too. You can find a list of files you have created in [ your upload log]. Files lacking evidence of permission may be deleted one week after they have been tagged, as described on criteria for speedy deletion. You may wish to read the Wikipedia's image use policy. If you have any questions please ask them at the Media copyright questions page. Thank you. Kelly hi! 05:30, 11 August 2011 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:52, 23 November 2015 (UTC)

title: User talk:JavOs


text:
Project Monterey

Project Monterey was an attempt to build a single Unix operating system that ran across a variety of 32-bit and 64-bit platforms, as well as supporting multi-processing. Announced in October 1998, several Unix vendors were involved; IBM provided POWER and PowerPC support from AIX, Santa Cruz Operation (SCO) provided IA-32 support, and Sequent added multi-processing (MP) support from their DYNIX/ptx system. Intel Corporation provided expertise and ISV development funding for porting to their upcoming IA-64 (Itanium Architecture) CPU platform, which was yet to be released at that time. The focus of the project was to create an enterprise-class UNIX for IA-64, which at the time was expected to eventually dominate the UNIX server market.

By March 2001, however, "the explosion in popularity of Linux ... prompted IBM to quietly ditch" this; all involved attempted to find a niche in the rapidly developing Linux market and moved their focus away from Monterey. Sequent was acquired by IBM in 1999. In 2000, SCO's UNIX business was purchased by Caldera Systems, a Linux distributor, who later renamed themselves the SCO Group. In the same year, IBM eventually declared Monterey dead. Intel, IBM, Caldera Systems, and others had also been running a parallel effort to port Linux to IA-64, Project Trillian, which delivered workable code in February 2000. In late 2000, IBM announced a major effort to support Linux.

In May 2001, the project announced the availability of a beta test version AIX-5L for IA-64, basically meeting its original primary goal. However, Intel had missed its delivery date for its first Itanium processor by two years, and the Monterey software had no market.

With the exception of the IA-64 port and Dynix MP improvements, much of the Monterey effort was an attempt to standardize existing versions of Unix into a single compatible system. Such efforts had been undertaken in the past (e.g., 3DA) and had generally failed, as the companies involved were too reliant on vendor lock-in to fully support a standard that would allow their customers to leave for other products. With Monterey, two of the key partners already had a niche they expected to continue to serve in the future: POWER and IA-64 for IBM, IA-32 and IA-64 for SCO.

The breakdown of Project Monterey was one of the factors leading to a lawsuit in 2003, where SCO Group sued IBM over their contributions to Linux.

IBM sold only 32 Monterey licenses in 2001, and fewer in 2002.

title: Project Monterey


text:
Lardon Chase, the Holies and Lough Down

Lardon Chase, the Holies and Lough Down is a National Trust countryside property in the English county of Berkshire. It is situated on the edge of the Berkshire Downs above the village of Streatley and overlooking the Goring Gap. The property comprises an outstanding area of 27 hectares (67 acres) of downland and woodland with many attractive walks and views. Lardon Chase, and a part of the Holies known as Holies Down, are also designated as Sites of Special Scientific Interest. The property lies within the North Wessex Downs Area of Outstanding Natural Beauty, and in an area known for the presence of several Neolithic and Iron Age forts.

Lardon Chase and Lough Down comprise a spur of downland which lies to the west of Goring and Streatley. Since it was acquired by the National Trust, the land has been managed by a mixture of scrub clearance and cattle grazing, so as to encourage the growth of chalk-loving plants. The Holies is a woodland fringed grassy coombe which is separated from Lardon Chase and Lough Down by the B4009 road from Streatley to Newbury. Before acquisition by the National Trust, the Holies was used for motorbike scrambling and turf stripping, resulting in considerable damage to the ground. The National Trust is encouraging the natural recolonisation of the area by chalk-loving plant species. There are three turf mazes in the Holies.

The slopes of the property form one of the largest remaining areas of chalk grassland in the county and support a wide range of flowers and butterflies. Plants found in the grassland include autumn gentian, clustered bellflower, blue fleabane, vervain, common rock-rose, horseshoe vetch, kidney vetch, marjoram, yellow-wort, purging flax, wild carrot, chalk milkwort, stemless thistle, eyebright, mouse-ear hawkweed, salad burnet, ragwort, wild thyme, hairy violet, squinancywort, hawkweed ox-tongue, common spotted orchid and pyramidal orchid. Scattered bands of hawthorn scrub provide shelter for insect life and several butterfly species can be found, including chalkhill blue, marbled white, adonis blue, grizzled skipper and dingy skipper.

The property is accessible from a car park located on the B4009, or by steeply climbing footpaths from Streatley village. The Holies is also accessible (on foot only) from the A329 road south of Streatley, whilst Lough Down can be accessed from the ancient track of The Ridgeway on its northern boundary. Access is free, and available at all times. The property adjoins the Goring & Streatley Golf Club.

title: Lardon Chase, the Holies and Lough Down


text:
Nathan Heald

Nathan Heald (New Ipswich, New Hampshire September 24, 1775 – O'Fallon, Missouri April 27, 1832) was an officer in the U.S. Army, during the War of 1812. He was in command of Fort Dearborn in Chicago during the Battle of Fort Dearborn.

Heald was a captain stationed in Fort Wayne, Indiana, prior to his appointment at Fort Dearborn, where he relieved the fort's first commander, John Whistler, in 1810. The following year, Heald traveled back to Fort Wayne to marry Rebecca Wells, and returned to the fort with his bride.

On August 9, 1812, Heald received orders from General William Hull to evacuate the troops from Fort Dearborn, leaving behind all the supplies at the fort. This meant that the Potawatomi would take the supplies and sell them to the British. Heald decided, therefore, not to leave the fort. On August 15, a group of Miami Indians led by his wife's father, Captain William Wells, arrived from Fort Wayne to provide assistance. A band of Potawatomi attacked the column, killing many civilians and soldiers. The ones they did not kill were held for ransom and sold to the British, who then set them free. Heald and his wife were both wounded, Heald being shot through the hips.

