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Tear from the Red

Tear from the Red is the second full-length album by American metalcore band Poison the Well. It was released via Trustkill Records on February 19, 2002. The album was the band's first release to appear on Billboard's Independent Albums and Heatseekers Albums charts (in March 2002), and was responsible for landing Poison the Well a major record label deal. It also featured the band's first single and music video for "Botchla". The release received numerous reissues on various formats over the years through such record labels as Good Life Recordings, Roadrunner Records, Shock Records, Rise Records, Ides of March, and Undying Music, and was digitally remastered in 2012.

In promotion of the album, Poison the Well toured the United States several times between November 2001 and October 2002, crossing into Canada twice. The bands that accompanied Poison the Well on these tours include Unearth, Sworn Enemy, Hatebreed, God Forbid, Shadows Fall, American Nightmare, Converge, Most Precious Blood, No Warning, Throwdown, Bane, Hemlock, Eighteen Visions, Codeseven, From Autumn to Ashes, Blood Has Been Shed, Glassjaw, Recover, Vex Red, Strung Out, Rise Against, Rufio, Kittie, Killswitch Engage, The Promise Ring, The International Noise Conspiracy, Thursday, Cursive, The Lawrence Arms, and Common Rider. Poison the Well also performed at notable festivals like Stillborn Festival in West Babylon, New York, the New England Metal and Hardcore Festival in Worcester, Connecticut, Start Your Lawnmower in Cleveland, Ohio, and the Skate and Surf Festival in Asbury Park, New Jersey.

Not unlike The Opposite of December... A Season of Separation 's previous promotional tours, Tear from the Red 's tours also featured a great deal of member changes for the band. The album was recorded with vocalist Jeffrey Moreira, bassist Iano Dovi, drummer Christopher Hornbrook, and guitarists Ryan Primack and Derek Miller. During the ensuing tours, Dovi was replaced, first by Nicolas Schuhmann, then by Geoffrey Bergman, the latter of which remained with the band to record their follow-up release You Come Before You. Moreira also suffered throat problems early in the touring season, a complication that had surfaced at the end of The Opposite of December... A Season of Separation 's promotional tours; Poison the Well's roadie Rick filled in as vocalist for a handful of shows.

Recording
Poison the Well had originally planned to record their second album in April 2001, after returning from a booked Asian tour, with a scheduled release date of August 1, 2001. At that time, the release was to be made up of eleven original songs and a cover song. The cover song was quickly dropped and the band announced that they would instead track twelve original songs. Once the Asian tour was cancelled, the band took the opportunity to spend more time writing the album and opted to tour North America during the spring and summer of 2001. Tear from the Red was written over a period of one year, from the summer of 2000 to the summer of 2001, during which time the band played with five different bassists: Alan Landsman, Michael Gordillo, Javier Van Huss, Albert and Iano Dovi each contributed to the songwriting and arrangements. Gordillo would have performed on the album, had it been recorded as originally planned in April 2001, and had it not been for his untimely departure.

The band returned to Studio 13 in Deerfield Beach, Florida on October 15, 2001 to begin the recording of nine original songs with producer Jeremy Staska. While in studio, the band added an interlude titled "Karsey Street", which sampled a speech uttered by Marlon Brando toward the end of the film Apocalypse Now. The title referenced 213 Karsey Street in Highland Park, New Jersey, a house where NORA drummer Chris Ross lived, along with Poison the Well's roadie Rick, where the band had previously watched the movie and were planning to stay during their upcoming tour. Another song from the album, "Lazzaro" also references Apocalypse Now. Poison the Well wrapped up the Tear from the Red studio recording session on November 25, 2001, for a total production cost of $6,000.

Release and packaging
Converge vocalist Jacob Bannon was originally consulted to design the artwork for Tear from the Red, through his graphic design company Atomic! Information Design. Banon had designed the artwork for the band's two prior releases, The Opposite of December... A Season of Separation and the reissue of Distance Makes the Heart Grow Fonder, but the band ultimately hired Demon Hunter bassist Don Clark at Asterik Studio to do the job. The compact disc edition booklet pressed through Trustkill Records was designed to include a semi-transparent parchment paper before and after every page, including one before the front cover. This resulted with a more desaturated look and feel, an effect embellished by the use of heavyweight paper.

Poison the Well planned to release Tear from the Red on Valentine's Day, February 14, 2002. However, the date fell on a Thursday and Trustkill Records was forced to work with music industry standards of releasing new music on Tuesdays. The date was therefore set for the first Tuesday after Valentine's Day, February 19, 2002. Trustkill Records began accepting pre-orders on February 8, 2002, and any orders placed prior to the release date included a free 18" by 24" poster.

The vinyl version was licensed to Good Life Recordings in Belgium and Ides of March in the United States. Ides of March, operated by Matt Fox of the band Shai Hulud, released Tear from the Red on 12" vinyl in mid-March 2002 under catalog number NCC1709, pressed on a choice of solid red vinyl (limited to 1000 copies) and clear gold vinyl (limited to 1000 copies). The artwork used for the Ides of March vinyl had a darker red, almost burgundy, with no birds on the bottom. These sold out in a matter of weeks and on May 14, 2002, a second pressing was available on a choice of clear vinyl (limited to 1000 copies) and pink vinyl (limited to 300 copies). Good Life Recordings pressed the album on a pictured 12" vinyl under catalog number GL078 in the summer of 2002. The first pressing (limited to 2000 copies) featured an orange Good Life Recordings logo while the second pressing (also limited to 2000 copies) changed it to a blue logo.

In the spring of 2002, Trustkill Records signed a deal with Indonesia's Undying Records for a selection of their releases to be reissued in Asia on cassette tape. Through this licensing deal, Poison the Well's Tear from the Red was pressed on tape and released in July 2002 under catalog number UM003. Most copies were sold in Asia but Trustkill Records received a number of copies for sale in North America through their webstore.

In addition to pressing compact discs (catalog number TK37), Trustkill Records offered a limited edition Tear from the Red 7" vinyl containing the songs "Turn Down Elliot" and "Pieces of You in Me". The 7" vinyl was released on August 27, 2002, under catalog number TK37.5, and was available on a choice of transparent red vinyl (limited to 1000 copies), transparent orange vinyl (limited to 1000 copies) and transparent gold vinyl (limited to 200 copies).

In August 2004, Trustkill Records signed a deal with Roadrunner Records for a selection of their releases to be reissued in foreign markets such as the United Kingdom and Europe. Through this licensing deal, Poison the Well's Tear from the Red was finally made available locally for those regions. The album was re-released in France, Germany and the Netherlands on October 11, 2004 and in the United Kingdom on October 25, 2004 under catalog number RR8221. The Roadrunner Records version of Tear from the Red did not include the parchment paper in the booklet and was printed with more vibrant colors. It also included a parental advisory printed on the bottom right of the front cover and included the "Botchla" music video in an enhanced multimedia section.

