text:
Androgen receptor

The androgen receptor (AR), also known as NR3C4 (nuclear receptor subfamily 3, group C, member 4), is a type of nuclear receptor that is activated by binding any of the androgenic hormones, including testosterone and dihydrotestosterone, in the cytoplasm and then translocating into the nucleus. The androgen receptor is most closely related to the progesterone receptor, and progestins in higher dosages can block the androgen receptor.

The main function of the androgen receptor is as a DNA-binding transcription factor that regulates gene expression; however, the androgen receptor has other functions as well. Androgen-regulated genes are critical for the development and maintenance of the male sexual phenotype.

Effect on development
In some cell types, testosterone interacts directly with androgen receptors, whereas, in others, testosterone is converted by 5-alpha-reductase to dihydrotestosterone, an even more potent agonist for androgen receptor activation. Testosterone appears to be the primary androgen receptor-activating hormone in the Wolffian duct, whereas dihydrotestosterone is the main androgenic hormone in the urogenital sinus, urogenital tubercle, and hair follicles. Testosterone is therefore responsible primarily for the development of male primary sexual characteristics, whilst dihydrotestosterone is responsible for secondary male characteristics.

Androgens cause slow maturation of the bones, but more of the potent maturation effect comes from the estrogen produced by aromatization of androgens. Steroid users of teen age may find that their growth had been stunted by androgen and/or estrogen excess. People with too little sex hormones can be short during puberty but end up taller as adults as in androgen insensitivity syndrome or estrogen insensitivity syndrome.

Knockout-mice studies have shown that the androgen receptor is essential for normal female fertility, being required for development and full functionality of the ovarian follicles and ovulation, working through both intra-ovarian and neuroendocrine mechanisms.

Maintenance of male skeletal integrity
Via the androgen receptor, androgens play a key role in the maintenance of male skeletal integrity. The regulation of this integrity by androgen receptor (AR) signaling can be attributed to both osteoblasts and osteocytes.

Role in females
The AR plays a role in regulating female sexual, somatic, and behavioral functions. Experimental data using AR knockout female mice, provides evidence that the promotion of cardiac growth, kidney hypertrophy, cortical bone growth and regulation of trabecular bone structure is a result of DNA-binding-dependent actions of the AR in females.

Moreover, the importance of understanding female androgen receptors lies in their role in several genetic disorders including androgen insensitivity syndrome (AIS). Complete (CAIS) and partial (PAIS) which are a result of mutations in the genes that code for AR. These mutations cause the inactivation of AR due to mutations conferring resistance to circulating testosterone, with more than 400 different AR mutations reported.

Genomic
The primary mechanism of action for androgen receptors is direct regulation of gene transcription.

Androgens (also called androgenic hormones), such as testosterone or dihydrotestosterone, are understood to exert their primary effects through binding to an androgen receptor in the cytosol. The receptor is translocated to the nucleus upon androgen binding and ultimately results in the transcriptional regulation of a number of genes via androgen responsive elements. This androgen response mechanism is perhaps best known and characterized in the context of male sexual differentiation and puberty, but plays a role in a variety of tissue types and processes. Upon binding to androgens, the androgen receptor dissociates from accessory proteins, translocates into the nucleus, dimerizes, and then stimulates transcription of androgen-responsive genes.

The binding of an androgen to the androgen receptor results in a conformational change in the receptor that, in turn, causes dissociation of heat shock proteins, transport from the cytosol into the cell nucleus, and dimerization. The androgen receptor dimer binds to a specific sequence of DNA known as a hormone response element, where it forms macromolacular protein condensates that might facilitate rapid gene regulation as consequence of local high protein concentrations together with other coregulators. Androgen receptors interact with other proteins in the nucleus, resulting in up- or down-regulation of specific gene transcription. Up-regulation or activation of transcription results in increased synthesis of messenger RNA, which, in turn, is translated by ribosomes to produce specific proteins. One of the known target genes of androgen receptor activation is the insulin-like growth factor 1 receptor (IGF-1R). Thus, changes in levels of specific proteins in cells is one way that androgen receptors control cell behavior.

One function of androgen receptor that is independent of direct binding to its target DNA sequence is facilitated by recruitment via other DNA-binding proteins. One example is serum response factor, a protein that activates several genes that cause muscle growth.

Androgen receptor is modified by post-translational modification through acetylation, which directly promotes AR-mediated transactivation, apoptosis and contact-independent growth of prostate cancer cells. AR acetylation is induced by androgens and determines recruitment into chromatin. The AR acetylation site is a key target of NAD-dependent and TSA-dependent histone deacetylases and long non-coding RNA.

Non-genomic
More recently, androgen receptors have been shown to have a second mode of action. As has been also found for other steroid hormone receptors such as estrogen receptors, androgen receptors can have actions that are independent of their interactions with DNA. Androgen receptors interact with certain signal transduction proteins in the cytoplasm. Androgen binding to cytoplasmic androgen receptors can cause rapid changes in cell function independent of changes in gene transcription, such as changes in ion transport. Regulation of signal transduction pathways by cytoplasmic androgen receptors can indirectly lead to changes in gene transcription, for example, by leading to phosphorylation of other transcription factors.

Gene
In humans, the androgen receptor is encoded by the AR gene located on the X chromosome at Xq11–12.

Deficiencies
At least 165 disease-causing mutations in this gene have been discovered. The androgen insensitivity syndrome, formerly known as testicular feminization, is caused by a mutation in the androgen receptor gene on the X chromosome (locus: Xq11–Xq12). The androgen receptor seems to affect neuron physiology and is defective in Kennedy's disease. In addition, point mutations and trinucleotide repeat polymorphisms have been linked to a number of additional disorders.

CAG repeats
The AR gene contains CAG repeats that affect receptor function, where fewer repeats leads to increased receptor sensitivity to circulating androgens and more repeats leads to decreased receptor sensitivity. Studies have shown that racial variation in CAG repeats exists, with African-Americans having fewer repeats than non-Hispanic white Americans. The racial trends in CAG repeats parallels the incidence and mortality of prostate cancer in these two groups.

Mutations
The enhancer and the gene encoding for these receptors contain recurrent mutations, such as structural rearrangements and copy number changes, acquired in the progression of metastatic castration-resistant prostate cancer (mCRPC) treatment with therapy targeting these receptors (abiraterone, enzalutamide), make the disease progression determined by the androgen receptor genotype.

Isoforms
Two isoforms of the androgen receptor (A and B) have been identified:
 * AR-A – 87 kDa; N-terminus truncated (lacks the first 187 amino acids), which results from in vitro proteolysis.
 * AR-B – 110 kDa; full length

Domains
Like other nuclear receptors, the androgen receptor is modular in structure and is composed of the following functional domains labeled A through F:
 * A/B) – N-terminal is a regulatory domain which is intrinsically disordered that contains:
 * Dimerization surface involving residues 1–36, the 23FQNLF27 motif (B only) nd 370–494, both of which interact with the ligand binding domain (LBD) in an intramolecular  head-to-tail interaction
 * FXXLF motif; where F = phenylalanine, L = leucine, and X = any amino acid residue a
 * Polyglutamine repeat (AR-B only)
 * Transactivation unit 1 (TAU-1) between residues 101 and 370 required for full ligand-activated transcriptional activity
 * Transactivation unit 5 (TAU-5) between residues 360–485 is responsible for the constitutive activity (activity without bound ligand)
 * C) – DNA binding domain (DBD)
 * Contains two Zinc fingers
 * D) – Hinge region; flexible region that connects the DBD with the LBD; along with the DBD, contains a ligand dependent nuclear localization signal
 * E) – Ligand binding domain (LBD) containing
 * activation function 2 (AF-2), responsible for agonist induced activity (activity in the presence of bound agonist)
 * AF-2 binds either the N-terminal FXXFL motif intramolecularly or coactivator proteins (containing the LXXLL or preferably FXXFL motifs)
 * A ligand dependent nuclear export signal
 * F) – C-terminal domain

Splice variants
AR-V7 is an androgen receptor splice variant that can be detected in circulating tumor cells of metastatic prostate cancer patients and is predictive of resistance to some drugs.

Clinical significance
High expression in androgen receptor has been linked to aggression and sex drive by affecting the HPA and HPG axis

Aberrant androgen receptor coregulator activity may contribute to the progression of prostate cancer.

Agonists

 * Endogenous androgens (e.g., testosterone, dihydrotestosterone, androstenedione, androstenediol, dehydroepiandrosterone)
 * Synthetic androgens (e.g., methyltestosterone, metandienone, nandrolone, trenbolone, oxandrolone, stanozolol)

Mixed

 * Selective androgen receptor modulators (e.g., andarine, enobosarm)

Antagonists

 * Steroidal antiandrogens (e.g., cyproterone acetate, chlormadinone acetate, spironolactone, oxendolone)
 * Nonsteroidal antiandrogens (e.g., flutamide, nilutamide, bicalutamide, enzalutamide, apalutamide, RU-58841)
 * N-Terminal domain antiandrogens (e.g., bisphenol A, EPI-001, ralaniten, JN compounds)

As a drug target
The AR is an important therapeutic target in prostate cancer. Thus many different antiandrogens have been developed, primarily targeting the ligand-binding domain of the protein. AR ligands can either be classified based on their structure (steroidal or nonsteroidal) or based on their ability to activate or inhibit transcription (agonists or antagonists). Inhibitors that target alternative functional domains (N-terminal domain, DNA-binding domain) of the protein are still under development.

Drug resistance
Alteration of ARs may lead to treatment resistance (castration resistance) in prostate cancer as there may be missense mutations of the ligand binding domain, amplifications of the gene coding for this receptor or in its enhancer, mostly, suggesting the presence of different subclones with different genotypes of these receptors.