The Healds made their way across Lake Michigan and eventually arrived at Fort Detroit, then in British hands, where they surrendered. The British transported them to Buffalo, New York, where they were ransomed back to the Americans. Heald was promoted to major shortly after his release, and was given a disability discharge in 1814. His wife and he returned to Fort Wayne.

In 1817, Heald moved to O'Fallon, Missouri, and purchased the former Fort Zumwalt. His wife and he had three children, Mary, Darius, and Margaret.

Heald Square in Chicago is named after Heald.

title: Nathan Heald


text:
Spike Stent

Mark "Spike" Stent (born 3 August 1965) is an English record producer and mixing engineer who has worked with many international artists including Madonna, Marshmello, U2, Beyoncé, Björk, Depeche Mode, Echo & the Bunnymen, Grimes, Ed Sheeran, Beth Orton, Harry Styles, Frank Ocean, Selena Gomez, All Saints, Spice Girls, Lady Gaga, Coldplay, Mansun, Maroon 5, Muse, Lily Allen, Peter Gabriel, Gwen Stefani, Moby, No Doubt, Lenka, Usher, Kaiser Chiefs, Linkin Park, the Yeah Yeah Yeahs, Oasis, Keane, Massive Attack, Bastille, Diana Vickers and Take That.

Career
Stent grew up in Hampshire, England and first gained experience as an engineer at Jacob Studios as a teenager before a two-year stint at Trident Studios. After Trident, Stent worked at Olympic Studios in Barnes, South London. While at Olympic, Stent worked with artists such as Massive Attack, Bjork, Madonna, U2, Keane, and Oasis. Radiohead enlisted him to produce their 2007 album In Rainbows, but the collaboration was unsuccessful.

Stent works at two studios: Mix Suite LA in EastWest Studios and Mix Suite UK.

Grammy Awards

 * }

2020s

 * 2024: Liam Gallagher and John Squire Liam Gallagher John Squire
 * 2020: Marilyn Manson – We Are Chaos
 * 2020: 5 Seconds of Summer – Calm
 * 2020: Niall Horan – Heartbreak Weather
 * 2020: Ted When – Edge Off
 * 2020: Miley Cyrus – Plastic Hearts
 * 2021: John Mayer – Sob Rock
 * 2022: Liam Gallagher – C'mon You Know
 * 2022: Peter Gabriel – i/o
 * 2023: Gorillaz – Cracker Island
 * 2023: Foo Fighters – But Here We Are
 * 2023: Blink-182 – One More Time...
 * 2023: The Beatles – "Now and Then"

2010s

 * 2019: Charli XCX featuring Lizzo – "Blame It on Your Love"
 * 2018: Post Malone – "Stay"
 * 2018: Cardi B – "Thru Your Phone"
 * 2018: Elton John – Revamp tracks "Your Song" featuring Lady Gaga and "Bennie and the Jets" featuring Pink and Logic
 * 2018: Pale Waves – "Heavenly"
 * 2018: Jade Bird – "Lottery"
 * 2018: Chvrches – Love Is Dead
 * 2018: Years & Years – "Sanctify"
 * 2018: Rudimental – "These Days" featuring Jess Glynne, Macklemore and Dan Caplen
 * 2018: Marshmello featuring Anne Marie – "Friends"
 * 2017: Kesha – "This Is Me"
 * 2017: Miguel – "War & Leisure"
 * 2017: Bishop Briggs – "Dream"
 * 2017: Jessie Ware – Glasshouse
 * 2017: PVRIS – "All We Know of Heaven, All We Need of Hell"
 * 2017: Justin Bieber and BloodPop – "Friends"
 * 2017: Muse – "Dig Down"
 * 2017: Mondo Cozmo – "Plastic Soul"
 * 2017: Niall Horan – "Slow Hands"
 * 2017: Vince Staples – Big Fish Theory
 * 2017: Harry Styles – Harry Styles
 * 2017: Ed Sheeran – ÷
 * 2017: Julia Michaels – "Issues"
 * 2017: Julia Michaels – "Uh Huh"
 * 2017: Julia Michaels – "Nervous Systems"
 * 2017: Rita Ora – "Your Song"
 * 2017: Liam Gallagher – "As You Were"
 * 2017: DreamCar – "Dreamcar"
 * 2017: Take That – "Giants"
 * 2016: Gwen Stefani – This Is What the Truth Feels Like
 * 2015: Selena Gomez – Revival
 * 2015: Florence + the Machine – How Big, How Blue, How Beautiful
 * 2015: Chvrches – Every Open Eye
 * 2015: Grimes – Art Angels
 * 2015: Duran Duran – Paper Gods
 * 2014: Coldplay – Ghost Stories
 * 2014: Ed Sheeran – x
 * 2014: The Script – No Sound Without Silence
 * 2014: Kasabian – 48:13
 * 2013: Biffy Clyro – Opposites
 * 2013: Bastille – Bad Blood
 * 2013: Rudimental – Home
 * 2013: White Lies – Big TV
 * 2013: Haim – Days Are Gone
 * 2013: Moby – Innocents
 * 2013: John Newman – Tribute
 * 2013: One Direction – Midnight Memories
 * 2012: Frank Ocean – Channel Orange
 * 2012: No Doubt – Push and Shove
 * 2012: Taylor Swift – Red
 * 2012: Muse – The 2nd Law
 * 2011: Florence + The Machine – Ceremonials
 * 2011: Coldplay – Mylo Xyloto
 * 2011: Bruce Springsteen – Wrecking Ball
 * 2010: Lights – The Listening ("Ice")
 * 2010: Usher – Raymond v. Raymond
 * 2010: Nelly Furtado – The Best of Nelly Furtado ("Girlfriend in the City")
 * 2010: Hurts – Happiness
 * 2010: Goldfrapp – Head First
 * 2010: Ellie Goulding – Lights
 * 2010: P Diddy – Last Train to Paris ("Hello Good Morning")
 * 2010: Take That – Progress
 * 2010: James Blunt – Some Kind of Trouble
 * 2010: The Wanted – The Wanted
 * 2010: N.E.R.D – Nothing
 * 2010: Duran Duran – All You Need Is Now
 * 2010: The Script – Science and Faith
 * 2010: Cheryl Cole – Messy Little Raindrops
 * 2010: Christina Aguilera – Bionic ("Little Dreamer", "Kimono Girl", "Birds of Prey")