In early 2007, Trustkill Records signed a deal with Shock Records for a selection of their past releases to be distributed in Australasia. Through this distribution deal, Poison the Well's album Tear from the Red was finally made available locally in Australia and New Zealand. The distribution deal originally had Trustkill Records ship a container of already-pressed compact discs to Shock Records for retail marketing through their chain of stores. These American-made compact discs were released to the Australasia market on June 2, 2007 and were identical to the ones sold in the United States. After quickly selling out of the American-made discs, Shock Records began repressing the release directly in Australia. The Opposite of December... A Season of Separation and Tear from the Red were each pressed in separate jewel cases baring no barcodes on the back cover; each was given the same catalog number TK24103. The two jewel cases were packaged together in a slipcase which contained the barcode for retail stores and the catalog number TK24103, and the double-disc release was sold as a single unit starting on February 16, 2008. Shock Records simultaneously released similar packages for Trustkill Records' Terror, Hopesfall, Throwdown, Walls of Jericho, Most Precious Blood and Bleeding Through. The Shock Records version did not include the parchment paper in the booklet and instead printed the artwork on a textured paper. The yellow colored artwork on the upper-hand portion of the artwork was desaturated to an off-white.

On March 25, 2008, Trustkill Records re-released The Opposite of December... A Season of Separation and Tear from the Red in a special double-LP gatefold packaging under catalog number TK110. Each side of the gatefold cover featured the front artwork of each album (The Opposite of December... A Season of Separation on the front and Tear from the Red on the back). The release was pressed on a choice of blue and red vinyl (limited to 331 copies), white and yellow vinyl (limited to 336 copies), and white and pink vinyl (limited to 661 copies). Trustkill Records simultaneously re-released two other double-LP packages from its past roster: Throwdown's Haymaker / Vendetta and Walls of Jericho's With Devils Amongst Us All / All Hail the Dead.

In 2011, Sumerian Records attempted to purchase a license to reissue The Opposite of December... A Season of Separation and Tear from the Red from Trustkill Records but was unsuccessful. On May 4, 2012, it was revealed that Rise Records had secured the rights to the reissues and would be releasing them in the summer of 2012. Unlike Trustkill Records' 2008 gatefold vinyl repress, Rise Records went to the extent of having all of the audio content remastered and designing a new artwork and layout. The two albums were digitally remastered by Will Putney at The Machine Shop in Hoboken, New Jersey, while the artwork was adapted by merging two releases' original artworks together. After some delays, Rise Records reissued the 19-song, double-release compilation The Opposite of December... A Season of Separation / Tear from the Red on November 20, 2012 as catalog number RR176. The set was offered as a single compact disc edition packaged in a digipak, a gatefold double LP and digitally through streaming and download. The double LP was originally offered on a choice of transparent blue swirl and transparent red swirl (limited to 500 copies), or clear (limited to 1000 copies) vinyl color. A second pressing was done on blue and red starburst coloured vinyl (limited to 1000 copies).

Promotion
Only three days after wrapping up Tear from the Red 's recording session, Poison the Well was on the road for another tour. From November 28 to December 19, 2001, the band toured with Unearth, Sworn Enemy and Spark Lights the Friction across the South, West and Midwest United States. Poison the Well then spent five days celebrating Christmas at Trustkill Records owner Josh Grabelle's house in Tinton Falls, New Jersey. This was followed by another month-long tour, from December 26, 2001 to January 20, 2002 with Hatebreed and Sworn Enemy. The tour also welcomed God Forbid, Shadows Fall, American Nightmare, Converge, Most Precious Blood, No Warning and Throwdown on select legs of the tour. This trip took the bands across the North East of the United States, including a date at Stillborn Festival, crossing into Canada, then heading to the Midwest and Central United States. Moreira's voice began giving out during this tour, a relapse of what had occurred on ''The Opposite of December.. A Season of Separation'' 's final promotional tour in September 2001, but instead of cancelling shows, Poison the Well's roadie Rick filled in on vocals.

Poison the Well were scheduled to hop on another tour, from January 22 to February 1, 2002, with The Suicide Machines and Catch 22, taking them through Florida, Louisiana and Texas. But the band pulled out in order to give Moreira's voice a chance to recover. It was then announced that bassist Dovi had left the band; he went on to play in the bands Burn Your Wishes, Bunnyhorse and Unearth. Former Last Minute and Forever and a Day guitarist Nicolas Schuhmann spent the next three months as Poison the Well's bassist. Schuhmann's first show was the Tear from the Red album release show on February 23, 2002 at the Orbit Night Club in Boynton Beach, Florida.

Poison the Well then reunited with Hatebreed for the Perseverance Tour 2002 which took the bands through the Midwest and West Coast from February 28 to March 19, 2002. They were accompanied by Bane and What Feeds the Fire on all dates and Hemlock for one of the legs; Bane, however, had to pull out towards the end of the tour when their close friend Steve Neale passed away. It was while Poison the Well was on this tour that Tear from the Red blew up in the media. The album entered Billboard's charts on March 9, 2002, reaching number 23 on the Independent Albums chart and number 36 on the Heatseekers Albums charts. Tear from the Red also entered CMJ 's charts, topping the Most Added chart, reaching number 1 on the Loud Rock College chart, number 4 on the Radio 200 and Loud Rock Crucial Spin charts and number 22 on the Retail 100 chart. The band immediately began to be courted by major record labels, much to the dissatisfaction of Trustkill Records, which attempted to renew their soon-expiring contract. Nevertheless, Poison the Well ended up signing with Velvet Hammer Music and Management Group, which was operating as an independent imprint with secured financing through Atlantic Records.

From March 20 to April 21, 2002, Poison the Well toured the East Coast, Midwest and Canada accompanied by American Nightmare. The first two legs of the tour were meant to include Bane but the band was still in mourning of their friend Steve Neale and did not join them. Hopesfall was also originally booked for the third leg of the tour but had to pull out in order to record their album The Satellite Years. Instead, Eighteen Visions and Codeseven joined for the second leg of the tour, while From Autumn to Ashes and Blood Has Been Shed came in for the third leg. The tour included stops to play such festivals as MACROCK in Harrisonburg, Virginia (which Poison the Well did not play due to van troubles), the New England Metal and Hardcore Festival in Worcester, Connecticut, Start Your Lawnmower in Cleveland, Ohio and the Skate and Surf Festival in Asbury Park, New Jersey. Poison the Well then toured with Glassjaw, Recover and Vex Red from May 9–23, 2002 hitting cities in the Southern and West Coast of the United States. Upon returning from tour, bassist Schuhmann departed.

In the last week of May 2002, Poison the Well filmed a music video for their single "Botchla" with director Darren Doane. As the band had no bassist at the time, the video was shot with a four-piece band featuring only Moreira, Primack, Miller and Hornbrook. It was the first music video financed by Trustkill Records and it premiered on the record label's website on July 31, 2002. The music video for "Botchla" began airing on MTV2 in November 2002 and was later included on the Trustkill Video Assault Vol. 1 DVD, released on November 16, 2004. It also appeared on Poison the Well's DVD releases Tear from the Road, and later Fall 2003 DVD.

Poison the Well welcomed new bassist Geoffrey Bergman, formerly of Curl Up and Die, in mid-May 2002, but he did not officially take up the position until June 1, 2002 when the band embarked on a tour with Strung Out, Rise Against and Rufio The bands hit the road from June 1–29, 2002 playing in the South, East Coast, Midwest and West Coast. From July 9 to August 9, 2002, Poison the Well toured across the entire United States supporting Kittie, Shadows Fall and Killswitch Engage. Due to van troubles upon leaving Florida, however, Poison the Well missed the first two shows of the tour; Killswitch Engage also missed the first couple of dates because of their performance at Hellfest.

