text:
File:Scanmid.gif

A diagram of the middle of an exposure scan in a scanning stepper, for the Stepper article. I created this image and I release it into the public domain.

title: File:Scanmid.gif


text: User talk:69.25.77.51

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

title: User talk:69.25.77.51


text:
Kaituozhe (rocket family)

The Kaituozhe or KT rocket family is a series of launch vehicles built by the China Aerospace Science and Technology Corporation (CASC).

Kaituozhe-1
Kaituozhe-1 (KT-1) was small, solid fueled launch vehicle based on the road mobile DF-21 IRBM with an additional upper stage (in total 4 stages ). It was 13.6 meters in length and 1.4 meters in diameter, with launch mass of 20t. It was possible to launch KT-1 both from a truck-based platform or from airborne platform. It had a 100 kg to LEO payload capacity. It was possibly the launch vehicle for a Chinese ASAT system that was tested against an old Chinese weather satellite in 2007.

The vehicle has performed two flights, the first on 15 September 2002 and the second 16 September 2003. The first flight failed to place a 50 kg satellite into polar orbit due to a second stage malfunction. The second flight was also a failure, however Chinese officials declared some success citing the guidance systems, fairing separation and satellite-launcher separation as successful. The second launch sent the payload, PS-2 microsatellite (40 kg) into wrong orbit. The satellite completed barely one orbit before re-entering the atmosphere.

The Kaituozhe-1 launcher appears to have been cancelled after two unsuccessful launches. A third (in 2004) and fourth launch have been rumored, but are not confirmed.

The rocket had three variants: the Kaituozhe-1 (KT-1), the Kaituozhe-1A (KT-1A, originally designated KT-2, not to be confused with KT-2 below) and the Kaituozhe-1B (KT-1B, originally designated KT-2A, not to be confused with KT-2A below). The rockets that flew were of the KT-1 variant. The KT-1A and KT-1B variant rockets were not built.

Kaituozhe-2
Like its predecessor the Kaituozhe-2 (KT-2) is a solid-fueled launch vehicle which could be based on the DF-31 missile. Two versions have been proposed:

Kaituozhe-2
The Kaituozhe-2 (KT-2, AKA Kaituo-2) features a possibly DF-31 based stage 1, topped by a small diameter stage 2 and 3. It has reportedly a payload of 800 kg to low earth orbit.

The maiden flight of the Kaituozhe-2 took place at 23:45 UTC on March 2, 2017, from Jiuquan (apparently from one of the two solid rocket launch pads ). The rocket placed the Tiankun-1 (TK-1) satellite into polar orbit.

The KT-2 is a rapid-response launcher; the rocket is capable of mobile-launch from a transporter-erector-launcher (TEL) vehicle.

Kaituozhe-2A
The Kaituozhe-2A (KT-2A) features a possibly DF-31 based stage 1, augmented by two DF-21 based strap-on boosters. It features a stage 2 with the same diameter as the stage 1 and the same smaller diameter stage 3 as the Kaituozhe-2. It has reportedly a payload of 2000 kg to low Earth orbit.

title: Kaituozhe (rocket family)


text:
Wikipedia:Articles for deletion/The rock band Legacy

 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 Delete. Redwolf24 02:47, 24 August 2005 (UTC)

The rock band Legacy
Non-notable, probably vanity page. Apparently no Google hits at all. Gabriel Beecham/Kwekubo 17:35, 18 August 2005 (UTC)
 * If they are real keep but if not delete. --Riverofdreams 17:30, 18 August 2005 (UTC) Wikify
 * Allmusic turns up a few bands named "Legacy", though I can't tell which, if any, this is supposed to be. There is almost no information on any of them. I'll go with delete, because the title is all wrong, and the content is basically crap too, making nothing really salvageable. It's also impossible to google, as far as I can tell, as "legacy" is way too common of a word mentioned when discussing any sort of band. If someone wants to write an article about this or another "Legacy" band at Legacy (band), they should go ahead, though they should give some indication if why it would meet the criteria at WP:MUSIC. -R. fiend 18:10, 18 August 2005 (UTC)

Sorry the article doesn't measure up to your standards. I guess if it is a "vanity page" it doesn't measure up to yours Beecham/kwekubo.
 * Apology accepted. -R. fiend 18:53, 18 August 2005 (UTC)

Wha?
 * Delete. Even if real, still no indicia of encyclopedic notability. -- BD2412 talk 19:15, August 18, 2005 (UTC)
 * Delete No google record of the band members either. Dottore So 20:46, 18 August 2005 (UTC)
 * Delete nn band vanity. -- Etacar11   23:54, 18 August 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: User talk:68.84.91.97

title: User talk:68.84.91.97


text:
File:Experimental Deletion.jpg

eXperimental Deletion logo

(C) Kim Bruning 2005, "I made this picture", licensed under GFDL

title: File:Experimental Deletion.jpg


text:
International Social Service

The International Social Service (ISS) is an international non-governmental organization (NGO) founded in 1924. It provides assistance in resolving international child protection cases.

The ISS is organised as a global network of over 120 countries which assist children and families confronted with complex social problems as a result of migration. This is in addition to a General Secretariat based in Geneva.

The ISS is accredited to the United Nations Economic and Social Council (ECOSOC).

History
The ISS was founded as the 'International Migration Service' in 1924. It was initially established in London by the World YWCA under the Chairmanship of Lady Dorothy Gladstone. Its headquarters moved from London to Geneva in 1925, where it has remained since.

Present day
The ISS aims to ensure that respect for human rights is accorded to every individual across international borders, especially children. As such, it is concerned with a number of areas, including: The services which ISS provides include:
 * Forced migrations (child trafficking, conflict, wars, asylum)
 * Voluntary migrations
 * International adoptions
 * Child abduction (inter-country divorce or separation)
 * Unaccompanied/orphan child (death or separation)
 * Inter-country social and legal assistance
 * Family tracing
 * Pre- and post-adoption assistance
 * International family mediation
 * Child protection in family separation
 * Protection and care of unaccompanied minors
 * Alternative/foster care
 * Search of origins

Structure
The ISS is a global network spanning over 120 countries. These consist of 'Branches', 'Affiliated Bureaus' and 'Correspondents'. Prominent members exist in Australia, Canada, Germany, Hong Kong, Switzerland, UK (known as Children and Families Across Borders) and the US.

The organisations that the ISS collaborates with include:
 * National and local child protection agencies
 * National and local governments and courts
 * NGOs with similar mission and activities
 * Family support services
 * Public and private immigration services
 * Public and private missing children agencies
 * Individual social service practitioners
 * Law enforcement agencies, practitioners and firms
 * Mediation practitioners
 * Psychology and health practitioners

title: International Social Service


text:
Wikipedia:Articles for deletion/Potterish

 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 Delete. Socktastic. Redwolf24 02:49, 24 August 2005 (UTC)

Potterish
Delete. Non-notable website spam. JDoorjam 17:33, 18 August 2005 (UTC)

Keep. I am a HUGE fan of this website, and it is really important here in Brasil, It is the most notable website in that area, and they do diserve - as the other important websites of this subejct- a link in winkipedia, How can it be Spam when it does not have any related links about this site on the page???? (anonymously posted by 201.1.98.99) <-- first vote by this user

Keep. Potterish is a very good website about Harry Potter. Updated daily with relevant news about everything related to Harry Potter books and movies. It is not a spam website! (anonymously posted by 201.21.18.239) <-- second vote

Keep. It is not fair these votes for deletion since there are similar websites in Wikipedia. (anonymously posted by 200.17.114.40) <-- third vote

 * Delete as sockpuppet-supported spam, although this is certainly better formatted than most. - Lucky 6.9 18:12, 18 August 2005 (UTC)

 * Delete Non-notable website spam. POV. Highly suspect anonymous votes for. --Lomedae 18:15, August 18, 2005 (UTC)

KeepMugglenet and The Leaky Cauldron alread have articles... (posted anonymously by 201.1.98.99, again.) <-- fourth vote
 * Abstain. Alexa rank about 330,000. I would prefer articles about Mugglenet.com and The Leaky Cauldron.org first, because those have much higher traffic rankings and have received fansite awards from Harry Potter author J.K Rowling. (BTW, I did some formatting right at the moment you were reading it :))- Mgm|(talk) 18:18, August 18, 2005 (UTC)

Keep. Potterish is the best brazilian website about Harry Potter. There is no spam on the website and I think the brazilian fans deserve a website on their language...not everyone speak english (anonymously posted by 201.12.190.37, first and only edit) <-- fifth vote
 * Keep. Trollderella 18:20, 18 August 2005 (UTC)
 * Comment: so far this is all delete or abstain votes, some Brazilian sockpuppets, and Trollderella who votes Keep for EVERYTHING. Just so we're keeping track here.JDoorjam 19:28, 18 August 2005 (UTC)
 * Delete. Just another fansite. -R. fiend 18:37, 18 August 2005 (UTC)

 * Delete' Fancruft. -- < drini | ∂drini > 19:42, 18 August 2005 (UTC)
 * Delete. Fancruft, probably vanity. Martg76 20:17, 18 August 2005 (UTC)

 * Delete spam, vanity, supported by sockpuppets. - ulayiti (talk)  20:23, 18 August 2005 (UTC)
 * Delete per above. Dottore So 20:48, 18 August 2005 (UTC)
 * Delete Damn puppets - always a bad sign. --PhilipO 23:00, 18 August 2005 (UTC)

Keep It! if Mugglenet can, why they can't? '''<-- 6th vote. Quite a sock drawer.''' JDoorjam 22:02, 18 August 2005 (UTC)
 * Delete. Sock puppets where it hurts them most. Alf 23:16, 18 August 2005 (UTC)
 * Delete fancruft, not surprisingly supported by sockpuppets. -- Etacar11   23:57, 18 August 2005 (UTC)

 * Note: part, and then the entire page just deleted by anon who has voted six times. (Restored by JDoorjam 00:14, 19 August 2005 (UTC))
 * And just partly and entirely deleted again, bringing the score for this anon to Votes:6, Vandalism:4. JDoorjam 02:05, 19 August 2005 (UTC)
 * Delete. Who knew that sockpuppets were Harry Potter fans too. Capitalistroadster 01:42, 19 August 2005 (UTC)
 * That's what you get for letting in HP book articles in before release.Alf 16:15, 23 August 2005 (UTC)

Delete per Splash. Punkmorten 21:07, 20 August 2005 (UTC)
 * Delete there's something about socks that make me reach for my "vote - d" button. Oh, and the website is just one of the 8 billion or so, so is nn as it stands. -Splash 02:57, 19 August 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:
Resocialization

Resocialization or resocialisation (British English) is the process by which one's sense of social values, beliefs, and norms are re-engineered. The process is deliberately carried out in military boot camps through an intense social process or may take place in a total institution. An important thing to note about socialization is that what can be learned can be unlearned. That forms the basis of resocialization: to unlearn and to relearn.

