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Iowa Highway 13

Iowa Highway 13 (Iowa 13) is a north–south highway in eastern Iowa. It has a length of 85+1/4 mi. The southern terminus of Iowa Highway 13 is at U.S. Highway 30 (US 30) south of Bertram and southeast of Cedar Rapids. The northern terminus is at US 52 in rural Clayton County near the towns of Monona and Farmersburg near the intersection of US 52 and US 18.

Route description
Iowa Highway 13 begins at U.S. 30 southeast of Cedar Rapids in an overlap with US 151 at a freeway interchange just east of the Cedar River. They go north as a divided highway through Bertram. They intersect Iowa Highway 100 at Marion and then separates from U.S. 151 in Marion as well. It continues north from Marion to Central City, where the divided highway ends. It goes north to Coggon, then turns east briefly before turning north again to go through Ryan. After passing through Ryan, it goes north to Manchester, where it intersects US 20. It continues north through Manchester and intersects Iowa 3. It overlaps Iowa 3 and goes northwest into Strawberry Point, where they separate. Iowa 13 then turns northeast and intersects Iowa 56 southwest of Elkader. After running along the eastern edge of Elkader, it then intersects Iowa 128. It then continues northeast and ends at US 52 near Farmersburg.

History
Primary Road No. 13 was one of the original routes of the primary highway system, which was formed in 1920. Its original extent was statewide, starting at the Missouri state line south of Bloomfield and ending at the Minnesota state line north of Waukon. When the U.S. Highway System came around in 1926, Primary Road No. 13 was shortened significantly. The southernmost part of the route became US 63, between Ottumwa and Homestead, the route was replaced by Iowa 149, and from Homestead to Cedar Rapids, it was replaced by Iowa 150.

The route stayed more or less the same until it was shortened again in 1969. The northernmost section of road, from McGregor to Minnesota, was renumbered to Iowa 76 to match the numbered route it became after crossing into Minnesota. Between Froelich and McGregor, Iowa 13 overlapped US 18 and US 52. Since 1969, the routing of Iowa 13 has not changed.

title: Iowa Highway 13


text:
Free Beer

Free Beer is a beer brand collaboration between students of IT University of Copenhagen and the artist collective Superflex initiated in 2004. The recipe of the beer is published under a Creative Commons license, granting others the right to freely use and distribute it.

Vores Øl
In December 2004, a group of students from the IT University of Copenhagen, in partnership with Superflex, brewed a batch of beer in the university's cafeteria. The group named the beer "Vores Øl" (Danish for "Our Beer"), inspired by a 1994 Carlsberg beer advertisement slogan. They launched a website to promote the project and released the beer’s recipe and label design under the Creative Commons CC BY-SA 2.5 license. Since cooking recipes are not protected by copyright, the share-alike licensing approach used is legally questionable and had not been tested in any court of law.

Free Beer
The developers of the beer stated that they wanted to raise awareness of the "dogmatic notions of copyright and intellectual property that are dominating our culture." The group admitted to having limited experience with beer production. After the first batch of the open-source beer was brewed, Superflex continued developing the concept under the name "Free Beer" and designed a new label. Inspired by colourful aesthetics of the 1960s, it was meant to further underline the concept of freedom. The name Free Beer is a play on Richard Stallman's quote about free software being “'free' as in 'free speech,' not as in 'free beer.'”

Recipe
The first Vores Øl recipe drew criticism from the homebrewing community for its lack of necessary instructions. Community members were concerned the recipe had not outlined how much water to use in the mash, what type of yeast to use, the style of beer being produced (other than being dark and heavy), whether or not to add any hops, what the fermentation temperature should be, or how the beer was supposed to taste.

Due to the free availability of the recipe, the recipe has been changed several times. Major Free Beer recipe iterations (v3.0 and v4.0) were developed in collaboration with a Danish brewery, Skands, in Brøndby. The amount of sugar has been decreased by 90% to improve the quality of the beer.

Derivatives
Known derivatives using the free license include:
 * Lausanne, Switzerland: Le Baiser de la Princesse (French for "The Kiss of the Princess"), in 2008.
 * Schiltigheim, France: Affichage Libre, brewed for the 2011 edition of the Libre Software Meeting in Strasbourg.

Reception
Free Beer has received coverage in international print and digital media. The brand has been discussed in books on copyright. The project been written about by figures in the free software movement, including Cory Doctorow and Lawrence Lessig. In 2005, Superflex interviewed Richard Stallman on the project.

Free Beer has been distributed at technology conferences, including Summit 2008 and RMLL 2011, 2012, and 2014. The FSCONS 2008 resulted in an ebook that featured Free Beer. Free Beer was also exhibited in art exhibitions and museums, such as the Art Basel Miami Beach 2006, the Van Abbemuseum in the Netherlands in 2007, and the Taipei Biennial 2010.

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

title: Free Beer


text:
Love You To

"Love You To" is a song by the English rock band the Beatles from their 1966 album Revolver. The song was written and sung by George Harrison and features Indian instrumentation such as sitar and tabla. Following Harrison's introduction of the sitar on "Norwegian Wood (This Bird Has Flown)" in 1965, it was the first Beatles song to fully reflect the influence of Indian classical music. The recording was made with minimal participation from Harrison's bandmates; instead, he created the track with tabla player Anil Bhagwat and other Indian musicians from the Asian Music Circle in London.

The composition adheres to the pitches of the Indian equivalent of Dorian mode and emulates the khyal vocal tradition of Hindustani classical music. For musical inspiration, Harrison drew from the work of master sitarist Ravi Shankar, who became his sitar tutor shortly after the recording was completed. In its lyrical themes, "Love You To" is partly a love song to Harrison's wife, Pattie Boyd, while also incorporating philosophical concepts inspired by his experimentation with the hallucinogenic drug LSD. In the context of its release, the song served as one of the first examples of the Beatles expressing an ideology aligned with that of the emergent counterculture.

"Love You To" has been hailed by musicologists and critics as groundbreaking in its presentation of a non-Western musical form to rock audiences, particularly with regard to authenticity and avoidance of parody. Author Jonathan Gould describes the song's slow sitar introduction as "one of the most brazenly exotic acts of stylistic experimentation ever heard on a popular LP". Ronnie Montrose, Bongwater, Jim James and Cornershop are among the artists who have covered "Love You To".

Background and inspiration
On the 1965 album Rubber Soul, George Harrison had led the Beatles towards Indian classical music through his use of the Indian sitar on John Lennon's song "Norwegian Wood (This Bird Has Flown)", while his own composition "If I Needed Someone" reflected the genre's influence in its melody and suggestion of drone. He subsequently wrote "Love You To" as a way to showcase the sitar, and to feature the tabla, a pair of Indian hand drums, for the first time. Music critic Richie Unterberger describes the song as the Beatles' "first all-out excursion" in raga rock, a genre that author Nicholas Schaffner says was "launched" by Harrison's use of sitar on "Norwegian Wood".

Harrison wrote "Love You To" in early 1966 while the Beatles were enjoying an unusually long period free of professional commitments, due to their inability to find a suitable film project. He used the available time to further explore his interest in Indian music and the sitar, which, journalist Maureen Cleave noted in a contemporary article, "has given new meaning to [his] life". Aside from honeymooning in Barbados with his wife, English model Pattie Boyd, Harrison's activities included receiving sitar tuition from an Indian musician at the Asian Music Circle (AMC) in north London, where he also attended music recitals, and seeing Indian sitarist Ravi Shankar perform at the Royal Festival Hall. As reflected in "Love You To", Harrison continued to immerse himself in recordings by Shankar, who, when the pair met in June 1966, would agree to take Harrison as his student. This meeting took place at the home of the AMC's founders, Ayana and Patricia Angadi, whose network of friends and visitors added to Harrison's self-education in new forms of art, culture and politics.

Typically of his songs over this period, Harrison was unable to commit to naming the new composition. At the start of the sessions for the Beatles' Revolver album, Geoff Emerick, the band's recording engineer, gave the song the working title of "Granny Smith", after the variety of apple. The song was partly inspired by Harrison's experimentation with the hallucinogenic drug LSD, which he credited as a catalyst for increased awareness and his interest in Eastern philosophical concepts. Author Ian MacDonald views the subject matter as "part philosophical" and "part love-song" to Boyd.

Musical form
"Love You To" is in the key of C and adheres to the pitches of Kafi thaat, the Indian equivalent of Dorian mode. The composition emulates the khyal vocal tradition of Hindustani (or North Indian) classical music. Structurally, it comprises an opening alap; a gat section, which serves as the main portion of the song; and a short drut (fast) gat to close the piece.

The alap consists of sitar played in free tempo, during which the song's melody is previewed in the style of an Indian raga. Described by Harrison biographer Simon Leng as "essentially an adaptation of a blues lick", the seven-note motif that closes the alap serves as a recurring motif during the ensuing gat. The change of metre following the alap marks the first such example in the Beatles' work; it would shortly be repeated in Lennon's composition "She Said She Said", which Harrison helped complete by joining together three separate pieces that Lennon had written.

The gat is set in madhya laya (medium tempo) and features a driving rock rhythm accentuated by heavy tambura drone. This portion of the composition consists of eight-bar "A" sections and twelve-bar "B" sections, structured in an A-B-A-B pattern. The alap's lack of a distinct time signature is contrasted with a temporal reference in the lyrics to the opening verse: "Each day just goes so fast / I turn around, it's past". Throughout, the vocal line avoids the melodic embellishment typical of khyal, apart from the use of melisma over the last line in each of the A sections. In keeping with the minimal harmonic movement of Indian music, the composition's only deviation from its I chord of C is a series of implied ♭VII chord changes, which occur in the B sections.

During the mid-song instrumental passage, the melody line of the sitar incorporates aspects of the alap, raising the melody previewed there by an octave. The song then returns to verses sung over the A and B sections, culminating in the line "I'll make love to you, if you want me to." The arrival of the drut gat follows Hindustani convention by ending the composition at an accelerated tempo, although the brevity of this segment marks a departure from the same tradition.

