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If I Needed Someone

"If I Needed Someone" is a song by the English rock band the Beatles, written by George Harrison, the group's lead guitarist. It was released in December 1965 on their album Rubber Soul, except in North America, where it appeared on the June 1966 release Yesterday and Today. The song reflects the reciprocal influences shared between the Beatles and the American band the Byrds. On release, it was widely considered to be Harrison's best song to date. A recording by the Hollies was issued in Britain on the same day as Rubber Soul and peaked at number 20 on the national singles chart.

Harrison wrote the song for Pattie Boyd, the English model whom he married in January 1966. The lyrics convey an ambivalent tone, however, and have invited interpretation as a message to a casual love interest. Harrison based the song's jangly guitar riff on one used by Roger McGuinn in the Byrds' adaptation of "The Bells of Rhymney". "If I Needed Someone" features prominent three-part harmony vocals and Rickenbacker twelve-string electric guitar – the instrument that the Byrds had adopted to replicate Harrison's sound in the 1964 film A Hard Day's Night. The song's use of drone and Mixolydian harmony also reflected Harrison's nascent interest in Indian classical music. Following its inclusion in the set list for the Beatles' 1965 UK tour, it became the only Harrison composition performed live by the group.

The Hollies' success with the song gave Harrison his first chart hit as a songwriter, although his criticism of their performance led to a terse exchange in the press between the two groups. Several other artists covered the track in the first year after its release, including the American bands Stained Glass and the Kingsmen. A live recording by Harrison, taken from his 1991 tour with Eric Clapton, appears on the album Live in Japan. Clapton also performed the song at the Concert for George tribute to Harrison in 2002, while McGuinn released a cover version on his 2004 album Limited Edition.

Background and inspiration

In addition to reflecting George Harrison's interest in Indian classical music, "If I Needed Someone" was inspired by the music of the Byrds, who in turn had based their sound and image on those of the Beatles after seeing the band's 1964 film A Hard Day's Night. According to music journalist David Fricke, the composition resulted from "a remarkable exchange of influences between the Beatles and one of their favorite new bands, the Byrds". The two groups formed a friendship in early August 1965, when the Byrds were enjoying international success with their debut single, a folk rock interpretation of Bob Dylan's "Mr. Tambourine Man", and Harrison and John Lennon attended their first shows in London. Although the concerts received unfavourable reviews in the British music press, Harrison lauded the band as "the American Beatles". In late August, the Byrds' Jim (later Roger) McGuinn and David Crosby met up with the Beatles in Los Angeles, where they discussed with Lennon and Harrison the music of Indian sitarist Ravi Shankar and American Indo-jazz pioneer John Coltrane. The meeting led to Harrison introducing the sitar on Lennon's song "Norwegian Wood", and to Crosby and McGuinn incorporating Indian influences into the Byrds' "Why" and "Eight Miles High".

Harrison likened "If I Needed Someone" to "a million other songs" that are based on a guitarist's finger movements around the D major chord. The song is founded on a riff played on a Rickenbacker 360/12, which was the twelve-string electric guitar that McGuinn had adopted as the Byrds' signature instrument after seeing Harrison playing one in A Hard Day's Night. When McGuinn told him this in Los Angeles, Harrison was appreciative of the recognition, particularly as his contributions to the Beatles were often overshadowed by those of Lennon and Paul McCartney. In late 1965, Harrison acknowledged the Byrds' influence on "If I Needed Someone" when he sent a copy of the Beatles' new album, Rubber Soul, along with a message for McGuinn and Crosby, to Derek Taylor, the Byrds' publicist. In his note, Harrison said that the riff was based on the one McGuinn had played on the Byrds' adaptation of "The Bells of Rhymney", and that the rhythm was based on the drum part in "She Don't Care About Time". McGuinn later recalled: "George was very open about it. He sent [the record] to us in advance and said, 'This is for Jim' – because of that lick [in 'The Bells of Rhymney']."

Writing in The Beatles Anthology, Harrison commented on the difficulties he faced as a nascent songwriter during the Rubber Soul period, relative to Lennon and McCartney, both of whom had been writing "since they were three years old". He said he wrote "If I Needed Someone" as a love song to Pattie Boyd, the English model whom he married soon after the song's release. The lyrics have nevertheless invited interpretation as being about a groupie or, in the words of music journalist Robert Fontenot, "some other attempt by the singer to juggle two affairs at once". Author Peter Doggett comments on Harrison's inspiration, in the context of the Beatlemania that continually encroached on the band's lifestyle: "'If I Needed Someone' may be the first pop song written from the jaded, though not quite exhausted viewpoint of a man who had women lined up outside his hotel door in every city of the world."

Music
As recorded by the Beatles, "If I Needed Someone" is in the key of A major, over the verses, and B minor in the middle eights (or bridges). The time signature throughout is common time. After its introduction, the composition consists of two verses, a bridge, three verses (the second of which serves as an instrumental break), followed by a repeat of the bridge, a further verse, and an outro. The song is in the folk rock style, but incorporates aspects of Indian music through the suggestion of drone over the main musical phrase and its partly Mixolydian harmony. Harrison uses a capo on the guitar's seventh fret, thereby transposing the D major chord shape to sound as A major.

The Mixolydian melody in the verses comprises the notes A, G, B, C♯ and D, partly mirroring the riff, and is delivered in the same syncopated phrasing. On the fifth bar of each verse, a B melody-note sounds over a ♭VII triad – a chord that musicologist Dominic Pedler terms a G/A "slash" polychord, similar to that used at the start of "A Hard Day's Night". The implied drone, or pedal point, in A continues under this new chord, aided by the arpeggiated bass line remaining in A. The verses retain an ascendant melodic quality due to the syncopated delivery, the three-part harmonies in the vocal arrangement, and the constant bass figure.

Over the bridges, the new key is set fully in the minor mode, avoiding the Dorian inflections present in previous Harrison songs. These sections begin on an E minor chord, which, in Roman numeral analysis, represents a v minor in the tonic of A and an iv minor in the new key. At the end of each bridge, the return to the home key is effected via an E major chord, marking the only use of the expected G♯ note in the A major scale.

Lyrics
Author Jonathan Gould describes "If I Needed Someone" as "a rueful rain check of a love song" and "an exercise in hypothetical romance". He comments that the melody's phrasing on the off-beat and the "drastically arpeggiated" bass line mirror the lyrical theme of "right person at the wrong time". As with much of the Beatles' songwriting on Rubber Soul, the lyrics reflect Dylan's influence, in terms of tone and content. Further to the message of the song title, Harrison offers his love only if he should happen to need "someone", and on the condition that time allows for such a relationship; he conveys his feelings in matter-of-fact terms. In Fontenot's description, the lyrics "are representative of the change in the Beatles' outlook and also of its era: tender but ambivalent". Harrison invites the woman he addresses to "Carve your number on my wall", yet offers only the possibility that he will contact her in the future.

Over the two bridges, Harrison presents a more engaged perspective. He states that he's "too much in love", but had he and his lover met "some other day", the outcome might have been different. Fontenot cites these lyrics as the reason why some commentators attach an alternative meaning to the song, whereby the singer is already in a committed relationship and is addressing another woman, with the prospect of continuing a casual encounter. In author Andrew Grant Jackson's reading, "[Harrison] was heading towards marriage with Pattie Boyd, so the lyrics address all the women of the world, saying that had he met them earlier, it might have worked out, but now he was too much in love (but give me your number just in case)." While considering that Harrison appears to be "playing his options, albeit gently", author John Kruth deems the line "Carve your number on my wall" to be "one of Rubber Soul's most enigmatic lyrics" and an evocation of the imagery in "Norwegian Wood".

Recording
George Martin, the band's producer, described Rubber Soul as "the first album to present a new, growing Beatles to the world". Throughout the project, the Beatles increasingly experimented with sound textures. In the case of "If I Needed Someone", as with "Girl", a Lennon composition recorded at the end of the sessions, the use of a guitar capo midway along the instrument's neck introduced a brighter tone to the group's guitar sound. Their use of three-part harmonies on the song was also typical of the warmer, more mature sound they achieved on Rubber Soul.

The Beatles taped the rhythm track of "If I Needed Someone" at EMI Studios in London, in a single take, on 16 October 1965. The recording took place just before midnight at the end of a session dedicated to their next single, "Day Tripper". Harrison played his new, 1965 Rickenbacker 360/12 on the song. According to musicologist Walter Everett, the sound of Harrison's chiming guitar, combined with that of Lennon's Fender Stratocaster rhythm part, produced "the Beatles' brightest guitar sound yet", and so served as "a fitting tribute to the Byrds". Using his new Rickenbacker 4001S bass, McCartney inaugurated an ostinato-heavy style that would feature prominently on the band's 1966 recordings, particularly the song "Rain".

The group carried out their vocal overdubs during the afternoon of 18 October. Over the instrumental break and the outro, the harmonies consist of McCartney singing a third above and Lennon a tenth below Harrison's double-tracked lead vocal. During the same session, Ringo Starr added a tambourine part. Although some Beatles authors credit Martin as having played harmonium, Fontenot says this contribution is inaudible on the completed track. Jackson writes that the sound on "If I Needed Someone" was "so transcendent", in its combination of elements from the two Byrds songs and the Beatles' "soaring harmonies" and treble-rich guitar parts, that Lennon chose to use it for his Rubber Soul track "Nowhere Man". A mono mix of the song was made on 25 October, and a stereo mix on 26 October – the day the Beatles collected their MBEs from Buckingham Palace.

Release and reception
EMI's Parlophone label released Rubber Soul on 3 December 1965, with "If I Needed Someone" sequenced as the penultimate track. In the United States – where Capitol Records typically altered the content of the Beatles' albums, reducing the number of songs and using single A- and B-sides to create further album releases – the track instead appeared on the North American album Yesterday and Today in June 1966. The song was widely considered to be Harrison's best composition to date; according to music critic Richie Unterberger, "If I Needed Someone" and "Think for Yourself", which also appeared on the UK version of Rubber Soul, were the first Harrison-written songs "to really make people sit up and notice". In his review for the NME, Allen Evans described it as "a quick-tempo up-beater" and a "more-ish track". McCartney later said he considered "If I Needed Someone" to be the first of Harrison's "landmark" songs for the group.