Resocialization can be defined also as a process by which individuals, defined as inadequate according to the norms of a dominant institution, are subjected to a dynamic redistribution of those values, attitudes and abilities to allow them to function according to the norms of the said dominant institutions. That definition relates more to a jail sentence. If individuals exhibit deviance, society delivers the offenders to a total institution, where they can be rehabilitated.

Resocialization varies in its severity. A mild resocialization might be involved in moving to a different country. One who does so may need to learn new social customs and norms such as language, eating, dress, and talking customs. A more drastic example of resocialization is joining a military or a cult, and the most severe example would be if one suffers from a loss of all memories and so would have to relearn all of society's norms.

The first stage of resocialization is the destruction of an individual's former beliefs and confidence.

Institutions
The goal of total institutions is resocialization, which radically alters residents' personalities by deliberate manipulation of their environment. A total institution refers to an institution in which one is totally immersed and controls all of one's day-to-day life. All activity occurs in a single place under a single authority. Examples of a total institution include prisons, fraternity houses, and the military.

Resocialization is a two-part process. First, the institutional staff try to erode the residents' identities and independence. Strategies to erode identities include forcing individuals to surrender all personal possessions, get uniform haircuts and wear standardized clothing. Independence is eroded by subjecting residents to humiliating and degrading procedures. Examples are strip searches, fingerprinting, and assigning serial numbers or code names to replace the residents' given names.

The second part of resocialization process involves the systematic attempt to build a different personality or self. That is generally done through a system of rewards and punishments. The privilege of being allowed to read a book, watch television, or make a phone call can be a powerful motivator for conformity. Conformity occurs when individuals change their behavior to fit in with the expectations of an authority figure or the expectations of the larger group.

No two people respond to resocialization programs in the same manner. Some residents are found to be "rehabilitated," but others might become bitter and hostile. As well, over a long period of time, a strictly-controlled environment can destroy a person's ability to make decisions and live independently, which is known as institutionalisation, a negative outcome of total institution that prevents an individual from ever functioning effectively in the outside world again. (Sproule, 154–155)

Resocialization is also evident in individuals who have never been "socialized" in the first place or have not been required to behave socially for an extended period of time. Examples include feral children (never socialized) or inmates who have been in solitary confinement.

Socialization is a lifelong process. Adult socialization often includes learning new norms and values that are very different from those associated with the culture in which the person was raised. The process can be voluntary. Currently, joining a volunteer military qualifies as an example of voluntary resocialization. The norms and values associated with military life are different from those associated with civilian life (Riehm, 2000).

The sociologist Erving Goffman studied resocialization in mental institutions. He characterized the mental institution as a total institution, one in which virtually every aspect of the inmates' lives is controlled by the institution and calculated to serve the institution's goals. For example, the institution requires patients to comply with certain regulations, even when that is not necessarily in the best interest of individuals.

In Military
Those who join the military enter a new social realm in which they become socialized as military members. Resocialization is defined as a "process wherein an individual, defined as inadequate according to the norms of a dominant institution(s), is subjected to a dynamic program of behavior intervention aimed at instilling and/or rejuvenating those values, attitudes, and abilities which would allow... to function according to the norms of said dominant institution(s)."

Boot camp serves as an example for understanding how military members are resocialized within the total institution of the military. According to Fox and Pease (2012), the purpose of military training, like boot camp, is to "promote the willing and systematic subordination of one’s own individual desires and interests to those of one’s unit and, ultimately, country." To accomplish it, all aspects of military members' lives exist within the same military institution and are controlled by the same "institutional authorities" (drill instructors) and are done to accomplish the goals of the total institution. The individual's "civil[ian] identity, with its built-in restraints is eradicated, or at least undermined and set aside in favor of the warrior identity and its central focus upon killing." This warrior identity or ethos, is the mindset and group of values that all United States armed forces aim to instill in their members. Leonard Wong in “Leave No Man Behind: Recovering America’s Fallen Warriors,” describes the warrior ethos as placing the mission above all else, not accepting defeat, not ever quitting, and never leaving another American behind.

Military training prepares individuals for combat by promoting traditional ideas of masculinity, like training individuals to disregard their bodies' natural reactions to run from fear, have pain or show emotions. Although resocialization through military training can create a sense of purpose in military members, it can also create mental and emotional distress when members are unable to achieve set standards and expectations.

Military members, in part, find purpose and meaning through resocialization because the institution provides access to symbolic and material resources, helping military members construct meaningful identities. Fox and Pease state, "like any social identity, military identity is always an achievement, something dependent upon conformity to others' expectations and their acknowledgment. The centrality of performance testing in the military, and the need to 'measure up,' heightens this dependence. Although resocialization through military training can create a sense of purpose in military members, it also has the likelihood to create mental and emotional distress when members are unable to achieve set standards and expectations."

In the first couple of days, the most important aspect of basic training is the surrender of their identity. Recruits in basic training are exposed to a degrading process, where leaders break down the recruits’ civilian selves and essentially give them a new identity. The recruits go through a brutal, humbling, and physically and emotionally exhausting process. They are subjected to their new norms, language, rules, and identity. Recruits shed their clothes and hair, which are the physical representation of their old identities. The processes happen very quickly and allows no time for recruits to think over the loss of their identity and so the recruits have no chance to regret their decisions.

Drill sergeants then give the young men and women a romanticized view on what it is to be a soldier and how manly it is. When the training starts, it is physically demanding and gets harder every week. The recruits are constantly insulted and put down to break down their pride and destroy their ability to resist the change that they are undergoing. Drill sergeants put up a facade that tells their recruits that finishing out basic training sets them apart from all of the others who fail. However, almost all recruits succeed and graduate from basic training.

The training is also set up with roles. There are three younger drill sergeants closer to the recruits in age and one senior drill sergeant, who becomes a father figure to the new recruits. The company commander plays a god-like role, which the recruits look up to. The people in the roles will become role models and authority figures but also help to create a sense of loyalty to the entire organization.

Recruits are made to march in a formation in which every person moves the same way at the same time, which causes a sense of unity. It makes the recruits feel less like individuals and more like parts of a group. They sing in cadence to boost morale and to make the group feel important. Drill sergeants also feed the group small doses of triumphs to keep the soldiers proud and feeling accomplished. According to Jeff Parker Knight, the ultimate function for these songs is described as “marching precision,” but Knight argues that these jodies have a secondary socialization purpose that creates a type of “rite of passage” for the recruits. These jody performances, “reflect martial attitudes, and, as symbolic action, help to induce attitude changes in initiates.”

The troop also undergoes group punishment, which unifies the unit. Generally, the similar hatred of something will bring everyone together. In this case, group punishment allows all the recruits to hate the drill sergeants and the punishment but to find unity within their unit. They will encourage others to push themselves and create shared hardships.

In Prisons
Prisons have two different types of re-socialization. The first type is that prisoners must learn the new normal behaviors that apply to their new environment. The second type is the prisoners must partake in rehabilitation measures to help fix their deviant ways. When the individual violates the dominant society's norms, the criminal system subjects them to a form of re-socialization called criminal rehabilitation.

Rehabilitation aims to bring an inmate's real behavior closer to that of most individuals, who make up the dominant society. The ideal societal behavior is highly valued in many societies, mainly because it serves to protect and promote the well-being of most of the society's members. In rehabilitation, the system strips the criminal of his prior socialization of criminal behavior, including the techniques of committing a crime and the specific motives, drives, rationalizations, and attitudes. Criminal behavior is learned behavior and so can be unlearned.

The first step towards rehabilitation is the choice of milieu. That is the type of interactions the deviant has with the people around him in custody. Usually, that is determined after psychological and sociological screenings are performed on the criminal. The second step is diagnosis, a continual process influenced by feedback from the individual's behavior. The next stage is treatment, which is dependent on the diagnosis. Whether it is treating an addiction or redefining the values of a person, the treatment is what socializes the criminal back to societal norms.

title: Resocialization


text: User:Cyrius Hunter

title: User:Cyrius Hunter


text:
Talk:CSN (album)

Removing link to Robert Christgau
I removed the link to Robert Christgau's review, because it really doesn't contain any useful information about CSN, the album. He just writes "Wait a second--wasn't this a quartet? D+". I think that a review linked by an encyclopedia should have more descriptive information, instead of just panning an album because it's made by only three out of the four people you want it to be made by. Gary (talk) 18:39, 7 March 2009 (UTC)

 * ^ Agreed. Someone put it back but am removing it.  If someone wants a critical reception section so bad it needs to include a legit review.  It is biased by default, with the first sentence describing the reviewer's distaste for the musicians.  A music review needs to be about the music, no the absense of Neil Young. UselessToRemain (talk) 17:09, 14 July 2012 (UTC)

 * ^ Disagreed. Wikipedia is not a repository of links for information (funny no mention of the fabricated "not rated" by Rolling Stone was made), and the ratings template is meant to supplement a section of prose by illustrating through the presentation of scores. Also, your opinions on the critic are moot; he's prominent and well-respected enough in the field of music journalism and reviewing to qualify WP:SUBJECTIVE. Get over it. Dan56 (talk) 08:44, 1 July 2019 (UTC)

Rewriting?
Most of this article is written as though it's been copied/pasted from another source. It's not exactly encyclopaedic. Some of it sounds like it's copied from some sort of documentary? I don't know. Just a thought. Edaemus (talk) 22:18, 24 March 2010 (UTC)

Cathedral
Sorry to spoil everyone's illusions, but Graham Nash's song "Cathedral" is certainly not a "critique on Christianity" - it is in fact literally a song about an LSD trip that Nash once took while visiting Winchester cathedral! Graham Nash has stated this fact himself on several occasions. — Preceding unsigned comment added by StanPomeray (talk • contribs) 07:30, 22 April 2011 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on CSN (album). Please take a moment to review my edit. You may add after the link to keep me from modifying it, if I keep adding bad data, but formatting bugs should be reported instead. Alternatively, you can add to keep me off the page altogether, but should be used as a last resort. I made the following changes:
 * Attempted to fix sourcing for http://www.rollingstone.com/artists/crosbystillsandnash/albums/album/161351/review/5940558/csn

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at ).

