text:
William McDonough

William Andrews McDonough (born February 20, 1951) is an American architect and academic. McDonough is the founding principal of William McDonough + Partners and was the dean of the School of Architecture at the University of Virginia. He works in green and sustainable architecture, often incorporating his theory of cradle-to-cradle design.

Early life
McDonough was born in Tokyo and spent most of his childhood in Hong Kong where his father was a foreign service officer. Later, his father was a Seagram executive and his family lived in Canada and Westport, Connecticut. He says the move caused "profound culture shock".

McDonough attended Dartmouth College. After graduating, he worked on the Jordan River valley redevelopment project and lived in a Bedouin tent. He studied architecture at Yale University in the mid-1970s. To fund his college education, he worked as a chauffeur for Benny Goodman.

Career
McDonough founded an architectural practice in New York City in 1981. He moved his practice, William McDonough + Partners, to Charlottesville, Virginia in 1994 when he accepted the position of the dean of the School of Architecture at the University of Virginia. He served as dean until 1999 and has since been a professor of business administration and an alumni research professor.

McDonough centers his work on cradle-to-cradle design, a philosophy defined in his firm's 2002 book, Cradle to Cradle: Remaking the Way We Make Things. The goal of cradle-to-cradle design is to shift thinking from doing "less bad" to being "more good".

McDonough's architecture firm's designs are mostly categorized as green architecture or sustainable architecture, often using solar and passive energy efficiency techniques. This type of architecture is not known for its distinctive visual style but instead for minimizing the negative environmental impact of a building. McDonough says he aspires to design something like a tree, something that creates good, like oxygen, rather than minimizing negative impact.

McDonough co-founded the Make It Right Foundation with Brad Pitt to rebuild the Lower Ninth Ward in New Orleans in 2007. In 2008, McDonough was a senior advisor and Venture Partner at VantagePoint Capital Partners, one of the largest venture capital investors in clean technology.

On May 20, 2010, at Google's Googleplex, McDonough announced the launch of the Green Products Innovation Institute, a non-profit public/private collaboration which was later renamed the Cradle to Cradle Products Innovation Institute. Executives from Google, Walmart, YouTube, Shaw Inc., and Herman Miller Inc. joined McDonough for the announcement. Located in Charlottesville, Virginia, the institute builds on the 2008 California state law establishing the nation's first green chemistry program.

At the January 2014 World Economic Forum (WEF) annual meeting in Davos, Switzerland, McDonough led a workshop for CEOs that was centered around sustainable design, with an added focus on cradle-to-cradle, the upcycle, and the circular economy. Before the meeting, he participated in the organizing process in Geneva, when the WEF partnered with the United Nations to review climate change. McDonough was appointed chair of the forum's Meta-Council on Circular Economy in July 2014. He addressed the Arctic Circle China Forum in Shanghai in May 2019.

He is a senior fellow of the Design Futures Council. He is also the chief executive of McDonough Innovation, which provides consulting to global companies, organizations, and governments.

Projects
McDonough's first major commission was the Environmental Defense Fund (EDF) Headquarters in New York City in 1984. The EDF's requirement for good indoor air quality exposed McDonough to the importance of sustainable development. Since then, William McDonough + Partners has been responsible for numerous milestones in the sustainable movement, such as 901 Cherry Avenue in San Bruno, California, completed in 1997 for Gap, Inc.; it is now the headquarters for YouTube. The building features a 70000 sqft green roof that helps to prevent water runoff, insulates the building from noise, and provides a habitat for several species. It received the BusinessWeek/Architectural Record Design Award in 1998.

Other corporate projects include buildings for Gap Inc., Nike, and Herman Miller. The Herman Miller SQA factory in Michigan includes a series of manmade wetlands that process and purify the building’s stormwater. Set on 37 acre, the 295,000 sqft building is often called the GreenHouse.

He also received a commission for an environmental re-engineering of the River Rouge Plant for Ford Motor Company in Dearborn, Michigan. This project took twenty years and cost US$2 billion. The River Rouge Plant now includes the world's largest living roof; the 1,100,000 sqft roof is covered with more than 10 acre of sedum.

His Flow House, designed for the Make It Right Foundation in New Orleans in 2009, incorporates solar and other passive energy designs such as deep overhangs and multiple connections with exterior areas that allow for daylight and natural ventilation. It also has roof-mounted solar panels, water cisterns to harvest rainwater runoff, and rain gardens to absorb any storm runoff.

Dedicated in 2012, the NASA Ames Research Center's Sustainability Base was designed to harvest more energy than it needs to operate and cleanse its water.McDonough designed it to meet a conventional budget and tight timeline, be a test bed for NASA technologies, and exceed LEED Platinum metrics. The facility is designed to "learn"—and continuously improve—over time.

In 2014, McDonough and his firm developed a master plan for Park 20|20, the first large-scale urban development in the Netherlands to adopt the cradle-to-cradle philosophy.

Criticism
After being named one of Fast Company magazine's "Masters of Design" in 2004, the same magazine followed up in 2008 with a more critical look at McDonough entitled "Green Guru Gone Wrong." Interviewing many of McDonough's former colleagues, the magazine cited his failure to have any meaningful impact with his cradle-to-cradle program, his unsustainable suburban lifestyle, and his habit of misrepresenting his professional successes. It also noted that just 160 of his planned 30,000 products were green-certified, and that he trademarked the term "cradle-to-cradle" even though it was coined by Swiss architect Walter Stahel many years beforehand.

In 2008, McDonough's Huangbaiyu project was heavily covered by the press for its many design issues, including conflicts between Feng Shui and passive solar design standards, including garages although no villagers could afford cars, failing to provide space for grazing livestock, and building houses out of potentially unsafe compressed coal dust. In 2008, a PBS Frontline investigation found that McDonough's poor planning and execution of the Huangbaiyu project had doomed it to failure from the start.

Awards and honors
In 1996, McDonough became the first individual recipient of the Presidential Award for Sustainable Development. In 1999, Time called him "Hero for the Planet". In 2004, he received a National Design Award for environmental design from the Cooper Hewitt, Smithsonian Design Museum.

In 2013, Stanford University Libraries began the William McDonough "Living Archive". At the 2017 World Economic Forum in Davos, Switzerland, he received the Fortune Award for Circular Economy Leadership for his outstanding contribution to the development of a prosperous and sustainable economy.

Fortune named McDonough one of the World's 50 Greatest Leaders in 2019 in recognition of his contributions to the green building movement, being a leading proponent of the circular economy, and his efforts to redesign plastics. He was also profiled by Vanity Fair, Discover, and Time.

Publications

 * McDonough, William and Braungart, Michael. Cradle to Cradle: Remaking the Way We Make Things. North Point Press, 2002. ISBN 0-86547-587-3
 * McDonough, William and Braungart, Michael. The Upcycle: Beyond Sustainability - Designing for Abundance. North Point Press, 2013. ISBN 9780865477483
 * William McDonough. "Carbon Is Not the Enemy." Nature 539 (November 2016): 349–351.

title: William McDonough


text:
Wikipedia:Requests for adminship/Zzyzx11 2

Zzyzx11
final (37/1/0) ended 23:32 6 June 2005 (UTC)

Zzyzx11 put himself up as a self-nomination in late April. Concern at his immaturity as an editor, particularly his activities on WP:VFD at the time, caused me to oppose his nomination. But I decided to see that he got a second go as soon as possible, possibly in late May. Well here we are. Zzyzx11 tells me he took a WikiBreak, but one could be excused for missing that, because he's kept busily editing. He seems to have matured, as expected. I am happy to recommend him for promotion to administrator. Tony Sidaway|Talk 23:32, 31 May 2005 (UTC)

 * Link to self nomination, 26 April, 2005

 * Candidate please indicate acceptance of the nomination here

I accept. For your information, I took a Wikivacation due to Wikistress from 9 May 2005 to 21 May 2005. Details of that, including why I left and why I was seduced to come back are on the top of my user page -- including the self-imposed restrictions I put on myself. Afterwards, editing here on Wikipedia has become fun again. So I hope I can continue improving this site, and if you feel that giving me access to the admin tools would be helpful, please support me. Thanks. Zzyzx11 (Talk) 23:54, 31 May 2005 (UTC)

