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Long, Long, Long

"Long, Long, Long" is a song by the English rock band the Beatles from their 1968 album The Beatles (also known as "the White Album"). It was written by George Harrison, the group's lead guitarist, while he and his bandmates were attending Maharishi Mahesh Yogi's Transcendental Meditation course in Rishikesh, India, in early 1968. Although Harrison later stated that he was addressing God in the lyrics, it is the first of his compositions that invites interpretation as both a standard love song and a paean to his deity.

"Long, Long, Long" originated during a period in which Harrison emerged as a prolific songwriter, coinciding with his return to the guitar after two years of studying the Indian sitar. He based the chord pattern on "Sad Eyed Lady of the Lowlands" by Bob Dylan, while the song's understated arrangement partly reflects the influence of the Band's 1968 album Music from Big Pink. The Beatles recorded it in London towards the end of the White Album sessions, which were marked by acrimony among the band members in the aftermath of their experiences in Rishikesh. An ambient and meditative ballad, it ends with a partly improvised segment that was inspired by the sound of a wine bottle vibrating on a speaker in the studio.

"Long, Long, Long" has received praise from several music critics. On release, William Mann of The Times rated it the equal of the album's best Lennon–McCartney compositions; Ian MacDonald later described it as Harrison's "touching token of exhausted, relieved reconciliation with God" and his "finest moment on The Beatles". Elliott Smith and Jim James are among the other artists who have recorded or performed the song.

Background and inspiration
George Harrison began writing "Long, Long, Long" during the Beatles' stay in Rishikesh, India, between February and April 1968. It was one of many songs that marked Harrison's return to the guitar as his principal musical instrument, after he had dedicated himself to mastering the Indian sitar in 1966. This coincided with a new, prolific period in his songwriting, which musicologist Walter Everett likens to the arrival of John Lennon and Paul McCartney as composers in 1963.

Led by Harrison's commitment, the four band members went to Rishikesh to study Transcendental Meditation under Maharishi Mahesh Yogi. They departed for England separately, however, between 1 March and 12 April, and their mixed experiences on the course contributed to the divisiveness that pervaded the group upon their return. Harrison continued to espouse the Maharishi's teachings; this position left him isolated within the band and represented an impediment to their unity that was unprecedented in the group's career. Author Simon Leng describes "Long, Long, Long" as the first song in which Harrison "share[d] the spiritual refuge he'd found" through meditation, as well as "a confluence of the Indian, folk, and spiritual influences" that had preoccupied him since 1966.

Donovan, the Scottish singer-songwriter who joined in the Beatles' musical activities in Rishikesh, recalled that Harrison played both sitar and guitar at the ashram and was developing a style of music that became "the finest spiritual sound". Harrison completed the lyrics to "Long, Long, Long" in August that year, at which point the Beatles were part-way through the recording of their eponymous double album, also known as "the White Album". In his autobiography, I, Me, Mine, he states that "the 'you' in 'Long Long Long' is God." He also says that his musical inspiration for the composition was Bob Dylan's "Sad Eyed Lady of the Lowlands" – specifically, "D to E minor, A and D – those three chords and the way they moved". As a further influence in "Long, Long, Long", Leng cites the release of the Band's debut album, Music from Big Pink, which "signaled the rebirth of 'the song as an alternative to the excesses of 1967-era psychedelia.

Composition
According to musicologist Alan Pollack, "Long, Long, Long" is "an off-beat mixture" of contemporary musical styles; he identifies it as "a three-way cross between jazz waltz, folk song, and late sixties psychedelia". The song is in the key of F major, played with a capo on the guitar's third fret, so as to allow for the chord shapes that Harrison admired in "Sad Eyed Lady of the Lowlands". The melody appears to fluctuate from the home key, due to its avoidance of perfect cadences, as the dominant, C7 chord resists anchoring on the tonic I chord of F major. In addition, all plagal changes (in this case, B♭ to F major) are fleeting. The composition also makes use of jazz-style ninth chords.

Lyrically, the song takes the form of a reconciliation with a loved one after a long period of estrangement. Theologian Dale Allison considers that, given the "cryptic" nature of the lyrics, it is only through Harrison's subsequent comments that the listener knows that he is addressing God rather than a woman. Allison likens the song's message to that of later Harrison compositions such as "Try Some, Buy Some" and "Heading for the Light", through its conveying of a "conversion experience".

The lyrics' reference to an extreme length of time is accentuated in the verses by the stretching out of a slow 6/8 metre into 9/8, and by the appending of a measure-long instrumental tag after each two bars of vocal melody. Partly as a result of the absence of resolution in the home key, the descending bassline in the verses – a 4–3–2–1 sequence of notes, mirroring the IV–iii–ii–I chord pattern – establishes an almost subliminal tonic.

The mood of the song is gentle and meditative, with the more strident middle eight providing a brief departure from the calmness. In this section, Harrison sings of "So many tears I was searching / So many tears I was wasting", a statement that, according to author Ian Inglis, reflects the singer's "rejoicing in his discovery of a deity to guide him through the vicissitudes of life". Everett remarks on the close similarity between "Long, Long, Long" and "Sad Eyed Lady of the Lowlands", as well as an understated musical mood akin to the Band's early work. The song's ending, which would come about through happenstance while the Beatles were working in the recording studio, is marked by Harrison playing a final, G minor 7 chord, which author Ian MacDonald considers "one of the most resonant [chords] in The Beatles' discography".

Recording
The working title for the song was "It's Been a Long, Long, Long Time". Recording began at EMI Studios (now Abbey Road Studios) in London on 7 October 1968, during the final week of sessions for the White Album. Since the start of the project, in late May, the album sessions had been fraught with disharmony, partly as a result of the constant presence of Yoko Ono, Lennon's new partner, and disagreements within the band over their new business venture, Apple Corps. While noting the context of the song's recording, MacDonald describes "Long, Long, Long" as Harrison's "touching token of exhausted, relieved reconciliation with God".