Beginning with the band's UK tour in December 1965, "If I Needed Someone" replaced "Everybody's Trying to Be My Baby", written by Carl Perkins, as Harrison's lead vocal spot in the Beatles' live shows. "If I Needed Someone" thereby became the only Harrison composition that the Beatles played in concert during their touring years of 1963–66. In addition, with the group finding it increasingly difficult to replicate their studio recordings in concert, it was one of only two Rubber Soul tracks that they performed live, the other being "Nowhere Man". In their 1966 concerts, McCartney introduced Indian-style melisma into his singing on "If I Needed Someone", similar to the vocal ornamentation he had used on the recording of Harrison's Revolver track "I Want to Tell You". In a segment subtitled "Beatlemania goes sour", the 1982 documentary The Compleat Beatles used a clip from the Beatles' ragged performance of the song, at the Budokan Hall in Tokyo, as an illustration of the growing division between the band as recording artists and live performers.

In November 1995, "If I Needed Someone" was issued as the B-side of "Norwegian Wood" on a jukebox single, pressed on green vinyl. The release was part of a series of Beatles jukebox singles issued by Capitol's CEMA Special Markets division. The song was also one of the Beatles tracks that Capitol included on the compilation album The Best of George Harrison, released in 1976 following the expiration of Harrison's contract with EMI.

Hollies version
In late October 1965, the Hollies were brought a demo of "If I Needed Someone" by their producer, Ron Richards, who had received the demo from George Martin. At this stage of their career, most of the Hollies' singles were written by outside writers, yet the band were divided about whether to record a Beatles song, given the traditional rivalry between the two groups' hometowns, Liverpool and Manchester. With Graham Nash and Allan Clarke keen to record the song, the Hollies accepted it as the follow-up to their recent hit "Look Through Any Window". The group recorded their version in three takes on 17 November 1965, in the same studio as the Beatles. Backed by the Clarke–Hicks–Nash composition "I've Got a Way of My Own", the single was released by Parlophone on 3 December, the same day as Rubber Soul.

"If I Needed Someone" was the first Harrison composition to become a chart hit, as a result of the Hollies' cover. The song peaked at number 20 in Britain, but by the group's standards at the time, it was one of their least successful singles. It also charted in Sweden, peaking at number 14 on Tio i Topp.

Many listeners perceived the single as the Hollies attempting to align themselves with the Beatles. In one of his articles covering the Beatles' concurrent UK tour, Alan Smith of the NME quoted Harrison as saying that the Hollies' version was "rubbish" and that "the way they do their records, they sound like session men who've just got together in a studio without ever seeing each other before. Technically good, yes. But that's all." Lennon also criticised their treatment of the song, having long disliked the Hollies' sound. These comments incensed Nash, who responded by saying that he was tired of Lennon's continual insults and would "back any of us boys against the Beatles musically any time". In January 1966, at a press conference following his and Boyd's wedding, Harrison laughed off a reporter's question as to whether he had invited the Hollies to the ceremony, adding that the issue had "just got out of hand".

Although he and Harrison later became "great friends", Nash attributed the single's relatively low chart position to Harrison's derision of the group's performance. Author Ian Inglis writes that the formation of Crosby, Stills & Nash – comprising Crosby from the Byrds, Nash from the Hollies, and ex-Buffalo Springfield guitarist Stephen Stills – brought the connections behind "If I Needed Someone" "full circle". Everett comments that the three-part parallel harmony singing, for which Crosby, Stills & Nash were "revered", suggests the influence of "If I Needed Someone".

Retrospective assessment and legacy
Writing in Rolling Stone in January 2002, Greg Kot described "If I Needed Someone" as Harrison's "finest tune to date" by 1965. In the same publication, David Fricke included it in his list of the "25 Essential Harrison Performances". Fricke described the track as, variously, a "folk-rock diamond" and "the ultimate compliment" to the Byrds in its "striking blend of cool dismissal ... and crystalline riffing". Writing for Q magazine, John Harris recognised Rubber Soul as marking Harrison's "first decisive stride forward" as a songwriter, with "If I Needed Someone" suggesting for the first time that he could match the standard of Lennon and McCartney's work. Bruce Eder of AllMusic identifies the song as a "near-classic" written by Harrison during a period when his association with the Rickenbacker guitar had helped define the folk rock sound of groups such as the Byrds. In a 2002 review of Rubber Soul, for Mojo, Richard Williams admired the track as "a little gem, an early classic of power pop which lasts not a second too long".

Doug Collette of All About Jazz describes "If I Needed Someone" and "Think for Yourself" as "his most stylish tunes" and examples of Harrison's rise within the Beatles, although he highlights the guitarist's use of sitar on "Norwegian Wood" as a more creatively important contribution. In his article celebrating the 50th anniversary of Rubber Soul, Rob Sheffield identifies the album as the work on which the Beatles became true recording artists. He cites "If I Needed Someone" as one of the tracks that, in their focus on modern, independent-thinking women, presented "complex and baffling females, much like the ones the Beatles ended up with in real life".

Among Beatles biographers, Ian MacDonald recognises the song as having been influenced "far more" by Indian classical music than by the Byrds. While he views it as Harrison's "most successful song" up to 1965, MacDonald considers that the lack of contrast between the verses and the bridges renders the track "monotonous", revealing an "obstinate quality" that typifies much of Harrison's writing. Tim Riley disagrees, instead recognising that the bridge "sets things in motion" compared to the verse's "ebb and flow". In addition to admiring the group's performance, particularly the restraint Starr employs to resolve the tension created by the ♭VII chord change, Riley describes "If I Needed Someone" as "every guitarist's hook-bound fantasy". Writing in Barry Miles' book The Beatles Diary, Peter Doggett considers it to be Harrison's best song "by far" up to that point, and he describes the group's harmony singing as "stunning" and "the tightest they'd yet achieved on record". In 2011, Rolling Stone ranked "If I Needed Someone" at number 51 in its list of the "100 Greatest Beatles Songs".

Other versions
Aside from the Hollies, several artists covered "If I Needed Someone" soon after the Beatles recorded it. Stained Glass released the song as their first single – a version that Billboard magazine described as an "impressive debut" and "an exciting off-beat ballad". Having struggled to maintain their relevance against British Invasion bands, the Kingsmen recorded the song with an arrangement that authors Stuart Shea and Robert Rodriguez recognise as "a prototypically American response to British folk". This version, which failed to chart in the US when issued as a single, later appeared on the group's 1966 album Up and Away. Other artists who recorded it in 1966 include the Cryan' Shames, for their debut album, Sugar and Spice, and Hugh Masekela, who released it on Hugh Masekela's Next Album and went on to collaborate with the Byrds on their January 1967 single "So You Want to Be a Rock 'n' Roll Star".

Harrison performed "If I Needed Someone" throughout his 1991 Japanese tour with Eric Clapton, a version from which appeared on the 1992 album Live in Japan. When discussing his choice of material for the tour, which was Harrison's first since his 1974 North American tour with Ravi Shankar, he told Billboard that the song was an obvious inclusion, given that the Beatles had played it during their only visit to Japan, in 1966. On this 1991 live version, in Inglis' description, Clapton's "looping guitar solos" complement Harrison's vocal, which is more prominent than on the Beatles' original and sung in the style of Dylan. In November 2002, a year after Harrison's death, Clapton performed the song at the Concert for George, held at London's Royal Albert Hall.

According to press announcements prior to the release in December 2002, Roger McGuinn recorded "If I Needed Someone" for inclusion on the multi-artist Harrison tribute album Songs from the Material World. The song did not appear on that release, but in 2004 McGuinn issued it as the opening track of his album Limited Edition. In his book on the making of Rubber Soul and its legacy, Kruth describes McGuinn's cover as "a supersonic reading" from the "master of the Rickenbacker twelve-string chime". In interviews to promote Limited Edition, McGuinn recalled Harrison's adaptation of the "Bells of Rhymney" riff as being "kind of a cool cross-pollination" and said that it was "a great honor to have in some small way influenced our heroes the Beatles".

Other artists who have covered "If I Needed Someone" include James Taylor and the doom metal band Type O Negative. The latter included it with "Day Tripper" and "I Want You (She's So Heavy)" as part of a Beatles medley on their 1999 album World Coming Down. In 2005, Nellie McKay recorded the song in the lounge jazz style for the multi-artist compilation This Bird Has Flown: A 40th Anniversary Tribute to the Beatles' Rubber Soul. The English folk duo Show of Hands have also covered the song, incorporating Eastern instruments such as the tabla. Their version appeared on the 2006 compilation Rubber Folk and on Harrison Covered, a Harrison tribute CD accompanying the November 2011 issue of Mojo.

Personnel
According to Ian MacDonald, the line-up on the Beatles' recording was as follows:

The Beatles
 * George Harrison – double-tracked lead vocal, lead guitar
 * John Lennon – harmony vocal, rhythm guitar
 * Paul McCartney – harmony vocal, bass guitar
 * Ringo Starr – drums, tambourine

Additional musician
 * George Martin – harmonium

title: If I Needed Someone


text:
Mulbarton

Mulbarton could refer to:

 * Mulbarton, Norfolk, United Kingdom
 * Mulbarton, Gauteng, South Africa

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

title: Mulbarton


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The Nature of the Judicial Process

The Nature of the Judicial Process is a legal classic written by Associate Justice of the United States Supreme Court, and New York Court of Appeals Chief Judge Benjamin N. Cardozo in 1921. It was compiled from The Storrs Lectures delivered at Yale Law School earlier that year.

