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Aslan (band)

Aslan are an Irish rock band from Dublin who formed in 1982. Composed originally of Christy Dignam, Joe Jewell, Tony McGuinness, Billy McGuinness and Alan Downey, the band has released six studio albums: Feel No Shame (1988), Goodbye Charlie Moonhead (1994), Here Comes Lucy Jones (1997), Waiting For This Madness To End (2001), For Some Strange Reason (2007) and Nudie Books and Frenchies (2012).

History
Aslan took their name from the fictional lion in C.S. Lewis's series of books chronicling the land of Narnia (Aslan is the Turkish word for "Lion"). The band came from the working class areas of Finglas and Ballymun in Dublin's Northside, in the mid-1980s. They released a demo single, "This Is", in the spring of 1986. It was a success and a popular single on Ireland's pop radio station, RTÉ 2fm.

Career
In the summer of 1986, they played a series of shows in the UK and Melody Maker noted: "Lucky the label that signs this band!" Janice Long at BBC Radio 1 recorded Aslan in session and it aired three times in the subsequent weeks. At the end of 1986, Aslan were awarded The Stag/Hot Press "Most Promising New Band" award and signed to EMI.

In 1988, they recorded their debut album, Feel No Shame, which went to number one on the Irish Albums Chart. Within a couple of months it was certified Gold. However, in August 1988 after the option for their second album had been picked up, Aslan split up. The band recruited Eamo Doyle previously with Dublin band The Lookalikes as lead singer, but as drummer Alan said on the Made In Dublin DVD that "it was like U2 trying to go on without Bono...it was just never going to work". Eamo Doyle went on to play with Les Binks from Judas Priest. The ex-lead singer, Christy, went on to form Dignam & Goff with guitarist Conor Goff and other members went on to form another band, The Precious Stones.

On 11 July 1993, Aslan played what was planned as a one-time charity performance in Finglas. Rather, they decided to reunite and Aslan landed a new record deal with BMG. The first single "Crazy World" entered the Irish Singles Chart at number four and stayed in the chart for three months. "Crazy World" also won the "Single of the Year" at 1993's Hot Press Awards. A few months later the follow-up single, "Where's The Sun", reached number three on the chart.

The latter part of 1994 was spent touring in Ireland and recording their album Goodbye Charlie Moonhead, which was released in Ireland at the end of 1994 and charted at number one, going on to be certified Gold weeks later. But by 1995, the band were dropped by their record label BMG.

In April 1996, Aslan began recording a new album without a record label. This album, Here Comes Lucy Jones was released in October 1997 and the album went into the Irish Albums Chart at number fourteen. Aslan were nominated in seven categories of the 1997 Hot Press readers poll.

Shame About Lucy Moonhead, a compilation of the best of Aslan's recorded work on EMI, was released in July 1998. It reached number one in the Irish albums chart and was later certified double platinum.

In March 1999, Aslan played five sell-out shows at Ireland's Vicar Street venue, during which their live album and video concert movie/DVD Made In Dublin were recorded. Both reached number one in their first week of release. The album went platinum within three weeks and remained in the top ten for eight weeks. Towards the end of 1999 Aslan sold out Ireland's largest indoor venue (9,000 capacity), the Point Theatre on 26 December, sharing the billing with Picture House.

In the summer of 2000, Aslan toured Australia for the first time to promote the release of the album Shame About Lucy Moonhead and sold-out shows in Sydney and Melbourne. Aslan ended 2000 by playing for the first time in the Netherlands to a sellout crowd. Afterwards, they returned to Ireland to sell out the Point Theatre on 27 December.

In early 2001, Aslan recorded a single, "She's So Beautiful" (featuring Sinéad O'Connor on backing vocals ), which entered the Irish Singles Chart at number nine on the week ending 26 July 2001 and peaked at number eight the following week. The band released the follow-up "Different Man", which charted at number seven. In September 2001, Aslan's studio album, Waiting for This Madness to End entered the Irish Album Chart at number one, and reached platinum sales certification after only four weeks. During Christmas 2001, Aslan again sold out the 9,000 capacity Point Theatre. In 2002 Aslan were nominated for eight categories in the Hot Press readers' poll.

In October 2005, the band released a 48-track CD, named Platinum. The album contains the singles, b-sides and rarities of their career. The Platinum collection went into the charts at number three and after several weeks achieved platinum sales. The band played yet another headlining gig at the Point Theatre on 27 December 2005.

The band helped write and perform "How Can I Protect You", the tenth track for Alabama 3 on their 2006 album, Outlaw. Their next album, For Some Strange Reason, was released in October 2007 and debuted at number eight in the Irish Albums Chart. This was their first album based solely on new material not to debut in top spot since 1997's Here Comes Lucy Jones. Two singles, "Here Comes the Sun" and "Jealous Little Thing" were released prior to the album. Singer Damien Dempsey makes an appearance on the new album on the track "Bullets and Diamonds".

On 15 February 2008, Aslan won the award for Best Irish Band at the 2008 Meteor Awards. Soon afterwards, Tony McGuinness announced on the band's website that he would be moving to Australia for one year with his family, and would be replaced by Rodney O'Brien as bass player for Aslan during that time. On 7 November 2008, Aslan performed "Always" on a balcony overlooking Dame Street, in Dublin for the music viral show BalconyTV.

In May 2009, Aslan released "Uncased" and reached number two in the Irish Singles Chart. The band toured Australia in December 2011 playing to large crowds of predominantly expatriates. Their album Nudie Books and Frenchies was released in April 2012 and reached number one in the Irish Albums Chart.

Aslan released their next single "Secret Smile" on 10 July 2015. They also released their single "Now I Know" in 2018, with a 30th anniversary version of Feel No Shame on vinyl and CD. In early 2019, they released a 25th anniversary edition of Goodbye Charlie Moonhead on vinyl, excluding the track "Maybe I'm Obsessed".

Christy Dignam died at his home on 13 June 2023, at the age of 63.

In February 2024, Aslan announced new singer Lee Tomkins as they prepared to embark on an Irish tour.

Band members
Current
 * Joe Jewell – lead guitar, backing vocals (1982–1988, 1993–present)
 * Billy McGuinness – keyboards, harmonica, guitar (1982–1988, 1993–present)
 * Alan Downey – drums, percussion (1982–1988, 1993–present)
 * Lee Tomkins - lead vocals (2024-present)

Former
 * Christy Dignam – lead vocals (1982–1987, 1993–2023; died 2023)
 * Tony McGuinness – bass guitar (1982–2008)
 * Rodney O'Brien (2009–2022) -bass
 * Eamonn 'Eamo' Doyle – lead vocals (1988–1989)

DVD

 * Made In Dublin – Unplugged and Documented (1999)
 * "Please Don't Stop" (2013)

title: Aslan (band)


text: User talk:69.229.120.191

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

title: User talk:69.229.120.191


text: Category:Yoko Ono albums

title: Category:Yoko Ono albums


text:
Errol Duke

The Growler (1911 – July 15, 1952) was a Trinidadian calypsonian (calypso singer/composer). Growler (sometimes known as Mighty Growler or the Growling Growler) recorded 36 record sides (78-rpm) during the 1930s and 1940s, making him among the most prolific recording artists in the golden age of calypso, with only Roaring Lion, Growling Tiger, King Radio, Attila the Hun and Wilmoth Houdini exceeding his output during this period. Lord Kitchener, one of the most important figures in the later development of calypso, acknowledged Growler as one of his influences.

Growler's calypso career began in 1934. In 1936 he entered the Carnival calypso contest in Besson Street and placed 2nd to Lord Caresser (Rufus Callender). Growler made his recording debut for RCA Bluebird in 1937 with a calypso entitled 'In the Dew and the Rain'; the recording was not released, but Growler re-recorded the song for Decca in 1939, and this is the version that often features in compilations of classic calypso today. In 1938, during which Growler was the only calypsonian to record for both RCA Bluebird and Decca, he recorded his first hit, 'I Want to Rent a Bungalow', which inspired new calypsos that were composed as replies to Growler's song by the more established calypsonians Atilla the Hun ('I Don't Want no Bungalow') and Roaring Lion ('I am Going to Buy a Bungalow'). In 1939, Growler recorded 14 sides for Decca; his allegiance with the record label is immortalised with tags incorporated into the songs (e.g. by singing, 'Yes this is the Growler; Recording for the Decca!'). 'I Don't Want No Calaloo', became a road march for the 1939 carnival in Trinidad. In the same year, during which World War Two began, Growler recorded 'The Diamond Ring for Emaline', in which he fantasized about marrying a German woman called Emaline who would be given away as bride by Adolf Hitler; but at the same session he also recorded 'Hitler Demands', an unequivocal condemnation of Hitler and the Nazi regime, and the following year, 1940, the calypso 'Nazi Spy Ring', which condemns the German dictator as a 'cold-blooded murderer' and 'worthless barbarian'. Growler continued to appear in calypso tents throughout the war, but contracted an illness during a tour of British Guiana in 1944. He seems to have had health problems that reduced his ability to perform for the rest of the 1940s thereafter. He became more active in the early 1950s, and in 1952 embarked on a tour of South America with young calypsonians Small Island Pride, Lord Wonder, Mighty Terror and Mighty Zebra. When he returned to Trinidad from this tour, however, he was very ill and died two days later in Port of Spain.

title: Errol Duke


text:
Andreas Hammerschmidt

Andreas Hammerschmidt (1611 or 1612 – 29 October 1675) was a German Bohemian composer and organist of the early to middle Baroque era. He was one of the most significant and popular composers of sacred music in Germany in the middle 17th century. He was nicknamed the "Orpheus of Zittau".

Life
He was born in Brüx to a Saxon father and a Bohemian mother. In 1626 the family had to flee Bohemia, during the Thirty Years' War, after it had become Catholic; they settled in Freiberg, Saxony, where Andreas must have received his musical education. He probably did not study with composer Christoph Demantius, who was Kantor at Freiberg and the most significant musician in the city while Hammerschmidt was there; however he may have known him. Many famous musicians of the early Baroque spent time in Freiberg but it is uncertain which of them taught Hammerschmidt; at any rate he received a superb musical training while there.