2000s

 * 2009: Green Day – 21st Century Breakdown ("Last of the American Girls", "21 Guns", "Rain on Me")
 * 2009: Lady Gaga – The Fame Monster ("Bad Romance", "Telephone" Featuring Beyoncé)
 * 2009: Tegan & Sara – Sainthood ("Hell")
 * 2009: Muse – The Resistance
 * 2009: Vedera – Stages ("Satisfy", "Loving Ghosts", "Back to the Middle")
 * 2009: Cheryl Cole – 3 Words ("Fight for This Love")
 * 2009: Ciara – Fantasy Ride ("G Is for Girl")
 * 2009: Franz Ferdinand – Tonight: Franz Ferdinand ("Katherine")
 * 2009: FrankMusik – Complete Me ("Confusion Girl")
 * 2009: The Yeah You's – Looking Through You
 * 2009: The Yeah Yeah Yeahs – It's Blitz
 * 2009: Lenka – Trouble Is a Friend
 * 2009: Sean Garrett – Turbo 919 ("Why", "What You Doin' Turbo 919")
 * 2009: Lily Allen – It's Not Me, It's You ("Everyone's at It", "The Fear")
 * 2008: The Script – The Script ("Breakeven", "Talk You Down", "The Man Who Can't Be Moved")
 * 2008: Sneaky Sound System – Sneaky Sound System ("Kansas City", "UFO")
 * 2008: The Pussycat Dolls – Doll Domination ("When I Grow Up")
 * 2008: CSS – Donkey
 * 2008: Pink – Funhouse
 * 2008: Beyoncé – I Am... Sasha Fierce
 * 2008: Madonna – Hard Candy
 * 2007: M.I.A – Kala ("Boyz", "Jimmy")
 * 2007: Maroon 5 – It Won't Be Soon Before Long
 * 2007: Arcade Fire – Neon Bible ("Black Mirror", "No Cars Go")
 * 2007: Hard-Fi – Once Upon a Time in the West ("Suburban Knights")
 * 2007: Stereophonics – Pull The Pin ("Rewind")
 * 2007: Natasha Bedingfield – N.B
 * 2007: Björk – Volta
 * 2006: Depeche Mode – The Complete Depeche Mode ("A Pain That I'm Used To")
 * 2006: The Feeling – Twelve Stops and Home
 * 2006: Keane – Under the Iron Sea
 * 2006: Gwen Stefani – The Sweet Escape
 * 2005: Madonna – Confessions on a Dance Floor
 * 2005: Goldfrapp – Supernature
 * 2005: Fischerspooner – Odyssey
 * 2005: Kaiser Chiefs – Employment ("Everyday I Love You Less and Less")
 * 2005: Aqualung – Strange and Beautiful ("Easier to Lie")
 * 2005: Dave Mathews Band – Stand Up
 * 2005: The Black Eyed Peas – Monkey Business
 * 2004: Björk – Medúlla
 * 2004: Keane – Hopes and Fears
 * 2004: Gwen Stefani – Love. Angel. Music. Baby.
 * 2004: Natasha Bedingfield – Unwritten
 * 2003: Massive Attack – 100th Window
 * 2003: Madonna – American Life
 * 2003: Dave Mathews Band – Some Devil
 * 2003: The Black Eyed Peas – Elephunk
 * 2002: Linkin Park – Reanimation
 * 2002: Oasis – Heathen Chemistry
 * 2001: No Doubt – Rock Steady
 * 2001: Björk – Vespertine
 * 2000: All Saints – Saints & Sinners ("Black Coffee", "Pure Shores")
 * 2000: Madonna – Music
 * 2000: Oasis – Standing on the Shoulder of Giants
 * 2000: Oasis – Familiar to Millions

1990s

 * 1999: Echo & The Bunnymen – What Are You Going to Do with Your Life? – (Rust (song))
 * 1998: Massive Attack – Mezzanine
 * 1998: Mansun – Six
 * 1997: U2 – Pop
 * 1997: Spice Girls – Spice World
 * 1997: Erasure – Cowboy
 * 1997: Björk – Homogenic
 * 1996: Spice Girls – Spice
 * 1994: Massive Attack – Protection
 * 1994: Madonna – Bedtime Stories
 * 1993: Depeche Mode – Songs of Faith and Devotion
 * 1991: The KLF – The White Room

1980s

 * 1989: ABC – Up
 * 1988: The Mission – Tower of Strength
 * 1987: Erasure – It Doesn't Have to Be
 * 1985: The Cult – Love

title: Spike Stent


text:
Talk:Anglo-Irish Treaty

Partition
I question the statement that Partition was not a factor. I find these on historical-debates of the Dáil

 * MR. S.T. O'CEALLAIGH: (Dáil Éireann - Volume 3 - 20 December, 1921), con "The two great principles for which so many have died, and for which they would still gladly die—no partition of Ireland and no subjugation of Ireland by any foreign power—have gone by the board in this Treaty, and some good men are thinking of voting for it."

