text:
Talk:Fremont Troll

Untitled
Removed because it's 404'd
 * "Fremont's Silent Giant" by Jill Frewing, Klipsun Online, April 1999

how can the weight be only two tones?

Bus crash
There is a section about the bus crash that was removed as irrelevant (by 128.208.95.144) then reverted back by Jkonrath. The revert note says "I'd argue that the bus crash is a significant historical event". Personally, I'd say though it's significant enough, it's not really that relevant to the troll itself. Currently the crash is 1/4 of the article, which seems out of proportion at best. Ocicat 23:23, 6 March 2006 (UTC)
 * O, It seems to me that the centrality of the Troll to the memory of the victims of the crash, by a spontaneous community reaction, shows something aboutt the centrality of the Troll to the neighborhood. As such, it is encyclopedic and suitable to WP. I say, put it back! ww 07:23, 28 May 2006 (UTC)

KBO reference
In agreement to the above sentiment by Ocicat, I removed a very non-sequitor segment of the article talking about a reporter and some tongue-in-cheek anti-immigration movement. When reading this article, I got lost trying to figure out 1) what the article is talking about (anyone NOT living in Seattle wouldn't understand the reference) 2) what it had to do with the troll. I removed the statement, but ww put it back without comment. I'm going to re-remove the statement and ask that WW explain its purpose here before reverting. -- ShinmaWa(talk) 22:58, 13 February 2007 (UTC)
 * Watson maintained, slyly, that it was Californication of Washington that the KBO was organized to resist. Though others moving in from elsewhere were condemned as well. As such, the California license plate of the VW being trapped by the Troll is, in a humorous sense in keeping with both the Troll and the KBO, a connection between them. It is not unencyclopedic to note connections, even humorous ones, between humorous items. Consider USND at Hoople, and PDQ Bach, for instance. Hence, on this basis, the one line reference (ironically phrased as it was) should be retained.
 * Come on guys, lighten up a little... ww 21:14, 14 February 2007 (UTC)
 * Is there anything verifiable that you can cite to claim that there is any deliberate connection whatsoever between the license plate of the VW and this KBO thing -- other than your own personal observations, which is original research? If the answer is no, then I'm sorry but its not suitable for WP.  -- ShinmaWa(talk) 05:26, 16 February 2007 (UTC)
 * A statement by the sculptors stating that they followed the KBO TOE, nope. There may be one, but I don't know it. As for Watson's grumbles about the Californians moving north and ruining Seattle, that's not my original research, it was the common knowledge of every PI reader in the era. He was funny. That the Cal license plate was deliberately indluded, no reference. But then the cited phrase makes no such claim. It merely notes the amusing parallel, for which no citation is required. Humor is rarely so verifiable. This doesn't rise to a WP:V issue at all. It is an observation, on the side, noting the amusement value for those who were aware of the KBO. ww 16:53, 16 February 2007 (UTC)
 * Your "amusing parallel" is original research. Because you can't cite it and it is not directly related to the subject of this article, any inclusion of it is your own "unpublished analysis".   It can't be included.  Nuff said.  -- ShinmaWa(talk) 17:23, 17 February 2007 (UTC)
 * This amusing perspective is not a verifiable fact and so does not require citation and reference. It is not original research to note a widely known fact (in re Watson's KBO) and another (well not so) widely known fact (ie, the Calif license plate). Your objectin is grinding the cited policy too much. It should indeed stay.. comments from otheres? There seems to be a clear difference of opinion here. ww 04:01, 19 February 2007 (UTC)
 * I'm afraid I may have to side with Shinmawa...after all, plenty of Washingtonians feel anti-Californian sentiments without familiarity with the KBO, and surely it's at least possible that the license plate is a coincidence...an unintended reference? If the Troll's creation coincides marvelously closely with Watson's activism on the topic, or if any reporter has ever suggested that the license plate had intended meaning, I think such things (being verifiable facts) can be mentioned, but I'd lean on the side of caution.  Sorry, Ww--good to hear from you, though.  Best of luck to you both in deciding on specific language. Jwrosenzweig 01:11, 11 March 2007 (UTC)

