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Buck English

Buck English (1855 – January 15, 1915) was an American Old West outlaw, and one of Lake County, California's most notorious thieves and stagecoach robbers toward the end of the 19th century.

Early life
Born Lawrence Buchanen English in Oregon, he soon received the nickname "Buck". The English family feuded with the Durbin family for years, which led to three of Buck's brothers dying. When Buck was thirteen, he became obligated to take revenge on the Durbin family. Unlike Black Bart, Lake County's other notorious thief, Buck was rash and openly flaunted his overconfident capacity.

He was only 22 years old when he and a companion held up the Lower Lake stage coach and took the Wells Fargo strongbox from the driver. Instead of the usual gold or silver for the miners, the box yielded only two brass castings. The local newspaper later said, "Shortly before this robbery, he and his companion met four Chinese miners coming down from the Great Western Mine (near Middletown), and robbed them of their watches and money."

Territory
Wells Fargo strongboxes were often the target of stagecoach robbers in Middletown. After the mid-19th century, the payroll money was brought in on the stagecoach with an armed guard beside the driver. Not all of the holdups in the area were the doing of Buck and his gang, although he was a scourge to the local vicinity for a number of years. Buck worked the road near Mountain Hill House, south of Middletown, or near the double bridge north of Middletown near Lower Lake. For 20 years, Buck roamed the countryside, making little effort to hide his identity or his disreputable enterprise.

Duel
Buck walked the streets of Middletown with a six-shooter strapped to his side, daring any who insulted his authority to a contest. One day, he ran into Captain Good on the main street, and harsh words were exchanged. Later in the day, they met again, and this time it was a shooting affair, with Buck emerging unscathed. The captain was seriously wounded in the arm and legs. In another unrelated incident, Buck shot and killed a man in the Middletown skating rink, turning the arena into a scene of pandemonium.

After jail time
After his release from San Quentin in 1882, Buck returned to Middletown. Soon after his arrival, the Lebree store in town was robbed of some watches and jewelry.

Buck left Middletown for a few years, but upon his return, he showed he had not changed. It was not long before he held up the stage at the foot of Mount Saint Helena, near the summer home of the mayor of San Francisco. The six passengers were ordered out of the stage, and stripped of their possessions. Buck made no effort to hide his identity. He greeted the driver of a passing wagon, who quickly drove on when he realized a robbery was in progress.

Capture
This occurred on May 7, 1895. A posse was formed and they set off to capture Buck. They discovered him on a stagecoach going from Monticello to Napa, and a wild chase ensued. The San Francisco Examiner reported the next day:

"One of the robbers jumped to the horses ahead and leveled his guns. He waved weapons and spouted profanity, all the while threatening to 'blow' the driver off of the seat. The two robbers were armed with old style Colt revolvers, and he cursed at everyone, especially the Chinamen"

The capture of Buck by Sheriff Bell reads like a Wild West novel. He was so badly wounded and had lost so much blood that many thought he would not survive. He did recover, however, and returned to San Quentin to serve yet another sentence.

Buck was not as well known as Black Bart and other Western gunmen of the time, but he created fear wherever he went. Although he was arrested for his robberies and attacks on the general population, Buck had his hands in many other criminal activities, including cattle rustling, which he served less than a year in jail for.

Later life
Buck ended up living long enough to enjoy freedom again after his release from prison. He died in San Francisco on January 15, 1915 of natural causes, unlike his brothers, all of whom died violent deaths.

title: Buck English


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Korg 01/W

The Korg 01/W series are workstation synthesizers, the first of which debuted in 1991, and were intended to replace the M1 and T series. The workstation/ROMpler was based on AI² (Advanced Integrated Squared), an improved version of the AI (Advanced Integrated) Synthesis technology found in the M1 (although the advancements of the core synthesis engine were arguably quite minor, except for the subsequently removed Waveshaping, see below). The success of the AI² architecture ensured it was used in the majority of subsequent Korg synths of the 1990s.

Variations

 * 01/W: The basic 61 key model without floppy drive. Did not sell well due to its very small amount of sequencer memory, although it had the benefit of retaining sequencer data in battery-backed memory when powered off.
 * 01/Wfd: Same as above, but with greatly increased sequencer memory and internal floppy disk drive.
 * 01/Wpro: Same as above, but with an extra octave of keys (for a total of 76 keys) and an extra sampled Acoustic Piano sound.
 * 01/WproX: This model had 88 piano-weighted and hammer-action keys (to simulate the feel of a real acoustic piano) and also has the extra Acoustic Piano found in the 01/Wpro
 * 01R/W: A 2U high rackmount version of the 01/WFD, with the sequencer maintained from the keyboard versions but without a floppy disk drive.
 * 03R/W: A stripped-down version of the 01R/W Rack, 1U in height, with a smaller screen, only about 90% of the samples found in its bigger brother, and no waveshaping. It was General MIDI compatible and the sequencer was removed.

There was also the subsequent Korg 05R/W half size 1U rack unit released in 1993. In spite of its name it was actually based on the Korg X3 and essentially served as a prelude to the X3's successor, the original Korg X5 keyboard that was released the following year. It was GM compliant and, while it didn't include a sequencer and had only half as many patches, it did include a serial interface for Mac/PC.

Improvements over the M1

 * 254 sampled instruments in 6 megabytes of ROM (the M1 had 100 sampled instruments) (The T-Series has 8mb of ROM with about 190 sampled instruments)
 * 47 effects algorithms vs. only 33 in the M-/T-series
 * Korg introduced a feature called Waveshaping which is most significant addition to the original AI synthesis engine, and was produced by a discrete custom Korg IC chip in the 01/W.
 * The 01/WFD, 01/Wpro, 01WproX models had an internal 3.5" floppy disk drive that could read single-sided 720k floppy disks, custom Korg format.
 * The sequencer of The 01/WFD, 01/Wpro, 01WproX could hold up to 47 thousand notes, several times more than the M1 but less than the T-Series.
 * The polyphony was doubled to a maximum of 32 notes (32 total oscillators) with 16 tracks/MIDI parts (as opposed to the 16-note/16-oscillator polyphony and 8-track Sequencer of the M1 and T-Series).
 * The 01/W models featured a backlit 240x64 pixel LCD (same as T-series) which could display both graphics and/or four times the characters as the M1's 40 character x 2 line LCD.

Key Differences to Earlier Korg M-/T-Series and Later "AI2" Models
The 01/W only had a few of the M1's samples. Particularly missing were the M1 Acoustic Piano, and some of the M1 Electric Piano sounds. These were replaced by more realistic versions (the Acoustic Piano in the 01/W was radically different and sounded more oriented for classical music). The 01/Wpro even went a step further and added another even more realistic Acoustic Piano.

The M1's piano was so bright and metallic sounding that it found its niche in Dance/Electronica and some Latin Music where it could cut through the mix easily. Korg acknowledged this fact by integrating their M1 piano back on later incarnations of the X range, such as in the X5D synth and N264/364 workstations.

The 01/W also added more electric piano sounds, having at least 5 times as many, therefore becoming one of the standard keyboards used in smooth jazz, which often uses electric piano sounds.

The 01/W introduced a feature called "Waveshaping". This was a feature where each sample value was run through a non-linear function, and thereby producing new harmonics. This is similar to the way a tube amp distorts sound. It was possible to select from 59 different waveshapes having names like "Rezzy", "Parabola" & "Comb", to transform/distort/harmonically alter the sound. Waveshaping would add different harmonics to the sound depending on the selected waveshape, but the added harmonics depended also heavily on what kind of sample that was fed into the waveshaping function. The waveshaping feature could make some very interesting sonic textures as it would literally reshape the sound to fit that specific waveshape. However, the feature was discontinued on subsequent models. Original sounds were achievable but required significant experimentation, as using waveshaping on stock samples often only seemed to add distortion.

Because Korg removed the discrete custom Waveshaping IC chip and capability from all "AI2" models subsequent to the 01/W-series, and the Waveshaping feature was the most, or arguably only, significant addition to the original "AI" core synthesis engine (i.e. all manipulations and control of the sound post-oscillator-generation until before channel DSP effects are added), it might be said that the 01/W-series comprise the only "true" "AI2" models released by Korg. (AI2 also featured some enhancements to synthesis LFOs and post-processing DSP signal routing and number of algorithms ).

In addition, all Korg "AI2" models subsequent to the 01/W-series used smaller and/or lower resolution and/or non-graphic LCD displays. Further, all 61-key "AI2" keyboards subsequent to the 01/W-series included cost-reduced and lesser-quality (according to many players) keybed (musical keyboard mechanism assembly) compared to the top Yamaha FS model keybed installed by Korg in the 01/W, 01/Wfd, 01/Wpro (76-key), and all of its top workstation and synthesizers from 1988 (M1) until circa 2011 (discontinuation of Oasys-76, debuted 2005) - as well as by Yamaha in its top models.

Although difficult to directly quantify because the absence of technical data released by Korg, many users feel the 01/W-series PCM base-ROM waveforms are "higher quality" than the more numerous PCM base-ROM waveforms included the in subsequent AI2 models (except for the few higher-quality additional largely acoustic/electric-piano ROM waves in final, late-1990s AI2 models).

Also, the 01/W-series featured expandable PCM ROM via new, higher-capacity 2MB external add-in cards unavailable to all subsequent "AI2" models. Further, 01/W-series keyboards (except the briefly-available original non-"fd" 01/W model) featured on-board removable Program/Combination/PCG and sequencer data storage via 3.5" floppy diskettes that most subsequent "AI2" models lacked. Finally, the aluminum and steel chassis construction of the 01/W-series keyboards is heavier-duty (and heavier in weight) than most subsequent "AI2" models.

For these reasons, the 01/W-series may be viewed as the most "deluxe", easy-to-use, and "true" "AI2-synthesis" models produced, despite being the first released. (It was also the most expensive.)