 * MR. MILROY: (same) pro "Did they expect that the five men who went there would be able to bring back an arrangement that was at variance with the declaration of President de Valera that we were not going to coerce Ulster? The fact is that the provisions of the Treaty are not Partition provisions, but they ensure eventual unity in Ireland. But, as a matter of fact, whether there were Partition provisions or not, the economic position and the effects on the six counties' area is this, that sooner or later isolation from the rest of Ireland would have so much weight on the economic state of these six counties as to compel them to renew their association with the rest of Ireland. That trend of economic fact will be stimulated by the provisions of this Treaty, and the man who asserts that Partition is perpetuated in that Treaty is a man who has not read or understands what are the provisions in the Treaty. "

 * MR. SEAN MACENTEE: (Dáil Éireann - Volume 3 - 22 December, 1921) con "I am opposed to this Treaty because it gives away our allegiance and perpetuates partition. By that very fact that it perpetuates our slavery; by the fact that it perpetuates partition it must fail utterly to do what it is ostensibly intended to do—reconcile the aspirations of the Irish people to association with the British Empire. When did the achievement of our nation's unification cease to be one of our national aspirations?"

In fact their substantive objection was about continuing to be a Dominion of the British Empire, and not be a Republic. The Oath of Allegiance (or Fidelity) is merely a symbol of that. However, the debates do confirm the view of many (but not all) that the Unionists of Ulster could not and should not be coerced into a United Ireland. --Red King 17:24, 21 Apr 2005 (UTC)

 * Yes. All you can say at this distance is that the supporters of Dev (for a 32-county Republic) failed to persuade a majority of TDs to change their minds, after very long debate. Partition was of most interest naturally to TDs from the north, such as McEntee. Most were not interested, or felt that Northern Ireland would collapse, or that the boundary would be altered. Pro-treaty TDs knew that it was not on the agenda.Red Hurley 09:00, 30 April 2007 (UTC)

Edit by anonymous user:207.200.116.8
Some useful stuff in a rather POV edit. If you wish to reiterate your changes, please use this talk page to achieve a consensus version. --Red King 09:46, 15 Jun 2005 (UTC)

Material on 1937 Consitution and 1948 Republic of Ireland Act
I've deleted a large paragraph the 1937 and 1948 activities, because this article is about the treaty, not a potted history of Ireland 1921 to the present day. If a synopsis is really needed (consensus view again), this is the material:
 * Eamon de Valera, who, in 1932, became the second of only two Presidents of the Executive Council the Free State ever had, set about doing just that. Under the terms of the Constitution of the Free State, the Dáil was empowered to change it by simple majority (as is the case in the United Kingdom). These changes might be regarded as provisional measures while a new constitution was drafted and ratified, which took effect in 1937.  Still in effect today, the new Bunreacht na hÉireann/Constitution of Ireland re-christened the country simply Éire or "Ireland" converted DeValera's post from "President of the Executive Counsel" to Taoiseach ("Leader," that is, Prime Minister), and replaced the appointed Governor General with an elected Uachtaran na hÉireann or "President of Ireland."  The king remained nominally, if obtusely, head of the Irish state as a quasi-political gesture.  According to some sources, DeValera did not wish to actually proclaim an Irish Republic until after the British Province of Northern Ireland were repatriated to Ireland.  But DeValera and his party were out of power between 1948 and 1951.  In 1949, and much to his and Fianna Fáil's chagrin, John Costello's Fine Gael party proclaimed the Irish Republic, which necessitated Ireland leaving the Commonwealth of Nations - because it no longer retained even the fiction of recognising the King as head of state.  A year later, at the request of the Dominion of India, which wanted to become the Republic of India, the rules of the Commonwealth were changed to permit member states to opt out of having the British monarch as their head of state and be republics instead of constitutional monarchies.  One can only wonder what both DeValera and Costello thought of that.

And by the way, Northern Ireland is not legally a Province. Ulster is, but Ulster is not Northern Ireland or vice versa. --Red King 09:46, 15 Jun 2005 (UTC)

Neither is Ulster a "legal" province, it's a commerative or historical province with little if any meaning in legal or other terms. - Dalta

Inaccurate statement about the Treaty of Westminster
The statement: (The sole exception to this was Canada, at her own request, who remained nominally subject to the British Parliament until 1982, because the federal and provincial governments could not agree on an amending formula for the Canadian Constitution.) is both factually incorrect and irrelevant. It is factually incorrect in that Canada was not the only dominion for which the statute did not enter into force in its entirety on signature - at a minimum Australia and New Zealand had special provisions which resulted in the statute not applying for several years. More significantly, it doesn't add anything understanding of the application of the statute to the Irish Free State. This page already links to the Statute of Westminster page and that would be the appropriate place for details of its applicability in other dominions. Unless someone objects, I intend to remove the sentence about Canada from the page. DHam 16:42, 18 March 2006 (UTC)

Name
The Anglo-Irish Treaty was never called such. The name on the papers was along the lines of "Articles of association between Ireland and the British Empire", this is it's proper name and the page should be called such, with reference to the various names given to it. Neither did the British ever accept it as a treaty, though the League of Nations did. This may be mentioned, I didn't really read the article. Also, in that box on the side, did Wales have the Red Dragon as their flag back in them days? I imagine it would've been a somewhat simplified version, if a singular flag existed at all. - Dalta
 * That would be quite a long title! History knows this agreement as the "Anglo-Irish Treaty", and that's what the article is called. --JW1805 21:44, 8 August 2005 (UTC)

Wikipedia under the MoS uses most common name. The most common name was the Anglo-Irish Treaty, not the Articles of Agreement. In any case the Articles of Agreement became a treaty when ratified by the three parliaments. FearÉIREANN\(caint) 21:52, 8 August 2005 (UTC)

 * Generally it is wikipedia policy that the common names of things are accepted to be used, exceptions are granted but quite unlikely to such a long and relatively unknown title - irrespective of been official. Many things from this era used long names as standard. Whatever either side called the agreement it is well regarded as a treaty - not least that it ended the war of independence - the article can make reference to the official title if wanted. Djegan 21:57, 8 August 2005 (UTC)