Cheers.—cyberbot II  Talk to my owner :Online 07:15, 28 March 2016 (UTC)

Copyvio Refrences
Several references have been added to copyvio material by -- scans of Billboard magazines not published by Billboard themselves. Are acceptable references available for this material, or should it be removed completely? -- Mikeblas (talk) 16:46, 8 January 2021 (UTC)

title: Talk:CSN (album)


text: User talk:83.131.178.120

title: User talk:83.131.178.120


text:
Talk:Buck Rogers XXVC

Cite your sources
Unfortunately, the various XXVc products (novels, rpg, computer game, etc.) do not share exactly the same background information. For example, the info on Pluto comes from, I believe, the novels, but that info isn't part of the rpg. The XXVc canon is not the same from product line to product line and distinctions should be made. All I know is the rpg or I'd do it, myself. 64.136.202.212 (talk) 00:15, 23 October 2014 (UTC)

Untitled
XXVC was merged into Buck Rogers without discussion. I restored this article because it is of significant length to justify having a seperate article. Also, it is specific to the TSR products, so the scope of the atricle is mostly independent of the Buck Rogers article. --KertDawg 17:35, 18 August 2005 (UTC)

Reverted to 18 August 2005
There were a number of inaccuracies in the text. As an example, in the first paragraph, it was claimed that XXVC was absed on D&D, and then that XXVC was a wargame like Risk. These two statements are contradictory.

I would suggest a more piecemeal approach to editing full-length atricles. --KertDawg 16:09, 19 August 2005 (UTC)

 * Sounds like someone got confused because of the XXVC boardgame. MasterGrazzt 08:59, 27 January 2006 (UTC)

Image copyright problem with Image:Brcharandcombat.jpg
The image Image:Brcharandcombat.jpg is used in this article under a claim of fair use, but it does not have an adequate explanation for why it meets the requirements for such images when used here. In particular, for each page the image is used on, it must have an explanation linking to that page which explains why it needs to be used on that page. Please check

 * That there is a non-free use rationale on the image's description page for the use in this article.
 * That this article is linked to from the image description page.

This is an automated notice by FairuseBot. For assistance on the image use policy, see Media copyright questions. --22:58, 16 May 2008 (UTC)

Copyright problem removed
Prior content in this article duplicated one or more previously published sources. The material was copied from: http://www.pvv.ntnu.no/~leirbakk/rpg/buckrogers/products/buckrogers_index_products.html. Copied or closely paraphrased material has been rewritten or removed and must not be restored, unless it is duly released under a compatible license. (For more information, please see "using copyrighted works from others" if you are not the copyright holder of this material, or "donating copyrighted materials" if you are.) For legal reasons, we cannot accept copyrighted text or images borrowed from other web sites or published material; such additions will be deleted. Contributors may use copyrighted publications as a source of information, but not as a source of sentences or phrases. Accordingly, the material may be rewritten, but only if it does not infringe on the copyright of the original or plagiarize from that source. Please see our guideline on non-free text for how to properly implement limited quotations of copyrighted text. Wikipedia takes copyright violations very seriously, and persistent violators will be blocked from editing. While we appreciate contributions, we must require all contributors to understand and comply with these policies. Thank you. Theleftorium (talk) 20:20, 18 August 2012 (UTC)

Reviews
2601:240:E200:3B60:71D7:B3A5:2B16:2909 (talk) 11:14, 29 August 2023 (UTC)
 * Casus Belli #62

title: Talk:Buck Rogers XXVC


text:
Talk:Daylight Again

Jay Ferguson
Does anyone know which article this link should point to - Jay Ferguson (Canadian musician) or Jay Ferguson (American musician)? -- Chuq (talk) 03:33, 14 April 2007 (UTC)
 * I would guess the American one, because (a) the American Jay Ferguson is a keyboardist, while the Canadian Jay Ferguson is a guitarist, and (b) the American was 35 when this album was released, while the Canadian was 13. --Metropolitan90 (talk) 20:27, 14 November 2021 (UTC)

Fair use rationale for Image:Daylight Again.jpg
Image:Daylight Again.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in Wikipedia articles constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 00:44, 3 June 2007 (UTC)

title: Talk:Daylight Again


text:
Talk:Ramblin' Wreck from Georgia Tech

Cleanup
I cleaned this page up, and so removed the clean-up tag. Friejose 17:35, 18 August 2005 (UTC)

Unofficial 4th verse
Back in April 2007, Dan Schwartz `88 added the following: I'm a twiddly-twat from Agnes Scott, And I dated a guy from Tech... He took me to The Varsity, where he taught me how to neck... He taught me to eat V-dogs, & drink pitchers & pitchers of beer... And now I'm the mother of A nine pound Engineer! It's really funny, but unless you have a source for that, it's not going into the article. Wikipedia is not a place for something you made up one day. —Disavian (talk/contribs) 21:32, 18 April 2007 (UTC)

There is a agnes scott version of the song, I don't know the origins or the original lyrics (they have undoubtedly changed over the years) its sort of an inside joke about the amount of women at Tech (virtually none attended until the 70s, and the best place to find a date was at Agnes Scott College, an all girl school). No matter which version you choose its not appropriate or necessary to put on here, especially considering how it has devolved over the years, becoming more vulgar and less in-tune with the music itself. I'm sure you could find an actual reference but it won't be easy, The version my dad told me went like this:

“There once was a twat from Agnes Scott went out with a guy from Tech He brought her to the Varsity, and taught her how to neck He filled her full of whiskey, he filled her full of beer And now she is the mother of a bastard engineer.”

I don't think it should be included in the article (regardless of source) I'm just letting you know it wasn't his original thought. —Preceding unsigned comment added by Iceman87GT (talk • contribs) 01:28, 25 August 2010 (UTC)

I totally agree that this verse does not belong in the article due to its disparaging nature, although this talk page seems okay. BTW, the slightly different version that I remember from the early 1970's is: "I'm a twiddly-twat from Agnes Scott, / And I go with a guy from Tech. / He takes me to the Greasy V, / And he teaches me how to neck. / He teaches me how to drink whiskey, / And he teaches me how to drink beer, / And so now I am the mother of / A bastard engineer." --Art Smart Chart/ Heart 11:06, 12 November 2011 (UTC)

The version I heard in 1974 was less vulgar:

I'm a teetering tot from Agnes Scott and go with a guy fron Tech He took me to the varsity and taught me how to neck Gave me a whisky sour and told me it was beer and now I am the mother of a baby engineer!

The final verse to "Wrambling Wreck" sung by the girls at drinking parties. — Preceding unsigned comment added by 174.57.76.147 (talk) 13:49, 18 August 2015 (UTC)

As a current Agnes Scott student (class of 2019), the version we were taught reads: I'm a Tiddly Tot from Agnes Scott And I go with a boy from Tech Who took me to the Varsity and showed me how to neck He filled me full of whiskey, he filled me full of beer, And now I'm the mother of a bastard engineer" — Preceding unsigned comment added by Kaycurt (talk • contribs) 14:55, 20 May 2016 (UTC)

Passed GA
I've passed this article as a GA; it's well-referenced, well-written, stable and the images have appropriate tags and source information. My only suggestion would be to expand the lead to two paragraphs (perhaps include notable renditions?). CloudNine 13:11, 2 July 2007 (UTC)
 * Bah. I hate writing leads. While you're thinking about it, are there any additional changes that would be proposed in a FAC? —Disavian (talk/contribs) 14:15, 2 July 2007 (UTC)

Lyrics
Concerning removal of lyrics and the Centralized discussion/Fight songs. And while I agree mostly with the consensus that is reached in this discussion that articles about Fight Songs should not consist solely of lyrics, and especially not include lyrics that are not within the public domain, I disagree about the "consensus" reached on the lyrics. The "consensus" about not including lyrics in any article imposes additional conditions on a subset of articles that does not exist as an overall policy. WP:NOT states: "the article may not consist solely of the lyrics" and never bans including lyrics that are in the public domain. It risks violating the following principle: "Does the proposed page contradict any existing guidelines or policies? If so, it should not be promoted to guideline or policy status." Including lyrics is not only convenient to the reader, but seems necessary to grasp a full understanding of the song's meaning and place in the culture of the university. It is also necessary in the discussion of the development and change of the lyrics over time, such as in the case with the Previous adaptations section of this article. How can you talk about previous adaptations without first listing the current lyrics? Since this article has passed GA status with the lyrics included, it seems inappropriate that lyrics should be removed when considering their place in the article as a whole. It appears this discussion on Fight Song lyrics should be reopened. CrazyPaco (talk) 19:51, 4 February 2009 (UTC)

 * NOT states "Source texts generally belong on WikiSource. Excerpts of lyrics may be used within an article for the purpose of direct commentary about them." This article should have a link to WikiSource for the lyrics.  I agree that an excerpt here for context would be a good idea, but not the whole song. NJGW (talk) 20:21, 4 February 2009 (UTC)

 * I have not problem with removing the lyrics to WikiSource, if that is done first so there is clear access to the lyrics for readers, but the article may also need to be written in a way that would direct the reader to that link. Clearly this article has been well reviewed in the past with the inclusion of the lyrics, which would have not achieved GA status if it was in violation of any policy. I think the discussion and consensus on fight song lyrics (which I myself find very dubious) is unfortunate because of articles like this one that clearly benefit from the lyrics being right in the article and does not violate any Wikipedia policy. Not only that, but portions of the song are wikilinked to provide additional information on the context of the specific lyrics. Nowhere does any wikipedia policy state that lyrics should not be included in an article, full lyrics or not.  The policy is there to prevent wikipedia from becoming something like a lyrics database (e.g. ) and to prevent copyright violations.  This is not what is happening with articles such as this one which isn't even close to solely consisting of lyrics . This is also an issue for the Hail to Pitt article that includes discussion of the lyrics as they have changed over time, as well as lyrics to songs or poems that have been painstakingly collected from historical sources to give an overall history of musical pageantry at the school that don't necessarily warrant separate entries into Wikisource.  I do agree that articles should not consist solely of lyrics, as that is official policy, and there are many articles that are problematic that you are going after, but I think you need to slow down to give people time to discuss and improve the individual articles.  There are many editors and even administrators that have worked on the articles you are essentially removing, and tagging the song articles for merge is a better way to go about it and gives them incentive to flush out more information for the article.  IMO, it is less disruptive and better etiquette and there is no need to be in such a hurry to accomplish what you are trying to do. CrazyPaco (talk) 20:57, 4 February 2009 (UTC)