"Somewhat amusingly"?
While I'm not getting into whether the bit about the license plate should be there or not, but I really don't think "somewhat amusingly" belongs there. If someone has the background to find it amusing, they'll know it's amusing without being told. If someone has no idea why that would be funny, telling them isn't going to make it more so. 70.227.26.127 (talk) 20:05, 4 April 2008 (UTC)

megalithic
It's big, sure, but it's not megalithic - that means made out of huge stones, like the beauties at Avebury or Stonehenge. 86.137.139.42 (talk) 17:41, 8 February 2010 (UTC)

10 Things I Hate About You (1999)
This sculpture appears in the movie "10 Things I Hate About You (1999)" near 32:02 — Preceding unsigned comment added by 174.92.88.234 (talk) 21:54, 1 December 2014 (UTC)

Ttrivia section
The garbage dump er, 'Cultural references' section tacked on to the end of this article needs to be cleaned up. The fact that this sculpture appeared once in a movie or TV show, or someone made up a story with a thing that is actually nothing like the actual troll sculpture, but is only inspired by it, is not enough reason to mention it in an article. We need a third party, reliable source that tells us how the pop culture or trivia reference matters, either because it affected the actual Fremont Troll or the way it is perceived or remembered, or the actual troll sculpture had a meaningful influence on the larger world or culture. IF the Seattle Times used some other thing, like an orca whale or the space needle on its website's 404 page, would it make any difference? If people see the Troll and they say "Oh, I know what that is!", it's nothing but Member Berries, and so inconsequential. --Dennis Bratland (talk) 02:01, 22 December 2018 (UTC)

Concern About History Section
The History section of this Wikipedia article seems to discuss The Troll and its history only tangentially, focusing more on ramifications of the homelessness crisis in Seattle. For example, I fail to see how the number of drug needles is directly relevant to the history of the piece without any evidence that such a figure and important facts about the Fremont Troll’s history are intractable. The section also uses very casual language toward the topic, which is arguably inappropriate for a sensitive topic like a homelessness crisis.

I am not calling for erasure or deletion of these things necessarily, as it seems the topics may be reasonably linked and it would not be honest to hide or write-off such a link. But I believe they would do better either in a new section about the legacy of The Troll as it relates to homelessness in Seattle, or perhaps in a sub-section of the History section separate from other historical facts.

I am not expertly knowledgeable about the Fremont Troll or its history, so I am calling on anyone who might be to step up and introduce more context, new information, and neutrality to the History section. I will try and do some work on my part to read primary materials relevant to the Fremont Troll and its history in case no one else is up to the task, but I wanted to put forth this community post first in case someone felt they were able to do this job justice. Thelocalsage (talk) 17:18, 17 April 2024 (UTC)

title: Talk:Fremont Troll


text:
Girls Ain't Nothing but Trouble

"Girls Ain't Nothing but Trouble" is the debut single by DJ Jazzy Jeff and the Fresh Prince, from their 1987 debut album Rock the House released on Philadelphia-based Word Records (Later changed to Word-Up Records). It was released in 1986. The music is built around a sample from the theme tune of the 1960s television series I Dream of Jeannie. It was featured in the eighth episode of The Fresh Prince of Bel-Air where Will and Carlton were battling over a girl. The lyrics "nothing but trouble" were rerecorded by Jazzy Jeff in "Deep, Deep, Trouble" from The Simpsons Sing the Blues. In the song, Will Smith warns his crew to stay away from young women and recounts some unfortunate (but humorous) experiences with them. In the end of the 1988 version, DJ Jazzy Jeff references two of the duo's further singles, "Parents Just Don't Understand" and "Nightmare on My Street." The song was only released on vinyl. The music video was released in 1986.

On April 21, 2016, after the death of Prince, MTV accidentally aired this music video during a Prince marathon.

Content
The Fresh Prince describes several events wherein he encounters females and his misfortunes with them. The first verse details the time when he meets a "lovely lady" who introduces herself as "Exotic Elaine." They go into a restaurant, where Elaine asks the Prince if he has a lust for her. His replay is, "Well, kinda..." after which she goes into a wild, lustful rage on him. He pushes her aside, she yells out, "Rape!" which scares him into running down alleyways until he gets caught by police, and he gets "arrested [and] charged with aggravated assault."