Support
 * 1) Support. As before, I support. — oo64eva (Alex) (U @  23:51, May 31, 2005 (UTC)
 * 2) Super Support I was going to nominate him myself in a few days. Howabout1 Talk to me!  00:15, 1 Jun 2005 (UTC)
 * 3) Mais certainement. Seems I would have been in a queue to nominate! Grutness...  wha?  00:28, 1 Jun 2005 (UTC)
 * 4) 100% Support, This users dedication and contributions are enough to demonstrate that he is an asset to Wiki and would make a great adminstrator. Tony the Marine (UTC)
 * 5) Support. Friendly, considerate, and diligent; I trust him to have good judgment as an admin. Mindspillage (spill yours?) 01:56, 1 Jun 2005 (UTC)
 * 6) Support. El_C 01:59, 1 Jun 2005 (UTC)
 * 7) Support. Wikipedia needs more inclusionist admins who abhor information loss. Klonimus 02:01, 1 Jun 2005 (UTC)
 * 8) Strong Support. I agree completely with every voter here. Linuxbeak | Talk | Desk 02:17, Jun 1, 2005 (UTC)
 * 9) Support. Yes! Phil s 05:35, 1 Jun 2005 (UTC)
 * 10) Cool. JuntungWu 05:54, 1 Jun 2005 (UTC)
 * 11) Support. Glad to see you back, and would be glad to see you an administrator. — Knowledge Seeker দ 06:12, 1 Jun 2005 (UTC)
 * 12) I certainly see no reason not to support a more mature Zzyzx11 when I supported him last time. Very strong candidate. Sjakkalle 06:13, 1 Jun 2005 (UTC)
 * 13) Support as in his previous RFA. jni 06:22, 1 Jun 2005 (UTC)
 * 14) Support. Ambi 07:02, 1 Jun 2005 (UTC)
 * 15) Support. My experience of this user has always been positive. Thryduulf 07:58, 1 Jun 2005 (UTC)
 * 16) Support. As I predicted, a month has moved me from a weak oppose to a straightforward support. Mel Etitis  ( Μελ Ετητης ) 08:33, 1 Jun 2005 (UTC)
 * 17) Support-gadfium 08:37, 1 Jun 2005 (UTC)
 * 18) Support, ditto. Radiant_* 11:28, Jun 1, 2005 (UTC)
 * 19) Support. --Kbdank71 13:55, 1 Jun 2005 (UTC)
 * 20) Support. — Xezbeth 15:51, Jun 1, 2005 (UTC)
 * 21) Support. I've worked with him in a limited capacity in regards to The Young and the Restless article and I was pleased, on the whole. Mike H 18:34, Jun 1, 2005 (UTC)
 * 22) support. as i said last time, "I hope that Zzyzx11 takes seriously the reasons people oppose this nomination, and I hope that Zzyzx11 can change his/her behavior accordingly." Kingturtle 18:41, 1 Jun 2005 (UTC)
 * 23) Support. JYolkowski // talk 20:36, 1 Jun 2005 (UTC)
 * 24) Support. --Scimitar 21:21, 1 Jun 2005 (UTC)
 * 25) Support. Rje 04:08, Jun 2, 2005 (UTC)
 * 26) David Gerard 16:19, 2 Jun 2005 (UTC)
 * 27) Support. Hedley 16:32, 2 Jun 2005 (UTC)
 * 28) Support - strong editor. Johntex 23:46, 2 Jun 2005 (UTC)
 * 29) Support--Duk 16:12, 3 Jun 2005 (UTC)
 * 30) Support. Fire Star 16:14, 3 Jun 2005 (UTC)
 * 31) Support--can't believe it took me this long to notice and jump on the bandwagon. Meelar (talk) 16:17, Jun 3, 2005 (UTC)
 * 32) Support. -- BD2412 talk 04:49, 2005 Jun 4 (UTC)
 * 33) Happy to Support. --khaosworks 16:50, Jun 5, 2005 (UTC)
 * 34) Support.-JCarriker 06:49, Jun 6, 2005 (UTC)
 * 35) Support. - Darwinek 14:46, 6 Jun 2005 (UTC)
 * 36) Support.. JuntungWu 15:38, 6 Jun 2005 (UTC)
 * 37) Andre ( talk ) 22:59, Jun 6, 2005 (UTC)

Oppose
 * 1) Oppose Does not meet my admin criterion. If you disagree and think that you do and would like me to reconsider, please leave a note on my userpage, jguk 19:13, 5 Jun 2005 (UTC)

Neutral

Comments
 * My previous RFA nomination ended with a 15/8/2 no consensus vote, primarily because many people felt I was a little too eager posting articles on VFD. Zzyzx11 (Talk) 23:54, 31 May 2005 (UTC)
 * I fail to understand the hurry to nominate someone so recently back from a wikistress break.  -- Rick Block (talk) 00:47, Jun 1, 2005 (UTC)
 * Seems like a good user; I'd like to know a little bit more about his views of the wiki-politics he condemns on his user page, though. Everyking 12:51, 1 Jun 2005 (UTC)
 * Good question and I don't think I elaborated more on that. The wiki-politics was one of the reasons I left on my wiki break. But after coming back I realised that it was foolish of me to get stressed out about it. After all, once you attract a large amount of users as WP has, there will be tons of different views on what should be done to the articles. Thus, since the wiki-politics is really inevitable, I decided to step back and not really get involved in the actually debate. If its clear that something violates or does not violate policy, I'll step in. But for heavily disputed issues or something that is in the grey area, I now would rather abstain and wait until some consensus is reached by others. I hope that explanation helps. Zzyzx11 (Talk) 17:53, 1 Jun 2005 (UTC)

Questions for the candidate

A few generic questions to provide guidance for voters:
 * 1. What sysop chores, if any, would you anticipate helping with? (Please read the page about administrators and the administrators' reading list.)
 * A. I would like to help out clearing out articles on VFD and those tagged as speedy. I would like to also work on the ever increasing load on CFD, TFD, and those on copyvio. And, I would like to also battle the increasing number of vandals with the Block tool, and quickly repair their damage with the Rollback tool.
 * Of course, I am having fun using CryptoDerk's Vandal Fighter software (which is an absolute 'must for every admin, wannabe admin, and RC patroller) and I think the admin tools would be a big help to me.
 * 2. Of your articles or contributions to Wikipedia, are there any about which you are particularly pleased, and why?
 * A. I sort of feel like the unofficial caretaker of the articles pertaining to the National Football League. I have contributed to many of those articles, I am the main contributor to the articles in Category:National Football League playoffs, and I created Template:Infobox SuperBowl and Template:NFL team.
 * 3. Have you been in any conflicts over editing in the past or do you feel other users have caused you stress? How have you dealt with it and will deal with it in the future?
 * A. As mentioned, I left from 9 May 2005 to 21 May 2005 due to stress dealing with highly debated articles and discussions, and vandals. When I was convinced to come back, I put self-imposed restrictions on myself such as:
 * I will not contribute to any article that is under dispute or has an ongoing POV or revert conflict. This includes all articles listed on RFC.
 * I will only vote on or post pages on VFD, TFD, CFD, etc. if it is fairly obvious that they either violate or pass Wikipedia's policies. I will leave the not so obvious ones and the heavily disputed ones to others.
 * If I makes changes to articles that are currently on VFD, I'll still make a note of it on the appropriate discussion page, but I will abstain from actually voting.
 * I will make an effort to be in contact more with the Wikipedians participating in the various WikiProjects, and refer to their expertise instead of users who really have no business whatsoever in making an opinion.
 * In summary, I have stepped back and started to behave more like an impartial judge or referee in heavily disputed issues -- which I think an admin should be during those situations.

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


text:
Talk:Walter Gwynn

Images
Are there any know photographs or paintings of Walter Gwynn? (RobertLunaIII (talk) 21:56, 1 April 2008 (UTC))

-- I looked around the Internet, but couldn't find anything. Florida's comptroller papers may have one or more; but I'll look at some NC records next time I can and see what I can come up with. Evets70 (talk)

title: Talk:Walter Gwynn


text: User talk:Tim Starlmg

title: User talk:Tim Starlmg


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Fukushima Masanori

Fukushima Masanori (福島 正則) was a Japanese daimyō of the late Sengoku period to early Edo period who served as lord of the Hiroshima Domain. A retainer of Toyotomi Hideyoshi, he fought in the Battle of Shizugatake in 1583, and soon became known as one of Seven Spears of Shizugatake which also included Katō Kiyomasa and others.

