text:
Stranglehold (video game)

Stranglehold is a third-person shooter video game developed by Midway Studios – Chicago and Tiger Hill Entertainment and published by Midway Games. It was released in late 2007 for Microsoft Windows, PlayStation 3 and Xbox 360. It is Midway's first game to use Unreal Engine 3. Stranglehold is a sequel to John Woo's 1992 Hong Kong action film Hard Boiled and stars Chow Yun-fat in a reprisal of his role as hard-boiled cop Inspector "Tequila" Yuen. Stranglehold is the first project on which Woo and Chow have collaborated since Hard Boiled. The game received generally positive reviews from critics and sold more than one million units worldwide.

A sequel to Stranglehold, entitled Gun Runner, was in the works prior to Midway's financial demise but was ultimately cancelled.

Plot
In Hong Kong, three Triad crime syndicates fight for territory: Dragon Claw, the Imperial 9s (I9s) based in Tai O, and Golden Kane. After a police officer goes missing, the Hong Kong Police Force receive a ransom call. Disobeying orders from police chief Lee, Inspector Tequila Yuen heads to a Kowloon market alone to save the officer, but finds evidence that he is dead. Tequila's search leads him to a teahouse, where he unintentionally interrupts a business deal between Golden Kane and I9 members. Following a tip that the I9s killed the officer, and that the gang is working under Dragon Claw, Tequila heads to Tai O to investigate further.

In Tai O, Tequila tracks down Dragon Claw leader Jimmy Wong. Wong and Tequila have a complicated history: the inspector dated Wong's daughter Billie, and the couple had a child named Teko. At Wong's side are his henchmen: Dapang, and Jerry Ying, an undercover officer and Tequila's former partner. Wong reveals that the policeman's death is part of a larger plot by Golden Kane to gain more control of Hong Kong. The triad gang pinned the officer's death on the I9s to divert police attention. Additionally, they partnered with the Zakarovs, a Ukrainian mafia from Chicago, to kidnap and hold Billie and Teko ransom in exchange for part of Wong's territory. When Golden Kane attacks Dragon Claw's Tai O base, Tequila promises Wong that he will find his family, and helps the crime boss escape.

Tequila eavesdrops on Golden Kane leader Yung Gi's conversation with Damon and Vladimir Zakarov. Impressed by the Zakarovs' philanthropy and social standing, Yung heads to Chicago to see how the Ukrainians run their organization, as well as to facilitate ransom negotiations. Tequila and Jerry travel to the Zakarovs' penthouse in Chicago, splitting up to cover different floors, but are spotted by Vladimir. Tequila works his way to the top floor, and after a fight with Vladimir, causes the Ukrainian to blow himself up with his own rocket launcher. He then tends to a wounded Jerry.

Tequila finds Damon and Yung at the Chicago History Museum, where they are negotiating the exchange of Billie and Teko. The gangsters agree to let Yung take Teko back to Hong Kong, and let Damon bring Billie. Yung leaves with Teko, while Tequila kills Damon. After reuniting with his lover, Tequila gets ambushed by Jerry, who kills Billie. After confirming that Wong paid Jerry to murder Billie, Tequila kills his former partner and takes his cell phone. A video on the cell phone reveals Wong's motives: to prevent the Zakarovs from executing Teko, Billie will leak the names of several Dragon Claw associates in court and get Wong convicted if the crime boss does not agree to the Zakarov's demands. Tequila texts Wong with Jerry's cell phone, claiming that Jerry killed the inspector.

Back in Hong Kong, Tequila confronts Yung in his office to strike a deal with the gangster. Yung refuses to let Teko go, so Tequila shows him text messages between Wong and Jerry that prove Dragon Claw will betray the gangster during the exchange. The two agree to a new plan: if Tequila kills Wong during the deal, then Yung will free Teko. However, after a fight with Dragon Claw members, Tequila shows up late to the new meeting location. A startled Wong escapes with Teko while Yung, Tequila, and Dapang are locked in a standoff. As Tequila breaks the standoff by chasing him, Dapang guns Yung down and escapes.