The 01/W-series lacked the earlier, significantly more expensive T-series' 1-megabyte sample RAM (optional on T3, standard on T2 and T1), into which users could load their own multisamples. However, in some compensation, the capacity of 01/W-series PCM ROM expansion cards was increased fourfold to 2MB from the M-/T-series' 512KB PCM ROM cards.

The 01/W-series had the major updated benefit of market-competitive 32-voice/32-oscillator polyphony compared to the relatively substandard 16-voice/16-oscillator polyphony of the M-/T-series (and therefore compared favorably to earlier and contemporary 32-oscillator synthesizers like Roland D50/D20/D10/D5, Kawai K4/K1, Yamaha SY77/SY99, plus various 21-, 24-, and 32-voice/oscillator models from Ensoniq, E-mu, and others).

Sonic character
The 01/W is also known for its "warmth". It has been suggested the 01/W sounded richer than the Korg synths that came afterward. The two most probable reasons for that are:
 * The 01/W's samples, like those of the M-/T-series, were recorded at 31.25 kHz. Subsequent Korg top synths beginning with the 1995 Trinity had their samples recorded at 48 kHz. The sample rate of 31.25 kHz limited the frequencies possible in any sample to below 16 kHz, instead of the 22.05 kHz of later synths by Korg.
 * More ROM memory and/or bit-depth resolution was allocated to each sample than the synths following afterward. (As an example, the 01/W used 6 MB of ROM to fit 254 samples, while the subsequent Korg X3 also used 6 MB to fit 334 samples in its ROM.).

ps: It should be noted that in 03RW the waveshaper was removed, and with it 59 waves for the waveshaper, and the device memory became 5 MB VS 6 MB for the 01W, from which we can conclude that the 01W sample memory is approximately 5 Megabytes (40 Megabit) and the remaining 1 Megabyte (8 Megabit) are waves for the Waveshaper. 40 Mbps ROM / 254 multisamples = 157 Kbps per multisample for 01W. The X3 series has 48 Megabits for all samples. On average 48 / 340 = 141 Kbps per multisample. The result is 157 vs 141, that is, approximately the same orders. The difference is only 9%. It cannot be said that they have a radical difference in the allocated memory for samples by several times. Probably, sample compression and bit depth, which can be different, have a big impact on the quality. As well as various DACs: PCM69AU vs PCM55HP. Also, internal sound processing in general, for example, in the X3 series they removed Emphasis, but added an analogue of resonance (Color Intensity). They clearly have different features and internal sound processing, despite the similarity of the engine as a whole.

The fact that the 01/W's samples were recorded at a lower sampling rate compared to Compact Disc CD-DA Redbook standard, thereby reducing sample size, plus the advantage of having more ROM memory than the M1 it replaced, meant that longer samples could be stored, possibly adding more realism to sustained sounds and so forth. The 31.25 kHz frequency might give the illusion of a more acoustic instrument, because it might be perceived as reducing the amount of high frequencies, which tend to be attenuated in physical/analogue instruments when compared to digital ones.

Options

 * XSC PCM cards set
 * XPC ROM cards
 * SRC512 RAM card
 * VUK01W ROM OS upgrade kit

Name origin
Reportedly, the 01/W was originally intended to be named the M10, but the marketing department read the name upside down.

Notable users
This list represents a small, incomplete range of artists who have used Korg 01/Ws.

 * Phil Collins

 * Jean-Michel Jarre

 * Chad Hugo

 * Jun Senoue
 * Keith Emerson
 * Marcos Witt
 * Juan Carlos Alvarado
 * Alex Staropoli
 * Joe Zawinul
 * Juana Molina
 * Greg Phillinganes
 * Global Communication
 * Isaiah Sanders

 * Viju Shah
 * A R Rahman

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

title: Korg 01/W


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Northrop Grumman Electronic Systems

Northrop Grumman Electronic Systems (NGES) was a business segment of Northrop Grumman from 1996 to 2015 until a reorganization on January 1, 2016 merged other Northrop Grumman businesses into NGES to form a new segment called Mission Systems. NGES had originally been created by Northrop Grumman's acquisition of Westinghouse Electronic Systems Group in 1996. The Electronic Systems sector was a designer, developer, and manufacturer of a wide variety of advanced defense electronics and systems. The division had 120 locations worldwide, including 72 international offices, and approximately 24,000 employees; accounting for 20% of company sales in 2005.

Organization Divisions
Headquartered outside Baltimore in Linthicum, Maryland near the Baltimore airport (BWI), Northrop Grumman Electronic Systems was organized into the following divisions:
 * Advanced Concepts & Technologies
 * Aerospace Systems
 * Naval & Marine Systems
 * Defensive Systems
 * Navigation Systems
 * Government Systems
 * Space & ISR Systems

Systems
Northrop Grumman Electronic Systems provided:

 * Airborne radar systems
 * Secondary surveillance systems
 * Inertial navigation systems and sensors
 * Electronic warfare systems
 * Precision weapons
 * Air traffic control systems
 * Air defense systems
 * Communications systems
 * Space systems
 * Marine systems
 * Naval systems,
 * Integrated avionics systems
 * Postal automation and information systems

Key Products
Key products included active electronically scanned array fire control radars for the F-16, F-22, and F-35 fighter aircraft, as well as the Longbow Fire Control Radar for the AH-64 Apache helicopter. Other principal products included the AWACS radar, the Boeing 737-based Wedgetail MESA airborne early warning and control systems, E-8 Joint STARS air-to-ground surveillance radar sensor, the Longbow Hellfire missile, the ALQ-135 radar jammer for the F-15 Eagle, ALQ-218 Tactical Jamming Receiver for the EA-18G Growler and EA-6B ICAP III Prowler, tactical military radars, countrywide air defense systems, Directional Infrared Counter Measures, sophisticated undersea warfare systems, and naval propulsion and power generation systems.

History
Electronic Systems dates to 1938 when Westinghouse Electric Corporation’s Radio Division moved to Baltimore, Maryland from Massachusetts and Pittsburgh, Pennsylvania.

In 1939, Westinghouse more than doubled its manufacturing area in its Baltimore location to accommodate the production of the then highly-secret SCR-270 aircraft warning radar. In 1941, an SCR-270 radar detected the December 7th attack on Pearl Harbor, however, its warnings went unheeded because of high-level uncertainty about the new technology's reliability. The first ground-based radar built for the Army Signal Corps, the SCR-270, proved to be the only model to stay in action throughout all of World War II. From 1941–1945, the Westinghouse Radio Division manufactured approximately 50 products during the war. Until 1942, most of this was radio equipment; later, production shifted to radar products. Wartime production included ground-based and naval radio and radar, electronic fuses, and torpedoes.

In 1953, the unit patented key technologies for Pulse-Doppler radar, making possible airborne systems that can detect both stationary and moving targets, determine the range, and distinguish targets from background "clutter". Pulse-Doppler is the basis for all airborne radars in use today. By 1966, the division designed and developed a miniaturized black-and-white camera that captured images from the Project Apollo Lunar Module that landed on the Moon on July 20, 1969. In 1967, The world's first solid-state radar, the AN/APQ-120 for the F-4 Phantom II fighter, was produced by the division. In 1947, Westinghouse acquired Joshua Hendy Iron Works.

In 1974, the division began development of the AN/APG-66 radar for the F-16. Over time, the unit produced over 6,000 radars for various versions of the F-16. In 1976, Westinghouse Electronic Systems delivered the first E-3 Sentry AWACS long-range airborne surveillance radar. In 1996, Westinghouse was selected to design, build, and test the radar for the F-35 Joint Strike Fighter, which eventually became the AN/APG-81.

Expansion within Northrop Grumman
Electronic Systems was central to Northrop Grumman's aggressive merger and acquisition strategy since its acquisition in 1996. Parts or all of the following companies or organizations were part of the sector: Westinghouse Electronic Systems, California Microwave, Litton Industries Advanced Electronics division, Solystic SA, Xetron Corporation, Aerojet Corporation Electronics & Information Systems, and Fibersense Technology Corp. During the period from 1996 to 2005, Electronic Systems' annual sales increased from US$2.3B to US$6.6B through organic growth as well as acquisitions.

title: Northrop Grumman Electronic Systems


text: User talk:83.116.113.66

title: User talk:83.116.113.66


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San Diego Air & Space Museum

San Diego Air & Space Museum (SDASM) is an aviation and space exploration museum in San Diego, California. The museum is located in Balboa Park and is housed in the former Ford Building, which is listed on the US National Register of Historic Places. SDASM was established by articles of incorporation on October 12, 1961, and opened to the public on February 15, 1963.

History
The museum was established on October 12, 1961 as the San Diego Aerospace Museum. The museum was first opened to the public on February 15, 1963, in the Food and Beverage Building, which had been built in 1915 for the Panama–California Exposition. In 1965 the museum was moved to the larger Electrical Building.

On February 22, 1978, the Electrical Building and the museum were destroyed in an arson fire. Several one-of-a-kind aircraft were destroyed, including the Beecraft Wee Bee, the world's lightest aircraft, and her sister craft the Queen Bee. A reproduction of the Spirit of St. Louis, built in 1967 by some of the same people who built the original, was also destroyed, along with more than 50 other aircraft, an extensive collection of artifacts and archives, and the International Aerospace Hall of Fame. Owen Clarke, the museum's executive director, said of the $4 million in losses, "This is unbelievably tragic. When you've spent that length of time acquiring history, building something up to where it had international prestige, then see it all disappear in a couple of hours, what else can it be?" Before the fire, plans had already been under way to move the museum to the larger Ford Building, also in Balboa Park, which had been built for the 1935-36 California Pacific International Exposition. Even though several important historic aircraft were lost in the fire, much of the collection on display was dated or insignificant. The museum was already accumulating new aircraft that were in storage awaiting space in the new building and so were spared from the fire. In addition, the community rallied, raising funds and donating items from private collections. The museum reopened, with a smaller but growing collection, in its current home in the former Ford Building on June 28, 1980. A new reproduction of the Spirit of St. Louis was built for the new museum. Because of its historical significance, a reproduction of the Wee Bee was also built.

