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Saul Shapiro

Saul Taylor Shapiro is the New York City franchisee of Fibrenew doing business as Fibrenew Manhattan Central.

Early life and education
Shapiro was born to Florence and Seymour Shapiro in Hastings-on-Hudson, New York.

A materials science engineering graduate of Brown University, Shapiro has also received an SM in engineering from MIT and an SM in management from the MIT Sloan School of Management as a Leaders for Manufacturing Fellow (now Leaders for Global Operations program). Both of these degrees from MIT were earned in 1991.

He studied furniture design under Tage Frid and Hank Gilpin at the Rhode Island School of Design for two semesters and attended Harvard University's Graduate School of Design for the first year of a three year Master's program. In 2009 he self-published "Two Chairs," a brief memoir of his woodworking journey.

Career
From 2008 to 2012, Shapiro served as President of the Metropolitan Television Alliance, LLC (MTVA). The MTVA was formed by the New York area television broadcast stations shortly after the terrorist attacks of September 11, 2001. Those attacks completely destroyed New York’s analog and digital over-the-air television broadcast infrastructure.

The MTVA’s mission was to coordinate the recovery and the initial rebuilding of that infrastructure at the Empire State Building, and to locate and develop permanent facilities to replace those lost in 2001. This effort included the relocation of stations to temporary facilities in the immediate aftermath of the attacks, the design and construction of analog and digital facilities at the Empire State Building to meet ongoing broadcast needs, and investigation of the design and construction of the possibility of facilities on top of One World Trade Center (the Freedom Tower). In addition, the MTVA investigated methods to further enhance over-the-air digital signals originating from the Empire State Building facility. This work was funded by a grant administered by the Office of Telecommunications and Information Applications (OTIA) within the National Telecommunications and Infrastructure Administration (NTIA), an office of the Department of Commerce.

Previously Shapiro served four years as Vice President of the New York City Economic Development Corporation, covering the Media and Telecommunications sectors. He was responsible for attracting investment and expansion of domestic and international companies to NYC, and to serve as an advocate for companies and industries in their dealings with city government.

Shapiro joined the EDC with experience stretching across both electronic media and telecommunications services and technology, including Sony, the FCC, ABC Television Network and the Internet.

At Sony Corporation of America he served as Vice President of Broadband Services, responsible for new business opportunities based on emerging technologies and standards, with particular focus on the strategic integration of Sony’s US e-business initiatives.

Shapiro was COO at Gist Communications, then the leading independent online provider of TV listings and editorial, from 1999 to 2001. He helped redirect the company’s efforts to developing on-screen interactive applications for a variety of set-top platforms. Shapiro joined Gist from ABC Television where, as Vice President, Broadcast Technology, he was responsible for developing strategic technical initiatives and the network’s transition to digital television broadcast technology.

Shapiro came to ABC after serving as Assistant Bureau Chief for Technology Policy in the Mass Media Bureau of the Federal Communications Commission. While at the FCC, Mr. Shapiro led a team of engineers, economists and lawyers in drafting Rulemakings and Orders for the introduction of digital television to the US broadcast market. He also acted as policy advisor to the Chairman on technological developments and trends in digital media, as well as topics related to the convergence of communications technologies.

Prior to joining the FCC, Shapiro was Director of New Business Development with Sony Corporation of America responsible for identifying new opportunities for Sony’s Television Business Group in the then emerging digital era.

Prior to entering the broadcast television business, he was a microelectronics process development engineer for a variety of firms in the Boston area.

title: Saul Shapiro


text:
Ernest W. Barrett Parkway

Ernest W. Barrett Parkway (more commonly Barrett Parkway) is a major thoroughfare in the northwestern part of the Atlanta metropolitan area, in the north-central part of Cobb County, in the U.S. state of Georgia. It travels from the southeastern edge of Kennesaw to a point north of Marietta, and continues on in both directions under other names. The portion of Barrett Parkway between Interstate 575 (I-575/SR 5) and US 41/SR 3 (Cobb Parkway) is designated State Route 5 Connector. The road is named after Ernest W. Barrett, the first chairman of the Cobb County Board of Commissioners in the 1960s, after home rule was enacted under a Georgia State Constitution amendment. The initial portion was constructed through Barrett family land, enabling it to be later sold for major development.

Much of the original Barrett Parkway was taken from the two-lane Roberts Road, which generally went from Cobb Parkway (constructed around 1949 for US 41) to Bell's Ferry Road and served an area that was rural in nature. During the 1980s, dramatically-increased land development, most notably the extension of I-75 in 1977 (which cut Roberts Road in half south of Barrett Parkway), the construction of I-575 in 1980, and the completion of the major regional Town Center at Cobb shopping mall in 1986, strained the road to capacity, and was subsequently widened to six lanes (three in each direction, plus turn lanes) with a median by the Cobb County Department of Transportation. Turn lanes were only at the numerous traffic lights. In the mid-1990s, Barrett Parkway was extended by a completely new median-divided highway southwest of US 41 to Burnt Hickory Road, then by widening Ridgeway Road south to SR 120, west of the city of Marietta. This was briefly called West Cobb Parkway (which created potential confusion with Cobb Parkway).

Today, Barrett Parkway is densely packed east of Old 41 Highway with major shopping centers and restaurants. West of Old 41 Highway, Barrett Parkway is mostly residential, but increasingly commercial near the intersection of SR 120 (Dallas Highway). The southeast side of the road is more affiliated with Marietta and the northwest more with Kennesaw. A large industrial park lies to the west. Stilesboro Road east from Barrett Parkway, and Old US 41 south from it, meet at the historic Kennesaw Mountain National Battlefield Park, next to the visitor center.

Barrett Parkway is unique in that even though it is a major area route, it remains under local control (with exception to the state route portion) and was built entirely with county funds. Combined with the East–West Connector and Cumberland Parkway, the route doubly serves as a western bypass of Marietta and connects the two major malls of the county, Cumberland Mall and Town Center at Cobb. The route could possibly also carry a bypassed SR 5 in the future, as the city of Marietta has been planning to have it moved away from downtown Marietta entirely, though no action has yet been taken on that measure.

Renaming
In 2003, the county commission extended the name of the parkway southward along other roads. This included the short Ridgeway Road (to which the parkway itself was extended) which originally ran only from Burnt Hickory Road in the north, about 1 mi south to SR 120. Villa Rica Road, which was realigned westward at SR 120 to meet Ridgeway to complete the loop, also had its parkway-widened portion renamed. Where a new highway was built to replace Villa Rica Road, what became "Old Villa Rica Road" at the time was then returned to being just "Villa Rica Road" again. The very short Villa Rica Way at SR 120 still retains that name, but was the original northern terminus for Villa Rica Road before its realignment to meet Ridgeway.

As a result of these changes, the Barrett Parkway name now ends at the east–west Connector near Austell. Its northeastern end is at Bells Ferry Road, east of which it continues as Piedmont Road (not to be confused with SR 237, the Piedmont Road in Atlanta). That road curves down around to the south, meeting SR 120 again on the other side of Marietta; here SR 120 is called Roswell Road.

In November 2009, the long viaduct over the flood plain of Noses Creek and its tributary Ward Creek was named the William "Bill" G. Jordan Bridge, in honor of the civil engineer who designed it. It is located south of Villa Rica Road and north of Macland Road (SR 360) at 33.9156°N, -84.6282°W. Due to the environmental impact, this was the last and most expensive section to be built.

Widening
Despite being only a few years old, the newer section of Barrett Parkway is already slated to be widened. After a small minority of residents approved a sales tax increase in a little-known referendum in September 2005, one of the projects to be funded is making it a six-lane highway from US 41 to SR 120. This would give it as many lanes as some much busier roads in the county, and would contradict promises made to residents before initial 1990s construction. It would also bring the highway right up to the backs of many homes. The project was expected at the time to cost nearly 50 million tax dollars, including 38 million from the special local option sales tax, which also taxes basic necessities like groceries.

Reliever projects
Previously, the only other east–west route across the Town Center area was Chastain Road, one exit to the north on both I-75 and I-575, which travel parallel to each other between the Barrett and Chastain exits. Both of these are choked with traffic, particularly due to the mall (which can take nearly an hour to travel across during Christmas shopping weekends), and due to the rapid expansion of Kennesaw State University (KSU, which now covers several location distant from the main campus). Because of this, two new parallel routes were planned.

, the South Barrett Reliever is partly completed, extending the four-lane divided Barrett Lakes Boulevard southwestward down formerly two-lane Greers Chapel Road to Cobb Parkway (where it continues as Ridenour Road, renamed from its historic name for a new development of expensive homes adjacent to it). This portion was completed by 2011. According to medium-range plans, the original Roberts Road behind (south of) Costco will later be widened in the same manner, and eventually reconnected with itself across I-75 south of The Home Depot on the other side. In longer-range plans, a new roadway will be constructed from this point eastward to Bells Ferry Road, including a second bridge across I-575. This would take the road through untouched forest and next to a neighborhood around Laura Lake, which feeds Noonday Creek.

The North Barrett Reliever consisted of reconnecting the severed portions of Big Shanty Road, which from I-75's construction in the early 1970s until July 2012 traveled only from Bells Ferry Road west under I-575 to Busbee Parkway. Instead of terminating before I-75 as it did, it now continues west across a former go-kart track to the other side, crossing Barrett Lakes Boulevard and a bridge over an unnamed tributary of Noonday Creek, to meet the southern tip of a loop road south of Chastain Road. To carry traffic around the KSU area, the western half of that road was also widened to four-lane divided with turn lanes like the rest of Big Shanty Road (west of Chastain Meadows Parkway), and the name was changed to match as well, again making for a single continuous Big Shanty Road to all the way north of Chastain, and leaving the eastern half of the loop as a three-lane side street.

To complete this, traffic on I-75 was detoured in 2011 onto temporary roadways in the very wide median where trees used to be, and much of the dirt removed to construct new bridges, a project done by the Georgia Department of Transportation (GDOT). Completed and opened in early June 2012, the detour roads and the rest of the dirt below them and the bridges was removed during the remainder of the month, and the already-completed portions of the road on either side were quickly connected under the bridges for the July opening. This new alternate route connects KSU with its new soccer stadium, and would also be a bus rapid transit station and an interchange with the reversible express lanes on the proposed Northwest Corridor HOV/BRT.