The recording session was a relaxed occasion; the burning of Indian incense helped to create the requisite atmosphere in the studio. The Beatles recorded 67 takes of the rhythm track, with Harrison on vocals and acoustic guitar, McCartney playing Hammond organ, and Ringo Starr on drums. The drum part includes a series of loud fills that serve as a commentary beside the vocal line, in the manner of Starr's playing on "A Day in the Life" in 1967. The idea for the end of the song was inspired by the sound created by a wine bottle sitting on a Leslie speaker, through which the organ was connected. Whenever McCartney played a certain note on the keyboard, the bottle began to vibrate, producing an eerie clattering sound that the Beatles decided to incorporate in their subsequent performances of the track. To compound the effect on the selected take, Starr played a fast snare drum roll and Harrison vocalised a prolonged, high-pitched wail. Chris Gerard of PopMatters comments on the "palpable spiritual longing" conveyed in the song and describes this coda as a "weird spectral ending, with Harrison wailing like a wounded ghost while the band members rattle their instruments ominously". In his book on the history of ambient music, Mark Prendergast cites the song as a ballad "noteworthy for its Ambient production".

Nine hours after this all-night session, the band returned to the studio to carry out overdubs. Harrison added a second vocal and a lead acoustic guitar part that Everett likens to a sitar due to the use of natural distortion. During the same session, McCartney overdubbed bass guitar. The recording was finished on 9 October, with the addition of a brief harmony vocal from McCartney and piano, over the middle eight, played by Chris Thomas. Everett describes this as a "gospel piano" part that complements the "All Things Must Pass-style bridge" – referring to Harrison's 1970 solo album.

Mixing on "Long, Long, Long" was completed on 14 October, with Starr's drum fills given prominence in the mix. Relative to the stereo version, the contrast between the song's quiet and louder moments is less pronounced in the mono mix, where Harrison's second vocal part also arrives earlier on the opening line.

Release and reception
Apple Records released The Beatles on 22 November 1968, with "Long, Long, Long" appearing as the final track on side three of the double LP. The sequencing ensured that the song provided what author Mark Hertsgaard terms "a calm landing pad" after McCartney's heavy rock-styled "Helter Skelter". Shortly after the album's release, Harrison spent time with Dylan and the Band in Woodstock, in upstate New York. In addition to co-writing "I'd Have You Anytime" with Dylan, Harrison further established his independence from the Beatles during this visit, which music critic John Harris views as the foundation for All Things Must Pass.

Among contemporary reviews of The Beatles, Alan Walsh of Melody Maker admired the song as "a gentle, lilting track" while, less impressed, Record Mirror considered it "not a strong tune", with drums "monopolising the sound". In his review for The Times, William Mann described "Long, Long, Long" as "a melting love song in slow waltz tempo" and rated it the equal of the nine best, "superbly inventive" compositions credited to Lennon–McCartney.

Recalling the release in his 1977 book The Beatles Forever, Nicholas Schaffner said that in departing from the overtly Indian style of his previous compositions for the Beatles, Harrison had provided "a quartet of more conventionally accessible pop songs that many felt were among the finest on the [White Album]". Schaffner remarked on Harrison's limitations as a singer compared with Lennon and McCartney before adding: "but when he tones his voice down to an ethereal near-whisper, as in 'Long Long Long,' he can evoke as well as anyone the magic and the mystery of what [music journalist] Jonathan Cott has called 'the music of deep silence. In Newsweek's mainly unfavourable review of The Beatles, Hubert Saal concluded by saying that Harrison was the album's "hero" and that "Long, Long, Long" and "Savoy Truffle" were its best songs. He described the former as "deceptively simple, beautifully melodic and explosively punctuated".

Retrospective assessment and legacy
AllMusic editor Stephen Thomas Erlewine views "Long, Long, Long" as "haunting" and, along with its composer's three other White Album tracks – "While My Guitar Gently Weeps", "Piggies" and "Savoy Truffle" – evidence that Harrison's songwriting "deserved wider exposure" than his typical quota of two songs on each Beatles LP. Less impressed with Harrison's other contributions to the album, Ian MacDonald welcomes "Long, Long, Long" with the words: "at last – the real George." MacDonald considers it to be "Harrison's finest moment on The Beatles: simple, direct, and, in its sighing, self-annihilating coda, devastatingly expressive". Conversely, although he acknowledges its effectiveness in following "Helter Skelter", Tim Riley identifies "Long, Long, Long" as the weakest of the four Harrison songs, which are otherwise all "essentials" and "regain[ed] the promise" shown by his three compositions on the Beatles' Revolver album. Author Jonathan Gould praises the track as a "dark beautiful ballad" and a "breakthrough" for Harrison as a vocalist and composer, since it represents "the first time he ever allowed himself to sound humbled by his emotions in a song". Music critic Chris Ingham, writing for Rough Guides, similarly includes it among "a new phase" of Harrison compositions, along with "Something" and "Here Comes the Sun", in which "warmth and sweetness" replaced the dissonant qualities of his Indian-inspired melodies.

Writing for Rolling Stone in 2002, Greg Kot deemed the song to be "quintessential Harrison, summarizing the impending exhaustion of the Beatles and the era they defined, while pointing the way toward the spiritual heights achieved by his solo debut masterpiece, All Things Must Pass". In his obituary of the former Beatle, for Rock's Backpages, Mat Snow included "Long, Long, Long" among his favourite Harrison compositions, saying: "for my money the music of George Harrison is most compelling when dwelling in those strange shadows of elusive regret and longing, even fear ..." David Quantick of Uncut admires it as "a yearning, beautiful song" and "an oasis of calm and faith in the clattering chaos of the White Album". He also considers the track to be "arguably the least feted of the Beatles' great songs".