Biography

Fukushima Ichimatsu, was born in 1561, in Futatsudera, Kaitō, Owari Province (present-day Ama, Aichi Prefecture), the eldest son of barrel merchant Fukushima Masanobu. However, it is also said that his father, Masanobu, was his father-in-law. In the latter case, his father is believed to have been cooper Hoshino Narimasa from Kiyosu, Kasugai, Owari Province (present-day Kiyosu, Aichi Prefecture). His mother was the younger sister of Toyotomi Hideyoshi's mother, making Hideyoshi his first cousin.

As a young man, he served as a page (koshō) of Hideyoshi through their mothers' relation.

He first engaged in battle at the assault on Miki Castle in 1578-1580 at Harima Province, and following the Battle of Yamazaki in 1582, he was granted a 500 koku stipend.

At the Battle of Shizugatake in 1583, he defeated Haigo Gozaemon, a prominent samurai. Masanori (Tenshō 11) had the honor of taking the first head, namely that of the enemy general Ogasato Ieyoshi, receiving a 5000 koku increase in his stipend for this distinction (the other six "Spears" each received 3000 Koku), he married with Omasa.

Masanori took part in many of Hideyoshi's campaigns; it was after the Kyūshū Expedition in 1587, however, that he was made a daimyō. Receiving the fief of Imabari in Iyo Province, his income was rated at 110,000 koku. Soon after, he took part in the Korean Campaign. Masanori was to once again receive distinction when he took Ch'ongju in 1592. Following his involvement in the Korean campaign, Masanori was involved in the pursuit of Toyotomi Hidetsugu.

In 1595, Masanori led 10,000 men, surrounded Seiganji temple on Mount Kōya, and waited until Hidetsugu had committed suicide. With Hidetsugu dead, Masanori received a 90,000 koku increase in stipend, and received Hidetsugu's former fief of Kiyosu, in Owari Province as well.

Conflict with Ishida Mitsunari
According to popular theory In 1598 after the death of Toyotomi Hideyoshi, the government of Japan have an accident when seven military generals consisted of Fukushima Masanori, Katō Kiyomasa, Ikeda Terumasa, Hosokawa Tadaoki, Asano Yoshinaga, Katō Yoshiaki, and Kuroda Nagamasa planned a conspiracy to kill Ishida Mitsunari. It was said that the reason of this conspiracy was dissatisfaction of those generals towards Mitsunari as he wrote bad assessments and underreported the achievements of those generals during the Imjin war against Korea & Chinese empire. At first, these generals gathered at Kiyomasa's mansion in Osaka Castle, and from there they moved into Mitsunari's mansion. However, Mitsunari learned of this through a report from a servant of Toyotomi Hideyori named Jiemon Kuwajima, and fled to Satake Yoshinobu's mansion together with Shima Sakon and others to hide. When the seven generals found out that Mitsunari was not in the mansion, they searched the mansions of various feudal lords in Osaka Castle, and Kato's army also approached the Satake residence. Therefore, Mitsunari and his party escaped from the Satake residence and barricaded themselves at Fushimi Castle. The next day, the seven generals surrounded Fushimi Castle with their soldiers as they knew Mitsunari was hiding there. Tokugawa Ieyasu, who was in charge of political affairs in Fushimi Castle trying to arbitrate the situation. The seven generals requested Ieyasu to hand over Mitsunari, which refused by Ieyasu. Ieyasu then negotiated the promised to let Mitsunari retire and to review the assessment of the Battle of Ulsan Castle in Korea which became the major source of this incident, and had his second son, Yūki Hideyasu, to escort Mitsunari to Sawayama Castle.

However, historian Watanabe Daimon stated from the primary and secondary sources text about the accident this was more of legal conflict between those generals with Mitsunari, rather than conspiracy to murder him. The role of Ieyasu here was not to physically protect Mitsunari from any physical harm from them, but to mediate the complaints of those generals.

Nevertheless, historians viewed this incident not just as simply personal problems between those seven generals and Mitsunari, but rather as an extension of the political rivalries of greater scope between the Tokugawa faction and the anti-Tokugawa faction led by Mitsunari. Since this incident, those military figures who were on bad terms with Mitsunari would later support Ieyasu during the conflict of Sekigahara between the Eastern army led by Tokugawa Ieyasu and the Western army led by Ishida Mitsunari. Muramatsu Shunkichi, writer of "The Surprising Colors and Desires of the Heroes of Japanese History and violent womens”, gave his assessment that the reason of Mitsunari failure in his war against Ieyasu was due to his unpopularity among the major political figures of that time.

Campaign of Sekigahara

In 1600 August 21, The Eastern army alliance which sided with Ieyasu Tokugawa attacked Takegahana castle which defended by Oda Hidenobu, who sides with Mitsunari faction. They split themselves into two groups, where 18,000 soldiers led by Ikeda Terumasa and Asano Yoshinaga went to the river crossing, while 16,000 soldiers led by Masanori, Ii Naomasa, Hosokawa Tadaoki, Kyogoku Kochi, Kuroda Nagamasa, Katō Yoshiaki, Tōdō Takatora, Tanaka Yoshimasa, and Honda Tadakatsu went downstream at Ichinomiya. The first group led by Terumasa crossed the Kiso River and engaged in a battle at Yoneno, causing the Hidenobu army routed. On the other hand, Takegahana castle were reinforced by a Western army faction's general named Sugiura Shigekatsu. The Eastern army led by Naomasa and Fukushima crossed the river and directly attacked Takegahana Castle at 9:00 AM on the August 22nd. Shigekatsu himself setting the castle on fire and committed suicide as a final act of defiance.

On September 29, Masanori, Ii Naomasa and Honda Tadakatsu led their army to rendezvous with Ikeda Terumasa army, where they engaged Oda Hidenobu army in the Battle of Gifu Castle against Oda Hidenobu of the Ishida Mitsunari Western army. In this battle, Hidenobu castle were deprived the expected support from Ishikawa Sadakiyo (石川貞清), who decided to not help the Western army in this war after he made an agreement with Naomasa. Hidenobu was prepared to commit seppuku, but was persuaded by Ikeda Terumasa and others to surrender to the eastern forces, and the Gifu Castle fell.

In October 21 At the main battle of Sekigahara, Masanori sided with Tokugawa Ieyasu 'Eastern army' at the Battle of Sekigahara. He was the leader of the Tokugawa advance guard. He started the battle, and charged north from the Eastern Army's left flank along the Fuji River, attacking the Western Army's right center. Masanori's troops fought against Ukita Hideie's army in what is said to have been one of the bloodiest confrontations in the battle. Ukita's troops were winning the battle, pushing back Masanori's army. However, Kobayakawa Hideaki changed sides to support the Eastern army, and later, Masanori's army started winning the fight and the Eastern Army won the battle.

After Sekigahara, Masanori ensured the survival of his domain. Although he later lost his holdings, his descendants became hatamoto in the service of the Tokugawa shōgun.

Forfeit of titles
Shortly after the death of Ieyasu in 1619, Masanori was accused of breaching Buke Shohatto by repairing a small part of the Hiroshima Castle, which was damaged during the flood caused by a typhoon, without receiving permission. Although Masanori applied for permission two months before, he had not received it officially from the bakufu. It is said that he repaired only the leaky part of the building out of necessity. Although this case was settled down on the condition that Masanori, who was in attendance for his duty in Edo, would apologize and remove the repaired parts of the castle, the bakufu again accused him of insufficient removal of the repaired parts, and as a result, his territories in Aki and Bingo Provinces worth 500,000 koku were confiscated; instead he was given Takaino Domain, one of 4 counties in Kawanakajima, Shinano Province and Uonuma County, Echigo Province worth 45,000 koku.

Nihongo spear
Nihongo spear (or Nippongo) (日本号): A famous spear that was once used in the Imperial Palace. This is one of The Three Great Spears of Japan. Nihongo later found its way into the possession of Fukushima Masanori, and then Tahei Mori. It is now at the Fukuoka City Museum where it was restored.