Interactions
Androgen receptor has been shown to interact with:

 * AKT1,
 * BAG1,
 * Beta-catenin,
 * BRCA1,
 * C-jun,
 * Calmodulin 1,
 * Caveolin 1,
 * CDK9,
 * COX5B,
 * CREB-binding protein,
 * Cyclin D1,
 * Cyclin-dependent kinase 7,
 * DACH1,
 * Death associated protein 6,
 * L-DOPA,
 * EFCAB6,
 * Epidermal growth factor receptor,
 * FOXO1,
 * GAPDH,
 * Gelsolin,
 * GNB2L1,
 * GSK3B,
 * HDAC1,
 * HSP90AA1,
 * HTATIP,
 * MAGEA11,
 * MED1,
 * MYST2,
 * NCOA1,
 * NCOA2,
 * NCOA3,
 * NCOA4,
 * NCOA6,
 * NCOR2,
 * NONO,
 * p300,
 * PA2G4,
 * PAK6,
 * PATZ1,
 * PIAS2,
 * PRPF6,
 * PTEN,
 * RAD9A,
 * RANBP9,
 * RCHY1,
 * Retinoblastoma protein,
 * RNF14,
 * RNF4,
 * SART3,
 * SIRT1,
 * SMAD3,
 * Small heterodimer partner,
 * Src,
 * SRY,
 * STAT3,
 * SVIL,
 * Testicular receptor 2,
 * Testicular receptor 4,
 * TGFB1I1,
 * TMF1,
 * TRIM68,
 * UBE2I,
 * UXT, and
 * ZMIZ1.

title: Androgen receptor


text:
User talk:Sirex~enwiki

Welcome
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Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Sirex. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Sirex~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 03:00, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 18:55, 22 April 2015 (UTC)

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

title: User talk:Sirex~enwiki


text:
Martha My Dear

"Martha My Dear" is a song by the English rock band the Beatles from their 1968 double album The Beatles (also known as the "White Album"). Credited to Lennon–McCartney, the song was written solely by Paul McCartney inspired in title only by his Old English Sheepdog, Martha. The song has been interpreted as a veiled reference to his break up with Jane Asher, particularly in the line "don't forget me". "Help yourself to a bit of what is all around you" refers to her alleged affair while away from McCartney with The Old Vic Theatre. It has been covered by several artists, including Slade, Herb Alpert & The Tijuana Brass, Phish, World Party, and Les Boréades de Montréal.

Style and form
The song incorporates elements from pop rock music; it also features a music hall-inspired piano line that recurs throughout the piece, as well as a brass section. The song modulates through several keys.

The song is notated mainly in the key of E♭ major, showing up embellished chords with jazzy sprinkled dissonances. The verse is a syncopated replicate of the first melodic section adding two extra beats, a technique similar to that used later by McCartney in "Two of Us". Though the bridge is in the key of F major, the manner in which it abruptly sets in and exits makes it sound more out-of-the-way than it really is.

Recording
According to Beatles biographers Ian MacDonald and Mark Lewisohn, "Martha My Dear" is one of the few songs by the band in which McCartney played all the instruments (except orchestral instruments played by session musicians). Such a scenario was increasingly common for him during the height of the tensions that marred the sessions for the album. Although George Harrison is known to have recorded a portion of the electric guitar on the final recording, he was not credited.

The song was recorded over two days on 4 and 5 October 1968 at Trident Studios in London. McCartney recorded the piano, drums and vocals on the first day. He was advised to have producer George Martin play the piano solo because it was believed that the solo was beyond McCartney's competency, but McCartney persisted. Martin's brass and string arrangements were overdubbed later that day. On 5 October, McCartney re-recorded his vocals, added handclaps, and overdubbed bass and guitar parts, completing the song that day.

Legacy
Coinciding with the 50th anniversary of its release, Jacob Stolworthy of The Independent listed "Martha My Dear" at number 20 in his ranking of the White Album's 30 tracks. He called the song "one of the album's most unfairly maligned tracks" and "irresistibly charming".

Personnel
The Beatles
 * Paul McCartney – double-tracked lead vocals, piano, bass, drums, handclaps
 * George Harrison - electric guitar

Additional musicians

 * Bernard Mille, Dennis McConnell, Lou Sofier, Les Maddox – violins
 * Leo Birnbaum, Henry Myerscough – violas
 * Reginald Kilby, Frederick Alexander, Peter Halling – cellos
 * Leon Calvert – trumpet, flugelhorn
 * Stan Reynolds, Ronnie Hughes – trumpets
 * Tony Tunstall – French horn
 * Ted Barker – trombone
 * Alf Reece – tuba

String and brass arrangement by George Martin.

title: Martha My Dear


text:
Ivanovo, Russia

Ivanovo (Иваново) is the name of several inhabited localities in Russia.

Arkhangelsk Oblast
As of 2010, one rural locality in Arkhangelsk Oblast bears this name:
 * Ivanovo, Arkhangelsk Oblast, a village in Krasnovsky Selsoviet of Plesetsky District

Chuvash Republic
As of 2010, two rural localities in the Chuvash Republic bear this name:
 * Ivanovo, Tsivilsky District, Chuvash Republic, a selo in Opytnoye Rural Settlement of Tsivilsky District
 * Ivanovo, Yantikovsky District, Chuvash Republic, a village in Yantikovskoye Rural Settlement of Yantikovsky District

Ivanovo Oblast
As of 2010, three inhabited localities in Ivanovo Oblast bear this name.

 * Urban localities
 * Ivanovo, a city

 * Rural localities
 * Ivanovo, Pestyakovsky District, Ivanovo Oblast, a village in Pestyakovsky District
 * Ivanovo, Rodnikovsky District, Ivanovo Oblast, a village in Rodnikovsky District

Kirov Oblast
As of 2010, one rural locality in Kirov Oblast bears this name:
 * Ivanovo, Kirov Oblast, a village under the administrative jurisdiction of the Town of Yaransk in Yaransky District

Kostroma Oblast
As of 2010, two rural localities in Kostroma Oblast bear this name:
 * Ivanovo, Kologrivsky District, Kostroma Oblast, a village in Sukhoverkhovskoye Settlement of Kologrivsky District
 * Ivanovo, Makaryevsky District, Kostroma Oblast, a village in Nezhitinskoye Settlement of Makaryevsky District

Leningrad Oblast
As of 2010, two rural localities in Leningrad Oblast bear this name:
 * Ivanovo, Kirovsky District, Leningrad Oblast, a village under the administrative jurisdiction of Mginskoye Settlement Municipal Formation of Kirovsky District
 * Ivanovo, Priozersky District, Leningrad Oblast, a village in Sosnovskoye Settlement Municipal Formation of Priozersky District

Moscow Oblast
As of 2010, two rural localities in Moscow Oblast bear this name:
 * Ivanovo, Ruzsky District, Moscow Oblast, a village in Ivanovskoye Rural Settlement of Ruzsky District
 * Ivanovo, Yegoryevsky District, Moscow Oblast, a village in Savvinskoye Rural Settlement of Yegoryevsky District

Nizhny Novgorod Oblast
As of 2010, two rural localities in Nizhny Novgorod Oblast bear this name:
 * Ivanovo, Gorodetsky District, Nizhny Novgorod Oblast, a village in Timiryazevsky Selsoviet of Gorodetsky District
 * Ivanovo, Vetluzhsky District, Nizhny Novgorod Oblast, a village in Moshkinsky Selsoviet of Vetluzhsky District

Novgorod Oblast
As of 2010, one rural locality in Novgorod Oblast bears this name:
 * Ivanovo, Novgorod Oblast, a village under the administrative jurisdiction of Lyubytinskoye Settlement of Lyubytinsky District

Pskov Oblast
As of 2010, seven rural localities in Pskov Oblast bear this name:
 * Ivanovo, Bezhanitsky District, Pskov Oblast, a village in Bezhanitsky District
 * Ivanovo, Nevelsky District, Pskov Oblast, a village in Nevelsky District
 * Ivanovo (Shikovskaya Rural Settlement), Ostrovsky District, Pskov Oblast, a village in Ostrovsky District; municipally, a part of Shikovskaya Rural Settlement of that district
 * Ivanovo (Gorayskaya Rural Settlement), Ostrovsky District, Pskov Oblast, a village in Ostrovsky District; municipally, a part of Gorayskaya Rural Settlement of that district
 * Ivanovo, Palkinsky District, Pskov Oblast, a village in Palkinsky District
 * Ivanovo, Pushkinogorsky District, Pskov Oblast, a village in Pushkinogorsky District
 * Ivanovo, Velikoluksky District, Pskov Oblast, a village in Velikoluksky District

Ryazan Oblast
As of 2010, one rural locality in Ryazan Oblast bears this name:
 * Ivanovo, Ryazan Oblast, a village in Ushmorsky Rural Okrug of Klepikovsky District

Smolensk Oblast
As of 2010, three rural localities in Smolensk Oblast bear this name:
 * Ivanovo, Demidovsky District, Smolensk Oblast, a village in Zakrutskoye Rural Settlement of Demidovsky District
 * Ivanovo, Safonovsky District, Smolensk Oblast, a village in Ignatkovskoye Rural Settlement of Safonovsky District
 * Ivanovo, Vyazemsky District, Smolensk Oblast, a village in Otnosovskoye Rural Settlement of Vyazemsky District

Tula Oblast
As of 2010, one rural locality in Tula Oblast bears this name:
 * Ivanovo, Tula Oblast, a village in Ivanovsky Rural Okrug of Belyovsky District

Tver Oblast
As of 2010, three rural localities in Tver Oblast bear this name:
 * Ivanovo, Kimrsky District, Tver Oblast, a khutor in Malovasilevskoye Rural Settlement of Kimrsky District
 * Ivanovo, Likhoslavlsky District, Tver Oblast, a village in Pervitinskoye Rural Settlement of Likhoslavlsky District
 * Ivanovo, Vesyegonsky District, Tver Oblast, a village in Ivanovskoye Rural Settlement of Vesyegonsky District

Tyumen Oblast
As of 2010, one rural locality in Tyumen Oblast bears this name:
 * Ivanovo, Tyumen Oblast, a selo in Ivanovsky Rural Okrug of Armizonsky District

Udmurt Republic
As of 2010, one rural locality in the Udmurt Republic bears this name:
 * Ivanovo, Udmurt Republic, a village in Gulekovsky Selsoviet of Glazovsky District

Vladimir Oblast
As of 2010, two rural localities in Vladimir Oblast bear this name:
 * Ivanovo, Kovrovsky District, Vladimir Oblast, a selo in Kovrovsky District
 * Ivanovo, Petushinsky District, Vladimir Oblast, a village in Petushinsky District