I changed the "official name" in the first sentence of the article to "Articles of Agreement for a Treaty Between Great Britain and Ireland" taking the title from Public Record Office Catalogue ref: HO 45/19974, and also Constitution of the Irish Free State (Saorstát Eireann) Act, 1922.garryq 09:10, 16 November 2005 (UTC)

Chronic inaccuracy
Whoever changed the opening paragraph produced a version that would earn an F in any exam. It contained a monumental clanger, the suggestion that the Treaty created Northern Ireland. That is BS. Northern Ireland had been created by the Government of Ireland Act, 1920. All the Treaty did was presume that Northern Ireland would continue as a home rule region within the Irish Free State unless Northern Ireland opted out and decided to remain in the UK, which it duly did. The claim that Northern Ireland was created by the AIT is elementary inaccuracy. FearÉIREANN\(caint) 21:56, 8 August 2005 (UTC)

Incorrect negotiators name
The name of one of the Irish negotiators is incorrectly given as Charles Gavan Duffy. It was actually his son, George Gavan Duffy. See the UCD archives for further details. Seoirse (the name signed to the treaty) translates as George, not Charles.

I will make the corresponding change to the main page barring any major objections here.

Eanair 09:22, 24 November 2005 (UTC)

Military leadership of Dev?
"Opponents of the Treaty, primarily Éamon de Valera, mounted a military campaign of opposition which produced the Irish Civil War (1922–23)."

Sorry, but that just is'nt so. Dev was in America or jailed for much of the war; his only contribution as a military leader was insisting on the disasterious raid on the Customs House. So if nobody minds, I'll change the above to reflect that. Fergananim 01:00, 29 November 2005 (UTC)

 * Right conclusion for wrong reason. The war that Dev was in America for is the War of Independence, not the Civil War.  That said, the leaders were Rory O'Connor and Cathal Brugha - there is no evidence that Dev wass in control.  --Red King 20:10, 29 November 2005 (UTC)

 * Thank you Red, I realised the same thing the following day. Cheers. Fergananim 20:17, 30 November 2005 (UTC)

 * Dev may not have been in direct control militarily, but his Republican Sinn Fein (not the current Ruari O' Bradaigh RSF) did instruct loyal IRA elements to sieze control of buildings of strategic importance. 13:18, 25 January 2006 83.71.74.73
 * Very dubious - you'll need to point to some evidence. Everything that I've read suggests that Rory O'Connor acted unilaterally and then Dev endorsed it.  --Red King 21:59, 25 January 2006 (UTC)

added to 'ratification'
I've added some main quotes to ratification; hope all agree. Lifted from the Dáil reports. Someone should do a page on the debates - incredible insults etc.Red Hurley 09:38, 25 April 2007 (UTC)

inaccurate line
''Opponents of the Treaty mounted a military campaign of opposition which produced the Irish Civil War (1922–23) '' Surely a military campaign did not begin until the Free State forces shelled the Four Courts? I think this line could be put better. Cliste 19:58, 23 August 2007 (UTC)

 * You are right but military campaign means different things to different people. Have a look at the debates between the Treaty vote and the 1922 election, and you'll see that there was a lot of jockeying for position, and even a 'Truce' between the sides (leading to the electoral Pact), months before the Four Courts shelling. Well done for your tidying up.Red Hurley 14:31, 1 September 2007 (UTC)
 * Or maybe you aren't right. The anti-treaty forces occupied the Four Courts under force of arms and refused to surrender to the (unarmed) Civic Guards or accept an ultimatum from the National Army.  It was at that point, coming to the aid of the civil power, that the National Army opened fire.  The military campaign began with the armed occupation.  --Red King 23:53, 1 September 2007 (UTC)  But I agree with the wording of your edit. --Red King 23:57, 1 September 2007 (UTC)

 * Red King, thats not 100% true the Free State Government was under pressure by the british Government to curtail opposition to the Treaty, they had a choice of doing it themselves or having British troops do it for them, which the Free State Government knew would lead to a re-starting of the War of Independence and would have re-United the IRA against both the Free State and Britain.--padraig 00:02, 2 September 2007 (UTC)
 * Or so the Provo mythology goes. But let's not re-open hostilities!  --Red King 00:10, 2 September 2007 (UTC)

 * I don't understand your reference to the provos, they didn't exist then. The British Government had halted British troop withdrawals and refused to hand over any more arms to the Free State when the Collins and De Valera pact was approved by the Sinn Féin Feis.  The British Government drew up plans to attack the Four Courts themselves, Churchhill also made a speech, stating if the siege was not ended, we shall regard the Treaty as having been formally violated, that we shall take no steps to carry out or legalise its further stage, and we shall resume full liberty of action in any direction that may seem proper..... --padraig 00:52, 2 September 2007 (UTC)

 * Not mythology at all Red King, provo or otherwise. Arguably of course the Four Courts people had deliberately provoked this crisis, but its a fact that Collins attacked them so that the British would not do it themselves. I think he had no choice and the anti-treatyites had put him in an impossible position, but still...

Jdorney 12:31, 2 September 2007 (UTC)

 * I was using "Provos" as shorthand for Irregulars, Anti-treatyites, whatever-you-call people who think themselves above democracy. As for "the British would do it themselves", produce the citation.  Must be in Cabinet Papers if genuine.  I've put a citation request on the main article. --Red King 16:02, 2 September 2007 (UTC)

 * Already done. Michael Hopkinson, Green against Green, p114-117. And he got it from the minutes of hte British Council of Ministers. Check his footnotes if you want. Jdorney 16:45, 2 September 2007 (UTC)

Ratification
I edited this section slightly to remove POV, however, I think it can be deleted altogether it doesn't really sit well were it's placed and most of the information is incorporated into the main text anyway. Cliste 15:50, 25 August 2007 (UTC)