Hammerschmidt left Freiberg in 1633, through his mentor Stephan Otto, taking a post as organist for Count Rudolf von Bünau in Weesenstein, but returned to Freiberg the next year as an organist. He was married shortly after his return there, and of his six children three died in infancy. In 1639 he left Freiberg again, moving to Zittau, where he succeeded Christoph Schreiber as organist; he remained in Zittau at this post for the rest of his life. While musical life in Zittau was severely damaged by the Thirty Years' War, including the decimation of the choirs and general reduction in musical standards, Hammerschmidt survived; after the end of the war in 1648 musical life slowly regained its former high standard.

Exact records of his activities in Zittau are spotty, for the documents were burned in 1757 when the city was destroyed by the Austrians in the Seven Years' War; however Hammerschmidt during this portion of his career became one of the best-known composers in Germany, and the most famous representative of the concertato style of the generation after Heinrich Schütz. While well-respected and called on as an expert in many matters, he seems to have been prone to outbursts of rage, some of which involved him in brawls. He also seems to have profited well from his activities as a musician and civic leader, and evidently lived in some luxury, having a house in town as well as a country estate.

Music and influence
Hammerschmidt wrote motets, concertos and arias, and almost all of his output is sacred vocal music in the concertato style. According to Manfred Bukofzer (1947), he "watered down the achievements of Schütz for the multitude." Many of his compositions are in the form of the chorale monody, an adaptation of the early Baroque Italian form to a sacred, and specifically Protestant, purpose. Indeed, Hammerschmidt represents the second generation of composers who distilled a native German Baroque tradition out of forms and styles imported from Italy.

Over 400 works by Hammerschmidt survive, in a total of 14 separate collections. The motets represent a more conservative style, as noted by Hammerschmidt himself, and the concertos—concertato pieces with opposing groups of voices and instruments—are in a current idiom.

Some of his concertos are written for large ensembles, with diverse combinations of instruments and voices (for example, the sets from Gespräche über die Evangelia of 1655–1656; this was long enough after the war that large ensembles were available again). He wrote these pieces for Sundays and church feast days; their structure and intent foreshadowed the later German church cantata, as exemplified most famously by Johann Sebastian Bach. Even Hammerschmidt's masses conform to the concertato style, and are best seen as concertos.

While Hammerschmidt was an organist all of his life, no organ music of his has survived; indeed there is no evidence he published any. Some instrumental music of his has survived in three publications; most of these are suites of dances influenced by the English style which was prevalent in the northern part of Germany at that time.

Works

 * Musicalische Andachten (Freiberg, 1639, 1641, 1642)
 * Musicalische Gespräche über die Evangelia (Dresden, 1655)
 * Erster Fleiß (Freiberg, 1636)
 * Kunst des Küssens
 * Schaffe in mir Gott ein reines Herz
 * Machet die Tore weit
 * Verleih uns Frieden Herr (Da pacem Domine)
 * Wie bin ich doch so herzlich froh
 * Osterdialog
 * Freue dich, du Tochter Zion
 * Fest- und Zeit-Andachten (Dresden, 1671)
 * Ach mein herzliebes Jesulein
 * Jauchzet, ihr Himmel
 * Lob, Ehr sei Gott
 * Schmücket das Fest mit Maien

title: Andreas Hammerschmidt


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JP-7

Turbine Fuel Low Volatility JP-7, commonly known as JP-7 (referred to as Jet Propellant 7 prior to MIL-DTL-38219 ) is a specialized type of jet fuel developed in 1955 for the United States Air Force (USAF) for use in its supersonic military aircraft, including the SR-71 Blackbird and the Boeing X-51 Waverider.

Usage
JP-7 was developed for the Pratt & Whitney J58 (JT11D-20) turbojet engine, which was used primarily in the now-retired Lockheed SR-71 Blackbird. During flight, the SR-71 could attain speeds in excess of Mach 3+, which was the most efficient cruising speed for the J58 engines. However, very high skin temperatures are generated at this speed due to the rapid compression of the air along leading edges. A new jet fuel was needed that was not affected by the heat, so JP-7 jet fuel, with a high flash point and high thermal stability, was developed for this purpose.

The Boeing X-51 Waverider also uses JP-7 fuel in its Pratt & Whitney SJY61 scramjet engine, with fuel capacity of some 270 lbs. As with the SR-71, the X-51A design super-cools this fuel (cooled by extended subsonic flight in the stratosphere; prior to acceleration to supersonic speeds); then, when in supersonic flight, the fuel is heated by its circulation through heat exchangers which transfer to it the heat load of the interior spaces of the airframe. The fuel is then pumped through rotating mechanical parts of the engines and auxiliary mechanical equipment, providing both lubrication and cooling. Finally, at a temperature of nearly 550 F, it is pumped into the fuel nozzles of the engines.

History
Shell Oil developed JP-7 in 1955. Company vice president Jimmy Doolittle arranged for Shell to develop the fuel for the Central Intelligence Agency (CIA) and United States Air Force's (USAF) secret Lockheed U-2 spy plane, which needed a low-volatility fuel that would not evaporate at high altitude. Manufacturing several hundred thousand gallons (about some 1 million liters) of the new fuel required the petroleum byproducts Shell normally used to make its FLIT insecticide, causing a nationwide shortage of that product that year.

Composition
JP-7 is a compound mixture composed primarily of hydrocarbons; including alkanes, cycloalkanes, alkylbenzenes, indanes/tetralins, and naphthalenes; with addition of fluorocarbons to increase its lubricant properties, an oxidizing agent to make it burn more efficiently, and a caesium-containing compound known as A-50, which is to aid in disguising the radar and infrared signatures of the exhaust plume. The SR-71 Blackbirds used approximately 36000 - 44000 lb of fuel per hour of flight.

JP-7 is unusual in that it is not a conventional distillate fuel, but is created from special blending stocks in order to have very low (<3%) concentration of highly volatile components like benzene or toluene, and almost no sulfur, oxygen, and nitrogen impurities. It has a low vapor pressure, and high thermal oxidation stability. The fuel must operate across a wide range of temperatures: from near freezing at high altitude, to the high temperatures of the airframe and engine parts that are being cooled by it at high speed. Its volatility must be low enough to make it flash-resistant at these high temperatures.

The very low volatility, and relative unwillingness of JP-7 to be ignited, required triethylborane (TEB) to be injected into the engine in order to initiate combustion, and allow afterburner operation in flight. The SR-71 had a limited capacity for TEB, and therefore had a limited number of available 'shots' of TEB (usually 16) for restarts, and those had to be managed carefully on long-duration flights with multiple stages of relatively low-altitude air refueling and normal high-altitude cruise flight.

Properties

 * Melting point: -30 C
 * Boiling point at 1 atm: 282 - 288 C
 * Density at 15 C: 779–806 kg/m3
 * Vapor pressure at 300 F: 155 mmHg (20.7 kPa)
 * Flashpoint: 60 C
 * Net heat of combustion: min. 43.5 MJ/kg

title: JP-7


text: Category:Economy of Iraq

title: Category:Economy of Iraq


text:
Lucky (memoir)

Lucky is a 1999 memoir by the American novelist Alice Sebold, best known as the author of the 2002 novel The Lovely Bones. Lucky describes her experience of being raped and beaten when she was eighteen in a tunnel near Syracuse University where she was a student, and how this traumatic experience shaped the rest of her life. Sebold has stated that her reason for writing the book was to bring more awareness to rape and rape survivors. The memoir sold over one million copies.

Anthony Broadwater served 16 years in prison after being falsely accused as the rapist, and was released in 1999. He was exonerated in 2021 after a judge found serious issues with the initial conviction.

Rape and trial
In the early hours of May 8, 1981, while Sebold was eighteen years old and a freshman at Syracuse University, she was assaulted and raped while walking home through a tunnel to an amphitheater near campus. Her attacker told her that he had a knife and that if she screamed or made any noises, he would kill her. She reported the crime to campus security and the police, who took her statement and investigated, but could not identify any suspects.

Shortly after the assault, Sebold returned home to Pennsylvania to live with her family for the summer before beginning her sophomore year at Syracuse University. After five months of no leads by the police, Sebold was walking down a sidewalk near the Syracuse campus when she saw a black man whom she believed to be the person who raped her. In Lucky, she wrote that the man had approached her, saying "Hey, girl. Don't I know you from somewhere?", and that she had recognized his face from the attack. She notified police, who were initially unable to find the man she had encountered. After an officer suggested the man might have been Anthony Broadwater, who had reportedly been seen in the area, police arrested and charged Broadwater.

Broadwater was convicted of rape and sodomy, and sentenced to eight to 25 years in prison. Broadwater ultimately served 16 years in prison, maintaining his innocence throughout. Because he would not admit to the attack, he was denied parole five times. Broadwater tried five times to have the conviction overturned, with at least as many groups of lawyers. Broadwater was released in 1999, and remained on New York's sex offender registry.

Writing of Lucky
Sebold began writing Lucky after taking a memoir class with Geoffrey Wolff at the University of California, Irvine, where she completed her MFA in 1998. She published the book in 1999, about a year after Broadwater's release. The title stemmed from a conversation with a police officer who told her that another woman had been raped and murdered in the same location, and that Sebold was "lucky" because she hadn't been killed. In Lucky, Sebold used the name "Gregory Madison" for her rapist. Sebold wrote that the trauma of the rape had made her feel isolated from her family, and that for years afterwards, she experienced hypervigilance. She resigned from a job which required her to work at night, fearing danger in darkness. She became depressed, suffered from nightmares, and began drinking and using heroin. Eventually, after reading Judith Lewis Herman's Trauma and Recovery, she realized she had developed post-traumatic stress disorder.

Film adaptation and exoneration
In 2019, a film adaption of the memoir was announced with director Karen Moncrieff. Victoria Pedretti was later selected to star as Sebold. When Timothy Mucciante began working as executive producer on the project, he noticed discrepancies in the portion of Lucky that described the trial. He later told The New York Times: "I started having some doubts—not about the story that Alice told about her assault, which was tragic, but the second part of her book about the trial, which didn’t hang together". He ultimately left the project because of his concerns about the story, and hired a private investigator to review the evidence against Broadwater.

In November 2021, Broadwater was officially exonerated by a New York Supreme Court justice, who determined there had been serious issues with the original conviction. The conviction had relied heavily on Sebold's testimony, as well as on microscopic hair analysis, a forensic technique the United States Department of Justice later found to be unreliable. At the police lineup, which included Broadwater, Sebold had identified a different person as her rapist. When police told her she had picked out the "wrong person", she said the two men looked "almost identical". Onondaga County District Attorney William J. Fitzpatrick, who joined the motion to overturn the conviction, argued that suspect identification when the suspect is a different race from the victim is prone to error; Sebold is white and Broadwater is black. The prosecutor had also lied to Sebold, telling her that the man she identified in the lineup and Broadwater were friends and that they both came to the lineup to confuse her; attorneys argued that this falsehood had influenced Sebold's testimony. Sebold also wrote in Lucky that the prosecutor had coached her into changing her identification. Sebold apologized to Broadwater after his exoneration.