In 2005 the museum became affiliated with the Smithsonian Institution. It is one of only ten aerospace museums in the country to have such an affiliation, and one of only two affiliated museums in San Diego.

Exhibits
The museum is divided into many galleries with exhibits emphasizing the contributions San Diego has made to aviation. Sections include the Theodore Gildred Rotunda, Special Exhibit area, World War I Gallery, Golden Age of Flight Gallery, World War II Gallery, and Modern Jet & Space Age Gallery, and the Edwin D. McKeller Pavilion of Flight. Admission is required and there is an additional cost to see the Special Exhibit.

The restoration shop on site is available for tours when work is being done.

Theodore Gildred Rotunda
In addition to the Apollo 9 Command Module Gumdrop, the main entrance to the museum contains examples of aircraft from local San Diego companies. It also features the different types of exhibits throughout the museum. This includes originals, like the Montgomery 1911 Evergreen glider, models, like the 1/2 scale model of the Northrop Grumman Global Hawk, flyable reproductions, like the Curtiss A-1 Triad amphibious aircraft, replicas, like the Ryan Airlines NYP (aka Spirit of St. Louis), and flight vehicles, like the Ryan Firebee and General Atomics MQ-1 Predator.

Special exhibits
In addition to the changing special exhibits at the front of the museum, there are a number of early aviation exhibits hanging from the ceiling. Visitors are encouraged to look up while making their way through the special exhibit. Guests who do not pay to see the special exhibit pass through the International Air & Space Hall of Fame hallway where portraits of aviation pioneers are displayed. Also along this hallway are exhibits about Jacqueline "Jackie" Cochran and the Women Airforce Service Pilots.

Hanging above this area are exhibits of the Leonardo da Vinci Ornithopter (mock-up), Cayley Glider (reproduction), Lilienthal Glider (reproduction), Chanute Glider (reproduction), 1901 Wright Glider (reproduction), 1902 Wright Glider (reproduction), Deperdussin 1911 Type Militaire, Beachey "Little Looper" (reproduction), and the Vin Fiz Flyer (reproduction).

The museum also has the California lunar sample displays.

World War I Gallery
In addition to the boardwalk and era-style tent similar to those used by the Lafayette Escadrille, the gallery has reproductions of an Albatros D.Va, a Fokker Dr.I and Fokker E.III Eindecker, and authentic examples of a SPAD S.VII.c.1 and Nieuport 28. Among the many displays is a model of the synchronization gear first developed for the Fokker Eindecker. With the press of a button, guests can see how the propeller and rotary engine would move and coordinate the trigger action so pilots would not shoot off their own propellers in combat.

Golden Age of Flight Gallery
Along the long back stretch of this gallery are many aircraft both on the deck and hanging from the ceiling. Aircraft in this section include a Lincoln Standard J-1, Consolidated PT-1 Trusty, Aeronca C-3 Collegian, Ryan M-1 (replica), Lockheed Vega (replica made for the 2009 movie Amelia (film)) Fleet Model 2, Gee Bee R-1 (reproduction), Bowlus SP-1 Paperwing (reproduction), Ryan B-5 Brougham, Ryan STA, Piper J-3 Cub, and Pitts Special.

The museum also has a number of aircraft engines on display. This gallery contains a Curtiss OX-5, Aeronca E-107, Liberty L-12, Wright J-3 Whirlwind, Curtiss V-1570 Conqueror, Jacobs L-4MB (cutaway), Menasco A-4, and Continental A-40.

The Curtiss JN-4D "Jenny" was returned to the restoration shop to reskin the wings, but has since been returned to the gallery.

Access to the Edwin D. McKeller Pavilion of Flight is from this portion of the museum. This is also where the Education Center is which hosts monthly Family Day activities. Guests will also locate the restrooms for the museum in this section of the building. On some days lunch is available on the outer patio outside of this portion of the museum.

There is an exhibit of the Pacific Southwest Airlines (PSA), also known as the Poor Sailor's Airline, in the museum. A replica of the airline's first ticket office has displays about the airline with a smile and includes stewardess uniforms from the 1950s through 1980s, including the hot pants worn during the 1970s.

PSA Flight 182, registration N533PS, a Boeing 727-214 commercial airliner collided with a private Cessna 172 over San Diego on September 25, 1978. A memorial plaque honoring those who died on Flight 182 and on the ground is located at the museum, near the Theodore Gildred Flight Rotunda. On the 20th anniversary of the tragedy, a tree was planted next to the North Park branch library, and a memorial plaque was dedicated to those who died.

World War II Gallery
The latest addition to the museum is a replica Horten Ho 229 flying wing which was put on display July 2009. This was donated to the museum's permanent collection by Northrop Grumman (owners of Ryan Aeronautical) following radar testing at the same test site which was used to compare the Horten's radar cross-section to the B-2 stealth bomber. Details of the work on the model and the history of the aircraft were featured on the National Geographic Channel's documentary, Hitler's Stealth Fighter.

Other aircraft in this portion of the museum include a Stearman N2S-3 Kaydet, North American P-51D Mustang, Douglas C-47 Skytrain (DC-3) Nose and Cockpit section, Messerschmitt Bf 109G-14 (mock-up), Supermarine Spitfire Mk.XVI.

This section of the museum is also where a mock-up of the USS Yorktown (CV-10) was built. This Essex Class aircraft carrier has many of the Navy aircraft on display, including a Douglas SBD-4 Dauntless, Grumman F6F-3 Hellcat, and Grumman F4F-4 Wildcat. Racing just feet over the deck, guests will see a Mitsubishi A6M7 Zero-sen.

Throughout the gallery are many of the aircraft engines which were used during this period. On display are a Junkers Jumo 004B-1, Allison V-1710-39, Walter RI-202B, Rolls-Royce Merlin 62, Pratt & Whitney R-2800, Pratt & Whitney R-1830-17, Wright R-1820 Cyclone, Ranger 6-440C-2, and Ranger SGV-770C-1.

Modern Jet and Space Age Gallery
This gallery contains a Douglas A-4B Skyhawk, F/A-18A Hornet "Blue Angel 1", Gemini spacecraft (replica), and an Apollo Command and Service Module mock-up.

At the far end of the gallery is the Boeing GPS-12 Satellite. This was an operational ground spare. Launched into space for the original GPS constellation were 23 operational spacecraft and two on orbit spares. A number of spares were flight ready on the ground in case there were malfunctions on orbit, these spacecraft could be launched as replacements. When the next generation of spacecraft were developed, the ground spares were no longer needed and one was donated to the museum. On display is a flight-ready GPS satellite.

Along the inside wall of this gallery is the cockpit canopy of the North American X-15. This supersonic rocket plane first flew on June 8, 1959, with Scott Crossfield at the controls. Also in the display case near the canopy is Crossfield's flight suit from the X-15 and the air conditional case used by Neil Armstrong when he was an X-15 pilot. Eight of the X-15 pilots flew into space (above 60 mi) to earn their astronaut wings.

The many astronauts who grew up and lived in the San Diego area include Wally Schirra, the only astronaut to command missions in Mercury, Gemini, and Apollo.

Edwin D. McKellar Pavilion of Flight
The original courtyard of the Ford Building was used like a showroom during the 1935 California Pacific International Exposition. Now it houses many of the larger aircraft in the museum's collection. These aircraft include the Consolidated PBY-5A Catalina, Mikoyan-Gurevich MiG-17, Bell AH-1E Cobra, and Ford 5-AT-B Trimotor. It also includes a replica of the Beecraft Wee Bee and several racing aircraft, and two Ford cars on loan from the San Diego Automotive Museum.

The McDonnell Douglas F-4J/S Phantom II on display in the pavilion was the aircraft flown by Duke Cunningham and William P. Driscoll in Vietnam from the USS Constellation (CV-64). Cunningham was the first ace to get all of his kills with missiles. The aircraft here has both radar guided Sparrow missiles along the belly and infrared heat seeking Sidewinder missiles loaded on the wings.

The museum also rents the pavilion to special events from lectures to dinners. Upon request volunteer museum docents can be available to provide additional information about the exhibits during these events.

Front of museum
On display outside the museum are a Lockheed A-12 and a Convair YF2Y-1 Sea Dart.