In popular culture
Fukushima Masanori is featured in Koei's video games Kessen, Kessen III, Samurai Warriors, and as a non-playable character in Samurai Warriors 3. He is a playable character in the third installment's expansions, Samurai Warriors 3 Z and Samurai Warriors 3: Xtreme Legends, and in the fourth installment, Samurai Warriors 4 and its subsequent expansions. He is a playable character in Pokémon Conquest (Pokémon + Nobunaga's Ambition in Japan), with his partner Pokémon being Krokorok and Krookodile.

He is mentioned in the movie Harakiri (1962). In the movie his fictional retainer Tsugumo Hanshiro is the protagonist.

Tachi
Fukushima Masanori's tachi is valued 105 million dollars, and was called "the most expensive sword in the world". It is now in the Tamoikin Art Fund.

title: Fukushima Masanori


text:
Trial by Fire (Journey album)

Trial by Fire is the tenth studio album by American rock band Journey. Released on October 22, 1996, the album marked the reunion of the classic 1981–1985 lineup, which had not recorded together since 1983's Frontiers. Trial by Fire was produced by Kevin Shirley, who continues to produce the band's albums. It is the first album to feature bassist Ross Valory and drummer Steve Smith since Frontiers and the last to feature Smith and vocalist Steve Perry.

Trial by Fire includes the Top 20 hit and Grammy nominated single "When You Love a Woman", which reached No. 12 and No. 1 on the Billboard Hot 100 and Adult Contemporary charts respectively. "Message of Love", "Can't Tame the Lion" and "If He Should Break Your Heart" were released as singles and received radio airplay.

The album reflected a growing maturity with the members of Journey and could be loosely termed a concept album with many tracks reflecting a more overt spirituality in lyrical content. The title track, for example, is taken directly from Paul's Second Epistle to the Corinthians.

Trial by Fire is Journey's only album to not be accompanied by a supporting tour. That was due to internal disputes over a tour (originally scheduled for the summer and fall of 1997), as a result of Perry's hip injury as he was unsure about getting the necessary surgery. The band ultimately gave him the choice of either getting the surgery or being replaced with a new lead vocalist, resulting in his departure. Drummer Steve Smith also quit citing that the band without Perry did not interest him; he would subsequently return in 2015, but was dismissed from the band again in 2020.

On November 9, 1996, the album entered at No. 3 on the Billboard 200 and was eventually certified platinum in the United States by the RIAA. The band did not receive another platinum award until Revelation in 2008.

Background
Trial by Fire was Journey's first studio album in ten years, following Raised on Radio in 1986 and the band's subsequent split. Neal Schon and Jonathan Cain had formed supergroup Bad English and released albums in 1989 and 1991, while singer Steve Perry released his second solo album, For the Love of Strange Medicine (1994). While on a solo tour in 1994, it became apparent to Perry that "underneath it all, I was missing more and more being the singer in Journey than I ever thought I would." When A&R executive John Kalodner of Columbia Records suggested the band reform, Cain, Perry, and Schon began writing together. According to Perry, they wanted to "see if we had the spark to write again" instead of simply reforming for a comeback tour. "I was invited – and quickly uninvited," recalled Gregg Rolie, who had left in 1980.

Perry said the band did not try to reinvent themselves on the album: "Nothing sounds more pretentious than someone being something they're not. One of the things we've always known is that there are certain musical directions that fit what [our] chemistry is about. We're going to sink or swim being what we are and not by trying to reinvent ourselves and not by trying to be the flavor of the month."

Personnel
Journey
 * Steve Perry – lead vocals
 * Neal Schon – guitars, backing vocals
 * Jonathan Cain – keyboards, piano, backing vocals, additional acoustic guitars, engineer
 * Ross Valory – bass guitar, backing vocals
 * Steve Smith – drums

Additional musicians
 * Paulinho da Costa – percussion
 * Scott Pinkerton – programming
 * David Campbell – string arrangements

Production
 * Kevin Shirley – producer, engineer, mixing
 * George Massenburg – engineer, mixing
 * John Hurlbut, Bob Levy – engineers
 * George Marino – mastering
 * John Kalodner – A&R

title: Trial by Fire (Journey album)


text:
User talk:DSG~enwiki

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called DSG. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name DSG~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:17, 19 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 11:51, 22 April 2015 (UTC)

title: User talk:DSG~enwiki


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Wikipedia:Articles for deletion/Kieron Harvey

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Mindspillage (spill yours?) 05:07, 15 Jun 2005 (UTC)

Kieron Harvey
Reality show contestant. Non-notable.--Nabla 23:35, 2005 May 31 (UTC) Well I am the creator of this article, I don't know what you mean because Science from Big Brother might be famous in future, like most other people from Big Brother or something but if you want to delete it it's fine by me. I just made the article because I was bored really. WhatPotato? 18:31, 1 Jun 2005
 * Delete - ah the smell of vanity in the morning... except it's not morning. -- BD2412 talk 23:54, 2005 May 31 (UTC)
 * Delete Well it's a.m. here - but this doesn't smell better. His 15 min of fame is currently running its course - soon gone. Mind you if he were really currently in 2006 that would be notable! --Doc (?) 00:48, 1 Jun 2005 (UTC)
 * Delete non notable. JamesBurns 10:15, 2 Jun 2005 (UTC)
 * Delete - none of the housemates should have articles yet. They're not guaranteed to be famous, and the article won't be worthwhile. If any of them make a lasting impact on society (doubtable) the article is worthwhile. Cuahl 03:10, 12 Jun 2005 (UTC)
 * Also delete the Roberto article too. Cuahl 03:20, 12 Jun 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


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Talk:Prince George, British Columbia

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[[Mr. PG]] - Separate article?
Someone should think about making a separate article for this fellow. I was surprised there wasn't one. For the time being, I will create a redirect here: Mr. PG.--Darryl Kerrigan (talk) 18:13, 1 May 2020 (UTC)
 * Well, I have made it a stand alone article. It may be appropriate to pair down the details about Mr. PG here, and devote more of the Monuments and art installations section to others.--Darryl Kerrigan (talk) 21:58, 1 May 2020 (UTC)

Notable People
I wonder whether Charles Vance Millar ought not to be added to the list of notable people. I don't think he ever lived in Prince George, but he was responsible for an important early development, still known as the Millar Addition. I can't find criteria for inclusion in such sections anywhere. Would this be appropriate or are such lists only supposed to include residents?Bill (talk) 05:44, 22 May 2022 (UTC)

 * I think that would be in "History".
 * Leuchar55 (talk) 23:20, 15 April 2024 (UTC)

title: Talk:Prince George, British Columbia


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Brian Wilson (album)

Brian Wilson is the first solo album by American musician Brian Wilson of the Beach Boys, released July 12, 1988 by Sire and Reprise Records. Promoted as a spiritual successor to his band's 1966 release Pet Sounds, the album is characterized for its rich, synthesizer-heavy orchestrations. It cost over $1 million to record and was the first album produced by Wilson since The Beach Boys Love You (1977). His former psychologist, Eugene Landy, was credited as "executive producer".

The album was recorded over the course of a year across 11 studios. It was written and produced mainly by Wilson, Landy, and Sire staff producers Andy Paley and Russ Titelman. Landy was a constant disruptive presence, and creative differences between him and the rest of the production team occurred throughout the album's making. The record includes the eight-minute closing track "Rio Grande", which saw Wilson revisiting a more experimental approach in the form of an Old West-themed suite. Among the album's guest contributors were Nick Laird-Clowes, Jeff Lynne, Elliot Easton, Philippe Saisse, Christopher Cross, and Terence Trent D'Arby. Two singles were issued: "Love and Mercy" and "Melt Away".

Brian Wilson was critically acclaimed but sold moderately, reaching number 54 in the U.S. and failing to chart in the UK. The LP's release was largely overshadowed by the controversy surrounding Landy's therapeutic practice and the success of the Beach Boys' "Kokomo", released the same month. In later years, detractors have criticized the album's reliance on synthesizers and drum machines. A follow-up, Sweet Insanity, was co-produced with Landy but never officially released. Wilson continued recording with Paley after disassociating from Landy in 1991, but did not release another solo album consisting of new original material until Imagination (1998).