Vologda Oblast
As of 2010, five rural localities in Vologda Oblast bear this name:
 * Ivanovo, Belozersky District, Vologda Oblast, a village in Gorodishchensky Selsoviet of Belozersky District
 * Ivanovo, Cherepovetsky District, Vologda Oblast, a village in Dmitriyevsky Selsoviet of Cherepovetsky District
 * Ivanovo, Kaduysky District, Vologda Oblast, a village in Nikolsky Selsoviet of Kaduysky District
 * Ivanovo, Kirillovsky District, Vologda Oblast, a village in Pechengsky Selsoviet of Kirillovsky District
 * Ivanovo, Sokolsky District, Vologda Oblast, a village in Chuchkovsky Selsoviet of Sokolsky District

Yaroslavl Oblast
As of 2010, three rural localities in Yaroslavl Oblast bear this name:
 * Ivanovo, Myshkinsky District, Yaroslavl Oblast, a village in Shipilovsky Rural Okrug of Myshkinsky District
 * Ivanovo, Rostovsky District, Yaroslavl Oblast, a village in Fatyanovsky Rural Okrug of Rostovsky District
 * Ivanovo, Uglichsky District, Yaroslavl Oblast, a village in Zaozersky Rural Okrug of Uglichsky District

title: Ivanovo, Russia


text:
User talk:Mfrasca

Welcome
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title: User talk:Mfrasca


text:
William Fraser

William Fraser may refer to:

Military people

 * William W. Fraser (1844–1915), American Civil War soldier and Medal of Honor recipient
 * William Archibald Kenneth Fraser (1886–1969), British army officer
 * William Fraser (British Army officer) (1890–1964), British army officer
 * William M. Fraser III (born 1952), United States Air Force general

Politicians

 * William Fraser, of Fraserfield (1691–1727), Scottish landowner and politician, MP for Elgin Burghs 1722–25
 * William Fraser (Clerk of the Signet) (died 1802), British politician, Clerk of the Signet and an Undersecretary of State
 * Sir William Fraser, 4th Baronet (1826–1898), English politician
 * William Fraser (New Zealand politician, born 1827) (1827–1901)
 * William Fraser (Canadian politician) (1832–1909), member of the Legislative Assembly of Northwest Territories, 1872–1875
 * William Fraser (New Zealand politician, born 1840) (1840–1923)
 * William Alexander Fraser (politician) (1886–1962), Canadian politician
 * Ian Fraser, Baron Fraser of Lonsdale or William Jocelyn Ian Fraser (1897–1974), British politician and chairman of St Dunstan's

Sportspeople

 * William Lovat Fraser (1884–1968), Scottish cricketer and rugby union player
 * Willie Fraser (footballer) (1929–1996), Australian footballer who played for A.F.C. Sunderland
 * Willie Fraser (born 1964), baseball player
 * William Fraser (rugby union) (born 1989), Saracens F.C. Academy Player

Other people

 * William Alexander Fraser (writer) (1859–1933), Canadian writer
 * William Fraser (bishop of St Andrews) (died 1297), Bishop of St Andrews, Guardian of Scotland
 * William Fraser, 12th Lord Saltoun (1654–1715), Scottish peer and the 11th Laird of Philorth
 * William Fraser (British administrator), working in Madras, India, 1709–1711
 * William Fraser (bishop of Arichat) (1779–1851), Canadian Roman Catholic bishop
 * William Fraser (British India civil servant) (1784–1835)
 * William Fraser (historian) (1816–1898), professor of Scottish history
 * William Smith Fraser (1852–1897), American architect
 * William Fraser (architect) (1867–1922), Scottish architect
 * William Mackenzie Fraser (1878–1960), New Zealand labourer, civil engineer and ethnological collector
 * William Fraser, 1st Baron Strathalmond (1888–1970), Scottish businessman and chairman of the Anglo-Iranian Oil Company
 * William Kerr Fraser (1929–2018), British civil servant and University of Glasgow vice-chancellor
 * William Fraser, 3rd Baron Strathalmond (born 1947), Scottish peer

title: William Fraser


text:
Infanta (disambiguation)

In the Spanish and former Portuguese monarchies, Infanta is the title given to a daughter of the reigning monarch who is not the heir-apparent to the throne.

Infanta may also refer to:

 * Infanta Maria Escalosa of Spain, a fictional infanta played by Miriam Margolyes in the BBC sitcom, Blackadder
 * Infanta was the former name of the USS Amber (PYc-6), a United States Navy patrol vessel used in World War II
 * "The Infanta" is the title of the first track on the album Picaresque by The Decemberists

As a place name, Infanta may refer to:
 * Infanta, Pangasinan, a municipality in the Philippines
 * Infanta, Quezon, a municipality in the Philippines
 * Infanta, a coastal village at Cape Infanta, South Africa

title: Infanta (disambiguation)


text:
List of Tales from the Crypt episodes

The following is a list of episodes for the television series Tales from the Crypt, which aired for seven seasons on HBO from June 10, 1989 to July 19, 1996. A total of 93 episodes and three feature-length films were produced.

Films

 * 1) Tales from the Crypt Presents: Demon Knight
 * 2) Tales from the Crypt Presents: Bordello of Blood
 * 3) Tales from the Crypt Presents: Ritual

title: List of Tales from the Crypt episodes


text:
Harry Cave

Henry Butler Cave (10 October 1922 – 15 September 1989) was a New Zealand cricketer who captained New Zealand in nine of his 19 Test matches. His Test career extended from 1949 to 1958, and he played first-class cricket from 1945 to 1959.

Early life
Harry Cave was born into a family of farmers and cricketers from the Wanganui area. His father had a farm at Westmere, north of Wanganui. His uncle Ken Cave umpired all four matches in New Zealand's first Test series in 1929–30. Harry went to school at Westmere before attending Wanganui Collegiate School. He took up farming after leaving school.

1940s
Cave's cricket career was often interrupted by the demands of his farming life, where he was supported by his brother and farming partner Tom. An all-rounder, six feet two inches tall, Cave bowled accurate medium-pace and batted in the middle or lower order. He first played for Wanganui in his teens, and became one of their leading players in the Hawke Cup. In the 1940s, Wanganui players were eligible to play for Wellington, and he made his first-class debut for Wellington on Christmas Eve 1945. In January 1947 he took 6 for 44 (from 29 overs) and 2 for 72 when Wellington beat Canterbury in the Plunket Shield. A torn elbow muscle in 1947 made it difficult for him to bowl his stock out-swinger, and from then on he relied on seamers, cutters and in-swingers.

Cave toured England in 1949 and played in all four Tests. The tour report in Wisden described his bowling as "always steady and reliable", but on the good batting pitches of the season he took only four wickets from 141 overs in the Tests at an average of 116.25.

1950s
Cave was one of the leading players in Central Districts' inaugural season in the Plunket Shield in 1950–51, when they finished second. In 1952-53 he and Ian Leggat added 239 for the ninth wicket for Central Districts against Otago in Dunedin, setting a New Zealand ninth-wicket record that still stands. A few days later, Cave captured 13 wickets in one day, taking 7 for 31 and 6 for 33 in Central Districts' innings victory over Auckland in Palmerston North.

In 1953-54 Cave became captain of Central Districts, and led them to the Plunket Shield title for the first time. He also led the competition bowling averages with 24 wickets at an average of 15.50.

After a break of five years, Cave returned to the Test team for the two-match series against England in 1954-55. He was then appointed to captain the New Zealand team on an eight-Test tour of Pakistan and India from October 1955 to January 1956. The tour was demanding for the whole team. Extreme heat, sub-standard accommodation and facilities, unfamiliar pitches, constant stomach upsets and other illness, as well as dubious umpiring in India, made it difficult for the New Zealanders to play at their best. Cave remained diplomatic throughout, and bowled more overs than any other player: 333 overs for 623 runs and 13 wickets. Always of trim build, he nevertheless lost about 11 kilograms in weight on the tour, and it took him two years to recover full fitness.

When the team returned to New Zealand, Cave was captain in the First Test against the West Indies a few weeks later. He was unable to play in the Second Test, then returned for the Third and Fourth Tests under the captaincy of John Reid. In the Fourth Test in Auckland, he had his best Test figures, taking four wickets in each innings to help New Zealand to its first Test victory. He had match figures of 40.4–26–43–8, and took the wicket to end the match when he had Alf Valentine stumped by Sammy Guillen.

Cave was New Zealand's leading bowler when the Australians toured in 1956-57, taking 17 wickets in the three unofficial Tests while the other bowlers took 17 wickets between them. Cave toured England in 1958, this time as John Reid's vice-captain, but the tour was not a success for him or the team. He took 50 wickets at an average of 22.02 in the first-class matches, but played in only two of the five Tests, taking two wickets.

Personal life
Cave married Vonnie Anderson at Wanganui on 28 April 1951; they had two sons. He and his wife were keen camellia growers, and he developed a variety that was named after him. He died at Wanganui on 15 September 1989. Vonnie was appointed a Member of the New Zealand Order of Merit, for services to photography and horticulture, in the 2009 Queen's Birthday Honours, and she died in Whanganui in 2021.

title: Harry Cave


text:
Talk:Become the Media

Removed the The album is notable for introducing Biafra's saying "Don't hate the media, become the media". sentance, as Biafra's been using this phrase since High Priest of Harmful Matter. -65.122.209.150 01:56, 25 March 2007 (UTC)

title: Talk:Become the Media


text:
Blue Max

Blue Max is an informal name of Pour le Mérite, a German military decoration from 1740 until the end of World War I.

Blue Max may also refer to:
 * Blue Max (video game) (1983) and its sequel Blue Max 2001
 * Blue Max: Aces of the Great War, a 1990 video game
 * Blue Max (board game) (1983)
 * The Blue Max, a 1966 film
 * 2d Battalion, 20th Field Artillery (United States), known as "Blue Max" during the Vietnam War
 * Blue Max, one of protagonists in the video game Sky Kid
 * Blue Max, the band of American guitarist Howard Luedtke
 * Blue Max, a fictional character from The Han Solo Adventures novels

title: Blue Max


text:
I'm So Tired

"I'm So Tired" 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 and sung by John Lennon, though credited to Lennon–McCartney. Lennon wrote the song during the Beatles' stay in India about insomnia he was having due to constant meditation and because he missed Yoko Ono. The song was recorded in the same session as another White Album song, "The Continuing Story of Bungalow Bill".