On August 27, 2002, Poison the Well played a surprise show at Kaffe Krystal in Miami, Florida, disguised under the name Tear from the Red on the bill. The event highlighted local Florida hardcore band Destro's final show, but also celebrated the release of Poison the Well's Tear from the Red 7" vinyl singles on Trustkill Records and the band's first DVD Tear from the Road. The DVD included a documentary and live footage of the band on their recent tours promoting Tear from the Red, along with the music video for "Botchla" and a making-of the video feature. The DVD was edited by Christopher Sims through his film production company TimeCode Entertainment, and was marketed through Trustkill Records and Velvet Hammer's promotional division Streetwise Concepts & Culture.

Poison the Well spent another month on the road, from September 23 to October 28, 2002, as part of the Plea for Peace/Take Action Tour. The band played across the entire United States alongside The Promise Ring, The International Noise Conspiracy, Thursday, Cursive, The Lawrence Arms and Common Rider. The tour package was in support of a teen suicide prevention hotline. Poison the Well also provided the song "Botchla" for the benefit Various Artists compilation Plea for Peace/Take Action, Volume 2, released through Sub City Records. After the Plea for Peace/Take Action Tour, Poison the Well ended their promotional touring in support of Tear from the Red and began writing their follow-up album, which quickly took shape as You Come Before You.

Critical reception
Tear from the Red received immediate critical acclaim upon release.

Track listing
Credits are adapted from the album's liner notes.

Personnel
Credits are adapted from the album's liner notes.
 * Poison the Well
 * Jeffrey Moreira – lead vocals
 * Ryan Primack – lead guitar
 * Derek Miller – rhythm guitar
 * Iano Dovi – bass guitar
 * Christopher Hornbrook – drums

 * Production
 * Don Clark – art direction and design at Asterik Studio
 * Jeremy Staska – recording engineer, mixer, producer and mastering engineer at Studio 13
 * Poison the Well – co-producer

title: Tear from the Red


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Talk:First North Western

Their headquarters was at Newton Heath between the Manchester to Rochdale via Castleton and Manchester to Rochdale via Oldham. Wouldn't this sentence sound less clumsy when written as "/--/ between the Manchester-Castleton-Rochdale and Manchester-Oldham-Rochdale [lines? roads?]." I didn't change it as I don't know the meaning behind it. PeepP 22:43, July 18, 2005 (UTC)

Merger
Since this is the same company as North Western Trains under new ownership and branding, they should be treated as one company and only have one article. Ditto Great Western Trains. --82.45.163.4 19:39, 27 August 2007 (UTC)
 * I'm not sure, on one hand technically it was the same company running the franchise, with First taking over after a year or so, but on the other had, North Western Trains and First North Western had different parent companies, at the latter introduced it's own livery and corporate image though this was mostly done towards the end of the franchise. --Danielnez1 23:13, 8 September 2007 (UTC)

 * I've merged the articles for now, mainly becuase North Western Trains was such a short article. However, I believe at some point in the future this could be reversed, if there were enough information. --Jorvik 19:31, 14 September 2007 (UTC)
 * Great Western Trains and Northern Spirit both have their own articles, what is different about North Western Trains? ZoeL (talk) 20:39, 18 November 2008 (UTC)

Class 309
Did this operator not operate some British Rail Class 309s until the turn of the millennium? Tom walker (talk) 22:39, 17 September 2010 (UTC)

Class 305
Did they also operate a few class 305 units as well, think they where used on the Glossop/Hadfield services until around 2000

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title: Talk:First North Western


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Category:Universities and colleges affiliated with the Evangelical Lutheran Church in America

Colleges and universities of the Evangelical Lutheran Church in America.


text:
User talk:Sharpdust

 * I will respond to all messages posted on my talk page, on my talk page. So make sure you add it to your watchlist.

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:
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Redwolf24

P.S. I like messages :-P

Re: My User Page
Thanks for the edit. However, that google template should be capitalized, if I'm not mistaken. --Winter 23:32, 3 January 2006 (UTC)

Sorry. I was mistaken. --Winter 00:21, 4 January 2006 (UTC)

Tornado Drive
Tornado Drive to file-sharing websites, but it was declined due to sharing not legal content? What is meant by sharing not legal content. All of the file-sharing websites let users share any type of content. And i haven't noticed any by tornadodrive.

Most important is that file sharing is not only P2P-networks, but also webservices like Tornado Drive. (Elmagnon 04:04, 18 January 2006 (UTC))

Image:New Found Glory This Disaster Live in London.jpg
I uploaded a new version of the cover of the New Found Glory DVD, if that's alright with you. I got rid of the DVD case around it and the dust in the corners, and I also adjusted the colors to look more like the original. HarryCane 12:37, 25 January 2006 (UTC)

Re: Dane Cook
Explanation was provided on the talk page — that section provides no sources. It probably should stay removed until verification of such accusations. --bbatsell |  « give me a ring »  23:48, 1 February 2006 (UTC)

NJ Collaboration of the Week
Thanks for participating in Wikiproject New Jersey. In an attempt to create articles for some of the non-existing pages related to New Jersey, NJCOTW was recently created to bring members of WP:NJ together to work collaboratively on a certain selected topic, which this week is List of Governors of New Jersey. Please help by nominating/voting/commenting on articles on WP:NJCOTW, or by helping to improve articles in the scope of the topic for the NJCOTW. AndyZ 00:48, 8 March 2006 (UTC)

Cover for Rise Against's new abum
Hey. I was just wondering where you found the cover for Rise Against's new album The Sufferer and the Witness (you just uploaded)? Mike Garcia 03:24, 1 May 2006 (UTC)
 * From here.  sharp dust  20:38, 1 May 2006 (UTC)

All Downhill from Here article
Please don't move the "All Downhill from Here" article back to it's name with a capital F. According to Wikipedia guidelines, prepositions should not be capitalised. Thanks. --HarryCane 18:37, 13 May 2006 (UTC)

Please help on Mathematics
Posted by Pruneau 21:46, 23 May 2006 (UTC), on behalf of the AID Maintenance Team

Jordan Pundik
Oh, my bad. *Feels embarrassed*. . . :) WereWolf 9:10, 28 May 2006 (UTC)

Image Tagging for Image:Cartel_band.jpg
Thanks for uploading Image:Cartel_band.jpg. The image has been identified as not specifying the source and creator of the image, which is required by Wikipedia's policy on images. If you don't indicate the source and creator of the image on the image's description page, it may be deleted some time in the next seven days. If you have uploaded other images, please verify that you have provided source information for them as well.