Background
Wilson stated in a 1976 interview that he had considered the Beach Boys' albums Pet Sounds (1966) and Friends (1968) to be his first solo albums. Officially, he had one solo record to his name, the 1966 single "Caroline, No", which had sold poorly. In the mid-1970s, he had approached Warner Bros. Records about producing a solo album, but it never happened, ostensibly because he had rejected the company's proposed budget. His last released production effort was the 1977 album The Beach Boys Love You, which, despite being credited to the Beach Boys, was recorded and performed almost entirely by Wilson alone. During the recording of Love You, in December 1976, Wilson told a journalist that he had desired a solo career, but feared that "it would split the group up too much". He stated in a 1988 interview that he "should have" recorded a true solo album long ago, but had lacked "the confidence or the discipline".

From 1977 to 1982, Wilson entered a period of regression marked by overeating, drug abuse, erratic behavior, and at least one extended stay at a psychiatric facility. The group's efforts to keep Wilson at the production helm were unsuccessful, and at the end of 1982, his family, bandmates, and management prevailed upon him to volunteer back into psychologist Eugene Landy's "24-hours-a-day" therapy program. In short time, Landy's role extended to being Wilson's creative and financial partner. As his recovery consolidated, Wilson actively participated in the recording of his band's self-titled 1985 album The Beach Boys, produced by Steve Levine. Following this, Wilson, under Landy's auspices, stopped working with his bandmates on a regular basis in order to focus on launching a solo career. According to Landy, this was because Wilson's bandmates "didn't appreciate his gift nor were they able to see that he was back and once again able to take over."

At the suggestion of biographer David Leaf, in May 1986, Landy agreed to let Wilson's early songwriting partner Gary Usher collaborate on Wilson's planned solo album. Wilson and Usher subsequently wrote and recorded demos at Usher's studio, producing a collection of recordings that came to be known as "the Wilson Project". They recorded about a dozen songs in varying stages of completion, most of which remain unreleased. Due to Landy's persistent interference, which often involved revising the lyrics of their songs, the project was abandoned after June 1987.

In January 1987, Sire Records president Seymour Stein invited Wilson to act as a presenter for Leiber and Stoller's induction into the Rock and Roll Hall of Fame. Impressed by Wilson's healthier demeanor and his onstage a cappella rendition of "On Broadway", Stein met with Wilson during the ceremonial dinner and offered him a two-album solo deal. Several weeks later, they reconvened at Wilson's Malibu home, where Stein was played "about sixty" of Wilson's new songs and decided on eighteen to record. One of Stein's stipulations was to assign his own choice of co-producer for Wilson, and in turn, Landy negotiated to be allowed an "executive producer" credit. Stein recruited staff producer Andy Paley, a Boston-based multi-instrumentalist and Beach Boys fanatic who had previously produced albums for Jonathan Richman. Paley and Wilson immediately went to work.

Collaborators

Paley, as he himself described, was assigned to the project "to kick [Brian] in the ass and get him going", as well as to evaluate material for Stein and Lenny Waronker, the latter of whom being the president of Sire's distributor, Warner Bros. Records. As was typical for Wilson's previous collaborators – namely, Tony Asher and Van Dyke Parks – Paley usually met Wilson at his home and spent time together chatting or doing some other activity for inspiration before working on songs. They were not composing together until, Paley said, "Brian realized I could play a number of instruments, [after which] we started jamming and then writing music together to flesh out the songs."

Wilson recalled that, between 1982 and 1986, he had been unusually prolific as a songwriter and composed at his piano at least once a day. "We had 130 songs, then weeded it down to 20. We recorded 18 of those and chose 11 out of the 18". He and Paley trawled through three briefcases filled with tapes containing nearly 170 mostly unrecorded songs he had written. By Paley's account, there was "great stuff", but also many songs that he termed "hamburger songs" in reference to stories about Dennis Wilson, in the early 1980s, enticing Brian to write songs with McDonald's hamburgers. Paley said, "I could tell Brian if he was repeating himself in any of his stuff by incorporating some tiny thing from an obscure old tune. I kept him honest with himself as well as looking forward." In turn, Wilson said of Paley, "He's a real swift guy. Real fast. A very brainy guy. He puts a lot behind it, let's put it that way. He's a scary guy when you get right down to it."

Other producers, including Waronker and Russ Titelman, were soon involved. Both of them had worked with Wilson in the past; in Titelman's case, he and Wilson had written the songs "Sherry She Needs Me" and "Guess I'm Dumb" in the mid-1960s before becoming a staff producer at Warner Bros. According to Titelman, he got involved with the project after several months had passed and Wilson and Paley had produced only six "sloppy sketches" of incomplete songs. He said that Wilson "used to be a benevolent dictator in the studio; now, his ideas are great, but he needs someone to help organize those ideas." Waronker stated, "Each song had moments, but they needed help. But Brian had all the inspiration. All Russ did was make it stand up, make it be a record."

Waronker had been the Beach Boys' A&R representative at Warner–Reprise. In the words of biographer Mark Dillon, the project was "so important to Sire" that Waronker got "hands-on". He implored Wilson to produce something akin to the extended, modular recording style that he had adopted with Smile in the late 1960s. Waronker recalled, "I told Seymour that to not have Brian do one of the more experimental things he used to do before he went into hibernation would be, well, ridiculous." However, Wilson had formed an aversion to this approach due to the fact that his personal decline in the late 1960s and early 1970s had coincided with the "diminishing commercial reception" to his more experimental recording output. Waronker had initially envisioned the album as "a new age record [with] a bunch of things like 'Cool, Cool Water". Instead of forming the entire album around such a concept, they compromised with just one song of an extended length, "Rio Grande", the only track on the album whose recording Waronker personally attended.

The album featured a host of guest appearances from acts including the Cars' guitarist Elliot Easton, jazz keyboardist Philippe Saisse, singers Christopher Cross and Terence Trent D'Arby, among others. Following the release, some writers and fan publications implied that Wilson's songs were ghostwritten by the other producers and musicians, or that he was forced into writing the songs. In response to such accusations, Paley stated that the listed credits were indeed inaccurate, and that "there were a lot of people helping on that record", but that his and Wilson's writing was in no way contrived. Paley added, "the guy is always writing songs anyway, it's not like someone has to tell him to do it."

Session difficulties and credits discrepancies
Landy and his aides (nicknamed the "Surf Nazis") were a constant disruptive presence, and creative differences between him and the rest of the production team occurred throughout the album's making. His assistant, Kevin Leslie, watched over Wilson at all times in the studio, while Landy himself regularly phoned to check on what track they were recording and to instruct Wilson to work on something else. Landy would also frequently confiscate the master tapes once a day's work had been finished. Stein, who characterized the album's recording as "hell on earth", said that Landy would then send back the wrong master tapes, "just to drive Russ crazy".

Titelman said of Landy, "He kept Brian off guard all the time [...] interrupting the creative flow and it was unbelievably frustrating. I started to go out of my mind. It was so chaotic and unpleasant that it became rather untenable." Landy acknowledged, "Titelman and I were always nose to nose, pushing, pushing, pushing. Russ Titelman is not my favorite person. But I must give him his honest due. [...] Russ has to be congratulated for having the balls to stand up to Brian and Dr. Landy [sic]."

Biographer Peter Ames Carlin reported that Landy's meetings with Stein, Waronker, and Titelman had often "devolved into screaming matches". During the vocal sessions to one song, one of Landy's aides bribed Wilson with a milkshake in exchange for him to sing alternate lyrics written by Landy and his girlfriend, Alexandra Morgan. The team stopped communicating through the studio intercom system after it was discovered that Landy's aides were using it to eavesdrop on sessions from another room. Paley remarked, "Anything good we got out of those sessions was done totally on stolen time."

Paley indicated that the official writing and production credits for Brian Wilson are inaccurate. Near the album's release, Landy had fought to be awarded songwriting credits on certain tracks while removing songwriting and production credits from others. According to Paley, the musician, writing, and production credits became "all inaccurate", and he himself remains uncredited for several of the album's tracks.

Recording
Brian Wilson was largely recorded at Ground Control Studios in Santa Monica from April to late spring 1987. After Titelman was recruited in June, the album was essentially completed by December. The sessions were held across eleven studios in Los Angeles, New York, Honolulu, and Boston. Mark Linett was recruited as engineer, a role he ultimately kept for Wilson's solo records through the present day.