There is also a further "wish list" that includes ramps from I-575 southbound to I-75 northbound, and vice versa, so that traffic will not have to use Chastain or Barrett to do so. However, this is unlikely to affect traffic, as very few cars do this, and the few motorists that do would be unlikely to make a backtrack of 5 mi extra just to use the ramps. The ramps would also likely be expensive due to the large amount of rock in the area, as is seen on both freeways where they cross the ridge immediately north of where they split.

Interchanges and traffic management
The road was exit 116 and is now mile 269 on I-75. It was exit 1 and is still mile 1 on I-575, which originally had no northbound exit to or southbound entrance from Barrett Parkway. Those ramps were not built until the late 1980s or early 1990s, a few years after the mall opened. In August 2007, new ramp meters have been installed by GDOT on both the northbound and southbound entrance ramps, and were activated along with the others on I-575 in 2008, as part of the Georgia Navigator intelligent transportation system.

Cobb DOT also operates a traffic camera at this interchange, at Mall Boulevard to its immediate west, at the southwest corner of the I-75 northbound intersection, and at Barrett Lakes Boulevard. Adverse conditions observed on these cameras are displayed on small variable message signs to drivers coming from the northwest on US 41, or from the southwest on Barrett Parkway, just before Old 41 (which becomes Main Street in Kennesaw and Kennesaw Avenue in Marietta). These are the last intersections before US 41 and Barrett meet, allowing drivers to take an alternate route if necessary.

To the east, another camera is located at Piedmont Road and Canton Road, however there are no message signs in this direction. Elsewhere along the road, in either direction, there are no cameras or message signs at all.

East–West Connector
In southwest Cobb, at Powder Springs Road (original SR 5), Barrett Parkway changes name to East–West Connector, and bends southeast. Its intersection with Austell Road (currently SR 5) is a major commercial district, with a number of big-box retailers. The northwest corner is also home to Cobb Hospital. This section was constructed around 1986, while the section to Hicks Road was done in 1988.

From here, it then travels east to SR 280 (South Cobb Drive), through the Concord Covered Bridge Historic District. In order to protect the historic covered bridge (listed on the National Register of Historic Places) and the natural area around it, it does not connect with Concord Road (called Spring Road through Smyrna), but rather travels under it. Additionally, the bridge carrying it over the highway has wooden siding, so that it blends-in much better with the area, looking somewhat like a boxcar. A rust-colored bridge made of weathering steel carries the Silver Comet Trail over the highway. This section was built last while these concerns were addressed.

This area is also notable for the deep, gorge-like cuts into the rock, like between the Silver Comet Trail and Concord Road overpasses.

Built before the extension of Barrett Parkway, part of the eastward extension of this roadway was derived from an extended portion of Fontaine Road. The point where the two meet is now a trailhead for the Silver Comet Trail.

Cumberland Parkway
The highway becomes Cumberland Parkway at South Cobb Drive, and continues roughly northeast toward Atlanta Road (the original US 41; called Marietta Boulevard nearby in Atlanta). The northeast corner of that intersection is now home to a mixed-use development, which is in contrast to the newly developed residential area around it. The road continues generally northeastward, crossing I-285, and ending at Cumberland Boulevard, opposite the Costco entrance to Cumberland Mall. That entire stretch of roadway is in the Vinings area.

Piedmont Road
Piedmont Road is the continuation of Barrett Parkway on the northeastern end, heading east from Bells Ferry Road. From there, it crosses Canton Road (former SR 5) and Old Piedmont Road (a previous alignment), and the Georgia Northeastern Railroad tracks. It crosses Sandy Plains Road at the Sandy Plains community, and meets Allgood Road and then Sewell Mill Road, its original end before being extended to Roswell Road (SR 120) around 1987. This road was widened to four lanes in three phases during the late 1980s and early to mid 1990s. It is mostly residential and entirely divided, with pin oak, holly, and other smaller trees in the medians, and left-turn lanes. This is the largest link between the mall and east Cobb.

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

title: Ernest W. Barrett Parkway


text:
Marc Storace

Marc Storace (born 7 October 1951) is a Maltese-born Swiss musician. His career in music started in the 1960s. He is most noted for his position as the lead singer and songwriter of the Swiss hard rock band Krokus from 1980. Before joining Krokus, he sang with the Swiss progressive rock band TEA. He has also since undertaken a solo project, duets, an acoustical project, and many guest slots. He also had some close encounters with the classical meets rock world and has worked with a few other rock acts as writer and a singer.

Storace has a high-pitched raunchy voice, making him a very distinct vocalist, and has been compared to AC/DC's former lead singer Bon Scott or Led Zeppelin's Robert Plant in terms of vocal style. Since he began singing professionally in the 1970s, his style and voice have remained largely the same, with a noticeable increase of character, through maturity and years of live and studio experience.

He played a major role in the Swiss-German films Anuk and Handyman, in which he acted, as well as contributed his writing and singing to songs for both the film's soundtracks.

As of January 2019, Storace was still active in rock projects as well as his "ongoing" semi-acoustic one. Krokus embarked on their "Farewell Tour" that April.

Early life
Born as Mark Anthony Storace Crockford, one of six children to Anthony Storace and Edna Crockford on the Mediterranean island of Malta, Storace taught himself to sing at a fairly young age. His life in bands began at the age of fourteen (1965) when he made his first live performances with two local bands: Stonehenge Union (who covered the likes of the Beatles, the Rolling Stones, the Troggs and the Kinks) and: The Boys (who covered some of the same songs, as well as newer chart material containing more vocally challenging songs e.g. Aquarius from the Musical "HAIR"). Inspired by the gigantic WOODSTOCK Festival in the late 1960s, Storace renamed The Boys to Cinnamon Hades. Whilst retaining the popular Beatles "Abbey Road Medley" the band started to cover Iron Butterfly, Jimi Hendrix, and Hard Rock acts such as The Who, Deep Purple, Led Zeppelin and Black Sabbath.

Wanting to follow his dream of making a career as a rock musician, Storace was forced to leave his island home. He moved to London in 1970.

Further on in his career, after joining Krokus, many people who heard Storace sing thought that he sounded like Bon Scott of AC/DC. He did not take this as a compliment at the time, saying that, with all respect to Bon, he had his own singing identity (proof of this is on ballads and other songs he recorded with TEA & KROKUS) Storace was later approached (by a production company used by both AC/DC and KROKUS at the time) to audition for the frontman job with AC/DC after Scott's death, but Krokus was enjoying a fast increase in success whilst, at that point in time, AC/DC was not that huge, so Storace preferred to stay with his new bandmates.

Early career
At the end of 1971, Storace joined Swiss progressive hard rock band TEA. With them, he toured Europe with big acts such as Queen, Nazareth,or The (Ginger) Baker Gurvitz Army; and released three studio albums: TEA, The Ship and Tax Exiles. All were produced by Dieter Dierks, at that time the man behind the Scorpions. For a while, TEA became Switzerland's international rock Flagship, performing as far as Hamburg, London, Wales, Glasgow, Naples and even Malta.

In 1976, TEA performed their last tour, taking Krokus on-the-road as supporting act. The seed was sown for what followed later on. Meanwhile, he returned to London and formed the band Eazy Money. Their song "Telephone Man" was included on a Metal-Music-Compilation album called Metal for Muthas Vol.2. In 1979, he received a call from Krokus founder Chris Von Rohr, who told him they were looking for a new singer and invited Storace for a "weekend jam" in Switzerland. One exciting long weekend session later, Storace decided to join Chris, Tommy, Fern and Freddie in their quest for success.

1980–88
In 1980, Storace recorded and released his debut album with Krokus, Metal Rendez-vous. It became Krokus's first big International hit album, the first to make the Gold & Platinum Status(today 4 x Platinum). With Storace on board, Krokus's success increased dramatically, and from then until 1988 they toured extensively, mostly in the United States, Canada and Europe, with tours lasting up to nine months, as well as releasing a further six studio albums (Hardware, One Vice at a Time, Headhunter, The Blitz, Change of Address and Heart Attack) and one live album (Alive and Screamin'). It was an intense long period of constant writing, recording and touring without a break. A physically demanding period spent mostly in rehearsal-rooms, recording-studios, hotel-rooms and tour-buses, and all for the common goal of staying in business rocking their fans. During all this time Storace kept his residence in London. Krokus went their ways in the summer of 1988.

1994–2016
In 1994, Storace and Fernando Von Arb re-formed the band, and a Reunion Tour commenced with a reformed "One Vice At A Time " formation, but with Mané Maurer replacing Chris Von Rohr on bass, since he was busy producing Swiss Rockers Gotthard at that time. The turn-out for their Concerts was satisfying, so in 1995, Krokus released another studio album, To Rock or Not to Be. It went Gold. The year 2002 saw Krokus, with an altered line-up to that of the 1988 hiatus and 1994 return releasing "Rock The Block". This was followed by one of their most extensive Tours of Europe so far, playing Swedenrock Festival and, on the personal invitation of the late great Claude Nobs (the same "funky Claude" in Deep Purple's "Smoke On The Water":) the prestigious "Montreux Jazz Festival" too. A limited number of DVD's of that Montreux Gig was included with their following release, a Double-Album "Fire & Gasoline" containing magnificent "LIVE" Recordings from many Gigs off their "Rock The Block" European Tour.

A comeback in the USA happened in September 2005 with Mandy Meyer on board, replacing Fernando Von Arb (the latter having undergone surgery to his hand) on lead guitar. It was a very intense Club-Tour in which the band played 22 Gigs in 30 days. The Tour served to enhance the team-spirit in the new line-up before their coming song-writing phase for the follow-up album "Hellraiser". The Hellraiser formation toured Europe as Guests of the Swedish Metalband - Hammerfall. They played places where Krokus had never visited before including Greece and Malta.

In 2007, four members from the old Metal-Rendezvous album line-up: Marc, Fern Chris & Fred, came back together for a three minute slot on a Swiss TV show, Die Grösste Schweizer Hits or The Biggest Swiss Hits. Their short medley was received with a standing ovation by the TV-audience present. This rekindled the band's early 1980s spirit and was followed by a comeback concert of the originals at the "Stade De Suisse" in Bern. Since then a reborn Krokus has given us two more studio-albums: "Hoodoo" and, after a quick line-up change, "Dirty Dynamite". For the latter Storace's vocals were recorded at Abbey Road Studios in London. The third "live" album to date called Longstick Goes Boom, was recorded during five consecutive shows at "Kofmehl" in the band's hometown of Solothurn, Switzerland.