The film adaptation of Lucky was canceled after losing its funding in mid-2021. Scribner, the publisher of Lucky, released a statement following Broadwater’s exoneration that distribution of all formats of the book would cease while Sebold and the publisher determined how to revise the work.

title: Lucky (memoir)


text: Category:Microbreweries

title: Category:Microbreweries


text:
Paul Juon

Paul Juon (Па́вел Фёдорович Юо́н, Pavel Fyodorovich Yuon; 6 March 1872 – 21 August 1940) was a Russian-born Swiss composer.

Life
Juon was born in Moscow, where his father was an insurance official. His parents were Swiss, and he attended a German primary school in Moscow. In 1889, he entered the Moscow Conservatory, where he studied violin with Jan Hřímalý and composition with Anton Arensky and Sergei Taneyev. He completed his studies at the Hochschule für Musik in Berlin, under Woldemar Bargiel. His first (privately) printed works, two Romanzen (lieder) appeared in 1894, the year he began studies with Bargiel. During his time in Berlin he was a composition professor, employed by Joseph Joachim; his students included Hans Chemin-Petit, Werner Richard Heymann, Nikos Skalkottas, Henry Jolles, Pancho Vladigerov, Philipp Jarnach, Heinrich Kaminski, Lauri Ikonen, Max Trapp, Heino Kaski, Yrjö Kilpinen, Gerhart von Westerman, Hans Moltkau, Giannis Konstantinidis, Wilhelm Guttmann, Stefan Wolpe, Nicolas Nabokov and Gunnar Johansen. He retired to Switzerland in 1934, and died in Vevey.

Music
Juon's works include sonatas for viola, cello, winds, and three for violin (the third was recorded on a multi-LP set called Musik zwischen den Kriegen : eine Berliner Dokumentation); four symphonies (including one in manuscript) and a chamber symphony; four string quartets; several piano trios, piano quartets and piano quintets, and one sextet for piano and strings; a wind quintet; a number of concertante works, including three violin concertos and a triple concerto with piano trio; many piano works and lieder; and a number of stage works, including an opera, Aleko.

Several of these works have been recorded on compact disc, including some of the sonatas, two of the concertos, two of the symphonies, all four string quartets, the piano trios, and the three violin sonatas (Naxos 8.574091). He is known to have orchestrated Johannes Brahms' Hungarian Dance No. 4.

He also translated Arensky's 'Practical Studies in Harmony' into German.

The CD set "The Dawn of Recording: The Julius Block Cylinders," issued by Marston Records , includes recordings, dating from 1911, 1914 and 1915, of five brief excerpts from Juon's music: one selection for piano solo played by Juon, two selections for piano duet played by Juon and Leonid Kreutzer, one selection for piano solo played by Leonid Kreutzer, and one selection for violin and piano played by Eddy Brown and Julius Block.

Personal life
Juon married his first wife, Katharina Schalchalova, in 1896; they had three children: Ina, Aja, and Ralf. Katharina died in 1911. In 1912, he married Marie Hegner-Günthert (called Armande), with whom he also had three children: Stella, Irsa and Rémi. He dedicated his Mysterien, Op 59 to Armande in 1928.

His younger brother was painter Konstantin Yuon.

Works

 * Aleko, opera, 1896
 * Psyche, Op. 32, Tanzpoem, 1906
 * The Golden Temple Book, stage music, 1912
 * The Poor Broom Makers, stage music, 1913
 * Five symphonies (1895-1936)
 * Wächterweise in E major, Fantasie nach dänischen Volksl., for orchestra, Op. 31, 1906
 * Violin Concerto in B minor, Op. 42, 1909
 * Violin Concerto in A major, Op. 49, 1912
 * Violin Concerto in A minor, Op. 88, 1931
 * Episodes Concertantes for Piano Trio and Orchestra, Op. 45, by 1911
 * Mysterien, a tone poem for Cello and Orchestra based on Knut Hamsun's Mysteries, Op. 59, 1928
 * Four string quartets: D major, Op. 5 (1896), B minor, Op. 11 (1896), A minor, Op. 29 (1904), String quartet, Op. 67 (1916)
 * Three violin sonatas, Op. 7 in A (1898), Op. 69 in F (1920) and Op. 86 in B minor (1930)

title: Paul Juon


text:
Talk:Luna class starship

Untitled
This starship class has never appeared on screen, the article contains speculation and the ship class is noncanon as it appeared from a novel series. Now, I like speculating about Trek tech as much as the next guy but Wikipedia is not the right place. I believe this article should be deleted. --Blue387 04:28, 5 Jun 2005 (UTC)
 * List of Starfleet ship classes contains information about several classes which are said to be canon but have never appeared on screen. In fact, the only link making these classes canon is that certain ships were mentioned on screen and later said to be a part of these unseen classes. If I recall correctly, the Titan is canon from being mentioned in Nemesis. Furthermore, that article includes the Bonaventure which is explicitly mentioned as being non-canon but which still merits an entire section replete with pictures whereas even a link to the Luna article on that page was deleted for not being canon. Also, where do you see "speculation about Trek tech" in this article? Well, if you feel that the article deserves deletion, nominate it at VfD, but otherwise, don't complain. --M412k 23:11, 8 Jun 2005 (UTC)

List of Names
I'm aware that Luna class vessels are named after Sol moons, but has the entire list posted been verified, at least in the novels? There are currently twelve listed vessels, only one of which is semi-canon (Titan). The lack of registry numbers for the other listed vessels suggests to me that they have been added conjecturaly, however to my knowledge there is nothing to suggest that Starfleet has constructed twelve Luna vessels. Besides the Titan, only two other vessels have anything of note said about them, leading me to believe they are the only ones mentioned in the novels. I could be wrong, but some clarification would be nice. - Hayter 23:37, 7 October 2005 (UTC)

Merge With Star Trek Titan
Strong Merge This Article should be merged with Star Trek Titan since it has only appeared as a class in the novels. The Titan has been mentioned in Star Trek Nemesis however no class name has been included with it. The Image and Details of ONLY the known ships that have appeared in the novels should be included along with known details about the ship class. So in other words The Luna and the Titan should be included. It should also be noted that this ship is not concidered canon my Paramount and can be contradicted at anytime by Paramount. Aeon 06:38, 1 November 2005 (UTC)
 * After looking at the ST:T article, I'm not opposed to this. If it were larger, this would warrant its own page because of the details provided about the class in the books but it's not and as such, the (non-conjectural data) here could fit in easily under a Luna Class section. And whilst it should be noted, the non-canonical nature of this class doesn't mean by default that it should not have a wikipedia article. The vessel is clearly featured and described in the books meaning it has as much right to be featured as the Battlestar Galactica. The note needs simply to be included that the ship class is not considered canon in mainstream Star Trek. But regardless, unless the Titan article gets beefed up anytime soon, this would fit alright in there. - Hayter 10:31, 1 November 2005 (UTC)

 * Yes Perfect Hayter that is what I ment. The Class info and Names of known ships and the image (which who ever drew it it looks good) should be included in Star Trek Titan under one article. Aeon 23:28, 1 November 2005 (UTC)

I've added the main section of this article to the Star Trek Titan one with some small changes. I've not included the ship listing as it's neither relevant to the Titan article, nor has it been confirmed as accurate to the books - I believe it was added by an anonymous user. Should this just be set up to redirect now? - Hayter 13:47, 4 November 2005 (UTC)

hmmm...... I took a look and it looks great. We should do the redirect. Aeon 20:49, 5 November 2005 (UTC)

Done. The titan article needs work though. Aside from the details on the ship (some of which I'm still not sure about), there's very little there. I'd fix that myself but I've not read the books. - Hayter 11:41, 7 November 2005 (UTC)

title: Talk:Luna class starship


text:
Lian Po

Lian Po (c. 327 BC – 243 BC), was a prominent General of the Zhao state in the Warring States period of Chinese history. He is regarded by Chinese modern folklore as one of the Four Greatest Generals of the Late Warring States period, along with Bai Qi, Wang Jian and Li Mu. Since his early years as a general, he won multiple battles, which earn him fame and a successful military career in his home state.

Life
In Lian Po's early years, he had victories in the wars against Qi and Wei. Lin Xiangru, a minister of Zhao, was disliked by Lian Po, because of his rapid rise to power and genius. But Lin Xiangru, in several famous incidents, took great steps to avoid Lian Po; in one case he even turned from Lian Po's carriage rather than block the great general's route. Eventually, all this began to cause shame and embarrassment to Lian Po, and he carried sharp brambles on his shoulder without clothing and asked Lin Xiangru to forgive him. Afterward, they became good friends. The chengyu of "Carrying Thorned Grass and Pleading Guilt" (負荊請罪), meaning "to offer someone a humble apology, requesting punishment and forgiveness", is derived from this story.

During the Battle of Changping, he became the commander of Zhao. Deciding not to risk his forces by engaging in open battle with the Qin forces under General Wang He, Lian Po instead built a series of forts along the Changping area, successfully stalemating the invasion of Qin. However, King Xiaocheng of Zhao (趙孝成王), under the persuasion of many courtiers (most of whom were bribed heavily by Qin spies) became dissatisfied with Lian Po's strategy, and decided to replace him with Zhao Kuo (趙括). Being the son of another famous Zhao general, Zhao She, Zhao Kuo discarded Lian Po's cautious, defensive strategy and recklessly attacked with full strength. Consequently, under such news Qin had already replaced general Wang He with the famed General Bai Qi, Zhao Kuo was then killed and his army utterly destroyed after entering a trap set by Bai Qi; 400,000 Zhao soldiers were executed under the Qin commander orders.

After the Battle of Changping, Lian Po became the commander of Zhao's army again to stop the invasion of Yan. He defeated the Yan army, but in his later years, he was distrusted by the King of Zhao. Therefore, he decided to escape to Wei, and then to Chu.

He died in Shouchun, the capital of the Chu state, living long enough to see the gradual demise of the country he once served.

Popular culture
In the manga and anime Kingdom, he is known as "Ren Pa" and despite his often cheerful personality, he's widely considered one of the most feared and respected Generals across China, a former member of the previous generation of the "Three Great Heavens of Zhao".