The next verse features the Prince in a bar "one Friday night...maxin' and relaxin'" where he is drinking tequila. He meets a girl named Sheila. She takes him to her house, and he gets ready to "make [his] move" when the door suddenly opens. Sheila's boyfriend sees the Prince lying in bed with her, and proceeds to threaten him with violence. The Prince simply jumps out the window, and has to walk back home in a snowstorm.

The 1988 version adds an extra verse where the Prince calls his girlfriend Betty and tells her he got tickets to the latest Run-DMC concert. He goes up to her house, and Betty's mother answers the door to tell him she's not ready yet. So, he waits for her to be ready, then she opens the door to tell him that she still needs to finish her hair. Eventually, Betty has kept the Prince waiting so long, that by the time Betty is finally ready they missed the show, so he leaves her and drives home. Regardless, the Prince talks with Jazzy Jeff about it and they agree that you "can't live with 'em, can't live without 'em."

Track listing

 * 7" Vinyl
 * 1) "Girls Ain't Nothing but Trouble" – 5:12
 * 2) "Guys Ain't Nothing but Trouble" – 4:34

 * 12" Vinyl #1
 * 1) "Girls Ain't Nothing but Trouble" (Laidley & Oakenfold Remix) – 7:30
 * 2) "Guys Ain't Nothing but Trouble" – 4:34

 * 12" Vinyl #2
 * 1) "Girls Ain't Nothing but Trouble" (1988 Extended Remix) – 4:44
 * 2) "Girls Ain't Nothing but Trouble" (Instrumental) – 4:44
 * 3) "Brand New Funk" (Extended Version) – 4:48
 * 4) "Brand New Funk" (Live Version) – 4:36

 * American 12" Vinyl
 * 1) "Girls Ain't Nothing but Trouble" (1988 Extended Remix) – 4:44
 * 2) "Girls Ain't Nothing but Trouble" (Live Version At Nassau Col) – 5:28
 * 3) "Girls Ain't Nothing but Trouble" (1988 Single Version) – 4:21
 * 4) "Girls Ain't Nothing but Trouble" (Instrumental) – 4:44

 * Promotional 12" Vinyl
 * 1) "Girls Ain't Nothing but Trouble" (Original Radio Version) – 5:12
 * 2) "Girls Ain't Nothing but Trouble" (Original Instrumental) – 5:12
 * 3) "Girls Ain't Nothing but Trouble" (Def Def Mix) – 5:02
 * 4) "Girls Ain't Nothing but Trouble" (Def Def Bonus Beats) – 3:00

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

title: Girls Ain't Nothing but Trouble


text:
Talk:Debian Manifesto

User:Pain, Wikipedia doesn't need to reprint the manifesto; Wikisource would be more pertinent for that. This article should contain the encyclopedically relevant information about the manifesto. --Joy [shallot]   11:10, 27 August 2005 (UTC)

 * I see. it seems I forgot one of the rules. Sorry.
 * Federico Pistono 15:05, 2005 August 27 (UTC)

Wikiproject Computing
I have removed the WikiProject tag, as this article is either a redirect or deleted. If you oppose, please restore the tag. Thank you, fahadsadah (talk,contribs) 16:09, 30 March 2009 (UTC)

title: Talk:Debian Manifesto


text:
Norman Manea

Norman Manea (born 19 July 1936) is a Romanian writer and author of short fiction, novels, and essays about the Holocaust, daily life in a communist state, and exile. He lives in the United States, where he is a Professor and writer in residence at Bard College.

He left Romania in 1986 with a DAAD-Berlin Grant and in 1988 went to the US with a Fulbright Scholarship at the Catholic University in Washington DC. He won the 2002 International Nonino Prize in Italy.

Manea's most acclaimed book, The Hooligan's Return (2003), is an original fictionalized memoir, encompassing a period of almost 80 years, from the pre-war period, through the Second World War, the communist and post-communist years to the present.