Tequila hijacks a nearby car and chases Wong to his estate. After he shoots down one of Wong's helicopters, it crashes through the locked front door of Wong's main stronghold. Tequila enters the estate to find that Wong and Dapang have taken Teko hostage. After a tense standoff, Wong agrees to let Teko go, in exchange for her and Tequila leaving Hong Kong forever. As she is being freed however, Teko warns her father that it's a trap, and gets shot in the arm by Wong as she runs to safety. With newfound fury, Tequila goes after Wong and Dapang, killing the latter. Armed with a high-powered sniper rifle, Wong attempts to kill Tequila with a headshot. Before he can pull the trigger, Teko shoves him over the balcony and he falls to his death.

As father and daughter reunite, Chief Lee arrives on the scene and returns Tequila's badge. Tequila and Teko leave the scene, together.

Influences
Stranglehold attempts to translate the gun ballet aesthetic popularized by director John Woo, used in films such as Hard Boiled and The Killer, to an interactive media format. Although the game has drawn comparisons to Remedy Entertainment's Max Payne franchise, which was influenced by Woo, a more accurate account of both games' creative provenances traces the games to Woo's lengthy, balletic shootouts.

Gameplay
Stranglehold is a third-person shooter game. Players control protagonist Inspector Tequila Yuen as he fights various gangsters throughout Hong Kong and Chicago. Players can traverse each level by walking around, diving, and taking cover behind walls. They can do all of this while using a variety of weapons, including pistols, submachine guns, shotguns, assault rifles, rocket launchers, heavy machine guns, and grenades. Jumping in any direction or interacting with any object while aiming at an opponent (or pressing a certain button) will slow time, creating a short window during which Tequila can shoot at targets. This technique—called Tequila Time—generates a cinematic effect that mimics Woo's. Tequila Time is managed through a meter which drains with use and regenerates with time. Tequila can also make use of his environment, moving up and down railings, swinging from chandeliers and sliding across tabletops and riding on carts while shooting at enemies.

Another form of gameplay comes from the style and grace associated with Woo's balletic firefights. By taking out enemies, the player earns stars. The more stylish the kills performed, the more stars received. Taking out enemies in quick succession, or interacting with the environment when taking down opponents, will earn the player the optimum number of stars. As an incentive to interact with the environment, Tequila receives a bonus to his attack power and defense during interactions.

Tequila also employs several iconic techniques from Woo's movies, referred to as Tequila Bombs. Tequila Bombs require energy to perform. The player gains energy by defeating enemies (equal to the Stars obtained) and by collecting paper cranes hidden about each level.

Development
Stranglehold was developed by Midway Games and Tiger Hill Entertainment. Following the release of 2004's Psi-Ops: The Mindgate Conspiracy, Midway was looking to make a new game based on an existing brand license. Mike Bilder, the studio head, explained that they were trying to establish a competitive advantage by establishing new intellectual properties, stating that Midway was "trying not to just rest on laurels and become a sequel house." Due to a Midway employee's connections, the company was able to get in touch with John Woo about a possible video game collaboration. Woo himself had co-founded Tiger Hill Entertainment in May 2003, and through his collaboration with Midway, Stranglehold was to be his studio's first video game title. It was also intended to be Midway's first step into developing for the seventh generation of video game consoles; the company wanted to release the game for the PlayStation 3 and Xbox 360. After Woo verbally agreed to a deal, Midway began working on the game in the summer of 2004, and the project was first announced in May 2005.

The development team for Stranglehold, led by game director Brian Eddy, was the same one that worked on Psi-Ops. This was initially a group of 30 people, that ultimately grew to 50 over the course of the game's development. Eddy states that the team's goal was to make the player feel as if they were the one directing the action in a John Woo film. To prepare for the project, the developers watched many of Woo's films, such as Hard Boiled and The Killer, to figure out how to emulate Woo's style of film making. According to Eddy, this research resulted in the team focusing on making player movement feel smooth and fluid, and building in-game environments that were destructible.