Summary
The central question of The Nature of the Judicial Process is how judges should decide cases. Cardozo's answer is that judges should do what they have always done in the Anglo-American legal tradition, namely, follow and apply the law in easy cases, and make new law in hard cases by balancing competing considerations, including the paramount value of social welfare. Cardozo identifies four leading methods of legal analysis: (1) the method of logic (or "analogy," or "philosophy"), which seeks to extend legal principles in ways that preserve logical consistency; (2) the method of history (or "evolution"), which adverts to the historical origins of the legal rule or concept; (3) the method of custom (or "tradition"), which views social customs as helpful guides to community values and settled expectations; and (4) the method of sociology, which looks to considerations of reason, justice, utility, and social welfare. Each of these methods may have their "preponderating value" in particular cases. No simple test or rigid formula can decide which method should prevail in a given case. But in difficult cases where a legal rule is outmoded or the law contains "gaps" that must be filled, judges should frankly play the role of legislators and let "the welfare of society fix the path."

Cardozo admits that there are risks in judicial lawmaking. To minimize these, he points to a number of factors that significantly limit judicial discretion. First, judges may make new law only "interstitially," that is, when the law contains gaps or a legal rule is clearly obsolete. Second, judges in their exercise of judicial review should never strike down a law unless it is "so plainly arbitrary and oppressive that right-minded men and women could not reasonably regard" it otherwise. Finally, when judges invoke norms such as "reason," "justice," or "social advantage" when employing the method of sociology, they should look to community standards rather than to their own personal values. In the Anglo-American system of law, Cardozo remarks, a judge "is not a knight-errant, roaming at will in pursuit of his own ideal of beauty or of goodness." In the final balance, a judge's freedom to innovate is insignificant "compared with the bulk and pressure of the rules that hedge him on every side."

In claiming that judges do and must make law, Cardozo was siding with Oliver Wendell Holmes Jr., Roscoe Pound, John Chipman Gray, and other American "proto-realists" of his day who were challenging the traditional "oracular" or "mechanical" or "formalist" view of judicial reasoning. On that view, judges never make law, they simply discover pre-existing law and apply it. According to strict formalists, there are no hard cases where the law is silent, or ambiguous, or vague, or contradictory, or couched in broad generalities. Rather, the law is clear, consistent, and complete; all legal questions have a single correct answer; and judges are (in Blackstone's phrase) "living oracles" who deduce inexorable legal conclusions from indisputable legal axioms.

Formalism was not Cardozo's only target in The Nature of the Judicial Process. He also attacked radical critics of formalism, such as John Chipman Gray, who claimed that judges have immense freedom and rejected the very idea of law as a set of binding rules. Gray and other proto-realists of the time tried to demystify law and view it with hard-headed pragmatism. They argued that since judges are the ultimate arbiters of law, "law" in the final analysis is whatever judges say it is (or what they predictably will say it is in the future). Cardozo argued that this is not an "analysis" of law, but a denial that any true law exists. The proto-realists confuse right with power. Judges may have the power to ignore settle legal standards, but they do not have the right. Moreover, the attempt to identify law with judicial rulings ignores the fact that the great majority of legal questions have clear, uncontroversial answers that guide everyday conduct and are never litigated in courts.

Reception and influence
The Nature of the Judicial Process established Cardozo "as one of the leading jurists of his time" and "has become a classic of legal education." Its continuing appeal is due, in part, to its self-effacing tone, its lapidary prose, and its attempt to strike a happy medium between legal formalism and radical realist theories that wholly reject traditional views of law, legal reasoning, judicial restraint, and the rule of law.

The great success of Cardozo's The Nature of the Judicial Process created demand for further reflections on the law. In two later works, The Growth of Law (1924) and The Paradoxes of Legal Science (1927), Cardozo refined, deepened, and to some extent modified the views of law laid out in The Nature of the Judicial Process.

Notable quotations

 * The great generalities of the constitution have a content and a significance that vary from age to age. (17)
 * Nothing is stable. Nothing absolute. All is fluid and changeable. There is an endless "becoming." We are back with Heraclitus. (28)
 * The final cause of law is the welfare of society. (66)
 * A constitution states or ought to state not rules for the passing hour, but principles for an expanding future. (83)
 * The great ideals of liberty and equality are preserved against the assaults of opportunism, the expediency of the passing hour, the erosion of small encroachments, the scorn and derision of those who have no patience with general principles, by enshrining them in constitutions, and consecrating to the task of their protection a body of defenders. (92)
 * The judge, even when he is free, is still not wholly free. He is not to innovate at pleasure. He is not a knight-errant, roaming at will in pursuit of his own ideal of beauty or of goodness. He is to draw his inspiration from consecrated principles. (141)
 * We shall have to feel our way here as elsewhere in the law. Somewhere between worship of the past and exaltation of the present, the path of safety will be found. (160)
 * I was much troubled in spirit, in my first years upon the bench, to find how trackless was the ocean on which I had embarked. I sought for certainty. I was oppressed and disheartened when I found that the quest for it was futile. I was trying to reach land, the solid land of fixed and settled rules, the paradise of a justice that would declare itself by tokens plainer and more commanding than its pale and glimmering reflections in my own vacillating mind and conscience. (166)
 * The great tides and currents which engulf the rest of men do not turn aside in their course and pass the judges by. (168)
 * The future . . . is yours. We have been called to do our parts in an ageless process. Long after I am dead and gone, and my little part in it is forgotten, you will be here to do your share, and to carry the torch forward. I know that the flame will burn bright while the torch is in your keeping. (179-80)

title: The Nature of the Judicial Process


text:
Run for Your Life (Beatles song)

"Run for Your Life" is a song by the English rock band the Beatles from their 1965 album Rubber Soul. It was written primarily by John Lennon, though credited to Lennon–McCartney.

Lyrics
The song's lyrics establish a threatening tone towards the singer's unnamed girlfriend (referred to throughout the song as "little girl"), claiming "I'd rather see you dead, little girl, than to be with another man." The line was taken from an early Elvis Presley song, "Baby Let's Play House" (written by Arthur Gunter).

Composition and recording
"Run for Your Life" was the first song recorded for Rubber Soul, on 12 October 1965; "Norwegian Wood (This Bird Has Flown)" was also recorded later that day. The song has only one section, a verse-refrain combination, with the guitar duet introducing a six-bar blues. As with most other songs on Rubber Soul, McCartney sings the higher register of the three-part harmony.

Release and reception
Rubber Soul was released on 3 December 1965, with "Run for Your Life" sequenced as the album's closing song. Since release, the song has garnered a mixed-to-negative response from music critics. Lennon designated it as his "least favourite Beatles song" in a 1973 interview. He also stated that it was one of George Harrison's favourites on Rubber Soul at that time, despite Lennon's dislike of it. Ian MacDonald criticised the vocal performance and added these comments about the guitar: "The guitar-work, some of which is badly out of tune, is similarly rough, the piercingly simplistic blues solo suggesting that the player was not Harrison but Lennon himself." Thomas Ward of AllMusic similarly criticised the song, calling it "arguably the weakest" on Rubber Soul, and one of the "lesser items in the entire Lennon–McCartney songbook". Ward further criticised the song's lyrics, calling them "trite", and the melody, calling it "bland and uninteresting". While he did compliment Lennon's vocal performance and Harrison's "lovely" guitar part, he nonetheless deemed the song "one of the Beatles most dispensable items". The Beatles never performed the song live.

Personnel

 * John Lennon – vocal, acoustic 12-string guitar, slide guitar
 * Paul McCartney – harmony vocal, bass
 * George Harrison – harmony vocal, electric rhythm guitar, lead guitar
 * Ringo Starr – drums, tambourine
 * Personnel per Ian MacDonald

Covers
A 1966 version of "Run for Your Life" performed by Nancy Sinatra was released on her album Boots. Although it did not chart nationally, this version experienced regional success at such stations as WPTR in Albany, New York.

The song was also recorded by Gary Lewis & the Playboys on their album She's Just My Style, which was released in March 1966. Johnny Rivers also released the song in 1966 on his live album ...And I Know You Wanna Dance. Herman Brood covered the song on his 1989 album Yada Yada. Thee Headcoatees also covered it on their album "Girlsville" in 1991.

title: Run for Your Life (Beatles song)


text:
New Brighton, South Africa

New Brighton, South Africa is the name of several places:

 * New Brighton, Gauteng
 * New Brighton, Eastern Cape

title: New Brighton, South Africa


text:
Park Eun-sik

Park Eunsik (September 30, 1859 - November 1, 1925) was a Korean historian and the second President of the Provisional Government of the Republic of Korea in Shanghai during part of 1925. Soon after the impeachment of Syngman Rhee from the presidency, Park was elected the president, but he soon died from illness while in office. Park was succeeded by Yi Sang-ryong as the president.

title: Park Eun-sik


text:
Inna Zobova

Inna Zobova (Russian: Инна Зобова; 1 October 1976) is a Russian actress, fashion model and beauty pageant titleholder who was crowned Miss Russia 1994.

Pageantry
In 1994 she went on to compete in the Miss Universe pageant where she came in second in the National Costume competition and placed 12th overall.

Modeling and fashion
In 2001, she ranked #51 in GQ's 200 Sexiest Women in the World and in 2002, she ranked #105 in The Glamour Girls Hot 500 and in the top 20 for GQ for 2005.

In August 2002, Inna was selected among over 600 models to become the then-new spokesmodel for Wonderbra and the face of the international brand Sephora in 2004, the year she also received the "Top Model of the Year" award at the Marie Claire Fashion Awards.

In 2011, Inna Zobova participates as a fashion expert and judge, to the TV show called Top Model po-russki, which is a local version of the famous U.S. reality show America's Next Top Model.