Lyrical interpretation
As with all of the songs written by Harrison or Lennon and recorded by the Beatles in 1966, the lyrics to "Love You To" marked a departure from the standard love-song themes that had defined the group's previous work. Harrison presents a worldview that variously reflects cynicism, sardonic humour and a degree of detachment with regard to personal relationships. According to music critic John Harris, the lines "There's people standing round / Who'll screw you in the ground / They'll fill you in with all the sins you'll see" serve as one of the first examples of the Beatles' ideology aligning with that of the emerging 1960s counterculture, by highlighting the division between traditional mores and an LSD-inspired perspective. Authors Russell Reising and Jim LeBlanc recognise this and other statements in "Love You To" as part of the Beatles' espousal of anti-materialism from 1966 onwards, a message that, inspired by the LSD experience, suggested a "psychedelic vision of society".

Among other commentators discussing the lyrical themes, Mark Hertsgaard writes that Harrison's "response to the fleetingness of time was to affirm and celebrate life: 'make love all day long / make love singing songs'", while Robert Rodriguez describes "Love You To" as "a somewhat oblique expression of love directed toward his bride, along with larger concerns regarding mortality and purpose". In Ian Inglis' estimation, the lyrics "remind us that in a world of material dissatisfaction and moral disharmony, there is always the solace of sexual pleasure".

Recording
"Love You To" was the third track the Beatles recorded for Revolver, after "Tomorrow Never Knows" and "Got to Get You into My Life". Rodriguez comments that "Love You To" "[made] explicit the Indian influence implicit throughout the entire album", as songs such as "Tomorrow Never Knows" and "Got to Get You into My Life", together with the non-album single tracks "Paperback Writer" and "Rain", all incorporate drone sounds or otherwise display the limited harmonic movement that typifies the genre. In a 1997 interview, Harrison said that the song's inclusion reflected the band's willingness to experiment during this period, adding: "We were listening to all sorts of things, Stockhausen, avant-garde music, whatever, and most of it made its way onto our records."

The basic track for "Love You To" was taped in London at EMI Studios (now Abbey Road Studios) on 11 April 1966. According to Beatles historian Mark Lewisohn, Harrison initially sang and played acoustic guitar, accompanied by Paul McCartney on backing vocals. By the end of the first session that day, three takes of the song had been made, with Harrison introducing his sitar on the last of these takes. Work resumed at 8 pm, with the participation of Anil Bhagwat, a tabla player that Harrison had sourced through Patricia Angadi. Other outside contributors, also from the AMC, included musicians on tambura and sitar.

According to Inglis, "Love You To" is "defined" by the interplay between sitar and tabla. Bhagwat later recalled of his involvement: "George told me what he wanted and I tuned the tabla with him. He suggested I play something in the Ravi Shankar style, 16-beats, though he agreed that I should improvise. Indian music is all improvisation." After rehearsing the song together many times, Harrison and Bhagwat recorded the sitar and tabla parts onto the vocal and guitar performance taped earlier that day.

With take 6 selected as the best performance, a reduction mix was carried out on 13 April, freeing up space for more overdubs on the four-track tape. Harrison added another vocal part onto what was now referred to as take 7, and Ringo Starr played tambourine. McCartney contributed a high harmony vocal over the words "They'll fill you in with all their sins, you'll see", but this part was omitted from the final mix. Harrison also overdubbed fuzz-tone electric guitar, controlling the output via a volume pedal. Producer Tony Visconti has marvelled at the guitar sounds the Beatles introduced on Revolver, particularly Harrison's part on "Love You To", which he says "sounds like a chainsaw cutting down a tree in Vermont".

Credit for the main sitar part on "Love You To" has traditionally been the subject of debate among commentators. While MacDonald says that, rather than Harrison, it was the sitarist from the AMC who played this part, Rodriguez writes that "others point to [Harrison's] single-minded diligence in mastering the instrument, as well as his study through private lessons, proximity to accomplished musicians, and close listening to pertinent records." In his official history of the Beatles' recording career, The Complete Beatles Recording Sessions, Lewisohn states: "George played the sitar but an outside musician, Anil Bhagwat, was recruited to play the tabla." Musicologist Walter Everett also identifies Harrison as the main sitar player on the recording, as does Peter Lavezzoli, author of The Dawn of Indian Music in the West. Leng comments that, as on "Norwegian Wood", Harrison "is still playing the sitar like a guitar player [on the recording], using blues and rock 'n' roll bends rather than the intensely intricate Indian equivalents". Speaking to author Steve Turner, Bhagwat has dismissed the idea that the sitarist was not Harrison, saying: "I can tell you here and now – 100 percent it was George on sitar throughout."

Final mixing for the song took place on 21 June as the Beatles rushed to complete Revolver before beginning the first leg of their 1966 world tour. Harrison discussed "Love You To" with Shankar when the two musicians met that month, at a social event hosted by the Angadi family. Although he was unaware of the band's popularity and had yet to hear "Norwegian Wood", Shankar was impressed with Harrison's humility as the guitarist downplayed his sitar recordings with the Beatles as merely "experiments". Soon after this meeting, Shankar gave Harrison his first sitar lesson at Kinfauns, his and Boyd's home in Surrey, and later, with tablist Alla Rakha, performed a private recital there for Harrison, Lennon and Starr. Harrison subsequently recalled of his first lesson with Shankar: "I felt I wanted to walk out of my home that day and take a one-way ticket to Calcutta. I would even have left Pattie behind in that moment."

Release
Revolver was released on 5 August 1966, with "Love You To" sequenced as the fourth track. In advance of the release, EMI had issued the songs to radio stations throughout July, in increments, to prepare the Beatles' audience for the progression the band had made with their latest work. According to cultural historian Simon Philo, the album represented "pop's most sustained deployment of Indian instruments, musical form and even religious philosophy thus far – which all came together most notably on ['Love You To']". By that point, the Beatles' association with Indian music had been firmly established, after, at Harrison's suggestion, the band stopped over in Delhi on the return flight from their concerts in the Far East. During the highly publicised visit, all four members of the group bought musical instruments from Rikhi Ram & Sons in Connaught Place. Bhagwat's name appeared on the LP's back cover, one of the few times that an outside musician received an official credit on a Beatles album.

Among commentators recalling the song's release, Peter Doggett describes "Love You To" as having "sounded astonishing next to the electrifying pop of the Revolver album". Hertsgaard writes: "what caught most people's interest was the exotic rhythm track. The opening descent of shimmering harplike notes beckoned even those who resisted Indian music, while the lyrics melded the mysticism of the East ... with the pragmatism of the West, and the hedonism of youth culture."

In his 1977 book The Beatles Forever, Schaffner wrote that, next to the dominant Lennon–McCartney songwriting partnership, Harrison's three compositions on Revolver – "Love You To", "Taxman" and "I Want to Tell You" – "offered ample indication that there were now three prolific songwriting Beatles". Schaffner also commented that, through his championing of the sitar and Shankar's music, Harrison came to be seen as "the maharaja of raga-rock" among Western musicians. In the Beatles' 1968 animated film Yellow Submarine, a brief portion of the song is used to introduce Harrison's character, as a guru-like figure, standing on a hill.

Critical reception
In a joint album review with Peter Jones for Record Mirror, Richard Green enthused about "Love You To", saying: "Starts like a classical Indian recital ... This is great. So different. Play it again! Best [track] so far." As an example of what Turner views as older pop journalists being unable to evaluate the new progressive music of 1966, Allen Evans of the NME described the song as an "Oriental-sounding piece" with "sitar jangles" and a "Kama Sutra-type lyric". Melody Maker's reviewer lauded Harrison's sitar playing as "stunning" and "tremendous" before concluding: "Fascinating mixture of minor melody with Indian accompaniment. One of the most striking tracks."

Disc and Music Echo's review of Revolver took the form of a track-by-track rundown by Ray Davies of the Kinks, whose July 1965 single "See My Friends" became widely viewed as one of the first pop songs to incorporate Eastern elements. In his comments on "Love You To", Davies said that Harrison "must have quite a big influence on the group now", adding that "it's well performed which is always true of a Beatles track." Davies also said: "This sort of song I was doing two years ago – now I'm doing what the Beatles were doing two years ago."

Writing in the recently launched Crawdaddy!, Paul Williams "heaped praise" on "Love You To", according to Rodriguez. The majority of contemporary US reviews were lukewarm towards Revolver, however, in reaction to the publication of Lennon's comment to Maureen Cleave that the Beatles had become more popular than Christ. An exception was New York critic Richard Goldstein, who praised the album as "a revolutionary record", and later wrote that the song's lyrics "exploded with a passionate sutra quality". While bemoaning the initial lack of recognition for Revolver, KRLA Beat's reviewer said that Harrison had "created a new extension of the music form which he introduced in Rubber Soul", and described "Love You To" as "Well done and musically valid. Also musically unrecognized."

Retrospective assessment and legacy
Writing in the journal Asian Music, ethnomusicologist David Reck has cited "Love You To" as being revolutionary in Western culture, adding: "One cannot emphasise how absolutely unprecedented this piece is in the history of popular music. For the first time an Asian music was not parodied utilising familiar stereotypes and misconceptions, but rather transferred in toto into a new environment with sympathy and rare understanding." Reck views it as the first in "a series of finely crafted Indian-based songs" by Harrison that would extend through his solo career, and while admiring the range of authentic Hindustani musical elements in the composition, he concludes: "All of this in a three-minute song!" Peter Lavezzoli describes "Love You To" as "the first conscious attempt in pop to emulate a non-Western form of music in structure and instrumentation", while Reck calls it "the first song in the Euro-American pop music canon that is scored predominantly for Asian musical instruments, [with] sitar, tabla and tambura replacing rock band guitars, keyboards, bass and drums". Lavezzoli says of the sitar part: "[Harrison's] playing throughout the song is an astonishing improvement over 'Norwegian Wood'. In fact, 'Love You To' remains the most accomplished performance on sitar by any rock musician."