Composition
Lennon wrote the song at a Transcendental Meditation camp when he could not sleep; the Beatles had gone on a retreat to study with the Maharishi Mahesh Yogi in Rishikesh, India. After three weeks of constant meditation and lectures, Lennon missed Yoko Ono, with whom he had yet to start a relationship, and was plagued by insomnia, which inspired the song. One of dozens of songs the Beatles wrote in India, "I'm So Tired" detailed Lennon's fragile state of mind. It was also an open letter to Yoko Ono, whose postcards to Lennon in India were a lifeline. "I got so excited about her letters," he said. "I started thinking of her as a woman, and not just an intellectual woman." Lennon later said of it: "One of my favourite tracks. I just like the sound of it, and I sing it well".

The theme of insomnia complements Lennon's earlier song "I'm Only Sleeping" on the Revolver album.

During the second verse, Lennon calls Sir Walter Raleigh "a stupid get" for introducing tobacco to England.

The song is in the key of A major.

Recording
An early demo of the song was recorded at George Harrison's Esher home, in May 1968. It was basically identical to the released version, in terms of verse, but it does include a spoken section reminiscent of a similar section in "Happiness Is a Warm Gun". It goes:

This section was probably improvised at the time, as it was never used again. The song was recorded on 8 October 1968 and was completed including all overdubs in this one session. The Beatles also started and completed "The Continuing Story of Bungalow Bill" during the same recording session. The chorus of the monaural mix of the song features louder backing vocals from Paul McCartney than the stereo mix.

The Beatles later performed the song, with Paul McCartney singing lead vocal, in a jam session in Twickenham Film Studios in 1969.

"Paul is dead" conspiracy theory
At the very end of the song, what seems to be nonsensical mumbling can be heard in the background. The mumbling, if played backwards can be imagined as something along the lines of "Paul is a dead man. Miss him. Miss him. Miss him." This only adds to the many supposed references to the "Paul is dead" conspiracy theory scattered throughout the White album. Mark Lewisohn has said that the mumbling is actually Lennon muttering, "Monsieur, monsieur, how about another one?"

Legacy
Coinciding with the 50th anniversary of its release, Jacob Stolworthy of The Independent listed "I'm So Tired" at number 18 in his ranking of the White Album's 30 tracks. He wrote of the song: "The weary vocals from John Lennon remains desperately alluring to this day. A favourite of his, the song is best when viewed as a sequel to Revolver track, 'I'm Only Sleeping'."

Personnel

 * John Lennon – lead vocal, acoustic guitar, lead guitar, Hammond organ
 * Paul McCartney – bass guitar, electric piano, backing vocal
 * George Harrison – lead guitar
 * Ringo Starr – drums
 * Personnel per Ian MacDonald

title: I'm So Tired


text:
Itelmen language

Itelmen (Itənmən ) or Western Itelmen, formerly known as Western Kamchadal, is a language of the Chukotko-Kamchatkan family spoken on the western coast of the Kamchatka Peninsula. Fewer than a hundred native speakers, mostly elderly, in a few settlements in the southwest of Koryak Autonomous Okrug, remained in 1993. The 2021 Census counted 2,596 ethnic Itelmens, virtually all of whom are now monolingual in Russian. However, there are attempts to revive the language, and it is being taught in a number of schools in the region.

(Western) Itelmen is the only surviving Kamchatkan language. It has two dialects, the Southern dialect of Khayryuzovo and the Northern dialect of Sedanka.

History
Originally the Kamchatkan languages were spoken throughout Kamchatka and possibly also in the northern Kuril Islands. Vladimir Atlasov, who annexed Kamchatka and established military bases in the region, estimated in 1697 that there were about 20,000 ethnic Itelmens. The explorer Stepan Krasheninnikov, who gave the first detailed description of the Itelmen language and culture, identified the three main dialects, but explained that all Itelmens could understand each other.

From the time of Atlasov, Russian fur traders began to settle in the region. There were frequent clashes between Cossacks and Itelmens, who rebelled against Russian domination. Many Itelmen were forcibly converted to Christianity, and by the early nineteenth century all Itelmen were forced to adopt Russian names. Intermarriage with Russian settlers led to the development of a creole known as Kamchadal, traces of which remain in the Russian dialect now spoken in Kamchatka.

During the Soviet era the process of assimilation intensified, as Itelmen communities were moved by force and children were sent to boarding schools where they were required to speak Russian. By the end of the 1930s Russian was the medium of instruction in all schools, and children grew up speaking Russian as their main language.

However it was also during this period that Itelmen was written down for the first time. In 1930, a Latin-based alphabet was designed for all the native languages of northern Siberia, and in 1932, a 27-letter Itelmen alphabet was created. A few textbooks were written in this alphabet during the 1930s, but it was quickly abandoned. More recently, a Cyrillic-based alphabet, designed in 1986 and consisting of 32 letters, has been used.

Present situation
Itelmen is now a highly endangered language, and most speakers are aged over sixty and live in scattered communities. However, there is a movement to revive the language, and educational materials are being developed. One linguist working on this revival is Jonathan Bobaljik.

Modern Itelmen has been heavily influenced by Russian lexically, phonologically and grammatically (see below).

Phonology
Itelmen has a larger phonological inventory than other Chukotko-Kamchatkan languages, and permits complex consonant clusters in some environments. However, Itelmen has a different system of vowel harmony than its relatives Chukchi and Koryak.

Volodin (1997) gives the following consonant inventory, shown here with both the Cyrillic and IPA forms. Itelmen is unusual in having a voicing (VOT) distinction in fricatives but not in plosives.

In addition to the consonants shown above, some sources also include the glottal stop, as well as glottalised nasal and lateral phonemes, including , , and. 's' and 'z' may be apical post-alveolar fricatives rather than alveolar fricatives. There may also be distinct labialised consonant phonemes.

There are five vowel phonemes: and. Schwa also appears but its phonemic status is unclear.

Classification
There are two points of view about where Itelmen belongs genetically. According to the first theory, Itelmen and Chukotkan descend from a common proto-language; the sharp differences of Itelmen, noticed at all levels, are explained by the intense influence of other languages. It is suggested that Itelmen absorbed a different non-Chukotko-Kamchatkan language. According to the second theory, Itelmen is not related to other Chukotko-Kamchatkan languages; common elements are due to contact.

Initial comparisons of the basic Itelmen lexicon to Chukotkan show that only a third of the word stock is cognate. This result is preliminary due to the incompleteness of Chukotko-Kamchatkan comparative phonetics. Arends et al. (1995) state that Itelmen is a mixed language, with Chukotkan morphology and a lexicon from a separate language, possibly related to Nivkh or Wakashan. Itelmen would thus be a creole of a Chukotko-Kamchatkan language and Nivkh/Wakashan just as Kamchadal became a creole of Itelmen and Russian. However, Fortescue (2005) partially reconstructed the Chukotko-Kamchatkan proto-language. See Kamchatkan languages.

External influence on morphology
There may be different answers given to the question of which elements of Itelmen are original and which have been brought about by contact with other languages. To take the second hypothesis, Itelmen was at the very beginning an agglutinative language, with word structure (m) + R + (m) (where R is a root and (m) one of several word-changing morphemes), it was nominal, compounds were prohibited; it preserves all of these elements into the present. A difference in reported material origin with Chukotko-Koryak languages in declensional and conjugational paradigms is the result of convergent development under conditions of a Chukotko-Kamchatkan Sprachbund. Incorporation goes against word structure (not more than one root morpheme), thus Itelmen did not take it on. Reduplication of a root, inherent to all the languages of the Chukotko-Kamchatkan group, was able to develop in Itelmen apart from the influence of contact.

Russian borrowings in Itelmen already started to appear in the 17th century. Among the Russian words that were borrowed, in some cases replacing Itelmen words, adjectives and adverbs predominate and even preserve Russian morphology: vostr-oy sharp- NOM.MASC.SG, krasn-oy red- NOM.MASC.SG , sinny-oy blue- NOM.MASC.SG , svez-oy fresh- NOM.MASC.SG , etc. Borrowed verbs adapt in accordance with the demands of Itelmen morphology: Itel. stara'lkas (Rus. starat'sya) means 'to try', Itel. otkaza'lkas (Rus. otkazyvat'sya) 'to deny,' It. napraves means 'to cook food'. To speak of Russian borrowings in Itelmen today is hardly possible, because all Itelmens speak Russian much better than their native language.

Syntax
The Itelmen language is an agglutinative language, it has affixes for nouns and verbs, and most of its affixes are suffixes.

Its basic word order is subject–object–verb, numerals and demonstratives are placed before the noun they modify, although adjectives can be placed before or after the noun they modify.

Orthography
Itelmen is not standardized and does not have a separate literary variety. A retelling of Itelmen mythology was written in Russian by Krasheninnikov. Folk language (only recordings from the 20th century survive, in the western language) does not show special characteristics compared to the conversational language.

Writing based on Latin graphemes was introduced in 1932 (an alphabet book and arithmetic textbook were published). Teaching from the alphabet book of 1932 (authored by ethnographer Elizabeth Porfirevna Orlova and co-produced by a group of Itelmen students) lasted several years, but after alphabets for "Northern" languages were transformed into Cyrillic at the end of the 1930s, Itelmen writing was abolished. Itelmen became an unwritten language again and remained that way for almost a half-century.

The modern Itelmen alphabet was created in 1984 on a Cyrillic basis and in 1988 was confirmed by the Russian Ministry of Education. A second Itelmen alphabet book was created in 1988. An Itelmen-Russian/Russian-Itelmen dictionary and second-grade textbook were also published. In 1993 the Itelmen alphabet book was republished. Itelmen has been taught as a subject in elementary grades, but teachers do not speak the language like the students. In 2002 a translation of the Gospel of Luke was published in Itelmen. All of these works are published in the Southern dialect.

A labialisation sign (˚) and a glottal stop sign (ʼ) are also used in instructional works. In the sequence of instructionally published signs Ă ă, Ŏ ŏ, Ў ў are not considered separate letters. Also, in many publications "Ԯ ԯ", "Ӆ ӆ" and "Ҳ ҳ" are used in place of the letters "Ԓ ԓ" and "Ӽ ӽ".