In 2015, Krokus flew to Miami to embark on a promo-tour for their new "live" album, playing the "Monsters Of Rock Cruise" in the Caribbean and then continued with several US dates. They ended their Longstick Goes Boom Tour with two shows at Whisky a Go Go in Los Angeles.

In 2016, Storace's name appeared on various "Lists of Singers" considered as best candidates to replace Brian Johnson as lead vocalist of AC/DC. Krokus were working on a new album at the time.

BIG ROCKS, a collection of covers by artists who influenced individual band members since their teens, was released by Krokus in January 2017. It went to No.1 in the Swiss Chart.

Storace has been Krokus' vocalist/frontman since October 1979, and has sung on all but five of the band's studio recordings.

Solo project
In spring 1989, after Krokus's split and a refreshing break in Malta, Storace returned to Switzerland and wrote songs for his first solo project together with guitar-player Vic Vergeat, his long time friend from the TEA days, The Blue Album. It contains a rare collection of melodic, soul influenced rock songs, and was released in 1991 by Eurostar Germany. BLUE was re-released in 1998 by BMG Records, Switzerland under the new name Vergeat-Storace- When A Man - ! The album was produced by Robert Papst and Vic Vergeat in Münich, Germany. Robert also co-wrote the Swiss-radio-hit "You can`t Stop the Rainfall".

Various guest vocal projects
Shortly after AC/DC vocalist Bon Scott's death in 1980, Storace was indirectly asked to audition for the job but things were going well for Krokus at the time. He also claimed that, besides his feelings of loyalty to his mates, he felt happy with the way things were going for Krokus.

In 1993, Storace joined as guest with the Swiss rock band China. A live album of the band's one and only tour with Storace in 1993 was eventually released on the CD called "Alive!" in 2000. (This concert was a "live" Swiss radio broadcast of their gig in Sempach released by Phonag Records).

With China's guitarists Freddie Lawrence and Claudio Matteo, Storace formed Acoustical Mountain that same year. This unplugged trio, performing without drums, played rock and roll classics around Switzerland but never released any albums, making them a "live-only" project. They split and then reformed in 1995, this time with China's bassist Brian Kofmehl replacing Lawrence, who moved on to join Swiss melodic-rockers Gotthard. In the meantime Brian was replaced by Charly Preissel on second guitar. Storace and Matteo still perform as a duo at "Private-Events" as Acoustical Mountain, and sometimes with Charly Preissel.

In 1994, during a break in his Krokus reunion duties, Storace joined Manfred Ehlert's Amen to release an album in the same year. Glenn Hughes sang on some tracks. Storace's second album with Amen was Aguilar (1996) with Storace singing all but one track.

In 2003 during another break from Krokus, Storace wrote and recorded with Los Angeles based metal rockers Warrior. This collaboration resulted in the one-off album The Wars of Gods and Men. Released in the USA and Switzerland in 2004, it was Storace's first collaboration with an American band. Working with guitarist and founding member Joe Floyd the album was recorded in Los Angeles.

November 2004 saw German producer Michael Voss invite Storace to collaborate on the new album of the band BISS titled "Face-off" that was released in 2005. It was a melodic rock album and Storace said the songs were "refreshing".

The following year, 2006, saw yet another release by BISS featuring Storace on the album X-Tension.

As of February 2016, Storace has starred in the rock-opera "TEST" in the role of Luke (premiered on 20 February 2016)

During the same year, he recorded the album Muscle & Blood with Billy Stokes and friends in Tucson, Arizona. The album also featured Pat Travers, Les Dudek, Frank Marino and Damon Barnaby on guitars.

Anuk
In 2006, Storace took part in the Swiss-German film Anuk, playing the role of Geisterzunge, a tribal medicine-man / Shaman. Produced by Luke Gasser (who also plays the lead role), the film tells the story of a Bronze Age tribe trying to save itself from eradication by ruthless marauding horsemen in the Swiss Alps. Storace co-wrote the soundtrack with Gasser and sings on the song "On My Own" together with Gasser and Doro Pesch. His Shaman chanting can be heard throughout the movie soundtrack.

title: Marc Storace


text:
Stodhart Tunnel

Stodhart Tunnel is a 100 yd tunnel on the Peak Forest Tramway at Chapel Milton, Derbyshire. The tunnel stretches under the Chapel-en-le-Firth to Glossop Road. Although one side has been blocked up, it remains one of the oldest rail-related tunnels in the world and was also the site of one of the earliest rail-related accidents, when a laden carriage rolled into two horses, killing them.

History
The tunnel was built in 1796 for the Peak Forest Tramway. Designed by Benjamin Outram, it was built out of gritstone with ashlar coping. Originally considered as an open cutting, it was designed in the style of canal tunnels, so as to not disturb the owners of the nearby Stodhart Lodge. It ran for about 100 yd under the road between Chapel-en-le-Frith and Glossop, as a single track route. It remained a single-track route when the rest of the tramway was doubled, becoming a bottleneck on the line. The tunnel is also the site of one of the earliest railway accidents: six laden wagons broke free from their horses and rolled back into a following team, killing both horses and injuring an apprentice.

One side of the tunnel was filled in during road realignment in 1949, so it is only accessible from the other side. The tunnel was designated a grade II* listed building on 3 September 1985 and is on the Buildings at Risk Register. From the 1950s part of the tunnel and about 1/2 mi of track was tar sealed and used to test Ferodo brakes. The tunnel was used to test the effect of humidity on brakes. Until May 2013, it was considered to be the earliest rail-related tunnel in the world, but is now believed to be pre-dated by Fritchley Tunnel on the Butterley Gangroad at Fritchley, also in Derbyshire.

title: Stodhart Tunnel


text:
Symbolic anthropology

Symbolic anthropology or, more broadly, symbolic and interpretive anthropology, is the study of cultural symbols and how those symbols can be used to gain a better understanding of a particular society. According to Clifford Geertz, "[b]elieving, with Max Weber, that man is an animal suspended in webs of significance he himself has spun, I take culture to be those webs, and the analysis of it to be therefore not an experimental science in search of law but an interpretive one in search of meaning". In theory, symbolic anthropology assumes that culture lies within the basis of the individuals’ interpretation of their surrounding environment, and that it does not in fact exist beyond the individuals themselves. Furthermore, the meaning assigned to people's behavior is molded by their culturally established symbols. Symbolic anthropology aims to thoroughly understand the way meanings are assigned by individuals to certain things, leading then to a cultural expression. There are two majorly recognized approaches to the interpretation of symbolic anthropology, the interpretive approach, and the symbolic approach. Both approaches are products of different figures, Clifford Geertz (interpretive) and Victor Turner (symbolic). There is also another key figure in symbolic anthropology, David M. Schneider, who does not particularly fall into either of the schools of thought. Symbolic anthropology follows a literary basis instead of an empirical one meaning there is less of a concern with objects of science such as mathematics or logic, instead of focusing on tools like psychology and literature. That is not to say fieldwork is not done in symbolic anthropology, but the research interpretation is assessed in a more ideological basis.

Prominent figures in symbolic anthropology include Clifford Geertz, David M. Schneider, Victor Turner and Mary Douglas.

Different perspectives
Clifford Geertz's interpretive approach asserts that humans are in need of symbolic “sources of illumination” to orient themselves to the system of meaning in a particular culture. Geertz was influenced largely by sociologist Max Weber and concerned himself more with overall cultural operation. Victor Turner believed that symbols initiate social actions, and are “determinable influences inclining persons and groups to action.” Turner's influence came largely from Emile Durkheim, caring more about the way symbols functioned within society. The two different schools of perspective on symbolic anthropology also have their roots in different cultures, the work of Victor Turner traditionally being recognized as the British way of thought, while the work of Clifford Geertz is viewed as the American way.

Conceptual Terminology
The purpose of symbolic and interpretive anthropology can be described through a term used often by Geertz that originated from Gilbert Ryle, "Thick Description." By this what is conveyed, is that since culture and behavior can only be studied as a unit, studying culture and its smaller sections of the structure, thick description is what details the interpretation of those belonging to a certain culture. Victor Turner proposed the concept of  “Social Drama” to describe social interactions that entail some sort of conflict in society, proposing their symbolic significance. His model suggests that there are four phases to any conflictive interaction 1 - Breach; 2 - Crisis; 3 - Redress; 4 - Reintegration; each of these can describe the sequence of events that occurs from a drama in any given social relation. In this way Turner displays his theory of this linear ritual in society involving several exhibits of symbolism. Turner states that his theory was derived after observing the Ndembu people's interactions in West-Central Angola in Africa, then later perceiving it among most other people.

Symbolic anthropology and psychology
Anthropology and psychology have influenced one another from very early on, especially due to the influence different figures such as Sigmund Freud, Carl Jung and Claude Lévi-Strauss had on one another. French anthropologist Lévi-Strauss, much like Swiss psychiatrist Jung, wanted to understand the mind through understanding myth. Symbolic or interpretive anthropology emphasizes the individual's interpretation of events, and how that interpretation enhances the more collectively perceived characteristics or rituals of a group. Furthermore, this is the only real difference in the aims of the two fields: one focuses on the collective and the other on the individual. However, one can't draw a clear line between mind culture and the mind, since they both contribute to one another. The two fields involve different data sets and settings, but require similar approaches, in whichever schools of thought is used. There was early hesitation among major figures to integrate the two fields, despite clear overlap in thought, such as Durkheim's and Jung's indirect influence on some of each other's theories. Some dismiss the connection between these two fields, believing that symbolic anthropology cannot be condensed down into psychology in any way, or that culture alone determines behavior, disregarding the role the individual psyche plays in collective traits expressed through thick description.

Key publications

 * Geertz, Clifford (1973) The interpretation of cultures, Basic Books, New York
 * Geertz, Clifford. (Ed.) (1974) Myth, symbol, and culture, W. W. Norton, New York
 * Sahlins, Marshall (1976) Culture and practical reason, University of Chicago Press, Chicago
 * Schneider, David (1968) American kinship: A cultural account. Prentice-Hall, New Jersey
 * Turner, Victor (1967) The forest of symbols: Aspects of Ndembu ritual, Cornell University Press, Ithaca
 * Turner, Victor (1974) Dramas, fields and metaphors: Symbolic action in human society, Cornell University Press, Ithaca

title: Symbolic anthropology


text:
Decade (disambiguation)

A decade is a period of ten years.