"Long, Long, Long" was ranked 80th in Mojo's 2006 list "The 101 Greatest Beatles Songs". In his commentary for the magazine, musician Colin Newman described it as "achingly beautiful" and "like the album in microcosm ... [a] lament for a long-lost love which ends with a ghostly freakout". In a similar list, in 2011, Rolling Stone ranked the song at number 98. Conversely, in 2012, readers of The Daily Telegraph voted "Long, Long, Long" as the fifth worst Beatles track. The following year, Mojo listed it at number 9 in a poll to determine "the ultimate list of connoisseurs' Beatles' songs", as defined by any track not included on the band's greatest-hits compilations 1962–1966 and 1967–1970.

Cover versions
In 1987, Daniel Amos vocalist Terry Scott Taylor recorded what Trouser Press admired as a "first-rate cover" of "Long, Long, Long" for his album A Briefing for the Ascent. By contrast, Sean Carruthers of AllMusic considers singer Tom Hooper's 2002 cover to be a version that "manages to drain the life" out of the song. Elliott Smith included "Long, Long, Long" in his live performances. It was the last song he ever performed live. Smith biographer Benjamin Nugent writes that it appealed to Smith amid his struggles with depression and drug addiction, as "a ballad about trying to get rid of self-imposed suffering and returning to a place where you can relate to other people".

A recording by Tanya Donelly appeared on her 2006 album This Hungry Life and later on the CD accompanying Uncut's feature article on Harrison's career, in the August 2008 issue of the magazine. My Morning Jacket lead singer Jim James opened his 2009 EP of Harrison compositions, Tribute To, with "Long, Long, Long" – a cover that Drowned in Sound praised as "not only the standout moment, but also one of the most beautiful and arresting songs of the year". Having recorded the EP within days of Harrison's death in November 2001, James said he decided to release it eight years later partly as a result of attending the David Lynch Foundation's Transcendental Meditation awareness concert, "Change Begins Within", where "George's name came up a lot ... his spirit was very big at that event."

Personnel
According to Ian MacDonald:

The Beatles
 * George Harrison – double-tracked lead vocal, acoustic guitars
 * Paul McCartney – harmony vocal, Hammond organ, bass guitar
 * Ringo Starr – drums

Additional musician
 * Chris Thomas – piano

title: Long, Long, Long


text: Template:CIA World Factbook only

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

title: Template:CIA World Factbook only


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Santo Tomas

Santo Tomás is Spanish for Saint Thomas. Santo Tomas may also refer to:

Argentina

 * Santo Tomás, Buenos Aires, Carlos Casares Partido, Buenos Aires Province
 * Santo Tomás, Neuquén

Colombia

 * Santo Tomás, Atlantico

Cuba

 * Santo Tomás, Cuba, Ciego de Ávila Province

El Salvador

 * Santo Tomás, San Salvador

Guatemala

 * Santo Tomás de Castilla, Izabal Department
 * Santo Tomás La Unión, Suchitepéquez Department
 * Volcán Santo Tomás

Mexico

 * Santo Tomas Copper Deposit, Sinaloa, Mexico
 * Misión Santo Tomás de Aquino, in Baja California
 * Santo Tomás, Baja California
 * Santo Tomás de los Plátanos, in México
 * Santo Tomás Jalieza, in Oaxaca
 * Santo Tomás Mazaltepec, in Oaxaca
 * Santo Tomás Ocotepec, in Oaxaca
 * Santo Tomás Tamazulapan, in Oaxaca
 * Santo Tomás, Sonora

Nicaragua

 * Santo Tomás, Chontales

Panama

 * Santo Tomás, Chiriquí
 * Santo Tomás metro station

Peru

 * Santo Tomás District, Luya, in Luya province, Amazonas region
 * Santo Tomás District, Cutervo, in Cutervo province, Cajamarca region
 * Santo Tomás District, Chumbivilcas, in Chumbivilcas province, Cusco region
 * Santo Tomás de Pata District, in Angaraes province, Huancavelica region

Philippines

 * Santo Tomas, Batangas
 * Santo Tomas, Davao del Norte
 * Santo Tomas, Isabela
 * Santo Tomas, La Union
 * Santo Tomas, Pampanga
 * Santo Tomas, Pangasinan
 * Mount Santo Tomas

Spain

 * Santo Tomas, Menorca

United States

 * Santo Tomás, Texas

Other uses

 * Convento de Santo Tomás (Madrid), a former convent
 * University of Santo Tomas, in Manila, Philippines
 * Santo Tomas Internment Camp in the Philippines
 * Domingo de Santo Tomás Spanish Dominican bishop and grammarian in the Viceroyalty of Peru

title: Santo Tomas


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Cry Baby Cry

"Cry Baby Cry" is a song by the English rock band the Beatles from their 1968 double album The Beatles (also known as the "White Album"). It was written by John Lennon and credited to the Lennon–McCartney partnership. The coda of the song is a short segment referred to as "Can You Take Me Back", written by Paul McCartney, which was actually an outtake from the "I Will" session.

Composition
Demos indicate that Lennon composed the song in late 1967. The original lyrics were "Cry baby cry, make your mother buy." Lennon described to biographer Hunter Davies how he got the words from an advertisement. Some of the lyrics of the song are loosely based on the nursery rhyme "Sing a Song of Sixpence".