Proficient in different types of warfare, he's one of the most well-rounded and versatile generals as he performs equally well as an instinctive-type general (discerning and setting the 'flow' of battle as opposed to strategy or careful planning), a strategist-type general (an archetypal schemer), in offence (a vanguard/front-liner) and defence (counter-siege).

He left Zhao after he disagreed with King Daoxiang's tyrant method of leadership. He then went to Wei, but ended up being exiled after his defeat by Qin, after that he settled in Shouchun, in Chu. There, he still remains an honourable "guest" in the Chu state.

title: Lian Po


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Lawsonia inermis

Lawsonia inermis, also known as hina, the henna tree, the mignonette tree, and the Egyptian privet, is a flowering plant and one of the only two species of the genus Lawsonia, with the other being Lawsonia odorata. The species is named after the Scottish physician Isaac Lawson, a good friend of Linnaeus.

Description
Henna is a tall shrub or small tree, standing 1.8 to 7.6 m. It is glabrous and multi-branched, with spine-tipped branchlets. The leaves grow opposite each other on the stem. They are glabrous, sub-sessile, elliptical, and lanceolate (long and wider in the middle; average dimensions are 1.5–5.0 cm x 0.5–2 cm or .6–2 in x 0.2–0.8 in), acuminate (tapering to a long point), and have depressed veins on the dorsal surface. Henna flowers have four sepals and a 2 mm calyx tube, with 3 mm spread lobes. Its petals are ovate, with white or red stamens found in pairs on the rim of the calyx tube. The ovary is four-celled, 5 mm long, and erect. Henna fruits are small, brownish capsules, 4 – in diameter, with 32–49 seeds per fruit, and open irregularly into four splits.

Distribution and habitat
The henna plant is native to northern Africa, Asia and northern Australia, in semi-arid zones and tropical areas.

Cultivation
It produces the most dye when grown in temperatures between 35 and 45 °C. During the onset of precipitation intervals, the plant grows rapidly, putting out new shoots. Growth subsequently slows. The leaves gradually yellow and fall during prolonged dry or cool intervals. It does not thrive where minimum temperatures are below 11 °C. Temperatures below 5 °C will kill the henna plant.

Dye
Its dried leaves are the source of the dye henna used to dye skin, hair and fingernails, as well as fabrics including silk, wool and leather.

Image Gallery
 File:Lawsonia inermis henna Egyptian privet Vijayanrajapuram 01.jpg|Henna Flowers File:Lawsonia inermis henna Egyptian privet Vijayanrajapuram 02.jpg|Henna Flowers File:Lawsonia inermis henna Egyptian privet Vijayanrajapuram 05.jpg|Henna Flowers- night view File:Lawsonia inermis henna Egyptian privet Vijayanrajapuram 07.jpg|Henna fruits

title: Lawsonia inermis


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AGIL paradigm

The AGIL paradigm is a sociological scheme created by American sociologist Talcott Parsons in the 1950s. It is a systematic depiction of certain societal functions, which every society must meet to be able to maintain stable social life. The AGIL paradigm is part of Parsons's larger action theory, outlined in his notable book The Structure of Social Action, in The Social System and in later works, which aims to construct a unified map of all action systems, and ultimately "living systems". Indeed, the actual AGIL system only appeared in its first elaborate form in 1956, and Parsons extended the system in various layers of complexity during the rest of his intellectual life. Towards the end of his life, he added a new dimension to the action system, which he called the paradigm of the human condition; within that paradigm, the action system occupied the integral dimension.

The functional prerequisites of action systems (including the social system)
Parsons' theory is a part of the paradigm of action theory. AGIL represents the functional scheme for the whole general action system (including the human condition paradigm), so that AGIL also defines the cultural system, the personality system etc. The social system represent the integral part of the action system and is in this way only a subsystem within the greater whole of systems. For example the order of the cultural system vis-à-vis the AGIL functional scheme is:

A: Cognitive symbolization. G: Expressive symbolization. I: Moral-evaluative symbolization. L: Constitutive symbolization.

Society, in this paradigm, is defined as prototypical category of the social system, that meets the essential functional prerequisites that define the system's universal attributes. AGIL scheme outlines four systematic, core functions, that are prerequisites for any society to be able to persist over time. It is a misconception that the system functions are "institutions," they exist on a much higher level of theoretical comprehension than institutions yet each system is inhabited by institutions. Institutions have either universal implications or historical implications depending on their form, nature and specification. The system shapes the "nature" of its institutions—so that the political system is the orbit of "political institutions." The stock-market is common-sensically not regarded as a political institution yet the stock-market might have political functions (which is a different analytical issue).

AGIL is an acronym from the initials of each of the four systemic necessities. The AGIL system is considered a cybernetic hierarchy and has generally the following order L-I-G-A, when the order is viewed from an "informational" point of view; this implies that the L function could "control" or define the I function (and the I the G and so on) approximately in the way in which a computer-game-program "defines" the game. The program does not "determine" the game (which actual outcome would depend on the input of the player, that was what Parsons in a sense called the voluntaristic aspect of action) but it "determined" the logical parameter of the game, which lies implicit in the game's concrete design and rules. In this way, Parsons would say that culture would not determine the social system but it would "define it." The AGIL system had also an energy side (or a "conditional" side), which would go A-G-I-L. So that the Adaptive level would be on the highest level of the cybernetic hierarchy from the energy or "conditional" point of view. However, within these two reverse sequences of the hierarchy Parsons maintained that in the long historical perspective, a system which was high in information (that is, a system that followed the L-I-G-A sequence) would tend to prevail over system which was high in energy. For example in the human body, the DNA is the informational code which will tend to control "the body" which is high in energy. Within the action system, Parsons would maintain that it was culture which was highest in information and which in his way was in cybernetic control over other components of the action system, as well as the social system. However, it is important to maintain that all action systems (including social systems) are always depending on the (historically specific) equilibrium of the overall forces of information and condition, which both shape the outcome of the system. Also it is important to highlight that the AGIL system does not "guarantee" any historical system survival; they rather specify the minimum conditions for whether societies or action systems in principle can survive. Whether a concrete action system survive or not is a sheer historical question.

 * Adaptation, or the capacity of society to interact with the environment. This includes, among other things, gathering resources and producing commodities to social redistribution.
 * Goal Attainment, or the capability to set goals for the future and make decisions accordingly. Political resolutions and societal objectives are part of this necessity.
 * Integration, or the harmonization of the entire society is a demand that the values and norms of society are solid and sufficiently convergent. This requires, for example, the religious system to be fairly consistent, and even in a more basic level, a common language.
 * Latency, or latent pattern maintenance, challenges society to maintain the integrative elements of the integration requirement above. This means institutions like family and school, which mediate belief systems and values between an older generation and its successor.

These four functions aim to be intuitive. For example a tribal system of hunter-gatherers needs to gather food from the external world by hunting animals and gathering other goods. They need to have a set of goals and a system to make decisions about such things as when to migrate to better hunting grounds. The tribe also needs to have a common belief system that enforces actions and decisions as the community sees fit. Finally there needs to be some kind of educational system to pass on hunting and gathering skills and the common belief system. If these prerequisites are met, the tribe can sustain its existence.

Systematic depiction of AGIL functions
The four functions of AGIL break into external and internal problems, and further into instrumental and consummatory problems. External problems include the use of natural resources and making decisions to achieve goals, whereas keeping the community integrated and maintaining the common values and practices over succeeding generations are considered internal problems. Furthermore, goal attainment and the integral function belong to the consummatory aspect of the systems.

It is common to use a table to illustrate the four functions and their differences in spatial and temporal orientation. (The following only addresses the AGIL component examples for the social system—for example, "political office" is not a unit for the categories on the action-system level).

Each of the four individual functional necessities are further divided into four sub-categories. The four sub-categories are the same four functions as the major four AGIL categories and so on. Hence one subsystem of the societal community is the category of "citizenship," which is a category we today would associate with the concept of civil society. In this way, citizenship (or civil society) represents, according to Parsons, the goal-attainment function within the subsystem of the Societal Community. For example, a community's adaption to the economic environment might consist of the basic "industrial" process of production (adaption), political-strategic goals for production (goal-attainment), the interaction between the economical system and the societal community, which integrates production mechanisms both in regard to economic as well as societal factors (integration), and common cultural values in their "selective" relevance for the societal-economic interchange process (latency (or Pattern Maintenance)). Each of these systemic processes will (within the scope of the cybernetic hierarchy) be regulated by what Talcott Parsons calls generalized symbolic media. Each system level of the general action-paradigm has each their set of generalized symbolic media (so that the set of generalized symbolic media for the social system is not identical with those of the action system or those of the human condition paradigm). In regard to the social system, there are the following four generalized symbolic media:

A: (Economy): Money. G: (Political system): Political power. I: (Societal Community): Influence. L: (Judiciary system): Value-commitment.

Criticism of the AGIL scheme
Parsons' theory has been criticised as being too abstract to be used constructively in any significant empirical research. While the four functions of the AGIL scheme are intuitive and many social systems can be described according to the paradigm of Parsons' structural functionalism, one can question the utility that such an inspection brings to a scientific sociological study. Defenders of the AGIL scheme respond that there have indeed been situations where social systems, such as some industries, have failed to operate because they have neglected one or more of the four functions. Hence, the AGIL scheme can be tested against political or economical systems in operation to see if they meet the criteria. Defenders also highlight that all theoretical systems are abstract (indeed modern physics uses extremely high levels of theoretical abstractions (without anyone "protesting")). Any good theoretical system has to be abstract, since this is the meaning and function of theoretical systems. Another notable criticism attacks the AGIL schemes' failure to take historical change into account. Critics argue that Parsons' theory is inexcusably static and lacks the flexibility to meet instances of social change. While Parsons purports that the AGIL scheme is a general theory of social functions that can be applied to any social system at any time or place in the history of humankind, critics contend that it is basically just a model of the post-war United States, or, moreover, merely an ideal social structure of the middle-class of United States. Parsons' defenders argue that such criticisms are misplaced inasmuch as Parsons tried to identify the most important systemic features of any society whatsoever: any society would need to meet the functions indicated by AGIL, even if it used different institutions or arrangements for doing so. Moreover, Parsons himself tried to develop a theory of world history, and to explain social change through his system, although his critics have suggested that this amounts to little more than window-dressing. Nevertheless, despite recent sympathetic reappraisals, Parsons no longer dominates Anglophone social theory in the way he once did.

title: AGIL paradigm


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Radio Tarifa

Radio Tarifa was a Spanish World music ensemble, combining Flamenco, Arab-Andalusian music, Arabic music, Moorish music and other musical influences of the Mediterranean, the Middle Ages and the Caribbean. The name of the ensemble comes from an imaginary radio station in Tarifa, a small town in the Spanish province of Cadiz, Andalusia, the closest part of Spain to Morocco. Instead of simply fusing musical styles as they are currently known, Radio Tarifa went back in time to the common past of those styles, before the final conquest of Granada in 1492, when the Moors and Jews were exiled from Spain. This invented style sheds light upon the real styles of Spain, most notably flamenco, although the band rejected all musical purism, preferring to mix arrangements of traditional compositions with their own melodies and combining instruments from Ancient Egypt, classical Greek and Roman times with modern saxophones and electric bass.