Manea has been known and praised as an internationally important writer since the early 1990s, and his works have been translated into more than 20 languages. He has received more than 20 awards and honours.

Early years
Born to Jewish parents in the Burdujeni neighbourhood of Suceava (Bukovina, Romania), Manea was deported as a child, in 1941, by the Romanian fascist authorities, allied with Nazi Germany, to a concentration camp in Transnistria, together with his family. He returned to Romania in 1945 with the surviving members of his family and graduated with high honours from the high school (liceu) Ștefan cel Mare in his home town, Suceava. He studied engineering at the Construction Institute in Bucharest and graduated with a master's degree in hydro-technique in 1959, working afterwards in planning, fieldwork and research. He has devoted himself to writing since 1974.

Literary career
In 1966, his literary debut took place in Povestea Vorbii (The Story of Speech), an avant-garde and influential magazine that appeared in the early years of cultural liberalization in communist Romania and was suppressed after six issues. Until he was forced into exile (1986) he published ten volumes of short fiction essays and novels. His work was an irritant to the authorities because of the implied and overt social-political criticism and he faced a lot of trouble with the censors and the official press. At the same time that sustained efforts were made by the cultural authorities to suppress his work, it had the support and praise of the country's most important literary critics.

After the Ceaușescu dictatorship collapsed, several of his books started to be published in Romania. The publication in a Romanian translation of his essay Happy Guilt, which first appeared in The New Republic, led to a nationalist outcry in Romania, which he in turn has analysed in depth in his essay "Blasphemy and Carnival". Echoes of this scandal can still be found in some articles in the current Romanian cultural press.

Meantime, in the United States and European countries, Manea's writing was received with great acclaim. Over the past two decades, he has been proposed as a candidate for the Nobel Prize for Literature by literary and academic personalities and institutions in the United States, Sweden, Romania, Italy and France. Important contemporary writers expressed admiration of the author's literary work and his moral stand before and after the collapse of communism: the Nobel laureates Heinrich Böll, Günter Grass, Octavio Paz, Orhan Pamuk, as well as Philip Roth, Claudio Magris, Antonio Tabucchi, E. M. Cioran, Antonio Muñoz Molina, Cynthia Ozick, Louis Begley and others.

Honors

 * 1979 – Literary Prize of the Bucharest Writers' Association (Romania)
 * 1984 – Literary Prize of the Romanian Writer's Union (withdrawn by the Communist authorities)
 * 1987 – DAAD Berliner Künstler Programm Grant (Germany)
 * 1988 – Fulbright Scholarship, Catholic University, Washington, DC (USA)
 * 1989–1992 – International Academy for Scholarship and the Arts Fellowship, Bard College (USA)
 * 1992 – Guggenheim Fellowship (USA)
 * 1992 – MacArthur Fellows Award (USA)
 * 1993 – The National Jewish Book Award (USA)
 * 1996 – The Marie Syrkin Jerusalem Fellowship in Letters (Israel)
 * 1997 – The Bukovina Literary Prize (Romania)
 * 2002 – The International Nonino Prize (Italy)
 * 2004, 2005 – American Academy Fellowship in Berlin (Germany)
 * 2004 – The Napoli Literary Prize for foreign novel (Italy)
 * 2005 – Holtzbrinck Prize of the American Academy in Berlin (Germany)
 * 2005 – Best foreign book in Spain (El Regreso del Huligan / The Hooligan's Return)
 * 2006 – Lux Mundi, the Cultural Award of Radio Romania Cultural (Romania)
 * 2006 – Elected jury member of the International Nonino Prize (Italy)
 * 2006 – Finalist, Prix Femina (France)
 * 2006 – Prix Médicis Étranger (France)
 * 2006 – The Cultural Prize of Romanian International Television (Romania)
 * 2006 – Elected member of the Berlin Academy of Art (Germany)
 * 2007 – Finalist, Latinity Prize of the Association of Latin Countries
 * 2007 – Awarded the Order of Cultural Merit (in rank of Commander) by the President of Romania (Romania)
 * 2008 – Honorary degree in literature, University of Bucharest (Romania)
 * 2008 – Honorary degree in literature, Babeș-Bolyai University (Romania)
 * 2009 – The Literary Award of the Fondation du Judaisme Français (France)
 * 2009 – Finalist, Literary Prize of Fundación Príncipe de Asturias (Spain)
 * 2009 – The Observator Cultural Lifetime Award Opera Omnia (Romania)
 * 2009 – Commandant dans l'Ordre des Arts et des Lettres(France)
 * 2011 – Nelly Sachs Prize (Germany)
 * 2012 – Fellow of the Royal Society of Literature
 * 2012 – Honorary Degree in Literature, Al.I.Cuza University of Iassy (Romania)
 * 2012 – Fellow of the Institute for Humanities (New York University)
 * 2012 – The National Prize for Literature (Romanian Writers Union)
 * 2012 – The Palau i Fabre Prize for Essay (Spain)
 * 2016 – Awarded the Star of Romania distinction by the Romanian President
 * 2016 – The FIL International Prize for Romance Languages and Literature
 * 2016 – Carlos Fuentes Medal
 * 2017 – Honored as Professor Emeritus and Distinguished Writer in Residence and with the Bardian Award
 * 2018 – Diploma of Excellence, Romanian-American Chamber of Commerce
 * 2018 – Bucovina Merit Distinction, Suceava County Council, Suceava (Romania)
 * 2018 – ALIANTA - Arts and Letters Award, Suceava (Romania)