Acting

 * Double Zero (2004) Alexandrie
 * People (2005) Tatiana
 * Z Joke (2013) Isadora

Notable TV guest appearances

 * On a tout essayé (France2, 2005)
 * Tout le monde en parle (France2, 2005)
 * Eurotrash (Channel 4, 2005)
 * Tout le monde en parle (France2, 2004)
 * 20 heures pétantes (Canal+, 2004)
 * Miss Europe 2003 (TF1, 2003) as a Judge
 * Le grand Cabaret (France2, 2003)
 * Porta a Porta (RAI, 2002)

TV documentary

 * Soda (France 5, 2003)
 * C'est leur destin (M6, 2002)

title: Inna Zobova


text:
Žeževica

Žeževica is a village in central Dalmatia, Croatia with a population of 350 (2011). It is located in the municipality of Šestanovac, 15 km from the Adriatic Sea.

The community has a Mediterranean climate, and the streets are lined with stone houses and historic structures. The village's main landmark is the Church of St. George, built in 1776, which is located on a natural landmark, a hill named Orje.

Žeževica is situated at the base of the Biokovo mountain. A short distance from Žeževica are some of the biggest Croatian tourist centers: Brela, Baška Voda and Makarska. Nearby is a river, the Cetina, which is a popular destination for rafting.

The village is mostly Roman Catholic.

The village is divided into two parts: Upper and Lower Žeževica.

In November 2005, a construction project was begun to build the Šestanovac-Ploče subsection of the Split-Dubrovnik highway, passing through Lower Žeževica. By the end of 2008. highway is opened.

title: Žeževica


text:
Cyndy Violette

Cyndy Violette (born August 19, 1959, in Queens, New York) is an American professional poker player who won a World Series of Poker bracelet in 2004.

Background
Violette often played poker with family members as a child. Her family relocated to Las Vegas when she was 12 years old; Violette took to playing casino poker once she reached the legal age of 21. She spent a short time as a casino employee, working as a blackjack and poker dealer.

Career
In 1985, Violette took the top prize of $75,000 at a seven-card stud tournament at the Golden Nugget; at the time this was the biggest tournament prize ever won by a woman. Shortly thereafter, she married her second husband, and took a two-year hiatus from poker.

In 1990, Violette returned to the poker scene by winning $62,000 in a tournament at Caesars Palace. She maintained her residence in Washington state but split time between Las Vegas and Los Angeles. In 1993, Violette divorced her husband and relocated to Atlantic City. She continued to work the poker tournament circuit and was a regular participant in the World Series of Poker (WSOP). She has also competed on the World Poker Tour.

At the 2004 World Series of Poker, Violette won a bracelet in the seven-card stud high-low split tournament. She was one of three women (Kathy Liebert and Annie Duke being the others) to win a gold bracelet in an open tournament in that year's WSOP. At the 2005 WSOP, she had her largest tournament cash to date with a runner-up finish in a $2,000 No Limit Hold'em event for $295,970. As of 2024, her total live tournament winnings exceed $1,400,000. Her 44 cashes at the WSOP account for $948,842 of those winnings.

title: Cyndy Violette


text:
Captain Planet and the Planeteers (video game)

Captain Planet and the Planeteers is a video game released for various platforms in the early 1990s, loosely based on the environmentalist animated series Captain Planet and the Planeteers and developed by Mindscape Inc. Three versions were developed to suit three different platform capabilities, each with markedly different gameplay. The Amiga and Atari ST versions were released in late 1991, and the ZX Spectrum, Amstrad CPC, Nintendo Entertainment System, and Sega Mega Drive versions were released in 1992.

NES version
The NES version has five levels, each of which are divided into two different types of stages. The first involves controlling the international teen heroes, the Planeteers, flying their Eco-Jet to an enemy fortress, while avoiding instant death by touching any of the scenery, projectiles, or birds. The second stage involves controlling Captain Planet, fighting toward an ecovillain from the TV series.

The NES version's levels are set in the Yellowstone National Park, the Atlantic Ocean, Africa, and Antarctica.

Amiga/Atari ST version
The Amiga/Atari version has five stages, one for each Planeteer, and a final stage controlling Captain Planet. Each Planeteer stage has at least one objective, and some have two: to clean up pollution using the Planeteer's magic ring power, or to rescue a particular type of animal using a Planeteer vehicle. Completing the objectives opens the exit gate for the level; touching environmental hazards or the unusual monsters costs a life, failing the objective by killing any of the animals will crack the Planeteer's ring depicted at the bottom of the screen (in the Amiga version), opening the level's exit gate early. The final level allows the player to control Captain Planet, who must be navigated to the end of the stage by using and swapping powers held in bubbles throughout the level. He has an ecovillain boss fight, with either Hoggish Greedly, Dr. Blight and her computer MAL, Looten Plunder and his assistant Argos Bleak, or Duke Nukem.

Reception
The computer magazine Crash rated the game 88 out of 100. Sega Pro gave the game a mixed review, rating it 59 out of 100 and describing it as "dull and repetitive".


text:
User:Georgekao

http://www.georgekao.com

title: User:Georgekao


text:
Self (novel)

Self is a novel by Yann Martel. It tells the story of a traveling writer who wakes up one morning to discover that he has become a woman. It was first published by Knopf Canada in 1996.

Plot summary
The narrator, at first male, explains various events from his early childhood, living with a traveling family who finally settle in Ottawa, Ontario. He goes on to explain events from his years in private school (including his parents' death), until he graduates and travels to Portugal, where he, on his eighteenth birthday, wakes up as a female.

Surprisingly unfazed by her transformation, the narrator concludes her trip and begins university back in the fictional Roetown. She begins writing, and keeps travel in her life, eventually visiting such places as Spain and Thailand, to name a few. She shares romances with a select few — males and females alike. Eventually she gets published, and after graduating, moves to Montreal, where she gets a job as a waitress while continuing to write. At her job she meets Tito, her final love. But as the novel is nearing a conclusion, she is suddenly raped by a vicious neighbour in her secluded apartment and her body reverts to being a male again.

Themes
Martel described Self as the crucible of a thematic interest in religious faith that later informed his second work, Life of Pi. Martel also reported in interviews that in writing the book's rape scene he contemplated the relationship between religion and evil: "It made me think about how people live with evil. What interested me in religion is its claim to go beyond the bounds of human existence." Some reviewers noted an autobiographical strand in the book, whose hero is, like Martel, the child of Canadian diplomats and a writer achieving recognition at a young age. It is set partly in Peterborough, Ontario, where Martel was a student at Trent University.

Critical reception
Self was Martel's first novel, and followed the publication in 1993 of The Facts Behind the Helsinki Roccamatios, his first collection of short stories. The novel, in Martel's own words, initially "vanished quickly and quietly", though it was shortlisted for the 21st Chapters/Books In Canada First Novel Award, then Canada's most valuable first-novel award with a prize of 5,000 Canadian dollars.

More critical attention fell upon the book when Martel's second novel, Life of Pi, won the 2002 Man Booker Prize. A reviewer for the Sydney Morning Herald, noting that Martel himself had called the novel "terrible" and expressed a wish that it "disappear", agreed that the work suffered from a "serious crisis of identity", and lacked the power of Life of Pi. The Montreal Mirror went further, calling Self "lame... A pastiche of autobiography and post-modern plot twists, it was haunted by an off-putting tone of smug precociousness." The Toronto Star reviewer objected to Self ' s protagonist's "self-satisfied air", but praised the work for its deft touch and compelling narrative. A writer in The Independent described the book's handling of gender change as "crude confusion", while The Hindu described the book as "interesting ideas juxtaposed against not-so-inspiring writing".

Publication history
Martel received in 1991 a grant of $18,000 from the Canada Council to write Self, which was published in Canada in 1996, with a British launch the same November.

title: Self (novel)


text:
Oakdene

Oakdene may refer to:

 * Oakdene (Baltimore, Maryland), part of the Green Spring Valley Historic District in Baltimore County, Maryland, U.S.
 * Oakdene (Staunton, Virginia), a historic home listed on the NHRP in Virginia
 * Oakdene, Gauteng, a suburb of Johannesburg, South Africa
 * Oakdene Place, listed on the NRHP in Floyd County, Georgia, U.S.
 * SS Oakdene, a 1942 coaster

title: Oakdene


text:
New College of California

New College of California was a college founded in the San Francisco Bay Area in 1971 by former Gonzaga University President John Leary. It ceased operations in early 2008.

New College's main campus was housed in several buildings in the Mission District in San Francisco. The offices at 777 Valencia Street and companion buildings across the street were home to its humanities-based programs, including the Humanities BA, Mathematics, Poetics, Writing and Consciousness, Media Studies, Graduate Psychology, Experimental Performance Institute, Women’s Spirituality MA, Humanities and Leadership, Activism and Social Change, the Teacher Credential Program, as well as a broadcast studio and administration offices. New College of California School of Law was located at 50 Fell Street in the city's Civic Center. The North Bay Campus in Culture, Ecology and Sustainable Community was housed in Santa Rosa, California, in a building owned by the Arlene Francis Foundation, a private foundation run by Peter Gabel, former president of New College and Arlene Francis's son. The Science and Math Institute classes were initially held at the building at 50 Fell Street then morphed online to Southern California University of Health Sciences in Whittier, California, within 12 mi of downtown Los Angeles.