Recording
The Beatles' recording engineer Geoff Emerick resigned during the recording of "Cry Baby Cry". His departure was precipitated by Lennon and McCartney's obsessions over the recording of both "Revolution" and "Ob-La-Di, Ob-La-Da", respectively, and the overall tensions of the sessions. Emerick did not work with the Beatles again until the session for "The Ballad of John and Yoko" nine months later.

After a day-long rehearsal, on 16 July 1968 the basic tracks were laid down for Lennon's guitar part and his vocal on the introduction, McCartney's bass and Ringo Starr's drums, along with Lennon's piano and George Martin's harmonium. All other parts were dubbed in two days later: Lennon's lead vocal, Lennon/McCartney falsetto backing vocals and tambourines, Martin's harmonium introduction, sound effects for tea, and George Harrison's lead guitar – a Gibson Les Paul borrowed from Eric Clapton and soon to be a permanent gift.

"Can You Take Me Back?"
The song is followed on the album by an unrelated and unlisted track, ad libbed and sung by Paul McCartney. Though the song originally had no official name, it popularly became known as "Can You Take Me Back?" after the primary lyric of the song, and has been officially deemed so on the track listing for the 50th anniversary edition of The Beatles, where an unabridged version of the song is referred to as "Can You Take Me Back? (Take 1)" and included among the bonus tracks. The hidden track is an improvised jam recorded by McCartney during a 16 September 1968 session for "I Will".

Legacy
Coinciding with the 50th anniversary of its release, Jacob Stolworthy of The Independent listed "Cry Baby Cry" at number 19 in his ranking of the White Album's 30 tracks. He wrote of the song: "Lennon translated elements of the nursery rhyme 'Sing a Song of Sixpence' for this effort, which comes with an added eerie McCartney segment titled "Can You Take Me Back?" He said that the song is "unremarkable, but remains easy listening". A version of the song is included on the Anthology 3 album.

Personnel
According to Ian MacDonald:

"Cry Baby Cry"
 * John Lennon – lead vocal and harmony vocal, falsetto vocals, acoustic guitar, piano, organ
 * Paul McCartney – bass guitar, falsetto vocals
 * George Harrison – lead guitar
 * Ringo Starr – drums, tambourine
 * George Martin – harmonium

"Can You Take Me Back?"
 * Paul McCartney – lead vocal, acoustic guitar
 * John Lennon – percussion, maracas
 * Ringo Starr – bongos

Cover versions

 * Ramsey Lewis recorded an instrumental version of this song on his 1968 album Mother Nature's Son.
 * Commander Cody and His Lost Planet Airmen covered this song on the 1987 album Flying Dreams.
 * The jam band Phish covered this song as part of its near-complete 1994 cover of the White Album released on Live Phish Volume 13, and in 1998 on Hampton Comes Alive. The 1994 version includes "Can You Take Me Back" while the 1998 does not.
 * Samiam recorded a cover of the song, omitting the McCartney coda, for their 1997 album You Are Freaking Me Out.

title: Cry Baby Cry


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User talk:ShoeflyDBM

Welcome
Hi and welcome to wikipedia. I hope you like it and decide to stay. Here are some handy links for newcomers. Also you can sign your name on talk pages and vote pages with three tildes like this ~~~, and your name with a time stamp with four like this ~~~~. If you have any questions, ask me on my talk page. Howabout1 Talk to me! 16:16, July 16, 2005 (UTC)
 * Welcome
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * Help pages
 * Village pump
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 * Wiquette
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Hello. It might not have been your intention, but your recent edit removed content from Adobe Flash and left the page in a broken state. When removing content, please specify a reason in the edit summary and discuss edits that are likely to be controversial on the article's talk page. Also, content removal should not be marked as a minor edit. If this was a mistake, don't worry; the content has been restored, as you can see from the page history. Thank you.—J. M. (talk) 17:48, 2 August 2011 (UTC)

title: User talk:ShoeflyDBM


text:
User:The Wife of -Ril-

I am -Ril-'s wife, and definitely not a sockpuppet. Honest. The Wife of -Ril- 16:19, 16 July 2005 (UTC)

title: User:The Wife of -Ril-


text: User talk:195.18.131.168

title: User talk:195.18.131.168


text:
Cocaine Rodeo

Cocaine Rodeo is the debut studio album by American rock band Mondo Generator, released through Southern Lord Records on 18 July 2000. It was compiled of material recorded by vocalist/bassist Nick Oliveri with drummer Rob Oswald, vocalist/guitarist Brent Malkus, and his ex-Kyuss bandmates Josh Homme, Brant Bjork and John Garcia. Recorded in 1997, the material was shelved for three years due to disinterest from the band to release it and Oliveri's full-time commitment to Queens of the Stone Age.

In 2009, Cocaine Rodeo was re-issued with a bonus disk titled Alive & Wired featuring live material recorded in 2003 and 2004. In 2020, Cocaine Rodeo was re-released by Oliveri's current label Heavy Psych Sounds Records as part of its 20th anniversary.

Recording and release
Nick Oliveri formed Mondo Generator in 1997 under the moniker "Rex Everything", taking the name of the band from a phrase Kyuss bandmate Brant Bjork had spray-painted on the side of Oliveri's amplifier and the Oliveri-penned song of the same name from 1992 album Blues for the Red Sun by Kyuss. Oliveri funded the recording and mixing sessions for Mondo Generator's debut album with the money he had made from the Dwarves' album The Dwarves Are Young and Good Looking. The sessions took place over two days in 1997 at Monkey Studios in California. In addition to the members of Mondo Generator, drummer Rob Oswald and co-lead vocalist/guitarist Brent Malkus, Oliveri invited his former Kyuss bandmates Josh Homme, Brant Bjork and John Garcia, and Kyuss producer Chris Goss to contribute performances to the album. The impromptu reunion was planned by Oliveri, who invited each member separately to the studio without any knowledge of who they were playing with. The tracks "13th Floor", "Simple Exploding Man" and "Cocaine Rodeo" feature Homme, Bjork and Oliveri, while "Simple Exploding Man" features all four original Kyuss members, including Garcia.