Works (Romanian)

 * 1969 Noaptea pe latura lungă (Night on the Long Side) (short fiction), Editura pentru literatură
 * 1970 Captivi (Captives) (novel), Editura Cartea Românească; 2011 – second edition, Polirom
 * 1974 Primele porți (First Gates) (short fiction), Albatros
 * 1977 Cartea fiului (Book of the Son) (novel); 2011 – second edition, Polirom
 * 1979 Anii de ucenicie ai lui August Prostul (The Apprenticeship Years of Augustus the Fool) (documentary novel); 2012 – second edition, Polirom
 * 1981 Octombrie, ora opt (October, eight o'clock) (short fiction); 1997 – second edition, Apostrof
 * 1984 Pe contur (On the Edge) (essays)
 * 1986 Plicul negru (The Black Envelope) (novel); 1996 – second edition, Editura Cartea Românească; 2003, 2006 – Polirom
 * 1997 Despre clovni: Dictatorul și artistul (On Clowns: The Dictator and the Artist) (essays); 2005, 2006, 2013 – Polirom
 * 1999 Fericirea obligatorie (Compulsory Happiness) (novellas), Apostrof; 2005, 2011 – Polirom
 * 1999 Casa melcului (The Snail's House) (interviews), Hasefer
 * 2003 Intoarcerea huliganului (The Hooligan's Return) (novelistic memoir), Polirom; 2006, 2011 – Polirom
 * 2004 Plicuri și portrete (Envelopes and Portraits) (essays), Polirom
 * 2006 Textul nomad (The Nomad Text) (interviews), Hasefer
 * 2008 Vorbind pietrei (Talking to a Stone), Polirom
 * 2008 Înaintea despărțirii (Before Parting) (conversation with Saul Bellow), Polirom
 * 2009 Vizuina (The Lair) (novel), Polirom; 2010 – Polirom
 * 2010 Laptele negru (The black milk) (essays and interviews), Hasefer
 * 2010 Curierul de Est. Dialog cu Edward Kanterian, Polirom
 * 2011 Cuvinte din exil. Dialog cu Hanes Stein, Polirom

title: Norman Manea


text:
Sam Spence

Samuel Lloyd Spence (March 29, 1927 – February 6, 2016) was an American soundtrack composer best known for his work with NFL Films. His music has also been in the EA Sports Madden NFL football video games and many football-related commercials.

Biography
Spence was born in San Francisco and attended the University of Southern California. In 1966, while working as a music instructor in Munich, he was hired to score the mini-documentaries that conveyed National Football League highlights and personalities to fans in the network-television era. His music cues, combined with the voices of announcers Pat Summerall, Tom Brookshier, Charlie Jones, John Facenda and Harry Kalas, created the trademark style of the NFL's sports highlights films.