Gillespie Field Annex
In addition to the main facility at Balboa Park, the museum also has an annex at Gillespie Field, El Cajon. The Annex featured additional display space for more aircraft, and restoration facilities. Some of the featured aircraft and spacecraft here include:

 * Convair F-102A Delta Dagger
 * Mikoyan-Gurevich MiG-15bis
 * Bleriot XI (reproduction)
 * Grumman F-14 Tomcat
 * Lockheed P-2 Neptune
 * Douglas A2D Skyshark
 * General Dynamics F-16 Fighting Falcon
 * Bell UH-1 Iroquois
 * Ryan X-13 Vertijet
 * Hawker Siddeley AV-8A Harrier
 * Boeing FB-5 Hawk (reproduction)
 * Ryan PT-22 Recruit
 * WACO YKS-7
 * Sikorsky SH-60 Seahawk
 * SM-65 Atlas
 * Lockheed S-3 Viking
 * North American F-86F Sabre
 * Mikoyan-Gurevich MiG-21bis

Collection
It contains many original and reproductions of historic aircraft and spacecraft, including:

 * Lockheed A-12 Oxcart
 * Bowlus SP-1 Paper Wing - replica
 * Convair YF2Y-1 Sea Dart
 * Apollo 9 command module Gumdrop
 * Spirit of St. Louis replica (Spirit 3 was built after the 1978 fire)
 * Curtiss A-1 Triad
 * Montgomery 1911 Evergreen glider
 * General Atomics MQ-1 Predator UAV (tail number 0018)
 * Ryan Firebee
 * Northrop Grumman RQ-4 Global Hawk (1/2 scale model)
 * 1902 Wright Glider (reproduction)
 * Wright Flyer (reproduction, currently not on display)
 * Vin Fiz Flyer (reproduction)
 * Ford 5-AT-B Trimotor
 * Supermarine Spitfire LF Mk.XVIe
 * North American P-51D Mustang
 * SPAD S.VII.c.1
 * Nieuport 28
 * Curtiss JN-4D Jenny
 * North American F-86 Sabre (at Gillespie Field annex)
 * Mitsubishi A6M7 Model 63 Zero
 * Grumman F-14 Tomcat (at Gillespie Field annex)
 * Mikoyan-Gurevich MiG-17 (It is in fact a Chinese Shenyang J-5.)
 * McDonnell Douglas F-4S Phantom II
 * Bell AH-1E Cobra
 * PBY-5A Catalina
 * Horten Ho 229 (model)
 * P-26 Peashooter (currently on display)
 * Vought F4U-7 Corsair (currently on display)

SDASM promotes itself as one of the largest aviation museums in the nation, containing the third-largest collection of archives and library. SDASM has two restoration facilities, one on site, and the other located at Gillespie Field. The Gillespie Field Annex is open to the public with numerous aircraft on display outdoors, a Convair SM-65 Atlas ICBM, museum model shop, and a restoration shop. The museum's library contains an extensive collection of aircraft books and historic photographs of aircraft and aircraft manufacturing.

Special events
The museum hosts a number of lectures, student programs, and other special events. Groups can rent the Pavilion of Flight for their own event or dinner.

title: San Diego Air & Space Museum


text:
James B. Hume

James B. Hume (January 23, 1827–May 18, 1904) was one of the American West's premier lawmen.

Born in Stamford Township, Delaware County, New York, he left home in 1850 headed for the gold fields of California with his brother John. Hume panned gold and mined for a number of years in addition to operating a trade store off and on. In 1860 he began his career as a peace officer serving as a deputy tax collector for El Dorado County, California. In 1864 he was elected City Marshal of Placerville, California, and in 1864 hired as Undersheriff of El Dorado County. He ran for Sheriff in 1865 and remained in office until 1870. In 1871 Wells, Fargo & Company hired him as a detective, but gave him a year's leave in 1872 to serve as deputy warden of the Nevada State Prison. He became one of the most prominent detectives of the times. He married Lida Munson on April 28, 1884, and had a son, Samuel James Hume. He never retired from the company, but after an illness in 1897 he slowed down and began working fewer road trips. He died at his home in Berkeley, California.

Black Bart
One of Hume's most famous cases was that of Black Bart. Black Bart may have been a cunning and intelligent stage coach robber, but detective Hume was an equally skilled lawman who eventually brought Bart to justice. James B. Hume had an impressive record as a California and Nevada lawman before he joined the Wells Fargo freight company in 1873. In both appearances and actions he had all the characteristics of a model western lawman: tall, handsome, modest, reticent, quietly efficient, and resourceful in his use of modern detection methods, including the science of ballistics.

Hume had been trailing Black Bart almost from the beginning of the thief’s career. He visited the sites of all the robberies and patiently put together a valuable list of information. Witnesses in settlements near the scenes of the robberies described seeing a polite, friendly man in his fifties, about five foot eight or ten in height with brownish gray hair, a fierce gray mustache and matching goatee, carrying a bedroll (which Hume correctly inferred carried his duster, sack disguise, shotgun and loot), passing through on foot and quickly disappearing. Hume made special note of the reports by several witnesses that the man’s boots were neatly slit at the toes as if to relieve corns – small wonder, given the territory Bart covered on foot (he was reportedly afraid of horses and never traveled by horseback). Hume was well aware that this figure the locals had reported was likely to be the culprit.

Hume’s major break occurred on November 3, 1883, when Bart robbed a Wells Fargo coach headed from the town of Sonora to Milton, in Calaveras County. One of the drivers fired a shot at Bart, and forced him to promptly flee. Within the nearby brush, local officers found a cache of rations and correctly assumed that the goods were the bandit's. More importantly however, a blood-stained handkerchief bearing the laundry mark "F.X.0.7" was recovered. Hume engaged with special detective Harry Morse, former sheriff of Alameda County, spending a week visiting every laundry in San Francisco – nearly a hundred of them, to track down where the mark originated from. Eventually Morse found the origin of the mark at a laundry on Bush Street in San Francisco. The proprietor identified the F.X.0.7 handkerchief mark as that assigned to C.E. Bolton, a man who lived in a hotel on Second Street.

The arrest of Black Bart was at hand. Morse got Bart to accompany him to Hume's office in the nearby Wells Fargo building, and after a thorough grilling, Bart eventually confessed and received a term in San Quentin prison.

Hume and Morse were real detectives of the time, outside of the Pinkerton Agency and Wells Fargo Operations, traditional law work consisted primarily of forming posses, serving warrants with a gun, and preventing mobs from lynching the miscreants.

Few lawmen in 1883 put their noses to the carpet searching for clues in the manner of Sherlock Holmes (Holmes had not yet surfaced – his first adventure was published in 1887), not many of the old west, did the legal legwork of Hume ending Black Bart’s escapades.

Other family
Hume's sister Mary married Mathew McClaughry in Kortwright, New York. Their oldest son Robert W. McClaughry served as a major in the 118th Illinois Infantry during the American Civil War. R.W. McClaughry would later serve as the Chicago Chief of Police, Warden of Joliet Prison and was the second warden of the United States Penitentiary at Leavenworth, KS.

Popular culture
In "The Bandits of Panamint," the fifteenth episode of the first season of the syndicated television series Death Valley Days, George Sherwood plays "Detective Hume" in a dramatization of Hume's pursuit of some stage robbers who, while on the run, have discovered a rich silver mine and devise a way to figure out how to register their claim without going to jail.

In "Black Bart," the sixteenth episode of the first season of Stories of the Century, the show's protagonist, Railroad Detective Matt Clark (Jim Davis) portrays the role that Hume played in real life.

In "Black Bart," the fourth episode from the third season of Death Valley Days, the battle of wits between Hume, played by John Damler, and a wily stage robber is dramatized.

"Temporary Warden," the first episode of the fourteenth season of Death Valley Days, dramatizes an incident from the career of Hume, played by Ronald Reagan, in which, after accepting a temporary appointment as warden of the Nevada State Prison in Carson City, he tracks down a trio of escaped convicts who had been terrorizing the state.

title: James B. Hume


text:
Comedo

A comedo is a clogged hair follicle (pore) in the skin. Keratin (skin debris) combines with oil to block the follicle. A comedo can be open (blackhead) or closed by skin (whitehead) and occur with or without acne. The word "comedo" comes from the Latin comedere, meaning "to eat up", and was historically used to describe parasitic worms; in modern medical terminology, it is used to suggest the worm-like appearance of the expressed material.

The chronic inflammatory condition that usually includes comedones, inflamed papules, and pustules (pimples) is called acne. Infection causes inflammation and the development of pus. Whether a skin condition classifies as acne depends on the number of comedones and infection. Comedones should not be confused with sebaceous filaments.

Comedo-type ductal carcinoma in situ (DCIS) is not related to the skin conditions discussed here. DCIS is a noninvasive form of breast cancer, but comedo-type DCIS may be more aggressive, so may be more likely to become invasive.

Causes
Oil production in the sebaceous glands increases during puberty, causing comedones and acne to be common in adolescents. Acne is also found premenstrually and in women with polycystic ovarian syndrome. Smoking may worsen acne.

Oxidation rather than poor hygiene or dirt causes blackheads to be black. Washing or scrubbing the skin too much could make it worse, by irritating the skin. Touching and picking at comedones might cause irritation and spread infection. What effect shaving has on the development of comedones or acne is unclear.

Some skin products might increase comedones by blocking pores, and greasy hair products (such as pomades) can worsen acne. Skin products that claim to not clog pores may be labeled noncomedogenic or nonacnegenic. Make-up and skin products that are oil-free and water-based may be less likely to cause acne. Whether dietary factors or sun exposure make comedones better, worse, or neither is unknown.

A hair that does not emerge normally, an ingrown hair, can also block the pore and cause a bulge or lead to infection (causing inflammation and pus).

Genes may play a role in the chances of developing acne. Comedones may be more common in some ethnic groups. People of Latino and recent African descent may experience more inflammation in comedones, more comedonal acne, and earlier onset of inflammation.

Pathophysiology
Comedones are associated with the pilosebaceous unit, which includes a hair follicle and sebaceous gland. These units are mostly on the face, neck, upper chest, shoulders, and back. Excess keratin combined with sebum can plug the opening of the follicle. This small plug is called a microcomedo. Androgens increase sebum (oil) production. If sebum continues to build up behind the plug, it can enlarge and form a visible comedo.

A comedo may be open to the air ("blackhead") or closed by skin ("whitehead"). Being open to the air causes oxidation of the melanin pigment, which turns it black. Cutibacterium acnes is the suspected infectious agent in acne. It can proliferate in sebum and cause inflamed pustules (pimples) characteristic of acne. Nodules are inflamed, painful, deep bumps under the skin.

Comedones that are 1 mm or larger are called macrocomedones. They are closed comedones and are more frequent on the face than neck.

Solar comedones (sometimes called senile comedones) are related to many years of exposure to the sun, usually on the cheeks, not to acne-related pathophysiology.

Management
Using nonoily cleansers and mild soap may not cause as much irritation to the skin as regular soap. Blackheads can be removed across an area with commercially available pore-cleansing strips (which can still damage the skin by leaving the pores wide open and ripping excess skin) or the more aggressive cyanoacrylate method used by dermatologists.