 * That's a guideline, not a rule. I made a special effort to explain the relevance of particular passages of the lyrics with various sources, especially concerning the evolution of the song. While it doesn't fit as nicely as I would like, the article is incomplete without the lyrics present. Also note (not that anyone is assuming otherwise) that the lyrics are clearly public domain. —Disavian (talk/contribs) 06:10, 5 February 2009 (UTC)

 * It would seem WP:SONG also disagrees with the necessity of removing the lyrics, as well as WP:SONG and the WP:FA review of articles such as Dixie. Lyrics should be restored immediately. CrazyPaco (talk) 05:45, 6 February 2009 (UTC)

I have (what appears to be again) restored the lyrics to the article, as from reading the ANI discussion, it is apparent that the "consensus" reached by the centralized discussion was not a true community consensus, nor was it informed by a core of individuals who work on the majority of content in these sort of articles, and the applicability and/or necessity of that decision is under review. Until then, I am inclined to let the broader, original guidelines prevail and maintain the status quo of the article. LaMenta3 (talk) 17:55, 6 February 2009 (UTC)

Underwater Demolition Teams
Moving this unsourced content to the talk page until a source is found. —Disavian (talk/contribs) 18:29, 27 January 2010 (UTC)

Another verse sung at School of Practical Science (S.P.S. or "Skule") at the University of Toronto in the 1940s: When first I to Georgia came, I thought i knew it all. But now that I've been here a while, my pride has had a fall. I find I'll have to study for many a weary year, Before I am a graduate, a mechanical engineer.

During World War II the US Navy Underwater Demolition Teams (UDTs) used "Rambling Wreck" as their unofficial anthem because some of the founding cadre were from Georgia Tech. Some of the cleaner lyrics go: "I'm a rambling wreck from Georgia Tech and a CB Engineer Rated, Berated and ultimately fated to perpetually volunteer. We form a select fraternity that likes to smoke and drink and cuss And we don't give a damn for any man who don't give a damn for us. Oh! If I ever have a son, sir, if he's bright and bold, I'll send him up to Annapolis to wear the Navy White and Gold. But if I have a daughter, sir, I'll tell you what she'll do-- She will call out, 'Hello, sailor,!' like her mother has to do.

Tail-end lyrics
The link verifying the chants at the end of the song no longer works, I believe that The Technique changed its archive address, as I've found that many of the links I have come across for the paper lead to nothing, both on wikipedia and on various blogs that talk about or reference the paper.

I also would like to state that prior to the use of the chant "Fight! Win! Drink! Get Naked!" at the end of the song, the chant was first "Go! Fight! Win!", which eventually was shortened to "Fight! Win!" following the third "Go Jackets!".

I don't know why it was shortened, or when the shift happened, I just know that when I first learned the song there were three distinct parts to the chant at the end: "Go! Fight! Win!". The Band did release an album during the 1998 season (recorded earlier the same year) and for their recording of the Ramblin' Wreck from Georgia Tech, they included the "Fight! Win!" version (ommitting the "Go!"). In conversing with older graduates/fans many have confirmed the use of GO!.

I understand if you choose to not mention the 3-part chant as it would be based off of the word of one person ( I will be on the look-out for a source confirming this).

Regardless the wording needs to be changed for this part of the article, for as it reads now it states that "Go Jackets!" is repeated three times and followed by "Go Jackets! Fight! Win!",in other words the article says "Go Jackets!" was chanted four times, prior to the student body's introduction of "Fight! Win! Drink! Get Naked!" (which makes it seem like they only say "Go Jackets!" three times). It is important to note that not everyone chants the "Drink! Get Naked!" part at the end, most finish with "Win!" while the student body and others (its mainly recited by the younger crowd, but I have noticed that, when things are going well on the field the older fans will join in) add in the "Drink! Get Naked!". I suggest saying the Student section eventually added "Drink! Get Naked!" to the "Fight! Win!". And removing the "Go Jackets!" from the "Go Jackets! Fight! Win!" to prevent it from sounding like it is said 4 times at the end.

And finally, the "Bust their ass!" response to "Go Jackets!" is relatively new as well, it was started by the student section as well, I remember first hearing it shouted around 2004 or 2005, it may have started a few years prior to then but it was definitely not in use during the 90s. It should be noted in the article that it has not always been apart of the "Go Jackets!" chant following the song. —Preceding unsigned comment added by Iceman87GT (talk • contribs) 02:29, 25 August 2010 (UTC)

 * "Defense! Bust their ass!" was definitely in use 1978-1983. 2600:1700:C1A0:1DF0:6891:931A:89C7:2DA (talk) 03:58, 20 September 2022 (UTC)

“Ramblin Wreck” is not by Charles Ives
"Ramblin' Wreck," which first surfaced at Georgia Tech in the 1890s, borrows the tune of "Son of a Gambolier," an anonymous song that had been popular since the 1870s. Someone apparently tried to use Google to identify the composer, and came across the listing in James B. Sinclair’s A Descriptive Catalogue of the Music of Charles Ives in the Yale Finding Aid Database. But if you read the catalogue carefully, it turns out that Ives's compositions (there are two—a march, which is cited in Wikipedia, and also a song called “Son of a Gambolier,” which has a more informative catalogue entry) are borrowings or arrangements of that same old popular song, which had been published in Yale songbooks as early as 1873, the year before Ives was born. Moreover, the Ives pieces, which were composed in the 1890s, were not published until much later, so it's unlikely that anyone in Georgia would have had the opportunity to hear them. Tjr36 (talk) 20:38, 8 December 2010 (UTC)

 * Another point of interest is that the beginning of the article states that it's based off of the work of Ives in 1895, but states that there was an adaption of the song created in 1850's. 128.61.44.51 (talk) 12:26, 2 February 2011 (UTC)
 * The song existed long before Ives' rendition of it. You have to separate the lyrics from the musical score when you consider the history. —Disavian (talk/contribs) 23:12, 2 February 2011 (UTC)

The person who created this comment ("'Ramblin' Wreck' is not by Charles Ives") removed the references to Ives in the article, but someone else later restored them, claiming that Ives's song was published in 1896 (which would allow plenty of time for it to make its way to Georgia). But while Ives composed (or arranged) his song in the 1890s, he didn't publish it until 1922, when it appeared in his self-published collection entitled 114 Songs. Ives lived in Connecticut (and later New York), and I'm not aware of him having any ties to Georgia. I suppose it's theoretically possible that someone could have heard his song in Connecticut and brought a manuscript copy of it to Georgia, or simply memorized it in Connecticut and then sung it in Georgia, but I haven't seen any evidence to support that idea. Does anyone have any? The tune was very well known, but Ives's version of it was extremely obscure. I don't understand what leads people to believe that his version is what was used at Georgia Tech. I'm skeptical, but I would love it if somebody could prove me wrong! — Preceding unsigned comment added by 130.132.179.165 (talk) 21:21, 24 January 2014 (UTC)
 * When I wrote the article (hi!) I based it off of the school's official account (see the article refs): "In 1910, Michael A. Greenblatt, Tech's first bandmaster, discovered the band playing "Ramblin' Wreck" to the tune of "Sons of the Gamboliers," and made his first arrangement of the song in the form of a handwritten manuscript." I realize that could be incorrect; however, I don't think there's enough evidence one way or another to really prove the song's origins beyond what Georgia Tech claims. Disavian (talk) 06:22, 28 January 2014 (UTC)
 * Okay, I just pulled out my copy of The Story of Georgia Tech published in 1948 by Marion L. Brittain. If anyone knows, he would, right? Well here's the quote on page 257:

When he asked what college songs they were playing, Student Bidez, clarinet player, told him that they were playing the "Ramblin' Wreck" to the tune of an old-time air entitled the "Song of a Gambolier."
 * I don't know, that sounds pretty definitive to me. Bonus: that Bidez is Robert L. Bidez. Disavian (talk) 06:29, 28 January 2014 (UTC)

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title: Talk:Ramblin' Wreck from Georgia Tech


text:
Thalamocortical radiations

In neuroanatomy, thalamocortical radiations, also known as thalamocortical fibres, are the efferent fibres that project from the thalamus to distinct areas of the cerebral cortex. They form fibre bundles that emerge from the lateral surface of the thalamus.

Structure
Thalamocortical fibers (TC fibres) have been referred to as one of the two constituents of the isothalamus, the other being microneurons. Thalamocortical fibers have a bush or tree-like appearance as they extend into the internal capsule and project to the layers of the cortex. The main thalamocortical fibers extend from different nuclei of the thalamus and project to the visual cortex, somatosensory (and associated sensori-motor) cortex, and the auditory cortex in the brain. Thalamocortical radiations also innervate gustatory and olfactory pathways, as well as pre-frontal motor areas. Visual input from the optic tract is processed by the lateral geniculate nucleus of the thalamus, auditory input in the medial geniculate nucleus, and somatosensory input in the ventral posterior nucleus of the thalamus. Thalamic nuclei project to cortical areas of distinct architectural organization and relay the processed information back to the area of original activity in the thalamus via corticothalamic fibers (CT fibres). The thalamic reticular nucleus (TRN) receives incoming signals via corticothalamic pathways and regulates activity within the thalamus accordingly. Cortico-thalamic feedback neurons are mostly found in layer VI of the cortex. Reciprocal CT projections to the thalamus are of a higher order than, and synapse with, the TRN in much greater number than do thalamocortical projections to cortex. This suggests that the cortex has a much bigger role in top down processing and regulation of thalamic activity than do the processes originating in thalamic interneurons. Large-scale frequency oscillations and electrical rhythms have also been shown to regulate TC activity for long periods of time, as is evident during the sleep cycle. Other evidence suggests CT modulation of TC rhythms can occur over different time scales, adding even more complexity to their function.