In order to bring this vision to life for next-generation consoles, the studio licensed Unreal Engine 3. However, Unreal Engine 3 was still actively in development at the time, and was missing features that the team needed. In order to prototype Stranglehold 's gameplay, Midway used their existing engine from Psi-Ops to make a prototype version of the first level, with most of the player's mechanics present in the final game. Once the gameplay had been prototyped, the development team began porting their work over to Unreal Engine, modifying its source code to build in the missing systems. According to Eddy, the team first started customizing the game engine in early 2005, adding the Havok physics engine and other tools throughout development. Among these modifications was Massive Destruction (also known as Massive D), a set of physics technologies that allowed players to destroy nearly every object in a given level. Stranglehold also incorporated a body swapping technique that randomized parts of enemy character models, producing varied characters rather than repetitious clones. For realism, the development team incorporated location-based damage, where the AI responded in different ways to different hit locations. This allowed the team to vary enemy reactions with damage-mapped impact points. This feature was integrated throughout the game, but especially apparent during the second of four Tequila Bombs: Precision Aim. Also, while targets took time to recover from flesh wounds, they will eventually revive (even if unable to stand) and continue to fire until passing out from simulated blood loss.

For the visual direction, art director Jason Kaehler worked with Stephan Martinière, the game's creative visual director, to create concept art in pre-production that was reminiscent of the movies the team watched in their research. The environments that were eventually used in the game came from the thematic goal of creating a fusion of Western and Eastern elements that was present in Woo's films. In-game levels were first sketched out and iterated on using Unreal Tournament 2004.

Throughout development, the team at Midway worked closely with Woo and Tiger Hill Entertainment. While Midway focused on game development, Tiger Hill primarily worked on the story and the storyboards. Woo liked the developers' approach to the game, giving them plenty of freedom throughout the development process. As recalled by Eddy and Kaehler, the film director stepped in a couple of times to steer its direction: once to object to a potential story idea involving the export of body parts, and once to suggest that enemy designs should have more Western clothing. According to Eddy, Woo "made us understand that he prefers poetic violence over gore-fests", which helped the development team retain their focus on the director's vision. Additionally, there were sections of the game that had to be cut due to time constraints. Driving and boating scenes that were initially planned for the single-player campaign were not implemented, and the team had to stop iterating on the game's multiplayer mode in order to make the deadline. According to producer John Vignocchi, the addition of a multiplayer mode was a mandatory requirement by Midway executives.

The developers also worked with Chow Yun-fat throughout the process, as the actor reprised his role from Hard Boiled. To capture his likeness, Midway met with Chow in Hong Kong to digitally scan his face and body, as well as have him record voice lines. Chow also let the team take several photographs of his different facial expressions, so that Midway's animation team could animate cutscenes featuring Tequila better.

Due to Midway's February 2006 partnership with in-game advertising agency Double Fusion, Stranglehold contains dynamic in-game advertising, such as posters and billboards for real world products appearing during gameplay.

A trailer for Stranglehold was present as an extra feature in Mortal Kombat: Armageddon.

As part of the game's promotions, a contest for amateur filmmakers to make the best John Woo-inspired short film was held from April 30 to June 25, 2007. The winner of the "True to Woo" contest received US$25000, the chance to meet the developers at Midway Chicago, their film's premiere on Spike TV, an Amp'd Mobile phone plan, a Hard Boiled poster autographed by Woo, and a copy of Stranglehold.

According to European marketing director Martin Spiess, Stranglehold cost around US$30 million to produce.

Release
Midway released a Collector's Edition for the console versions of the game. The PlayStation 3 Collector's Edition includes Hard Boiled fully remastered in high-definition and on the same Blu-ray with all the additional game extras and features. The Xbox 360 Collector's Edition includes the same extras and featurettes but on a separate disc without Hard Boiled. The Xbox 360 and the PlayStation 3 editions were both packed in a tin case with a holographic cover motif.