History
Both Fain Dueñas (percussion, Spain) and Vincent Molino (flute, France) were students of Moroccan multi-instrumentalist and composer Tarik Banzi of the Al-Andalus Ensemble. Together they founded an early music group playing music from the late Middle Ages and Renaissance called Ars Antiqua Musicalis, but this group was unable to attain commercial success. When they met Benjamin Escoriza from Granada — a flamenco singer raised by Gypsies — in Madrid in the late 1980s, the last piece for a new band was in place.

Their first album, Rumba Argelina, was recorded in 1993 and became a success in Europe when it was released in 1996, and again, when it was re-issued (through association with Nonesuch Records) in America in 1997. The critical and financial success of that disc made it possible to put together a full-fledged touring band which played in 17 European countries, as well as in Turkey, Morocco, Egypt, Palestine, Australia, New Zealand, Brazil, Colombia, Mexico, Canada and the United States".

After 14 years of intense musical activity, the band announced they would take an indefinite break; their farewell concert was performed in Barcelona on 11 November 2006. - On 9 March 2012, singer Benjamin Escoriza died at the age of 58.

Discography

 * Rumba Argelina (1993)
 * Temporal (1996)
 * Cruzando el río (2000)
 * Fiebre (2003) (live at the 2002 Toronto Small World Music Festival)
 * Live 25 July 2004 - Ramallah, Palestine

Personnel

 * Benjamin Escoriza - vocals
 * Fain Sanchez Dueñas - darbuka, percussion, backing vocals
 * Vincent Molino - ney, crumhorn, poitou oboe

Guests

 * Jaime Muela - flute, soprano saxophone
 * Pedro Esparza - soprano saxophone
 * Amir-John Haddad - oud, backing vocals
 * Wafir Sh. Gibril - accordion
 * Ramiro Amusategui - bouzouki
 * Jorge Gomez - flamenco guitar, electric guitar
 * Sebastian Rubio - pandereta, bongos
 * David Purdye - electric bass, backing vocals
 * Peter Oteo - electric bass
 * Javier Paxarino - flutes, wind instruments

title: Radio Tarifa


text:
User talk:Thoobik

Nice Catch! Thanks for the help on the abortion article--Tznkai 15:25, 20 Jun 2005 (UTC)

Thanks
It is "appending" on the punctuation (chess) article yes... thanks for correcting my error. Sjakkalle (Check!)  06:50, 21 Jun 2005 (UTC)

title: User talk:Thoobik


text:
User talk:SkreeHunter

non commercial use
Hi, please do not upload images that only permit non-commercial or educational use. While it might seem reasonable to assume that such files can be freely used on Wikipedia, a non-profit website, this is in fact not the case. Please do not upload any more files with this restriction on them, because content on Wikipedia needs to be compatible with the GNU Free Documentation License, which allows anyone to use it for any purpose, commercial or non-commercial. See our non-free content guidelines for more more information.

If you created this media file''' and want it to be kept on Wikipedia, remove this message and replace this with to license it under the GFDL, or  to license it under the Creative Commons Attribution-ShareAlike license, or use  to release it into the public domain.

If you need further help, please don't hesitate to post on my talk page or to put   followed by your question on this page. -- lucasbfr  talk 21:52, 9 June 2008 (UTC)

title: User talk:SkreeHunter


text:
User talk:DaGizza

Archive of old discussions

RFA2024 update: no longer accepting new proposals in phase I
Hey there! This is to let you know that phase I of the 2024 requests for adminship (RfA) review is now no longer accepting new proposals. Lots of proposals remain open for discussion, and the current round of review looks to be on a good track towards making significant progress towards improving RfA's structure and environment. I'd like to give my heartfelt thanks to everyone who has given us their idea for change to make RfA better, and the same to everyone who has given the necessary feedback to improve those ideas. The following proposals remain open for discussion:

 * Proposal 2, initiated by, provides for the addition of a text box at Requests for adminship reminding all editors of our policies and enforcement mechanisms around decorum.
 * Proposals 3 and 3b, initiated by and, respectively, provide for trials of discussion-only periods at RfA. The first would add three extra discussion-only days to the beginning, while the second would convert the first two days to discussion-only.
 * Proposal 5, initiated by, provides for a trial of RfAs without threaded discussion in the voting sections.
 * Proposals 6c and 6d, initiated by, provide for allowing users to be selected as provisional admins for a limited time through various concrete selection criteria and smaller-scale vetting.
 * Proposal 7, initiated by, provides for the "General discussion" section being broken up with section headings.
 * Proposal 9b, initiated by, provides for the requirement that allegations of policy violation be substantiated with appropriate links to where the alleged misconduct occured.
 * Proposals 12c, 21, and 21b, initiated by, , and , respectively, provide for reducing the discretionary zone, which currently extends from 65% to 75%. The first would reduce it 65%–70%, the second would reduce it to 50%–66%, and the third would reduce it to 60%–70%.
 * Proposal 13, initiated by, provides for periodic, privately balloted admin elections.
 * Proposal 14, initiated by, provides for the creation of some minimum suffrage requirements to cast a vote.
 * Proposals 16 and 16c, initiated by and, respectively, provide for community-based admin desysop procedures. 16 would desysop where consensus is established in favor at the administrators' noticeboard; 16c would allow a petition to force reconfirmation.
 * Proposal 16e, initiated by, would extend the recall procedures of 16 to bureaucrats.
 * Proposal 17, initiated by, provides for "on-call" admins and 'crats to monitor RfAs for decorum.
 * Proposal 18, initiated by, provides for lowering the RfB target from 85% to 75%.
 * Proposal 24, initiated by, provides for a more robust alternate version of the optional candidate poll.
 * Proposal 25, initiated by, provides for the requirement that nominees be extended-confirmed in addition to their nominators.
 * Proposal 27, initiated by, provides for the creation of a training course for admin hopefuls, as well as periodic retraining to keep admins from drifting out of sync with community norms.
 * Proposal 28, initiated by, tightens restrictions on multi-part questions.

To read proposals that were closed as unsuccessful, please see Requests for adminship/2024 review/Phase I/Closed proposals. You are cordially invited once again to participate in the open discussions; when phase I ends, phase II will review the outcomes of trial proposals and refine the implementation details of other proposals. Another notification will be sent out when this phase begins, likely with the first successful close of a major proposal. Happy editing! theleekycauldron (talk • she/her), via:

MediaWiki message delivery (talk) 10:53, 14 March 2024 (UTC)

Request for review
Hi, I'm approaching you as a random uninvolved administrator.

I posted a request for administrative review of a conduct dispute here, which was not answered and has been archived.

If you could respond or advise me how to proceed I'd appreciate it, thank you. IOHANNVSVERVS (talk) 18:11, 2 April 2024 (UTC)

RFA2024 update: phase I concluded, phase II begins
Hi there! Phase I of the Requests for adminship/2024 review has concluded, with several impactful changes gaining community consensus and proceeding to various stages of implementation. Some proposals will be implemented in full outright; others will be discussed at phase II before being implemented; and still others will proceed on a trial basis before being brought to phase II. The following proposals have gained consensus:

See the project page for a full list of proposals and their outcomes. A huge thank-you to everyone who has participated so far :) looking forward to seeing lots of hard work become a reality in phase II. theleekycauldron (talk), via MediaWiki message delivery (talk) 08:08, 5 May 2024 (UTC)
 * Proposals 2 and 9b (phase II discussion): Add a reminder of civility norms at RfA and Require links for claims of specific policy violations
 * Proposal 3b (in trial): Make the first two days discussion-only
 * Proposal 13 (in trial): Admin elections
 * Proposal 14 (implemented): Suffrage requirements
 * Proposals 16 and 16c (phase II discussion): Allow the community to initiate recall RfAs and Community recall process based on dewiki
 * Proposal 17 (phase II discussion): Have named Admins/crats to monitor infractions
 * Proposal 24 (phase II discussion): Provide better mentoring for becoming an admin and the RfA process
 * Proposal 25 (implemented): Require nominees to be extended confirmed

title: User talk:DaGizza


text:
Street-Legal (album)

Street-Legal is the eighteenth studio album by American singer-songwriter Bob Dylan, released on June 15, 1978, by Columbia Records. The album was a departure for Dylan, who assembled a large pop-rock band with female backing vocalists for its recording.

After receiving positive reviews on his previous album, Desire, Dylan was met with a more lukewarm critical reception for Street-Legal, though the album was still commercially successful, being certified as Gold in the US and Platinum in the UK. Many critics gave the album a more positive re-appraisal following its release in a remixed and remastered edition in 1999.

Background
Dylan spent the first half of 1977 engaged in divorce proceedings and a custody battle with his first wife, Sara, while editing Renaldo and Clara, an ill-fated film shot during the fall of 1975 on the first leg of his Rolling Thunder Revue tour. With the summer approaching, Dylan took a break from the film and returned to his farm in Minnesota, where he was accompanied by his children and Faridi McFree, with whom Dylan had started a relationship. There he began writing a new set of songs, including "Changing of the Guards," "No Time to Think," and "Where Are You Tonight?". At least six of the nine songs ultimately included on Street-Legal were written during this time.

His work was disrupted on August 16, 1977, when news broke that Elvis Presley had died at 3:30 p.m. at Baptist Memorial Hospital in Memphis, Tennessee. "I went over my whole life," recalled Dylan. "I went over my whole childhood. I didn't talk to anyone for a week."