Relay cells
Thalamic interneurons process sensory information and signal different regions of the thalamic nuclei. These nuclei extend to relay cells, which in turn innervate distinct areas of the cortex via thalamocortical fibers. Either specifically or nonspecifically, TC relay cells project specifically to organized areas of the cortex directly and nonspecifically project to large areas of cortex through the innervation of many interconnected collateral axons. According to Jones (2001) there are two primary types of relay neurons in the thalamus of primates–core cells and matrix cells–each creating distinct pathways to various parts and layers throughout the cerebral cortex. Matrix cells of the thalamus, or calbindin-immuno-reactive neurons (CIR neurons), are widely distributed and diffusely dispersed in each of the nuclei of the dorsal thalamus. In comparison, parvalbumin immuno-reactive neurons (PIR neurons) can be found only in principal sensory and motor relay nuclei, and in the pulvinar nuclei as well as the intralaminar nuclei. The PIR neurons cluster together creating "densely terminating afferent fibers…forming a core imposed on a diffuse background matrix of PIR cells" (Jones 2001). PIR cells tend to project upon the cerebral cortex and terminate in an organized topographic manner in specifically localized zones (in deep layer III and in the middle layer IV). In contrast, CIR cells have dispersed projections wherein various adjacent cells connect to non-specific different cortical areas. CIR axons seem to terminate primarily in the superficial layers of the cortex: layers I, II, and upper III.

Function
Thalamocortical signaling is primarily excitatory, causing the activation of corresponding areas of the cortex, but is mainly regulated by inhibitory mechanisms. The specific excitatory signaling is based upon glutamatergic signaling, and is dependent on the nature of the sensory information being processed. Recurrent oscillations in thalamocortical circuits also provide large-scale regulatory feedback inputs to the thalamus via GABAergic neurons that synapse in the TRN. In a study done by Gibbs, Zhang, Shumate, and Coulter (1998) it was found that endogenously released zinc blocked GABA responses within the TC system specifically by interrupting communication between the thalamus and the connected TRN. Computational neuroscientists are particularly interested in thalamocortical circuits because they represent a structure that is disproportionally larger and more complex in humans than other mammals (when body size is taken into account), which may contribute to humans' special cognitive abilities. Evidence from one study (Arcelli et al. 1996) offers partial support to this claim by suggesting that thalamic GABAergic local circuit neurons in mammalian brains relate more to processing ability compared to sensorimotor ability, as they reflect an increasing complexity of local information processing in the thalamus. It is proposed that core relay cells and matrix cells projecting from the dorsal thalamus allow for synchronization of cortical and thalamic cells during "high-frequency oscillations that underlie discrete conscious events", though this is a heavily debated area of research.

Projections
The majority of thalamocortical fibers project to layer IV of the cortex, wherein sensory information is directed to other layers where they either terminate or connect with axons collaterally depending on type of projection and type of initial activation. Activation of the thalamocortical neurons relies heavily on the direct and indirect effects of glutamate, which causes excitatory postsynaptic potentials (EPSPs) at terminal branches in the primary sensory cortices.

Somatosensory areas
Primarily, thalamocortical somatosensory radiation from the VPL, VPM and LP nuclei extends to the primary and secondary somatosensory areas, terminating in cortical layers of the lateral postcentral gyrus. S1 receives parallel thalamocortical radiations from the posterior medial nucleus and the VPN. Projections from the VPN to the postcentral gyrus account for the transfer of sensory information concerning touch and pain. Several studies indicate that parallel innervations to S1 and also S2 via thalamocortical pathways result in the processing of nociceptive and non-nociceptive information. Non-specific projections to sensori-motor areas of the cortex may in part have to do with the relationship between non-noci-receptive processing and motor functions. Past research shows a link between S1 and M1, creating a thalamocortical sensori-motor circuit. When this circuit becomes disrupted symptoms are produced similar to those that accompany Multiple sclerosis, suggesting thalamocortical rhythms are involved in regulating sensori-motor pathways in a highly specialized manner. TC-CT rhythms evident during sleep act to inhibit these thalamocortical fibers so as to maintain the tonic cycling of low frequency waves and the subsequent suppression of motor activity.

Visual areas
The lateral geniculate nucleus and the pulvinar nuclei project to and terminate in V1, and carry motor information from the brain stem as well as other sensory input from the optic tract. The visual cortex connects with other sensory areas which allows for the integration of cognitive tasks such as selective and directed attention, and pre-motor planning, in relation to the processing of incoming visual stimuli. Models of the pulvinar projections to the visual cortex have been proposed by several imaging studies, though their mapping has been difficult due to the fact that pulvinar subdivisions are not conventionally organized and have been difficult to visualize using structural MRI. Evidence from several studies supports the idea that the pulvinar nuclei and superior colliculus receive descending projections from CT fibers while TC fibers extending from the LGN carry visual information to the various areas of the visual cortex near the calcarine fissure.

Auditory areas
Thalamocortical axons project primarily from the medial geniculate nucleus via the sublenticular region of the internal capsule, and terminate in an organized topographic manner in the transverse temporal gyri. MMGN radiations terminate in specific locations while thalamocortical fibers from the VMGN terminate in nonspecific clusters of cells and form collateral connections to neighboring cells. Research done by staining the brains of macaque monkeys reveals projections from the ventral nucleus mainly terminating in layers IV and IIIB, with some nonspecific clusters of PIR cells terminating in layers I, II, IIIA, and VI. Fibers from the dorsal nuclei were found to project more directly to the primary auditory area, with most axons terminating in layer IIIB. The magnocellular nucleus projected a small amount of PIR cells with axons mainly terminating in layer 1, though large regions of the middle cortical layers were innervated through collaterally connected CIR neurons. Past research suggests that the thalamocortical-auditory pathway may be the only neural correlate that can explain a direct translation of frequency information to the cortex via specific pathways.

Motor areas
The primary motor cortex receives terminating thalamocortical fibers from the VL nucleus of the thalamus. This is the primary pathway involved in the transference of cerebellar input to the primary motor cortex. The VA projects widely across the inferior parietal and premotor cortex. Other Non-specific thalamocortical projections, those that originate in the dorsal-medial nuclei of the thalamus, terminate in the prefrontal cortex and have subsequent projections to associative premotor areas via collateral connections. The cortico-basal ganglia-thalamo-cortical loop has been traditionally associated with reward-learning and though has also been noted by some researchers to have a modulatory effect on thalamocortical network functioning–this is due to inherent activation of the premotor areas connecting the VA nucleus with the cortex.

Absence seizures
Thalamocortical radiations have been researched extensively in the past due to their relationship with attention, wakefulness, and arousal. Past research has shown how an increase in spike-and-wave activity within the TC network can disrupt normal rhythms involved with the sleep-wakefulness cycle, ultimately causing absence seizures and other forms of epileptic behavior. Burst firing within a part of the TC network stimulates GABA receptors within the thalamus causing moments of increased inhibition, leading to frequency spikes, which offset oscillation patterns. Another study done on rats suggests during spike-and-wave seizures, thalamic rhythms are mediated by local thalamic connections, while the cortex controls the synchronization of these rhythms over extended periods of time. Thalamocortical dysrhythmia is a term associated with spontaneously reoccurring low frequency spike-and-wave activity in the thalamus, which causes symptoms normally associated with impulse control disorders such as obsessive compulsive disorder, Parkinson's disease, attention deficit hyperactivity disorder, and other forms of chronic psychosis. Other evidence has shown how reductions in the distribution of connections of nonspecific thalamocortical systems is heavily associated with loss of consciousness, as can be seen with individuals in a vegetative state, or coma.

Prefrontal lobotomy
The bilateral interruption or severing of the connection between thalamocortical radiations the medial and anterior thalamic nuclei results in a prefrontal lobotomy, which causes a drastic personality change and a subdued behavioral disposition without cortical injury.

Evolutionary theories of consciousness
Theories of consciousness have been linked to thalamocortical rhythm oscillations in TC-CT pathway activity. One such theory, the dynamic core theory of conscious experience, proposes four main pillars in support of conscious awareness as a consequence of dorsal thalamic activity: This area of research is still developing, and most current theories are either partial or incomplete.
 * 1) the results of cortical computations underlay consciousness
 * 2) vegetative states and general anesthetics work primarily to disrupt normal thalamic functioning
 * 3) the anatomy and physiology of the thalamus implies consciousness
 * 4) neural synchronization accounts for the neural basis of consciousness.

title: Thalamocortical radiations


text:
Talk:Resocialization

Dictionary
Should be. --Riverofdreams 17:35, 18 August 2005 (UTC)

Overview: Original Research
"Resocialization into a total institution involves a complete change of personality"
 * This sentence counts as original research since it hasn't cited any sources and is debatable conjecture, so I removed it. I think much of this article comes under that category as it needs the support of complete references (i.e. including title, author, publisher, date) and perhaps more balance. Could someone, or the original author, please add these? Thanks -- I n f o 1 5 1   07:26, 17 May 2008 (UTC)

 * Additionally, the inline reference to Sproule needs the date of publication to be added, and the inline references to both Sproule and Reihm also need to be supported by full reference at the end of the text, as per the general rules of author-date referencing. -- I n f o 1 5 1   07:43, 17 May 2008 (UTC)

title: Talk:Resocialization


text: User:Cyrius Hunter Reborn

title: User:Cyrius Hunter Reborn


text:
Savignano Irpino

Savignano Irpino is a village and comune in the province of Avellino, in the Campania region of southern Italy.

Located in Irpinia historical district, the town is part of the Roman Catholic Diocese of Ariano Irpino-Lacedonia, and it is one of I Borghi più belli d'Italia ("The most beautiful villages of Italy").

Geography
Savignano Irpino lies towards the north-east of the province up in the Cervaro Valley, near the border of the province of Foggia. Located in the Apennines along Daunian Mountains, its territory is bordered by the municipalities of Ariano Irpino, Greci, Montaguto, Monteleone di Puglia and Panni.

The village is split into two areas, Scalo is the bottom part where there is a railway station and a commercial area. The upper part is mostly residential and this is where the Piazza is located.

History
Savignano has historical archaeological remains from the pre-Roman and Roman era.

In the Ferrara district the ruins of a Norman fort can be seen. In 1416 it was a fiefdom of Francesco Sforza and, from the 17th century, it belonged to the Guevara family.

The name Savignano derives from the Latin word 'Sabinianum, Sabinus'. Savignano Irpino was previously known as Savignano Di Puglia; this was updated in the mid-20th century as part of boundary changes. In June 2006, Savignano Irpino held a referendum to leave Campania and become part of Apulia again, but failed to achieve a quorum.

Main sights
The main attractions are the Fontana Angelica  built in 1912, the Old Church, St Anna's Chapel and the Guevara Castle.