The newspaper Native of Kamchatka, which regularly publishes works in Itelmen, does not use the letters Ă ă, Ŏ ŏ, Ў ў but uses the deepening sign (˚).

title: Itelmen language


text: Category:Savatage albums

title: Category:Savatage albums


text:
Roman governor

A Roman governor was an official either elected or appointed to be the chief administrator of Roman law throughout one or more of the many provinces constituting the Roman Empire.

The generic term in Roman legal language was Rector provinciae, regardless of the specific titles, which also reflects the province's intrinsic and strategic status, and corresponding differences in authority.

By the time of the early Empire, two types of provinces existed—senatorial and imperial—and several types of governor would emerge. Only proconsuls and propraetors fell under the classification of promagistrate.

Duties of the governor
The governor was the province's chief judge. He had the sole right to impose capital punishment, and capital cases were normally tried before him. To appeal a governor's decision necessitated travelling to Rome and presenting one's case before either the praetor urbanus, or even the Emperor himself, an expensive, and thus rare, process. An appeal was unlikely to succeed anyway, as a governor wouldn't generally take the chance of convicting someone contrary to the Emperor's wishes. The governor was also supposed to travel across his province to administer justice in the major towns where his attention was required.

Finally, and most importantly, he commanded the military forces within the province. In the more important provinces, this could consist of legions, but elsewhere, there were only auxiliaries. As a part of his standing orders, the governor had the authority to use his legions to stamp out organized criminal gangs or rebels in the area without need for the Emperor's or Senate's approval.

Every governor had at his disposal a diversity of advisors and staff, who were known as his comites (Latin for "companions"); the number of these depended on the governor's social standing and rank. These comites would serve as the governor's executive council, with each supervising a different aspect of the province, and assisting the governor in decision making. In the provinces with a significant legionary presence, the governor's second-in-command was usually a quaestor, a man elected in Rome and sent to the province to serve a mainly financial role, but who could command the military with the governor's approval. In other provinces governors themselves appointed non-magistrate prefects or procurators to govern a small part of the province and act as their second-in-command.

Republican governors
During the era of the Roman Republic, the council was in charge of appointing governors to Rome's provinces. This was done by appointing promagistrates to serve, either by random casting of lots or by senatus consultum (advice of the Senate); however, these appointments were not formally binding on a legal basis and could be nullified by Roman assemblies.

The governor's level of authority was determined by what type of imperium he possessed. Most provinces were governed by propraetors who had served an annual term in the praetorship the year before. The provinces governed by propraetors were usually the more tranquil ones, where chances of revolt or invasion were small, but in some cases propraetors would be given command of more troubled provinces.

Provinces that lay on the empire's borders, thereby requiring a permanent military garrison, were governed by proconsuls who had served a term as consul (the highest rank of magistrate) the year before their governorship. They were given the authority to command provinces with actual Roman legions, rather than just using the militia.

These promagistrates held equality with other magistrates with the same level of imperium and were attended by the same number of lictors. Generally speaking, they had autocratic power within their provinces. A provincial governor almost possessed unlimited authority and often extorted vast amounts of money from the provincial population—but, though he retained immunity from prosecution as long as he held his imperium, once he left office he became vulnerable to prosecution for his actions during his term.

Imperial provinces
After Augustus established the Principate, the Emperor himself was the direct governor of Rome's most important provinces (called imperial provinces) and even in the provinces he did not directly govern, was senior to other provincial governors through holding imperium maius, or supreme imperium. In imperial provinces, the Emperor would appoint legates to govern in his name. The Emperor had sole say in the appointing of these legates, who were lower in rank than other provincial governors, as officially they were only representatives of the province's true governor, the Emperor.

The Principate did not totally do away with the system of selecting proconsuls and propraetors. In provinces with one legion, a legate bearing praetorian imperium, thus being a propraetor, not only governed the province in the Emperor's name but also controlled the legion himself. However, in provinces with more than one legion, each legion was commanded by its own legate with praetorian imperium, while the province as a whole was commanded by a legate with consular imperium, who had general command over the entire army stationed there, as well as administering the province as a proconsul.

Appointment to these governorships was completely at the whim of the Emperor and could last anywhere from one to five years.

Senatorial provinces
While the Emperor had sole authority in provinces with legions, senatorial provinces were provinces where the Senate had the right to appoint governors. These provinces were away from the Empire's borders and free from the likelihood of rebellion, and so had few, if any, legions stationed in them (thus lessening the chance the Senate might try to seize power from the Emperor).

These provinces were under the authority of proconsular or propraetorian senators invariably styled 'proconsul', with little need for intervention by the Emperor (although the Emperor had the power to appoint these governors if he wished). Most senatorial provinces, since they were not under the direct authority of the Emperor, did not grant the governor legions to command. There was one exception to this rule, the province of Africa, where there was always at least a single legion to protect the province from Berber tribes.

Augustus decreed that at least ten provinces would be held by the authority of the Roman people through the agency of the Senate. Though all ten were "proconsular", only two of these provinces (Asia and Africa), were actually governed by senators with proconsular imperium, the remaining eight being governed by propraetors. The two proconsular governors served for one year, while the eight praetors served typically for up to three years. Each of these men had six lictors who served as bodyguards and also as a symbol of authority and a mark of their position.

Equestrian procurator
The Emperor also had under his control a number of smaller, but potentially difficult provinces that did not need an entire legion. These provinces were put under the control of governors of equestrian status. New conquests generally fell into this equestrian category, but most were later changed in status to reflect the changing conditions of Rome's growing empire. Thus, on conquest, a province would become a procuratorial province until it was decided that it should become either an imperial or senatorial province and thus governed by either a propraetor or proconsul. Like the other imperial provinces, the equestrian governors could serve any length of time up to five years, or even longer.

Much like the senatorial province of Africa, the equestrian province of Roman Egypt was an exception to the general rule of legions only being stationed in imperial provinces. Egypt was not a normal province; it was considered the personal possession of the Emperor, and its governor, the praefectus Aegypti, was considered the hold the highest ranking equestrian post during the early Empire. Later, the post would fall second to that of the praetorian command, but its position remained highly prestigious.

Though the practice of appointing equestrians to help manage provinces officially began with Augustus, governors from years before had appointed procurators to help them govern. However, it was not until the reign of Claudius that these procurators received the powers of a governor. Procurators were civilian officials, unlike prefects. Procurators were not magistrates, so did not possess imperium, and merely exercised the Emperor's, or governor's, authority with his approval.

Late imperial governors
The provincial governors were the most important officials in the Roman administration for it was they who were responsible for tax collection, justice in the first instance, and public order in the first instance. They received, from the prefectures, the tax demands three times a year, which they circulated to the municipalities.

Under the Dominate, the Emperor Diocletian began in AD 293 reforms of the provincial administration that were completed under the Emperor Constantine the Great in 318. Diocletian set up twelve dioceses (later several were split), originally two to four for each of the four co-emperors under the short-lived Tetrarchy (two senior Augusti, each above a Caesar), each governed by a vicarius ('vicar') who acted on behalf of the praetorian prefect. Each diocese comprised several Roman provinces (known in Greek as eparchies), each under the authority of a provincial governor, whose title varied from province to province (the range of titles includes republican relics such as proconsul, as well as novelties such as corrector provinciae, moderator provinciae, praeses provinciae and praesidens). Although the vicar's authority was supreme within his diocese, he was under the authority of praetorian prefect whose power he partook of the emperor himself.

Constantine completely removed the governors' military commands, a process begun under Diocletian. In those provinces where soldiers were stationed, the dux (Latin for leader) commanded border military units. Some duces commanded units in several provinces: they were watched by the diocesan vicars. Field units were commanded by a comes ('companion', whence count) and later by supreme military commanders, the magistri militum.

Constantine, again following Diocletian's lead, organized the Roman Empire into three Praetorian prefectures late in his reign. These were based on the territories controlled by the four co-emperors of the Tetrarchy, two of whom, the senior Augusti, had been served by a praetorian prefect as something like a chief of staff. The three prefectures thus created were the prefecture of Gaul, the prefecture of Italy (later divided by Constans in 347 or perhaps in 342–47), and the prefecture of the East, each being administered by an imperially-appointed praetorian prefect. The prefect of each prefecture was the highest civilian officer, being subordinate only to the emperor(s). The prefect was the superior of the vicars and governors. He was the chief appellate judge, head of the administration of the prefecture, chief finance officer, and chief tax collector (though the collection was actually done at municipal and village levels).
 * A list of the provinces within the dioceses and the dioceses within the prefectures can be found on the Roman provinces page.

Sources and references

 * Notitia dignitatum (authentic imperial chancery document, early 5th century)
 * Pauly-Wissowa

title: Roman governor


text:
Piggies

"Piggies" is a song by the English rock band the Beatles from their 1968 album The Beatles (also known as the "White Album"). Written by George Harrison as a social commentary, the song serves as an Orwellian satire on greed and consumerism. Among several elements it incorporates from classical music, the track features harpsichord and orchestral strings in the baroque pop style, which are contrasted by Harrison's acerbic lyrics and the sound of grunting pigs. Although credited to George Martin, the recording was largely produced by Chris Thomas, who also contributed the harpsichord part.

In the context of the turbulent political climate of 1968, "Piggies" was adopted by the counterculture as an anti-establishment theme song. It was also among the tracks on The Beatles that cult leader Charles Manson used as the foundation for his Helter Skelter theory of an American race-related countercultural revolution. Inspired especially by the line "What they need's a damn good whacking", Manson's followers left clues relating to the lyrics at the scenes of the Tate–LaBianca murders in August 1969.

"Piggies" has received widely varying responses from music critics, and its reputation suffered due to the association with Manson following the latter's trial in 1971. While some reviewers admire its musical qualities and recognise sardonic humour in the lyrics, others consider the song to be mean-spirited and lacking in subtlety. Harrison's demo of the song, recorded at his home in Surrey, was included on the Beatles' 1996 compilation Anthology 3. A live version by Harrison, reinstating a verse that was omitted from the studio recording, appears on his 1992 album Live in Japan. Folk singer and activist Theo Bikel and anarcho-punk musician Danbert Nobacon are among the artists who have covered "Piggies".