Music critic Lester Bangs termed "Love You To" "the first injection of ersatz Eastern wisdom into rock", while Peter Doggett credits Harrison's spiritual concerns with inspiring "an entire [new] genre of songwriting". The song has been recognised as a precursor to the world music genre. Through the success of Revolver in 1966, it was a key factor in the rise in popularity of Indian classical music among contemporary Western youth. In addition, the song inspired other rock musicians to experiment with non-Western instruments and tones, and so helped expand the scope of raga rock, while its mix of Indian instrumentation and distorted electric guitar was highly influential in the development of 1960s psychedelic music.

Reviewing Harrison's musical career in a 2002 issue of Goldmine magazine, Dave Thompson wrote that "Love You To" "opened creative doors through which Harrison's bandmates may not – and [George] Martin certainly would not – have ever dreamed of passing". Rolling Stone contributor Greg Kot pairs it with "Taxman" as two "major contributions" that saw Harrison "[come] into his own as a songwriter" on Revolver. Kot describes "Love You To" as "a boldly experimental track" and "the first full-scale incorporation of Eastern instruments on a Beatles album". Writing on his music website Elsewhere, Graham Reid views the song as a "classic" due to its standing as "arguably the first in Western pop ... which owes nothing to pop music traditions. It is an Indian song in its structure and execution."

AllMusic editor Stephen Thomas Erlewine considers "Love You To" to be Harrison's "first and best foray into Indian music", while Bruce Eder, also writing for AllMusic, views it as "exquisite". In his song review for the same website, Richie Unterberger is unimpressed with the track; while acknowledging that "Love You To" was "Undoubtedly ... another indication of the group's rapidly broadening barriers", he cites a lead vocal that "drone[s] on in a rather lugubrious way", Harrison's slightly "disheveled" sitar playing, and lyrics that constitute "a rather muddled mix of free love advocacy, meditations on the transience of life on Earth, and chip-on-the-shoulder wariness of people out to exploit him". Although he finds the melody "sourly repetitious", Ian MacDonald writes that the track is "distinguished by the authenticity of its Hindustani classical instrumentation and techniques", and admires Harrison's understanding of the genre. In a 2009 review for Paste magazine, Mark Kemp described Revolver as the album on which the Beatles "completed their transformation from the mop tops of three years earlier into bold, groundbreaking experimental rockers", and added: "Harrison's 'Love You To' is pure Indian raga – sitar and tablas punctuated by the occasional luminous guitar riff jolting through the song's paranoid, drug-fueled lyrics like a blinding ray of sun into a dark forest."

Cover versions
The Trypes, an offshoot of the Feelies, covered "Love You To" on their 1984 EP The Explorers Hold. A version of the song was covered by Ronnie Montrose, that included a rare vocal performance by the guitarist, on his 1986 album Territory. The song has also been covered by experimental rock band Bongwater on their 1988 debut album Double Bummer, by Glider on the 2015 compilation LP Tomorrow Never Knows: A 50th Anniversary Tribute to the Beatles' Revolver, and by The Sour Notes on their 2018 LP This Is Not Our Music.

My Morning Jacket singer Jim James performed "Love You To" on a banjo for his 2009 EP Tribute To, a collection of Harrison songs that James recorded shortly after the former Beatle's death in November 2001. Mojo included James's version on Harrison Covered, a tribute CD accompanying the November 2011 issue of the magazine. In 2012, Cornershop recorded it for Mojo's multi-artist compilation Yellow Submarine Resurfaces.

Personnel
According to Kenneth Womack and Ian MacDonald:

The Beatles
 * George Harrison – lead and backing vocals, acoustic guitar, sitar, rhythm guitar, fuzz-tone lead guitar
 * Paul McCartney – backing vocal
 * Ringo Starr – tambourine

Additional musicians
 * Anil Bhagwat – tabla
 * Unnamed musicians from the Asian Music Circle – sitar, tambura

title: Love You To


text:
User talk:McP

Welcome from Redwolf24
Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. We as a community are glad to have you and thank you for creating a user account! Here are a few good links for newcomers:
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * Merging, redirecting, and renaming pages
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

Yes some of the links appear a bit boring at first, but they are VERY helpful if you ever take the time to read them.

Remember to place any articles you create into a category so we don't get orphans.

I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on Talk and vote pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome.

Redwolf24

P.S. I like messages :-P

title: User talk:McP


text:
Teatralnaya (Moscow Metro)

Teatralnaya (Театра́льная, Theater) is an underground metro station on the Zamoskvoretskaya line of the Moscow Metro, named for the nearby Teatralnaya Square, the location of numerous theaters, including the famed Bolshoi Theatre. The station is unique in that it does not have its own entrance halls. The north escalator leads to Okhotniy Ryad and the south escalator to Ploshchad Revolyutsii.

History
Ploshchad Sverdlova station opened on September 11, 1938, as part of the second stage of construction of the Moscow Metro system. It was the terminal station of the Zamoskvoretskaya line until the line was extended on January 1, 1943. Teatralnaya's architect was Ivan Fomin. The station is located at a depth of 33.9 m. The central hall has a diameter of 9.5 m, with an 8.5 m lateral lining of cast-iron tubing.

From its opening until 1990, the station's name was Ploshchad Sverdlova, which was named in honor of the prominent Bolshevik, Yakov Sverdlov. In 1990, the city changed the name of the square to Teatralnaya Ploshchad. The name of the station followed accordingly.

Decoration
Teatralnaya Station has fluted pylons faced with labradorite and white marble taken from the demolished Cathedral of Christ the Saviour. Crystal lamps in bronze frames attached to the center of the room give the central hall a festive appearance. The vault of the central hall is decorated with caissons and majolica bas-reliefs by Natyla Danko on the theme of theatre arts of the USSR, manufactured by Leningrad Porcelain Factory. These bas-reliefs are a series of fourteen different figures, each representing music and dance from various nationalities of the Soviet Union. Seven male and seven female figures attired in their national costumes are either performing an ethnic dance or are playing a distinctively ethnic musical instrument. The series included Armenia, Byelorussia, Georgia, Kazakhstan, Russia, Ukraine and Uzbekistan. Each figure is reproduced four times for a total of 56 figures. Initially, the floor was of black-and-yellow granite patterned as a chessboard; however in 1970, the yellow panels were replaced with gray.

A bust of Yakov Sverdlov, for whom the station was originally named, was located at the end of the platform opposite the escalators. Only the base remains today. A bust of Vladimir Lenin was however, preserved.

Transfers
From this station it is possible to transfer to Okhotniy Ryad on the Sokolnicheskaya Line and Ploshchad Revolyutsii on the Arbatsko-Pokrovskaya line.

Location
The station is limited to the sections: Teatralnaya "Tverskaya" and Teatralnaya "Novokuznetskaya". The Teatralnaya metro station is located in the very center of Moscow. The northern lobby is built into a former apartment building located at Bolshaya Dmitrovka street, exit to Theatre Square (Moscow). The southern lobby faces Revolution Square, Moscow.

Sights
There are a lot of attractions near the Teatralnaya metro station:

Exit to Teatralnaya Square:
 * 1 — Bolshoi Theater
 * 2 — Maly Theater
 * 3 — State Academic Theater "Moscow Operetta"
 * 4 — Moscow Art Theater named after A.P. Chekhov
 * 5 — Russian Academic Youth Theater
 * 6 — House of the Unions
 * 7 — TsUM (Moscow)

Exit to the Revolution Square:
 * 8 — Red Square
 * 9 — Tomb of the Unknown Soldier (Moscow)
 * 10 — State Historical Museum
 * 11 — Hotel Metropol Moscow
 * 12 — GUM (department store)
 * 13 — Okhotny Ryad

Ground public transport
At this station, you can change to the following routes of urban passenger transport [37]:

Buses: 38, 101, 144, 904, m1, m2, m3, m10, m27, s43, n1, n2, n6, n11

title: Teatralnaya (Moscow Metro)


text:
Variable damselfly

The variable damselfly or variable bluet (Coenagrion pulchellum) is a European damselfly. Despite its name, it is not the only blue damselfly prone to variable patterning.

Its behaviour is much like that of the azure damselfly; it usually stays close to vegetation. Immatures are often found in adjacent meadows or uncut grassy areas.

Description
The male variable damselfly has a distinctive "wine glass" marking on the second segment of the abdomen. This is a black U-shaped mark with a black line joining the segment's narrow terminal black band. (This distinguishes it from the azure damselfly which has the U-shape but no line connecting it to the terminal band.)

Distribution
The variable damselfly occurs throughout Europe. Scattered and uncommon in mainland Britain but widespread and common in Ireland.

title: Variable damselfly


text:
User talk:Seanconradie

Welcome from Redwolf24
Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. We as a community are glad to have you and thank you for creating a user account! Here are a few good links for newcomers:
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * Merging, redirecting, and renaming pages
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

Yes some of the links appear a bit boring at first, but they are VERY helpful if you ever take the time to read them.

Remember to place any articles you create into a category so we don't get orphans.

I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on Talk and vote pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome.

Redwolf24

P.S. I like messages :-P

Image Tagging Image:IT250H.JPG
Thanks for uploading Image:IT250H.JPG. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is therefore unclear. If you have not created this media yourself then you need to argue that we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then you must also add one. If you created/took the picture, audio, or video then you can use GFDL to release it under the GFDL. If you believe the media qualifies as fair use, please read fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, please check that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. Longhair 01:07, 3 February 2006 (UTC)

title: User talk:Seanconradie


text:
Hyams

Hyams is a surname. Notable people with the surname include:

 * Chapman H. Hyams (1838–1923), stockbroker, businessman and philanthropist
 * Eban Hyams (born 1981), Indian-born Australian professional basketball player
 * Edward Hyams (1910–1975), British writer
 * Godfrey M. Hyams (1859–1927), American financier and philanthropist
 * Harry Hyams, English millionaire and real estate developer
 * Henry M. Hyams (1806–1875), Lieutenant Governor of Louisiana from 1862 to 1864.
 * Henry Hyams (architect), British architect
 * Joe Hyams, American columnist and author
 * John Hyams, American filmmaker
 * Leila Hyams, American actress
 * Margie Hyams, American vibraphonist
 * Nina Hyams (born 1952), American professor of linguistics
 * Peter Hyams, American film director
 * Simone Hyams (born 1971), British actress
 * Tony Hyams (born 1945), Australian businessman
 * Tor Hyams, songwriter

title: Hyams


text:
Talk:Beauveria bassiana

Use in central Brazil
Mem Inst Oswaldo Cruz. 2004 Mar;99(2):211-8. Epub 2004 Jun 24. Related Articles, Links Activity of oil-formulated Beauveria bassiana against Triatoma sordida in peridomestic areas in Central Brazil.