The album was shelved after the recording sessions due to the band not wanting to release it and Oliveri's commitment to Queens of the Stone Age. The album was eventually released on 18 July 2000, through Southern Lord Records, with the US and European editions each featured a bonus track. In the time leading up to its release and after, Queens of the Stone Age would perform"13th Floor", renamed to "Tension Head", and "Simple Exploding Man" live. Cocaine Rodeo was later re-issued on Impedance Records in 2009, featuring an additional bonus disk of live material recorded by Oliveri and his then-bandmates Dave Catching, Molly McGuire and Bjork. All the live tracks were recorded during Mondo Generator's show at the Troubadour in Los Angeles on 12 December 2003, with the exception of the Queens of the Stone Age cover "Autopilot", which was recorded at the Reading Festival in 2004. For its 20th anniversary in 2020, the album was re-pressed through Heavy Pscyh Sounds Records.

Personnel
Studio personnel Alive & Wired personnel
 * Rex Everything (Nick Oliveri) – bass (all tracks), lead vocals (tracks 1, 2, 5, 7, 8, 10)
 * Burnt Mattress (Brent Malkus) – guitar (tracks 2 – 6, 8, 9), lead vocals (tracks 3, 4, 6, 9, 11)
 * Up N. Syder (Rob Oswald) – drums (tracks 2–6, 8, 9)
 * Josh Homme – guitar (tracks 1, 7, 10)
 * Brant Bjork – drums (tracks 1, 7, 10)
 * Valerie Avazza – backing vocals (track 7)
 * John Garcia – backing vocals (track 7)
 * Chris Goss – backing vocals (track 7)

 * Nick Oliveri – lead vocals (2-1–2-11)
 * Diamond Dave Catching – guitar (tracks 2-1–2-12)
 * Nurse Molly McGuire – bass, backing vocals (tracks 2-1–2-12)
 * Brant Bjork – drums (2-1–2-12)
 * Mark Lanegan – lead vocals (track 2-12)

Additional personnel

 * Nick Oliveri – production
 * Greg Biribauer – production (tracks 2-1–2-12)
 * Steve Feldman – recording, mixing
 * Schneebie (Mathias Schneeberger) – remixing (tracks 1, 4–6, 10)
 * Phil Easter – mastering
 * Carl Whitbread – artwork (Impedance reissue)

title: Cocaine Rodeo


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Techno Games

Techno Games is a robot competition television programme that aired on BBC Two from 20 March 2000 to 28 March 2003. It is a spin-off from the hugely successful Robot Wars.

Format
Schools, colleges, individuals and technology clubs competed to break world records, win medals and the grand series prize. For most events lifelike movement was required, so, for example, in the swimming event propellers were banned in favour of legs, paddles, flippers and fins.

Events
Not all the events appeared in all of the series.

 * Assault Course
 * Cycling
 * Football (previously appeared on Robot Wars)
 * Gymnastics
 * High Jump
 * Long Jump
 * Micromouse (Wall following)
 * Micromouse (Maze solving)
 * Relay Cars
 * Rocket Cars and Funny Cars
 * Solar Challenge Cars
 * Tug-of-War (previously appeared on Robot Wars)
 * Rocketry (Spot landing and Egg Protection)
 * Rope Climbing (Natural movement-arms and legs)
 * Rope Climbing (Artificial movement-wheels and rollers)
 * Sprint (Two, three, four, six and eight legged walkers)
 * Sumo (previously appeared on Robot Wars)
 * Swimming
 * Water Polo
 * Outdoor Events (Penalty kick, Shot Put)

title: Techno Games


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Cuhtahlatah

Cuhtahlatah (Cherokee: Gatûñ'lätï ) was a Cherokee woman who lived during the period of the American Revolutionary War. Her name means "wild hemp". When her husband was killed in battle, she grabbed his tomahawk and attacked the enemy, screaming "Kill! Kill!". Her people had been in retreat, but her actions inspired them to rally and they gained victory in the battle. ) Her story is recounted in the Wahnenauhi manuscript of 1889.

title: Cuhtahlatah


text:
User:Mike taylor

I enjoy all types of music, everything from Lawrence Welk to the Velvet Underground.

I am also a fan of all sorts of varied and offbeat television shows and films, such as the television show The Prisoner.

title: User:Mike taylor


text:
Bagnes

Bagnes is a former municipality in the district of Entremont in the canton of Valais in Switzerland. On 1 January 2021 the former municipalities of Bagnes and Vollèges merged to form the new municipality of Val de Bagnes.

With an area of 282 km2, Bagnes used to be the largest municipality of Switzerland until the formation of Glarus Süd in 2011.

History
Bagnes was first mentioned in 1150 as Banie. It was formerly known by its German name, Bangis, although this is no longer used.

Before 1150, when it came to the abbey of Saint-Maurice, Bagnes was owned by the Counts of Savoy. It remained under the abbey's authority until 1798, when it became part of the Entremont district. Verbier castle (also called the abbaye) is first mentioned in 1287 in Le Châble and was presumably destroyed in 1476.

Throughout the 19th century, the radicals and conservatives feuded violently in the villages. This led, in 1844, to the bloody battle of Corberaye, in which three conservatives were killed. The battle of Corberaye brought the radicals to power, but the conservatives were able gain support from political allies and were able to return to power shortly thereafter. One consequence of this political discord was the founding of the liberal-radical free school in 1900. At the free school there was no religious instruction, in contrast to the other village schools which had been founded by religious groups. The free school remained open until 1943.