Background and inspiration
George Harrison began writing "Piggies" in early 1966, around the time that the Beatles were recording their album Revolver. He returned to the song two years later, after discovering his manuscript in the attic of his parents' house in Liverpool. The same visit led to Harrison starting a new composition, "While My Guitar Gently Weeps", which he similarly completed for inclusion on the Beatles' self-titled double album (also known as "the White Album").

As an anti-establishment song, "Piggies" recalls Harrison's Revolver composition "Taxman". In his 1980 autobiography, I, Me, Mine, Harrison describes "Piggies" as a social commentary. He intended it as a light-hearted satire on consumerism and class distinction. Through its theme of social strata within a community of farm animals (in this case, one consisting entirely of pigs), the song references George Orwell's 1945 novel Animal Farm. According to Harrison's early draft of "Piggies", the lyrics contained a final verse, subsequently cut for the Beatles' recording, that ends with the animals "Paying piggy thanks – to thee Pig Brother!" Musicologist Walter Everett cites these words as evidence that Harrison's main inspiration for the song was Orwell's work, particularly "his fable of autocracy masquerading as democracy, Animal Farm". While also identifying Orwell's book as an influence on the composition, author Ian Inglis views "Piggies" as one of several White Album songs in which the Beatles drew inspiration from their childhood in the 1940s.

During Harrison's Liverpool visit in early 1968, his mother, Louise, responded to his request for assistance with the lyrics by providing the line "What they need's a damn good whacking". Harrison then taped a demo of the song at his house in Esher, Surrey, in late May that year. Following this recording, John Lennon supplied the final phrase in the line "Clutching forks and knives to eat their bacon", replacing the words "to cut their pork chops", which Harrison had sung on the demo version. When performing "Piggies" in concert during the early 1990s, Harrison reinstated the omitted final verse.

From 1966, particularly in the United States, the slang usage of the word "pig" had grown from being a derogatory term for a police officer to refer also to consumerism and establishment figures in general. This was especially so in 1968, as the counterculture became more politically focused, coinciding with the rise of the Black Power movement and the number of mass demonstrations against America's involvement in the Vietnam War. Although author Jon Wiener terms Harrison and Lennon "the radicals among the Beatles", citing their past outspokenness about Vietnam and their readiness to embrace LSD experimentation and Transcendental Meditation, Harrison denied that he was using "pig" in its new context. Inglis nevertheless says that the song title alone "references" the countercultural view of police officers.

Music
"Piggies" features baroque musical elements in its melody and texture. Music journalist Steve Smith groups the song with the Paul McCartney-written "For No One" and "She's Leaving Home" as examples of the Beatles' forays into baroque pop. Harrison biographer Simon Leng recognises the composition as essentially a folk song, however, that was then given a "satirical, drawing-room [musical] arrangement" on the official recording by the prominence of harpsichord and orchestral strings.

The song's musical key is A♭. Its structure comprises two verses, a middle eight (or bridge) section, an instrumental passage (over the verse melody), followed by a final verse that leads into a coda (or outro) and a formal ending. In his commentary on "Piggies", musicologist Alan Pollack remarks on its abundance of classical music traits. These include the use of "arpeggio fragments" in Harrison's opening guitar motif and the repetition of this four-bar passage before each verse and the bridge – a device typical of Schubert's various lieder and the works of other nineteenth-century composers. During the song, the expected cycle of fifth notes in the major scale is interrupted through the inclusion of a III7 (C7) chord, which first appears at the end of the passage leading into the middle eight, before the melody drops down a tone to the minor ii (B♭m) chord. The same section's first line ends with the surprise inclusion of a blues-based riff, soon after which the C7 chord is used again in the ascent to the IV (subdominant) chord, helping to accentuate the phrase "damn good whacking".

As a further example of the melody's baroque characteristics, the bridge contains an implied but unfulfilled tonicisation of VI. In addition, over the coda, the recurring four-bar instrumental passage is partly shifted to a parallel minor, through the use of the more classically oriented A♭m chord, rather than its major equivalent as before. Following the instrumental coda, the song ends with the strings playing a tonically ambiguous cadence, which Everett describes as an unexpected "diminished fourth away from tonic".

Lyrics
Inglis writes that while the nursery rhyme form was Harrison's musical source for "Piggies", his lyrics adopt a political perspective, creating "a savage attack on the corporate greed of contemporary capitalism". In the first verse, Harrison sings of "the little piggies", for whom "life is getting worse". In verse two, "the bigger piggies" are described as "stirring up" the dirt that those smaller animals "crawl" in, while they themselves are dressed in "starched white shirts". According to music journalist Kit O'Toole, whereas the song's harpsichord-led introduction "suggests a salon featuring royalty in their finery", the lyrics immediately nullify this image in their depiction of pigs toiling in mud, thereby heightening the overall satirical effect. Everett comments that the same contrast between refined instrumentation and uncompromising subject matter was later adopted by Stevie Wonder for his track "Village Ghetto Land", issued on Songs in the Key of Life (1976).

During the middle eight, Harrison refers to the privileged pigs in their sties who "don't care what goes on around"; they appear devoid of empathy, and therefore deserve "a damn good whacking". In the third verse, Harrison declares that piggies are "everywhere", leading "piggy lives". He presents a final image of couples dining, holding their cutlery before devouring bacon.

Recording
The Beatles recorded the basic track for "Piggies" at EMI Studios (now Abbey Road Studios) in London on 19 September 1968. After Harrison had performed the song alone on the Esher demo – playing acoustic guitar and whistling over the solo – the use of harpsichord on the official recording came about through happenstance. Acting as a producer in George Martin's absence on some of the White Album sessions, Chris Thomas noticed the instrument set up in preparation for a later session, for a classical recording, in EMI's Studio 1. Harrison agreed that a harpsichord part would suit the song, and so the Beatles' session was moved from Studio 2.

The group taped eleven takes of "Piggies" before achieving the requisite performance. The line-up was Harrison on acoustic guitar, Thomas on harpsichord, McCartney on bass and Ringo Starr on tambourine. Lennon was present at the session but, with only 4-track recording facilities available in Studio 1 (and the available tracks taken up by the other four musicians), he did not play on the basic track. Having attended London's Royal Academy of Music as a child, Thomas performed the harpsichord solo in an authentic classical style, according to Pollack, who highlights how "the melody played by the last three fingers [of the right hand] alternates with a repeated note played by the thumb".

Overdubbing
On 20 September, the recording was copied over to 8-track tape in Studio 2, to allow for overdubbing. Harrison then added his lead vocal, together with harmony vocals on the last verse, creating a mock operatic chorus over the latter section. Through the combination of studio effects and overdubs, his vocal performance on the song consists of three contrasting segments; in Inglis' description, these comprise a "naturalistic" approach at the start of the track, "a distorted middle", and chorus singing at the end. To produce the sharp nasal sound over the middle eight, Harrison sang through a filter that limited the signal to a narrow, 3.5-kilohertz band. Described by Everett as "remarkable", the pitch of Harrison's vocals in the final verse ranges from a low E♭ bass note in one of the harmony parts, to a descant falsetto B♭4 in the high harmony part. Lennon created a tape loop of pre-recorded pig noises, sourced from EMI's library, as well as supplying his own grunting sounds. Drum beats were also added, marking the transition from the solo into the third verse.

Final overdubs on the song were carried out on 10 October, during the last week of recording for The Beatles. Having returned from his extended holiday, Martin wrote a string arrangement for four violins, two violas and two cellos. These parts were recorded during the same orchestral overdubbing session as for Lennon's track "Glass Onion". Towards the end of "Piggies", Harrison added the spoken words "One more time", before the orchestra played the last two chords. In his overview of the recording, author and critic Tim Riley interprets the "thick scouse" delivery of this introduction to the "final grand cadence" as Harrison "smearing social elitists with their own symbols of 'high' culture". Everett refers to the contrast between the various classical elements and the combination of pig sounds and "rude" final cadence as representing an "Orwellian comparison of pigs to socially horrid, though outwardly refined, tyrants".

Mixing on "Piggies" was completed on 11 October. The mono mix has the animal sounds appearing at different points in the song, relative to the stereo version. In addition, Harrison's guitar is more prominent in the mono mix.

Release and reception
Apple Records, the Beatles' EMI-distributed record label, released The Beatles on 22 November 1968, with "Piggies" sequenced as the fourth track on side two of the double LP. It appeared between two other songs with animal names in their titles – "Blackbird" and "Rocky Raccoon". The animal-themed sequencing was a deliberate decision on the part of Lennon and McCartney, who prepared the running order of the album's 30 tracks, with Martin, after Harrison had left for Los Angeles to work with Apple signing Jackie Lomax.

According to author Mark Hertsgaard, "Piggies" "[kept] the Beatles' countercultural flame alive", as the song was embraced as an anti-authoritarian anthem by the counterculture, following a year of protests and civil unrest in many Western countries. Among many such events in the United States, police officers clashed violently with anti-Vietnam War demonstrators at the Democratic National Convention in Chicago in August 1968. David A. Noebel, an American arch-conservative, paired the song with "Back in the U.S.S.R." when he accused the Beatles of being pro-Communist and leading a move towards revolutionary socialism with the White Album. Along with McCartney's "Rocky Raccoon", however, "Piggies" was also criticised by the radical New Left as an example of the Beatles resorting to whimsical parody instead of directly addressing contemporary issues.

Among the more conservative elements of the British establishment and the public, the release of The Beatles coincided with a less tolerant attitude towards the band. On 19 October, two days after the 24-hour session to sequence the album, Lennon, along with Yoko Ono, was arrested for possession of cannabis; Lennon described the bust as a "set-up" by the London Drug Squad. During a radio interview shortly afterwards, in Los Angeles, Harrison questioned the local police department's motto "To serve and protect" when asked about the criminality of smoking marijuana. In mid November, he represented the Beatles on The Smothers Brothers Comedy Hour, which was in conflict at the time with the CBS television network over its political satire and regularly subjected to censorship. Author John Winn describes Harrison's guest appearance as "an important show of support" following Richard Nixon's recent US election win.