Luz C, Rocha LF, Nery GV, Magalhaes BP, Tigano MS. —Preceding unsigned comment added by 213.7.155.190 (talk • contribs)

Images
There are many public domain images with better resolution in the ARS image gallery; just search here. --Peta 02:54, 3 January 2007 (UTC)

Pronunciation
I was wondering if someone more knowledgable than I could list a pronunciation for Beauveria bassiana.

thnx aspiring botanist/mycologist —Preceding unsigned comment added by 173.19.199.108 (talk) 18:00, 27 July 2009 (UTC)

Commercial preparations
The article would benefit from naming one or more commercial preparations of Beauveria bassiana for pesticide use. — QuicksilverT @ 21:02, 13 January 2014 (UTC)

title: Talk:Beauveria bassiana


text:
She Said She Said

"She Said She Said" is a song by the English rock band the Beatles from their 1966 album Revolver. Credited to Lennon–McCartney, it was written by John Lennon with assistance from George Harrison. Lennon described it as "an 'acidy' song" with lyrics inspired by actor Peter Fonda's comments during an LSD trip in August 1965 with members of the Beatles and the Byrds. "She Said She Said" was the last track recorded for Revolver. Due to an argument over the song's musical arrangement, Paul McCartney walked out of the studio during the song's recording.

Background and inspiration
In late August 1965, Brian Epstein had rented a house at 2850 Benedict Canyon Drive in Beverly Hills, California, for the Beatles' six-day respite from their US tour. The large Spanish-style house was hidden within the side of a mountain. Soon their address became widely known and the area was besieged by fans, who blocked roads and tried to scale the steep canyon while others rented helicopters to spy from overhead. The police department detailed a tactical squad of officers to protect the band and the house. The Beatles found it impossible to leave and instead invited guests, including actress Eleanor Bron (their co-star in the film Help!) and folk singer Joan Baez. On 24 August, they hosted Roger McGuinn and David Crosby of the Byrds and actor Peter Fonda.

Having first taken LSD (or "acid") in March that year, John Lennon and George Harrison were determined that Paul McCartney and Ringo Starr should join them on their next experience of the drug. Harrison later said that the heightened perception induced by LSD had been so powerful that he and Lennon had not been able to "relate" to McCartney and Starr since then, adding: "Not just on the one level – we couldn't relate to them on any level, because acid had changed us so much." At the party, the issue of taking LSD thereby became important to maintain band unity. While Starr agreed to try the drug, McCartney refused to partake.

Fonda wrote for Rolling Stone magazine:

"I finally made my way past the kids and the guards. Paul and George were on the back patio, and the helicopters were patrolling overhead. They were sitting at a table under an umbrella in a rather comical attempt at privacy. Soon afterwards we dropped acid and began tripping for what would prove to be all night and most of the next day; all of us, including the original Byrds, eventually ended up inside a huge, empty and sunken tub in the bathroom, babbling our minds away.

I had the privilege of listening to the four of them sing, play around and scheme about what they would compose and achieve. They were so enthusiastic, so full of fun. John was the wittiest and most astute. I enjoyed just hearing him speak and there were no pretensions in his manner. He just sat around, laying out lines of poetry and thinking – an amazing mind. He talked a lot yet he still seemed so private.

It was a thoroughly tripped-out atmosphere because they kept finding girls hiding under tables and so forth: one snuck into the poolroom through a window while an acid-fired Ringo was shooting pool with the wrong end of the cue. "Wrong end?" he’d say. "So what fuckin' difference does it make?""

As the group passed time in the large sunken tub in the bathroom, Fonda brought up his nearly fatal self-inflicted childhood gunshot accident, writing later that he was trying to comfort Harrison, who was overcome by fear that he might be dying. Fonda said that he knew what it was like to be dead, since he had technically died in the operating theatre. Lennon urged him to drop the subject, saying "Who put all that shit in your head?" and "You're making me feel like I've never been born." Harrison recalls in The Beatles Anthology: "[Fonda] was showing us his bullet wound. He was very uncool." Lennon explained in a 1980 interview:

"We didn't want to hear about that! We were on an acid trip and the sun was shining and the girls were dancing and the whole thing was beautiful and Sixties, and this guy – who I really didn't know; he hadn't made Easy Rider or anything – kept coming over, wearing shades, saying, "I know what it's like to be dead," and we kept leaving him because he was so boring! ... It was scary. You know ... when you're flying high and [whispers] "I know what it's like to be dead, man.""

Lennon eventually asked Fonda to leave the party. After this, the gathering settled down as Lennon, Harrison, McGuinn and Crosby sat in the large bathtub discussing their shared interest in Indian classical music. Crosby demonstrated raga scales on an acoustic guitar and recommended that Harrison investigate the recordings of Indian sitarist Ravi Shankar. Peter Brown, Epstein's assistant, later wrote that, in addition to inspiring Lennon's 1966 song "She Said She Said", the band members' "LSD experiment" in August 1965 "marked the unheralded beginning of a new era for the Beatles". Author George Case, writing in his book Out of Our Heads, describes the Beatles' subsequent album, Rubber Soul, and its 1966 follow-up, Revolver, as "the authentic beginning of the psychedelic era".

Composition
Lennon began working on "She Said She Said" in March 1966, shortly before the Beatles started recording Revolver. On the home recordings he made at this time, the song was titled "He Said" and performed on acoustic guitar. Lennon said that the episode with Fonda had stuck with him, and when writing the song, "I changed it to 'she' instead of 'he.'" Harrison recalled helping Lennon construct the song from "maybe three" separate segments that Lennon had. Harrison described the process as "a real weld". In his 2017 book Who Wrote the Beatle Songs?, author Todd Compton credits Lennon and Harrison as the song's true composers.

"She Said She Said" is in the key of B♭ Mixolydian, based on three chords: B♭ (I), A♭ (♭VII), and E♭ (IV). The key centre shifts to E♭ major during the bridge sections by means of an F minor (v) chord, a pivot chord that the Beatles had used to modulate to the subdominant before on "From Me to You" and "I Want to Hold Your Hand". The coda features a canonic imitation in the voice parts, a development of the idea originally presented by Harrison's lead guitar in the verse. Lennon's Hammond organ part consists entirely of one note – a tonic B-flat held throughout and faded in and out.

The track incorporates a change of metre, following Harrison's introduction of such a musical device into the Beatles' work with his Indian-styled composition "Love You To". "She Said She Said" uses both 3/4 and 4/4 time, shifting to 3/4 on the line "No, no, no, you're wrong" and back again on "I said …" The middle part consists of another song fragment that Lennon had penned. At Harrison's suggestion, Lennon used this fragment in the middle of "She Said She Said". In this section, the subject of Lennon's lyrics changes from his recollection of the LSD episode with Fonda to a reminiscence of childhood, as Lennon sings: "When I was a boy everything was right / Everything was right". According to musicologist Walter Everett, this abstraction is Lennon's refuge from the disturbing sensation that he's "never been born", and the change in time signature to 3/4 serves as an appropriate device for the shift in lyrical focus back in time. Musicologist Alan Pollack comments that, typically of the Beatles' work, the song's experimental qualities – rhythm, meter, lyrics, and sound treatment on the official recording – are tempered effectively by the band's adherence to a recognisable musical form. In this case, the structure comprises two verses, two bridge sections separated by a single verse, followed by a final verse and an outro (or coda).

In his commentary on "She Said She Said", music critic Tim Riley writes that the song conveys the "primal urge" for innocence, which imbues the lyric with "complexity", as the speaker suffers through feelings of "inadequacy", "helplessness" and "profound fear". In Riley's opinion, the track's "intensity is palpable" and "the music is a direct connection to [Lennon's] psyche"; he adds that "at the core of Lennon's pain is a bottomless sense of abandonment", a theme that the singer would return to in late 1966 with "Strawberry Fields Forever".

Recording
"She Said She Said" was the final track recorded during the Revolver sessions. It was also the first composition that Lennon had brought to the band in almost two months, since "I'm Only Sleeping". Because of Lennon's lack of productivity, Harrison was afforded a rare opportunity to have a third song, "I Want to Tell You", included on a Beatles album. The session took place on 21 June 1966, two days before the Beatles had to leave for West Germany to begin the first leg of their 1966 world tour. It took nine hours to rehearse and record, complete with overdubs, making it the only song on Revolver to be made in a single session. After the subsequent mixing session, the Beatles' producer, George Martin, said: "All right, boys, I'm just going for a lie-down."

The creative cooperation among the four Beatles was at its highest during the Revolver period. There nevertheless remained a philosophical divide between McCartney and Lennon, Harrison and Starr due to McCartney's refusal to try LSD. McCartney took part in the early takes for "She Said She Said" but did not contribute to the finished recording. He recalled: "I think we had a barney or something and I said, 'Oh, fuck you!,' and they said, 'Well, we'll do it.' I think George played bass." Harrison played a Burns bass guitar, which he had used earlier in the Revolver sessions, during initial recording for "Paperback Writer". Harrison also contributed the lead guitar part, incorporating an Indian quality in its sound and providing an introduction that Riley describes as "outwardly harnessed, but inwardly raging". Case describes the recording as "a metallic spiral of guitar and drums as aggressive as anything by the Who or the Yardbirds".

According to McCartney biographer Barry Miles, logs from the recording session appear to contradict McCartney's statement, as they do not indicate any bass overdubs by Harrison. Some authors therefore state that McCartney taped a bass track before walking out, on the same track as Starr's drums. In his 2012 book on the making of Revolver, however, Robert Rodriguez comments that the stereo mix of the song puts the bass and drums on separate channels – showing that the two contributions were not recorded together on the same track, which the logs suggest – and the bass part has little in common with McCartney's playing style or sound. He concludes that the session logs must be wrong and Harrison's role as bassist on "She Said She Said" is "pretty well certain".