Initially, Mahlon Merrick was asked to provide scores for NFL Films. Merrick asked his friend, Spence, to help in the recording sessions. Spence said: "Mahlon had written marches. Toward the end of that recording session, I stuck in a couple of different pieces — my own orchestral compositions with strings and woodwinds, more like a Hollywood film score. It turned out they were Ed Sabol's favorites and he offered me a three-year contract to write, conduct, and produce NFL Films' music."

In Germany, Spence wrote several TV soundtracks with Hani Chamseddine, e.g., for the Francis Durbridge thriller Wie ein Blitz. After his retirement in 1990, he returned to Munich. He achieved unexpected fame in 1998 with the success of a CD compilation entitled The Power and the Glory: The Original Music & Voices Of NFL Films. Spence died at a Lewisville, Texas nursing center on February 6, 2016, at the age of 88.

Discography

 * 1970: "Wie ein Blitz" – Main theme for the Durbridge series on German network TV (Single, Kuckuck Schallplatten)
 * 1971: The Art of the Synthesizer – Interesting, Unusual and Melodic Moog Sounds (LP, Kuckuck Schallplatten)
 * 1972: Fantastic Sounds: TV Themes and Pop Covers (LP, Kuckuck Schallplatten)
 * 1998: The Power And The Glory: The Original Music & Voices of NFL Films
 * 2007: Sam Spence: Our Man in Munich (Allscore – Indigo)
 * 2009: Autumn Thunder: 40 Years of NFL Films Music

Remake
In 2005, Spence's music was remade by the hip hop music group Da Riffs, which can be heard on several NFL Network shows and found in the soundtrack of the game Madden NFL 06. Along with the urban remakes, the original songs still play in the game's soundtrack. His music was also included in Madden NFL 07, Madden NFL 08, and Madden NFL 09, being remixed again by Da Riffs.

Later appearances
Spence's music has been performed live several times, with the composer conducting guest residencies with regional orchestras. On June 14, 2008, he guest conducted a medley of his NFL Films hits with the Golden State Pops Orchestra in San Pedro, California, as part of the orchestra's "Pops for Pops" concert. In November 2010, a concert devoted almost entirely to his football scores was staged in Green Bay, Wisconsin. An audience of nearly 1,000 turned out at the historic Meyer Theater downtown for a program that featured three local ensembles—The Civic Symphony of Green Bay, the University of Wisconsin–Green Bay Wind Ensemble, and a big band jazz ensemble—performing a wide range of Spence's football scores, from symphonic to jazz to pop.

Criticism
One of the hallmarks of Spence's music is its intangible familiarity. Two film score enthusiasts have pointed out the similarity of his more popular themes to several contemporary film scores; one has criticized them of "get[ting] too close to their obvious film inspiration". They have lauded some of his compositions as "cool homage[s]", while describing others as "barely disguised" "knock-offs".

NFL music
Over his three-decade career, Spence composed hundreds of short sound-track scores for NFL Films. Some of his more recognizable songs are:

 * "A Golden Boy Again" aka "Up As She Rises"
 * "March to the Trenches"
 * "Big Game America"
 * "Rainbows To The End Zone"
 * "The Over the Hill Gang"
 * "West Side Rumble"
 * "The Pony Soldiers"
 * "Round Up"
 * "Classic Battle"
 * "Forearm Shiver" aka "The Lineman"
 * "The Magnificent Eleven"
 * "Ramblin' Man from Gramblin'"
 * "Whirlwinds To The End Zone"
 * "Path To The Title" aka "Cossacks' Charge"
 * "Game Plan For Sudden Death"
 * "Aggression" aka "Life on the Wild Side"
 * "Street Warfare"
 * "Sunday With Soul" aka "Pell Mell"
 * "A Chilling Championship"
 * "Sunday Afternoon Fever"
 * "The Equalizer"
 * "Lombardi Trophy Theme"
 * "Final Quest"
 * "Industrial Giant"
 * "Macho Theme"
 * "Torpedo"
 * "Police Car"

Performance rights controversy with NFL Films
Spence had long been involved in a controversial situation with the NFL regarding the rights to perform or use his music in any media outlets. The case was first reported by musicologist Alexander Klein in a 2013 article published by Film Score Monthly magazine. Through personal conversations with the composer, Klein reported that Spence was convinced to sign a contract that relinquished all of the rights to his music to NFL Films under the promise that the enterprise would return the document to the composer.