Later that fall, another custody battle arose when Sara sought permission from the court to move to Hawaii with their children. The proceedings took Dylan's focus away from the world tour he had been planning, his first in twelve years. He had signed a five-year lease on an old three-story building on the corner of Ocean and Main in Santa Monica, California. Dubbed 'Rundown', the building was soon converted into a rehearsal space and studio. By September, the building was staffed by Joel Bernstein and Arthur Rosato, two engineers who had been in Dylan's road crew in 1976.

Before rehearsals could begin, Dylan had to assemble a band. He quickly contacted several musicians, including former Rolling Thunder Revue members Steve Soles, David Mansfield, Rob Stoner, and Howie Wyeth. Stoner recalls, "I thought the Hard Rain thing was the last I'd ever hear from Bob... Then suddenly I get this call - I think Bob called me up personally... and asked me to bring Howie, and a couple of other people, to L.A. to 'just try some things out.'"

Soles, Mansfield, Stoner, Wyeth, pianist Walter Davis, Jr., and percussionist Otis Smith arrived in late November and early December. His players were assembled, yet Dylan was still not ready to rehearse, with the custody battle over his children and the imminent release of Renaldo and Clara occupying most of his attention, making edits on Renaldo and Clara up to the last minute. "Bob kept us sitting around for a week or two," recalls Stoner. "He just never showed up... and [when he finally] drops in, he's distracted... He was really [stressed out]. He was always bummed out. He was chain-smoking and he was really in a bad mood. He was short with people. It just wasn't working out."

A settlement in his custody battle was reached in late December, decreeing that his children would remain in California, with Dylan retaining partial custody. Fallout from the custody battle would keep Dylan and Sara from reaching amicable terms for several years. Meanwhile, Renaldo and Clara was released to widespread negative reviews. Though disappointed with the critical reaction, with the film released and his legal matters settled, Dylan was finally ready to rehearse.

Sessions soon began in earnest. On December 26, Dylan followed the day's rehearsals with a preview of his next album. Accompanying himself on piano, Dylan played his new batch of songs for Stoner, Soles, and Bernstein. Many of these songs had been written that summer at his farm in Minnesota. As rehearsals progressed, it soon became clear the band wasn't "picking up where the Rolling Thunder Revue left off," as Mansfield recalled. "I brought my steel guitar and I had it in rehearsal and every time I'd go to start unpacking it, Bob would go, 'We don't need that.' All of a sudden the instrument that I played all over the place in the previous band, he didn't want to see it, let alone hear it."

Howie Wyeth soon left the band. Wyeth had been struggling with a heroin addiction at the time, recalling, "I knew I couldn't get high once we'd left [for tour]... I realized I was either gonna get busted or I'd end up being tortured to death. So I literally had to just tell Bob one night, 'I can't do it.' That was terrible. He had his own problems. He felt bad that I wasn't gonna do it, and he called me up when I got home to New York and said, 'Are you sure?'"

After auditioning a number of drummers ("maybe ten or a dozen" by Bernstein's estimates), Dylan replaced Wyeth with Denny Seiwell, who briefly played with Paul McCartney and Wings.

When rehearsal was held on December 30, the band now included Stoner, Mansfield, Soles, guitarist Jesse Ed Davis, and singers Katey Sagal, Debbie Dye Gibson, and Frannie Eisenberg. This rehearsal was mostly dedicated to rearrangements of classic Dylan compositions, drawing on adult contemporary pop. (Wayne Newton, Barry Manilow, Marvin Hamlisch). As biographer Clinton Heylin writes, "[Dylan] began to impose a grander vision on whatever sound the Revue veterans had initially conceived. With his love of fatback R&B, it should have come as no surprise that he hankered after a band with a saxophone player and female singers... The band he assembled in the two months before the 1978 world tour shares many similarities with the big band he had attempted to impose on Desire. The girl singers/sax/keyboards combination also reflected elements of the extravagantly presented shows Presley had been playing in the 1970's."

By mid-January 1978, Dylan was still unsatisfied with some aspects of the band. With the first leg of his world tour set for February in Japan, he quickly made some last-minute changes, removing Sagal and Eisenberg and replacing them with novice singer Helena Springs and seasoned professional Jo Ann Harris. (Sagal was not surprised by her dismissal. "I remember... he'd have three girls all sing a part that was not in our range," Sagal recalls, "and we were too terrified to say anything.")

In the meantime, Seiwell was let go; during his brief stint with Wings, he and the rest of Wings were busted for drug possession in Sweden, prompting Japanese officials to deny him an entry visa. A number of auditions were quickly arranged, and according to Stoner, they "settled" on former King Crimson drummer Ian Wallace. Although Wallace's drumming would become problematic ("The man had a beat like a cop," recalls Stoner), time had run out as the tour was almost upon them. The Danish/American guitarist Billy Cross was also brought in and eventually Dylan's touring band was solidified with Cross, Wallace, keyboardist Alan Pasqua, percussionist Bobbye Hall, and saxophonist Steve Douglas, Mansfield, Stoner, Soles, and the back-up singers.

In the final two weeks of rehearsal Dylan began settling on new tour arrangements for his classic, earlier recordings. Rob Stoner recalls, "a telegram arrived from the Japanese promoter, and in it he had a manifest of the songs he expected Bob to do on this tour. In other words he was a jukebox, he was playing requests. "We don't want you coming here and doing like your new experimental material, or getting up there and jamming." As Heylin writes, "though the idea of a big band had always appealed to Dylan, the reality was a whole series of new arrangements, to make each song different and to highlight the band's demonstrable versatility..." Often the arrangement ideas came from the band. As Stoner observed, when they put these arrangements to Dylan, "Sometimes he'd like it and he'd use it, and other times he'd say, 'Forget it'."

The band flew to Japan on February 16, 1978, and the tour drew considerable praise from the audience and press, in both Japan and Australia. Later documented on Bob Dylan At Budokan, this tour was marked by bold new arrangements of classic Dylan recordings. During the course of these two-hour-plus shows, Dylan often recast familiar songs in more contemporary guise. However, some of the band members, including Stoner, were not entirely satisfied with Dylan's new sound. "He had in mind to do something like Elvis Presley," recalls Stoner. "That size band and the uniforms... he wasn't very sure about it, which is why he opened way out of town. I mean, we didn't go any place close to Europe or England or America [for] forever, man... and I don't blame him. I think he knew, subconsciously, he was making a big mistake."

The tour ended on April 1 at the Sydney Sportsground in Australia. When it was over, Stoner informed Dylan that he was leaving the band. Dylan was planning to record his next album upon returning to Los Angeles, but with Stoner gone, Dylan hired a new bass player, Jerry Scheff. Scheff was best known for his work with Elvis Presley in the 1970s as a member of his TCB Band, and on The Doors' final recordings.

With Scheff replacing Stoner, Dylan began recording his new material with his touring band. Sessions were held at Rundown, with Dylan renting a mobile truck to record the proceedings. (The mobile truck was equipped with 24-track capabilities, something his studio didn't have.) "I didn't want to do it there," Dylan later recalled. "[I] couldn't find the right producer, but it was necessary to do it. So we just brought in the remote truck and cut it, [and] went for a live sound." Dylan would ultimately settle on Don DeVito as his producer, even though he had been dissatisfied with DeVito's work on Desire.

Dylan already had a European tour scheduled for June, but he still had enough time to record his album; over the course of just four days, Dylan would record nine of his own compositions. Dylan knew exactly which songs he wanted to record, and though three songs written by Helena Springs were also recorded during these sessions ("Coming from the Heart," "Walk Out in the Rain," "Stop Now"), there is no indication that these songs were ever serious contenders for the album.

Though the sessions lasted only four days, they were plagued with issues stemming from recording in a makeshift rehearsal space instead of a studio. "The biggest problem... was how it was recorded," recalls Mansfield, "with Bob getting impatient with the engineering assistants... baffling and checking levels and getting sounds in sync... and the recording crew just having to scramble to get mikes into place and get something on tape, while we were playing the thing the few times we were gonna play it. It really was sort of like Bob Dylan meets Phil Spector in the best way... as if it had [just] been recorded so the instruments sounded full and well-blended."

Outtakes
Unlike previous albums, the outtakes for Street-Legal are few in number. Only three additional songs were recorded for the album, of which none have seen release. There are two takes of "Stop Now", sounding very much like an additional Street-Legal song, in circulation. The Searchers recorded "Coming From The Heart (The Road Is Long)" and Eric Clapton released "Walk Out In the Rain" on his album Backless, which also included another song written at this time, "If I Don't Be There By Morning".

 * "Coming from the Heart (The Road Is Long)" (Bob Dylan and Helena Springs)
 * "Stop Now" (Bob Dylan and Helena Springs)
 * "Walk Out in the Rain" (Bob Dylan and Helena Springs)

Other songs written during this time include:

 * "Am I Your Stepchild"
 * "If I Don't Be There By Morning" (Bob Dylan and Helena Springs)
 * "Legionnaire's Disease"
 * "Love You Too Much" (Bob Dylan and Greg Lake)

Aftermath
Following the twin successes of Blood on the Tracks and Desire, Street-Legal was another gold record for Dylan, peaking at No. 11 on the U.S. Billboard charts, making it his first studio album to miss the U.S. Top 10 since 1964. However, it became his best-selling studio album in the UK, reaching No. 2 on the charts (his highest position in eight years) and achieving platinum status with 300,000 copies sold (the only other Dylan album to do this is The Essential Bob Dylan).

When Street-Legal was released, it was dismissed by the American press. Crawdaddy! critic Jon Pareles remarked that "Dylan still needs a producer," but others found fault with both the songs and the performances. Greil Marcus criticized the singing as "simply impossible to pay attention to for more than a couple of minutes at a time" and accused "Is Your Love in Vain?" of sexism, claiming Dylan was "speak[ing] to the woman like a sultan checking out a promising servant girl for VD."

In the UK, reviews were positive, with Michael Watts of Melody Maker proclaiming it Dylan's "best album since John Wesley Harding". NME's Angus MacKinnon hailed it as Dylan's "second major album of the 70s." In contrast to the record's still mixed reputation, Q Magazine has given the album a 5 star rating on re-release on two occasions, pointing out that the original muddiness of the production was part of the reason the record has so long been critically overlooked.

When Dylan embarked on his European tour, he would be greeted by a generally warm audience reception, and his single, "Baby, Stop Crying" (the lyrics of which were allegedly inspired by Robert Johnson's "Stop Breaking Down"), charted in the top ten throughout Europe, and reached number 13 on the UK Singles Chart with the album peaking at number 2 on the album chart. In the US, however, the single failed to crack the top 100 and the album itself peaked at number 11, ending Dylan's string of number 1 albums in America until 2006's Modern Times. When Dylan continued his tour in America, it was derided by the American press as the Alimony Tour and later the Vegas Tour, much to Dylan's chagrin.