In his liner notes to the 2022 Revolver: Special Edition, archivist Kevin Howlett states that "It is pretty certain... that Paul is heard on the original rhythm track containing bass and drums". He instead suspects that the argument related to a disagreement over the song's arrangement during the overdubbing process, adding that a recording sheet for the session indicates that a piano contribution was included on the song before being wiped from the tapes entirely.

Rodriguez highlights McCartney's walkout as one of "a handful of unsolved Beatles mysteries". When identifying the probable causes for McCartney's uncharacteristic behaviour, he cites later comments made by Lennon: specifically that Lennon appreciated Harrison's tendency to "take it as-is" whereas McCartney often took a musical arrangement in a direction he himself preferred; and that, given Lennon and Harrison's habit of teasing their bandmate over his refusal to take LSD, McCartney possibly felt alienated by the song's subject matter. Lennon expressed satisfaction with the completed track, adding, "The guitars are great on it."

Release and reception
EMI's Parlophone label released Revolver on 5 August 1966, one week before the Beatles began their final North American tour. "She Said She Said" was sequenced as the last track on side one of the LP, following "Yellow Submarine". Actress Salli Sachse, who appeared with Fonda in the 1967 film The Trip, recalled of his reaction to the release: "Peter was really into music. He couldn't wait until The Beatles' Revolver album came out. We went to the music store and played it, trying to hear any hidden messages." Writing in 2017, Alec Wilkinson of The New Yorker said that "She Said She Said" introduced "circumstances novel to western awareness", a theme that had "no obvious antecedent or reference" in pop music. As with much of the album, the song confused many of the band's younger or less-progressive fans. According to sociologist Candy Leonard: "For two and a half minutes they heard John recounting an impassioned conversation about something that seemed very important but totally incomprehensible. And the echoing guitar riff is a full participant in the conversation. Fans were bewildered."

The song was an early example of acid rock, a genre that came to the fore in Britain and America in the wake of Revolver. In his book on the Swinging London phenomenon, Shawn Levy identifies the album's "trio of tuned-in, blissed-out, spiked and spaced tunes" by Lennon – "Tomorrow Never Knows", "She Said She Said" and "I'm Only Sleeping" – as especially indicative of the Beatles' transformation into "the world's first household psychedelics, avatars of something wilder and more revolutionary than anything pop culture had ever delivered before". Rolling Stone attributes the development of the Los Angeles and San Francisco music scenes, including subsequent releases by the Beach Boys, Love and the Grateful Dead, to the influence of Revolver, particularly the "conjunction of melodic immediacy and acid-fueled mind games" in "She Said She Said". The song was much admired by American composer and conductor Leonard Bernstein. In his 1967 television special Inside Pop: The Rock Revolution, he described it as a "remarkable song" and demonstrated its shift in time signature as an example of the Beatles' talent for inventive and unexpected musical devices in their work.

Starr's drumming on "She Said She Said" is often included among his best performances. Author and critic Ian MacDonald rated the drumming as "technically finer than that of [Starr's] other tour-de-force, 'Rain'". In 1988, home recordings of Lennon developing the song were broadcast on the Westwood One radio show The Lost Lennon Tapes. A cassette containing 25 minutes of these recordings, which Lennon had given to Tony Cox, the former husband of his second wife, Yoko Ono, in January 1970, was auctioned at Christie's in London in April 2002.

"She Said She Said" was included on the Beatles' 2012 iTunes compilation Tomorrow Never Knows, which the band's website described as a collection of "the Beatles' most influential rock songs". It has been covered by the following acts, among others: Lone Star, Ween, the Black Keys, Matthew Sweet, Gov't Mule, the Feelies, Tom Newman, the Chords, Snake River Conspiracy, Mark Mulcahy, the Walking Seeds and Yeah Yeah Noh. Cheap Trick performed it as part of The Howard Stern Show's tribute to Revolver in 2016. In 2018, the music staff of Time Out London ranked "She Said She Said" at number 19 on their list of the best Beatles songs.

Personnel
According to Ian MacDonald, Walter Everett and Robert Rodriguez:

 * John Lennon – lead and backing vocals, rhythm guitar, Hammond organ
 * George Harrison – backing vocal, bass guitar, lead guitar
 * Ringo Starr – drums, shaker

Kevin Howlett and John C. Winn write that McCartney played bass on the rhythm track before leaving the studio. According to Howlett and Winn, the line-up is as follows:

 * John Lennon – lead and harmony vocals, rhythm guitar, Hammond organ
 * Paul McCartney – bass guitar
 * George Harrison – harmony vocal, lead guitar
 * Ringo Starr – drums

title: She Said She Said


text:
Master of the Household

The Master of the Household is the operational head (see Chief operating officer) of the "below stairs" elements of the Royal Households of the United Kingdom. The role has charge of the domestic staff, from the Royal Kitchens, the pages and footmen, to the housekeeper and their staff. The appointment has its origin in the household reforms of 1539-40; it is under the (now purely nominal) supervision of the Lord Steward.

Since 2004 the Office of the Prince of Wales has included a Master of the Household.

History
Historically, the Master of the Household was a member of the Lord Steward's Department, and sat on the Board of Green Cloth. Among other duties, he presided at the daily dinners of the suite in waiting on the sovereign. The office is not named in the Black Book of Edward IV or in the Statutes of Henry VIII but is entered as Master of the Household and one of the clerks of the Green Cloth in the Household Book of Queen Elizabeth.

Initially there were four Masters of the Household, and they were working officers; but by the late 17th century there was a single Master and the post had become a sinecure. In 1782, when a number of household sinecures were abolished, the Master of the Household was given renewed responsibility for the management of the Lord Steward's Department; and under further reforms overseen by Prince Albert he was given charge of the entire domestic establishment.

In the 1920s, as part of a reconfiguration of the King's Household, the Lord Steward's Department was renamed the Master of the Household's Department. The Master of the Household chaired the Board of Green Cloth up until the time of its abolition in the early 21st century.

List of Masters of the Household

 * Richard Browne 1603–1604
 * Sir Robert Vernon bef. 1608 – c.1625
 * Charles Glemham c. 1625 – 1625
 * Roger Palmer 1626–1632
 * In abeyance 1632–1645
 * George Lisle c. 1645 – 1648
 * In abeyance? 1648–1660
 * Sir Herbert Price, 1st Baronet 1660–1665 and 1666–1678
 * Honourable Henry Bulkeley 1678–1688
 * Sir Thomas Felton, 4th Baronet 1689–1708
 * Edmund Dunch 1708–1712
 * Sir William Pole, 4th Baronet 1712–1714
 * Edmund Dunch 1714–1719
 * Sir Conyers Darcy, 1720–1730
 * Sir George Treby 1730–1741
 * Sir John Harris 1741–1767
 * The Right Honourable Henry Thynne 1768–1771
 * Sir Francis Henry Drake, 5th Baronet 1771–1794
 * Sir Henry Strachey, 1st Baronet 1794–1810
 * Sir William Kenrick 1810–1812
 * Samuel Hulse 1812–1827
 * Sir Frederick Beilby Watson 1827–1838
 * The Right Honourable Sir Charles Murray, 1838–1844
 * Captain Henry Meynell 1844–1845
 * Major-General Sir George Bowles 1845–1851
 * The Right Honourable General Sir Thomas Biddulph 1851–1866
 * The Right Honourable Major-General Sir John Cowell, 1866–1894
 * Lieutenant-Colonel Lord Edward Pelham-Clinton, 1894–1901
 * The Right Honourable Horace Farquhar, Lord Farquhar, 1901–1907 (later Earl Farquhar)
 * Lieutenant Colonel Sir Charles Arthur Andrew Frederick, 1907–1912
 * Lieutenant-Colonel The Honourable Sir Derek Keppel, 1913–1936
 * Brigadier Sir Smith Child, 2nd Baronet, 1936–1941
 * Lieutenant-Colonel The Honourable Sir Piers Legh, 1941–1953
 * Major Sir Mark Milbank, 4th Baronet, 1954–1967
 * Brigadier Sir Geoffrey Hardy-Roberts, 1967–1973
 * Vice-Admiral Sir Peter Ashmore, 1973–1986
 * Rear-Admiral Sir Paul Greening, 1986–1992
 * Major-General Sir Simon Cooper, 1992–2000
 * Vice-Admiral Sir Anthony Blackburn, 2000–2004
 * Air Marshal Sir David Walker, 2005–2013
 * Vice-Admiral Sir Tony Johnstone-Burt, 2013–

List of Deputy Masters of the Household

 * Lieutenant-Colonel Sir Charles Arthur Andrew Frederick, 1901–1907
 * Harry Lloyd-Verney, 1907–1911
 * Lieutenant-Colonel Honourable Sir Derek Keppel, 1911–1912
 * Captain Lord Arthur John Hamilton 1913–1914
 * Honourable Sir Harry Stonor, 1918–1921
 * Captain Lord Claud Nigel Hamilton, 1922–1924
 * Brigadier-General Sir Smith Child, 2nd Baronet 1929–1936
 * Lieutenant-Colonel Ririd Myddelton, 1937–1939
 * Group Captain Peter Townsend, 1950–52
 * Major Sir Mark Milbank, 1952–1954
 * Lieutenant-Colonel Lord Plunket, 1954–1975
 * Lieutenant-Colonel Sir Blair Stewart-Wilson, 1976–1994
 * Lieutenant-Colonel Sir Guy Acland, 1994–1999
 * Lieutenant-Colonel Sir Anthony Charles Richards, 1999–2023

title: Master of the Household


text:
User:Ghettofinger

FISH <><

go to my talk page and dicuss the fish story I will tell you

title: User:Ghettofinger


text:
White Rabbit (candy)

White Rabbit Creamy Candy is a brand of milk candy manufactured by Shanghai Guan Sheng Yuan Food, Ltd., in China. It is an iconic cultural brand and has been in production since 1943. White Rabbit candy is part of the childhood memories of many mainlanders and Hong Kongers, and has been featured in many classic Chinese movies and TV series.

Ingredients and varieties
White Rabbit candies are a milk-based white candy with a soft, chewy texture, sold as small, rectangular candies approximately 3 x similar to taffy.