"Irish Republic" not a party
I have fixed the info column. Up to now it said the parties to the Treaty were the UK and the "Irish Republic". The latter was not a party and was not recognised by the UK. An Irish delegation did sign of course. They did not sign in any official sense as representatives of the "Irish Republic". For a source: Just read the Treaty itself. 84.203.65.158 (talk) 11:17, 13 December 2011 (UTC)
 * The plenipotentiaries were sent by Dáil Éireann, and the treaty was ratified (narrowly) by that body. If it had not been there would not have been a treaty. If the delegates were not representing the Irish Republic, British Gov. sensitivities aside, then who or what exactly were they representing? RashersTierney (talk) 17:09, 13 December 2011 (UTC)

 * You're both right because there had to be some ambivalence in the transition. Recall that at the start of the Peace of Paris (1783) negotiations the British did not recognise the independence of the USA but were dealing with the reps of the USA. A "Treaty" is agreed between sovereign states, and once ratified by the Dail of the Irish Republic, and by the UK Parliament, everyone called this one a treaty. As soon as that group of treasonous 13-Colonies individuals had signed in 1783, the British recognised the USA. It's fair to say that the Irish Republic was a party to the treaty, not least because the northern loyalists who were already running Northern Ireland were not directly involved. As they say, there was no other game in town. The Irish republic was of course turned into a dominion a year later, but in December 1921 the Irish signatories were acting on behalf of the then Irish Republic.Red Hurley (talk) 09:55, 11 August 2012 (UTC)
 * From the British point of view, they were negotiating with duly-elected Irish Members of Parliament who just so happened to want some sort of independence beyond Home Rule. Luckily those same MPs were ministers of the Irish Republic.78.16.84.242 (talk) 18:15, 6 August 2019 (UTC)

Inaccuracies in the lede
Quote from lede:

"The Anglo-Irish Treaty (Irish: An Conradh Angla-Éireannach), officially the Articles of Agreement for a Treaty Between Great Britain and Ireland, was a treaty between the Government of the United Kingdom of Great Britain and Ireland and representatives of the secessionist Irish Republic that concluded the Irish War of Independence. It established the Irish Free State as a self-governing dominion within the British Commonwealth of Nations (the first use of this term, rather than "British Empire", in an imperial statute) and also provided Northern Ireland, which had been created by the Government of Ireland Act 1920, an option to opt out of the Irish Free State, which it exercised."

The following comments concern the words I have put in bold above:
 * (1) as to "treaty": I expect this has been discussed already - but it wasn't a treaty (though I have no problem with it being referred to by its common name);
 * (2) as to "scessionist Irish Republic" - The Irish representatives signed as the "Irish delegation" - I think the words "scessionist Irish Republic" here are plainly misleading;
 * (3) as to "It established" are not accurate. It established nothing. Subsequent legislation giving it the force of law and implementing it did - the wording ought in some way to reflect this;
 * (4) as to "imperial statute", it wasn't an imperial statute so how does this make sense ?

I don't want to edit and get sucked into a silly argument. Hope some one else is up for that. All the best: Lawrysalt (talk) 01:02, 27 July 2012 (UTC)

It was called a treaty by everyone once it was ratified. In itself it did not "establish the IFS" but allowed for it to be established a year later, as happened. During the transitional year see: Provisional Government of the Irish Free State. Red Hurley (talk) 10:08, 11 August 2012 (UTC)

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Final status of the treaty?
I know nothing about the topic, and find the article a bit frustrating. The treaty "was." That seems to mean it no longer "is". So, what happened to it? Is it still in effect? Was it officially terminated? If it established Ireland as a Dominion, similar to Canada, does that status continue? (Obviously not, but what are the details of the change?)
 * Changes were made in fits and starts. You could start by reading Constitution of Ireland and Ireland Act 1949.78.16.84.242 (talk) 18:09, 6 August 2019 (UTC)

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Sharing of debt
Article says "The Irish Free State would assume responsibility for a proportionate part of the United Kingdom's debt, as it stood on the date of signature." - Was there any debate about that ? Was it proportional to population, area or national income ? Did any UK creditors object ? - Rod57 (talk) 18:04, 15 November 2017 (UTC)
 * It was to be an equal amount per capita, but nobody ever stated what the UK debt was. When it came up in 1925 and the Dáil debates over the Irish Boundary Commission, it was guesstimated at somewhere between £4m and £19m a year to be paid by a state with a tax income of £25m a year. The Irish Boundary Commission agreement was that the northern boundary would stay as it was, and the south was absolved from paying anything.78.16.84.242 (talk) 16:28, 6 August 2019 (UTC)

title: Talk:Anglo-Irish Treaty


text:
Howard Skempton

Howard While Skempton (born 31 October 1947) is an English composer, pianist, and accordionist.

Since the late 1960s, when he helped to organise the Scratch Orchestra, he has been associated with the English school of experimental music. Skempton's work is characterised by stripped-down, essentials-only choice of materials, absence of formal development and a strong emphasis on melody. The musicologist Hermann-Christoph Müller has described Skempton's music as "the emancipation of the consonance".

Life
Skempton was born in Chester and studied at Birkenhead School and Ealing Technical College. He started composing before 1967, but that year he moved to London and began taking private lessons in composition from Cornelius Cardew. In 1968 Skempton joined Cardew's experimental music class at Morley College, where in spring 1969 Cardew, Skempton and Michael Parsons organised the Scratch Orchestra. This ensemble, which had open membership, was dedicated to performing experimental contemporary music by composers such as La Monte Young, John Cage and Terry Riley, as well as by members of the orchestra itself. One of Skempton's early works, Drum No. 1 (1969), became one of the "most useful and satisfying" pieces in the repertory of the Scratch Orchestra.

Through the Scratch Orchestra Skempton met numerous composers and performers, including Christopher Hobbs, John White and various Systems artists, and the pianist John Tilbury. However, tensions arose during the politicising of the Scratch Orchestra in the early 1970s, when Cardew and a number of other important members pushed the ensemble in a Maoist direction. Skempton, Hobbs, Parsons, White and many others refused to be associated with this political line, and the break-up of the Orchestra was accompanied by (in Parsons's words) "a split between its 'political' and 'experimental' factions".