Many years later, even Street-Legal's most ardent admirers would admit some flaws in the album, finding most fault with the production. "Street-Legal was the first in a long line of song collections whose failure to be realized in the studio would lay a 'dust of rumors' over Dylan as an abidingly creative artist that he has never been able to fully shake," writes Heylin.

This LP was pressed at the same time as a Pink Floyd, "Wish You Were Here" 1978 repress was being prepared, so many (exact quantity unknown, possibly 300 per stamper) of LP's marked Pink Floyd "WYWH" actually contain side one of Street-Legal by Bob Dylan.

The original 1978 LP sleeve credits mastering to Stan Kalina at CBS Recording Studios NY; the album was produced by Don DeVito. In 1999, DeVito revisited Street-Legal and remixed the album with modern, digital techniques in an attempt to improve the mix and produce a richer overall sound. The remix was also used in a 2003 SACD reissue of Street-Legal. However, in 2013, when Street-Legal was remastered as part of The Complete Album Collection Vol. 1, the original 1978 Kalina mix was reinstated.

Musicians

 * Bob Dylan – vocals, rhythm guitar
 * Steve Douglas – tenor saxophone, soprano saxophone
 * David Mansfield – violin, mandolin
 * Alan Pasqua – keyboards
 * Billy Cross – electric guitar
 * Steven Soles – rhythm guitar, background vocals
 * Jerry Scheff – bass guitar
 * Ian Wallace – drums
 * Bobbye Hall – percussion
 * Carolyn Dennis, JoAnn Harris, Helena Springs – backing vocals
 * Steve Madaio – trumpet on "Is Your Love in Vain?"

Technical personnel

 * Don DeVito – "Captain in Charge"
 * Biff Dawes – engineering
 * Stan Kalina – mastering engineer at CBS Recording Studios in New York City
 * Michael H. Brauer, Ryan Hewitt – remixing engineering (1999 edition)
 * Filmways/Heider – recording studio
 * Mary Alice Artes – "Queen Bee"
 * Larry Kegan – "Champion of All Causes"
 * Ava Megna – "Secretary of Goodwill"
 * Arthur Rosato – "Second in Command"

title: Street-Legal (album)


text:
Australian Youth Orchestra

The Australian Youth Orchestra (AYO), formerly Youth Music Australia, is an Australian organisation for young musicians.

History
The Australian Youth Orchestra has its origins in the music camps founded by John Bishop and Ruth Alexander in 1948. These camps saw the foundation of the National Music Camp Association (NCMA) in 1951. The Youth Orchestra itself debuted in 1957 at the Sydney Town Hall.

The organisation changed its name to Youth Music Australia in 1993 before adopting the name of its flagship in 2000.

Description
AYO operates the national youth orchestra of Australia, as well as Camerata Australia, Young Australian Concert Artists and Young Symphonists. It also runs several other activities including master classes, outreach programmes and a generous scholarship scheme.

The Australian Youth Orchestra is one of eight "national elite training organisations" of the "Australian Roundtable for Arts Training Excellence" (ARTS8), partially funded by the Australian Government via the Office for the Arts.

APRA Classical Music Awards
The APRA Classical Music Awards are presented annually by Australasian Performing Right Association (APRA) and Australian Music Centre (AMC).

 * rowspan="2"| 2007 || Body Torque – The Australian Ballet, Australian Youth Orchestra, Sonic Art Ensemble || Outstanding Contribution by an Organisation || Nominated
 * 2006 National Music Camp Composition Program, Body Torque – Australian Youth Orchestra, The Australian Ballet || Outstanding Contribution to Australian Music in Education || Won
 * 2006 National Music Camp Composition Program, Body Torque – Australian Youth Orchestra, The Australian Ballet || Outstanding Contribution to Australian Music in Education || Won
 * 2006 National Music Camp Composition Program, Body Torque – Australian Youth Orchestra, The Australian Ballet || Outstanding Contribution to Australian Music in Education || Won

ARIA Music Awards
The ARIA Music Awards is an annual awards ceremony that recognises excellence, innovation, and achievement across all genres of Australian music. They commenced in 1987.

! Ref.
 * 1989
 * Australia Day / Child of Australia (with Sydney Symphony Orchestra, Joan Carden & John Howard)
 * rowspan="2" |Best Classical Album
 * Nominated
 * rowspan="2" |
 * 1990
 * Works of Koehne, Stravinsky, Messiaen, Ravel
 * Nominated
 * Works of Koehne, Stravinsky, Messiaen, Ravel
 * Nominated

title: Australian Youth Orchestra


text:
Bambiraptor

Bambiraptor is a Late Cretaceous, 72-million-year-old, bird-like dromaeosaurid theropod dinosaur described by scientists at the University of Kansas, Yale University, and the University of New Orleans.

The holotype fossil is less than one meter long, although this specimen appears to be a juvenile, and it is possible that Bambiraptor is a juvenile Saurornitholestes. It is even suspected that the type specimen is a chimera, based on the fact that "there are elements of three different similarly sized lower legs included in the holotype." Because of its small size, it was named Bambiraptor feinbergi, after the popular Disney movie character (the name literally translates to "Bambi thief") and the surname of the wealthy family who bought and lent the specimen to the new Graves Museum of Natural History in Florida.

Discovery
The Bambiraptor skeleton was discovered in 1995 by 14-year-old fossil hunter Wes Linster, who was looking for dinosaur bones with his parents near Glacier National Park in Montana, United States. Linster told Time magazine that he uncovered the skeleton on a tall hill and was amazed at his discovery. "I bolted down the hill to get my mom because I knew I shouldn't be messing with it", he said. The bones that Linster discovered on that hilltop led to the excavation of a skeleton that was approximately 95 percent complete. Because of its completeness Florida Paleontology Institute Director Martin Shugar compared it to the Rosetta Stone that enabled archaeologists to translate Egyptian hieroglyphics. Yale paleontologist John Ostrom, who reintroduced the theory of bird evolution from dinosaurs after his 1964 discovery of Deinonychus in Wyoming, agreed, calling the specimen a "jewel", and telling reporters that the completeness and undistorted qualities of the bones should help scientists further understand the dinosaur-bird link.

The fossil first was seen as the young of Saurornitholestes and in 1997 reported as belonging to a Velociraptor sp. In 2000 it was named and described by David Burnham, Kraig Derstler, Phil Currie, Robert Bakker, Zhou Zhonge and John Ostrom as a new genus: Bambiraptor feinbergi. The generic name is derived from Bambi, in reference to the young age of the specimen, and a Latin raptor, "seizer". The specific epithet honours Michael and Ann Feinberg who acquired the specimen from a fossil poacher and made it available to science. In 2000 George Olshevsky suggested the emended epithet "feinbergorum", the plural genitive, and this was followed by some authors but such emendations are no longer allowed by the ICZN.

The holotype specimen AMNH FR 30556 (previously AMNH 001 and FIP 001, sometimes wrongly referred to as AMNH FR 30554), was uncovered in layers of the Upper Two Medicine Formation dating to the late Campanian. It is currently housed at the American Museum of Natural History, New York. It consists of a partially articulated largely complete skeleton with skull of a juvenile individual. Though the right side of the skeleton is damaged, most bones are uncompressed and well-preserved. The end of the tail is lacking. Also a paratype was assigned in 2000, FIP 002-136, consisting of thirty-four skeletal elements of at least two adult individuals found near the holotype. In 2004 an upper jaw bone was referred to the species, specimen MOR 553S-7-30-91-274.

Description
While adult specimens are known, only the type specimen, a juvenile, has been described. This juvenile Bambiraptor has a preserved length of 90 cm, and an estimated total length of one metre. It perhaps weighed only two kilograms (4.4 lb). It had long hindlimbs, indicating it could have been a fast runner. It also had very long arms and a well-developed wishbone. According to an SVP abstract published in 2021, the holotype is 30-40% the size of specimen MOR 553S-7-30-91-274. Directly scaling up the holotype specimen gives a length of 2.5-3.3 m. However, this is likely a low estimate since the specimen is a maxilla with proportions like that of the holotype, and juvenile animals tend to have proportionally longer skulls. In 2010 Gregory S. Paul estimated the adult length at 1.3 m, the weight at five kilogrammes.

Forelimbs
Research done by Phil Senter of the Lamar State College in Orange, Texas has indicated that Bambiraptor may have had mutually opposable first and third fingers and a forelimb maneuverability that would allow the hand to reach its mouth. This would have given the animal the ability to "hold" food in its front limbs and place it in its mouth, in a similar manner to some modern-day small mammals.

Brain
Bambiraptor had a brain size in the lower range of modern birds. Because of its enlarged cerebellum, which may indicate higher agility and higher intelligence than other dromaeosaurs, David A. Burnham has hypothesized that Bambiraptor feinbergi may have been arboreal. Life in the trees may have required evolutionary pressure that resulted in a larger brain. Burnham also offers an alternative hypothesis that a larger brain could be selected for as a result of hunting more agile prey items such as lizards and mammals. The Bambiraptor holotype had with 14 cm3 the largest brain for its size of any dinosaur yet discovered, although the brain size may be due to its age, because juvenile animals tend to have larger brain-to-body ratios compared to adults.

Feathers
During the conference where Bambiraptor was first introduced, the dinosaur reconstruction specialist Brian Cooley portrayed Bambiraptor as having feathers, despite the fact that no feathers were found with the fossil itself. His decision was influenced by the fact that because Bambiraptor within a cladistic analysis was a member of a group, Paraves, that contained feathered true birds and that was the sister taxon of Oviraptorosauria, a group that also had feathered forms (e.g. Caudipteryx), Bambiraptor most likely had feathers too due to phylogenetic bracketing. Most paleontologists support Cooley's view, and subsequent discoveries confirmed that small dromaeosaurid dinosaurs like Bambiraptor were fully covered in feathers (see Dromaeosauridae for more information).