History
The college was founded in 1971 by John Leary, who previously served as the president of Gonzaga University. A year earlier, while serving as the Vice President for University Relations at Santa Clara University, Leary first proposed the idea for an experimental college centered around Socratic Seminars. The idea was rejected by Santa Clara's administration, but served as the foundation for the New College of California, which Leary established with departing Santa Clara professor Bob Raines. The New College began with approximately a dozen students enrolling in classes held in Leary's living room in Sausalito. Leary convinced various acquaintances of his to help fund this endeavor, and used this money to hire faculty. The following year, Leary moved the school's classes to a warehouse he purchased in Sausalito. By 1973, a tuition strike had engulfed the school, creating a deficit, and causing the school's trustees to pressure Leary for administrative and financial reform. Instead, Leary resigned in 1974, and was replaced by Les Carr. The college moved to 777 Valencia in San Francisco in 1975. The college was accredited by the Western Association of Schools and Colleges (WASC) in 1976. In 1978, local newspapers uncovered that Carr had been selling Honorary PhD degrees for $25,000, and was subsequently fired. In place of Carr, Martin Hamilton, Mildred Henry, and Peter Gabel took over as "collaborative leadership". WASC issued a warning to the school in 1980, and placed the school on probation in 1984, citing concerns of the school's curriculum. The association re-affirmed the school's accreditation in 1985, but issued the school another warning in 1988 due to concerns regarding governance, faculty and finances. In 1996, some of the school's staff, including the faculty for the law school, humanities program, and poetry program, unionized, leading to modest economic gains, but no significant change regarding college governance. In 2002, Martin Hamilton took over as the school's president. The same year, WASC reported that the school did not have stable revenue, adequate financial controls, and suffered from "extremely serious management problems". WASC issued another warning in 2005, noting concerns about the college's long-term financial stability. In 2006, it was revealed that the school's founder, John Leary, sexually abused minors while president of Gonzaga University.

Activism
Throughout the college's history, groups of faculty, students, alumni and staff mounted challenges to the school's governance system, but these efforts failed to achieve lasting change. Numerous campaigns by faculty groups seeking reform, often regarding specific academic programs, had no more than limited, short-term influence. Several waves of students organized throughout the college's history, addressing a variety of issues, as well as a greater voice in the college's administration. Student efforts, which sometimes included complaints to WASC, were also unable to achieve lasting change.

2007 WASC investigation
In June 2007, the Western Association of Schools and Colleges (WASC) after years of accreditation, approvals and recertifications, launched an investigation into New College which obliquely alleged that the school suffered from poor record keeping, flawed financial controls, and inadequate curricula and that President Hamilton, was corrupt and engaged in a number of conflicts of interest. The report cited a number of incidents, such as one where a scammer posing as an international student requested class credits in exchange for a large financial gift which never materialized, and another where the school's administration couldn't explain course requirements and specific content of its "Pilot Hybrid Leadership in Urban Transformed Environments" program. As a result, the association put the school on probation. During the week of July 16, 2007, New College held a school-wide faculty meeting. The full-time faculty formed a Core Faculty Council, which met and gave a vote of no confidence in Hamilton. The part-time faculty formed an Adjunct Faculty Council, and the students formed a Student Council. Alumni and alumnae decided to form an Independent Alumni/ae Association. The report sparked protests by students and faculty alike, who pressured Hamilton into resigning on August 2. Though initially Hamilton remained on the board after his resignation, he was forced out, along with Gabel. In his resignation letter, Hamilton claimed that criticism of his administration was due to New College being held to an unfairly high standard and said that criticisms of the school were "petty". After WASC imposed sanctions against the college, the school's faculty tried to move toward greater accountability by forming a college-wide Faculty Council, an effort that drew praise from the association. WASC credited the Faculty Council and the school's new academic leadership for making improvements in the academic affairs of the college. Adjunct faculty, students and alumni also formed new organizations seeking change.

Financial collapse
After Hamilton's resignation, Luis Molina, an attorney who served on the school's board of trustees was inaugurated as the college's interim president. Francisco Leite, a former university administrator from Brazil who Martin Hamilton met while contracting an exchange program with UNAES, became Chief Financial Officer. Molina stated he was working with the school's other board members to earn back the school's accreditation. Molina also promised to reform the school's governance, as students and faculty complained that all real administrative power lay in the hands of Hamilton and his confidants. Molina's interim administration hired an educational consultant to help bring the college into compliance with accreditation standards of WASC, an effort which drew praise from faculty and the association.

After WASC's report, the school's enrollment consequently fell to less than 600; finances of course only worsened, unpaid utility bills prompted Pacific Gas and Electric Co. threaten to turn the school's power off, the Department of Education alleged that the school illegally mishandled scholarships and other aid money, and federal loans and grants were withheld due to unfilled paperwork.

By the end of 2007, the United States Department of Education (DOE) placed the college on heightened cash monitoring after discovering improprieties in the financial aid office, preventing financial aid funds from being disbursed until after New College's paperwork passed a review. The financial aid staff hired by Molina and Leite were unable to fix the files to conform to DOE standards, and DOE investigation also revealed that the school failed to keep required records and could not account for large amounts of federal financial aid funds. As a result, DOE revoked New College's eligibility to receive federal financial aid funds.

A meeting in November 2007 found that the school was losing $80,000 each month, and was contemplating pay cuts for faculty, layoffs, and even bankruptcy protection. The same month, the school stopped paying its faculty. The school, which was set to begin its spring 2008 trimester on January 8, effectively shuttered, and classes were not held. Law School faculty continued teaching through the spring semester after being promised that pay would be forthcoming at the start of the semester. The DOE, citing the college's poor record keeping and financial issues, withheld financial aid from the school.

The college owes its faculty and staff millions of dollars in back pay. In July 2008, the college acknowledged its debts in agreements it signed to settle wage claim disputes filed with the Department of Industrial Relations. A number of creditors of the college have prevailed in lawsuits.

Accreditation was revoked in February 2008 by WASC for numerous violations, including lack of proper governing structure, failure to keep proper student records, and lack of oversight by the Board.

Students of the New College of California School of Law transferred to John F. Kennedy University Law School in April 2008. The Women’s Spirituality MA program transferred to the Institute of Transpersonal Psychology in Palo Alto in May 2008. The North Bay Campus' Green MBA moved to Dominican University of California in March 2007.

Alumni

 * Susie Bright, feminist author
 * Dossie Easton, author and psychotherapist
 * Ford Greene, attorney
 * Marya Hornbacher, author
 * Michael Lerner, author and rabbi
 * Eric Mar, San Francisco Supervisor (also served as an instructor)
 * Gene Ransom, Athlete and coach

Faculty

 * Harry Britt, gay political activist and former Supervisor for San Francisco, California. Britt also directed the Weekend BA Degree Completion Program.
 * Daniel Cassidy, author, filmmaker, and founder and codirector of the Irish Studies Program.
 * Robert Duncan, founding member of the New College Poetics program.
 * Peter Gabel, Ph.D., was a law professor at New College of California's Law School for 30 years, and served as President for 20 years.
 * Richard Heinberg, scholar on such topics as Peak Oil and Transition strategies, served as core faculty in the North Bay Campus' BA program in Culture, Ecology, and Sustainable Communities.
 * Edie Meidav, novelist, director of the MFA in Writing and Consciousness.
 * David Meltzer, poet and musician of the Beat Generation and the San Francisco Renaissance, taught in the Poetics Program.
 * A. C. Thompson, winner of the George Polk Award for Local Reporting for his series Forgotten City about San Francisco's public housing, and instructor in the Media Studies Graduate Program.

title: New College of California


text:
Oaklands

Oaklands may refer to:

Places:
 * Oaklands, Carmarthenshire, Wales
 * Oaklands, Gauteng, a suburb of Johannesburg, South Africa
 * Oaklands, Hertfordshire, England
 * Oaklands, New South Wales, a town in Australia
 * Oaklands, New Zealand, a suburb of Christchurch, New Zealand
 * Oaklands, County Tyrone, a townland in County Tyrone, Northern Ireland
 * Oaklands, a neighbourhood of Victoria, British Columbia in Canada

Institutions:
 * Oaklands College, in Hertfordshire, England
 * Oaklands Catholic School, in Hampshire, England

Historic houses:
 * Oaklands (Gardiner, Maine)
 * Oaklands (Laurel, Maryland)
 * Oaklands (West Whiteland Township, Pennsylvania)
 * Oaklands, a plantation estate in Murfreesboro, Tennessee, now operated as Oaklands Historic House Museum
 * Oaklands (Toronto), a former mansion that is now part of De La Salle College in Toronto, Canada
 * Oaklands, Pambula, a heritage house in New South Wales, Australia

Related names:
 * Oaklands Cemetery, in West Goshen Township, Pennsylvania
 * Oaklands Park, South Australia
 * Oaklands Junction, suburb of Melbourne, Australia
 * Oaklands railway station, Adelaide, South Australia

title: Oaklands


text:
The Flying Saucer

The Flying Saucer is a 1950 independently made American black-and-white science fiction spy film drama. It was written by Howard Irving Young, from an original story by Mikel Conrad, who also produced, directed, and stars with Pat Garrison and Hantz von Teuffen. The film was first distributed in the U.S. by Film Classics and later re-released in 1953 by Realart Pictures, on a double-bill with Atomic Monster (the retitled-reissue of Man Made Monster, originally released in 1941 by Universal Pictures).

The Flying Saucer was the first feature film to deal with the (then) new and hot topic of flying saucers. Flying saucers, or alien craft shaped like flying disks or saucers, were first identified and given the popular name on June 24, 1947, when private pilot Kenneth Arnold reported seeing nine silvery, crescent-shaped objects flying in tight formation. A newspaper reporter coined the snappy tagline, "flying saucers", which captured the public's imagination. During the 1947 flying disc craze, over 800 'copycat' sightings were reported throughout North America.

The film has no relationship and should not be confused with the later Ray Harryhausen science fiction film Earth vs. the Flying Saucers, released by Columbia Pictures.

Plot
American Intelligence officials learn that Soviet spies have begun exploring a remote region of the Alaskan Territory in search of answers to the worldwide reports of "flying saucers". A wealthy American playboy, Mike Trent, who was raised in that remote region, is recruited by intelligence officer Hank Thorn to assist a Secret Service agent in exploring that area to discover what the Soviets may have found.

To his surprise, Mike discovers the agent is an attractive woman named Vee Langley. They set off together and slowly become mutually attracted to each other. Their cover story is that Mike is suffering from a nervous breakdown and she is his private nurse. At Mike's family's wilderness lodge, they are met by a foreign-accented caretaker named Hans, who is new to the job.