The parish is first mentioned in 1178, with the parish church at St. Martin's church in Le Châble. The parsonage was built in 1686 at Verbier. It became a rectory in 1915 and a parish in 1962. Other chapels are located in Montagnier (14th century), Sarreyer (after 1639), Lourtier (1659), Vernays (1661), Media (1679), Champsec (1684) and Versegères (1684).

The municipality suffered from frequent natural disasters, especially from the floods of the Dranse in 1469, 1595 and a particularly devastating flood in 1818. There were silver mines in the area between 1344 and 1723 and again between 1852 and 1855. In 1958 the Lac de Mauvoisin Dam was built. The dam along with increasing tourism in the mid-20th century changed the character of the villages dramatically. The village economies changed from alpine farming to domination by the services sector.

Until 1957 Bagnes was a loose federation of villages, which was divided into districts or sections. The local councils continued to represent their sections until 1971.

Le Châble
Starting in the 12th century, Le Châble was the administrative center of the entire Val de Bagnes. Verbier castle (also called the abbaye) is first mentioned in 1287. The castle came to be known as the abbaye since it was the seat of the abbey of Saint-Maurice's representative. In 1410 the castle was rebuilt into a residence of the abbots. In 1476 it was partially destroyed by the villagers. In 1745 it was besieged during the revolt against the abbot of Saint-Maurice. The castle was acquired in the 20th century by the municipality.

The facade of the late gothic parish church of St. Mauritius was built in 1520 and the choir was finished in 1534. The ossuary dates back to 1560 and the parish house to the 16th century.

In 1953, the village was connected to the Martigny-Sembrancher-Le Châble rail line.

Geography
Bagnes had an area,, of 282.2 km2. Of this area, 15.5% is used for agricultural purposes, while 12.5% is forested. Of the rest of the land, 1.9% is settled (buildings or roads) and 70.1% is unproductive land.

It consists of the former municipal seat of Le Châble along with multiple villages and hamlets, including Villette, Bruson and Verbier.

The resort Verbier is part of the municipality.

The reservoir Lac de Mauvoisin is located at Bagnes.

Coat of arms
The blazon of the municipal coat of arms is Azure, two Men proper in a Bath-tub Or.

Demographics
Bagnes had a population (as of 2019) of 8,144. , 26.3% of the population are resident foreign nationals. Over the last 10 years (1999–2009 ) the population has changed at a rate of 24.3%. It has changed at a rate of 29.3% due to migration and at a rate of 2.7% due to births and deaths.

Most of the population speaks French (5,714 or 87.4%) as their first language, Portuguese is the second most common (246 or 3.8%) and English is the third (178 or 2.7%). There are 139 people who speak German, 99 people who speak Italian and 2 people who speak Romansh.

, the gender distribution of the population was 51.5% male and 48.5% female. The population was made up of 2,750 Swiss men (36.1% of the population) and 1,169 (15.3%) non-Swiss men. There were 2,769 Swiss women (36.4%) and 929 (12.2%) non-Swiss women. Of the population in the municipality 3,508 or about 53.7% were born in Bagnes and lived there in 2000. There were 744 or 11.4% who were born in the same canton, while 694 or 10.6% were born somewhere else in Switzerland, and 1,422 or 21.8% were born outside of Switzerland.

The age distribution of the population is children and teenagers (0–19 years old) make up 22.2% of the population, while adults (20–64 years old) make up 62.3% and seniors (over 64 years old) make up 15.5%.

, there were 2,864 people who were single and never married in the municipality. There were 3,019 married individuals, 398 widows or widowers and 255 individuals who are divorced.

, there were 2,469 private households in the municipality, and an average of 2.4 persons per household. There were 831 households that consist of only one person and 204 households with five or more people. Out of a total of 2,631 households that answered this question, 31.6% were households made up of just one person and there were 29 adults who lived with their parents. Of the rest of the households, there are 554 married couples without children, 836 married couples with children There were 163 single parents with a child or children. There were 56 households that were made up of unrelated people and 162 households that were made up of some sort of institution or another collective housing.

there were 2,045 single family homes (or 62.8% of the total) out of a total of 3,258 inhabited buildings. There were 845 multi-family buildings (25.9%), along with 185 multi-purpose buildings that were mostly used for housing (5.7%) and 183 other use buildings (commercial or industrial) that also had some housing (5.6%).

, a total of 2,331 apartments (32.3% of the total) were permanently occupied, while 4,690 apartments (65.1%) were seasonally occupied and 187 apartments (2.6%) were empty. , the construction rate of new housing units was 3.7 new units per 1000 residents. The vacancy rate for the municipality,, was 0.98%.

Heritage sites of national significance
The Alpage (alpine pasture) de Louvie and the Church of St-Maurice with ossuary and the former rectory are listed as Swiss heritage site of national significance. The villages of Bruson, Le Châble, Médières and Sarreyer along with the hamlet of Fontenelle are all part of the Inventory of Swiss Heritage Sites.

Politics
In the 2007 federal election the most popular party was the CVP which received 47.96% of the vote. The next three most popular parties were the FDP (17.51%), the SVP (16.97%) and the SP (10%). In the federal election, a total of 2,039 votes were cast, and the voter turnout was 46.3%.

In the 2009 Conseil d'État/Staatsrat election a total of 1,597 votes were cast, of which 124 or about 7.8% were invalid. The voter participation was 37.3%, which is much less than the cantonal average of 54.67%. In the 2007 Swiss Council of States election a total of 2,002 votes were cast, of which 157 or about 7.8% were invalid. The voter participation was 46.5%, which is much less than the cantonal average of 59.88%.