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Wrong Guy
You recently told me off for experimenting with the page Fading Days. This was in fact my brother on the same computer, not me. Deaths_hand 16:05, 6 June 2006 (UTC)

RE: Snakes on a Plane
I'm sorry if the summary made no sense. I had no idea what to put there and I've been scorned for making edits w/o a summary. It makes me look like a vandal and I was trying to fix vandalism on this article so sorry for confusion. Fableheroesguild 04:54, 10 June 2006 (UTC)

Ian Grushka
Ian Grushka simply redirects to the page for New Found Glory, not to any page about the musician. This needs fixing. Jubella 18:26, 23 June 2006 (UTC)
 * I have fixed it. Not sure why that was redirected, but thanks for the taking notice of it. sharp  dust  06:34, 24 June 2006 (UTC)

New Found Glory picture
I took the new image (Image:Newfoundgloryy.jpg) from the New Found Glory because it didn't have sufficient copyright information (which the old one (Image:New Found Glory.jpg) had), not because it's not a promotional photo. I couldn't care less if someone put a newer picture in the article (even though I don't see the point, given there has been no line-up or stylistic changes in the band), as long as the copyright status is OK. However, your copying my fair use rationale from the old image and signing with my name is a Wikipedia policy violation, and I will have you know that I am going to report you for that. Have a good day, HarryCane
 * Report he did, and you earned youself a 24 hour time out. User:Zscout370 (Return Fire) 19:58, 12 July 2006 (UTC)

 * Yo dude, I realize that copying/pasting the copyright info from the old picture wasn't what I should have done. I apologize for that. To be honest, I didn't read the copyright info and just put it in there without even looking at it because I figured it would be a suitable since it's just another New Found Glory promotional photo.
 * Realize something else though, you need to calm down sometimes. I've seen a lot of what you put on Wikipedia and most of the time you are too quick to revert people's edits (this is not referring to the above) without discussing it first. You act like you "control" an article. As a result you always try to be nasty about it in the edit summaries. And with this, whether or not you think it, you're being pretty nasty by saying "Have a good day," which to me sounds like "you're fucked".
 * Anyways, I'm not going to get into this anymore. You can control your articles, I'm not even going to attempt to help out with them. sharp  dust  17:18, 13 July 2006 (UTC)

Coming Home track listing
Would you mind telling me why you deleted the track listing from the Coming Home article? Most of the songs you keep replacing it with are no more confirmed than the track listing that was posted on AP.net. I see where you're coming from, but would it really hurt to post a tentative track listing instead of a random collection of probably incorrect song names? --HarryCane 20:04, 6 August 2006 (UTC)
 * What is up now is not a random collection of incorrect song names. In the latest NFG bio by Geffen, they state a lot of the song names (also see MTV article: ). I consider both of those links to be legit sources. Whereas, the AP article  states in the title "rumored tracklisting" and it was submitted by some random person who could have just pulled the remaining 3 tracks out of nowhere.
 * My bad, I didn't notice the bio thing. I thought they were just random names picked up by someone at a show or something, since it wasn't referenced. You're right then. Sorry. --HarryCane 10:41, 7 August 2006 (UTC)

Howdy
Heya, saw your comment on the talk page for Cross Country Running. Have to say, your signature is cool. How do you get it to change colors like that? --Raguleader 21:42, 26 August 2006 (UTC)

 * Hey there, check out this: WP:SIGNATURE. Here is the code that I used in my signature.
 * sharp dust
 * sharp dust  15:19, 27 August 2006 (UTC)

Unspecified source for Image:Adam Goucher.jpg
Thanks for uploading Image:Adam Goucher.jpg. I notice the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this file yourself, then there needs to be a justification explaining why we have the right to use it on Wikipedia (see copyright tagging below). If you did not create the file yourself, then you need to specify where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

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Image:Less Than Jake promo photo.jpg
Thanks for uploading Image:Less Than Jake promo photo.jpg. I notice the 'image' page specifies that the image is being used under fair use, but its use in Wikipedia articles fails our first fair use criterion in that it illustrates a subject for which a freely licensed image could reasonably be found or created that provides substantially the same information. If you believe this image is not replaceable, please:

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I deleted it as requested. Bearian (talk) 03:27, 17 February 2010 (UTC)

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title: User talk:Sharpdust


text:
Ormurin Langi

Ormurin Langi ("The Long Serpent") is a Faroese folk ballad. It was written in ca. 1830 by Jens Christian Djurhuus.

Written in 86 verses in Faroese, the song deals with the Norwegian king Olaf Tryggvason. The title Ormurin Langi refers to Olaf Tryggvason's ship with the same name (Ormrinn Langi in Old Norse).

History
Around 1800, increasing attention was paid to the store of Faroese folk ballads (kvæði), which survived in the oral tradition and were sung as an accompaniment to Faroese dancing. Even before 1800, Jens Christian Svabo had recorded ballads, but serious effort to collect them got under way after 1800, by names like Johan Henrik Schrøter, Jóannes í Króki and later on, V. U. Hammershaimb.

The old ballads were seen as having special historical value, but there was also interest in more recent ballads, e.g. comic ballads (táttur), and new ballads were composed in the old style. One poet who attracts particular notice is Jens Christian Djurhuus (1773–1853), who was a farmer in Kollafjørður. The most famous of his works is Ormurin Langi, "The Ballad of the Long Serpent". His most individual work, however, is perhaps Púkaljómur (‘The Devils Ballad’), a religious epic based on a Danish translation of ‘Paradise Lost’ by the 17th-century English poet John Milton.

Otherwise he mainly takes the subject matter for his ballads from the Norse sagas, e.g. ‘Heimskringla’ (‘The Chronicle of the Kings of Norway’) and ‘Færeyinga saga’, the story of how the Faroes were converted to Christianity under Sigmundur Brestisson and with the resistance of Tróndur í Gøtu. This was the Romantic Age, and Norse literature was very much in vogue. Everything indicates that the Faroese immediately took his poetry to their hearts. In an account of a journey written in 1847-48 the ballad collector and clergyman V. U. Hammershaimb writes:
 * "The old farmer Jens Christian Djurhuus of Kollafjørður has composed many ballads based on the sagas. They have been very successful and are sung everywhere with pleasure, since their language is pure and they are very much in keeping with the old style; his ballad about Olaf Tryggvason or the battle at Svolder, the ballads about Sigmund and Leif, and his version of Milton's Paradise Lost with its unusual metrical structure are particularly worthy of note."

Description
Ormurin Langi takes its subject matter from the account well given in Heimskringla of the famous sea battle off the island of Svolder in 1000, when the Swedish and Danish kings, together with the Norwegian Eiríkr Hákonarson, attacked the Norwegian king, Olaf Tryggvason, while he was on his way home from Wendland to Norway on his ship, the Long Serpent, accompanied by his fleet.

They attack in turn and King Olaf repulses the assaults of the two kings, but is defeated by his countryman Eiríkr Hákonarson.

The outcome of the battle is known; when Olaf realises that the battle is lost, he leaps overboard together with his surviving men. It is not known where this battle took place, with it being doubtful whether there ever was an island called Svolder.

In the ballad the poet has Olaf sailing from the Baltic into the Oresund between Denmark and Sweden, where he imagines the island to be located, and the battle takes place in the straits between the island and the mainland.

Stamps
Various scenes from the drama described in the ballad appear on ten stamps, issued in 2006 by Postverk Føroya and designed by the artist Vigdis Sigmundsdóttir. They show shipbuilding and a launch, with the king sitting on the throne while giving an audience to Einarr Thambarskelfir. Another one shows the fleet putting out to sea. Another shows the Long Serpent and the other ships heading into the straits while their adversaries stand on the shore watching them. In the Long Serpent's bow there is Ulf the Red, Olaf's forecastle man, while the king and Einar the Archer are seen up on the quarterdeck. There are dead bodies tumbling into the sea during the battle, which ends with Eiríkr Hákonarson capturing the Long Serpent and so taking command of the vessel.

The location where the song is composed is unknown.

Versions and history
The oldest version dates back to 1819 and was made by Jóannes í Króki of Sandur. He also collected a version in 1823.