Each candy is wrapped in a thin edible paper-like wrapping made from sticky rice. They are then wrapped in a printed waxed paper wrapper. The rice wrapping layer is meant to be eaten along with the rest of the candy and can be found in the list of ingredients in the UK as "Edible Glutinous Rice Paper (edible starch, water, Glycerin Monostearate)" along with liquid maltose, white granulated sugar, whole milk powder, butter, food additives (gelatin, vanillin), corn starch, syrup, cane sugar and milk. Each candy contains 20 calories.

In addition to the original vanilla flavour, new flavours such as chocolate, coffee, toffee, peanut, maize, coconut, lychee, strawberry, mango, red bean, yogurt, matcha, and fruit have been added. The butter-plum flavour, characteristic of China, was also among the new flavours added through the years.

Brand history
White Rabbit candy originated in the ABC Candy Factory of Shanghai in 1943, when a merchant from ABC tried a milk candy from England and was impressed by its taste. After half a year of development, he then manufactured the factory's own brand of milk candies.

The first ABC milk candies were packaged using a red Mickey Mouse drawing on the label, and were named ABC Mickey Mouse Sweets. As their prices were lower than imported products, they became widely popular among the people.

In the 1950s, ABC became state-owned. Mickey Mouse was seen as a symbol of foreign countries, and so the packaging was redesigned to feature a naturalistically drawn white rabbit and an artist's paint palette, with Chinese and English hand-lettering in a color scheme of red, blue and black against a white background. The result was a distinctive candy label design. The packaging and brand logo have changed over the years: when the candies were first marketed, the white rabbit on the outer packaging was lying down; however, this was changed to an image of the rabbit jumping. Currently, the trade mark animal on the outer packaging has been given enormous neotenic, forward-facing eyes in the style of Disney or Japanese anime, while the inner wrapping retains its classic art deco look and naturalistic rabbit.

Initially, production of the candies was capped at 800 kg per day, and the candies were manually produced. In 1959, these candies were given as gifts for the 10th National Day of China. In 1972, Premier Zhou Enlai used White Rabbit candies as a gift to American president, Richard Nixon, when he visited China. Today, White Rabbit candies are China's top brand of sweets.

White Rabbit sweets have been advertised with the slogan "Seven White Rabbit candies is equivalent to one cup of milk" and positioned as a nutritional product in addition to being a sweet, and experienced popularity amongst former students of the early Deng Xiaoping era in China (1978 to the early 1990s), who were reported to have taken this slogan literally and made 'hot milk' in their dormitory cooking rings by dissolving the candies in a pan of hot water.

Although the White Rabbit brand already had some history, its popularity worldwide has grown with the economy of China. Cities and agricultural villages' demands are increasing, especially during the Chinese New Year period, when many families provide White Rabbit sweets among other candies for visitors. In 2004, White Rabbit candy sales hit 600 million yuan, with sales increasing by a double-digit percentage yearly. The candies are now exported to more than 40 countries and territories, including the United States, Europe and Singapore. On December 2, 2017, Wong's Ice Cream of Toronto, Canada unveiled the first ice cream flavour made from White Rabbit candy.

The White Rabbit brand was transferred to Guan Sheng Yuan (Group) Co., Ltd. in November 1997. The United States distributor of the candy is Queensway Foods, in Millbrae, California.

Formaldehyde contamination
In July 2007, the Philippine Bureau of Food and Drugs (BFAD) said that four imported foods made in China contained formalin and should be recalled. Those listed were White Rabbit Creamy Candy, Milk Candy, Balron Grape Biscuits, and Yong Kang Foods Grape Biscuits. The White Rabbit brand claimed that counterfeit candies, known to exist in the Philippines, may have been the cause of the contaminated sweets, citing an independent report by the Shanghai affiliate of the Swiss-based SGS Group, the world's largest inspection and testing company, as saying that samples of candy ready to be exported overseas contained no toxic substances. In Singapore, the Agri-Food and Veterinary Authority (AVA) also stated after conducting tests that the candy was safe for consumption. However, on July 24, 2007, the local Philippine distributor of White Rabbit bowed to the BFAD recall order. BFAD officials gave the distributor 15 days to implement the recall.

On July 24, 2007, the National Agency of Drug and Food Control of Republic of Indonesia stated that 39 imported foods made in China, including White Rabbit Creamy Candy sold in Jakarta, contained formaldehyde, and sealed them for destruction. It urged the public not to consume these products. On August 9, 2007, Indonesia stated that samples of White Rabbit candy sold in Palembang and Mataram also contained formaldehyde, and took similar actions.

Melamine contamination
In September 2008, there were more than 52,000 reported cases of children made sick by melamine-tainted dairy products in China. Most of the children were diagnosed with kidney problems. White Rabbit Creamy Candy was listed among the many milk-based food products made in China that were contaminated with melamine and was removed from store shelves. The same form of contamination was responsible for the Chinese melamine pet food contamination scandal in 2007, during which thousands of pet dogs and cats died of kidney failure after eating pet food that contained melamine.

On September 24, 2008, the UK supermarket chain Tesco pulled all White Rabbit Candy from their shelves "as a precaution" in response to the melamine-contamination reports. The Hong Kong Centre for Food Safety issued an advisory on the product after it tested positive for melamine in their laboratories, with more than six times the legal limit for the chemical. Australia issued a recall. The Agri-Food and Veterinary Authority of Singapore issued a similar advisory, while also noting that although the level of melamine was high in the candy, it did not pose the same sort of danger that the contaminated infant formula did.

White Rabbit candies exported to New Zealand were also tested, and though melamine was found, as there had been no harm done yet they were unable to recall. Two reporters, using the Singaporean test results, calculated that "a 60kg adult [...] would have to eat more than 47 White Rabbit sweets [...] every day over a lifetime to exceed the tolerable threshold" for melamine. In September 2008, the Connecticut Department of Consumer Protection warned consumers not to eat "White Rabbit Creamy Candy" because tests by the Connecticut Agriculture Experiment Station Laboratory determined that it contained melamine. In September 2008, United States Food and Drug Administration warned consumers about White Rabbit candy over concerns of possible melamine contamination, and the American distributor, Queensway Foods Inc., ordered a recall. Tests conducted in South Africa confirmed similar results.

Golden Rabbit
When White Rabbit candy returned to export in 2009, it also underwent a name change to Golden Rabbit Creamy Candy. Aside from avoiding the marketing stigma associated with the tarnished White Rabbit name, the Golden Rabbit candy is made using milk from Australia instead of China. Original White Rabbit is also manufactured with milk from New Zealand.

title: White Rabbit (candy)


text:
Good Day Sunshine

"Good Day Sunshine" is a song by the English rock band the Beatles from their 1966 album Revolver. It was written mainly by Paul McCartney and credited to the Lennon–McCartney partnership. McCartney intended it as a song in the style of the Lovin' Spoonful's contemporaneous hit single "Daydream". The recording includes multiple pianos played in the barrelhouse style and evokes a vaudevillian mood.

The composition contains key changes and metric anomalies, and closes with voices chanting the song title. Together with its lyrics celebrating romantic love and sunshine, the recording contrasts with the more austere and experimental aesthetic of Revolver. Among music critics, some writers have welcomed the song's lightheartedness while others view it as a track that dilutes the album's strengths.

"Good Day Sunshine" has been covered by the Tremeloes, Claudine Longet and Robbie Williams. McCartney re-recorded the song for his 1984 film Give My Regards to Broad Street and has regularly performed it in concert. The song was used as the wake-up music on the Space Shuttle mission STS-135. In November 2005, McCartney played it live to the crew of the International Space Station as part of a concert link-up to the space station.

Background and inspiration
Paul McCartney wrote "Good Day Sunshine" at Kenwood, John Lennon's house in Surrey. Drawing inspiration from the sunny day, McCartney composed the melody on Lennon's piano. He later said that Lennon helped write the song, but "it was basically mine." Lennon recalled that the song was McCartney's and that he perhaps "threw in a line or something".

McCartney said that he was influenced by the Lovin' Spoonful's hit single "Daydream" and was trying to write a song in that vein. Lennon and George Harrison had attended the Lovin' Spoonful's concert at the Marquee in London in April 1966; the Beatles and members of the Rolling Stones soon lauded them as the "hot new group". Author Steve Turner writes that the Kinks' "Sunny Afternoon" could have been another source of inspiration for McCartney.

Composition
The song uses the keys of A major and D major. Following a four-bar introduction, it opens with the chorus. Thereafter, the structure comprises three rounds of verse and chorus, in the second of which the verse section contains an instrumental passage; the song ends with a repetition of the chorus, followed by a fadeout coda. Musicologist Alan Pollack likens the musical form to that of a folk ballad with a pop element made explicit through the intro, instrumental passage and coda.

The chords used in the introduction (E throughout) and chorus (B, F♯, E and E7) suggest a key of B major. In musicologist Walter Everett's description, however, the B chord "reveals itself to be the V of V of A" once the verse is heard for the first time. The key change to D major occurs midway through the second verse, for the piano solo.

The six-bar choruses depart from the standard 4/4 time signature by including bars in 3/4 and 5/4 time. Music critic Ian MacDonald describes the chorus as a section that "drop[s] beats left, right, and centre" in contrast to the "barrelhouse 4/4" of the verse. In his analysis of the song, Pollack says that while he had long considered the chorus's metre to vary in this way, the effect is more one of syncopation within 4/4, rather than formal changes in time signature. Within the three two-bar pairings, he continues, this is achieved through rhythmic accents falling on beats 1 and 4 of the first bar and beat 3 of the second bar.

Like the Revolver track "She Said She Said", the song closes with an imitative canon in the voices. Author Mark Prendergast likens the ending to that of "I Want to Tell You", saying that where the latter closes with an uplifting Indian devotional quality, "Good Day Sunshine" features a "raga-like edge to its vocal climax". The ending is given extra emphasis through the melody ascending a semitone from the final chorus, to an F7 chord.