Decade(s), Decad, Decadal or The Decade may also refer to:

Groups of ten

 * Decad (Sumerian texts), a standard sequence of ten scribal training compositions
 * Decade (log scale), a factor of 10 difference between two numbers
 * Cosmological decade, a division of the lifetime of the cosmos
 * Decade, in the French Republican calendar, a period of 10 days
 * Decade, in the Braille writing system, a grouping of 10 characters
 * Decade, any of the repeated sequences of a rosary

Games and toys

 * Decade (Beanie Baby), a 2003 bear toy
 * Decade (solitaire), a card game
 * Guitar Hero On Tour: Decades, a 2008 video game

Music

 * Decad (chord) or decachord
 * Decade (band), a British rock band 2009–2018

Albums

 * A Decade, by Our Lady Peace, 2006
 * Decade (Duran Duran album), 1989
 * Decade (Neil Young album), 1977
 * Decade (The Veer Union album), a studio album, 2016
 * Decade (Acoustic Sessions), an EP by the Veer Union, 2016
 * Decade: History of Our Evolution, a compilation album by the Veer Union, 2018
 * Decade (Live at the El Mocambo), by Silverstein, 2010
 * Decade 1994–2004, by AZ
 * Decade: "...but wait it gets worse", by Sticky Fingaz, 2003
 * Decade: Ten Years of Fierce Panda, 2004
 * Decade, by Israel Houghton, 2012
 * Decade, by Kerry Livgren, 1992
 * Decade, by Rabbit in the Moon, 2007
 * Decade, by Waltari, 1998
 * Decade 1983–1993, by the Choirboys, 1993
 * Decade 1998–2002 and Decade 2003–2007, by Dir En Grey, 2017
 * Decade: Lift Up Your Eyes, by Planetshakers, 2005
 * The Decade, an EP by Alesana, 2014
 * Decades (David Palfreyman and Nicholas Pegg album), 2017
 * Decades (Nightwish album), 2018
 * Decades: World Tour, a concert tour by Nightwish, 2018
 * Decades: Live in Buenos Aires, by Nightwish, 2019

Songs

 * "Decades", by Joy Division from Closer, 1980
 * "Decades", by Joe Walsh from Songs for a Dying Planet, 1992

Theatre and television

 * Decade (play), a 2011 British play marking the tenth anniversary of the September 11 attacks
 * Decades (TV network), an American television network
 * Kamen Rider Decade, a 2009 Japanese tokusatsu series

Science

 * Decadal survey, a report prioritizing specific goals of a scientific field for the coming decade
 * Deep Earth Carbon Degassing Project (DECADE)

Sports

 * The Decade, a professional wrestling stable 2013–2016
 * Decade, a trick in Flatland BMX

title: Decade (disambiguation)


text:
User talk:Davejohnson

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome!
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

It is probably worth me pointing out that since Wikipedia is an encyclopedia, we expect article to be entirely about things that are already noteworthy. Articles about projects that are just starting up, or ideas that have not been widely accepted, are usually quickly deleted. What Wikipedia is not is a good place to find out about this.

Your article Mark Joyner Construct Zero is being voted on for deletion for just this reason. You might like to read up on Deletion policy to find out what might happen.

Happy editing. DJ Clayworth 20:10, 22 July 2005 (UTC)

title: User talk:Davejohnson


text:
Salil Chowdhury

Salil Chowdhury (19 November 1925 – 5 September 1995) was an Indian music director, songwriter, lyricist, writer and poet who predominantly composed for Bengali, Hindi and Malayalam films. He composed music for films in 13 languages. This includes over 75 Hindi films, 41 Bengali films, 27 Malayalam films, and a few Marathi, Tamil, Telugu, Kannada, Gujarati, Odia and Assamese films. His musical ability was widely recognised and acknowledged in the Indian film industry. He was an accomplished composer and arranger who was proficient in several musical instruments, including flute, the piano, and the esraj. He was also widely acclaimed and admired for his inspirational and original poetry in Bengali.

The first Bengali film for which Chowdhury composed music was Paribortan, released in 1949. Mahabharati, released in 1994, was the last of the 41 Bengali films where he rendered his music. He is affectionately called Salilda by his admirers. He mentored famous music directors like R. D. Burman and Hridaynath Mangeshkar.

Early influences – childhood and teenage
Salil Chowdhury was born on 19 November 1925, in a village called Ghazipur in South 24 Parganas, West Bengal. Salil's childhood was spent in the Tea Gardens Region of Assam. His father was reputed to stage plays with coolies and other low-paid workers of the tea-gardens. While his father, Dr Gyanendra Chowdhury, was the Medical Officer at Hathikuli Tea Estate near Kaziranga in Assam, between 1931 and 1951, the Chief Medical Officer was Dr Maloni, an Irish national. During his early years, he used to listen to western orchestral music on Dr Maloni's gramophone. To date, this information stands engraved in black granite in Hathikuli Tea Estate in his memory. During the second world war Chowdhury got the opportunity to closely observe human sufferings, hunger and problem of the refugees. He studied in Harinavi D.V.A.S High School and there after graduating from Bangabasi College, affiliated to the University of Calcutta in Kolkata, and during this period his political ideas were formulated along with a considerable maturity in his musical ideas.

As a teenager in school, Chowdhury already had an interest in music, and played the flute, harmonium and esraj. He learnt to play the piano from his elder brother at the age of 6. Once in college, he also began to compose tunes. His first popular song was "Becharpoti tomar bichaar" (lit. the days of new judgement have come because people are now awake), set to a kirtan tune. Chowdhury composed it in 1945 during the Indian National Army trials when the freedom fighters had returned from Andaman jail. Chowdhury shifted to a village in 24 parganas to live with his maternal uncles, when he was witness to a big peasant uprising there in 1943. He got involved with them and began writing songs for the peasant movement. In 1944, while studying for his MA, Chowdhury witnessed people dying on the streets of Calcutta, as 50 lakh Bengalis died during the famine. The famine was human-made as local rice was instead directed to Britain's war effort overseas, leading to scarcity, aggravated by black marketeers and hoarders. This led Chowdhury to become fully involved in the peasant movement, and he became a full-time member of IPTA and the Communist Party. Subsequently, arrest warrants were issued in his name, and he went underground in the Sunderbans, hiding in paddy fields and supported by local peasants. During this time, he continued writing plays and songs.

In 1944, a young Salil came to Calcutta for his graduate studies. He joined the IPTA (Indian Peoples Theater Association) the cultural wing of the Communist Party of India. He started writing songs and setting tunes for them. The IPTA theatrical outfit travelled through the villages and the cities bringing these songs to the common man. Songs like Bicharpati, Runner and Abak prithibi became extremely popular with the general population at the time.

Songs like Gnaayer bodhu (গাঁয়ের বধূ), which he composed at the age of 20, brought about a new wave of Bengali music. Almost every notable singer at the time from West Bengal had sung at least one of his songs. A few examples are Debabrata Biswas, Manna Dey, Hemanta Mukherjee, Shyamal Mitra, Sandhya Mukherjee, Manabendra Mukherjee, Subir Sen and Pratima Banerjee.

Film career
The first Bengali film in which Salil Chowdhury composed music was Paribortan, released in 1949. Mahabharati, released in 1994, was the last of the 41 Bengali films where he rendered his music.

In an interview with All India Radio, Salil Chowdhury described his coming to Bombay in 1953 as a "stroke of luck". He was writing the script for a Bengali film about a peasant who was disowned of his land and had gone to Calcutta to earn money as a Rickshaw puller. Hrishikesh Mukherjee, who heard of it from Chowdhury during a visit to Calcutta, liked it immensely and suggested that he narrate it to the director Bimal Roy. Roy heard it, and asked him to meet him again the next morning. However, when Chowdhury went to meet him the next day, he learnt that Roy had rushed to Bombay on an urgent call. A week later, he received a telegram from Roy that he wanted to turn his script into a movie. This resulted in Chowdhury's debut in the Hindi film industry in 1953 as the music director for Do Bigha Zamin (1953). The movie was based on Tagore's poem by the same name, but the story was different and was written by Salil Chowdhury himself. Directed by Bimal Roy, this film took his career to new heights when it became the first film to win the Filmfare Best Movie Award and won the international Prize at the Cannes Film Festival.

After working for about 20 years in Bengali and Hindi films, he entered the Malayalam film industry and, in 1964, composed music for the movie Chemmeen. He went on to compose music for films in 13 languages. This includes over 75 Hindi films, 41 Bengali films, around 27 Malayalam films, and a few Marathi, Tamil, Telugu, Kannada, Gujarati, Odia and Assamese films. Asked about his method, Chowdhury described it thus – He would usually ask the film maker to explain the situation to him, then Chowdhury would compose a tune to suit the mood, and the lyric writer would set in words. This remained his practice for most of his films including Madhumati, in which Shailendra wrote the lyrics subsequently.

During the 1971 Bangladesh Liberation War, Chowdhury contributed to the programmes of the Swadhin Bangla Betar Kendra based in Kolkata. His 1971 album Bangla Amar Bangla was meant for the liberation struggle. Later, when Chowdhury visited Bangladesh in 1990, he was given the welcome of a mass leader in Dhaka. Chowdhury was posthumously awarded the Muktijoddha Maitreye Samman in 2012.

Poet, Playwright, Short story writer, Salil also directed a film Pinjre Ke Panchhi starring Meena Kumari, Balraj Sahani and Mehmood based on his own story and screenplay in 1966. Salil Chowdhury was the Founder of Bombay Youth Choir, the first ever Secular Choir in India in 1958 as its composer and conductor - he inspired scores of secular choir groups to be formed throughout India formulating a new genre of music using vocal polyphony for Indian Folk and Contemporary Music.

Personal life
Salil Chowdhury married the painter Jyoti Chowdhury in July 1952 in a temple. He had three daughters with her – Aloka, Tulika and Lipika. Later, he had a court marriage with singer Sabita Banerjee, with whom he had two sons, Sukanta and Sanjoy, and two daughters, Antara and Sanchari. Sanjoy Chowdhury is a successful music composer and has scored music for over 100 feature films. Sabita Chowdhury was a legendary singer and their daughter Antara Chowdhury too a known singer. Smt. Sabita Chowdhury died on 29 June 2017.