Mike is very skeptical of the flying saucer reports until he spots one flying over the lodge. Assorted complications ensue until Mike and Vee finally discover that Hans is one of the Soviet agents who is trying to acquire the flying saucer. It turns out that the saucer is an invention of American scientist Dr. Lawton. However, Lawton's assistant, Turner, is a communist sympathizer and has other ideas: he tries to make a deal to sell the saucer to the Soviets for one million dollars.

Mike's trip to Juneau to see old friends, including Matt Mitchell, is ill-advised. When Vee tracks him down, he is in the company of a bar girl, named Nanette. Matt gets mixed up with the Soviet agents who are trying to obtain control of the saucer. When he tries to strike a bargain with the ring leader, Colonel Marikoff, at the spy's headquarters, Matt is knocked unconscious.

He is able to escape and seeks out Mike, but they are attacked by the Soviets, who kill Matt. Before he dies, however, Matt reveals the location of the saucer: Twin Lakes. Mike rents an aircraft and flies to where the saucer is hidden at an isolated cabin. After flying back to his lodge, he tries to find Vee, who has tried to spirit Lawton away. The trio are captured by the turncoat Taylor and a group of Soviet agents. The Soviets lead their prisoners through a secret tunnel hidden under the glacier. An avalanche begins and wipes them out. Mike, Vee, and Lawton escape the tunnel just in time to see Turner fly off in the saucer. It suddenly explodes in mid-air, due to a time bomb that Lawton had planted on board for such an eventuality. Their mission now accomplished, Mike and Vee embrace and kiss.

Cast

 * Mikel Conrad as Mike Trent
 * Pat Garrison as Vee Langley
 * Hantz von Teuffen as Hans
 * Roy Engel as Dr. Lawton
 * Lester Sharpe as Col. Marikoff
 * Denver Pyle as Turner, a spy
 * Earl Lyon as Alex, a spy
 * Frank Darrien as Matt Mitchell
 * Russell Hicks as Intelligence Chief Hank Thorn
 * Virginia Hewitt as Nanette, bar girl
 * Garry Owen as Bartender

Production
Principal photography for The Flying Saucer took place from late September to early October 1949 at Hal Roach Studios. Additional B-roll photography was shot in Alaska on location where, according to a September 21, 1949 article in the Los Angeles Examiner, Mikel Conrad claimed to have obtained footage of actual flying saucers while shooting Arctic Manhunt in Alaska in the winter of 1947.

The opening prologue appears before the onscreen credits and states: "We gratefully acknowledge the cooperation of those in authority who made the release of the 'Flying Saucer' film possible at this time." The message obliquely alluded to some authorized government films of flying saucers. None of that footage was actually included in The Flying Saucer.

Reception
The Flying Saucer did not rise above its B film origins. Its low budget production doomed it to the bottom end of theater playbills and drive-ins. The New York Times film critic Bosley Crowther observed: "A film called 'The Flying Saucer' flew into the Rialto yesterday and, except for some nice Alaskan scenery, it can go right on flying, for all we care. In fact, it is such a clumsy item that we doubt if it will go very far, and we hesitate, out of mercy, to fire even a critical shot at it".

Copyright
All rights to The Flying Saucer have been owned worldwide since 1977 by Wade Williams. Copyright was renewed on November 29, 1977 (R 677308), Library of Congress Copyright Office.

title: The Flying Saucer


text:
Talk:List of songs from Sesame Street

songs
There are a while series of songs of the form letter is for noun in Sesame Street (and I presume that there are ever increasing number of these...).

There is a song involving a bunch of pigs singing about a new way to walk.
 * "I've got a new way to walk" --  user:zanimum

What about "Sugar Beet"? ("Beet beet sugar beet, sugar beet, beet beet bee-eet...")  —Preceding unsigned comment added by 173.77.100.17 (talk) 04:21, 10 January 2010 (UTC)

Should the songs involving guest stars be included in this list too?
 * Why not? --  user:zanimum

I remember two songs that were sung in harmony by two men. The first went; "two can do something better than one with cooperation” and the other (last line) "one day one hap hap happy day I’m gonna do it by myself" I would like to find out the titles and authors, artist who preformed them.
 * -- user:skeltin

What happened to "Would You Like to Buy an O?" with that creepy guy and Ernie? You know, "would you like to buy an O, circular and sweet? O looks just like a donut, even good enough to eat. It'll cost ya just a nickel! A NICKEL! Sssh! A nickel? Right. So buy the O, and take it home, tonight, don't ask any questions, just buy the O, and take it home tonight." user:ilikerad —Preceding unsigned comment added by 98.148.71.237 (talk) 20:09, 5 February 2010 (UTC)

instrumentals with video clips
I remember two separate video clips with instrumental music that I'd love to find - one has a man and some children walking while the man plays a steel drum - upbeat until then end when it winds down... the other is mellow and calming and is played while the video shows raindrops landing on all sorts of things, flowers, puddles, etc... Anyone have any information on any of these? 68.72.114.67bluidrdhd

clarification
Ernie sings "If I knew you were coming I'd have baked a cake" on a 70's episode of german sesame street (he sings it for cookie monster while baking a cake). Apparently, the song is performed on the U.s. sesame street by The Count and cookie monster, though. Does anyone know if the Ernie/Cookie version I saw was ever shown on the U.S. show? The song doesn't seem to be on any of the sesame street LPs. I only own an LP with the German performance. -- Enno 23:17, 8 December 2005 (UTC)

More instrumental music
I'm trying to identify a slow instrumental piece for guitar and string group that was played while a single daisy was shown up close from various angles then slowly panning out to show it alone on a balcony on a tall apartment block. It was shown in the early 70's. Any Ideas?

 * I'm dying to know who's responsible for the song that plays during the "orange crayon" sequence. It's haunting my dreams.Destroyermoth 11:55, 6 December 2006 (UTC)

excluded songs?
isnt a jonathan richman/ the modern lovers' song "i'm a little airplane,now[sic]" featured on the show? As i recall, it's played while a bunch opf kids are running across a bridege with their arms out, pretending to be airplanes(i think it's a clip from the late 70's or early 80's)then it was updated to show elmo and some other characters in the show pretending to be airplanes.

thousands
I'm not sure this list meets the criteria for WP:N, someone may want to look into that. As is evident at Muppet Wiki, there are over 740 songs catalogued right now and not even one quarter of the over 4,000 episodes have been looked at at this point. At the very least this should be reorganized into only notable and recurring songs from the show. —scarecroe 00:54, 28 July 2007 (UTC)

Simon Soundman
What about "All those remind me of you"?-DANO- (talk) 22:45, 14 December 2008 (UTC)

Notability
Shouldnt "put down the duckie" have an article, considering that, according to this article, its one of the most covered songs in human history? yeesh. article should be seriously trimmed, this content is for the sesame street wiki.Mercurywoodrose (talk) 05:46, 15 August 2010 (UTC)
 * My apologies for the snarky comment. i now see its one performance with cameos. of course, the editor could have written that, as i have now.Mercurywoodrose (talk) 16:51, 28 May 2011 (UTC)

O song
No O song?--Jondel (talk) 00:22, 20 June 2012 (UTC)

Unsourced
the page is unsourced, but all or most of the songs listed can have a reliable source. Ssjhowarthisawesome (talk) 15:32, 14 August 2017 (UTC)

correction on song title
I'm correcting the title for one song. Bert sang "Doin' The Pigeon", NOT penguin. There's even sort of a dance he does to it. (You can see the clip here: https://www.youtube.com/watch?v=VDJsgtoizj8)  Elsquared (talk) 04:14, 3 June 2019 (UTC)

title: Talk:List of songs from Sesame Street


text:
Talk:The Damnation Game (album)

Fair use rationale for Image:SymphonyXTheDamnationGame.jpg
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Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 06:21, 24 January 2008 (UTC)

title: Talk:The Damnation Game (album)


text:
Sergei Gavrilovich Simonov

Sergey Gavrilovich Simonov (Russian: Сергей Гаврилович Симонов; 9 April 1894 – 6 May 1986) was a Soviet weapons designer who is considered one of the fathers of the modern assault rifle.

Mostly known for the Samozaryadnyi karabin sistemi Simonova (Russian: Самозарядный карабин системы Симонова), 1945 (Self-loading Carbine, Simonov's system, 1945), or SKS carbine, he also pioneered the assault and semi-automatic rifle field in the 1920s and 1930s, mostly under the supervision of both Vladimir Fyodorov and Fedor Tokarev. His early work preceded both the M1 Garand (of 1933), and the later M1 Carbine, AK-47, and M16 series.

Born in 1894 in Fedotovo, Simonov began work in a foundry immediately after completing his elementary school studies. By the end of World War I, after completing a basic technician's course of instruction, he began working on a pioneering automatic rifle designed by Vladimir Grigoryevich Fyodorov, the Federov Avtomat. After the Russian Revolution, Simonov continued further at the Moscow Polytechnic Institute, graduating in 1924 to work at Russia's giant Tula Arsenal. By 1926 he had become a quality-control inspector at Tula, and by 1927, had been promoted into the Soviet Design and Development Department where he worked directly under Fyodorov. The Simonov AVS-36, which entered service in the 1930s would see service in the early part of World War II, up to about 1940 or so where it was replaced by other semi-automatic designs.

During World War II, Simonov designed some firearms of his own; a submachine gun which did not enter production, and a self-loading anti-tank rifle, the 14.5×114mm PTRS, which went on to form the basis — in scaled-down form - of the SKS. An earlier semi-automatic rifle, the AVS-36, was hindered by official insistence on using the powerful 7.62×54mmR, which was at that point standard amongst Russian rifles. Unfortunately, as had been demonstrated with the Fedor Tokarev's SVT-40, the rim of the 7.62×54mmR was detrimental to the rapid, reliable function of a semi-automatic rifle.