Squeezing blackheads and whiteheads can remove them, but can also damage the skin. Doing so increases the risk of causing or transmitting infection and scarring, as well as potentially pushing any infection deeper into the skin. Comedo extractors are used with careful hygiene in beauty salons and by dermatologists, usually after using steam or warm water.

Complementary medicine options for acne in general have not been shown to be effective in trials. These include aloe vera, pyridoxine (vitamin B6), fruit-derived acids, kampo (Japanese herbal medicine), ayurvedic herbal treatments, and acupuncture.

Some acne treatments target infection specifically, but some treatments are aimed at the formation of comedones, as well. Others remove the dead layers of the skin and may help clear blocked pores.

Dermatologists can often extract open comedones with minimal skin trauma, but closed comedones are more difficult. Laser treatment for acne might reduce comedones, but dermabrasion and laser therapy have also been known to cause scarring.

Macrocomedones (1 mm or larger) can be removed by a dermatologist using surgical instruments or cauterized with a device that uses light. The acne drug isotretinoin can cause severe flare-ups of macrocomedones, so dermatologists recommend removal before starting the drug and during treatment.

Some research suggests that the common acne medications retinoids and azelaic acid are beneficial and do not cause increased pigmentation of the skin. If using a retinoid, sunscreen is recommended.

Rare conditions
Favre–Racouchot syndrome occurs in sun-damaged skin and includes open and closed comedones.

Nevus comedonicus or comedo nevus is a benign hamartoma (birthmark) of the pilosebaceous unit around the oil-producing gland in the skin. It has widened open hair follicles with dark keratin plugs that resemble comedones, but they are not actually comedones.

Dowling–Degos disease is a genetic pigment disorder that includes comedo-like lesions and scars.

Familial dyskeratotic comedones are a rare autosomal-dominant genetic condition, with keratotic (tough) papules and comedo-like lesions.

title: Comedo


text:
Prionus coriarius

Prionus coriarius (sometimes referred to as "the tanner" or "the sawyer") is a species of longhorn beetle.

Description
Prionus coriarius can reach a length of 18 - 45 mm. It is the most massive of European beetles. The female is larger than the male. Body is shiny, dark brown to black. The neck shield bears on each side three clearly distinct teeth. The serrated antennae of the male are composed of 12 segments. The ventral surface of the female is hairless, while in the male is pubescent.

Biology
The larvae are polyphagous, but they mainly develop in rotten wood of deciduous and coniferous trees. They can reach a length of about 60 mm. The life cycle lasts at least 3 years. Adults can be found from July to September. Its activity is mainly crepuscular and nocturnal.

Distribution
This species is common in most of Europe and it is present in North Africa and in the Near East (Turkey, Caucasus, Transcaucasia, Iran).

title: Prionus coriarius


text:
Rubén Omar Romano

Rubén Omar Romano Cachía (born May 18, 1958, in Buenos Aires) is an Argentine former footballer and current manager.

Footballer career
Romano played in Argentina for Club Atlético Huracán before leaving for Mexico in 1980 to play for Club América. He played in seven other Mexican clubs: León, Necaxa, Puebla, Querétaro, Cruz Azul, Atlante, and Veracruz. He was a left footed player with a great talent for free kicks as well as an extraordinary playmaker. His best times were in León and Atlante.

He retired as a player at Atlante after the 1994–1995 season and scored 2 goals in his last game (Atlante 6-6 Puebla). In total, Romano scored 102 goals in the Mexican Football League. He is listed among the 100 best scorers of all time in Mexico.

Head coach
The same year he became the assistant coach for Ricardo La Volpe of Club Atlas.

He also worked as a coach for Celaya, Tecos, Morelia, Pachuca, and Cruz Azul. With Pachuca, he qualified for the Copa Libertadores.

Cruz Azul qualified for the Mexican playoffs in Romano's first season with the team, but lost to rivals América. Romano has qualified for the playoffs on six occasions for different teams.

Romano was kidnapped on July 19, 2005, near Xochimilco, in Mexico City by Omar Sandoval Orihuela. He was rescued on the night of September 21 of 2005, 65 days after the kidnapping, by agents of the Federal Investigation Agency. Replacing him in the interim was Isaac Mizrahi Smeke, who coached the first few weeks of Cruz Azul's season. Romano returned to work a few days after his release, while Orihuela received twenty-six years imprisonment for the kidnapping. He was relieved of his duties with the club on December 9, 2005, after coaching for eleven matches during which time Cruz Azul won two, drew three and lost five. Mizrahi was then named permanent head coach of the club.

Afterwards, Romano was hired by Atlas. He ended the regular season in last place as he didn't win the last 11 matches.

He was named head coach of Club América on February 18, 2008, due to president Guillermo Cañedo White's dismissal of Daniel Alberto Brailovsky after a run of disappointing results. On April 30, 2008, Romano finally announced his resignation from the team right after a 4–2 loss to Flamengo in the Copa Libertadores. Club América won the next three matches, including a 0–3 against Flamengo in the Maracanã Stadium. He was presented as the head coach of Santos Laguna on December 5, 2009. With the Santos Laguna, on his first tournament he got the team to the final, and on the second tournament he had the Santos on the first place on the table and of goals. He ceased to coach Santos Laguna on February 20, 2011, after losing several home games and making obscene gestures at the fans.

On August 14, 2013, Rubén Omar Romano replaced Manuel Lapuente at Puebla. He was reported on September 19, 2016, to have accepted the managerial position for a struggling CF America nearing their centenary anniversary. Club America officials later retracted the offer due to fan backlash.

title: Rubén Omar Romano


text: Template:Museums and galleries in the Republic of Ireland by province


text: Category:D-D locomotives

title: Category:D-D locomotives


text:
Fritz Peterson

Fred Ingels Peterson (February 8, 1942 – October 19, 2023) was an American professional baseball pitcher who played in Major League Baseball (MLB) for the New York Yankees, Cleveland Indians, and Texas Rangers from 1966 to 1976.

Peterson was a southpaw starting pitcher who enjoyed his best success in 1970 with the Yankees when he went 20–11 and pitched in the All-Star game. He was widely known for trading families with teammate Mike Kekich in the early 1970s. He had a career record of 133–131. Peterson had the lowest ratio of base on balls per innings pitched for any left-handed pitcher to pitch in the major leagues since the 1920s.

Early life and career
Peterson attended Arlington High School in Arlington Heights, Illinois. He and Gene Dahlquist anchored the baseball team's starting rotation.

Peterson attended Northern Illinois University. He was viewed as a promising ice hockey player and gave up playing hockey to concentrate on baseball. He played college baseball for the Northern Illinois Huskies. The New York Yankees signed Peterson in 1963 as an amateur free agent by Yankee scout Lou Maguolo.

Minor leagues
After signing with the Yankees, Peterson was assigned to the Harlan Yankees of the Rookie-level Appalachian League. In twelve games (ten starts), he had a 4–3 win–loss record with a 4.43 earned run average (ERA); he struck out 80 batters in 61 innings pitched. He also batted .273 with one home run. In 1964, Peterson played for the Shelby Yankees in the Class A Western Carolinas League. In 21 games started, Peterson amassed a 10–7 record, with a 2.73 ERA; he struck out a team-leading 194 batters in 155 innings. He also hit .345 with four home runs. He played winter ball in the 1964 Florida East Coast Instructional League; he had a 7–2 record with a 1.68 ERA, striking out 45 batters in 59 innings.

Assigned to the Greensboro Yankees of the Class A Carolina League in 1965, Peterson had an 11–1 record in fourteen starts, with a 1.50 ERA, and 83 strikeouts in 108 innings. He was later moved up to the Columbus Confederate Yankees in the Class AA Southern League. He went 5–5 with a 2.18 ERA in twelve starts with 62 strikeouts in 91 innings. Yankees minor league pitching coach Cloyd Boyer was credited with helping Peterson become a star pitcher.

MLB rookie season
Peterson was invited to spring training with the Yankees in 1966. Yankees manager Johnny Keane was high on Peterson, telling reporters that he averaged three strikeouts for every walk in the minors. At age 24, he became the number two starter on the Yankees pitching staff.

He made his major league debut on Friday, April 15, 1966, against the Baltimore Orioles. Before a crowd of 35,624 at Memorial Stadium in Baltimore, Peterson pitched a complete game, striking out three batters and walking none. The Yankees won 3–2, giving Peterson his first major league victory. Future Hall of Famer Frank Robinson hit a solo home run off of Peterson in the ninth inning, but he got Brooks Robinson to fly out to left and Boog Powell grounded out to first to give the Yankees the win. The losing pitcher was Wally Bunker. His first major league strikeouts were Paul Blair, Andy Etchebarren, and Bunker.

"Where the vintage pitchers like Whitey Ford, Pedro Ramos, and Bob Friend had failed, Frederick (Fritz) Peterson succeeded yesterday for the New York Yankees. In his first major league game, the 24-year-old left-hander beat the Baltimore Orioles, 3–2, and drew an accolade from his manager, Johnny Keane," the New York Times wrote of his debut. Keane said: "Not many young pitchers have his control. That's his strength, that and his fastball."

In his rookie season, Peterson went 12–11 in 32 starts for the Yankees. He had a 3.31 ERA with 96 strikeouts in 215 innings. He tied Mel Stottlemyre (12–20) as the team leader in wins.

Yankees starting pitcher
Peterson went 8–14 in 1967 (3.47 ERA, 102 strikeouts), 12–11 in 1968 (2.63 ERA, 115 strikeouts), and 17–16 in 1969 (2.55 ERA, 150 strikeouts). He had the best season of his career in 1970, with a 20–11 record (2.90 ERA, 127 strikeouts). He went 15–13 in 1971 (3.05 ERA, 130 strikeouts), 17–15 in 1972 (3.24 ERA, 100 strikeouts), and 8–15 in 1973 (3.95 ERA, 59 strikeouts). In 1969 and 1970, Peterson had the best strikeout-to-walk ratios in the AL. Peterson also led the league in fewest walks per 9 innings pitched 5 years in a row, 1968–1972. The last pitcher who did that 5 years in a row was Cy Young. In 1970 and 1975, he had the 10th-best win–loss percentages in the league.