Critic David Fricke noted that "the rich, expansive arrangements echo the orchestral radiance of Wilson's spiritual mentor, Phil Spector." Synthesizers are a major presence on the album, with Wilson employing samples, sound effects, keyboards, and percussion. Wilson said of his recording process, "I would overdub, I'd play all the keyboard stuff, and then I'd have my right hand, my assistant producer Andy Paley, play the guitar, and bass, and drums–he can play four instruments, piano too. Which is great." Programmer Michael Bernard was closely involved with some of the tracks. Bernard recalled, "The way [Brian] would go about layering things, his choice of sounds and instrument was different from what I was used to, but it was really interesting to watch him work. Most people put down drums, bass and chords first, but Brian might go from the drums to horns to strings to a lead vocal."

Production costs were reported to exceed $1 million (equivalent to $ in ). However, it is unclear if that figure is truly accurate; in a contemporary article, Wilson mentioned that the cost was $800,000, while Paley cited $1 million. Waronker disputed both of those figures, saying that $1 million was "a tremendous overstatement". Titelman blamed the overages on Landy's unusual practices. Writing in his Beach Boys biography, Timothy White states that "Landy would change studios every few weeks so Brian would not, in the words of one production staff member, 'form any lasting new professional relationships.'"

After an extended Christmas holiday, the album was mixed by engineer Hugh Padgham of Peter Gabriel and the Police fame. Landy then remixed the work, although Titelman stated that Waronker prevented Landy from making significant alterations, adding "It pretty much sounds the way the original mix sounded." White reports that a discarded remix, arranged by Landy, had been "heavily accented by strings and other intensely lush touches à la Murry Wilson". Brian Wilson took over a year to record – four times the span of time it took to record Pet Sounds.

"Love and Mercy"
"Love and Mercy", "an anthem about love and compassion", was inspired by the 1965 song "What the World Needs Now Is Love". Wilson referred to the song as "probably the most spiritual" he had ever written. He explained that the song "has a lot of intrinsic meaning in my personal life", because when he took LSD in the 1960s, he "developed a Jesus Christ complex", and "this song probably best exemplifies the Christ that's in me. The part that wants to give love to people".

"Walkin' the Line"
"Walkin' the Line" is the only track from the Wilson Project that made it onto Brian Wilson. Wilson said that the song was built around an old bass line he had composed, and that the lyrics are about how he is "always walking over thin ice, could fall through at any minute. I tread lightly on everything I do, 'Walk The Line' so to speak. Not all the time, but it is one of my subtheme songs of my whole life, [but] it’s not a serious song." Carlin describes it as "stompingly rhythmic" and "another of Brian's deceptively autobiographical songs, combining the percussive sound of footsteps, drums, sleigh bells, synth bass, synthesizer, electric guitars, and three layers of interlocking voices into a description of his own impossibly rigid life".

Landy said the lyrics describe "walking the line between sanity and insanity, walking the line between wanting to talk to this girl and being too scared to." Waronker had invited Nick Laird-Clowes, singer and guitarist of the Dream Academy, to work with Wilson on the album, but Laird-Clowes' contributions were ultimately limited to modifying the verse melody of "Walkin' the Line".

"Melt Away"
"Melt Away", according to Wilson, is "about the identity crisis I have in my life – the way I see myself and the ‘me’ that everybody thinks I am." The couplet "I feel just like an island / until I see you smilin'" was improvised by Wilson during the vocal session after Titelman had asked for a lyric revision to the song. Paley felt that the line is a highlight: "He was under pressure, but what he came up with was just such a beautiful, cool twist."

The track recalls elements of the Pet Sounds track "God Only Knows". Carlin explained that both songs contain sleigh bells and "percussive blasts of snare", however, "Melt Away" blends it "into an entirely different feeling, with words that emphasized the scars of experience while the interweaving paths of the bass and melody conspired with the billowing ooohs and aaahs to describe the soothing balm of love."

"Baby Let Your Hair Grow Long"
"Baby Let Your Hair Grow Long" is a spiritual sequel to Wilson's "Caroline, No" that implores a woman to regain her innocence by growing out her hair. Wilson called it a "romantic sexual song", explaining that he had intended for it to be a love song, "but then I put in a couple of sexual lines." Asked if he was singing to the same woman as in "Caroline, No", Wilson responded, "No, it’s still the same mood. That mood is sexual."

Regarding the lyric "I can't wait to see that change in you / You can do it just the way you used to do", Carlin notes that Wilson sings the line in falsetto, "just the way he used to do". Biographer David Leaf surmised that the line may have been inspired by "an old friend urging Brian to pick up his Fender bass, to 'do it the way you used to do.'"

"Little Children"
"Little Children" was originally demoed during the sessions for The Beach Boys Love You in 1976. Wilson said that the song is "about how little children are marching along" and that it has "a playful sound to it, a background track of a youthful nature." He goes on to say that he had intended for the song to convince listeners that "little kids are really cool .. there’s no responsibility when you’re a kid, and I admire the freedom from responsibility that kids have. I’m jealous of it … That track was done as an attempt to make people feel younger."

According to Carlin, "Little Children" is a "calliope-like dash through Brian's dreamy/nightmarish reflections on childhood." Fricke referred to the track as having a "bright, Spectoresque sparkle" likely influenced by "Da Doo Ron Ron" (1964) and "Mountain of Love" (1960).

"One for the Boys"

"One for the Boys", originally titled "There We Were", is an a capella piece that was named as a gesture toward Wilson's bandmates. Asked for his "intent" behind the piece, Wilson responded, "The intent was to bring a kind of harmonic beauty to it [...] to change it right in the middle of the album. To bring about a change of vibration. A change of sound. A prettier sound. Something more beautiful."" On another occasion, he called the piece "a love song that has feminine characteristics", as well as "the feminine side of me". Paley stated that he composed the "little movements in the middle" but his contributions were not honored with a writing credit.

"There's So Many"
"There's So Many" has a similar celestial/romantic-themed focus as Wilson's "Solar System" from The Beach Boys Love You. He described the song as "about this guy who has a lot of different girls he could think of [...] You wonder why you lose a girl and two months later you're with another girl and his girl got mad at you. And the guy gets all fucked up about it, and he winds up with an ego problem over it."

Wilson felt that the "planets are spinning around" portion of the song was "probably the most spiritual part of the whole album". Titelman remembered that after Wilson had overdubbed the backing vocals, "He leaned over to me and said, 'Yeah, who needs the fuckin' Beach Boys!'" Bernard said, "On 'There's So Many,' the part where Brian sings 'The planets are spinning around.' He asked me 'What kind of sound could we put there to give you the feeling that the planets really are spinning around?' We came up with this light chime which sounds almost like a windchime; it gives a motion effect to the song when you hear it."

"Night Time"
"Night Time" is a rock song. Wilson told a journalist in 1987 that he had considered titling the album Nighttime, "which has always been the time of day I like best." Paley stated that the song was a "50:50 collaboration" in which he wrote the verse and Wilson wrote the chorus.

"Let It Shine"

"Let It Shine" was written with Jeff Lynne, co-founder of the Electric Light Orchestra. Wilson stated that his main writing contribution to the song was the intro and some of the lyrics. According to biographers Andrew Doe and John Tobler, Wilson "allegedly intensely disliked the track". Carlin bemoaned that Lynne "dominated" the song so much that "it sounded more like an Electric Light Orchestra outtake than a new Brian Wilson tune."

In a 2015 interview, Lynne explained, "I hadn't known him at all, but Brian asked me if I wanted to write a song and produce it with him. 'Yes, please – I’d love to.' [...] Despite our production backgrounds, there wasn’t a lot on it actually. It’s a nice tight-sounding record. Lynne devised a bass line, he said, "which went from the highest letter on the grid right down to the bottom E or A string, and [Brian] walked in while I was doing it. He stared at me and said, 'That's the longest goddam bass string I’ve ever seen!' I was quite pleased with that!"

"Meet Me in My Dreams Tonight"
"Meet Me in My Dreams Tonight" was co-credited to Andy Dean, one of Paley's acquaintances, although this credit elicited confusion from Paley, who called it another "50:50 collaboration" between himself and Wilson. Wilson supported, "Andy Paley and I wrote that one. It's a very special tune. It;s about a dream lover, a similar idea to the Bobby Darin song. It's about a guy and a girl who love each other on a certain level that’s higher than real life. A fantasy song … We wanted to get the sound like 'Sweet Talkin' Guy,' that kind of '60s feeling in a record in the '80s."