Legacy

 * Salil's music was a blending of Eastern and the Western music traditions. He had once said: "I want to create a style which shall transcend borders – a genre which is emphatic and polished, but never predictable". He dabbled in a lot of things and it was his ambition to achieve greatness in everything he did. But at times, his confusion was fairly evident: "I do not know what to opt for: poetry, story writing, orchestration or composing for films. I just try to be creative with what fits the moment and my temperament", he once told a journalist.
 * Salil's love for Western classical music started when he was a young boy growing up in an Assam tea garden where his father worked as a doctor. His father inherited a large number of western classical records and a gramophone from a departing Irish doctor. While Salil listened to Mozart, Beethoven, Tchaikovsky, Chopin and others everyday, his daily life was surrounded by the sound of the forest, chirping of the birds, sound of the flute and the local folk-music of Assam. This left a lasting impression in young Salil. He became a self-taught flute player and his favourite composer was Mozart. His compositions often used folk melodies or melodies based on Indian classical ragas but the orchestration was very much western in its construction. According to his daughter Antara, (Ref.: Ek Fankar @ Vividbharati Radio Programme at 10.00 pm on 19 November 2013), Salil himself once joked that he was Mozart, reborn.
 * Salil being a composing exponent, he even sensed the talent of a guitarist who played in his orchestra and uttered that, "I think he’s going to be the best composer in India". The guitarist eventually turned out to be maestro Ilaiyaraaja. A. R. Rahman's father, R. K. Shekhar used to conduct Salil Chowdhury's arrangements in South Indian film music. Rahman once said that his musical understanding was greatly influenced by the musical sessions conducted by Salil Chowdhury.
 * "The Salil Chowdhury Foundation of Music, Social Help & Education Trust" was created in 2002 by Sabita Chowdhury, wife, and Antara Chowdhury, daughter of the late composer, to carry forward the legacy and preserve the works of Salil Chowdhury. In 2015 the Salil Chowdhury Memorial Concert and Honours were established in memory of the Genius to honour some of the greatest Indian singers and musicians.

Filmography
 Hindi   Bengali   Malayalam   Others

Discography
List of some songs for which music or lyrics were composed by Salil Chowdhury (in alphabetical order) IPTA: Indian People's Theater Association

Awards and recognitions
A Hindi film directed by Bimal Roy based on a story in Bengali "Rikshawalaa" written by Salil Chowdhury.
 * 1953 – Do Bigha Zamin

1st Filmfare Awards (1954) Winner – Best Film; Winner – Best Director – Bimal Roy;

1st National Film Awards (India) Winner – All India Certificate of Merit for Best Feature Film

7th Cannes Film Festival (1954) Winner – Prix International (International Prize) Nominated – Grand Prize (Best Film)

Karlovy Vary International Film Festival Winner – Prize for Social Progress

A Malayalam film directed by Ramu Kariat, based on a novel of the same name written by the renowned writer Thakazhy Shivshankar Pillai, where Music Direction was done by Salil Chowdhury.
 * 1965 – Chemmeen

Recipient of president's gold medal in 1965.

Received Filmfare Best Music Director Award along with eight other Filmfare awards Madhumati won the National Film Awards for Best Feature Film in Hindi
 * 1958 – Madhumati

The Uttar Pradesh Film Patrakar Sangh Puraskar in 1966 for his only Hindi directorial film 'Pinjre Ke Panchhi'

The Bengal Films Journalist Award, Kolkata in 1973

The Allauddin Smriti Puraskar in 1985 from the Govt of West Bengal

 * 1988 – Salil Chowdhury received Sangeet Natak Akademi Award

The Maharashtra Gaurav Puraskar Award in 1990

Posthumously he was awarded the Mukti Judhho Maitreyi Samman Award by the Govt Bangladesh in 2012.

Poet, Playwright, Short story writer, he also directed a film Pinjre Ke Panchhi starring Meena Kumari, Balraj Sahani and Mehmood b

title: Salil Chowdhury


text:
Midi Minuit Fantastique

Midi Minuit Fantastique (1962–1972) was a French film magazine published by Eric Losfeld (publisher of Adonis Kyrou and film magazine Positif). Michel Caen and Alain Le Bris started it, accompanied by Jean Boullet and Jean-Claude Romer. The headquarters of Midi Minuit Fantastique was in Paris.

The magazine was dedicated to the fantastique, horror and science fiction films of the 1960s. It had a guide to the Parisian film theatres showing those cultish genres.

Some Midi Minuit Fantastique issues were dedicated to special themes (King Kong, Dracula, The Most Dangerous Game).

In later days, when acceptance of alternative canons of cinema had grown, Midi Minuit Fantastique sometimes dealt with more mainstream subject matter with profiles on Samuel Fuller, Otto Preminger or Federico Fellini.

Literary fiction was also the subject of Midi Minuit, with an essay on Gaston Leroux by Jean Rollin. During its existence the magazine produced a total of twenty-four issues.

title: Midi Minuit Fantastique


text:
User:Ben Allen

Born in 1989, London. Formerly studied English Literature and Philosophy at the University of East Anglia, currently studying English Literature at Royal Holloway. Interests include auto racing and music. Also a proficient speedrun player at F-Zero and Mario Kart games.

My wiki edits are small and infrequent, and I am not a wholly productive member of the site, though I do take small pride in whatever edits/articles I started a few years ago.

title: User:Ben Allen


text:
Electron-capture dissociation

Electron-capture dissociation (ECD) is a method of fragmenting gas-phase ions for structure elucidation of peptides and proteins in tandem mass spectrometry. It is one of the most widely used techniques for activation and dissociation of mass selected precursor ion in MS/MS. It involves the direct introduction of low-energy electrons to trapped gas-phase ions.

History
Electron-capture dissociation was developed by Roman Zubarev and Neil Kelleher while in Fred McLafferty's lab at Cornell University. Irradiation of melittin 4+ ions and ubiquitin 10+ ions (trapped in FT-MS cell) by laser pulses not only resulted in peculiar c', z fragmentation but also charge reduction. It was suggested that if FT cell is modified to trap cations and electrons simultaneously, secondary electrons emitted by UV photons increases the charge reduction effect and c′, z• fragmentation. Replacing UV laser with EI source led to the development of this new technique.

Principles
Electron-capture dissociation typically involves a multiply protonated molecule M interacting with a free electron to form an odd-electron ion. Liberation of the electric potential energy results in fragmentation of the product ion.

Rate of electron capture dissociation not only depends on the frequency of ion–electron fragmentation reactions but also on the number of ions in an ion–electron interaction volume. Electron current density and cross-section of ECD is directly proportional to fragmentation frequency. An indirectly heated dispenser cathode used as an electron source results in larger electron current and larger emitting surface area.

 * $$\text{Efficiency of ECD MS/MS} = \frac{\text{Total number(abundance) of fragment ions}}{\text{Total number (abundance) of precursor ions}}$$

ECD devices can be of two forms. It can trap analyte ions during the ECD stage or can undergo flow through mode where dissociation takes place as analyte ions flows continuously through the ECD region. Flow through mode has advantage over other mode because nearly all the analyte ion beam is used. However, that decreases the efficiency of ECD for flow through mode.

ECD produces significantly different types of fragment ions (although primarily c- and z-type, b-ions have been identified in ECD ) than other MS/MS fragmentation methods such as electron-detachment dissociation (EDD) (primarily a and x types), collision-induced dissociation (CID) (primarily b and y type) and infrared multiphoton dissociation. CID and IRMPD introduce internal vibrational energy in some way or another, causing loss of post-translational modifications during fragmentation. In ECD, unique fragments (and complementary to CID) are observed, and the ability to fragment whole macromolecules effectively has been promising.

Although ECD is primarily used in Fourier transform ion cyclotron resonance mass spectrometry, investigators have indicated that it has been successfully used in an ion-trap mass spectrometer. ECD can also do rapid integration of multiple scans in FTICR-MS if put in a combination with external accumulation.

ECD is a recently introduced MS/MS fragmentation technique and is still being investigated. The mechanism of ECD is still under debate but appears not to necessarily break the weakest bond and is therefore thought to be a fast process (nonergodic) where energy is not free to relax intramolecularly. Suggestions have been made that radical reactions initiated by the electron may be responsible for the action of ECD. In a similar MS/MS fragmentation technique called electron-transfer dissociation, the electrons are transferred by collision between the analyte cations and reagent anions.

Disulfide bond cleavage
ECD itself and combined with other MS is very useful for proteins and peptides containing multiple disulfide bonds. FTICR combined with ECD helps to recognize peptides containing disulfide bonds. ECD could also access important sequence information by activation of higher charged proteins. Moreover, disulfide bond cleavage takes place by ECD of multiply charge proteins or peptides produced by ESI. Electron capture by these proteins releases H atom, captured by the disulfide bond to cause its dissociation.

ECD with UV-based activation increases the top-down MS sequence coverage of disulfide bond containing proteins and cleaves a disulfide bond homolytically to produce two separated thiol radicals. This technique was observed with insulin and ribonuclease, which led them to cleave up to three disulfide bonds and increase the sequence coverage.

Post-translational modifications
ECD-MS fragments can retain posttranslational modifications such as carboxylation, phosphorylation and O-glycosylation. ECD has the potential to do the top-down characterization of the major types of posttranslational modifications in proteins. It successfully cleaved 87 of 208 backbone bonds and provided the first direct characterization of a phosphoprotein, bovine β casein, simultaneously restricting the location of five phosphorylation sites. It has advantages over CAD to measure the degree of phosphorylation with a minimum number of losses of phosphates and for phosphopeptide/phosphoprotein mapping, which makes ECD a superior technique.

Coupling of ECD with separation techniques
ECD has been coupled with capillary electrophoresis (CE) to gain insight into structural analysis of mixture of peptides and protein digest. Micro-HPLC combined with ECD FTICR was used to analyze pepsin digest of cytochrome c. Sequence tags were provided by analysis of a mixture of peptides and tryptic digest of bovine serum albumin when LC ECD FTICR MS was used. Additionally, LC-ECD-MS/MS is provides longer sequence tags than LC-CID-MS/MS for identification of proteins. ECD devices using radio frequency quadrupole ion trap are relevant for high-throughput proteomics. Recently, Atmospheric pressure electron capture dissociation (AP-ECD) is emerging as a better technique because it can be implemented as a stand-alone ion-source device and doesn't require any modification of the main instrument.

Proteomics
Analysis of proteins can be done by either using top-down or bottom-up approach. However, better sequence coverage is provided by top-down analysis. Combination of ECD with FTICR MS has resulted in popularity of this approach. It has also helped in determining the multiple modification sites in intact proteins. Native electron capture dissociation (NECD) was used to study cytochrome c dimer and has been recently used to elucidate iron-binding channels in horse spleen ferritin.