Writing in the International Times, Barry Miles found "Piggies" "unsubtle" and likely to appeal to "those involved with Chicago's pig-police". William Mann of The Times noted the recurring nature theme throughout the album, from brief mentions of monkeys, lizards, elephants and tigers, to song titles such as "Blackbird" and "Piggies", and asked of Harrison's characters: "are they Chicago police or just company directors?" Melody Maker's Alan Walsh admired the instrumentation on the recording and deemed "Piggies" to be "The Beatles' satire track ... a kick at upper-class reactionaries or journalists (or both)". In his unfavourable review of the White Album, in The New York Times, Mike Jahn considered that many of the tracks were "either so corny or sung in such a way that it is hard to tell whether [the Beatles] are being serious", among which the words of Harrison's song served as "an act of lyrical overstatement".

Record Mirror remarked that the birdsong effects of "Blackbird" were replaced by "snorts and grunts" on "Piggies", which the reviewer described as "a society beef (or pork if you like)" in the style of folk singer Roy Harper. Writing in Rolling Stone, Jann Wenner considered the song to be "an amazing choice to follow 'Blackbird'", given the contrast between the two pieces – "'Blackbird' so encouraging, 'Piggies' so smug (though accurate: 'what they need's a damn good whacking'). Ha!" Wenner paired it with Starr's "Don't Pass Me By", as lesser tracks beside the "superb numbers" found elsewhere on the album, but added that "on their own, they're totally groovy." Alan Smith of the NME praised the melody and the use of classical instrumentation, and described the song as "a telling piece about modern life" and "a fascinating piece of humorous cynicism".

Charles Manson interpretation
Musician and cult leader Charles Manson interpreted several songs on The Beatles as an inducement for his followers, known as the Manson Family, to carry out a series of murders in Los Angeles in August 1969. Inspired by the line "What they need's a damn good whacking", Manson adopted "Piggies" as one of the tracks to justify such attacks on the White bourgeoisie. Believing that the Beatles were instructing him through their music, Manson envisioned these attacks as the prelude to an apocalyptic racial war between the establishment and the Black community that would leave him and his followers to rule America on counterculture principles. At the scenes of the murders of Sharon Tate, Leno and Rosemary LaBianca, Gary Hinman and others, the words "Political Piggy", "Pig" and "Death to Pigs" were written on the walls with the victims' blood. In the case of Leno LaBianca, items of cutlery were inserted into his body in reference to the lyric "Clutching forks and knives to eat their bacon".

Speaking to Rolling Stone co-founder David Dalton before his trial, Manson also drew parallels between the pig noises that close the track and a similar sound, followed by machine-gun fire, that appears in Lennon's White Album sound collage "Revolution 9". Like its rival counterculture publications Los Angeles Free Press and Tuesday's Child, Rolling Stone initially supported Manson, Dalton contending that it was a case of the conservative-minded authorities framing "some poor hippie guru". According to author Steve Turner, "Piggies" "became notorious" as a result of the Manson Family's 1971 murder trial, which was successfully prosecuted by Californian attorney Vincent Bugliosi.

Harrison was appalled at Manson's interpretation of the song. He also found it disturbing that Manson came to define the long-haired hippie type in the public's eyes, after the prosecution's case had resulted in widespread condemnation of rock music and the idealism associated with the late 1960s hippie movement. In his 1974 book Helter Skelter, Bugliosi says he was denied permission to quote from the lyrics of "Piggies" in the book, yet not so for relevant Lennon–McCartney songs, such as "Helter Skelter", "Revolution 1" and "Blackbird".

The connection between Manson's interpretation of the White Album songs and the August 1969 murders was introduced by Bugliosi in Manson's trial. Mike McGann, the lead police investigator on the Tate-LaBianca murders later stated: "Everything in Vince Bugliosi's book is wrong. I was the lead investigator on the case. Bugliosi didn't solve it. Nobody trusted him." Police detective Charlie Guenther, who investigated the murders, and Bugliosi's co-prosecutor Aaron Stovits have also discredited this as the motive for the murders.

Retrospective assessment and legacy
Writing in 1977, Nicholas Schaffner said that, despite the "merciless stereotypes" presented in its lyrics, "Piggies" and Harrison's three other White Album compositions "firmly established him as a contender" beside the Beatles' principal songwriters, Lennon and McCartney. Four years later, Philip Norman described the song as "mordantly humorous". Among more recent Beatles biographers, Ian MacDonald views "Piggies" as a "bludgeoning satire on straight society", dismissing it as "dreadful" and "an embarrassing blot on [Harrison's] discography".

According to author Doyle Greene, writing in his 2016 book on the 1960s counterculture, the Beatles and Manson are "permanently connected in pop-culture consciousness" as a result of Manson having founded his theory of race war on McCartney's "Helter Skelter", "Piggies" and other tracks from the 1968 double album. In his book Revolution: The Making of the Beatles' White Album, David Quantick recognises the song's musical qualities – describing it as "a powerful song, full of angry climaxes" with "a fine [vocal] performance ... [and] a charming baroque feel" – yet he bemoans its "arrogant" and misanthropic message. Quantick concludes: "Although the Beatles preached peace and love and meant it, large parts of the White Album indicate that they could be a bit selective about it." Ian Inglis considers that the intentions behind Harrison's send-up of capitalist consumerism were reasonable, and acknowledges the sinister connotations that the song gained through Manson. He says that the track fails, however, melodically and lyrically, and lacks cohesion in its musical arrangement as well as "any subtlety or charm".

Reviewing Harrison's career in a 2002 issue of Goldmine magazine, Dave Thompson termed "Piggies" "whimsically foreboding" and grouped it with late-period Beatles songs such as "Something" and "Long, Long, Long" that anticipated Harrison's successes as a solo artist after the group's break-up in 1970. Tim Riley describes the song's narrative as "smug anti-elitism outdone only by the dourness of John's 'Glass Onion' and 'Sexy Sadie'". With regard to George Martin's contention that The Beatles should have been edited down to a single disc, however, he views "Piggies" as one of the White Album "essentials" contributed by Harrison, along with "While My Guitar Gently Weeps" and "Savoy Truffle".

Among reviewers of the 2009 remastered album, Sean Highkin of Beats Per Minute cites the track as evidence that, despite the disharmonious atmosphere within the group during 1968, "All four Beatles were working at their highest levels", with Harrison "at his most acerbic on 'Piggies'". Mark Richardson of Pitchfork highlights the song as one of The Beatles' "iffy jokes" that nevertheless succeed, due to the high standard of the band's songwriting and the effective sequencing of the double album. Coinciding with the 50th anniversary of its release, Jacob Stolworthy of The Independent listed "Piggies" at number 14 in his ranking of the White Album's 30 tracks. He admired the harpsichord passage as a "highlight" of the album and wrote: "On first listen, 'Piggies' is too strange to enjoy. Once its Orwellian nature is embraced, however, it becomes a joyous two fingers in the face of establishment told by Harrison in baroque pop form." AllMusic writer Stephen Thomas Erlewine, commenting on The Beatles as a whole, described "Piggies" as a "silly" song that nonetheless demonstrates Harrison's development as a songwriter, along with his other contributions to the album.

Other versions
Theo Bikel, an actor, folk singer and activist who was a delegate at the 1968 Democratic convention in Chicago, covered "Piggies" on his 1969 album A New Day. Reviewing the opening night of Bikel's residency at the Troubadour in Los Angeles, in June 1970, Billboard magazine described the song as one of "the more meaningful titles" that the singer had adopted from the work of popular acts such as the Beatles, the Rolling Stones and Donovan. The 1976 television adaptation of Vincent Bugliosi's book, also titled Helter Skelter, features several Beatles songs, including "Piggies" and Harrison's White Album track "Long, Long, Long", both performed by the group Silverspoon. The song was also covered by Danbert Nobacon, lead singer of the anarcho-punk band Chumbawamba. Titled "Piggies in Revolution 9", Nobacon's version appeared on the 1989 album Fuck EMI, a multi-artist compilation protesting EMI's business practices, particularly the company's involvement in cruise missile production.

Having become available on bootleg albums from 1991 onwards, Harrison's 1968 demo was released on the Beatles' Anthology 3 compilation in October 1996. Recorded on an Ampex four-track recorder, the demo features Harrison playing two acoustic guitar parts, and a double-tracked lead vocal. Harrison performed "Piggies" throughout his 1991 Japanese tour with Eric Clapton and at his Natural Law Party concert in London in April 1992. With synthesizers replicating the classical arrangement, a version recorded at the Tokyo Dome on 15 December 1991 appears on Harrison's Live in Japan double album.

Phish included "Piggies" in their performance of The Beatles on Halloween 1994, which was released in 2002 as Live Phish Volume 13. The harpsichord from the original Beatles recording was mashed with Jay-Z's "Change Clothes" for a track on Danger Mouse's The Grey Album in 2004. For the Beatles' 2006 remix album Love, compiled by Martin and his son Giles, the harpsichord and cello parts were mixed into the ending of "Strawberry Fields Forever".

The song was covered by Pumajaw for The White Album Recovered, a CD distributed with the September 2008 issue of Mojo magazine. That same year, former Cars keyboardist Greg Hawkes issued a ukulele rendition on his album The Beatles Uke.

Personnel
According to Ian MacDonald, except where noted:

The Beatles
 * George Harrison – lead and harmony vocals, acoustic guitar, backing vocals, vocalised grunting
 * John Lennon – tape effects, vocalised grunting, backing vocals
 * Paul McCartney – bass, backing vocals
 * Ringo Starr – tambourine, bass drum

Additional musicians
 * Chris Thomas – harpsichord
 * Henry Datyner – violin
 * Eric Bowie – violin
 * Norman Lederman – violin
 * Ronald Thomas – violin
 * John Underwood – viola
 * Keith Cummings – viola
 * Eldon Fox – cello
 * Reginald Kilby – cello
 * George Martin – string arrangement

title: Piggies


text:
Rocky Raccoon

"Rocky Raccoon" 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 primarily written by Paul McCartney, although credited to the Lennon–McCartney partnership. McCartney began writing the song in Rishikesh, India, where the Beatles were studying Transcendental Meditation in the early months of 1968. John Lennon and Scottish singer-songwriter Donovan, who joined the Beatles on their retreat, also made contributions to the song. A cover version by Richie Havens reached number 76 in Canada in 1969.