After allegedly receiving a phone call in which NFL Films claimed that his music had been stolen and illicitly used, Spence said, "They would send me a paper to sign to the effect that NFL Films was empowered to protect the music in a court of law. In all sincerity, I did not see a possible 'plot' here at all. However, I unwittingly 'punctured their balloon' by explaining that they didn't have to bother with this at all because GEMA (a German state-authorized performance rights organization) would protect my music and legally proceed after anyone who used it without permission." As Klein reported, "soon afterwards, GEMA sent Spence a video copy of the film and asked him to make a list of "where and how long" his music appeared in it. Thus, the composer dutifully watched the film in order to find possible fragments of his music in it. Yet, the outcome was unexpected." In Spence's own words: "I was surprised to find not one note of my music in the film. Naïve, trusting person that I was, it never dawned on me it could possibly be a hoax to get me to sign a forthcoming document." According to Spence, "the next 'trick' came several months later. I received a phone call in which I was told that NFL Films had a court case in two days against someone who had illegally used some of my music. Their lawyer had sent me a paper via Federal Express, which they said would be arriving shortly (in that same afternoon) for my signature. After signed, the FedEx courier would immediately send it back to them so they would have it in time for the court case." According to Klein's report, the composer received the paper in the afternoon and read it but, in Spence's words, "after reading the paper, I called them and said that I could not sign a document with that wording. But they assured me that as soon as the case was over, they would send it back to me." Still unsuspecting, and trusting in the company's words, Spence signed the document and sent it to NFL Films. He never got the paper back and, to this day, the late composer's family is not receiving royalties for the many uses of Spence's music in American television shows and commercials.

title: Sam Spence


text:
SCMO

SCMO may refer to:
 * Scottish Catholic Media Office
 * Subsidiary Communications Multiplex Operation, a subcarrier on a broadcasting station
 * Supply Chain Management Outsource, an advisory firm specialized in logistics

title: SCMO


text:
Fear Is the Mindkiller

Fear Is the Mindkiller is the first EP by American heavy metal band Fear Factory. It was released on April 14, 1993, by Roadrunner Records and is containing remixes of songs from the first album Soul of a New Machine.

Content
Remixes 1–5 were created by Rhys Fulber and Bill Leeb of Front Line Assembly. The EP was remastered and re-released on October 5, 2004, in a digipak, packaged together with the remastered Soul of a New Machine without "Self Immolation". The title of the record is a quote from "Litany against fear", a fictional incantation from Dune, the science fiction novel written by Frank Herbert.

When playing live in the 1990s, the band would occasionally play a variation of the Deep Dub Trauma remix of "Scumgrief", rather than the original. The song is also on the soundtrack of the film Hideaway.

Fear Factory

 * Burton C. Bell − vocals
 * Dino Cazares − guitar
 * Raymond Herrera − drums
 * Andrew Shives – bass
 * Raynor Diego – keyboards

Production

 * Rhys Fulber − digital adaptation
 * Brian Gardner − mastering
 * Bernie Grundman − mastering
 * Karl Kotas − art direction, computer graphics
 * Ron Obvious − facility consultant
 * Greg Reely − sonic architect
 * Colin Richardson − producer
 * Ira Rosenson − photography
 * Joel Van Dyke − sonic assistance

title: Fear Is the Mindkiller


text:
Lund string model

In particle physics, the Lund string model is a phenomenological model of hadronization. It treats all but the highest-energy gluons as field lines, which are attracted to each other due to the gluon self-interaction and so form a narrow tube (or string) of strong color field. Compared to electric or magnetic field lines, which are spread out because the carrier of the electromagnetic force, the photon, does not interact with itself.

String fragmentation is one of the parton fragmentation models used in the PYTHIA/Jetset and UCLA event generators, and explains many features of hadronization quite well. In particular, the model predicts that in addition to the particle jets formed along the original paths of two separating quarks, there will be a spray of hadrons produced between the jets by the string itself—which is precisely what is observed.