When Svend Grundtvig and Jørgen Bloch edited Føroya kvæði, an anthology of Faroese folksongs, around 1880, they knew of six recordings of the ballad. A version in the poet's own hand turned up at a later date, but it is not known when it dates from.

Nowadays the ballad is referred to as Ormurin Langi (i.e. "The Long Serpent"), but that was not the title used by the poet himself. He referred to it as Olaf Trygvasons kvad ("The Ballad of Olaf Trygvason"), and other recorders did that as well, including Jóannes í Króki.

It was not until a version from around 1846 that it was discovered that the song got its title from Olaf Trygvason's ship, (Ormurin langi). When Hammershaimb had the ballad printed in his principal work, Færøsk Anthologi (A Faroese Anthology) of 1891, he used the title Ormurin langi, and the same title was used when it was serialised a few years earlier (1882) in the Dimmalætting newspaper.

The lyrics of the ballad vary slightly from version to version, but when the ballad is performed today, it is always in the form known from Færøsk Anthologi.

Nor do the old versions agree on which refrain (and therefore which tune) to use. The refrain that reigns supreme today is found in only one of the oldest versions. It is the one used in Færøsk Anthologi and is, incidentally, familiar from some of the old ballads. Færøsk Anthologi has had a standardising effect and its text has in some ways become the authorised version.

The song appears in the Icelandic Viking movie In the Shadow of the Raven.

title: Ormurin Langi


text:
Talk:Plouto (mother of Tantalus)

Comments
I changed the reference to Pluto/Hades, as it stated that the Romans created Pluto, or rather that they were at least the first to call him Pluto. This is a common misconception; the Romans simply used a less frequently used, alternate Greek name for Hades (albeit in the latinate form we use today).

Parentage
The article says that "Her parents were Oceanus and Tethys (thus making Plouto one of the 3000 Oceanids) or Himas". Should I interpret the parents of Plouto to be either Oceanus and Tethys or Oceanus and Himas or Himas alone? It's not quite clear.

ICE77 (talk) 04:56, 10 April 2011 (UTC)
 * Agreed. 82.11.175.22 (talk) 19:33, 7 August 2012 (UTC)

 * I've removed "Her parents were Oceanus and Tethys (thus making Plouto one of the 3000 Oceanids)" from the article. The Oceanid (Plouto (Oceanid)) is different from this Plouto. Paul August ☎ 11:07, 27 September 2016 (UTC)

title: Talk:Plouto (mother of Tantalus)


text: Talk:Budapest Stock Exchange

title: Talk:Budapest Stock Exchange


text: Talk:Emir Kusturica

title: Talk:Emir Kusturica


text:
1951–52 in Scottish football

The 1951–52 season was the 79th season of competitive football in Scotland and the 55th season of the Scottish Football League.

Scottish League Division A
Champions: Hibernian

Relegated: Morton, Stirling Albion

Scottish League Division B
Promoted: Clyde, Falkirk

County

 * * - aggregate over two legs
 * † - replay

Scotland national team
Key:
 * (H) = Home match
 * (A) = Away match
 * BHC = British Home Championship

title: 1951–52 in Scottish football


text:
User talk:Bos-Neger

Please stop adding nonsense to Wikipedia. It is considered vandalism. If you were just trying to experiment, then use the sandbox instead. Thank you.

== Obama or Mcain? Vote for who you want! Results posted on Dingo Kong's home page. Dingo Kong (talk) 01:30, 8 October 2008 (UTC)

title: User talk:Bos-Neger


text:
Talk:Feline infectious peritonitis

Titer/titre
Could someone please supply a chart showing relative titer counts to severity of the infection? Fifteen years ago my cat Bobby was exposed to a Kitten with FIP that later died. At that point Bobby's titer was 1600. He never developed the disease although it was five or six months before his titer was bacK in normal range. Our vet advised re-vaccinating him immediately and then having his blood checKed for the next six months which we did.Risssa (talk) 22:38, 31 August 2012 (UTC)

Wet or dry more common?
The article states, without citation, that the wet form is more common, but that's contradicted by the Vetinfo.com source cited at note 2.

Anyone knowledgeable here? --Tbanderson (talk) 16:15, 4 June 2015 (UTC)

 * When my kitten had it and I was researching the condition, everything I ran across said wet form was more common, but I was mostly looking at the "Dr. Schmoo the veterinarian with info about cats with FIP" sites, and- um- wikipedia - so I haven't gone over the peer-reviewed literature. I'd be interested in what the research says. Unfortunately, I have other rodeos (and horse races) that I'm spending my wiki-time on, so I must be the other animals and let The Little Red Hen do the work here... wherever she is...  Montanabw (talk)  17:19, 4 June 2015 (UTC)

Assessment comment
Substituted at 15:02, 29 April 2016 (UTC)

FIP itself is not communicable
The feline coronavirus that can mutate into FIP is obviously highly communicable, but it's widely known now that FIP itself is *not* communicable. Studies have shown that cats suffering from FIP continue to shed regular FeCV, not a deadly mutated form. (The higher prevalence in catteries and shelters is believed to be the result of increased stress, age, and genetic susceptibility.) It'd be nice if someone with the free time would correct the article, and possibly tackle the same problem over at the Feline Coronavirus piece... 24.6.199.237 (talk) 04:22, 15 April 2021 (UTC)
 * Hmm. This is about the same as saying that AIDS is not communicable but HIV is. The two are so closely related. We do need to be clear on what the difference is, but not mislead readers into thinking there is not a communicable element. (See archives for previous discussions about removing the "quarantine not needed" language).  — SMcCandlish ☏ ¢ 😼  19:31, 12 October 2023 (UTC)
 * Relatedly, there’s a very confusing paragraph in the article:
 * “There is a lack of evidence FIP is transmissible from cat to cat […] The virus is easily spread through direct contact between cats.”
 * Until I read this Talk section, I thought those two sentences directly contradicted each other. Now I see that the first sentence is about FIP as such and the second is about FCoV as such, but that wasn’t at all clear to me as a casual reader. I’ll try to clarify that paragraph a bit, but I strongly agree that this article needs to be clearer about that distinction if it’s going to make the distinction. — Elysdir (talk) 19:16, 23 May 2024 (UTC)

Where to list risk factors/prevalence in breeds?
I found a good study on the condition and it's prevalence by breed type but I'm not sure where would be appropriate to include (if appropriate at all). https://journals.sagepub.com/doi/full/10.1177/1098612X12441875 Traumnovelle (talk) 03:09, 6 January 2024 (UTC)

title: Talk:Feline infectious peritonitis


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Pehuajó

Pehuajó is a city in the Pehuajó Partido (Pehuajó district) in the  province of Buenos Aires, Argentina. The partido has about 38,400 inhabitants as per the. The name of this relatively small city is well known in Argentina because of María Elena Walsh's song Manuelita, about an adventurous turtle (tortoise); a dilapidated concrete statue of María Elena Walsh's Manuelita lies just outside the city, beside Ruta Nacional ("National Route") 5.