Twin towns
Savignano Irpino is twinned with:

 * 🇫🇷 Savigneux, Loire, France
 * 🇩🇪 Essenbach, Germany

People

 * Renato Carpentieri, actor
 * Dane Propoggia, tennis player
 * Angelina Proctor, Nanar
 * Giuseppe Volpe, Tailor

title: Savignano Irpino


text: User talk:83.109.138.228

title: User talk:83.109.138.228


text:
Rob Mounsey

Rob Mounsey (born December 2, 1952) is an American musician, composer, and arranger.

Music career
Mounsey was born in Berea, Ohio, and grew up in Seattle, Washington, spending a few years each in Findlay and Granville, Ohio. At the age of 17, he was awarded a 1970 BMI Student Composer Award for his orchestral work Ilium, New York, Is Divided into Three Parts. He attended Berklee College of Music in Boston from 1971 to 1975.

In 1976, he moved to New York City to become a studio musician, arranger, and producer for a wide range of well-known artists, including Aaron Neville, Aztec Camera, Brian Wilson, Carly Simon, Chaka Khan, Chromeo, Brett Eldredge, Diana Krall, Diana Ross, Donald Fagen, Eric Clapton, James Taylor, Karen Carpenter, Madonna, Michael Franks, Natalie Cole, Paul Simon, Rihanna, Steely Dan, and others. He performed on keyboards in 1981 for Simon and Garfunkel's Concert in the Park.

In 1985, he played keyboards in a New-York-based group called Joe Cool with Will Lee, Jeff Mironov and Christopher Parker. They released one album, Party Animals, on the Pony Canyon label in Japan, followed by a Japanese tour.

Mounsey released three solo albums as a recording artist: Dig (Sona Gaia, 1990), and two self-released albums on his own Monkeyville label, Back in the Pool and Mango Theory.

He toured as musical director and pianist for Idina Menzel in her Pops Symphony tours (2010-2015,) for which he created nearly all of the arrangements.

He has composed for film and television, including the 1988 Mike Nichols film Working Girl (with Carly Simon), the film Bright Lights, Big City (with Donald Fagen) and the HBO hit series Sex and the City. Mounsey wrote two long-running Emmy-winning themes for the television show Guiding Light. He is a six-time Grammy Award nominee, and a winner of two Emmy Awards. He is a Zen Buddhist who resides in Brooklyn, New York.

As leader

 * Local Color with Steve Khan (Denon, 1987)
 * You Are Here with Steve Khan (Siam, 1998)
 * Dig with the Flying Monkey Orchestra (Sona Gaia, 1989)
 * Back in the Pool with the Flying Monkey Orchestra (Monkeyville, 1993)
 * Mango Theory with the Flying Monkey Orchestra (Monkeyville, 1995)
 * Party Animals with Joe Cool (Canyon, 1985)

As producer

 * Nature Boy, Aaron Neville (Verve, 2003)
 * Passionfruit, Michael Franks (Warner Bros., 1983)
 * Skin Dive, Michael Franks (Warner Bros., 1985)
 * The Camera Never Lies, Michael Franks (Warner Bros., 1987)
 * Love, Aztec Camera (WEA, 1987)
 * Billy's Back on Broadway, Billy Porter (Concord, 2014)
 * Barefoot at the Symphony, Idina Menzel (Concord, 2011)
 * Glow, Brett Eldredge 2016
 * Destination Moon, Deborah Cox (Universal, 2007)
 * There Were Signs, Bill Gable (Private Music, 1989)

As arranger/pianist
With Steely Dan
 * Gaucho (MCA, 1980)

With Donald Fagen
 * Nightfly (Warner Bros., 1982)

With Paul Simon
 * Hearts and Bones (Warner Bros., 1983)
 * Graceland (Warner Bros., 1986)

With James Taylor
 * Hourglass (Columbia, 1997)
 * October Road (Columbia, 2002)
 * James Taylor at Christmas (Columbia, 2006)
 * Before This World (Concord, 2015)

With Michael Franks
 * Objects of Desire (Warner Bros., 1982)
 * Passionfruit (Warner Bros., 1983)
 * Skin Dive (Warner Bros., 1985)
 * The Camera Never Lies (Warner Bros., 1987)

With Art Garfunkel
 * Fate for Breakfast (CBS, 1979)
 * Scissors Cut (Columbia, 1981)
 * The Animals' Christmas by Jimmy Webb (CBS, 1986)

With Cissy Houston
 * Cissy Houston (Private Stock, 1977)
 * Think It Over (Private Stock, 1978)
 * Step Aside for a Lady (Columbia, 1979)

With Steve Khan
 * Arrows (Columbia, 1979)
 * Borrowed Time (Tone Center, 2007)
 * Subtext (ESC, 2014)
 * Backlog (ESC, 2016)
 * Parting Shot (Tone Center, 2011)

With Diana Ross
 * Why Do Fools Fall in Love (Capitol/EMI 1981)
 * Silk Electric (Capitol, 1982)
 * Ross (RCA, 1983)

With David Spinozza
 * Spinozza (A&M, 1978)

With Spyro Gyra
 * Carnaval (MCA, 1980)
 * Freetime (MCA, 1981)
 * Incognito (MCA, 1982)

With others
 * Ashford & Simpson, Stay Free (Warner Bros., 1979)
 * Ashford & Simpson, A Musical Affair (Warner Bros., 1980)
 * Aztec Camera, Love (WEA, 1987)
 * Bee Gees, Still Waters (Polydor, 1997)
 * George Benson, 20/20 (Warner Bros., 1985)
 * Michael Bolton, The Hunger (Columbia, 1987)
 * Michael Buble, It's Time (143/Reprise, 2005)
 * Jocelyn Brown, One from the Heart (Warner Bros., 1987)
 * Tom Browne, Browne Sugar (Arista/GRP, 1979)
 * Cindy Bullens, Desire Wire (United Artists, 1978)
 * The Carpenters, Lovelines (A&M, 1989)
 * Karen Carpenter, Karen Carpenter (A&M, 1996)
 * Carlene Carter, Two Sides to Every Woman (Warner Bros., 1979)
 * Chiara Civello, Last Quarter Moon (Verve Forecast, 2005)
 * Eric Clapton, Journeyman (Reprise, 1989)
 * Joe Cocker, Civilized Man (Capitol, 1984)
 * Jude Cole, Jude Cole (Warner Bros., 1987)
 * Natalie Cole, Stardust (Elektra, 1996)
 * Natalie Cole, Ask a Woman Who Knows (Verve, 2002)
 * Phil Collins, Against All Odds (Take a Look at Me Now) (Atlantic, 1984)
 * Elvis Costello, Painted from Memory (Mercury, 1998)
 * Deborah Cox, Destination Moon (Decca, 2007)
 * Eddie Daniels, Blackwood (GRP, 1989)
 * Carol Douglas, Burnin'  (Midsong, 1978)
 * Ronnie Dyson, If the Shoe Fits (Columbia, 1979)
 * Euclid Beach Band (Epic/Cleveland, 1979)
 * Donald Fagen, The Nightfly (Warner Bros., 1982)
 * Renee Fleming, Christmas in New York (Decca, 2014)
 * Roberta Flack, Blue Lights in the Basement (Atlantic, 1977)
 * Roberta Flack, Roberta Flack (Atlantic, 1978)
 * Steve Goodman, Say It in Private (Asylum, 1977)
 * Heather Headley, This Is Who I Am (RCA/BMG, 2002)
 * Jay Hoggard, Days Like These (GRP, 1991)
 * Garland Jeffreys, One-Eyed Jack (A&M, 1978)
 * Billy Joel, The Nylon Curtain (Columbia, 1982)
 * Billy Joel, The Bridge (Columbia, 1986)
 * Elton John, Aida (Rocket/Island, 1999)
 * Michael Johnson, Lifetime Guarantee (Magic, 1999)
 * Jill Jones, Jill Jones (Paisley Park, 1987)
 * Rickie Lee Jones, Pirates (Warner Bros., 1981)
 * Patricia Kaas, Dans Ma Chair (Columbia, 1997)
 * Karen Kamon, Voices (Atco, 1987)
 * Joyce Kennedy, Wanna Play Your Game! (A&M, 1985)
 * Chaka Khan, I Feel for You (Warner Bros., 1984)
 * Chaka Khan, CK (Warner Bros., 1988)
 * Gladys Knight, About Love (Columbia, 1980)
 * Gladys Knight, Touch (Columbia, 1981)
 * Dave Koz, At the Movies (Capitol, 2007)
 * Diana Krall, Live in Paris (Verve, 2002)
 * Will Lee, Oh! (Go Jazz, 1994)
 * Lyle Lovett, Smile Songs from the Movies (Curb/(MCA, 2002)
 * Teo Macero Presents, Impressions of Virus (Denon, 1980)
 * Ralph MacDonald, Surprize (Polydor, 1985)
 * Ralph MacDonald, Port Pleasure (Videoarts 1998)
 * Jimmy Maelen, Beats Workin'  (Pavillion, 1980)
 * John Mayall, Bottom Line (DJM, 1979)
 * Idina Menzel, Live Barefoot at the Symphony (Concord, 2012)
 * George Michael, Songs from the Last Century (Virgin/Aegean, 1999)
 * Eddy Mitchell, La Meme Tribu (Polydor, 2017)
 * Eddy Mitchell, La Meme Tribu Volume 2 (Polydor, 2018)
 * Jane Monheit, Taking a Chance On Love (Sony Classical, 2004)
 * Milton Nascimento, Nascimento (Warner Bros., 1997)
 * Aaron Neville, Nature Boy: the Standards Album (Verve, 2003)
 * Jane Olivor, The Best Side of Goodbye (Columbia, 1980)
 * Donny Osmond, This Is the Moment (Decca, 2001)
 * Teddy Pendergrass, TP (Philadelphia International, 1980)
 * Jimmy Ponder, All Things Beautiful (Lester Radio, 1978)
 * Sheryl Lee Ralph, In the Evening (New York Music, 1984)
 * Jess Roden, The Player Not the Game (Island, 1977)
 * Mark Sholtez, Real Street (Universal/Verve, 2006)
 * Carly Simon, Hello Big Man (Warner Bros., 1983)
 * Carly Simon, Coming Around Again (Arista, 1987)
 * Paul Simon, Hearts and Bones (Warner Bros., 1983)
 * Paul Simon, Graceland (Warner Bros., 1986)
 * Simon & Garfunkel, The Concert in Central Park (Warner Bros., 1982)
 * Valerie Simpson, Dinosaurs Are Coming Back Again (Hopsack & Silk, 2012)
 * Phoebe Snow, Something Real (Elektra, 1989)
 * The Spinners, Dancin' and Lovin' (Atlantic, 1979)
 * The Spinners, Labor of Love (Atlantic, 1981)
 * Steely Dan, Gaucho (MCA, 1980)
 * Rod Stewart, It Had to Be You: The Great American Songbook (J/BMG, 2002)
 * Rod Stewart, As Time Goes By: The Great American Songbook Vol. II (J/BMG, 2003)
 * Ruben Studdard, Soulful (J/19 Recordings, 2003)
 * James Taylor, October Road (Columbia, 2002)
 * Dionne Warwick, Sings Cole Porter (Arista, 1990)
 * Sadao Watanabe, Good Time for Love (Elektra, 1986)
 * Sadao Watanabe, Earth Step (Verve Forecast, 1993)
 * Jaki Whitren, Rhythm Hymn (Elektra, 1983)
 * Brian Wilson, Brian Wilson (Sire/Reprise, 1988)
 * Steve Winwood, Back in the High Life (Island, 1986)
 * Steve Winwood, The Finer Things (Island, 1995)
 * Lee Ann Womack, The Season for Romance (MCA Nashville, 2002)
 * Michael Zager, Let's All Chant (Private Stock, 1978)
 * Michael Zager, Life's a Party (Private Stock, 1979)