Landy wrote an alternate lyric to the song that mentioned a "love attack", and commanded Wilson to record a vocal with those lyrics, but it was ultimately discarded. According to Carlin, "Landy had forbidden the engineers from even mixing the original 'Meet Me in My Dreams,' but when he flew to Hawaii one morning for a vacation, they lured the day's bodyguard out of the studio for a Ping-Pong game, mixing the original lyrics into the tune when he was down the hall. Once that version made the rounds of the executives at Sire, Landy's 'love attack' was never heard from again."

"Rio Grande"
"Rio Grande" is an eight-minute long Old West-themed suite, written by Wilson and Paley, that was inspired by the films Red River (1948) and Rio Grande (1950). It presents a series of episodic music segments meant to illustrate a trip across an American frontier. According to Paley, "Brian was really into writing this as a survival thing, the idea of a little man against the big men and making it on your own … the misunderstandings that must have happened between travelers on the same trail and how scary that must have been."

Wilson's favorite part of the song was the "Take Me Home" section. He explained that the narrator of the song "has so many obstacles that he just wants to go home. He wants to run away from all that stuff and go back to his home, wherever that might be, [like] in the sky. That’s symbolism, right? God cannot be conceived of, so therefore we give him a literal meaning that he’s in the sky, so that people can understand what is being said."

The piece is the result of Waronker's efforts to get Wilson to produce something more experimental. Waronker remembered “literally begging him to forget the pop ditties and ‘song’ songs. There were different times I talked to Brian about this. Brian would say ‘OK,’ and he would have a concept, like 'California,' but when he played it for me, it always ended up being a conventional song.” Landy acknowledged, "'Rio Grande' is 20% of the album, and it isn't something you can dance to. Lenny should be congratulated for pushing Brian in that direction."

Non-album singles and unreleased songs
"Let's Go to Heaven in My Car", co-written with Usher, was issued as a single and appeared on the soundtrack of the film Police Academy 4 in March 1987. "Doin' Time on Planet Earth" was written for the 1988 film of the same name, but the song was rejected; and subsequently issued as a B-side under the title "Being with the One You Love".

"He Couldn't Get His Old Body to Move" was co-written and co-produced by Lindsey Buckingham, but ultimately relegated as the B-side to the "Love and Mercy" single. Wilson called it "an exercise message song [...] all about how you can exercise because you can stay alive longer and how you should move around instead of sitting in a chair feeling hypnotized." Landy said that the song "came out of [Brian] sending me tapes about how you’ve got to get your body to move" at a time when Wilson could only communicate to him via recorded cassette tapes. "Too Much Sugar", the B-side of "Let's Go to Heaven in My Car", is another song that was based around the idea of physical health. Wilson remarked that the two songs were "way ahead of their time, lyrically. You would think people would write more about health."

All four outtakes mentioned above were included as bonus tracks on the album's 2000 CD reissue. John Sebastian was tapped to co-write a song with Wilson, but it was never completed due to a lyrical dispute from Landy and Morgan. "Terri, She Needs Me", co-produced by Titelman, was similarly left unfinished due to Landy's interference. "Let's Do It Again" was described by Wilson as "a semi-commercial kind of song, a nowadays kind of song". It was included on an early assembly of the album. In 2021, "Terri, She Needs Me", "Let's Do It Again", "So Long" (also known as "Angel"), and "I Feel This Love" were released as free downloadable tracks on Wilson's website.

Other still-unreleased recordings from the album's sessions include "Heavenly Lover", "Love Ya", "Saturday Evening in the City", "Tiger's Eye", and "Hotter". "Heavenly Lover" originated as an unused section of "Rio Grande". "Tiger's Eye", according to Paley, is "about a guy who's worried about his girlfriend in the jungle and he's trying to find her; it's got a scary mood to it, but it's got a Motown feel, and a nice climbing bass line in the bridge that I remember. It's spooky, but he's saying 'Don't Worry'. It's like 'Running Bear and Little White Dove'."

Release
Music journalist David Cavanagh characterized Brian Wilson as "one of the longest awaited [albums] in rock 'n' roll history". He wrote that, for people unfamiliar with Wilson, the album's release was not particularly noteworthy, but for Beach Boys fans, it was on the level of John Lennon's 1980 comeback. Lead single "Love and Mercy" was issued on July 1, 1988 and failed to chart. The album was released on July 12 and reached number 54 in the U.S. while failing to chart in the UK. In its first week of release, Brian Wilson sold 250,000 copies and had 7,500 orders unfulfilled. According to the Los Angeles Times, the album had sold "too well", as demand had outpaced supply. It ultimately sold about 480,000 copies, just 20,000 short of a gold record certification.

To promote the album, an extraordinarily elaborate press kit containing historical summaries of the album's making and Wilson's life was mailed to various entertainment media outlets. Landy arranged for Wilson to appear on television programs, including Late Night with David Letterman, where he performed "Night Time". Carlin describes Wilson as having performed "in tight leather pants, lurching across the stage with all the grace of a traffic cop whose jockey shorts have caught on fire." There, and in his other public appearances, Carlin states that Wilson was "too obviously terrified, his hands shaking, and his eyes darting around like a guy with fear in his heart and ghosts on his mind."

The album's release was largely overshadowed by the controversies surrounding Landy, coupled with the surprise success of the Beach Boys' single "Kokomo", released that same month. Several months earlier, the California Attorney General's office had filed suit against Landy with regards to the overlap between his therapeutic services and business interests. Carlin states that it is uncertain whether "the thrum of controversy helped or hindered the buzz surrounding the album", although Stein and Waronker believed that it did. Dillon attributed the album's commercial failure partly to the lack of a music video for the lead single.

In August 1988, Rolling Stone reported that Wilson had "half of a second album written" and that there were discussions about "producing both The Beach Boys and the Ramones", as well as a solo tour. In September, Wilson, accompanied by Landy, appeared at that year's Beach Boy Stomp fan convention, held at a church hall in Greenford, a West London suburb. Wilson sang and performed three songs on an electric piano, after which he sat at a table and signed autographs for the attendees. Cavanagh wrote, "He arrived and the audience of 250 Beach Boys disciples behaved as if the Second Coming had taken place [...] Attempts to engage him in meaningful conversation were mostly a failure, but he sat there for over an hour signing his name." The album's second single, "Melt Away", was issued in January 1989 and also failed to chart.

Contemporary reviews
Brian Wilson was critically acclaimed and had a near-unanimous positive reception. Titelman touted the album as Pet Sounds '88, which Carlin states "didn't seem terribly outlandish [...] to everyone who had heard the album". In Stereo Review, the writer stated that Brian Wilson confirmed that the artist had successfully delivered "Pet Sounds II" and was "clearly at work again with talent intact". Rolling Stone's David Fricke concurred and wrote, "Brian Wilson is a stunning reminder of what pop's been missing all these years [and] the best Beach Boys long player since 1970's Sunflower", with his only criticism being that the LP appeared to lack "a real statement of direction or purpose". The magazine named Wilson the "comeback artist of the year". NME's year-end lists ranked Brian Wilson and "Love and Mercy" among the best albums and tracks of 1988.

Los Angeles Times' Paul Grein wrote that Brian Wilson makes "a strong case for the argument that genius isn’t a perishable commodity". Sun-Sentinel's Deborah Wilker rued: "Wilson's clever, mostly upbeat ideas flow magnificently throughout the record, easily transcending his emotional madness." Less favorably, the Associated Press's David Bauder wrote that "Brian Wilson can't compare with any of the early '60s Beach Boys classics", while People's Ralph Novak described the record as "often appalling".

Retrospective assessments
MusicHound contributor Gary Pig Gold felt that the album would disappoint listeners expecting a Pet Sounds-quality masterpiece, however, "That is not to say Wilson isn't still capable of producing works of true beauty; his flair for both vocal and instrumental arrangement remains unparalleled, his voice is now more mature but still as achingly expressive as it was in its prime, and magnificent melodies still seem to spill from him with impossible ease." Conversely, Robert Christgau wrote that Wilson sounds too much "like the sincere, talented, mildly pretentious nut he is" to convince the listener of "the pain in his voice". Furthermore, he believed the record suffered from "a collective Phil Spector obsession [that] comes off incredibly labored."