Climate
Pehuajó has a humid subtropical climate (Köppen climate classification Cfa). Winters are characterized with moderate temperatures during the day and cold nights with a July mean of 8.3 C. During this time of the year, overcast days are more common, averaging 8–10 days per month. Spring and fall are transition seasons featuring warm daytime temperatures and cool nighttime temperatures and are highly variable with some days reaching 37.7 C and below -5 C. Summers are hot with a January high of 30.4 C followed by mild nights, averaging 15.7 C. The average relative humidity is 75%, with the summer months being drier than the winter months. The average first date of frost is on May 22 while the last date of frost is on September 11. The city is moderately windy throughout the entire year with windspeeds ranging from a low of 9.0 km/h in June to 15.7 km/h in October and November. On average, Pehuajó receives 945.3 mm of precipitation per year with 83 days with measureable precipitation with summer months being more wetter than the winter months, where most of the precipitation falls in the form of thunderstorms. Pehuajó receives approximately 2,720.1 hours of sunshine per year or 60% of possible sunshine per year, ranging from a low of 41% in June (only 120.0 hours of sunshine per month) to a high of 74% in March (279.7 hours of sunshine per month). The highest recorded temperature was 43.4 C on December 29, 1971 while the lowest recorded temperature was -9.6 C on June 13, 1967.

title: Pehuajó


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Talk:10 from 6

Fair use rationale for Image:BC10F6.jpg
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title: Talk:10 from 6


text: User talk:80.9.152.74

title: User talk:80.9.152.74


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title: User talk:68.82.169.142


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Offline editing

Offline editing is the creative storytelling stage of film making and television production where the structure, mood, pacing and story of the final show are defined. Many versions and revisions are presented and considered at this stage until the edit gets to a stage known as picture lock. This is when the process then moves on to the next stages of post production known as online editing, colour grading and audio mixing.

Typically, during the Offline editing part of the post-production process, all the original camera footage (often tens or hundreds of hours) is digitized into a Non-Linear Editing System as a low resolution duplicate. The editor and director are then free to work with all the footage to create the final cut. Editing the copy allows multiple story and creative possibilities to be explored without affecting the camera original film stock or video tape. Once the project has been completely offline edited, the low resolution footage is replaced with the original high resolution media, or "brought online."

Modern offline video editing is conducted using specialized computer hardware and video editing software known as a non-linear editing (NLE) suite, such as Adobe Premiere, Final Cut Pro, Avid Media Composer, DaVinci Resolve, Sony Vegas, Lightworks and VideoPad. The availability of more powerful digital editing systems has made the offline editing workflow process much quicker than the previous method of time-consuming (video tape to tape) linear video editing.

The term offline originated in the computing and telecommunications industries, meaning "not under the direct control of another device" (automation).

From film to tape
Film editing used an offline approach almost from the beginning. Film editors worked with a workprint of the original film negative to protect the negative from handling damage. When two-inch quadraplex video tape recording was first introduced by Ampex in 1956, it could not be physically cut and spliced simply and cleanly as film negatives could be. One error-prone method option was to cut the tape with a razor blade. Since there was no visible frame line on the 2 in tape, a special ferrofluid developing solution was applied to the tape, allowing the editor to view the recorded control track pulse under a microscope, and thus determine where one frame ended and the next began. This process was not always exact, and if imperfectly performed would lead to picture breakup when the cut was played. Generally this process was used to assemble scenes together, not for creative editing.

The second option for video editing was to use two tape machines, one playing back the original tapes, and the other recording that playback. The original tapes were pre-rolled, manually cued to a few seconds prior to the start of a shot on the player, while the recorder was set to record. Each machine was rolled forward simultaneously, and a punch in recording, similar to punch in / out of early audio multitrack recordings was made at the appropriate moment. Beyond not being very precise, recorders of this era cost much more than a house, making this process an expensive use of the machines. This technique of re-recording from source to edit master came to be known as linear video editing.

This was the way things were for television shows shot on tape for the first 15 years. Even such fast-paced shows as Rowan & Martin's Laugh-In continued to use the razor blade technique.

New technological developments
Three developments of the late sixties and early seventies revolutionized video editing, and made it possible for television to have its own version of the film workprint/conform process.

Time code
The first was the invention of time code. Whereas film negative had numbers printed optically along the side of the film, so that every frame could be identified exactly, video tape had no such system. Only video, audio, and a control pulse were recorded. Early attempts to rectify this were primitive to say the least. An announcer reciting the seconds was recorded onto an audio channel on the tape. Time code introduced frame precision, by recording a machine readable signal on an audio channel. A time code reader device translated this signal into hours, minutes, seconds and frames, originally displayed on a Nixie tube display, and later with LED readouts. This innovation made it possible for the editor to note the exact frames at which to make a cut, and thus be much more precise. He could create a paper edit by writing down the numbers of the first and last frames of each shot, and then arrange them in order on paper prior to the actual edit session with the expensive VTRs.

Cheaper video recorders
Although video technology had the potential to be cheaper since it doesn't have the costs of film stock and have to go through the development process respectively, the quality of early video recording technology in the 1950s and even into the mid 1960s was often far too low to be taken seriously against the aesthetical look, familiarity and relative ease of editing of 16mm and 35mm film stock – which many television cinematographers used well up until the late 1980s in documentaries, dramas etc. before video technology caught up to being 'acceptable' as television cameras and camcorders eventually displaced film stock for regular television use as they became lighter and more practical to take with them. Because early video cameras were so large and so expensive, it wasn't until 1984 with the JVC VHS-C camcorder that consumers had access to video tape technology.

Professionally, early video cameras were designated mostly for studio use, as up until the mid-1980s, when the camera unit and recorder unit merged as a camcorder (CAMera-reCORDER) as their bulky size made them far too big and bulky to be used outside against the smaller and more practical film camera.

For example, British sitcom Only Fools and Horses used videotape for internal scenes, but used film stock for external scenes for lighting reasons – it was difficult with tube sensors to get a stable, quality image without them needing a lot of lighting.

The second development was cheaper video recorders. Though not suitable for broadcast use directly, these provided a way to make a copy of the master, with its time code visibly inserted into a small box or 'time code window' in the picture. This tape could then be played in an office or at home on a video recorder costing only as much as a used car. The editor would note down the numbers of the shots and decide the order. They might simply write them in a list, or they might dub from one of these small machines to another to create a rough cut edit, and note the necessary frame numbers by watching this tape.

Exact editing
Though both of these developments helped greatly, effectively creating the offline editing method, they didn't solve the problem of precisely controlling the video recorder for frame accurate editing. That required precise control of the tape transport mechanism, using a dedicated edit controller that could read the time code and perform an edit exactly on cue.

That innovation came about as a result of research conducted by CMX, a joint venture of the CBS and Memorex corporations. The intent was to create a much less haphazard method of editing video directly that had all of the creative control of traditional film editing. The result, the CMX 600, accomplished this goal with a two part process. Camera master tapes were dubbed as black and white analog video to very large computer memory discs. The editor could access any shot exactly, and quickly edit a precise black and white, low quality version of the program. More importantly, re-editing was trivial, as no cuts were actually performed. The shots were simply accessed and played in sequence from the disc in real time. The computer kept track of all the numbers in this offline stage of the process, and when the editor was satisfied, output them as an Edit decision list (EDL). This EDL was used in the final stage of the process, the online edit. To make it work, special computer to video tape recorder (VTR) edit interfaces had to be developed, called I-Squareds. Under the control of a computer reading back the EDL and communications protocols, these I-Squareds took control and shuttled the broadcast quality VTRs exactly to the points necessary to record and edit master with exact edits from the source tapes.