According to author Mark Hertsgaard, the lyrics combine an appreciation of the sun's life-affirming qualities with a "standard boy–girl love story". In focusing on the latter theme, the song serves as a comparative rarity on Revolver, where the Beatles otherwise avoid the subject of love. As with some of his other songs on the album, this trait set McCartney apart from Lennon and Harrison, whose lyrics increasingly addressed existential concerns.

Recording
The Beatles rehearsed "Good Day Sunshine" extensively in the studio on 8 June 1966, before recording three full takes of the basic track. Take 1 was selected for overdubbing, which they completed the following day. The basic track consisted of piano, bass guitar and drums. MacDonald was unsure if Lennon played guitar. According to Everett, where the Spoonful's "Daydream" includes "a Beatlesque staggering of the entrances of four differently textured guitars", "'Good Day Sunshine' has no guitars at all." In his description of the recording sessions for the song, Beatles historian Mark Lewisohn makes no mention of a guitar track.

Lennon and Harrison added harmony vocals during the choruses, supporting McCartney's lead. On 9 June, the three singers overdubbed further vocals at the end of the track. During the same session, Ringo Starr supplemented his drum part with additional contributions on snare, bass drum and crash cymbals, the latter at the end of the intro and over the choruses, and McCartney played a second piano part. George Martin contributed the piano solo, played in the barrelhouse style and recorded with the tape speed reduced. Music critic Richie Unterberger writes that Martin's contribution heightens the "old-timey vaudevillian feel" of the song.

Mono and stereo mixes were created, with the only significant difference being the presence of Starr's bass drum during the coda, heard only in the mono version. Automatic double tracking, a technique invented by the EMI engineers at the start of the Revolver sessions, was added to the main vocal track late in the song. For the stereo version, both tracks containing vocals were panned across the stereo image, heightening the effect of multiple voices singing the song title. The final mixes were carried out on 22 June, the day before the band flew to Munich to begin their 1966 world tour. At this point, the song received its formal title, having been documented as "A Good Day's Sunshine" since the first session.

Release
In Britain, EMI gradually distributed Revolver's songs to radio stations throughout July, preparing listeners for the more sophisticated sounds and techniques adopted by the Beatles. EMI's Parlophone label issued the album on 5 August 1966, with "Good Day Sunshine" sequenced as the opening track on side two of the LP. Pattie Boyd, Harrison's wife, recalled holidaying on the French Riviera while the Beatles were away on tour, and giving local DJs an acetate of the song to play in the nightclubs she and her fellow model Zouzou visited there.

The album's release took place midway through an unusually hot summer in the UK. It followed Time magazine's recognition of London as the "Swinging City" of international youth culture, a phenomenon in which the Beatles played a principal role, and coincided with an atmosphere of national celebration. According to author Howard Sounes: "The sun seemed to shine every day during the summer of 1966; English music and youth style was applauded; the England soccer team won the World Cup; and the Beatles' Revolver was the soundtrack album of the season."

Critical reception
In their joint review of Revolver for Record Mirror, Peter Jones and Richard Green both praised the song and McCartney's vocal, with Jones adding: "Reminds me somehow, structurally, of some of the Spoonful stuff ... Paul's great. A voice with character, power – but also subtlety. Watch the fade-finish." Writing in Crawdaddy!, Paul Williams commented, "The impact of the Lovin' Spoonful on British groups is excellent evidence of how alive rock 'n' roll is today; everyone learns from everyone else and the music just keeps getting better." Williams admired the lyrics and piano playing on "Good Day Sunshine", saying, "It grows on you like lichen, humble, unspectacular, but very lovable."

"Good Day Sunshine" was one of the few songs that the Kinks' Ray Davies enthused about when invited to give a rundown of Revolver in Disc and Music Echo. Feeling that the album's experimental tone would alienate their fanbase, Davies said of the track: "This'll be a giant. It doesn't force itself on you, but it stands out like 'I'm Only Sleeping'. This is back to the real old Beatles." The song was much admired by American composer and orchestral conductor Leonard Bernstein. When presenting the CBS News documentary Inside Pop: The Rock Revolution in April 1967, Bernstein praised "Good Day Sunshine" for its rhythmic surprises and key changes, citing these as examples of why the Beatles' music was superior to most of their contemporaries' work.

Ian MacDonald considered the track to be the band "at their effortless best" and especially admired McCartney's vocal and Martin's production. He described the song as "both blissfully simple and full of the free-spirited musical jesting with which The Beatles amazed classical critics". In his song review for AllMusic, Richie Unterberger says that it "radiates optimism and good vibes, even by the high standards the Beatles themselves set in those categories". He highlights the group's harmony singing as "some of their most uplifting", particularly over the fadeout, where the vocal effect suggests that "the good vibes ... will not end when the record does, but echo around the skies indefinitely". Mark Hertsgaard cites "Good Day Sunshine" as an example of how "one of the best things about the Beatles' music is it makes you happy", and he deems it "a song whose joy is irresistible". Writing in Barry Miles's The Beatles Diary, Peter Doggett describes the track as "Simple, effective and stunning" and "the ideal complement to the darker Revolver songs".

Less impressed, Bill Wyman of Vulture ranks "Good Day Sunshine" last in his list of the 213 Beatles songs. He views the title as "inane" and the piano playing as a McCartney parody, and concludes: "It's the worst song in the Beatles' classic period. And it ruins Revolver, otherwise the most consistent and mind-blowing collection of pop-rock songs ever conceived by man." Writing for Salon in 2016, Scott Timberg paired it with "Got to Get You into My Life" as examples of the less inspired songs on Revolver. He called them "musically derivative and emotionally forced" and, along with "Yellow Submarine", the three Revolver tracks that provide a welcome lightening of the album's austere mood but "tear its fabric a little bit".

Cover versions and performances by McCartney
That McCartney's songwriting on Revolver retained elements recognisable as both adult-oriented pop and reflective of the new psychedelic aesthetic ensured that his songs were the most widely covered. The Tremeloes recorded "Good Day Sunshine" in 1966 soon after parting company with singer Brian Poole. Released as a single, it failed to become a hit. Beatles biographer Robert Rodriguez views this as surprising, given that McCartney's songs "Here, There and Everywhere", "Good Day Sunshine" and "Got to Get You into My Life" "were all the stuff from which hit singles are made", yet only the last of the three was immediately successful when covered by another artist. In 1967, a recording by Claudine Longet peaked at number 100 on the Billboard Hot 100 in the US and number 36 on Billboard's Easy Listening chart.

McCartney re-recorded "Good Day Sunshine" for the soundtrack to his 1984 film Give My Regards to Broad Street. Martin again played the piano solo but although Starr appeared in the film, he refused to contribute to McCartney's new versions of the Beatles' songs. McCartney has also included the song in the set list for his tours, starting with his 1989–90 world tour. A live version from this tour was issued as the B-side of his 1990 single "Birthday".

"Good Day Sunshine" was used as the wake-up music on the Space Shuttle mission STS-135. McCartney played the song live to the crew of the International Space Station on 13 November 2005 in the first concert link-up to the space station.

In 1974, after Harrison withdrew permission for the use of his 1969 song "Here Comes the Sun" in the stage musical John, Paul, George, Ringo ... and Bert, the producers replaced it with "Good Day Sunshine". The song was performed by Barbara Dickson. In 2016 Robbie Williams sang it in the "Good Day Sunshine" episode of Beat Bugs, a children's animated TV series based on the Beatles' songs.

Personnel
According to Jean-Michel Guesdon and Philippe Margotin in their book All the Songs (except where noted). The authors include a question mark beside Lennon's guitar contribution and beside the bass guitar credit, unsure of whether the latter is played by Harrison or McCartney, yet they list Harrison as the player in their description of the band recording the basic track. Mark Lewisohn states that the piano, bass and drums were all taped at the same time.

The Beatles
 * Paul McCartney – lead and backing vocals, pianos, handclaps
 * John Lennon – harmony and backing vocals, rhythm guitar, handclaps
 * George Harrison – harmony and backing vocals, bass guitar, handclaps
 * Ringo Starr – drums, supplementary drums and cymbal, handclaps

Additional musician
 * George Martin – piano solo

title: Good Day Sunshine


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User talk:Greatseal

Welcome from Redwolf24
Welcome!

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Redwolf24

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Image Tagging Image:Endless pool.jpg
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Disputed fair use rationale for Image:Swim-Ex swimming machine at Arizona State University.jpg
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title: User talk:Greatseal


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Balakhna

Balakhna (Балахна́) is a town and the administrative center of Balakhninsky District in Nizhny Novgorod Oblast, Russia, located on the right bank of the Volga River, 32 km north of Nizhny Novgorod, the administrative center of the oblast. Population:   33,500 (1968).

It was previously known as Sol-na-Gorodtse.

Overview
It was founded in 1474 as Sol-na-Gorodtse (Соль-на-Городце). After the Khan of Kazan razed it to the ground in 1536, a wooden fort was constructed to protect the settlement against further Tatar incursions. For the following three centuries, Balakhna prospered as a center of saltworks and grain trade. By the Time of Troubles, it was the twelfth largest city in Russia.

Adam Olearius visited and described the town in 1636. That year several shipwrights from Holstein built the first Russian ships here, thus establishing Balakhna as a foremost center of national river shipbuilding. The people of Balakhna were also reputed for their skills in knitting and making colored tiles, which were used for decoration of the Savior Church (1668) and other local temples. Balakhna is one of the few Russian cities shown on the 1689 Amsterdam World Map (labeled Balaghna).

The northwestern part of Balakhna is known as Pravdinsk. It used to be a separate urban-type settlement before it was merged into Balakhna in 1993. The settlement was named after the Moscow Pravda newspaper, which at some point may have been the largest consumer of newsprint produced at the local paper mill.

Administrative and municipal status
Within the framework of administrative divisions, Balakhna serves as the administrative center of Balakhninsky District. As an administrative division, it is incorporated within Balakhninsky District as the town of district significance of Balakhna. As a municipal division, the town of district significance of Balakhna is incorporated within Balakhninsky Municipal District as Balakhna Urban Settlement.