By 1943, advances in thinking - and confirmed data showed engagements took place between 100 meters to 300 meters — led to the adoption of a shorter, less powerful round, the 7.62×39mm M1943 (also known as "7.62 Soviet" or "7.62 short" to differentiate it from several other rounds in 7.62 mm calibre). Field trials of the new rifle proved the weapon and, in 1944 a pre-production run of the SKS went to the Belorussian Offensive for battlefield trials. After some tweaking, it was officially adopted and designated the 7.62 Samozaryadnyi Karabin Sistemy Simonova Obrazets 1945 g. (translated, "7.62 Self-loading Carbine System Simonov model year 1945") or SKS-45, and chosen as the ideal replacement for the SVT-40.

Weapon Designs

 * AVS-36
 * SVS-38
 * PTRS-41
 * SKS
 * AG-043
 * AKS-53
 * AKS-91
 * AO-63 assault rifle

Honours and awards

 * Hero of Socialist Labour (1954)
 * Three Orders of Lenin
 * Order of the October Revolution
 * Order of Kutuzov, 2nd class
 * Order of the Red Star
 * Order of the Patriotic War, 1st class
 * Order of the Red Banner of Labour, twice
 * Honoured Inventor of the RSFSR (1964)
 * Medal "In commemoration of the 100th anniversary of the birth of Vladimir Ilyich Lenin"
 * Stalin Prize, twice (1942 and 1949)

title: Sergei Gavrilovich Simonov


text:
File:Kenza.jpg

Kenza, Khaled's album cover

title: File:Kenza.jpg


text:
Edward Kolb

Edward W. Kolb, known as Rocky Kolb, (born October 2, 1951) is a cosmologist and a professor at the University of Chicago as well as the dean of Physical Sciences. He has worked on many aspects of the Big Bang cosmology, including baryogenesis, nucleosynthesis and dark matter. He is author, with Michael Turner, of the popular textbook The Early Universe (Addison-Wesley, 1990). Additionally, alongside his co-author Michael Turner, Kolb was awarded the 2010 Dannie Heineman Prize for Astrophysics.

Kolb's collaborators also include Stephen Wolfram and Richard Slansky.

Doctor Kolb is married to Adrienne Kolb, a historian of science, and has three children.

title: Edward Kolb


text:
User talk:Anifinder

poke! — deus ex machina || talk || contributions — 22:22, 22 July 2005 (UTC)

title: User talk:Anifinder


text:
Community for Creative Non-Violence v. Reid

Community for Creative Non-Violence v. Reid, 490 U.S. 730 (1989), is a US copyright law and labor law case of a United States Supreme Court case regarding ownership of copyright.

Facts
The Community for Creative Non-Violence, a homeless charity, paid sculptor James Earl Reid for a statue that depicted the plight of homeless people for a Christmas pageant in Washington DC, called "Third World America". CCNV members visited Reid's Baltimore studio as he made the statue, gave suggestions and directions about its appearance. CCNV paid Reid the final installment on delivery. They had not discussed copyright in the sculpture. They both filed competing copyright registration certificates.

The District Court held that CCNV had the copyright, as it was a ‘work made for hire’ under the Copyright Act of 1976, 17 U.S.C. § 101, owned exclusively by CCNV under § 201(b). This vests copyright ownership of works for hire in the employer or other person for whom the work is prepared, unless there is a written agreement to the contrary.

Court of Appeals for the District of Columbia Circuit
The Court of Appeals, District of Columbia Circuit, held the sculpture was not a ‘work made for hire’ because Reid was not an employee, but an independent contractor. However it remanded to the lower court to determine if the statue's copyright was co-owned under §201(a)

Supreme Court
Justice Thurgood Marshall giving the court's opinion, the Supreme Court held Reid was an independent contractor, not an employee, so the work was not "made for hire" under §101, and the copyright belonged to Reid, at least in part.

The Court determined that Reid's commission was not "specially ordered or commissioned" under paragraph 2 of 17 USC 101's "work made for hire" definition. It then considered whether Reid was an "employee" preparing the sculpture "within the scope of his employment", whose work fell within "work made for hire", or an independent contract whose work did not fall within "work made for hire".

The Court held that common law agency principles should be applied to decide whether a work is made by an employee or an independent contractor. While the statute was silent on the meaning of "employee," Congress could be inferred to have wanted to incorporate agency law definitions, as it also referred to the term "scope of employment" that agency law uses. The general common law of agency must be used over the law of any particular state, in order to create a uniform, nationwide law.

The Court listed 11 factors in determining whether someone is an independent contractor or an employee. "In determining whether a hired party is an employee under the general common law of agency, we consider the hiring party's right to control the manner and means by which the product is accomplished. Among the other factors relevant to this inquiry are [1] the skill required; [2] the source of the instrumentalities and tools; [3] the location of the work; [4] the duration of the relationship between the parties; [5] whether the hiring party has the right to assign additional projects to the hired party; [6] the extent of the hired party's discretion over when and how long to work; [7] the method of payment; [8] the hired party's role in hiring and paying assistants; whether the work is part of the regular business of the hiring party; [9] whether the hiring party is in business; [10] the provision of employee benefits; [11] and the tax treatment of the hired party."

Based on these factors, the Court held Reid was an independent contractor. Reid supplied his own tools, was without any extensive supervision and was free in the way he met his deadlines. CCNV could not assign more projects to Reid, and paid him in the normal manner independent contractors are done.

The case was remanded to determine whether CCNV could still be regarded as a joint author of the sculpture and co-owner of the copyright, if the District Court determined that the parties intended their contributions be merged into a unitary whole.

Significance
While the case was pending on remand, Mitch Snyder of CCNV died. The parties subsequently filed a “Joint Motion for Entry of Consent Judgment.” The consent judgment has the following terms:

 * Reid was the author of Third World America and solely owned the copyrights to three-dimensional copies of the work, but Reid agreed to certain restrictions on how three-dimensional copies presented the work.
 * CCNV solely owned the physical copy of the sculpture.
 * CCNV and Reid were co-owners of two-dimensional copies of the work. The consent specified certain restrictions on how both parties could authorize displays of the two-dimensional copies.

Community for Creative Non-Violence v. Reid, 1991 WL 415523 (D.D.C. 1991).

In Nationwide Mut. Ins. Co. v. Darden (1992), Justice David Souter used the Court's understanding of the term employee in Reid to influence the decision, applying the Reid reading to all cases where the term employee is not otherwise defined by the statute.


text:
Talk:Xanthosoma

Cocoyam farmer image
Can anyone tell me why my picture won't show up? It clicks through okay, but the image won't display on the article page. BrianSmithson 02:58, 17 July 2005 (UTC)

 * Very strange. I tried adding and subtracting thumb and frame tags, and I tried putting it on another page instead of this one, both with no luck.  I thought of downloading the full version and reuploading it under another name, but clicking on the "download high resolution" link brought me to an error page, both here and on the Commons.  That seems somehow suggestive, but I'm not sure exactly of what. Perhaps you could reupload it under the same or under a different name? — Pekinensis 13:47, 17 July 2005 (UTC)

 * I re-uploaded at the Commons. Seems to be working now. BrianSmithson 21:15, 17 July 2005 (UTC)

 * Excellent! Thank you for this very nice improvement to the article. — Pekinensis 21:22, 18 July 2005 (UTC)

Non-specific information was problematical
Marshman, could you explain your recent removal of text in more detail? I'm not sure I understand your edit summary. — Pekinensis 04:31, 28 July 2005 (UTC)

 * I deleted all the material about "this plant". This is an article about the Genus Xanthosoma. The information you provided seems interesting and valuable, but because there was no way to relate "this plant" to any one of the many species of Xanthosoma, the text simply did not fit the article. If you can establish the species for that text, then it could be returned here under a heading for that species. The sense of it was simply not that you were describing all Xanthosomna species. - Marshman 04:32, 28 July 2005 (UTC)

The introductory paragraph lists four species grown as crops (extracted from http://www.kallus.com/aroids/ediblescientific.htm). Because the different species have substantial commonalities, and because the same difficulty of relating information to a particular species applies to almost all the available source documents, it seemed appropriate to keep all of the available information in the genus article, which is still quite moderately sized.

I believe that most of the removed text applies to all of the cultivated species (in fact, to taro as well). I agree that there are problematic parts, such as the history of domestication and distribution, but when merging from malanga, I preferred to keep as much information as possible. I believe that even the problematic parts do not make any false statements, merely some ambiguous ones, and that even with the ambiguities, they have informative value.

— Pekinensis 05:00, 28 July 2005 (UTC)

Of course ideally the details of exactly which species where and when should be in the article; for all I know it might not be so complicated at all, but I don't have the time to figure it out. I have tried to provide a solution for the interim. How do you feel about this version? — Pekinensis 17:20, 28 July 2005 (UTC)

 * That looks good. That was what I had in mind - Marshman 18:16, 28 July 2005 (UTC)

 * As I said, I see no problem with the information per se. However, the term(s) "this plant" means to me either a specific individual plant or a species of plant. This article is on the Genus Xanthosoma, therefore correct English requires "these plants" and the unspecificity of such statements would be helped by creating a subheading (like "Cultivated species") that separates the discussion about these particular plant species from all the species in the genus. As I was unclear what subheading applied, I could not do it myself.  Just using "these plants" implies the information pertains to all species of Xanthosoma. - Marshman 18:13, 28 July 2005 (UTC)

Market image
Image:Cocoyams for sale.jpg is attractive and its presence improves the article, but I must ask one question. Are you sure these are cocoyams? They really look more like cassava to me. You were there in person, and the article could use such a photo, so I am very motivated to believe, but I would like to be sure you are sure. Thank you — Pekinensis 21:22, 18 July 2005 (UTC)

 * Well, I asked the nice little old lady in the market, and she said they were cocoyams (macabo, to be precise). I've never seen the two side by side, so she could have just told me what I wanted to hear. For what it's worth, though, I went to the market that day specifically to get a shot of cocoyam stems. I have two or three other shots I didn't upload of what seems to me to be the same thing, and everyone in the market kept telling me they were macabo. In other words, I'm not entirely sure . . . . BrianSmithson 21:55, 18 July 2005 (UTC)