In his nine years as a Yankees pitcher, Peterson had a 109–106 record, with a 3.10 ERA and 893 strikeouts. Between 1969 and 1972, Peterson was one of the most successful left handed pitchers in baseball; only Mike Cuellar, Mickey Lolich, and Dave McNally won more games in the American League than Peterson did during those four years. He is ninth on the Yankees All-Time Games Started list, and tenth on the All-Time Yankees Innings Pitched list.

Peterson never played in a post-season game with the Yankees. "Mediocre at best," Peterson said of the Yankee teams that followed the Mantle-Maris era of the mid to late 1960s. "Pathetic at worst."

American League All-Star
Peterson was named to the 1970 AL All-Star team. The American League team was leading 4–1 in the bottom of the ninth inning when Catfish Hunter gave up a home run and two singles. With runners at first and second, Peterson was called in by AL Manager Earl Weaver to replace Hunter. Future Hall of Famer Willie McCovey singled to right, driving in Bud Harrelson, with future HOF'er Joe Morgan moving to third. Fellow Yankee Stottlemyre then replaced Peterson.

Trade to Cleveland Indians
Peterson's pitching seemed to suffer in 1973 and 1974 after the swap, and he was roundly booed in nearly every American League ballpark afterwards. The Yankees traded Peterson, Steve Kline, Fred Beene, and Tom Buskey to the Cleveland Indians for Chris Chambliss, Dick Tidrow, and Cecil Upshaw on April 26, 1974. Peterson went 9–14 for the Indians in 1974, and 14–8 in 1975.

Later career
After a 0–3 start with a 5.55 ERA in nine games, the Indians traded Peterson to the Texas Rangers for Stan Perzanowski and cash on May 29, 1976. He started two games for the Rangers and had a 1–0 record when a shoulder injury ended his season. The Rangers released him on February 2, 1977. Two weeks later, he signed as a free agent with the Chicago White Sox. After his second shoulder surgery, Peterson announced his retirement from baseball on May 4, 1977.

Trading families
Peterson and fellow Yankee pitcher Mike Kekich swapped wives and children, an arrangement the pair announced at spring training in March 1973. The Peterson and Kekich families had been friends since 1969. Peterson and the former Susanne Kekich remained married, but the relationship between Kekich and Marilyn Peterson did not last very long. By June, the Yankees traded Kekich.

"It's a love story. It wasn't anything dirty," Peterson told a reporter in 2013. "I could not be happier with anybody in the world. 'Mama' and I go out and party every night. We're still on the honeymoon and it has been a real blessing."

Post-baseball career
Peterson provided color commentary for the New York Raiders of the World Hockey Association during the 1972–73 season. Later, Peterson and Susanne Kekich lived outside Chicago, where he worked as a blackjack dealer at the Grand Victoria Casino in Elgin, Illinois. Jim Bouton discussed Peterson in his bestselling 1970 non-fiction book Ball Four, but Peterson was unhappy to find out after the fact that Bouton had been keeping a diary of the season.

Peterson released his first book, Mickey Mantle Is Going to Heaven in July 2009." He authored The Art of De-Conditioning: Eating Your Way to Heaven, where he wrote about his decision to "accept his own eating habits and no longer worry about his weight affecting him on the field." His third book, When the Yankees Were on the Fritz: Revisiting the Horace Clarke Era, looks at a low-point in Yankee history when the team could not win a pennant despite the pitching combination of Peterson and Stottlemyre.

Peterson survived prostate cancer twice. He was an "intensively religious" man, an "evangelical Christian who used to work with Baseball Chapel."

A known practical joker, Peterson was reportedly popular with this teammates, entertaining them with his elaborate jokes. He once used fake Baseball Hall of Fame letterhead to ask Moose Skowron to donate his pacemaker after he died, and used fake Yankees letterhead to ask Clete Boyer to participate in an "official drinking contest" against Don Larsen and Graig Nettles.

Peterson was a regular attendee at the Yankees Fantasy Camp in Florida, and the Yankees Old-Timers' Day game at Yankee Stadium.

In April 2018, Peterson revealed in an interview with the New York Post that he had been diagnosed with Alzheimer's disease in September 2017. He died at the age of 81 from lung cancer at his home in Winona, Minnesota, on October 19, 2023. His death was not announced publicly until April 12, 2024.

title: Fritz Peterson


text: Talk:EcoDuro

title: Talk:EcoDuro


text:
Talk:Albert Spaggiari

July 2005
All this article is inexact... Ericd 22:32, 22 July 2005 (UTC)
 * I added the "Disputed" and "unreferenced" templates to reflect this. Gsp 23:20, 6 August 2005 (UTC)
 * What is inexact? — Preceding unsigned comment added by 216.86.113.202 (talk • contribs) 00:01, 21 September 2005 (UTC)
 * Have a look to the date. Since this comment I've almost entirely rewritten the article. Ericd 08:44, 21 September 2005 (UTC)

Far right activism
There's is no doubt that Spaggiari was a far right sympathizer and had far-right friends but was he activist ? Excuse me if I misundertand English but what were his political activities ? Ericd 19:34, 18 December 2005 (UTC)
 * In this context I don't think that activism necessarily means political activism. He was actively engaging in pro-right terrorist and government organizations, which, according to the definition (guerilla-fighting is a form of activism, for example) would make him an activist. However, I do think the term activist might be a bit too general. Stefan Jansen 19:54, 1 April 2006 (UTC)
 * I was mostly thinking about his OAS activities. As it seems now well estabhished that he also worked for the CIA I think it applies. Ericd 22:20, 1 April 2006 (UTC)
 * just have a look on this: it proves that he was working for the DINA, the secret service of Chili in 70's. It is also very well known that Spaggiari has visited Miami in the begining of 76, before his robbery, to meet exiled cubans; he did not worked alone, and was probably working for the CIA at this time...I can give you more information if you like... Vegetarian75 10:34, 21 September 2006 (UTC)

Date of Birth
In the french wikipedia, the year when Spaggiari was born is 1933. Which one is right? — Preceding unsigned comment added by 217.224.170.206 (talk • contribs) 20:13, 3 July 2007 (UTC)

June 2009
Spaggiari non è mai stato nella Legione straniera francese. --80.104.22.164 (talk) 11:45, 1 June 2009 (UTC)

According to Google Translate, the above contributor said,  —   Fourthords  | =Λ= | 01:03, 10 October 2021 (UTC)

Is this a real article or a piece from the National Enquirer
Sections which mention people who are likely to be alive making allegations about them must have actual sourcing. Not zero sourcing. I left in the other gossip. Collect (talk) 16:43, 19 February 2015 (UTC)

Neo-Nazism Template
How is the template for Neo-Nazism relevant to this article? Adverseify (talk) 00:11, 10 October 2021 (UTC)
 * It's included because this article is listed within. As for why that is, that would be a question for the folks at Template talk:Neo-Nazism.  —   Fourthords  | =Λ= | 01:03, 10 October 2021 (UTC)

title: Talk:Albert Spaggiari


text:
User:LokiCT

Hello everyone!

title: User:LokiCT


text:
Taylor cone

A Taylor cone refers to the cone observed in electrospinning, electrospraying and hydrodynamic spray processes from which a jet of charged particles emanates above a threshold voltage. Aside from electrospray ionization in mass spectrometry, the Taylor cone is important in field-emission electric propulsion (FEEP) and colloid thrusters used in fine control and high efficiency (low power) thrust of spacecraft.

History
This cone was described by Sir Geoffrey Ingram Taylor in 1964 before electrospray was "discovered". This work followed on the work of Zeleny who photographed a cone-jet of glycerine in a strong electric field and the work of several others: Wilson and Taylor (1925), Nolan (1926) and Macky (1931). Taylor was primarily interested in the behavior of water droplets in strong electric fields, such as in thunderstorms.

Formation
When a small volume of electrically conductive liquid is exposed to an electric field, the shape of liquid starts to deform from the shape caused by surface tension alone. As the voltage is increased the effect of the electric field becomes more prominent. As this effect of the electric field begins to exert a similar magnitude of force on the droplet as the surface tension does, a cone shape begins to form with convex sides and a rounded tip. This approaches the shape of a cone with a whole angle (width) of 98.6°. When a certain threshold voltage has been reached the slightly rounded tip inverts and emits a jet of liquid. This is called a cone-jet and is the beginning of the electrospraying process in which ions may be transferred to the gas phase. It is generally found that in order to achieve a stable cone-jet a slightly higher than threshold voltage must be used. As the voltage is increased even more, other modes of droplet disintegration are found. The term Taylor cone can specifically refer to the theoretical limit of a perfect cone of exactly the predicted angle or generally refer to the approximately conical portion of a cone-jet after the electrospraying process has begun.

Theory
Sir Geoffrey Ingram Taylor in 1964 described this phenomenon, theoretically derived based on general assumptions that the requirements to form a perfect cone under such conditions required a semi-vertical angle of 49.3° (a whole angle of 98.6°) and demonstrated that the shape of such a cone approached the theoretical shape just before jet formation. This angle is known as the Taylor angle. This angle is more precisely $$\pi-\theta _0\,$$ where $$\theta _0\,$$ is the first zero of $$P _{1/2} (\cos\theta _0)\,$$ (the Legendre function of order 1/2).