This use of "string" is not the same as in string theory, in which strings are the fundamental objects of nature rather than collections of field lines.

title: Lund string model


text:
Ford Gum

Ford Gum is an American brand of bubble gum and chewing gum often found in gum machines. It is produced by Ford Gum & Machine Co. The history of the company goes back to 1913, when Ford Mason leased 102 machines and placed them in stores and shops in New York City. The gumballs, while they are covered with different flavors, all have the same flavor under the surface.

Ford Gum is also available in a square "chiclet" shape, with the same colors/flavors as the gumballs.

In 1962, Thomas E. Conner, a Ford Gum manager, became acquainted with Nancy Reagan's family. In meeting Reagan he asked him to do a Public Service Announcement for Ford Gum, which Reagan voluntarily did on Conner's portable tape recorder.

In 1985, Ford Gum was acquired by Leaf. Leaf's American operations were acquired by Hershey in 1996, and Ford Gum was subject to a management buyout the next year.

Today, Ford Gum and Machine Co. is headquartered in Akron, NY and has a sales office in Buffalo Grove, IL. The company is the only large scale manufacturer of gumballs in the US. Their primary competitors, Tootsie Roll's Dubble Bubble and SweetWorks' Oak Leaf Confections, manufacture gumballs and confectionery products in Canada.

Ford Gum owns the trademark on "Carousel" and manufactures and distributes a complete line of bulk gumball products and toy gumball machines under Carousel brand. Ford is the first and only company to manufacture and distribute sugar free gumballs. Carousel gumballs come in a wide range of flavors, sizes and colors. Ford Gum also makes private label gum and mints.

As of 2015, most of their gum products are certified Kosher by the BVK, the Buffalo Vaad HaKashrus under the direction of Rabbi Moshe Taub.

Ford Gum acquired the rights to Big League Chew from Wm. Wrigley Jr. Company in 2010 and was to begin production of the product in November of that year.

title: Ford Gum


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Francis Hunter

Francis "Frank" Townsend Hunter (June 28, 1894 – December 2, 1981) was an American tennis player who won an Olympic gold medal. He won the U.S. National Indoor Championships in 1922 and 1930 and the Eastern Clay Court Championships in 1919.

Early and personal life
Hunter graduated from Cornell University in 1916, where he was a member of the Quill and Dagger society and the ice hockey team.

During WWI he was a lieutenant commander in the U.S. Navy and served on Admiral Beatty's flagship of the British Royal Navy. He later wrote a book about his experiences with the Admiral.

Hunter was the second husband of the actress Lisette Verea in 1954.

Hunter was later successful in the coal and printing industries.

Tennis career
Hunter won the U.S. National Indoor Championships in 1922 and again in 1930 and the Eastern Clay Court Championships in 1919.

Hunter was a singles finalist at Wimbledon in 1923 (where he beat Gordon Lowe, then lost to Bill Johnston).

Hunter won a gold medal at the 1924 Paris Olympics, in the men's doubles event with partner Vincent Richards.

He won the Scheveningen Championships on red clay in the Netherlands in 1928 defeating Hendrik Timmer in the semifinal in four sets and Jean Borotra in the final in three straight sets.

Hunter reached the U.S. championships singles final in 1928 (where he beat Jack Crawford and George Lott, then lost to Henri Cochet in five sets).

He reached his third Grand Slam singles final at the U.S. championships in 1929 where he beat R. Norris Williams, losing the final in five sets to Bill Tilden.

He was ranked World No. 4 in 1929 by A. Wallis Myers of The Daily Telegraph and World No. 5 in another Myers list in September the same year.

Hunter won the Brooklyn Indoor Championships in 1930 defeating J. Gilbert Hall in the semifinal.

Hunter turned professional in mid January 1931 joining Bill Tilden. He reached the final of the U.S. Pro Championships in 1933 where he lost to Vincent Richards. As well as playing on the pro tour, Hunter was also a promoter, including promoting the first Perry-Vines tour in 1937 with S. Howard Voshell.

title: Francis Hunter