On December 6, 2007, Midway released a downloadable map pack for the PlayStation 3 and Xbox 360 video game systems. The map pack featured 10 additional multiplayer maps, as well as 21 all-new multiplayer character skins. The Xbox 360 version also included 10 new achievements worth 250 points.

Warner Bros. Interactive Entertainment re-released the Windows version of the game through GOG.com on November 26, 2019.

Reception
The game received "generally favorable reviews" on all platforms according to the review aggregation website Metacritic. IGN praised the cinematic flair and melodrama in the storyline true to the style of John Woo, enjoyable battles, and slick presentation. However, they said that the visuals were lacking, the game was too short, and inauthentic because the characters do not speak Cantonese. GameSpot said that although the game is solid in every department, it is repetitive, due to a short seven-hour single-player game and weak multiplayer. Electronic Gaming Monthly stated that the Xbox 360 version was "a game whose movie influences are more than skin deep." In Japan, where the Xbox 360 version was ported and published by Success on May 22, 2008, followed by the PlayStation 3 version on September 11, 2008, Famitsu gave the former console version a score of 29 out of 40.

Eduardo Zacarias of GameZone gave the Xbox 360 version eight out of ten, saying, "Sure, the action can get repetitive in places and many of the moves seen here have been done before many times, but the cinematic feel is pure Woo and that's definitely worth a look." However, Brock Smith gave the PC version 7.6 out of 10, saying, "If you are a fan of third-person action or Jon Woo, this game will deliver a fun and exciting ride. If you are into deep stories and complex characters with story plot twists, avoid this and anything else John Woo for that matter." Nick Valentino later gave the PlayStation 3 version 8.2 out of 10, saying, "Like a true action-packed cinematic spectacle, Stranglehold delivers a number of spectacular moments that will not fail to dazzle hardcore fans of the genre." GamePro gave the Xbox 360 version four out of five, saying, "Stranglehold might stumble occasionally under its own ambitious weight, and might not quite deliver on all its promises and potential, but it's still a unique and absorbing 8-hour tour through a legendary action director's potent unfilmable dreams." Edge gave the same Xbox 360 version a score of seven out of ten, saying, "The chemistry of control, animation, AI and environmental damage systems is absolutely spot on, both in finding Hard Boiled's groove and providing coherent, rhythmic and unpredictable action."

The game sold more than one million units worldwide.

Legacy
According to The Hollywood Reporter, Lion Rock Entertainment would be making the sequel to John Woo's Hard Boiled. The film would be based on the plot of Stranglehold. In an interview with Twitchfilm Terence Chang announced that the film would be a prequel to Hard Boiled with a much younger Tequila. Hong Kong actor-director Stephen Fung would direct the film in Singapore and the U.S. with a $20 million budget. Since the initial announcement of a big-screen version of Stranglehold, there has been no further news on its production. It is presumed that the project was a victim of Midway Games' bankruptcy.

A video game sequel to Stranglehold, entitled Gun Runner, was in the works prior to Midway's financial demise but was ultimately cancelled.

title: Stranglehold (video game)


text:
Maastrichtian

The Maastrichtian is, in the International Commission on Stratigraphy (ICS) geologic timescale, the latest age (uppermost stage) of the Late Cretaceous Epoch or Upper Cretaceous Series, the Cretaceous Period or System, and of the Mesozoic Era or Erathem. It spanned the interval from. The Maastrichtian was preceded by the Campanian and succeeded by the Danian (part of the Paleogene and Paleocene).

The Cretaceous–Paleogene extinction event (formerly known as the Cretaceous–Tertiary extinction event) occurred at the end of this age. In this mass extinction, many commonly recognized groups such as non-avian dinosaurs, plesiosaurs and mosasaurs, as well as many other lesser-known groups, died out. The cause of the extinction is most commonly linked to an asteroid about 10 to 15 km wide colliding with Earth, ending the Cretaceous.