Taylor's derivation is based on two assumptions: (1) that the surface of the cone is an equipotential surface and (2) that the cone exists in a steady state equilibrium. To meet both of these criteria the electric field must have azimuthal symmetry and have $$\sqrt{R}\,$$ dependence to counter the surface tension to produce the cone. The solution to this problem is:

 * $$V=V_0+AR^{1/2}P _{1/2} (\cos\theta _0)\,$$

where $$V=V_0\,$$ (equipotential surface) exists at a value of $$\theta _0$$ (regardless of R) producing an equipotential cone. The angle necessary for $$V=V_0\,$$ for all R is a zero of $$P _{1/2} (\cos\theta _0)\,$$ between 0 and $$\pi\,$$ which there is only one at 130.7099°. The complement of this angle is the Taylor angle.

title: Taylor cone


text:
List of state and territorial capitols in the United States

This is a list of state and territorial capitols in the United States, the building or complex of buildings from which the government of each U.S. state, the District of Columbia, and the organized territories of the United States, exercise its authority. While most states (39 of the 50) use the term "capitol" for their state's seat of government, Indiana and Ohio use the term "Statehouse" and eight states use "State House": Maine, Maryland, Massachusetts, New Hampshire, New Jersey, Rhode Island, South Carolina, and Vermont. Delaware has a "Legislative Hall". The State of Alabama has a State Capitol, but the Legislature has, since 1985, met in the State House.

A capitol typically contains the meeting place for its state's legislature and offices for the state's governor, though this is not true for every state. The legislatures of Alabama, Nevada, and North Carolina meet in other nearby buildings, but their governor's offices remain in the capitol. The Arizona State Capitol is now strictly a museum and both the legislature and the governor's office are in nearby buildings. Only Arizona does not have its governor's office in the state capitol, though in Delaware, Ohio, Michigan, Vermont, and Virginia, the offices there are for ceremonial use only.

In nine states, the state's highest court also routinely meets in the capitol: Indiana, Kentucky, Nebraska, North Dakota, Oklahoma (both civil and criminal courts), Pennsylvania (one of three sites), South Dakota, West Virginia, and Wisconsin. The other 40 states have separate buildings for their supreme courts, though in Michigan, Minnesota, and Utah the high court also has ceremonial meetings at the capitol.

Most U.S. capitol buildings are in the neoclassical style with a central dome, which are based on the U.S. Capitol, and are often in a park-like setting.

Eleven of the fifty state capitols do not feature a dome: Alaska, Florida, Hawaii, Louisiana, New Mexico, New York, North Dakota, Ohio, Oregon, Tennessee, and Virginia.

Forty-four capitols are listed on the National Register of Historic Places, marked with NRHP. Nineteen of those are further designated as National Historic Landmarks, marked with NHL.


text: User talk:130.149.156.14

title: User talk:130.149.156.14


text:
Talk:ITC Entertainment

Removal of "Granada Ventures" info
It didn't make sense re: the merger of Carlton and Granada to form ITV plc. How could the rights pass to Granada if the two merged? Also, no ITC Entertainment DVDs have been released under the Granada ventures label - these were all released under Carlton and ITC branding - with both company logos appearing on the DVD packaging. See Granada page on ITV website as proof of their owned content - it doesn't contain the ITC library: http://www.itvplc.com/itv/about/businesses/content/

ITC distributes the Benny Hill Show?
Thames was the largest, most dominant and most senior of the ITV companies. Its' parentage included ABC London who produced and sold The Avengers to ABC of the US (no relation) in the 1960's: Thames had a significant American sales and syndication presence therefore I find it hard to believe they would have needed the services of ITC. —Preceding unsigned comment added by 62.252.226.217 (talk) 20:22, 29 October 2007 (UTC)

Lead expansion, and general information greatly needed
I've expanded the lead a fair bit, but it's a bit clunky. Also there's a great many details still unclear about the ownership and relationship with ATV, ACC and Lew Grade. If anyone could help out with some information that would be great. It needs some work and I'm at a loss as to how to move forward. Howie ☎  21:10, 26 March 2009 (UTC)

Complete Filmography
The main reason I undid the last edit by HowardBerry is because the list of ITC films was complete and I had to remove the word Selected just to avoid confusion. I would have explained it in the edit summary, but I didn't had the time. Now, I am offended of that accusation he just made. - FilmandTVFan28 (talk) 09:51, 4 June 2014 (UTC)

 * Please don't be offended, there is no reason to take offence - the comment I put on the edit was just a truthful account of the fact that my edit had been reverted without any reason given. I accept that you say you were busy and didn't have time to explain, so - as far as I'm concerned - it's water under the bridge...  On to the point of the content, I think it's sensible to keep a consistent style throughout.  There is already a link to the complete ITC TV distributions/productions in that section, why how about we make a page for the ITC Film distributions/productions too, and then keep the main article for information about the company and make note of only selected productions?  The distributions infobox at the bottom of the page should also have the complete filmography, so if that is missing anything, then please do update it too!  What do you think?  Howie  ☎  22:00, 4 June 2014 (UTC)
 * Sounds like a perfect idea. - FilmandTVFan28 (talk) 23:24, 4 June 2014 (UTC)
 * New category link added to the complete filmography, as well as the ITC distributions infobox at the bottom totally updated to list each film too! Howie ☎  10:44, 21 June 2014 (UTC)

SVG image of the ITC Entertainment logo from 1989 to 1998 to be uploaded
An SVG image of the ITC Entertainment logo from 1989 to 1998 needs to be uploaded. The 1973 to 1989 logo is history.92.30.124.60 (talk) 15:28, 12 February 2018 (UTC)

Original Research
Hi, WP:Original research is discouraged, it is the responsibility of the editor adding the content to include references that show where that content has been sourced as per WP:Burden, thanks Atlantic306 (talk) 13:11, 3 March 2019 (UTC)

List of TV series
The introduction above the link to the list of ITC-distributed films mentions the TV series as well, but there is no associated list. There should be one, I think. 23skidoo (talk) 15:06, 17 March 2022 (UTC)
 * Agree, perhaps you could start one, regards Atlantic306 (talk) 00:57, 18 March 2022 (UTC)

ITC Entertainment is not quite dead, apparently...
...at least according to https://find-and-update.company-information.service.gov.uk/company/00608490 - registered at ITV's White House building. Presumably it's being operated as an "in name only" entity ala Hanna Barbera. Sslaxx (talk) 22:23, 12 August 2022 (UTC)

title: Talk:ITC Entertainment


text:
File:Wellington City Night downtown.jpg

Centre detail from Full Panorama Wellington City Night.jpg

Even though not originating from the same source images, Image:Wellington City Day.jpg shows the same view, but during the day. Image:Port of Wellington at night.jpg is a small section of the original panorama showing only the port.
 * Description : This is a panorama of central Wellington, in New Zealand. It was taken from the summit of Mount Victoria at night. Locations is S 41° 17.763 E 174° 47.662 (WGS '84; within 5 m).
 * Source : Image was created by me using a Canon PowerShot G3 (reference, Panorama 0800-0810 C; shutter 15 s, aperture F8.0, and ISO 50).
 * Date : Images created 25 July 2003 (9:39-9:46 pm; stitched 7 May 2005).
 * Author : Donovan Govan.
 * Permission : Licensed under the terms of the GNU Free Documentation License as shown below.
 * other_versions : Full Panorama Image:Wellington City Night.jpg

title: File:Wellington City Night downtown.jpg


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User:Dabbidj/contributions

ok, ég er búinn að setja fullt hérna inn en þú eyðir því jafnharðan, ég nenni ekki að standa í því að reyna að hjálpa þar sem þú lítur á þetta sem árás. kv. dd

title: User:Dabbidj/contributions


text: User talk:68.36.85.136

title: User talk:68.36.85.136


text:
Wikipedia:Articles for deletion/Blackheads

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was redirect Pimple CDC   (talk)  22:31, 29 July 2005 (UTC)

Blackheads
propose delete or move to wikibooks. Jshadias 22:35, 22 July 2005 (UTC)
 * Redirect to Pimple. Pburka 23:22, 22 July 2005 (UTC)
 * Redirect to Pimple. JamesBurns 04:52, 23 July 2005 (UTC)
 * Move to BJAODN Xaa 02:38, 29 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Talk:Burnham, Illinois

External links modified
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List of storms named Kirsten

The name Kirsten was used for two tropical cyclones in the Eastern Pacific Ocean. Additionally, the name Kristen was used once.

 * Tropical Storm Kirsten (1966)
 * Tropical Storm Kristen (1970)
 * Hurricane Kirsten (1974)

title: List of storms named Kirsten


text: User talk:205.228.12.194

title: User talk:205.228.12.194


text: User talk:69.238.122.30

title: User talk:69.238.122.30


text:
User:TheGreekMind

User Bio
My name is Chris. I am sixteen years old, and I live in the city of San Leandro. My three favorite things in the world are Canada, Harry Potter, and the Internet. I also enjoy spending way too much time on the computer.

title: User:TheGreekMind


text:
Mike Kekich

Michael Dennis Kekich (born April 2, 1945) is an American former professional baseball pitcher in Major League Baseball who played for the Los Angeles Dodgers, New York Yankees, Cleveland Indians, Texas Rangers and Seattle Mariners in parts of nine seasons spanning 1965–1977. In 1974, he played in Japan for the Nippon-Ham Fighters.

Career
Kekich was a left-handed pitcher who began his career as a starter but later moved to the bullpen as a reliever. He had a modestly successful career in the Major Leagues, but he is best remembered for trading families with fellow Yankees pitcher Fritz Peterson before the 1973 season. The trade worked out better for Peterson, who later married Kekich's wife, Susanne, than it did for Kekich, who soon broke up with Peterson's wife, Marilyn. Shortly after, Kekich was traded to the Cleveland Indians.

During the NBC Game of the Week on October 4, 1986 announcer Vin Scully stated Kekich was the first player he ever saw ejected from an MLB game before the player had ever played in an MLB game. The incident occurred during the 1965 season and Kekich, a member of the Dodgers, was thrown out for heckling on the bench.