Though recording to computer disc pack and this first attempt at non-linear editing on video was abandoned as too expensive, the rest of the hardware was recycled into the offline/online edit process that remained dominant in television production for the next 20 years or more.

Although tape formats changed from open reels to videocassettes (VCR), and all the equipment rapidly became much cheaper, the basics of the process remained the same. An editor would offline on a less expensive, low quality format, before entering the online editing suite with an EDL and master source tapes, to finish the broadcast quality version of the television show. Even after the transition to digital the concept is the same, with low resolution proxy files streaming from central media storage during editing and the full quality video only getting brought up from deep storage once the clip is committed and rendered.

title: Offline editing


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Vlastislav Mareček

Vlastislav Mareček (15 April 1966 – 2 September 2007) was a Czech football coach. He was voted the best club coach of the Czech Republic in 2004/05 and 2005/06 seasons. During his career, he served as a coach of the junior national team, as well as of numerous Czech football clubs. In 2004-2006, he served as the head coach of FK Teplice, before leaving this job due to the worsening disease. In September 2007, he died of leukemia in a Prague hospital.

title: Vlastislav Mareček


text:
Mathis Mootz

Mathis Mootz is a prolific German electronic musician and DJ. Mootz is best known as The Panacea (until 2005, simply as Panacea), his drum and bass stage name and main musical project, and as m2 (pronounced "Squaremeter"), his dark ambient side project and alter-ego.

Born August 18, 1976 in Wetzlar, Germany, Mootz served an apprenticeship in classical music and was a member of the boy's choir of Windsbach. After studying music engineering at the SAE Institute, Mootz worked with the experimental hip hop/illbient label Chrome, an offshoot of Force Inc Music Works. Over the course of several drum and bass albums and many singles, and as A&R manager for Chrome, later renamed Position Chrome, Panacea became known for pushing the bounds of the drum and bass genre into industrial and hardcore territory, and for energetic DJ sets which fused these genres in a live setting. With his side project m2, he explored a more minimal side of electronic music, first in the realm of clicks 'n' cuts, and later in the dark ambient territory pioneered by the likes of Lustmord. Mootz lives and produces in Sommerhausen, a countryside town near Würzburg.

The Panacea
Mootz experimented with hip hop/illbient in the mid-1990s, an offshoot of Force Inc Music Works. Under the name Panacea, he released a string of dark drum and bass singles on the label in 1996, followed by the LPs Low Profile Darkness in 1997 and Twisted Designz in 1998, which pushed the tech step format established by the UK's Ed Rush and Nico Sykes into harsh industrial/digital hardcore territory. Mootz took over Chrome's A&R, and the label was renamed Position Chrome soon after (the label is now under ownership by Mootz), evolving into one of the first and most notable German drum and bass labels.

Mootz's broad musical background led him to experiment in other style, from the avant garde minimalism of his Brasilia soundtrack (part of Caipirinha's Architettura series exploring the relationship between architecture and music), to his collaboration with J-pop singer Hanayo, which saw the duo electronically re-scoring Bach's Ich steh an deiner Krippen hier. A number of MCs guested on his LP Phoenix Metabolism (1999), while he refined his industrial drum and bass style on the LP German Engineering (2001). Mootz also began a number of side projects and collaborations in this period, releasing albums of raggacore (as Rich Kid), electro (as Bad Street Boy), hardcore techno (as Kate Mosh), and drum and bass with DJ Scud (as The Redeemer) and Problem Child (as Disorder). Sinecore, the first album by his glitch/dark ambient ego m2 (pronounced "Squaremeter") was released in 2000 on Mille Plateaux. A further ten albums were released by this project coming over labels such as Ant-Zen and Hands Productions.

The Hardest Tour on Planet Earth (2001) documented his partnership with fellow German drum and bass artist Cativo, where elements of oldskool hardcore began entering his products. Underground Superstar (2002) found him fusing early hardcore and jump-up with modern production techniques. The album included "The Evil Seed", a vocal track for which a music video was produced, and "The Last Brotherhood". Adopting an extremely energetic DJ persona, he became known for sets that were equal parts hardcore and drum and bass. He also began collaborating with Luna-C, one of the champions of the breakbeat hardcore revival known as hardcore breaks. Panacea Shares Needles with Tarmvred, a collaboration with Needle Sharing and Tarmvred in 2002 on Ad Noiseam, combined drum and bass, hardcore, and noise.

Position Chrome ceased activity briefly in 2004 when Force Inc.'s distributors EFA-Medien went bankrupt, but in 2005, Mootz revived the label, changing his name to The Panacea. He has since returned to somewhat darker sounds, releasing a number of singles on Position Chrome, as well as UK labels Outbreak and Offkey Records, the latter run by UK producer Raiden and specializing in Techno-DNB.

Currently, The Panacea is part of the Anger Management booking agency roster as well as Freak Recordings, which led him to headline several events of the Therapy Sessions franchise.

 * Discography
 * Low Profile Darkness (Chrome, 1997)
 * Twisted Designz (Position Chrome, 1998)
 * Hanayo in Panacea (Mille Plateaux, 1999) with Hanayo
 * Phoenix Metabolism (Position Chrome, 1999)
 * Architettura Vol 4 - Brasilia (Caipirinha Productions, 2000)
 * German Engineering (Position Chrome, 2001)
 * The Hardest Tour on Planet Earth (Position Chrome, 2001) with Cativo
 * Underground Superstardom (Position Chrome, 2002)
 * Panacea Shares Needles With Tarmvred (Ad Noiseam, 2002) with Needle Sharing and Tarmvred
 * Cryptonomicon EP (Position Chrome, 2007)
 * Chiropteran (Position Chrome, 2010)

m2 (Squaremeter)
m2 (pronounced "Squaremeter") is Mootz's main side-project, originally intended as a one off clicks n' cuts release for Mille Plateaux. Over the course of several albums on prominent industrial labels Ant-Zen and Hands Productions, m2 became more rhythmic-orientated and gothic in tone (featuring spoken word samples from a BBC radio adaptation of J. R. R. Tolkien's The Silmarillion), with prominent Arabic influences. The most recent releases eschewed the vocal samples, digital edits and heavy industrial rhythms in favour of spacious soundscapes and dark, brooding ambient in the vein of pioneers such as Lustmord. m2 also performs live at events such as Maschinenfest.

 * Discography
 * Sinecore (Mille Plateaux, 2000)
 * 14id1610s (Ant-Zen, 2000)
 * Mono Brutal (Hands Productions, 2000) as Needle Sharing vs. m2
 * Parsec (Hands Productions, 2001)
 * Kopyright Liberation (Ant-Zen, 2001)
 * This Anxious Space (Hymen Records, 2001) as xhm2 (a collaboration with Xingu Hill)
 * The Bitter End (Hands Productions, 2002)
 * War Of Sound (Ant-Zen, 2003)
 * Aswad (Ant-Zen, 2004)
 * The Frozen Spark (Ant-Zen, 2005)
 * Nyx (Ant-Zen, 2006)
 * Heliogabal (Ant-Zen, 2010)

title: Mathis Mootz


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Recurring (album)

Recurring is the fourth and final Spacemen 3 studio album, released in early 1991 on Fire Records. The band had broken up prior to the release of the album. During the recording, the relations between band members had soured to the extent that the record is in two parts – the first side by Peter Kember, and the second by Jason Pierce.