Definition
The Maastrichtian was introduced into scientific literature by Belgian geologist André Hubert Dumont in 1849, after studying rock strata of the Chalk Group close to the Dutch city of Maastricht. These strata are now classified as the Maastricht Formation - both formation and stage derive their names from the city. The Maastricht Formation is known for its fossils from this age, most notably those of the giant sea reptile Mosasaurus, which in turn derives its name from the nearby river Maas (mosa being Latin for the river Maas).

The base of the Maastrichtian Stage is at the first appearance of ammonite species Pachydiscus neubergicus. At the original type locality near Maastricht, the stratigraphic record was later found to be incomplete. A reference profile for the base was then appointed in a section along the Ardour river called Grande Carrière, close to the village of Tercis-les-Bains in southwestern France. The top of the Maastrichtian Stage is defined to be at the iridium anomaly at the Cretaceous–Paleogene boundary (K–Pg boundary), which is also characterised by the extinction of many groups of life.

Subdivision
The Maastrichtian is commonly subdivided into two substages (Upper and Lower) and three ammonite biozones. The biozones are (from young to old):
 * zone of Anapachydiscus terminus
 * zone of Anapachydiscus fresvillensis
 * zone of Pachydiscus neubergicus till Pachydiscus epiplectus

The Maastrichtian is roughly coeval with the Lancian North American Land Mammal Age.

Palaeogeography and paleoclimate
The breakup of Pangaea was nearly complete in the Maastrichtian, with Australia beginning to break away from Antarctica and Madagascar breaking away from India. However, Arabia had not yet rifted away from Africa. North America was separated from Europe by rift basins, but sea floor spreading had not yet commenced between the two continents.

The Pacific Plate was rapidly growing in size as the surrounding oceanic plates were consumed by subduction, and the Pacific-Izanagi Ridge was rapidly approaching Asia.

Eruption of the Deccan Traps large igneous province began during the Maastrichtian, at around 67 million years ago. This is thought to be a consequence of India drifting over the Réunion hotspot.

During the Maastrichtian, the global climate began to shift from the warm and humid climate of the Mesozoic to the colder and more arid climate of the Cenozoic. Variation of climate with latitude also became greater. This was likely caused by a major reorganization of oceanic circulation that took place at the boundary between the early and late Maastrichtian. This reorganization was triggered by the breach of tectonic barriers in the South Atlantic, permitting deep ocean water to begin circulating from the nascent North Atlantic to the south. This initiated thermohaline circulation similar to that of the modern oceans. At the same time, the Laramide orogeny drained the Western Interior Seaway of North America, further contributing to global cooling.

Paleontology

Dinosaurs remained the dominant large terrestrial animals throughout the Maastrichtian, though mammals with internal organs similar to modern mammals were also present. Both ammonites and pterosaurs were in serious decline during the Maastrichtian.

Birds
Several archaic clades of birds, such as Enantiornithes, Ichthyornithes, and Hesperornithes, persisted to the latest Maastrichtian but became extinct during the Cretaceous-Paleogene extinction event.

Pterosaurs
Traditionally, pterosaur faunas of the Maastrichtian were assumed to be dominated by azhdarchids, with other pterosaur groups having become extinct earlier on. However, more recent findings suggest a fairly composite pterosaur diversity: at least six ("Nyctosaurus" lamegoi, a Mexican humerus, a Jordan humerus and several taxa from Morocco) nyctosaurs date to this period, as do a few pteranodontids, and Navajodactylus, tentatively assigned to Azhdarchidae, lacks any synapomorphies of the group. This seems to underscore a higher diversity of terminal Cretaceous pterosaurs than previously thought.

Flora
The radiation of angiosperms (flowering plants) was well under way in the Maastrichtian. From 50% to 80% of all genera of land plants were angiosperms, though gymnosperms and ferns still covered larger areas of the land surface.