Synthetic polymers
ECD studies of polyalkene glycols, polyamides, polyacrylates and polyesters are useful for understanding composition of polymer samples. It has become a powerful technique to analyze structural information about precursor ions during MS/MS for synthetic polymers. ECD's single bond cleavage tendency makes the interpretation of product ion scans simple and easy for polymer chemistry.

title: Electron-capture dissociation


text:
Charles-François Galand

Charles-François Galand (1832–1900) was a French gunsmith who worked in Liège, Belgium, and Paris, France. He manufactured many revolvers for civilian and military use, including the Galand Revolver (also called the Galand-Sommerville or Galand-Perrin), the Tue Tue, and the tiny Le Novo. The Velo-dog, developed from the Tue Tue and the Novo, was designed by Charles-François' son René in 1904.

The original Galand revolver was a double-action, open frame (no strap across the top of the cylinder) revolver patented in 1868. Military versions were produced in 9 mm while civilian versions were made in 12 mm. The gun is easily recognizable due to its long extraction lever, which stretches under the gun to form the trigger guard. Pulling the lever forward separates the barrel and cylinder from the rest of the gun. At the same time the extractor plate is blocked which catches any cartridges in the cylinder, thereby extracting them.

The first model was manufactured both in Liège and in Birmingham, England by the British arms firm Braendlin and Sommerville, and is therefore sometimes referred to as the Galand-Sommerville. Sommerville shared the patent for the case extracting system with Galand. The Galand-Perrin is an identical model which uses the Perrin cartridge (7 mm, 9 mm, and most famously 12 mm).

The Galand's double-action mechanism allowed for rapid firing but the longer trigger pull made this less accurate than single-action fire. The Galand's self-extracting system made loading the revolver much faster than contemporary gate-loaded pistols such as the Colt Peacemaker.

First distributed in October 1868, the Galand revolver sold briskly in France, at least in part due to fears over the looming Franco-Prussian War of 1870.

Despite France's loss to the Germans the Galand performed successfully and the Imperial Russian Navy adopted the Galand model 1870 revolver in 1871. This revolver was manufactured under contract by Nagant and Goltiakoff in Russia in 1878. The Romanian Army also adopted the Galand.

In 1872 Galand improved the design with a closed frame, but failed to win a French military contract and began aiming most of his production at the civilian market. In 1893 Galand introduced the 8 mm Tue Tue (kill kill) hammerless pocket revolver, which continued in production until about 1935. Later versions were also sold in .32 S&W and .38 ACP, and some had an external hammer. The tiny Le Novo revolver, with a hinged trigger and no trigger guard, also featured a folding grip.

After Charles-François Galand's death in 1900 his son, René, continued the business until 1942. He created the Velo-dog, a truly peculiar conceit in personal defence weapons. The name is a contraction of vélocipède (bicycle) and dog. The weapon was originally marketed as a defence for bicyclists during the bicycle craze which started at the end of the 19th century. Like the Le Novo the Velodog originally used a 5.5 mm centerfire cartridge; it was also available in .22 caliber and 6.35 mm.

title: Charles-François Galand


text:
Talk:Gavin Lambert

The slang term "chicken hawk"
The Anon who wrote this article stated:

- Some critics say that there is a homosexual subtext in this film, as in one scene the actress overhears herself being referred to as a "chicken hawk", a gay slang expression for an adult homosexual who is attracted to much younger men. -- AND  -- As, from the 1920s through the late 1960s, homosexuality was rarely portrayed on the screen, gay screenwriters like Lambert learned to express their personal sensibilities discreetly between the lines of a film. -

Chicken Hawk had a different meaning in 1961. The term may have been adopted 20-30 years later, but proof that was a fact in 1961 and documented as to Lambert making such a claim is required before making such a claim. It should be noted at the time, because of the Hollywood blacklist, extremely close monitoring of all scripts was going on by the studios looking for all kinds of "hidden messages." Ted Wilkes 20:12, July 22, 2005 (UTC)

 * You should not delete relevant information. Bruce Rodgers's The Queen's Vernacular (1972) states,
 * "Chicken Hawk, older man whose lust peculiarities are shared solely with young boys. (Also called chicken hunter, chicken queen, coke-roller.)"
 * Certainly, this expression was already in use in 1961.

 * See also the definitions in Robert Scott's Gay Slang Dictionary (1989, 2001):
 * chicken hawk:
 * 1. Paedophile one with a sexual attraction, and need for young boys, under the age of consent.
 * 2. an adult homosexual who has a sexual attraction to teenage boys or young men.
 * 3. a sexual molester of children.
 * 4. [late1990s] a man in his '40s that goes for young man eighteen to twenty-four. 80.141.202.86 21:23, 22 July 2005 (UTC)

 * Okay, thats 1972 for men and 1989. However, it was an actress being called a "Chicken Hawk."  Ted Wilkes 21:31, July 22, 2005 (UTC)

Were you around (and old enough) in 1972 to know the various expressions in the different parts of the country back then? I was. Chicken Hawk, since my grandfather born in 1873 used it, meant someone who preys on another's young ones - male on female or vice-versa. If in the 70s or 80s, members of the gay community began using this "straight" expression too, then fine. Based on what I've seen of Anon's work, it is obsessed with construing everything and everyone as gay to fit its agenda. And, I will revert this again until Anon provides the proof requested above that Lambert used the term to "express his personal sensibilities discreetly between the lines". Ted Wilkes 21:32, July 22, 2005 (UTC)

 * Sorry. This is hearsay and not a reliable source. Which dictionary says that the expression "chicken hawk" "meant someone who preys on another's young ones - male on female or vice-versa", as you claim? The Urban Dictionary says,
 * chickenhawk
 * 1. Young male who seeks the company or favours of an older male. The term has homosexual overtones although its etymology most likely goes back to the cartoon characters Foghorn Leghorn and the chickenhawk.
 * 2. A politician or other person who promotes war without having had any personal experience of it; especially those who have avoided the experience.
 * It is a undeniable fact that the expression "chicken hawk", according to all dictionaries of sexual slang, is only "used to refer to homosexual men who engage in, or seek to engage in, acts of pederasty. In homosexual slang, a "chicken" is a young boy, and since the hawk is a bird of prey, a "chickenhawk" would be a grown man who "preys" on young boys. This use is considered to be vulgar slang." See Sorry, you are wrong again, Ted.

80.141.244.204 23:56, 22 July 2005 (UTC)

Note: this is just one example of the repeated nonsense from Anon and why it has no credibility. From the Talk:Elvis Presley page where he has asserted Presley was homosexual:
 * So it is an undisputable fact that Elvis spent much more time with men than women. Thus it is more likely that he preferred men. - User: 80.141.178.108

-- Ted Wilkes 22:04, July 22, 2005 (UTC)

 * You are now accusing me of "repeated nonsense"? In the past, you have repeatedly accused me of vandalism. Very interesting. 80.141.244.204 23:56, 22 July 2005 (UTC)

Some additional information:
 * Journalist David Lipsky spent nine months traveling the U.S. and interviewing homosexual teenagers about their lifestyles, culminating in an article written for Rolling Stone. Although the tone of Lipsky’s article was sympathetic to homosexual youth, one of the things he found was a fluid interaction between homosexuals of different ages. In Altanta, for example, Lipsky said, “Young gay life functions as a kind of adjunct to adult gay life, with a lot of back-and-forth slippage.” There is even a lexicon of terms that describe the sexual interplay between adults and young homosexuals. One of those terms is “chicken hawk,” which describes adult male homosexuals who try to have sex with teens who have just come out of the closet – who are thus “chickens,” or “fresh meat.”

See Onefortyone 17:26, 16 August 2005 (UTC)

Alleged
Did Lambert ever say that he had an affair with Nicholas Ray? If he did say this, then would that move beyond the line about their affair being "alleged"? --JamesB3 23:30, 22 July 2005 (UTC)

 * Lambert himself says in his Wood biography that he was the lover of director Nicholas Ray. I don't know why Ted Wilkes added "allegedly". It is further written in the book: "Her first studio-arranged date with a gay or bisexual actor had been with Nick Adams..." So it is clearly said that Wood dated the Hollywood stars. 80.141.244.204 23:56, 22 July 2005 (UTC)

 * What one persons says unless corroborated by the other party or indisputable proof is provided, is only an allegation. This issue has been fully discussed on Talk:Natalie Wood and Talk:Nick Adams with the Anon user. Ted Wilkes 00:37, July 23, 2005 (UTC)

"He named Mart Crowley executor of his estate." - Deleted. Please provide proof from the probated Will. Ted Wilkes 00:48, July 23, 2005 (UTC)

 * Anon wrote at the top of this page: "gay screenwriters like Lambert learned to express their personal sensibilities discreetly between the lines of a film." -- Therefore his honestly must be called into question. Ted Wilkes 00:48, July 23, 2005 (UTC)

Wouldn't it be better in this case to say something like Lambert "claimed"? "Alleged", to me, has more negative connotations.

 * Actually, I think I did at first change it to "claim" but Anon didn't like it and reverted it. Alleged is, however, the proper term for both referencing and legal verification. Ted Wilkes 01:32, July 23, 2005 (UTC)

Was I wrong about Crowley being executor of Lambert's estate? --JamesB3 00:49, 23 July 2005 (UTC)

 * I have no idea, but any claim by Wikipedia about a legal document such as a Will that is obtainable from the public record should be referenced to avoid accusations (repeated ones) that we aren't reliable. Even the tabloids do that much. Thanks. Ted Wilkes 01:32, July 23, 2005 (UTC)

 * Ted Wilkes states that he has "no idea" whether user JamesB3 was wrong or not. But he deleted his contribution. Very interesting indeed. 80.141.191.39 12:20, 23 July 2005 (UTC)

The Anon has now reverted or amended through substantial reedits three times in 24 hours. Its next such edit/revert will violate the Three revert rule. Ted Wilkes 01:55, July 23, 2005 (UTC)

Editing according to Wikipedia:Policy and guidelines
The following passage "Some critics say" is not acceptable as constituted in accordance with Wikipedia:Policy and guidelines on Avoid weasel terms and the entire statement is No original research. I have left it in for now, but unless the editor who inserted it cite the sources that are non-original, it will have to be removed.
 * Some critics say that there is a homosexual subtext in this film, as in one scene the actress overhears herself being referred to as a "chicken hawk", a gay slang expression for an adult homosexual who is attracted to much younger men. As, from the 1920s through the late 1960s, homosexuality was rarely portrayed on the screen, gay screenwriters like Lambert learned to express their personal sensibilities discreetly between the lines of a film.
 * Here are two sources which prove that some critics indeed saw a gay subtext in the film: and  Onefortyone 17:26, 16 August 2005 (UTC)

I removed labels attributed to Norma Schearer and Alla Nazimova. Labels such as "gay icon" and "great Hollywood lesbian" are subjective and also are inappropriate in accordance with The perfect article. Ted Wilkes 12:45, August 15, 2005 (UTC)

I removed violation of Avoid weasel terms:
 * "Some critics say that there is a homosexual subtext in this film, as in one scene the actress overhears herself being referred to as a "chicken hawk", a gay slang expression for an adult homosexual who is attracted to much younger men."