Religion and culture
The oldest structure in the city (and in the whole region) is the tentlike church of St. Nicholas (1552). Of all the tentlike churches built in brick, this is the nearest approach to their wooden prototypes. Another church, dating from the 17th century, houses a municipal museum. The Nativity church (1675) represents an archaic monumental type of monastery cathedral. Nearby is a statue of Kuzma Minin, who was born in Balakhna.

Sport
It has a youth bandy team called FOK Olimpiyskiy.

title: Balakhna


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Wikipedia:WikiProject Football/National associations/Templates

This page lists navbox templates used for of the WikiProject on Football manual of style for national associations.


text: User talk:128.54.72.130

title: User talk:128.54.72.130


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User talk:Ghettofinger

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At my work people keep two fish each in tiny tanks, about the size of a pants pocket. I think it's HORRIBLE! I left them an anonymous red sticky note that said they need a bubbler and a larger tank or the fish will die. But they still haven't done anything! DISCUSS...

Ghettofinger 22:25, 16 July 2005 (UTC)

롤 ---Zemant (talk) 23:47, 31 January 2013 (UTC)

title: User talk:Ghettofinger


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Doctor Robert

"Doctor Robert" is a song by the English rock band the Beatles. It was released in 1966 on their album Revolver, apart from in North America, where it instead appeared on their Yesterday and Today album. The song was written by John Lennon (and credited to Lennon–McCartney), although Paul McCartney has said that he co-wrote it. The Beatles recorded the track in seven takes on 17 April 1966, with vocals overdubbed on 19 April.

Background and inspiration
According to musicologist Walter Everett, the lyrics to "Doctor Robert" "contained the most overt drug references of any published Beatles song" up to 1966, and he adds that in their recording of the song, the band "found musical ways to portray the doctor as a saint". The character is in keeping with the idea of a "Dr Feelgood", a physician who prescribed drugs such as amphetamines under the guise of legitimate medical practice. Lennon recalled that McCartney might have helped him write the "Well, well, well" bridge; despite this, according to music journalist Robert Fontenot, "most agree the song is almost all John's brainchild."

In his book Beatles '66, author Steve Turner says that Lennon was possibly encouraged to write about a drug supplier after discussing "Mother's Little Helper" – a song from the Rolling Stones' just-released Aftermath album – with Mick Jagger, when Jagger had attended a recent session for Revolver. Turner cites Donovan's 1965 track "Candy Man" as another song that might have served as an example for Lennon. According to his friend Pete Shotton, when Lennon played him the acetate of "Doctor Robert", "he seemed beside himself with glee over the prospect of millions of record buyers innocently singing along."

Multiple theories have circulated about the identity of the real Dr Robert. Author Barry Miles identified him as Robert Freymann, a New York doctor known for dispensing vitamin B-12 shots laced with amphetamines to wealthy clientele. Aged around 60 in 1966, Freymann was a German-born Manhattan physician known to New York's artists and wealthier citizens for his vitamin B-12 injections, which also featured liberal doses of amphetamine. Freymann bragged that he could rattle off 100 names of his celebrity patients (reportedly including Jackie Kennedy) "in 10 minutes".

Turner, who also identifies Dr Robert as Freymann, writes that "some in the Beatles' circle thought Dr Robert was a reference to Robert Fraser" – an art gallery owner, "reliable source of pot and cocaine for London's hip set", and friend of the Beatles and the Rolling Stones. In a 1980 interview that Fontenot says "muddied the issue further", Lennon said the song was "mainly about drugs and pills" but: "It was about myself. I was the one that carried all the pills on tour."

In a 2009 article for the Spinner website, James Sullivan listed three other people who were speculated to be the inspiration for Dr Robert:
 * Bob Dylan, who had introduced the Beatles to marijuana in the summer of 1964.
 * Dr Robert MacPhail, a fictional character in Aldous Huxley's 1962 book Island.
 * John Riley, a dentist acquaintance of John and Cynthia Lennon, George Harrison and his wife, Pattie Boyd. At a dinner party attended by Lennon and Harrison and their partners in March 1965, Riley had laced their coffee with LSD, providing the two Beatles with their first experience of the drug.

Musical characteristics
"Doctor Robert" uses the keys of A major and B major, and its melody is in the Mixolydian mode based on B. The musical arrangement has staggered layering, with backing vocals starting in the second verse, the lead guitar entering just before the bridge, and the bridge itself featuring added harmonium and extra vocals. Lennon's lead vocal is automatically double tracked with each of the two slightly-out-of-phase tracks split onto separate stereo channels; creating a surrealistic effect supporting the lyric about drug use. An interesting feature is the suitably "blissful" modulation (on "Well, well, well, you're feeling fine") to the key of B on the bridge via an F♯7 pivot chord (VI7 in the old key of A and V7 in the new key of B).

The extended jam that lasts 43 seconds at the end was recorded, but it was removed and replaced with a fade-out. In the US mono mix of the song, as released on Yesterday and Today, Lennon appears to say "OK, Herb" at the very end of the track.

Recording
The Beatles recorded "Doctor Robert" during the early part of the Revolver sessions. The session for the song took place on 17 April 1966 at EMI Studios (now Abbey Road Studios) in London. It was a relatively straightforward track to record, compared to the more experimental songs such as "Tomorrow Never Knows" and "Rain". The band achieved a satisfactory basic track after seven takes, with a line-up comprising Lennon on rhythm guitar, McCartney on bass, Harrison on maracas, and Ringo Starr on drums. Harrison then overdubbed lead guitar, treated with automatic double tracking (ADT) and fed through a Leslie speaker to enhance the sound, and Lennon added harmonium over the two bridges. McCartney played a piano part, although it was not retained on the finished recording.

Vocals were added to the track at the group's next session, on 19 April. These consisted of Lennon's lead vocal and McCartney's high harmony part, and Harrison supplying a third voice over the bridges. Lennon's vocal was also treated with ADT. The song was mixed in mono for its US release on 12 May and in stereo on 20 May. It was subsequently remixed in mono on 21 June.

Release and reception
"Doctor Robert" was one of the three songs from the Revolver sessions, all written by Lennon, that were given to Capitol Records in early May 1966 for inclusion on the US release Yesterday and Today. In other countries, it appeared on Revolver, where it was sequenced as the fourth track on side two of the LP, between "For No One" and "I Want to Tell You". The album was released on 5 August, shortly before the Beatles commenced their final concert tour, in Chicago. Author Shawn Levy describes Revolver as pop music's "first true drug album" rather than merely a "record with some druggy insinuations", and he attributes this especially to Lennon's contributions.

In November, artist Alan Aldridge created a cartoon illustration of "Doctor Robert" and three other Revolver tracks to accompany a feature article on the Beatles in Woman's Mirror magazine. The illustration depicted Lennon dressed in a black cape that was partly drawn aside to reveal a set of shiny surgical instruments, although Aldridge's original design – which was overruled by the magazine's management for fear of offending potential advertisers – instead showed human limbs hanging inside the cape. Impressed with the artist's work, Lennon bought the original picture and proudly displayed it at his home. According to Aldridge, Lennon told him that he had "got it wrong, though" in depicting Dr Robert as a physician concerned with the human anatomy; instead, he was a "New York doctor who sold speed".

In his review of Revolver, Stephen Thomas Erlewine of AllMusic calls "Doctor Robert" Lennon's "most straightforward number" on the album, when compared to his other Revolver compositions "And Your Bird Can Sing", "She Said She Said", "I'm Only Sleeping" and "Tomorrow Never Knows". Richie Unterberger, in his review of the song for AllMusic, complimented the song's guitar pattern, being a possible influence from bands such as the Who. Unterberger also praises the vocal performances, particularly McCartney's high harmonies during the verses. Writing in his book Revolution in the Head, Ian MacDonald says that although the song is only a "minor" Beatles track, it is among the band's "most incisive pieces". He highlights the combination of Lennon's "caustic vocal", McCartney's "huckstering harmony in fourths" and Harrison's "double-tracked guitar, with its unique blend of sitar and country-and-western".

Reviewing the album for Mojo in 2002, Charles Shaar Murray grouped "Doctor Robert" with "And Your Bird Can Sing", "She Said She Said" and "I Want to Tell You" as guitar-based tracks that "glisten" with "glorious cascades of jangle". He identified this jangle quality as the Beatles' response to "what the Byrds had done with the Fabs' own proto-folk-rock sound on A Hard Day's Night". When Mojo released Revolver Reloaded in 2006, part of the magazine's series of CDs of Beatles albums covered track-by-track by modern artists, "Doctor Robert" was covered by Luke Temple.

Personnel
According to Ian MacDonald, except where noted:

 * John Lennon – double-tracked lead vocal, rhythm guitar, harmonium
 * Paul McCartney – harmony vocal, bass guitar
 * George Harrison – backing vocal, double-tracked lead guitar, maracas
 * Ringo Starr – drums

title: Doctor Robert


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File:LMB stars.png

Description: 5-star rating system. Original drawings by Luis María Benítez

title: File:LMB stars.png


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Route 114A (Rhode Island–Massachusetts)

Route 114A is an alternate state route to Rhode Island Route 114, located along the Massachusetts – Rhode Island border in East Providence, RI and Seekonk, MA. The road begins and ends within East Providence in Rhode Island at Route 114. Most of the road, however, is located within Seekonk and designated as Massachusetts Route 114A.

Route description
Route 114A begins as Mink Road at an intersection with Route 114 in East Providence. It crosses into the Massachusetts town of Seekonk after 0.1 mi and continues north as Mink Street then Fall River Avenue through Seekonk center. Route 114A continues north back into Rhode Island, where it ends back at Route 114, which is overlapped with U.S. Route 1A (US 1A) at this point in East Providence.

This is the only instance in Massachusetts of an "A" or "alternate" route carrying the numerics for a highway signed in another state, as Rhode Island's Route 114 does not enter Massachusetts. Massachusetts Route 114 is an unrelated route located over 50 mi away, running between Lawrence and Marblehead. Only three other such instances of this exist in New England: New Hampshire Route 113B (a loop off of Maine Route 113), Vermont Route 10A (a spur of New Hampshire Route 10), and Vermont Route 22A (a spur of New York Route 22).

History
Route 114A was not commissioned until some time in the 1960s.

title: Route 114A (Rhode Island–Massachusetts)