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

title: Maastrichtian


text:
Shrinking Violet (album)

Shrinking Violet is the sixth studio album by glam metal band L.A. Guns, first released on June 1, 1999, through Perris Records, and is the only L.A. Guns album with singer Jizzy Pearl. The album was reissued, with bonus tracks and new artwork, on May 24, 2010, through Favored Nations. The album was produced by former Guns N' Roses guitarist Gilby Clarke who also provided additional guitars on the track "Dreamtime".

Personnel

 * Jizzy Pearl - lead vocals
 * Tracii Guns - guitars, theremin, arrangements
 * Johnny Crypt - bass guitar, additional vocals, engineer
 * Steve Riley - drums

 * Additional personnel
 * Gilby Clarke - additional guitar on "Dreamtime", producer, engineer
 * Teddy Andreadis - piano, synth and organ on "Dreamtime" and "Barbed Wire"

title: Shrinking Violet (album)


text: User talk:71.112.117.12

title: User talk:71.112.117.12


text:
George V Coast

George V Coast (-68.5°N, 148°W) is that portion of the coast of Antarctica lying between Point Alden, at 148°2′E, and Cape Hudson, at 153°45′E.

Portions of this coast were sighted by the US Exploring Expedition in 1840. It was explored by members of the Main Base party of the Australasian Antarctic Expedition (1911–14) under Douglas Mawson who named this feature for King George V of the United Kingdom.

The segment of land between these lines of longitude is referred to as George V Land. Mertz Glacier is located in this area.

title: George V Coast


text:
Bertil Wedin

Bertil Wedin (21 November 1940 – 4 March 2022) was a Swedish secret service agent. He was accused in an English court, but acquitted of the 1982 burglary of the Pan Africanist Congress (PAC) office in London. In 1996, Wedin was named as a suspect in the assassination of Sweden's prime minister, Olof Palme, but has denied any involvement. His accuser, Peter Caselton – who with eight others including Craig Williamson had applied for amnesty from South Africa's Truth and Reconciliation Commission for the March 1982 bombing of the ANC office in London – was allegedly a member of an apartheid South Africa assassination squad. He was also suspected of bombing the ANC Stockholm office in 1986. Wedin denies involvement in any crimes.

Wedin had been a resident of Kyrenia in Northern Cyprus from 1985 until his death on 4 March 2022.

title: Bertil Wedin


text:
User:TMS63112

Welcome to my user page! Please feel free to leave me a message on my talk page. I have been contributing to Wikipedia off and on for a couple of years (often anonymously before registering for an account). My main areas of interest are politics, history, urban planning, and architecture. I especially enjoy contributing and editing articles about my hometown St. Louis, Missouri.

Create articles
St. Louis Children's Hospital Gene McNary - former St. Louis County Executive H.C. Milford - former St. Louis County Executive

St. Louis Neighborhoods
 * North St. Lous
 * Baden
 * Penrose
 * Lafayette Square
 * Dutchtown
 * Bevo Mill
 * Holly Hills
 * Skinker-DeBaliviere
 * St. Louis Hills
 * Shaw
 * Forest Park Southeast

Michael Harrington
I thought the Missouri tag was for a sports personality of the same name from that state! Sorry! However, I don't see that this Michael Harrington's life had so much to do with Missouri that the state project should take it up. But I guess that's a matter of judgment. Put it back up if you think it is appropriate; I don't really have a stake in an argument here! Dwalls 03:06, 25 June 2007 (UTC)

title: User:TMS63112


text:
Carpenter Gothic

Carpenter Gothic, also sometimes called Carpenter's Gothic or Rural Gothic, is a North American architectural style-designation for an application of Gothic Revival architectural detailing and picturesque massing applied to wooden structures built by house-carpenters. The abundance of North American timber and the carpenter-built vernacular architectures based upon it made a picturesque improvisation upon Gothic a natural evolution. Carpenter Gothic improvises upon features that were carved in stone in authentic Gothic architecture, whether original or in more scholarly revival styles; however, in the absence of the restraining influence of genuine Gothic structures, the style was freed to improvise and emphasize charm and quaintness rather than fidelity to received models. The genre received its impetus from the publication by Alexander Jackson Davis of Rural Residences and from detailed plans and elevations in publications by Andrew Jackson Downing.