Economy
, Bagnes had an unemployment rate of 3.9%. , there were 282 people employed in the primary economic sector and about 107 businesses involved in this sector. 1,017 people were employed in the secondary sector and there were 103 businesses in this sector. 2,525 people were employed in the tertiary sector, with 390 businesses in this sector. There were 3,461 residents of the municipality who were employed in some capacity, of which females made up 40.9% of the workforce.

the total number of full-time equivalent jobs was 3,189. The number of jobs in the primary sector was 125, of which 108 were in agriculture and 17 were in forestry or lumber production. The number of jobs in the secondary sector was 989 of which 253 or (25.6%) were in manufacturing and 620 (62.7%) were in construction. The number of jobs in the tertiary sector was 2,075. In the tertiary sector; 432 or 20.8% were in wholesale or retail sales or the repair of motor vehicles, 178 or 8.6% were in the movement and storage of goods, 540 or 26.0% were in a hotel or restaurant, 19 or 0.9% were in the information industry, 78 or 3.8% were the insurance or financial industry, 158 or 7.6% were technical professionals or scientists, 139 or 6.7% were in education and 123 or 5.9% were in health care.

, there were 590 workers who commuted into the municipality and 501 workers who commuted away. The municipality is a net importer of workers, with about 1.2 workers entering the municipality for every one leaving. Of the working population, 10.4% used public transportation to get to work, and 53.8% used a private car.

Religion
From the, 5,169 or 79.1% were Roman Catholic, while 430 or 6.6% belonged to the Swiss Reformed Church. Of the rest of the population, there were 43 members of an Orthodox church (or about 0.66% of the population), there were 3 individuals (or about 0.05% of the population) who belonged to the Christian Catholic Church, and there were 38 individuals (or about 0.58% of the population) who belonged to another Christian church. There were 13 individuals (or about 0.20% of the population) who were Jewish, and 40 (or about 0.61% of the population) who were Islamic. There were 5 individuals who were Buddhist, 2 individuals who were Hindu and 6 individuals who belonged to another church. 435 (or about 6.66% of the population) belonged to no church, are agnostic or atheist, and 364 individuals (or about 5.57% of the population) did not answer the question.

Education
In Bagnes about 2,361 or (36.1%) of the population have completed non-mandatory upper secondary education, and 720 or (11.0%) have completed additional higher education (either university or a Fachhochschule). Of the 720 who completed tertiary schooling, 43.6% were Swiss men, 24.2% were Swiss women, 18.8% were non-Swiss men and 13.5% were non-Swiss women.

, there were 67 students in Bagnes who came from another municipality, while 166 residents attended schools outside the municipality.

Transport
The municipality has a railway station, Le Châble, on the Martigny–Orsières line.

Notable people

 * Francis A. Deleglise (1835–1894), founder of Antigo, Wisconsin, was born in Bagnes
 * Roland Collombin, two-time World Cup downhill champion and Olympic silver medalist, born and still lives in Versegères
 * Marie Troillet, Swiss ski mountaineer, was born in Bagnes

title: Bagnes


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title: User:Softmicro2


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Eli and the Thirteenth Confession

Eli and the Thirteenth Confession is the second album by New York City-born singer, songwriter, and pianist Laura Nyro, released in 1968.

History
Nyro premiered some of the songs that were to appear on the album at the 1967 Monterey Pop Festival. The song "Luckie" was derived from an earlier composition Nyro had played at her audition for Verve Records in 1966. Before she signed to Columbia Records, Verve had already planned to release the album, under the title Soul Picnic. The album saw its actual release in 1968 on the Columbia label and became one of the year's underground successes. The album was written entirely by Nyro, arranged by Charlie Calello and produced by both.

The front cover was taken by Bob Cato. Writer Michele Kort said that Nyro resembled a "dark Madonna with luxuriant red lips." The back cover is a black-and-white silhouetted photo of Nyro kissing the head of what appears to be her younger self. According to Nyro, she was "kissing seventeen years of her life—her childhood—goodbye." On Nyro's insistence, the album's lyric sheet was printed with perfumed ink, and Kort wrote in 2002 that it still maintained a pleasant scent.

The album's themes are of passion, love, romance, death, and drugs, and the songs are delivered in Nyro's distinctive brash, belting vocals. Musically, it is a multi-layered and opulent work, including multi-tracked vocals and strings. The album's loose genre is pop, but it also incorporates elements of soul, gospel, jazz, and rock.

It is generally considered to be Nyro's most accessible and most famous work, although it is arguably not the most commercially successful or critically favored (both honors go to the follow-up, New York Tendaberry). The album was her first chart entry, reaching No. 181 on the Billboard 200, when it was known as "Pop Albums." In the February 2016 issue of Uncut magazine, it was rated in the 100 Greatest Albums of All Time. Many musicians, including Elton John and Todd Rundgren were directly influenced by the album, and bandleader Paul Shaffer told CBC Television's George Stroumboulopoulos that he considers this album to be his one "desert island record".

The album is second only to its predecessor, 1967's More Than a New Discovery, in producing hit songs for other artists. Three Dog Night took "Eli's Comin'" to US No. 10, while The 5th Dimension went to US No. 3 with "Stoned Soul Picnic" and US No. 13 with "Sweet Blindness".

Legacy and impact
The legacy of the album is evident on the 1997 compilation Stoned Soul Picnic: The Best of Laura Nyro, which includes 6 songs from the 1968 album.

Six songs from Eli and the Thirteenth Confession are included in the ballet Quintet performed by the Alvin Ailey American Dance Theater. Rolling Stone ranked it No. 463 in the 2020 edition of their 500 Greatest Albums of All Time.