Since 1971 Skempton has been working as a music editor, performer (of his own compositions, on piano and accordion), and teacher. He now teaches composition at the Birmingham Conservatoire.

In 1974 Skempton and Michael Parsons formed a duo to perform their own works. The 1980s saw an increase of interest in Skempton's music, which led to more commissions and permitted him to compose more for larger forces. Lento, an orchestral work composed in late 1991, became one of Skempton's most widely recognised pieces. In the 1990s important recordings of his works started appearing, such as a disc of piano music recorded by his old friend and former Scratch Orchestra colleague John Tilbury, released on Sony Classical in 1996, and Surface Tension, a recording of miscellaneous works released on Mode Records.

Skempton was the winner in the Chamber Scale Composition category at the Royal Philharmonic Society Music Awards in 2005 for his string quartet Tendrils (2004).

Works
Skempton's style is characterised by a concentration on quality of sound and economy of means, absence of development in the conventional sense, and concentration on sonority. Many of his pieces are quite short, lasting no longer than one or two minutes. Although the compositional methods are clearly experimental, involving, for example, aleatory methods, there is a marked emphasis on the melody in many pieces. Some of his earlier piano works, such as Saltaire Melody (1977) and Trace (1980), have become favourites with the public.

Formative influences on Skempton's music included the works of Erik Satie, John Cage and Morton Feldman. For example, A Humming Song (1967), an early piano piece composed before Skempton started lessons with Cardew, is a miniature with static, gentle sound. The harmonic structure consists of eight symmetrically arranged pitches, out of which six are selected for use in the piece. Chance procedures are then used to determine the order and number of occurrences of individual pitches. The pianist is asked to sustain certain pitches by humming. Another early piece, Drum No. 1 (1969), composed for the Scratch Orchestra, consists of just a few written instructions to the performers and is clearly inspired by similarly realised works by La Monte Young, whose music Cardew was enthusiastically propagating in the late 1960s. The score of May Pole (1971), a piece for orchestra, consists of a chance-determined sequence of chords. Each performer chooses a note from a chord, and chooses the moment when to play that note. The later the choice, the softer the dynamics. Skempton later called such pieces "landscapes" that "simply project the material as sound, without momentum." Other early works include two pieces for tape, a medium Skempton rarely used later: Indian Summer (1969) and Drum No. 3 (1971).

The early 1970s saw a slow shift from static, abstract pieces to pieces with more clearly defined rhythmic and harmonic structures, although the methods and forms Skempton used remained unorthodox. For instance, in the series of Quavers piano pieces (1973–75) the music consists solely of repeated chords with no pauses between them. In addition to "landscapes" two other categories appeared, dubbed "melodies" and "chorales" by the composer. The "melodies" are single melodic lines either with simple accompaniment (Saltaire Melody, for piano (1977)) or suspended in space (later works such as Trace for piano (1980) and Bagatelle for flute (1985)). "Chorales" are works where material is presented primarily (or solely) using chords. An example is Postlude (1978), for piano, in contradistinction to Eirenicon 3 (1978), also for piano, which is a "landscape". The earlier "melodies" were apparently composed at the instrument, intuitively, whereas the later ones evolve from a series of written pitches.

It was also in the 1970s that Skempton started composing chamber works, although these were almost always for two performers, since they were written to be performed by the duo of Skempton himself and Michael Parsons. These pieces included a number of horn duos, pieces for two drums, and a duet for piano and woodblocks. Finally, in the 1970s Skempton started playing accordion and composing for this instrument.

In 1980 Skempton composed Chorales, his first major work for orchestra. It was commissioned by the Merseyside Youth Orchestra. The composer described it as "essentially the same as what I was doing before, but on an orchestral scale". Although the work is clearly a "chorale" in the sense Postlude and similar pieces are, during the 1980s Skempton's range expanded greatly, leading to works such as The Durham Strike (1985), which is a set of piano variations that is longer than any of the previous piano pieces, Images (1989), a large cycle of piano works for a TV documentary, and chamber works scored for larger forces than those used previously.

Skempton's first major success came in 1991 with the premiere of Lento (1990), an orchestral piece that gained a larger audience for the composer. During the 1990s and the 2000s Skempton started composing longer works for larger forces. These include several concertos, among which are some for instruments rarely used in the western tradition: the hurdy-gurdy (Concerto for hurdy-gurdy and percussion (1994)) and the accordion (Concerto for oboe, accordion and strings (1997)). Some of the later works explore non-standard instrumentation: Alveston (2007) is scored for four trumpets, Horizons (2001) is scored for oboe and harp, Ballade (1997) is a piece for saxophone quartet and string orchestra.

References and further reading

 * Hill, Peter. 1984. "Riding the Thermals: Howard Skempton's Piano Music". Tempo, new series, no. 148:8–11.
 * MacDonald, Calum. 1996. "Skempton: Well, Well, Cornelius (and 43 other Piano Pieces). John Tilbury (pno). Sony SK 66482 / Sorabji: Gulistan. Charles Hopkins (pno). Altarus AIR-CD-9036 / Simpson: Piano Sonata; Variations and Finale on a Theme of Haydn; Michael Tippett, His Mystery; Variations and Finale on a Theme of Beethoven. Raymond Clarke (pno). Hyperion CDA66827 / Schnabel: Piano Piece in 7 Movements; Piano Sonata. Benedikt Kohlen (pno). Auvidis Montaigne M0782053". Tempo, new series, no. 197 (July): 47–49.
 * Müller, Hermann-Christoph. 1998. "Emanzipation der Konsonanz: Howard Skemptons Orchesterstück Lento". MusikTexte, no. 75 (August): 77–81.
 * Pace, Ian. 1997. "Archetypal Experiments". The Musical Times 138, no. 1856 (October): 9–14.
 * Parsons, Michael. 1980. "The Music of Howard Skempton". Contact, issue 21:12–16.
 * Parsons, Michael. 1987. "Howard Skempton: Chorales, Landscapes and Melodies". Contact, issue 30:16–29.
 * Potter, Keith. 1991. "Howard Skempton: Some Clues for a Post-Experimental 'Movement'". The Musical Times 132, no 1777 (March): 126–30.

title: Howard Skempton


text:
Osman Sagar

Osman Sagar is a reservoir in the Indian city of Hyderabad. The lake is around 46 km2, and the reservoir is around 29 km2, with total level of 1,790 feet and a capacity of 3.9 tmc ft.