After his big league career ended, Kekich attempted a comeback in the Mexican League, but this proved unsuccessful. He is remarried and currently resides near Albuquerque, New Mexico.

title: Mike Kekich


text:
List of storms named Paine

The name Paine has been used for four tropical cyclones in the Eastern Pacific Ocean:

 * Hurricane Paine (1986) – Category 2, brushed the southern Baja California peninsula before hitting Sonora; its remnants contributed to severe flooding in the South Central United States
 * Hurricane Paine (1992) – Category 1, never neared land
 * Hurricane Paine (2016) – Category 1, dissipated just west of the Baja California peninsula
 * Tropical Storm Paine (2022) – weak tropical storm, dissipated in the open ocean

title: List of storms named Paine


text:
DJ Qualls

Donald Joseph Qualls (born June 10, 1978) is an American actor. He is best known for his work in films including Road Trip (2000), The New Guy (2002) and The Core (2003), and for several appearances on television series such as Breaking Bad, Supernatural, Scrubs, Lost, CSI: Crime Scene Investigation. He co-starred in the FX comedy series Legit, the Syfy horror series Z Nation and the Amazon Studios show The Man in the High Castle.

Early life
Qualls was born in Nashville, Tennessee, one of five children of Donnie and Janice Qualls. He was raised in Manchester, Tennessee, and attended school in nearby Tullahoma. He was diagnosed with Hodgkin's lymphoma at age fourteen. After two years of treatment, his cancer was said to be in remission. According to Qualls, the chemotherapy at an early age sped up his metabolism and impacted his growth, "It stopped my development," which explains his slender frame. After graduating from Coffee County Central High School in 1995, where he was an active member in the Red Raider Band, Qualls attended King's College London, where he studied English literature. He returned to Tennessee, enrolling at Belmont University in Nashville, where he also began acting in a local theater company.

Career
Qualls was an extra in the 1994 HBO film Against the Wall. He landed the small role of Jason in the miniseries Mama Flora's Family (1998) while participating in community theater. After auditioning for a one-liner in Road Trip (2000), he was asked to come from the Atlanta office to meet producer Ivan Reitman in California. He debuted in Road Trip as shy virgin Kyle Edwards. After this, he worked as a model for Prada and photographers such as David LaChapelle and Steve Klein. In Cherry Falls (2000), he played Wally, another virgin. In 2001, he played Neil Lawrence in Chasing Holden. Qualls also appeared as a Y2K prophet opposite Rami Malek in the sci-fi mystery thriller Buster's Mal Heart (2017).

In 2002, Qualls played Archie in the film Comic Book Villains, Andrew in the film Big Trouble, Junior in the film Lone Star State of Mind, Dizzy Gillespie Harrison in the film The New Guy, and Rat in the sci-fi film The Core. He starred in the comedy Delta Farce. In 2005, he appeared as Shelby in the film Hustle & Flow. His television work includes eccentric hunter Garth Fitzgerald IV on Supernatural and appearances on Monk, Scrubs, Criminal Minds, Lost, Law & Order: Criminal Intent, CSI, Numb3rs, My Name Is Earl, Breaking Bad, The Big Bang Theory, and Memphis Beat.

Qualls appeared in a cameo in Britney Spears' music video "Boys" (2002) and was also in the "I'm Just a Kid" music video by Simple Plan (2002). He starred in the Paramount Pictures web series Circle of Eight. He co-starred on the television series Legit as Billy Nugent, a 33-year-old man with muscular dystrophy.

Personal life
In January 2020, Qualls came out as gay on his Twitter account, stating he was "tired of worrying about what it would do to my career," after announcing it at a Jim Jefferies show in San Diego. Prior to this, he had referenced his sexuality on The Late Late Show with Craig Ferguson in the early 2010s.

Qualls revealed in May 2024 that he is currently in a relationship with fellow Supernatural actor Ty Olsson, and that the two are engaged to be married.

title: DJ Qualls


text:
Talk:Turn! Turn! Turn! (album)

Denying that something isn't an NPOV violation doesn't resolve the problem, and absolute statements regarding the relative merits of artistic works are self-evident NPOV violation. Unsourced, undocumented statements regarding critical reception which mirror such statements are just NPOV violations in flimsy disguise. Monicasdude 22:45, 22 July 2005 (UTC)

Fair use rationale for Image:TurnTurnTurnCover.jpg
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If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 05:04, 5 June 2007 (UTC)

Move?
I'm thinking that maybe the song should be at Turn! Turn! Turn! (song) whilst the album should be at the mainspace of "Turn! Turn! Turn!. Though I think this is a good idea, I'm not entirely familiar with the material - which is more famous? The song or the album? Sillyfolkboy (talk) (edits) 03:59, 4 May 2009 (UTC)

 * The song is much more famous, though they are both famous enough to warrant the ...Turn! (song) and ...Turn! (album) scenario I should think. Cbben (talk) 16:07, 11 October 2009 (UTC)

"He Was A Friend Of Mine"
The traditional song of the same name did not concern the Kennedy assassination. I believe McGuinn took writing credit for this one. As it stands now we have traditional for this album and the two box sets, and traditional with additional lyrics by McGuinn for Live At The Fillmore 1969. How do we get to the true credit? It would seem McGuinn should at least get the additional lyrics credit if not a full credit. Cbben (talk) 16:07, 11 October 2009 (UTC)

 * Well, only some of the lyrics were changed by McGuinn and this still comes under the Trad. Arr. designation because changing lyrics is often part and parcel of a particular artist's arrangement. It's a very common occurrence in the oral tradition of Folk and Blues songs and has been happening for as long as recording technology has existed and obviously, for a lot longer than that in reality. Blues men often used to pinch songs that were popular within their communities and re-arrange them to make them their own and this would often include lyric changes.

 * A good example is “Walkin’ Blues” by Son House, which has been covered by many blues artists over the years, with each putting their own spin on it and taking a writing credit for the whole song. In fact the song is only originally attributed to Son House because he was the first artist to recorded it in the early 20th Century. The song had more than likely been around for a long time even when he got a hold of it.

 * For another contemporary 1960s example, look at Dylan's arrangements of "Corrina, Corrina" and "Honey, Just Allow Me One More Chance" on The Freewheelin' Bob Dylan, those both feature lyric alterations but they're still credited as Trad. Arr. Bob Dylan. I think that to say "additional lyrics by McGuinn" is surplus to requirements and not the usual way that arrangements of traditional songs are registered with ASCAP or MCPS/PRS. This type of lyric change happens almost every time a traditional tune is recorded, to a lesser or greater degree. --Kohoutek1138 (talk) 17:00, 11 October 2009 (UTC)

 * I do see your point about the folk process, though strictly speaking Dylan did take co-writing credit for "Honey Just Allow Me One More Chance" (see the Freewheelin' writing credits). As for "He Was A Friend Of Mine," Rogan in Timeless Flight Revisited lists the copyright, by McGuinn on December 30 1965, as "He Was A Friend Of Mine (new words and arrangement)." I think that wording is how we should list the credit on all four releases, as that is how it is copyrighted and no one has, at least in writing (so far as I know), challenged the credit's accuracy, as in the case of "John Riley." Okay just my two cents. Cbben (talk) 00:30, 12 October 2009 (UTC)

 * Dylan took the writing credit because if you list something as Trad Arr then you are essentially credited as the song writer. As for "He Was A Friend of Mine", I think that listing it as "traditional, arranged Roger McGuinn" is fine because that's what the credit means - that you've altered either words or music or both in your version. If you listen to John Riley by Donovan for instance it has slightly different words to The Byrds version, which in turn probably has slightly different words to the version Roud catalogued. You'll see from the Wikipedia article for the song, that "John Riley" is also known under different song titles. My point being that The Byrds' recording of "John Riley" could just as easily be credited as "new words and arrangement by McGuinn" but that's silly because that's exactly what "traditional, arranged Roger McGuinn" means and it's the standardised way of terming it. --Kohoutek1138 (talk) 01:56, 12 October 2009 (UTC)

 * Okay I have to disagree for this reason: In the cases above there are various versions of folk songs with all different sets of words, multiple verses (of which only a few are selected by the given artist) etc. etc.  But in McGuinn's case he actually sat down and wrote new  words pertaining to the JFK assassination.  I think Donocvan's John Riley, for example, just pulls upon other words that had already been floating around in the universe.  He didn't sit down and write some new words.  The JFK subject matter was (relatively) current and in cases of strict "folk process" word variations I think it is more a mixing and matching of already written words floating around the folk universe (perfect example being "Fair and Tender Ladies" from Clark & Olson's So Rebelluous A Lover, which I hope you have had the pleasure of hearing); or slight word alterations akin to the telephone game. In the particular case of the Byrds' He Was A Friend Of Mine however I think the copyright wording is right on.  So in sum, or again, my contention is that the "folk process" type of alterations are for reasons other than a writer sitting down and consciously writing new verses etc. (which is why Seeger et al took co-writing credit on We Shall Overcome, for example, for writing verses such as the "we are not afraid verse"). And also it seems too against the grain to go against the McGuinn copyright wording of "new words and arrangement".Cbben (talk) 07:05, 20 October 2009 (UTC)

 * Well, fair enough. I do disagree because a lot of arrangements of traditional songs do contain new lyrics from the person performing the song and not just random verses that were floating around anyway. An artist writing new words themselves is central to the folk process and ultimately, that's the reason why we get all these different lyrical variations in these old songs. But, you make a good case for this so, I suggest that the credit should be changed to - (traditional, new words and arrangement by Jim McGuinn). I'd be OK with that. --Kohoutek1138 (talk) 14:05, 20 October 2009 (UTC)

 * Okay thanks. It may well be a borderline call, but as such I certainly feel better choosing to honor McGuinn's wish to be given at least some writing credit.Cbben (talk) 17:26, 20 October 2009 (UTC)

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title: Talk:Turn! Turn! Turn! (album)