Common criticisms against the album relate to the predominant use of "synthesizers and drum machines dated even for its time". Writing in AllMusic, Richie Unterberger referred to the album's use of the Yamaha DX7 in particular. Unterberger elaborated, "While he retained his gift for catchy melodies and dense, symphonic production, there was a forced stiffness to both the songwriting and execution. Much of the blame for the album's mixed success can be laid upon its sterile, synthesizer-laden arrangements and echoing percussion, which epitomized some of the less attractive aspects of late-1980s production." The Rolling Stone Album Guide concurred that the "dated synth-heavy production makes the album almost unlistenable", but evidence for the fact "that his songwriting muse has not abandoned him completely" can be found in "Love and Mercy", "Melt Away", and "Baby Let Your Hair Grow Long".

Among Wilson's biographers, Carlin writes that the album occupies a space "between moments of sweet, redemptive beauty and songs that were overwhelmed by their own ambition, to some that actually did combine the tacts of the past with the tools of the present into a wholly new sound. And then there were a few that seemed either so out of character or so desperate to be in character that they sounded like the product of extremely talented forgers." Dillon writes that "The vocal arrangements are at times overwhelming, the changes startling. It ranks among Brian's most ambitious works, recalling past glories without recycling them." Jon Stebbins wrote, "After the initial euphoria had subsided [...] most realized that the album was a somewhat stilted and mechanical effort."

Aftermath and legacy
Among the other members of the Beach Boys, their manager Tom Hulett reported in a 1988 interview that Wilson's bandmates had been supportive of his endeavor. "I gave the album to each of them, and they were tickled to hear it. They were all positive about it." Asked about the album in a 1992 interview, Wilson's bandmate and cousin Mike Love stated that he did not like it because of the lyrics, the non-"commercial" arrangements, and his opinion that "it sounded like shit compared to what [Brian] could sound like."

Reflecting on Brian Wilson, in a 1997 interview, Paley called it "a pretty good record [but] there were too many cooks and Brian wasn't really calling the shots." In Wilson's 2016 memoir, I Am Brian Wilson, it states, "I liked that record even though I didn’t like the circumstances of making it. It had some really great songs on it." A follow-up album, Sweet Insanity, was co-produced with Landy but never officially released. Wilson continued recording with Paley after disassociating from Landy in 1991, but did not release another solo album that consisted of new original material until Imagination (1998).

Wilson rerecorded "Love and Mercy" and "Melt Away" for the soundtrack to the 1995 documentary Brian Wilson: I Just Wasn't Made for These Times. After he began touring regularly at the end of the 1990s, he adopted a stripped-down version of "Love and Mercy" as his signature closing number at live concerts.

Reissues and remix
In 2000, Sire reissued the album through Rhino/Atlantic Records. This edition of the album contained several remixes of the original tracks. It also included the addition of two non-album single tracks, two non-album B-sides, four demos, two alternate mixes, one instrumental, and four interview clips. A similar track listing was adopted for their 2015 reissue, with the only difference being that the "hidden track" was given dedicated space as track 26, "Brian Fan Club X-Mas Message".

Influence
Japanese composers Hirokazu Tanaka and Keiichi Suzuki cited Brian Wilson as a major influence on their soundtracks for the video game Mother (1989) and its sequel EarthBound (1994). Tanaka recalled repeatedly listening to the album during his commute to Suzuki's home. "If I arrived a little early, I'd wander around the area listening to it. Personally, I think of MOTHER when I listen to this album".

Track listing
Many of these writing and production credits have been disputed, and, following the album's 2000 reissue, credits to Landy and Morgan were removed. For historical purposes, all tracks are as they were originally credited, albeit with a strikethrough for credits that are no longer officially recognized.

Personnel
Adapted from the 2000 CD deluxe edition liner notes.

 * Brian Wilson – lead and backing vocals, piano, organ, keyboards, E-mu Emulator, vibraphone, bells, chimes, glockenspiel, percussion, sound effects, vocal arrangements

Guests
 * Christopher Cross – additional backing vocals on "Night Time"
 * Terence Trent D’Arby – additional backing vocals on "Walkin' the Line"
 * Elliot Easton – guitar
 * Kevin S. Leslie – footsteps
 * Jeff Lynne – keyboards, bass, six-string bass, guitar
 * Andy Paley – electric and acoustic guitars, bass, drums, percussion, keyboards, harmonica, additional backing vocals
 * Philippe Saisse – keyboards, synthesizer programming
 * Russ Titelman – additional backing vocals on "Walkin' the Line"

Additional players and session musicians

 * Michael Andreas – flutes, saxophones
 * The Bayside Bluegrass Band – mandolin, banjo, bass, steel-string acoustic guitar
 * Michael Bernard – computers, synthesizer programming, drums, keyboards, percussion
 * Stuart Blumberg – trumpet
 * Jeff Bova – keyboards, programming
 * Jimmy Bralower – drum programming, shaker
 * Lance Buller – trumpet
 * Robbie Condor – synthesizer programming, additional keyboards
 * Andrew Dean – keyboards, vibes, percussion, synthesizer programming, jingle bells
 * Todd Herreman – Fairlight
 * Tris Imboden – drums, hi-hat, cymbals
 * Hymen Katz – flute, piccolo
 * Robbie Kilgore – keyboard programming
 * Harry Kim – trumpet
 * Steve Lindsey – synthesizer programming, additional keyboards
 * Jay Migliori – baritone saxophone
 * Frank Marocco – accordion
 * Rob Mounsey – Emu tympani, piano, synth guitar, Emulator cello
 * Dean Parks – guitar
 * Bob Riley – drum machine
 * Tony Salvage – violin, saw
 * Carol Steele – percussion
 * Larry Williams – horn, saxophone solo, synthesizer programming, additional keyboards

title: Brian Wilson (album)


text:
Yamabe no Akahito

Yamabe no Akahito (山部 赤人 or 山邊 赤人) (fl. 724–736) was a poet of the Nara period in Japan. The Man'yōshū, an ancient anthology, contains 13 chōka ("long poems") and 37 tanka ("short poems") of his. Many of his poems were composed during journeys with Emperor Shōmu between 724 and 736. Yamabe is regarded as one of the kami of poetry, and is called Waka Nisei along with Kakinomoto no Hitomaro. He is noted as one of the Thirty-six Poetry Immortals.

His contemplation of Mount Fuji across Tago Bay became a popular view depicted by ukiyo-e artists, including Hiroshige and Utagawa Kuniyoshi.

The American composer Alan Hovhaness used a text by Yamabe from the Man'yōshū in his cantata Fuji, Op. 182 (1960, rev. 1964).

Works
Shin Kokin Wakashu (New Collection of Ancient and Modern Japanese Poetry)

・田子の浦に　うち出でてみれば　白妙の　富士の高嶺に 雪は降りつつ

Tagonoura ni Uchiide te mire ba  Shirotae no  Fuji no takane ni  Yuki wa furi tsutsu

Explanation

When you go to Tagonoura and look in the distance, you can see pure white Mt. Fuji and snow is piled up. This poem describes the beautiful winter scenery of Mt. Fuji seen from Tagonoura. Later, this poem was selected for Hyakunin Isshu (one hundred waka poems by one hundred poets).

Historic Sites
There is a grave of Yamabe no Akahito at Haibara Yamanobe in Uda City, Nara Prefecture. It is a quiet graveyard with a Gorinto (a gravestone composed of five pieces piled up one upon another), Manyo kahi (a monument engraved in the Manyo style of poetry) and a small signboard. The Gorinto is 210 centimeters high and very simple. It seems to have been built in the Kamakura period, and there is no evidence that Yamabe no Akahito is buried here.

Cultural Properties
At Fujinokuni Tagonoura Minato Park in Fuji City, Shizuoka Prefecture, there is a Man’yo kahi. This monument is engraved with "a poem about Mt. Fuji" written by Akahito Yamabe, and uses Matsuno stone (commonly known as "bale stone") from Minami Matsuno, Fuji City. Mt. Fuji can be seen from this park, and eight stone pillars are arranged in the shape of Mt. Fuji to overlap it. The inscription has a high cultural value because the manuscript Man'yogana is engraved as it is.

title: Yamabe no Akahito