title: Rob Mounsey


text:
Residuated lattice

In abstract algebra, a residuated lattice is an algebraic structure that is simultaneously a lattice x ≤ y and a monoid x•y which admits operations x\z and z/y, loosely analogous to division or implication, when x•y is viewed as multiplication or conjunction, respectively. Called respectively right and left residuals, these operations coincide when the monoid is commutative. The general concept was introduced by Morgan Ward and Robert P. Dilworth in 1939. Examples, some of which existed prior to the general concept, include Boolean algebras, Heyting algebras, residuated Boolean algebras, relation algebras, and MV-algebras. Residuated semilattices omit the meet operation ∧, for example Kleene algebras and action algebras.

Definition
In mathematics, a residuated lattice is an algebraic structure $L = (L, ≤, •, I)$ such that
 * (i) (L, ≤) is a lattice.
 * (ii) $(L, •, I)$ is a monoid.
 * (iii) For all z there exists for every x a greatest y, and for every y a greatest x, such that x•y ≤ z (the residuation properties).

In (iii), the "greatest y", being a function of z and x, is denoted x\z and called the right residual of z by x. Think of it as what remains of z on the right after "dividing" z on the left by x. Dually, the "greatest x" is denoted z/y and called the left residual of z by y. An equivalent, more formal statement of (iii) that uses these operations to name these greatest values is

(iii)' for all x, y, z in L,   y ≤ x\z   ⇔   x•y ≤ z   ⇔   x ≤ z/y.

As suggested by the notation, the residuals are a form of quotient. More precisely, for a given x in L, the unary operations x• and x\ are respectively the lower and upper adjoints of a Galois connection on L, and dually for the two functions •y and /y. By the same reasoning that applies to any Galois connection, we have yet another definition of the residuals, namely,
 * x•(x\y) ≤ y ≤ x\(x•y), and
 * (y/x)•x ≤ y ≤ (y•x)/x,

together with the requirement that x•y be monotone in x and y. (When axiomatized using (iii) or (iii)' monotonicity becomes a theorem and hence not required in the axiomatization.) These give a sense in which the functions $x•$ and $x\$ are pseudoinverses or adjoints of each other, and likewise for $•x$ and $/x$.

This last definition is purely in terms of inequalities, noting that monotonicity can be axiomatized as $x • y ≤ (x∨z) • y$ and similarly for the other operations and their arguments. Moreover, any inequality x ≤ y can be expressed equivalently as an equation, either $x∧y = x$ or $x∨y = y$. This along with the equations axiomatizing lattices and monoids then yields a purely equational definition of residuated lattices, provided the requisite operations are adjoined to the signature $(L, ≤, •, I)$ thereby expanding it to $(L, ∧, ∨, •, I, /, \)$. When thus organized, residuated lattices form an equational class or variety, whose homomorphisms respect the residuals as well as the lattice and monoid operations. Note that distributivity $x • (y ∨ z) = (x • y) ∨ (x • z)$ and x•0 = 0 are consequences of these axioms and so do not need to be made part of the definition. This necessary distributivity of • over $∨$ does not in general entail distributivity of $∧$ over $∨$, that is, a residuated lattice need not be a distributive lattice. However distributivity of $∧$ over $∨$ is entailed when • and $∧$ are the same operation, a special case of residuated lattices called a Heyting algebra. Alternative notations for x•y include x◦y, x;y (relation algebra), and x⊗y (linear logic). Alternatives for $I$ include e and 1'. Alternative notations for the residuals are x → y for x\y and y ← x for y/x, suggested by the similarity between residuation and implication in logic, with the multiplication of the monoid understood as a form of conjunction that need not be commutative. When the monoid is commutative the two residuals coincide. When not commutative, the intuitive meaning of the monoid as conjunction and the residuals as implications can be understood as having a temporal quality: x•y means x and then y,  x → y means had x (in the past) then y (now),   and y ← x means if-ever x (in the future) then y (at that time), as illustrated by the natural language example at the end of the examples.

Examples
One of the original motivations for the study of residuated lattices was the lattice of (two-sided) ideals of a ring. Given a ring R, the ideals of R, denoted $Id(R)$, forms a complete lattice with set intersection acting as the meet operation and "ideal addition" acting as the join operation. The monoid operation • is given by "ideal multiplication", and the element R of $Id(R)$ acts as the identity for this operation. Given two ideals A and B in $Id(R)$, the residuals are given by
 * $$A/B:= \{r \in R \mid rB \subseteq A \}$$
 * $$B\setminus A:=\{ r \in R \mid Br \subseteq A \}$$

It is worth noting that {0}/B and B\{0} are respectively the left and right annihilators of B. This residuation is related to the conductor (or transporter) in commutative algebra written as (A:B)=A/B. One difference in usage is that B need not be an ideal of R: it may just be a subset.

Boolean algebras and Heyting algebras are commutative residuated lattices in which x•y = x∧y (whence the unit $I$ is the top element 1 of the algebra) and both residuals x\y and y/x are the same operation, namely implication x → y. The second example is quite general since Heyting algebras include all finite distributive lattices, as well as all chains or total orders, for example the unit interval [0,1] in the real line, or the integers and $$\pm\infty$$.

The structure (Z, min, max, +, 0, −, −) (the integers with subtraction for both residuals) is a commutative residuated lattice such that the unit of the monoid is not the greatest element (indeed there is no least or greatest integer), and the multiplication of the monoid is not the meet operation of the lattice. In this example the inequalities are equalities because − (subtraction) is not merely the adjoint or pseudoinverse of + but the true inverse. Any totally ordered group under addition such as the rationals or the reals can be substituted for the integers in this example. The nonnegative portion of any of these examples is an example provided min and max are interchanged and − is replaced by monus, defined (in this case) so that x-y = 0 when x ≤ y and otherwise is ordinary subtraction.

A more general class of examples is given by the Boolean algebra of all binary relations on a set X, namely the power set of X2, made a residuated lattice by taking the monoid multiplication • to be composition of relations and the monoid unit to be the identity relation I on X consisting of all pairs (x,x) for x in X. Given two relations R and S on X, the right residual R\S of S by R is the binary relation such that x(R\S)y holds just when for all z in X, zRx implies zSy (notice the connection with implication). The left residual is the mirror image of this: y(S/R)x holds just when for all z in X, xRz implies ySz.

This can be illustrated with the binary relations on {0,1} in which 0 0 are the only relationships that hold. Then x(>\<)y holds just when x = 1, while x()y holds just when y = 0, showing that residuation of is different depending on whether we residuate on the right or the left. This difference is a consequence of the difference between <•> and >•<, where the only relationships that hold are 0(<•>)0 (since 0<1>0) and 1(>•<)1 (since 1>0<1). Had we chosen ≤ and ≥ instead of, ≥\≤ and ≤/≥ would have been the same because ≤•≥ = ≥•≤, both of which always hold between all x and y (since x≤1≥y and x≥0≤y).

The Boolean algebra 2Σ* of all formal languages over an alphabet (set) Σ forms a residuated lattice whose monoid multiplication is language concatenation LM and whose monoid unit $I$ is the language {ε} consisting of just the empty string ε. The right residual M\L consists of all words w over Σ such that Mw ⊆ L. The left residual L/M is the same with wM in place of Mw.

The residuated lattice of all binary relations on X is finite just when X is finite, and commutative just when X has at most one element. When X is empty the algebra is the degenerate Boolean algebra in which $0 = 1 = I$. The residuated lattice of all languages on Σ is commutative just when Σ has at most one letter. It is finite just when Σ is empty, consisting of the two languages 0 (the empty language {}) and the monoid unit $I = \{ε\} = 1$.

The examples forming a Boolean algebra have special properties treated in the article on residuated Boolean algebras.

In natural language residuated lattices formalize the logic of "and" when used with its noncommutative meaning of "and then." Setting x = bet, y = win, z = rich, we can read x•y ≤ z as "bet and then win entails rich." By the axioms this is equivalent to $y ≤ x→z$ meaning "win entails had bet then rich", and also to $x ≤ z←y$ meaning "bet entails if-ever win then rich." Humans readily detect such non-sequiturs as "bet entails had win then rich" and "win entails if-ever bet then rich" as both being equivalent to the wishful thinking "win and then bet entails rich." Humans do not so readily detect that Peirce's law ((P→Q)→P)→P is a classical tautology, an interesting situation where humans exhibit more proficiency with non-classical reasoning than classical (for example, in relevance logic, Peirce's law is not a tautology).

Residuated semilattice
A residuated semilattice is defined almost identically for residuated lattices, omitting just the meet operation ∧. Thus it is an algebraic structure $L = (L, ∨, •, 1, /, \)$ satisfying all the residuated lattice equations as specified above except those containing an occurrence of the symbol ∧. The option of defining x ≤ y as $x∧y = x$ is then not available, leaving only the other option $x∨y = y$ (or any equivalent thereof).

Any residuated lattice can be made a residuated semilattice simply by omitting ∧. Residuated semilattices arise in connection with action algebras, which are residuated semilattices that are also Kleene algebras, for which ∧ is ordinarily not required.

title: Residuated lattice


text:
Petalostigma

Petalostigma is a genus of plants under the family Picrodendraceae and the monogeneric subtribe Petalostigmatinae, first defined by von Mueller in 1857. It is native to New Guinea and Australia. They are evergreen, dioecious shrubs or trees.