History
Osman Sagar was created by damming the Musi River in 1920, to provide an additional source of drinking water for Hyderabad and to protect the city after the Great Musi Flood of 1908. It was constructed during the reign of the last Nizam of Hyderabad State, Osman Ali Khan, hence the name.

A princely guest house called Sagar Mahal, overlooking the lake and now a heritage building, was built as a summer resort of the last Nizam. Its location on the banks of the lake offers wonderful views. Telangana Tourism Department operates a resort in the building. The breeze of the lake is very pleasant and has been popular with the locals since the Nizam's time. When the Nizam consulted Sri Sir M.Visheswaraya regarding the twin problems of heavy floods in monsoon and acute shortage of water during summer, the latter designed a plan for construction of a dam which needed high engineering skills in those days. This simple yet elegant solution solved both the problems for Hyderabad.

Tourist spot
It is a popular tourist destination, especially in monsoon season when the reservoir is full. Its parks, resorts, and amusement park are a major attraction. This lake had served drinking water to Hyderabad city but, due to increase in population, is not sufficient to meet the city's water supply demand.

Himayat Ali Mirza, great-grandson of Nizam VII has recently joined the “save Osmansagar and Himayatsagar” campaign for saving the twin reservoirs and has also urged the of Telangana CM to scrap the orders of GO 111.

Himayat said that now that the government had withdrawn the GO 111, the floods might affect various parts of the city. Scrapping of GO 111 has led to increasing the construction and concretisation activities near the lakes, ultimately resulting in consequent flooding.

Water levels
In June 2012, the water level at Osman Sagar was 1769.8 feet. On 1 October 2012, the level was 1771.8 feet, an increase of a mere 2 feet.

Similarly, in nearby Himayat Sagar, the water level in June 2012 was 1743.3 feet and on 1 October 2012, it was 1,747.4 feet, an increase of about 4 feet. In October 2011, the water levels at Osman Sagar and Himayat Sagar were 1781.9 feet and 1755.9 feet, respectively.

title: Osman Sagar


text: Talk:The Whiffenpoofs

title: Talk:The Whiffenpoofs


text:
Charles P. Thacker

Charles Patrick "Chuck" Thacker (February 26, 1943 – June 12, 2017) was an American pioneer computer designer. He designed the Xerox Alto, which is the first computer that used a mouse-driven graphical user interface (GUI).

Biography
Thacker was born in Pasadena, California, on February 26, 1943. His father was Ralph Scott Thacker, born 1906, an electrical engineer (Caltech class of 1928 ) in the aeronautical industry. His mother was the former (Mattie) Fern Cheek, born 1922 in Oklahoma, a cashier and secretary, who soon raised their two sons on her own.

He received his B.S. in physics from the University of California, Berkeley in 1967. He then joined the university's "Project Genie" in 1968, which developed the pioneering Berkeley Timesharing System on the SDS 940. Butler Lampson, Thacker, and others then left to form the Berkeley Computer Corporation, where Thacker designed the processor and memory system. While BCC was not commercially successful, this group became the core technologists in the Computer Systems Laboratory at Xerox Palo Alto Research Center (PARC).

Thacker worked in the 1970s and 1980s at the PARC, where he served as project leader of the Xerox Alto personal computer system, was co-inventor of the Ethernet LAN, and contributed to many other projects, including the first laser printer.

In 1983, Thacker was a founder of the Systems Research Center (SRC) of Digital Equipment Corporation (DEC), and in 1997, he joined Microsoft Research to help establish Microsoft Research Cambridge in Cambridge, England.

After returning to the United States, Thacker designed the hardware for Microsoft's Tablet PC, based on his experience with the "interim Dynabook" at PARC, and later the Lectrice, a pen-based hand-held computer at DEC SRC.

From 2006–2010 Thacker was a research contributor to the Berkeley Research Accelerator for Multiple Processors (RAMP) based upon the Berkeley Emulation Engine FPGA platform, which sought to explore new processor designs through massive emulation. He advised and consulted on the follow-on BEE platforms, the BEE2 and BEE3, and in turn used the hardware for his own research explorations.

Because the impetus for the RISC-V development was the paucity of open-source processor designs for the RAMP project (both Asanovic and Patterson were PIs), it is fitting that Thacker played a role in this important future technology.

Thacker died of complications from esophageal cancer on June 12, 2017, in Palo Alto, California, aged 74.

Awards
In 1994, he was inducted as a Fellow of the Association for Computing Machinery.

In 1996, he was named a Distinguished Alumnus in Computer Science at U.C. Berkeley.

In 2004, he won the Charles Stark Draper Prize together with Alan C. Kay, Butler W. Lampson, and Robert W. Taylor.

In 2007, he won the IEEE John von Neumann Medal.

In 2007, he was inducted as a Fellow of the Computer History Museum for "leading development of the Xerox PARC Alto, and for innovations in networked personal computer systems and laser printing technologies."

In 2010, he was named by the Association for Computing Machinery as the recipient of the 2009 Turing Award in recognition of his pioneering design and realization of the Alto, the first modern personal computer, and in addition for his contributions to the Ethernet and the tablet computer.

Thacker received an honorary doctorate from the Swiss Federal Institute of Technology and was a Technical Fellow at Microsoft.

title: Charles P. Thacker