The album includes "Hypnotized", a Pierce composition that was released as a single in the UK in 1989.

Recurring peaked at No. 46 on the UK Albums Chart.

Versions
The original UK vinyl pressing had only ten tracks, with shorter edits of two tracks. "Big City" was cut in half and "Billy Whizz" faded out before its "Blue 1" crescendo. The cassette release contained the same track listing but with full versions of all tracks.

"Just to See You Smile" originally appeared on the B-side of "Hypnotized", in an alternate mix listed as "Just to See You Smile (Honey Pt. 2)", owning up to the track's melodic affinity to the earlier Spacemen 3 tune "Honey". Elsewhere, "Why Couldn't I See" is another song whose main guitar riff is largely derived from the 45-minute improvisation Dreamweapon (the others were "Honey" and "How Does It Feel"); and "I Love You" features an uncredited sample of a Jan and Dean radio jingle for Coca-Cola (possibly written or cowritten by Brian Wilson, from 1963.)

When Tomorrow Hits
The only track on which both Pierce and Kember appear is "When Tomorrow Hits", a cover of a Mudhoney song. It was originally intended for a double A-side split single, with Mudhoney covering "Revolution" from Playing With Fire. This release was scotched when Kember caught wind of the fact that Mudhoney had fitted "Revolution" with somewhat irreverent lyrics about methadone suppositories. The Mudhoney recording eventually surfaced as a b-side.

Critical reception
Trouser Press called Recurring an "undated adaptation of ’60s folky acid-rock with elements of the Beatles, Stones and others" and a "lullingly pleasant album." The New Rolling Stone Album Guide called the album "bad imitation acid house." Peter Kane in Q Magazine called highlighted the rave-inspired "Big City" and described the rest of the album as "wispy voices atmospherically draped over guitars that sparkle lightly".

Track listing

 * Original vinyl release (Fire FIRELP23)

 * Original cassette release (FIRE MC23)

 * Original CD release (FIRE CD23)

title: Recurring (album)


text:
Wo soll ich fliehen hin, BWV 5

Johann Sebastian Bach composed the church cantata Wo soll ich fliehen hin (Where shall I flee), BWV5, in Leipzig for the 19th Sunday after Trinity and first performed it on 15 October 1724. The chorale cantata is based on the hymn "Wo soll ich fliehen hin" by Johann Heermann.

History and words
Bach wrote the cantata in his second year in Leipzig for the 19th Sunday after Trinity and first performed it on 15 October 1724. It is part of his second annual cycle of cantatas, a cycle of chorale cantatas. The prescribed readings for the Sunday were from Paul's Epistle to the Ephesians – "put on the new man, which after God is created" – and from the Gospel of Matthew, Healing the paralytic at Capernaum.

The cantata text is based on the hymn in eleven stanzas "Wo soll ich fliehen hin" by Johann Heermann, published in 1630, which is recommended for the Sunday in the Dresdner Gesangbuch. The hymn tune is "Auf meinen lieben Gott". An unknown poet kept the first and last stanzas as the respective cantata movements. He paraphrased the other stanzas rather freely: 2 and 3 as movement 2, 4 as movement 3, 5 to 7 as movement 4, 8 as movement 5, and 9 and 10 as movement 6. A year before, Bach had composed for the occasion Ich elender Mensch, wer wird mich erlösen, BWV 48, concentrating on the promise of Jesus to the sick man: "Your sins are forgiven". Similarly, the awareness of being a sinner who needs healing is the theme of Heermann's chorale and this cantata. The poetry adds to the chorale images which the composer could use, for example in movement 3, the divine source of blood to cleanse the stains of sins, a Baroque phrase relying on, and. In movement 5 the poet invented a ferocious, hellish army, which is silenced by the believer who shows the blood of Jesus.

Bach first performed the cantata on 15 October 1724. The autograph score to the cantata, now in the Stefan Zweig Collection of the British Library, was once owned by Joseph Joachim.

Scoring and structure
The cantata in seven movements is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, tromba da tirarsi (slide trumpet), two oboes, two violins, viola and basso continuo.

Music
Bach arranged the movements in symmetry around movement 4 as the turning point in the cantata between desolation and hope, a recitative, which receives added weight by the cantus firmus of the chorale played by the oboe. One line of the chorale stanza is sung unchanged: "was ich gesündigt habe" (the sins I committed).

In the opening chorus Bach gave the tune in unadorned long notes to the soprano, reinforced by the trumpet. The vocal parts are embedded in an independent instrumental concerto. The motifs of the instruments, which also appear in the lower voices, are derived from the tune, following the upward movement of its first line and the downward movement of its second line. Both other recitatives are secco. The first aria is accompanied only by an obbligato viola illustrating the flow of blood, termed by John Eliot Gardiner the "gushing, curative effect of the divine spring" in "tumbling liquid gestures", summarized as "the cleansing motions of some prototype baroque washing machine". The tenor sings the same figuration on the word "wäschet" (washing). Bach used the solo viola only rarely in his cantatas (twice, according to Boyd); he may have played these solos himself. The second aria is accompanied by the full orchestra with the trumpet as a "ferociously demanding obbligato". In sudden breaks it conveys the silencing of "Verstumme, Höllenheer" (Be silent, host of hell). Different as the two arias are, the figuration in the second one is similar to the one in the first, interpreting that it is the very flow of blood which silences the "army of hell". The closing chorale is set for four parts.

Recordings

 * J. S. Bach: Das Kantatenwerk – Sacred Cantatas Vol. 1, Nikolaus Harnoncourt, Wiener Sängerknaben, Chorus Viennensis, Concentus Musicus Wien, soloist of the Wiener Sängerknaben, Paul Esswood, Kurt Equiluz, Max van Egmond, Teldec 1972
 * Bach Cantatas Vol. 5 – Sundays after Trinity II, conductor Karl Richter, Münchener Bach-Chor, Münchener Bach-Orchester, Edith Mathis, Trudeliese Schmidt, Peter Schreier, Dietrich Fischer-Dieskau, Archiv Produktion 1978
 * Die Bach Kantate Vol. 54, Helmuth Rilling, Gächinger Kantorei, Württembergisches Kammerorchester Heilbronn, Arleen Augér, Carolyn Watkinson, Aldo Baldin, Wolfgang Schöne, Hänssler 1979
 * J. S. Bach: Complete Cantatas Vol. 11, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Sibylla Rubens, Annette Markert, Christoph Prégardien, Klaus Mertens, Antoine Marchand 1999
 * Bach Edition Vol. 19 – Cantatas Vol. 9, conductor Pieter Jan Leusink, Holland Boys Choir, Netherlands Bach Collegium, Ruth Holton, Sytse Buwalda, Nico van der Meel, Bas Ramselaar, Brilliant Classics 2000
 * Bach Cantatas Vol. 10: Potsdam / Wittenberg / For the 19th Sunday after Trinity / For the Feast of Reformation, John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Joanne Lunn, William Towers, James Gilchrist, Peter Harvey, Soli Deo Gloria 2000
 * J. S. Bach: Cantatas Vol. 27 – Cantatas from Leipzig 1724, Masaaki Suzuki, Bach Collegium Japan, Susanne Rydén, Pascal Bertin, Gerd Türk, Peter Kooy, BIS 2003

title: Wo soll ich fliehen hin, BWV 5