In local medicine, pregnancy is said to be avoided by eating the fruit of the quinine bush (Petalostigma pubescens), which does not actually contains quinine. Another example is Petalostigma triloculare which features exploding fruit.

Species
This is a list of species in the genus as published by the Kew Royal Botanic Gardens.
 * Petalostigma banksii - Northern Territory, Queensland
 * Petalostigma pachyphyllum - Queensland
 * Petalostigma pubescens - quinine berry, quinine bush, quinine tree - Papua New Guinea, Queensland, Northern Territory, New South Wales, Western Australia
 * Petalostigma quadriloculare - Queensland, Northern Territory, Western Australia
 * Petalostigma triloculare - Queensland

title: Petalostigma


text:
Ben Sidran

Ben Hirsh Sidran (born August 14, 1943) is an American jazz and rock keyboardist, producer, label owner, and music writer. Early in his career he was a member of the Steve Miller Band and is the father of Grammy-nominated musician, composer and performer Leo Sidran.

Life and career
He was born in Chicago, Illinois, United States. Sidran was raised in Racine, Wisconsin, and attended the University of Wisconsin–Madison in 1961, where he became a member of The Ardells with Steve Miller and Boz Scaggs. When Miller and Scaggs left Wisconsin for the West Coast, Sidran stayed behind to earn a degree in English literature. After graduating in 1966, he enrolled in the University of Sussex, England, to pursue a PhD. While in England, he was a session musician for Eric Clapton, The Rolling Stones, Peter Frampton, and Charlie Watts.

Sidran joined Steve Miller as keyboardist and songwriter on recording projects, appearing on the albums Brave New World, Your Saving Grace, Number 5, and Recall the Beginning...A Journey from Eden. He produced Recall the Beginning and co-wrote the hit song "Space Cowboy." In 1988, he produced Miller's jazz album Born 2B Blue. He has also produced albums for Mose Allison, Van Morrison, Rickie Lee Jones, and Diana Ross.

Sidran returned to Madison, Wisconsin, in 1971 and has spent most of his life there. He taught courses at the university (on the business of music) and beginning in 1981 hosted jazz radio programs for NPR (including the Peabody Award-winning Jazz Alive series) and TV programs for VH1 (where his New Visions series in the early 1990s won the Ace Award). While hosting that series, Sidran frequently expressed his desire to "demystify the world of jazz; jazz musicians are just like the rest of us, only more so."

As a musician and a producer he has released over 35 solo recordings.

His written works include the book Black Talk on the sociology of black music in America; the memoir A Life in the Music, published in 2003 and detailing his musical career; Talking Jazz, a collection of his historic interviews with jazz musicians; There Was a Fire: Jews, Music and the American Dream, a cultural history of the Jewish contribution to American popular music during the 20th century and a finalist for the 2012 National Jewish Book Award; and The Ballad of Tommy LiPuma, a biography of the record producer Tommy LiPuma.

His 24-CD box set Talking Jazz includes an 80-page booklet with essays from writers, critics and musicians, classic photos from Lee Tanner, and 24 compact discs featuring conversations with 60 jazz musicians, recorded during a five-year period for Sidran's award-winning NPR program Sidran on Record. The 24 CDs orchestrated by Sidran document the speaking voice of jazz musicians, including Miles Davis, Art Blakey, and others.

Sidran has been referred to by the Chicago Sun Times as a "Renaissance man cast adrift in a modern world" and by The Times as "the first existential jazz rapper," in reference to his commentary while playing music.

As leader

 * Feel Your Groove (Capitol, 1970)
 * I Lead a Life (Blue Thumb, 1971)
 * Puttin' in Time on Planet Earth (Blue Thumb, 1972)
 * Don't Let Go (Blue Thumb, 1974)
 * Free in America (Arista, 1975)
 * The Doctor Is in (Arista, 1977)
 * A Little Kiss in the Night (Arista, 1978)
 * Live at Montreux (Arista, 1978)
 * The Cat and the Hat (Horizon/A&M, 1979)
 * New Wave Bebop (Baybridge, 1981)
 * Old Songs for the New Depression (Antilles, 1982)
 * Bop City (Antilles, 1982)
 * Get to the Point (Baybridge, 1983)
 * On the Cool Side (Magenta/Windham Hill, 1985)
 * On the Live Side (Magenta/Windham Hill, 1986)
 * Too Hot to Touch (Windham Hill, 1988)
 * Have You Met... Barcelona? (Orange Blue, 1989)
 * Cool Paradise (Go Jazz, 1990)
 * Life's a Lesson (Go Jazz, 1993)
 * Mr. P's Shuffle (Go Jazz, 1995)
 * Live at the Celebrity Lounge (Go Jazz, 1997)
 * The Concert for García Lorca (Go Jazz, 1998)
 * Walk Pretty: The Songs of Alec Wilder (Go Jazz, 2002)
 * Nick's Bump (Nardis, 2003)
 * Bumpin' at the Sunside (Nardis, 2005)
 * Cien Noches (Nardis, 2008)
 * Dylan Different (Nardis, 2009)
 * Don't Cry For No Hipster (Nardis, 2012)
 * Blue Camus (Nardis, 2014)
 * Picture Him Happy (Nardis, 2017)
 * Swing State (Nardis, 2022)
 * Rainmaker (Nardis, 2024)

As sideman
With Steve Miller
 * Children of the Future (Capitol, 1968)
 * Brave New World (Capitol, 1969)
 * Your Saving Grace (Capitol, 1969)
 * Number 5 (Capitol, 1970)
 * Recall the Beginning...A Journey from Eden (Capitol, 1972)
 * Born 2B Blue (Capitol, 1988)
 * Wide River (Polydor, 1993)

With others
 * Gene Clark, White Light (A&M, 1971)
 * Clementine, Clementine & Ben Sidran (Sony, 2011)
 * Richie Cole, Popbop (Milestone, 1987)
 * Richie Cole, Signature (Milestone, 1988)
 * Jesse Davis, Jesse Davis (Atco, 1970)
 * Tim Davis, Take Me As I Am (Metromedia, 1972)
 * Jorge Drexler, Eco2 (Gasa, 2005)
 * Jorge Drexler, Amar La Trama (WEA, 2010)
 * Georgie Fame, Cool Cat Blues (Go Jazz, 1991)
 * Georgie Fame, The Blues and Me (Go Jazz, 1992)
 * Jon Hendricks, Tell Me the Truth (Arista, 1975)
 * Joy and the Boy, Paradise (Go Jazz, 2001)
 * Marlango, Life in the Treehouse (Universal, 2010)
 * Aya Matsuura, Click You Link Me (Zetima, 2010)
 * Sarah Jane Morris, Sarah Jane Morris (Jive, 1989)
 * Van Morrison, Tell Me Something - The songs of Mose Allison (Verve, 1996)
 * Paul Pena, New Train (Hybrid, 2000)
 * Bob Rockwell, Bob's Ben Webster (Stunt, 2004)
 * Gustavo Santaolalla, The Motorcycle Diaries (Edge Music, 2004)
 * Boz Scaggs, Moments (Columbia, 1971)
 * Leo Sidran, L. Sid (Go Pop, 1999)
 * Phil Upchurch, Darkness, Darkness (Blue Thumb, 1972)
 * Phil Upchurch, Whatever Happened to the Blues (Go Jazz, 1992)

title: Ben Sidran


text:
Elocation

Elocation is the second studio album by Canadian hard rock band Default. It was released on November 25, 2003, by TVT Records. The rock album spawned three singles, including the song "(Taking My) Life Away", which aired on Muzak's Power Rock station. This album failed to match the success of their debut, but is the band's second most commercially successful album being certified Gold in Canada. The final track, an acoustic version of "Let You Down," originally appeared on their previous album.

The album was produced by Butch Walker and Nickelback's Chad Kroeger and contains a cover of the song "Cruel" by Jeff Buckley.

Critical reception
Tom Harrison of The Province rated the album three stars out of four. He thought that the band showed creative growth from their previous album.

Track listing

 * Bonus tracks
 * 1) "Cruel" (acoustic) – 4:25 (from a TVT Records sampler 2005) (German Count on Me CDS)
 * 2) "(Taking My) Life Away" (acoustic) – 4:10 (from a 2003 promotional test pressing CD single)

Personnel
Default
 * Dallas Smith – lead vocals
 * Jeremy James Hora – guitar, backing vocals
 * Dave Benedict – bass guitar
 * Danny Craig – drums

Additional musicians
 * Rick Hopkins – organ (tracks 2, 6, 8)
 * Gordie Johnson – slide guitar (track 5)
 * Brian Lencho – tabla (track 10)
 * Christian Mock – percussion and keyboard programming (track 8)
 * Rick Parashar – tambura (track 10), piano (tracks 1-10, 12)
 * Jon Plum – percussion and keyboard programming (track 8)
 * Butch Walker – piano (track 11)

Technical personnel
 * Alex Aligizakis – assistant engineer (track 4)
 * Ryan Anderson – Pro Tools operator (track 4)
 * Neal Avron – mixing (tracks 1-12)
 * Jose Borges – mixing assistant (tracks 1-12)
 * Rusty Cobb – engineer (tracks 1, 11)
 * Kenny Creswell – drum technician (tracks 1, 11)
 * JT Hall – assistant engineer (tracks 1, 11)
 * Selena Hollebone – 2nd assistant engineer (track 4)
 * Phil Klum – mastering
 * Chad Kroeger – producer (track 4)
 * Sean Loughlin – assistant engineer (tracks 1, 11)
 * Clay Patrick McBride – photography
 * Christian Mock – engineer and Pro Tools (tracks 2, 3, 5-10, 12)
 * Joey Moi – producer (track 4), engineer (tracks 4, 13)
 * Rick Parashar – producer, engineer, and Pro Tools (tracks 2, 3, 5-10, 12)
 * Christie Pride - production coordinator (tracks 1, 11)
 * Honchol Sin – assistant engineer (tracks 2, 3, 5-10, 12)
 * Butch Walker – producer (tracks 1, 11)
 * Benjamin Wheelock – design

Charts and certifications

 * Album

Singles

title: Elocation


text:
Talk:Aurélio Dictionary

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coalizão — Preceding unsigned comment added by 189.18.82.130 (talk) 01:26, 4 July 2011 (UTC)

title: Talk:Aurélio Dictionary