 * I agree with Pekinensis, but on close inspection of the photo, I think they are very likely to be corms of Xanthosoma, but were grown in a red clay soil that is obscuring most of the surface texture. Cleaned, the two should not look all that much alike. Keep the photo 8^) - Marshman 03:36, 29 July 2005 (UTC)

 * I think so too. Like I said, I asked three or four different people "Where are the macabos?" They then showed me their piles for sale. Most even pointed out different varieties ("This is red macabo, and this is purple macabo . . . . " Although Cameroonians do sometimes tell foreigners what they want to hear, I don't think they'd show someone manioc when asked for macabo. BrianSmithson 04:08, 29 July 2005 (UTC)

 * Great. — Pekinensis 14:47, 29 July 2005 (UTC)

 * Hey, when you say "taken by uploader" - what does that mean? - Marshman 04:23, 29 July 2005 (UTC)

 * Well, I meant it to mean "photograph taken by uploader," as in "to take a photograph." Perhaps I should rephrase it to "photographed by uploader." BrianSmithson 14:01, 29 July 2005 (UTC)
 * It is the "uploader" part that I am not familiar with. What does that term mean and where does it come from? - Marshman 03:57, 30 July 2005 (UTC)
 * Ah. It means "one who uploads". I was the one who both photographed and uploaded (submitted to Wikipedia through the web) the image. BrianSmithson 05:03, 30 July 2005 (UTC)
 * That makes sense. I was considering an "uploader" as some kind of inanimate object. Although I can think of other ways to say that, I'm not an authority on the subject. - Marshman 18:20, 31 July 2005 (UTC)
 * I agree with Pekinensis. You can see that almost all the roots (any are corms),in this photo are cassava (yuca in Venezuela ), but at the center you can see something like sweet potatoes (batata in Venezuela). Any of those roots are cocoyams (ocumo in Venezuela). Cocoyams has a diferent shape and less size than cassava.--Oswaldo macero 18:18, 30 June 2006 (UTC)
 * Again, all I can say is that I asked "Ou sont les macabos?" ("Where are the cocoyams?") and I was repeatedly shown things that look like what's in this picture. "Where is the cassava?" might have been another good question to ask, but I didn't, alas. — BrianSmithson 04:08, 3 July 2006 (UTC)

carlosa- 18:20, 28 July 2006 (UTC)
 * I erased the yuca picture (in the center there are some tubers that look like Xanthosoma tubers but I am not sure...however, most of the tubers are cassava). I find the section on crop uses excellent, but we need a better picture of some Xanthosoma tubers.
 * I've addressed this above. I asked for cocoyams, and that's what I was shown. I asked multiple people, even, and I have two or three images (from different market women) of the same kind of tuber. -- BrianSmithson 14:56, 29 July 2006 (UTC)

 * For the record, here are the other two macabo images I took that same day. I asked three different market women "Where are the cocoyams?" and took pictures of what they showed me. The word for cocoyam and cassava are different in Cameroonian French, and I most definitely used the word for cocoyam. — BrianSmithson 15:18, 29 July 2006 (UTC)

Species
The species for all the names should be specified.

Alternate names
More alternate names: "malanga lila" and "malanga coca." Badagnani 17:49, 2 July 2007 (UTC)

Another alternative word used in Panama is "Otoi". User:wellsjamesd 22:22, 8 July 2007.

There is very little mention in the article of Xanthosoma in Africa, which is curious, given the "cocoyam" photos in Talk. In Rwanda (where I lived for 5 years) this is the common form of "taro"-type vegetables grown, and is known as "Amateke". In Ethiopia we knew it as "Godare" (not sure of spelling). The article mentions it as "Taro Kongkong" in Papua New Guinea. That is the Tok Pisin name. In Papua (where I grew up), in the widespread Motu language it is known as "Aepo". I am a little surprised that it seems largely considered a poor man's food - the variety in Rwanda, Ethiopia and Papua New Guinea is more palatable than the Colocasia taro (qv). And in these cases I never heard of any instance of toxicity or irritation of skins or membranes as described in Hawaii... Could the form I describe be a different species? The tubers/corms grow laterally, as distinct from Colocasia which grow more vertically. Ptilinopus (talk) 23:22, 31 March 2012 (UTC)

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title: Talk:Xanthosoma


text:
Blanca Lake

Blanca Lake is located in the Henry M. Jackson Wilderness Area in the Cascade Mountains of the U.S. state of Washington.

Blanca Lake sits in a basin surrounded by the peaks of Monte Cristo, Kyes, and Columbia. The lake is fed by the Columbia Glacier to the northwest and is drained by Troublesome Creek, a tributary of the North Fork Skykomish River. The glacier's cold, silt-filled melt water is what makes the lake a spectacular turquoise green color making this a prime example of a rock flour lake.

Blanca Lake is accessible only by foot, along the Blanca Lake Trail. The trail begins at 1900 ft. The trail climbs quickly from switchback to switchback, gaining 2700 ft elevation over 3 mi, finally arriving at the top of a ridge. From the ridge-top, the trail continues through sub-alpine meadows until you reach Virgin Lake at 4600 ft. From Virgin Lake, the trail gets rocky, and steeply descends 600 ft over 0.5 mi to Blanca Lake. Due to its elevation, and the heavy snowpack of the Pacific Northwest, Blanca Lake is typically only easily accessible from June until the snows of October or November. Its beauty makes it a very popular destination for hikers, despite the difficult climb up the mountain trail.

To get to the trailhead, take US Forest Road 65/Beckler Road 13.7 mi near Skykomish, WA to the intersection with US Forest Road 63. Northwest Forest Pass is still required to park and a US Forest Service Daily Fee of $5 per vehicle.

title: Blanca Lake


text:
Kenza (album)

Kenza (كنزة) is a fourth studio album by Algerian singer-songwriter Khaled.

Released in 1999, the album was named after Khaled's second daughter Kenza. Kenza is Arabic for "treasure".

Kenza has attained gold certification by Syndicat National de l'Edition Phonographique.

The album was re-released by Ark 21 and Wrasse Records. It is featured in Robert Dimery's 1001 Albums You Must Hear Before You Die.

European edition
Label: Barclay (Universal) The Barclay edition, 543 397 2, contains full sung texts in French or Arabic romanization.
 * 1) "Aâlach Tloumouni" – 5:02
 * 2) "El Harba Wine" (featuring Amar) – 4:33
 * 3) "C'est la nuit" – 5:04
 * 4) "Imagine" (featuring Noa) – 4:07
 * 5) "Trigue Lycee" – 4:43
 * 6) "E'dir E'sseba" – 5:50
 * 7) "Ya Aâchkou" – 3:57
 * 8) "Melha" – 6:07
 * 9) "Raba-Raba" – 5:37
 * 10) "El Bab" – 5:28
 * 11) "El Aâdyene" – 5:37
 * 12) "Gouloulha-Dji" – 5:37
 * 13) "Mele H'bibti" – 6:29
 * 14) "Derwiche Tourneur" – 6:00
 * 15) "Leïli" ("C'est la nuit" Arab version) – 4:08

U.S. edition
Label: Ark 21 USA
 * 1) "Aâlach Tloumouni" – 5:02
 * 2) "El Harba Wine" (featuring Amar) – 4:33
 * 3) "Leïli" ("C'est la nuit" Arab version) – 4:08
 * 4) "Trigue Lycee" – 4:43
 * 5) "E'dir E'sseba" – 5:50
 * 6) "Ya Aâchkou" – 3:57
 * 7) "Melha" – 6:07
 * 8) "Raba-Raba" – 5:37
 * 9) "El Bab" – 5:28
 * 10) "El Aâdyene" – 5:37
 * 11) "Gouloulha-Dji" – 5:37
 * 12) "Mele H'bibti" – 6:29
 * 13) "Derwiche Tourneur" – 6:00
 * 14) "Chebba (Man City Remix)" – 5:19

title: Kenza (album)


text:
Finborough

Finborough may refer to

 * Finborough Hall, now Finborough School, Suffolk
 * The Finborough Theatre, Earls Court, London
 * Great Finborough, Suffolk
 * Little Finborough, Suffolk

title: Finborough


text:
Łeba (river)

The Łeba (Leba), a river in Middle Pomerania (Poland), originates near the village of Borzestowo west of Kartuzy, passes through Łebsko Lake and empties into the Baltic Sea. It is 117 km long with a basin area of 1,801 km².

The town of Lębork lies on the river Łeba, while the town of Łeba on the Baltic coast was originally located west of the present-day mouth of the river.

In the 12th century the lower Łeba marked the eastern border of the Land of Słupsk-Sławno, ruled by the Pomeranian (Griffin) duke Ratibor I and his descendants, while the territory around the castellany of Białogarda was a possession of the Pomerelian duke Sobieslaw I of the Samborides dynasty. After Poland regained Pomerelia in 1294, the Łeba formed the boundary between the Polish part of Pomerania and the Duchy of Pomerania. From 1308, after the Teutonic takeover of Danzig (Gdańsk) and the Treaty of Soldin (Myślibórz), the river formed the western border of the Order's Pomerelian lands with the Duchy of Pomerania until 1466, when Poland regained Pomerelia. From that time the mouth of the Łeba on the Baltic coast marked the north-easternmost point of the Holy Roman Empire till its dissolution in 1806. The adjacent Pomerelian lands of Lauenburg and Bütow (Lębork i Bytów) became a fief of the Polish Crown with the Second Peace of Thorn (1466).

Sights
There is an abundance of architectural and natural attractions near Łeba, above all the Słowiński National Park with its moving sand dunes, about 8 km west of the city. Further objects of interest include:

 * ruins of the Nikolaikirche (St. Nicholas church) west of the city on the way to the beach
 * fishermen's church of 1683 with a painting by Max Pechstein
 * fishermen's dwellings from the 19th century in Kosciuszki street
 * the 19th century casino on Nadmorska street, today the Hotel Neptun
 * former rocket test site near Pletka
 * the dinosaur park south of the city

title: Łeba (river)