Composition
The song, a country style ballad, is titled from the character's name, which was originally "Rocky Sassoon", but McCartney changed it to "Rocky Raccoon" because he thought "it sounded more like a cowboy". Former 13th Floor Elevators drummer Danny Thomas claims the name "Rocky" was inspired by Roky Erickson, the American rock band's then-vocalist and -guitarist. According to Beatles historian Kenneth Womack, McCartney drew his inspiration for the song from Robert Service's poem "The Shooting of Dan McGrew". Canadian photographer and filmmaker Paul Saltzman, author of The Beatles in Rishikesh and The Beatles in India, has expressed the belief that Paul McCartney based the lyrics for ‘Rocky Raccoon’ on Saltzman’s description to him in Rishikesh of his girlfriend having recently left him for another man. The Old West-style honky-tonk piano was played by producer George Martin. "Rocky Raccoon" is also the last Beatles song to feature John Lennon's harmonica playing.

The lyrics describe a conflict over a love triangle, in which Rocky's girlfriend "Lil" McGill (known to the public as Nancy) leaves him for a man named Dan, who punches Rocky in the eye. Rocky vows revenge and takes a room at the local saloon. He bursts into the room, armed with a gun, but Dan outdraws and shoots him. A drunken doctor attends to Rocky, who insists that the wound is only a minor one. Stumbling back to his room, Rocky finds a Gideon Bible.

Legacy
In Mojo magazine in October 2008, McCartney acknowledged that the style of the song is a pastiche, saying: "I was basically spoofing the folksinger." Lennon attributed the song to McCartney, saying: "Couldn't you guess? Would I have gone to all that trouble about Gideon's Bible and all that stuff?"

Coinciding with the 50th anniversary of its release, Jacob Stolworthy of The Independent listed "Rocky Raccoon" at number 22 in his ranking of the White Album's 30 tracks. He called the song "proof of McCartney's songwriting versatility" and continued that the song is "bolstered by a vibrant honky-tonk piano from the group's long-time record producer George Martin".

Personnel
According to Ian MacDonald:

 * Paul McCartney – lead vocals, acoustic guitar
 * John Lennon – backing vocals, harmonium, six-string bass, harmonica
 * George Harrison – backing vocals, bass
 * Ringo Starr – drums
 * George Martin – honky-tonk piano

title: Rocky Raccoon


text:
Labrador (disambiguation)

Labrador is the mainland part of the province of Newfoundland and Labrador, Canada. This name can also refer to:

Geography

 * Labrador (electoral district)
 * Labrador Peninsula
 * Labrador Sea
 * Labrador District, a district in the canton of San Mateo in the province of Alajuela

Towns

 * Labrador, Queensland, Australia
 * Labrador, Pangasinan, Philippines

Areas

 * Labrador Hollow Unique Area, New York, USA
 * Labrador Nature Reserve, Singapore

People

 * João Fernandes Lavrador (died ca. 1505), a landholder and explorer
 * Pedro Gómez Labrador, Marquis of Labrador (1755–1852), diplomat who represented Spain at the Congress of Vienna
 * Raúl Labrador, United States politician, member of the US House of Representatives from Idaho

Vehicles

 * CCGS Labrador (formerly HMCS Labrador (AW 50), Canadian icebreaker in service from 1954 to 1987
 * CH-113 Labrador, helicopter used by Canadian Forces Air Command
 * Labrador, operated by the Hudson's Bay Company from 1866–1887, see Hudson's Bay Company vessels

Plants and animals

 * Labrador duck, extinct North American bird
 * Labrador Retriever, breed of dog
 * Labrador tea, a common name for 3 species of plants

Other uses

 * Labrador Current, cold current in the Atlantic ocean
 * Labrador ice sheet, a major ice sheet that periodically covered parts of North America
 * Labrador Records, alternative record label from Stockholm, Sweden

title: Labrador (disambiguation)


text:
Wikipedia:Articles for deletion/Geopoetry

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

The result of the debate was ALREADY SPEEDIED, but not by me. -Splash 00:12, 23 July 2005 (UTC)

Geopoetry
This isn't patent nonsense, but I don't think there's anything salvageable here, is there? DS 16:03, 16 July 2005 (UTC)
 * Speedy delete - looks like patent nonsense to me. AdorableRuffian 16:52, 16 July 2005 (UTC)
 * Delete. "I can drunk just as good Wiki."  Almafeta 16:58, 16 July 2005 (UTC)
 * Speedy. Agree with AdorableRuffian. Pburka 18:27, 16 July 2005 (UTC)
 * I think this one actually is just nonsensical enuf to go speedy. Entire content was "geopoetry,artistic proceeding consisting in the industry of valorisation rough and drifted wood's trhue sculpture,pigmentary impregnation,adjonction of a specificaly created alloy :Aenors(tm)of a.j Van Wyk(adagp member 141666)[1] and soon www.aenors.nl try it! it might be online these day's --82.234.130.142 11:19, 16 July 2005 (UTC)adagp141666" If someone objects, leave a note on my talk page and I'll restore it for the duration of its Vfd. Niteowlneils 22:31, 16 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Don't Pass Me By

"Don't Pass Me By" is a song by the English rock band the Beatles from their 1968 double album The Beatles (also known as the "White Album"). A country rock song, it was the first solo composition written by drummer Ringo Starr.

The song was released as a single in Scandinavia (misattributed to Lennon–McCartney) and peaked at number one in Denmark in April 1969.

Origin
Starr first played the song for the other Beatles soon after he joined the group in August 1962. During an interview, Starr commented on the songwriting process, saying: "I wrote 'Don't Pass Me By' when I was sitting round at home. I was fiddling with the piano – I just bang away – and then if a melody comes and some words, I just have to keep going. It was great to get my first song down, one that I had written. It was a very exciting time for me and everyone was really helpful, and recording that crazy violinist was a thrilling moment".

The earliest public mention of the track seems to have been in a BBC chatter session introducing "And I Love Her" on the radio show Top Gear in 1964. In the conversation, Starr was asked if he had written a song and Paul McCartney mocked him soon afterwards, singing the first line of the refrain, "Don't pass me by, don't make me cry, don't make me blue, baby".

Recording
The song was recorded in four separate sessions in 1968: 5 and 6 June, and 12 and 22 July. Despite references to it in 1964 as "Don't Pass Me By", it was called "Ringo's Tune (Untitled)" on 5 June session tape label and "This Is Some Friendly" on 6 June label. By 12 July, the title was restored.

During a lead vocal track recorded on 6 June, Starr audibly counted out eight beats, and it can be heard in the released song starting at 2:30 of the 1987 CD version. The monaural mix is faster than the stereo mix, and features a different arrangement of violin in the fade-out.

George Martin arranged an orchestral interlude as an introduction, but this was rejected. It would eventually be used as an incidental cue for the Beatles' animated film Yellow Submarine. In 1996, the introduction was released as the track "A Beginning" on Anthology 3.

At the start of the Beatles' filmed rehearsals at Twickenham Film Studios in January 1969, George Harrison, having recently visited Bob Dylan and the Band in Woodstock in upstate New York, reported to Starr and McCartney that "Don't Pass Me By" was the Band's favourite track on the White Album. He added that the song's country mood was "their scene completely" and told Starr, "You'd go down a bomb with them".

Critical reception
Among contemporary reviews of The Beatles, Record Mirror said that "Don't Pass Me By" had a "carnival atmosphere" and a "'gay Paree' sound", adding that, with Starr's vocal, the track was "very appealing". Writing for the same publication in January 1969, however, David Griffiths said that although he considered The Beatles to be the best album of the past year, the song's arrangement "has quickly palled on me" and "I do tend to jump the needle here." Barry Miles of International Times described "Don't Pass Me By" as "Ringo's C&W number" and a "great song", and highlighted the "excellent fiddle player" and "bag-pipe effect". In his review for The New York Times, Nik Cohn recognised the track as "the Beatles five years back, straight ahead and clumsy and greatly enjoyable, backed by a beautiful hurdy-gurdy organ and made perfect by Ringo's own vocal, sleepwalking as ever".

Writing in 2014, Ian Fortnam of Classic Rock magazine cited "Don't Pass Me By" as one of the four songs that made the Beatles' White Album an "enduring blueprint for rock", along with "Yer Blues", "While My Guitar Gently Weeps" and "Helter Skelter", in that together they contained "every one of rock's key ingredients". In the case of Starr's song, he said that the track was poorly served by the McCartney-led arrangement, yet it represented a "southern rock exemplar par excellence" for musicians to come.

Coinciding with the 50th anniversary of its release, Jacob Stolworthy of The Independent listed "Don't Pass Me By" at number 26 in his ranking of the White Album's 30 tracks. He wrote: "This country ditty from Ringo was written years before the White Album, and – while suitably thigh-slapping – doesn’t ever outlive its making-up-the-numbers status".

Personnel
Personnel per Ian MacDonald and supported by Mark Lewisohn

The pianos were both recorded into a Leslie 147 speaker.
 * Ringo Starr – double-tracked vocals, drums, tack piano, sleigh bells, cowbell, maracas, congas
 * Paul McCartney – grand piano, bass guitar
 * Jack Fallon – violin

Cover versions
"Don't Pass Me By" has been covered by the alt-country band the Gourds, by the Southern rock band the Georgia Satellites on their 1988 album Open All Night, and by the Punkles on their 2004 album Pistol. Fortnam highlights the Georgia Satellites' recording as a version that successfully captured the "full boogie-rocking potential" that had been ignored in the Beatles' guitar-less arrangement in 1968.

Phish covered "Don't Pass Me By" live as part of their interpretation of The Beatles, released on the album Live Phish Volume 13, giving the song a bluegrass arrangement.

Ringo Starr released a re-recording of the song as a bonus track on his 2017 album Give More Love.

"A Beginning"
"A Beginning" is an instrumental piece composed by Martin and intended as an introduction to "Don't Pass Me By". It was instead used as an incidental cue in the Beatles' cartoon film Yellow Submarine and heard right before "Eleanor Rigby". It was included on Anthology 3 as a replacement of a planned "new Beatles song", "Now and Then" (along with "Free as a Bird" and "Real Love").

"A Beginning" was scored by George Martin and recorded on 22 July 1968, using the same orchestra that appeared on the Beatles' song "Good Night".

Personnel

 * Unknown musicians: twelve violins, three violas, harp, three flutes, clarinets, horn, vibraphone, bass

title: Don't Pass Me By


text: File:Machinegunclownshand.jpg

title: File:Machinegunclownshand.jpg