Phylogeny
Bambiraptor was assigned to the Dromaeosauridae in 2000, though its position within the family remains uncertain, since subsequent cladistic analyses show different results. It has been recovered as a microraptorian or a saurornitholestine, and the most recent phylogenetic analyses place it as a sister taxon or a member of Eudromaeosauria.

title: Bambiraptor


text:
Mary Herbert, Countess of Pembroke

Mary Herbert, Countess of Pembroke may refer to:

 * Mary Herbert (writer), (1561–1621), Countess of Pembroke, one of the first English women to achieve a major reputation for her literary works
 * Mary Herbert, Countess of Pembroke (d. 1649), (c. 1594–1649), wife of William Herbert, 3rd Earl of Pembroke, daughter-in-law of the above

title: Mary Herbert, Countess of Pembroke


text:
Liaoceratops

Liaoceratops, meaning "Liaoning horned face", is a ceratopsian dinosaur believed to be an early relative of the horned ceratopsids. It lived in the Early Cretaceous, 126 million years ago. It was discovered in China by a team of American and Chinese scientists. Liaoceratops was much smaller than its later relatives, but offers a glimpse into the early evolution of this group of dinosaurs.

Discoveries and naming
Liaoceratops was discovered in the famous Liaoning Province of China, where several fossils of feathered dinosaurs have also been collected. The type species Liaoceratops yanzigouensis was in 2002 named and described by Xu Xing, Peter Makovicky, Wang Xiaolin, Mark Norell and You Hailu. The generic name is derived from Liaoning and the Greek keras, "horn" and ops, "face". The specific name refers to the town Yanzigou.

The holotype IVPP V12738 has been found in the Yixian Formation dating from the Barremian. These beds have also yielded fossil insects, fossils of ginkgo trees, and many other dinosaurs, including the early troodontid Sinovenator, also described by Makovicky later in 2002.

"This area is yielding extremely important information on the evolution of dinosaurs, mammals, insects, and flowering plants. I hope to find even more primitive specimens than Liaoceratops," Peter Makovicky said.

The holotype consists of an almost complete skull. As paratype specimen IVPP V12633 has been referred, the skull of a juvenile. In 2007 another skull, CAGS-IG-VD-002, of an even younger individual was referred. This lacked the skull roof, which has been explained as the result of a predator opening the braincase to eat the contents.

Description and classification
Liaoceratops was a relatively small dinosaur, reaching 50 cm in length and 2 kg in body mass. The holotype skull measures of 154 millimetres in length, weighing an estimated seven pounds and possessing only jugal horns and a small skull frill, lacking the orbital horns and true neck shield that characterized later ceratopsians. However, these features help understand a major split in the evolution of ceratopsians. Long before the familiar Triceratops evolved in North America, the ceratopsian lineage branched into two lines: the neoceratopsians, the main lineage that includes the recognizable horned and frilled forms, and of which Liaoceratops in 2002 was the most basal known member, and the Psittacosauridae, a radiation of smaller, parrot-beaked dinosaurs.

"Liaoceratops gives us a great window on the early evolution of horned dinosaurs and tells us that Triceratops and its relatives evolved from very small Asian ceratopsians. This small, primitive dinosaur is actually more interesting to science in many ways than its larger, more famous relatives because it teaches us more about evolution. Basal dinosaurs are critical because they help us to tie different groups of dinosaurs together and map out evolutionary patterns," said Peter Makovicky, Curator of Dinosaurs at the Field Museum in Chicago and a co-author of the paper describing the dinosaur.

"Liaoceratops establishes that this split occurred no later than the earliest part of the Cretaceous Period. Also, it indicates that ceratopsians acquired some of their distinctive features earlier and more rapidly than was previously recognized," Makovicky said.

Function of the horns and frill
Ironically, the diminutive Liaoceratops may also help scientists understand the roles of horns and frills in ceratopsian dinosaurs. First thought of as offensive or defensive organs, these structures are seen by many paleontologists today as display devices used in species recognition and to attract mates. Liaoceratops has a small jugal horn facing sideways under and behind each of its eyes. As this structure is relatively small and light, Makovicky believed that it was a display organ and had no purpose in defense.

title: Liaoceratops


text:
User:Richdiesal

I earned my Ph.D. in Industrial and organizational psychology at the University of Minnesota in 2009. I have published several academic articles, starting with work I conducted as an undergraduate in the academic journal Computers in Human Behavior on the relationship between personality and Internet usage.

I have been a long-time user of Wikipedia and Slashdot. I also developed a very popular set of mapping tutorials for the PC video game Jedi Knight II while I was still in college at the University of Tennessee. Web design has long been a hobby of mine, and I am reasonably fluent in PHP and SQL. However, professionally I am more likely to use R and Python for statistical analysis and machine learning.

title: User:Richdiesal


text:
Dick DeBartolo

Dick DeBartolo (born October 19, 1945) is an American writer, most famous for writing for Mad. He is occasionally referred to as "Mad ' s Maddest Writer", this being a twist on Don Martin's former status as "Mad ' s Maddest Artist". DeBartolo served as the magazine's "Creative Consultant" from 1984 to 2009. He is also known for his work on Match Game in the 1960s and 1970s.

Career
Mad long spaced out DeBartolo's articles to ensure that at least one appeared in every issue. From 1966 to 2019, new DeBartolo material appeared in 459 consecutive issues, dating back to 1966. This is the second longest such streak behind only Sergio Aragonés (whose streak is active).

DeBartolo has written well over 250 television or film parodies for the magazine, easily the most by any Mad writer.

DeBartolo recounted his first-ever experience submitting material to Mad in 1961:
 * I wrote a sample script ("A TV Ad We Would Like to See") and sent it on to them. I had read in an article that writers should always send a self-addressed stamped envelope along with a script they were submitting. That way, if the script was rejected you would get it back. Otherwise, it is just tossed out. Weeks later, I got back my own envelope. I was so disappointed. Then I figured I would open it in case it was a "nice try" kind of reject. But inside my envelope was cardboard. And scribbled on the cardboard was a note from associate editor Nick Meglin. It said: "Ha ha, thought we rejected your script, but we bought it! Stapled to this cardboard is your check! Please call us about writing more stuff for us!"

DeBartolo was also a writer for several TV game shows, beginning with Barry-Enright before moving on to Goodson-Todman. DeBartolo was on the staff of the original Match Game in 1962, when the show was cancelled by NBC. In what were supposed to be the final weeks of the program, DeBartolo is credited with coming up with the silly and suggestive style of questions that the show is remembered for, which led to improved ratings and an "un-cancellation" that kept the show on the air. At the same time, DeBartolo cast several of the show's panelists and guests in his own 8mm film comedies, which he shot on the studio's rooftop. A rare public showing of those films was held in a Manhattan hotel ballroom in 1964.

DeBartolo told Game Show Network in 2006 that when Match Game moved its production west to Los Angeles in the 1970s, he stayed in New York and mailed in his questions to the Match Game staff in Los Angeles. The 1973 West Coast-based version ran for nine more years on CBS and in syndication, with DeBartolo as a long-distance contributor; even writing questions for the Match Game-Hollywood Squares Hour on NBC and the 1990 revival on ABC. Besides his experience on Match Game, DeBartolo served as creative consultant on other Goodson-Todman game shows, such as Tattletales and What's My Line. In 1971, he was able to induce Mad publisher William M. Gaines to appear on To Tell the Truth as himself. However, all four panelists failed to pick out the real Gaines. After stumping the panel, Gaines jokingly denied knowing DeBartolo. After the episode, panelist Kitty Carlisle told DeBartolo, "I never figured it was him. I mean, look at the way he's dressed. I was looking for someone who ran a very successful magazine, so I thought it couldn't be him!"

DeBartolo's book, Good Days and Mad: A Hysterical Tour Behind the Scenes at Mad Magazine (1994), traces his first 30 years at Mad and details his friendship with publisher William Gaines. Featuring contributions from other Mad writers and artists, the book recounts memorable anecdotes, notably the ascent that DeBartolo, Gaines, and Gaines' wife Annie once made through the arm of the Statue of Liberty.

DeBartolo was also the author of numerous non-reprint Mad paperbacks, including MAD-vertising, MAD Murders the Movies, and The MAD Book of Sex, Violence, and Home Cooking. DeBartolo also scripted several of Don Martin's "Captain Klutz" adventures, which appeared in Martin's series of paperbacks.

The Giz Wiz
In February 2006, Dick DeBartolo and Leo Laporte began producing a podcast called The Daily Giz Wiz, a short, daily discussion about technology and gadgets appearing on TWiT.tv. Each episode features one gadget chosen by DeBartolo, except for Tuesdays, when Laporte chooses it (Turn the Tables Tuesday). Many times, the gadget is not a fancy mainstream one, but a weird, odd, or extremely simple device. For the Friday episodes, DeBartolo picks the gadget from his Gadget Warehouse, an actual storage facility in NYC he rents for keeping his old gadgets.

For its 600th episode on June 27, 2008. DeBartolo traveled from NYC to Petaluma, California to do the 600th show with Laporte on TWiT Live ; the gadget was "Fred Lanes" third hand.

A shorter, weekly version of "The Daily Giz Wiz" had formerly appeared on Laporte's syndicated radio show The Tech Guy, but was discontinued after a radio network request to make way for more live callers. But, as of mid-2010, DeBartolo comes on Laporte's radio show on Saturday to discuss a gadget. In 2011, the daily netcast program was refactored into a weekly netcast, therefore retitled "The Weekly Daily Giz Wiz."

On July 24, 2012, "The Weekly Daily Giz Wiz," changed its day, format, and show title (again). Currently appearing on Thursdays, "The Giz Wiz" features DeBartolo and Chad "OMGChad" Johnson (or Leo Laporte before January 2014) sharing gadget reviews, a random gadget, and a pick from the "Gadget Warehouse." A new segment, in connection with "Turn the Table Turkey," started on July 31, 2012, features "Crap We Found in Skymall," where the viewers vote on the gadget they want reviewed on the next week's show. This segment ended in mid-2013.

DeBartolo appears as a monthly guest of Computer America, which is heard in over 30 markets including New York and Boston, as well as a streaming broadcast on the internet. He also has a periodic "gadget" segment on ABC World News Now. DeBartolo made over 100 appearances on Live with Regis and Kathie Lee, offering purchasing advice about various devices and products.

On April 23, 2015, it was announced in Episode 1515 that The Giz Wiz would be leaving TWiT.tv and continuing the show solo with Chad "OMGChad" Johnson, utilizing Patreon for funding.

Personal life
On August 23, 2012, DeBartolo married his partner of 32 years, Dennis Wunderlin.

Awards
DeBartolo was awarded the Inkpot Award in 2011.

title: Dick DeBartolo