-AND-

I removed a personal opinion which needs documenting with an acceptable source but as is is a violation of No original research:
 * "As, from the 1920s through the late 1960s, homosexuality was rarely portrayed on the screen, gay screenwriters like Lambert learned to express their personal sensibilities discreetly between the lines of a film."

- Ted Wilkes 18:27, August 20, 2005 (UTC)

 * You seem to have overlooked that I have cited two sources which support my contribution:  and

 * Here is an additional quote:
 * "The important thing to remember about 'gay influence' in movies," observed Gavin Lambert, "is that it was obviously never direct. It was all subliminal. It couldn't be direct because the mass audience would say, Hey, no way." (William J. Mann, Behind the Screen: How Gays and Lesbians Shaped Hollywood, 1910-1969, p. 170) Onefortyone 19:27, 16 September 2005 (UTC)

Notice
User:Ted Wilkes has repeatedly, and biasedly, included references in the article that Lambert's biography on Natalie Wood is a gossip book in order to denigrate this source which has lots of positive reviews. Publishers Weekly says:
 * Lambert follows her (Wood) from such childhood triumphs as Miracle on 34th Street to her breakthrough adult part opposite James Dean in Rebel Without a Cause. Wood's overlapping affairs with Rebel director Nicholas Ray and cast member Dennis Hopper, and brief romance with Elvis Presley, will be familiar material to aficionados. But Lambert reveals deep sensitivity and understanding of her development as an actress, and he's one of the few authors to capture the depth and beauty of her relationship with Robert Wagner. Lambert also effectively highlights Wood's shrewd professional moves, including her pretense to boss Jack Warner that she didn't want to star in Splendor in the Grass, because she knew he would refuse to let her appear in it if she displayed enthusiasm. The shooting of Wood's film with Robert Redford, Inside Daisy Clover, has special authenticity, since Lambert wrote the screenplay and witnessed her frustrations after several crucial voice-overs were cut from the final print. Details regarding Wood's tragic drowning are inevitably speculative and vital questions remain unanswered. But Lambert eloquently clarifies the self-destructive reasons behind Wood's addictions and insecurities, and in the end, readers will feel they truly know the subject more than they do in most biographies.

It seems as if this user's constant aim is to delete my contributions and denigrate my sources. See He has also deleted the passage that there is a homosexual subtext in one of Lambert's films, although I have cited two sources on this discussion page which support my contribution that critics indeed saw this subtext. See For the sources I have used, see above. I do not understand the aggressive editing tactics of this user. Onefortyone 19:39, 20 August 2005 (UTC)

I touched this up to remove non-encyclopedic language. I also removed a minor passing reference to Nick Adams which is non-encyclopedic gossip deliberated highlited by User:Onefotyone in a book that is about Natalie Wood. 17:47, August 22, 2005 (UTC)

Lambert the insightful chronicler of Hollywood
Query: What is wrong with the passage that Lambert was an insightful chronicler of Hollywood? I do not understand why Ted Wilkes and Wyss are deleting this sentence. In a review of Lambert's biography on George Cukor, film historian Professor Joseph McBride writes,
 * The novelist, screenwriter, and biographer Gavin Lambert, a British expatriate who has lived in Los Angeles since the 1950s, is a keenly observant, wryly witty chronicler of Hollywood's social mores and artistic achievements. His fiction — such as The Slide Area: Scenes of Hollywood Life, Inside Daisy Clover, and The Goodby People — and his biographies of the actresses Norma Shearer and Alla Nazimova are marked by a compassion toward his dreamstruck characters and an unsentimental shrewdness in examining the processes through which they court or surmount self-destruction. As an interviewer, Lambert is subtle and discreet. See

 * The central issue is that you have lost most of your credibility. Your edits mostly seem to be a matrix of support for inserting the words homosexual and gay into the Elvis Presley article as often as possible, in order to drive Google keyword searches to mentions of your book. As a result, any even slightly PoV citation from you may seem abusive to some editors. Wyss 18:03, 27 August 2005 (UTC)

 * This commentary only shows that you have a very biased view of the contributions by other editors. It is no answer to my question. I have cited a reputable source supporting my contribution. Why did you remove the important sentence from the article?

 * By other editors? This is typical of the way you twist your responses to give casual readers the impression you're a victim of bias, when in truth you're disrupting Wikipedia with deliberate, repetitive efforts to sell your tabloid books (which are widely discredited). Wyss 18:59, 27 August 2005 (UTC)

 * My tabloid books? I'm sorry, what are you talking about? Would you please answer my question: why did you repeatedly remove an important sentence from the article? You and Ted Wilkes also removed other relevant passages from the article, although they were based on two independent sources (see above) and Lambert's original writings.

 * I've answered your questions, you know what books I'm talking about and you know why your contributions have been removed. Wyss 19:18, 27 August 2005 (UTC)

 * Sorry, Wyss, you have not answered my question. And I don't understand what you are talking about. I do not write tabloid books on stars, etc. Could it be that such accusations are part of a new strategy to denigrate the sources I am citing?

 * If you say you're not an author of tabloid books, I won't bring it up on talk pages again, though the only reason anyone would pursue such a single-minded agenda would seemingly be related to money. I've removed content from these articles because it is unsupported by the documented record. I've said that countless times, that's the answer to your question. When you respond by saying the information is from "independent" sources, you are conflating "independent" with "reliable, secondary source." You know the difference, but for whatever reason your desire to seed these articles with keywords beneficial to Bret's books supercedes any desire to even acknowledge what a "reliable secondary source" is, never mind work towards ensuring reasonable accuracy and balance in an article. Meanwhile, you are not a victim of bias or any "hidden strategies" and you've wasted countless hours of editors' time. Wyss 19:40, 27 August 2005 (UTC)

 * The problem is that it is your biased opinion that the sources I am citing are not reliable enough. Do you really think that Professor McBride is not a reliable source? On the Elvis page I have cited passages from an important, critical essay by Professor Wall on the world-wide Elvis industry. You have also deleted these passages. I do not think that your editing tactics are fair.

 * Please sign your comments with four tildes, thanks. Wyss 19:52, 27 August 2005 (UTC)

 * Would you please explain which of the passages you have deleted from the Gavin Lambert page are unsupported by relevant sources. 80.141.234.25 19:53, 27 August 2005 (UTC)

 * All of this has been thoroughly explained on the talk pages for Elvis Presley, Nick Adams and Gavin Lambert. Wyss 20:45, 27 August 2005 (UTC)

 * Sorry, Wyss, it hasn't been explained on this and the other pages. Here are again the diputed passages you have deleted:

1. Hence he became an insightful chronicler of Hollywood.

 * This sentence is supported by Professor McBride (see above).

2. ''Some critics say that there is a homosexual subtext in this film, as in one scene the actress overhears herself being referred to as a "chicken hawk", a gay slang expression for an adult homosexual who is attracted to much younger men. As, from the 1920s through the late 1960s, homosexuality was rarely portrayed on the screen, gay screenwriters like Lambert learned to express their personal sensibilities discreetly between the lines of a film.''

 * This passage is based on two independent sources. See and

 * "The important thing to remember about 'gay influence' in movies," observed Gavin Lambert, "is that it was obviously never direct. It was all subliminal. It couldn't be direct because the mass audience would say, Hey, no way." (William J. Mann, Behind the Screen: How Gays and Lesbians Shaped Hollywood, 1910-1969, p. 170) Onefortyone 19:27, 16 September 2005 (UTC)

3. He states that "Her first studio-arranged date with a gay or bisexual actor had been with Nick Adams" and her second with Raymond Burr.

 * This is a quote from Lambert's book. It should be mentioned that Lambert himself was part of the gay circles in Hollywood during the 1950s and 60s. Onefortyone 21:30, 27 August 2005 (UTC)

 * This has been thoroughly discussed. Both Lambert's work and your interpretations of it are sloppy. Lambert is noted as an author of "high class gossip," not as an etymologist or film historian. Wyss 22:12, 27 August 2005 (UTC)

 * Sorry, Wyss, this is only your personal opinion. Did you read what Professor McBride has written? There are many positive reviews of Lambert's Wood biography. You should also cite the full statement by the Guardian reviewer. The Guardian says, "For bitchy, witty and perceptive high-class gossip about Hollywood, there was no better source than the critic, screenwriter, novelist and biographer Gavin Lambert." So this quote supports the interpretation that Lambert is an insightful chronicler of Hollywood. You are again trying to denigrate what I have written. Onefortyone 22:40, 27 August 2005 (UTC)

 * Calling something my personal opinion does not make it so. As for the Guardian quote, it supports my assertion, and certainly does not describe Mr Lambert as an etymologist or film historian. . Wyss 22:53, 27 August 2005 (UTC)
 * Sorry, Wyss, this IS your personal interpretation of the quote. Together with the statement by Professor McBride, who said that Lambert is a "wryly witty chronicler of Hollywood's social mores and artistic achievements", the Guardian quote supports my contribution, as every unbiased reader will confirm.