Eli has grown in reputation and regularly garners acclaim. It is now recognized as a groundbreaking album in pop music. In April 1997, Stephen Holden of The New York Times deemed it one of the late-'60s "most influential pop recordings". He cited Nyro's "fiercely emotional singing" and the songs' "abrupt changes of tempo and style" as reasons why it was "unlike anything that had been heard" in the genre. Later that month, Entertainment Weekly's Alanna Nash wrote that the album confirmed Nyro as "pop's high priestess" and called her one of the genre's "most influential American songwriters."

Eli has been widely credited with laying the foundation for various musicians. Holden saw Nyro kickstart a lasting genre of "quirky, reflective songwriting" led by women. In 2015, Vivien Goldman for The Vinyl Factory wrote that it "instantly transfixed a generation", but had "still [been] extensively mined by other artists" years later. She credited it, alongside her next two albums, with shaping the "personal, opera-tinged" style of musicians Kate Bush, Cyndi Lauper, Tori Amos and Alicia Keys.

Reissues
Eli and the Thirteenth Confession was reissued in expanded and remastered format during the summer of 2002. The reissue was produced by Al Quaglieri, with Laura Grover as project director. The reissue featured three previously unreleased demos recorded on November 29, 1967. The 20-year-old Nyro performed the spare, solo demos of "Lu", "Stoned Soul Picnic" and "Emmie" on piano and multi-tracked her own voice to add harmonies. The accompanying booklet includes photographs and recording details, as well as liner notes by Rick Petreycik and a back-cover recollection by Phoebe Snow. The remastered version was issued alongside remastered/expanded editions of New York Tendaberry and Gonna Take a Miracle.

In August 2011, the album was re-released in audiophile vinyl by label "Music on Vinyl", using high-resolution digital audio at 96 kHz / 24 bit.

In June 2016, Audio Fidelity reissued the album on hybrid Super Audio CD. It contains the original stereo version in high-resolution digital audio as well as a previously unreleased 4-channel quadraphonic mix, which was created in 1971. Prior to this release only one track, "Eli's Comin'", had been released in quad on a rare Columbia Records sampler LP.

Personnel

 * Laura Nyro – piano, keyboards, vocal, harmonies, "witness to the confession"
 * Ralph Casale, Chet Amsterdam – acoustic guitar
 * Hugh McCracken – electric guitar
 * Chuck Rainey, Chet Amsterdam – bass
 * Artie Schroeck – drums, vibes
 * Buddy Saltzman – drums
 * Dave Carey – percussion
 * Bernie Glow, Pat Calello, Ernie Royal – trumpet
 * George Young, Zoot Sims – saxophone
 * Wayne Andre, Jimmy Cleveland, Ray DeSio – trombone
 * Joe Farrell – saxophone, flute
 * Paul Griffin – piano on "Eli's Comin'" and "Once It Was Alright Now (Farmer Joe)"
 * Technical
 * Charlie Calello – producer, arrangements
 * Roy Segal, Stan Tonkel – engineer
 * David Geffen - management "agent and friend"
 * Bob Cato – photography

title: Eli and the Thirteenth Confession


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Blue Max (board game)

Blue Max is a multi-player board game of World War I aerial combat over the Western Front during 1917 and 1918. Each player is a fighter pilot of the British, French, American, or German air service. Each game is a single dogfight, in which players try to shoot down as many enemy planes as possible without being shot down themselves. There is no limit to the number of players in a single game. It was first published by Game Designers Workshop (GDW), in 1983. The game is named after the prestigious German order Pour le Mérite, informally known as Blue Max.

History
Blue Max was designed by Phil Hall and originally released in 1983. A reprint of the boxed version was released in 1992. An updated miniatures version was released in 1995 that included early war aircraft designed by Alan Wright. The miniatures version did not include the aircraft counters or map of the boxed versions. Blue Max was selected as one of the best one hundred games by Games Magazine in 1993 and won the GAMA award for graphics in the same year. Canvas Eagles, an upgraded version of Blue Max, was designed by Eric Hotz and released free on the web.

Mechanics
The game is played on an hexagonal board, using a maneuver chart from which, every turn, you decide which move your plane will do. After every player has decided their move, all the planes are moved simultaneously on the map. You can fire at another plane only if it is directly in front of your plane and at a maximum distance of 3 hexes.

The rules are simple and most of them are contained in the components used during play; reference to the rule manual is rarely necessary. After playing some games, you can start to use the campaign rules which add another level of fun and challenge to the game.

Third edition
The last edition of the game, the third one, has been published by Giochi Uniti and Stratelibri in February 2014. Game mechanics and statistics are deeply revised. Airplane types are reduced from 19 to 6.

Translations
The original game was at least translated into Italian (Blue Max - Duelli aerei sulla Francia, Stratelibri, no date but 1983), into French (Les Ailes de la gloire, Oriflam, 1992) and into Spanish (Blue Max, Diseños Orbitales, 1992). The Italian edition includes statistics for Aviatik D.I and Ansaldo Balilla, even in not counters for them.

Reception
In the January 1984 edition of Imagine (Issue 10), Paul Cockburn stated that "It's fun to play, although it does not have lasting appeal. Frankly, only a pretty dedicated WWI flying ace - beagles aside - will ever actually earn the 20 kills necessary to wear the Blue Max."

In the May 1990 edition of Games International (Issue 14), Theo Clarke noted the simplicity of the rules, saying the rulebook was "largely superfluous after the first read." Clarke also admired the production values of the components, saying, "These large counters greatly enhance the perceived quality of the game." Clarke concluded by giving this game an excellent rating of 9 out of 10, stating, "Blue Max is an entertaining dogfight game with high quality components and clear simple rules. There can be few games to beat it as an introduction to the concepts of board wargames."

Reviews

 * 1984 Games 100

title: Blue Max (board game)