 * So let them decide :) Wyss 23:15, 27 August 2005 (UTC)

 * What about the other passages? It is an important fact that Gavin Lambert, himself a homosexual, has primarily written on gay and lesbian Hollywood stars, and he was also in close contact to many of these stars. This must be emphasized in the article. As a gay screenwriter, he even learned, during the 1950s and 1960s, when homosexuality was rarely portrayed on the screen, to express his personal sensibilities discreetly between the lines of a film. I don't understand why you have repeatedly removed references to these important facts from the article. Onefortyone 10:15, 28 August 2005 (UTC)

 * Last I heard, sexual preference was not a qualification for an historian or journalist. Wyss 19:34, 16 September 2005 (UTC)

 * Sexual preference is not a qualification for an historian. Indeed, some scholars might suggest that being to close to a subject could cause bias and sloppy research. Wyss 22:41, 28 August 2005 (UTC)

 * Without commenting on the overall disagreement, I wanted to raise a point: The term sexual preference can be interpreted as an offensive term, in that it implies that it is merely a preference. In fact, the use of "sexual preference" is specifically deprecated in the AP Stylebook in favor of "sexual orientation."  I see you as a careful editor, and I don't think the choice of language is deliberate.  I think you're making valid points, but I don't want to see them get lost in the language used. --Ssbohio 23:53, 7 July 2006 (UTC)

I do not understand why users Ted Wilkes and Wyss are repeatedly deleting relevant, supported content. For the sources I have used, see, for instance, the Lambert quote from William J. Mann's book above. User:80.141.236.184 19:33, 17 September 2005 (UTC)

I reverted Onefortyone because he inserted his personal opinion in contravention of No original research. Despite being told of this repeatedly, Onefortyone has reinserted it over and over. - Ted Wilkes 15:57, 13 November 2005 (UTC)

I reverted FYCTravis. All the issues that he reinserted were already discussed in detail on this talk page and the interconnected ones. Verifiability states "For an encyclopedia, sources should be unimpeachable" and The perfect article  says that an article: "reflects expert knowledge; fact-based. As noted above, The Guardian here  warned readers the Natalie Wood book was "gossip" and gossip is most certainly non-encyclopedic. - Ted Wilkes 15:57, 13 November 2005 (UTC)

This is driving me nuts
Has anyone else out there seen a film based on Gavin Lambert's story "End of the Line" (about the blind & nearly deaf Countess whose "nieces" fake a European/North African trip for her while never leaving her home in LA)? I saw the film before reading the story in Lambert's THE SLIDE AREA. JoNSwift45 (talk) 16:14, 25 October 2009 (UTC)

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Talk:The Great Depression (DMX album)

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User talk:Ben Allen

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! Gblaz 20:12, July 22, 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
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F-Zero Maximum Velocity edits:
Many efforts have been concentrated on improving non-GBA F-Zero articles first, as a result many that are GBA games currently and obviously lacks in quality. Unfortunately, when all these articles were undergoing standardization of article structure, that sentence has gone unnoticed until it was actually edited. Such a statement should never have been added in the first place and would fit better in a different Wiki.  « FMF »   13:41, 11 October 2007 (UTC)

title: User talk:Ben Allen


text:
List of storms named Dolores

The name Dolores (or Delores, a misspelling) has been used for twelve tropical cyclones in the Eastern Pacific Ocean and for one in the Western Pacific.

In the Eastern Pacific:
 * Hurricane Dolores (1966) – Category 1 hurricane that stayed out at sea.
 * Tropical Depression Dolores (1970) – operationally thought to have reached tropical storm strength.
 * Hurricane Dolores (1974) – made landfall in the vicinity of Acapulco.
 * Hurricane Dolores (1979) – Category 3 hurricane that stayed out at sea.
 * Hurricane Dolores (1985) – Category 3 hurricane that never affected land.
 * Hurricane Delores (1991) – did not make landfall.
 * Hurricane Dolores (1997) – Category 1 hurricane that never affected land.
 * Tropical Storm Dolores (2003) – short-lived storm that never threatened land.
 * Tropical Storm Dolores (2009) – short-lived storm.
 * Hurricane Dolores (2015) – Category 4 hurricane that brought record-breaking rain to Southern California.
 * Tropical Storm Dolores (2021) – made landfall in Southwestern Mexico.

In the Western Pacific:
 * Tropical Storm Dolores (1948) (T4813) – Storm that dissipated off the coast of Japan: also named Eunice after Dolores was thought to have dissipated operationally.

title: List of storms named Dolores


text:
James Lloyd (artist)

Frederick James Lloyd (12 October 1905 in Alsager, England – 1974) was an English artist. He became famous for his paintings, mostly of animals and country landscapes.

He was the first living self-taught artist to have a painting hung at the Tate in London, titled Cat and Mouse.

Life
Lloyd was the son of a policeman who had taken up farming. He had worked on his father's farm until the age of 19, when he too joined the police force. He had a variety of jobs before the war: gas-works stoker; bus conductor; builder's labourer; lamp-lighter; until he was accepted for the famous and exclusive British Army regiment of the Coldstream Guards. He served with distinction in his regiment overseas during the war. On demobilisation he married Nancy, she was a teenager and he in his forties, he returned to the land and took a job as a wagoner in Shropshire. He, his wife and four children bought a small holding at Triangle, near Halifax, in the Pennines. Although he had done some paintings as a young man, it was not until he was forty, that he began to paint in earnest.

He and his family moved to Skirpenbeck, East Riding of Yorkshire in 1950. He took on the job as a cowman. There were now so many paintings, laboriously constructed dot by dot (pointillism). His wife Nancy decided it was time that Lloyd's work was seen by more people. Without telling her husband she wrote to Sir Herbert Read and he paid Lloyd a visit to see his paintings, and bought a couple of them. Herbert Read sent some to various galleries in London.

In 1958 Lloyd held his first one-man show at (the late) Arthur Jeffress Gallery in London. All but 2 of the 32 paintings being held were sold within hours of opening.

The rapidly expanding Lloyd family (eight children, and one who died young) moved to a council house further into the village and Lloyd took a job with the Derwent Plastics Company at Stamford Bridge, the money was better and the hours easier, he did shift work so he could paint by day and work by night. He devoted all his spare time (except for the pub) to painting. He never painted in a studio; he would usually just paint in the living room with the children playing around him.

By the early 1960s he had stopped working at the Derwent Plastics factory to paint full-time. In 1961 he was commissioned by the York City Art Gallery under the Evelyn Award Scheme to paint the view of Cliffords Tower, York, for the gallery's collection. L.S. Lowry also produced a painting of Cliffords Tower. At the closure of Arthur Jeffress Gallery, Lloyd was taken on by the Portal Gallery, where his paintings still remain. His first one-man show there was in 1964 followed by others in 1966, 1968 and 1971. He never titled or dated his paintings.

In 1963 Eric Lister of the Portal Gallery introduced Lloyd to film director Ken Russell. The result was that the BBC Monitor series made a television documentary film about his life and work, The Dotty World of James Lloyd. Two years later Lloyd was chosen to play (with no previous acting experience) the part of Henri Rousseau in Ken Russells 'Monitor' film on the great French naive painter, Always on Sunday.

The photographer David Bailey bought several paintings by Lloyd and became a very good friend. When his book Goodbye Baby and Amen, an album of Bailey's portraits of celebrities of the 1960s was published, Lloyd featured prominently. He was also commissioned to paint a picture for the 1969/1971 book The Beatles Illustrated Lyrics.

Other galleries who acquired his work were Leeds City Art Gallery, Bowes Museum and Thomas's College, York. He was also noticed by collectors abroad and his work was collected by Museums and Galleries as far apart as Caracas, Venezuela, and Zacreb, Yugoslavia. He won the International Best Primitive Painter Award in 1973, with his painting Boy with Horse.

title: James Lloyd (artist)


text:
Foreplay/Long Time

"Foreplay/Long Time" is a song by American rock band Boston, written by Tom Scholz. It appears on their 1976 self-titled debut album and is their second single for Epic Records. The song combines an instrumental introduction, "Foreplay", with the main song "Long Time", generally played as one on the radio and listed as one track on the album. "Long Time" peaked at No. 22 on the US Billboard Hot 100 the week ending March 5, 1977. It reached the Top 10 in Canada, peaking at No. 9. The standalone "Foreplay" was released as the B-side of Boston's next single "Peace of Mind", which was released in April.

In an interview for the Best of Boston CD, Scholz said that "Foreplay" was the first song he ever recorded, and he did this on a two-track machine in his basement. Scholz also stated that it was the first piece of music he ever wrote, and that he wrote it as far back as 1969.

An alternate mix of the song is available on the Epic Records Promo LP It's a Knockout. It was a sampler LP of artists that had releases coming up in 1976. This version has various differences in the mix and effects and also includes extra lyrics towards the end of the song. This version has never been available officially anywhere else.

Scholz originally sang all the vocal parts to "Long Time" in his basement during the making of the demo album, but his friend Brad Delp was invited to sing, and proved to be superior. Delp's voice is the only one heard on the 1976 studio recording. Scholz played several guitars, including lead electric guitar on "Foreplay", processed through a space pedal effect, and acoustic rhythm guitars on "Long Time". The three electric guitar solos on "Long Time" are played by Barry Goudreau.

Reception
Rolling Stone described "Foreplay/Long Time" as "a perfect marriage of Led Zeppelin and Yes that plays musical chairs with electric and acoustic sounds." Los Angeles Times critic Robert Hilburn said that "Foreplay" is an effective "Yes/ELP keyboard exploration." Billboard said it had similar catchiness to its predecessor Boston single "More Than a Feeling" due to its "spacey electronic fills and soaring, full bodied vocal harmonies." Cash Box said the single "cuts out the long keyboard instrumental while leaving the meat of the song intact" and "builds through a series of hand-clapping interludes, first on acoustic, then on electric guitar." Classic Rock critic Paul Elliott rated it as Boston's 6th greatest song and noted that another critic had described the song as "a perfect marriage of Yes and Led Zeppelin." Classic Rock History critic Brian Kachejian rated it as Boston's 3rd best song.

"Foreplay"

 * Tom Scholz – organ, clavinet, lead guitar including "top secret space pedal effects"
 * Sib Hashian – drums
 * Barry Goudreau – rhythm guitar
 * Fran Sheehan – bass guitar

"Long Time"

 * Tom Scholz – acoustic guitar, bass guitar, organ, clavinet
 * Brad Delp – vocals
 * Sib Hashian – drums
 * Barry Goudreau – lead and rhythm guitars

Cover versions

 * Rascal Flatts played a cover version of "Foreplay/Long Time" in concert, which was released on the album Rascal Flatts LIVE.
 * Phish celebrated their concert at Great Woods in Mansfield, Massachusetts, by opening with "Foreplay/Long Time". They had covered a bluegrass arrangement earlier in their careers, but this was the first time they played the full electric version that is heard on the album.

title: Foreplay/Long Time


text:
User talk:Rosalesdaniel10

Thanks for experimenting with Wikipedia. Your test worked, and has been removed. Please use Sandbox for any other tests you want to do, since testing in articles will be removed quickly. Please see the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. Hall Monitor 20:13, 22 July 2005 (UTC)

title: User talk:Rosalesdaniel10