History
Carpenter Gothic houses and small churches became common in North America in the late nineteenth century. Additionally during this time, Protestant followers were building many Carpenter Gothic churches throughout the midwest, northeast, and some areas in the south of the US. This style is a part of the Gothic Revival movement. For example. these structures adapted Gothic elements, such as pointed arches, steep gables, and towers, to traditional American light-frame construction. The invention of the scroll saw and mass-produced wood moldings allowed a few of these structures to mimic the florid fenestration of the High Gothic. But in most cases, Carpenter Gothic buildings were relatively unadorned, retaining only the basic elements of pointed-arch windows and steep gables. Probably the best known example of Carpenter Gothic is the house in Eldon, Iowa, that Grant Wood used for the background of his famous painting American Gothic.

Characteristics
Carpenter Gothic is largely confined to small domestic buildings and outbuildings and small churches. It is characterized by its profusion of jig-sawn details, whose craftsmen-designers were freed to experiment with elaborate forms by the invention of the steam-powered scroll saw. A common but not necessary feature is board and batten siding. Other common features include decorative bargeboards, gingerbread trim, pointed-arched windows, wheel window, one-story veranda, and steep central gable. A less common feature is buttressing, especially on churches and larger houses. Exterior elements like pointed arches made their way inside the homes as well. This can be seen in pointed arch openings and doorways.

Ornamental use
Being a part of the Gothic Revival, the ornamentation in Carpenter Gothic is much more eclectic, it uses more superficial and obvious motifs. Specifically, Carpenter Gothic ornamentation, referred to as gingerbread, is not limited to use on wooden structures but has been used on other structures especially Gothic Revival brick houses such as the Warren House in a historic district in Newburgh, New York, which is said to epitomize the work of Andrew Jackson Downing, but was actually done by his one-time partner, Calvert Vaux. Ornamentation can be seen in the interior as well. Many elements in the interiors were highly crafted such as staircases, walls, ceilings, and fireplaces. Examples of this ornament use include wainscoting, ceiling beams or coffered ceilings, and ornate wallpapers. Gothic style furniture was also used.

Geographic extent
Carpenter Gothic structures are typically found in most states of the United States, except Arizona and New Mexico. There is one Carpenter Gothic in the Huning Highlands Historical District in downtown Albuquerque circa 1882 built by the Seth family who lived there until 2002. Many Carpenter Gothic houses were built in Nevada in the 1860–1870s (Virginia City, Reno, Carson City, and Carson Valley areas) and still exist (2010). Although this style was most common in northern America, nowhere else had built as many churches as in Florida between 1870 and 1900. In Canada, carpenter Gothic places of worship are found in all provinces and the Northwest Territories, while Carpenter Gothic houses seem to be limited to Ontario, Quebec and the Maritime Provinces.

Endangered Carpenter Gothic buildings
Many American Carpenter Gothic structures are listed on the National Register of Historic Places, which may help to ensure their preservation. Many, though, are not listed and those in urban areas are endangered by the increased value of the land they occupy.

A current example of this is St. Saviour's Episcopal Church, Maspeth, New York, built in 1847 by Richard Upjohn. It was sold to a developer in 2006. Its rectory had already been demolished and a deal with the City of New York to preserve the church in exchange for higher density on the remaining vacant land fell through and the parcel went on the market for $10 million.

After a number of postponements, in March 2008, just hours before the final deadline to demolish the church, a deal was struck with a local community group, whereby they were allowed time to raise money to move the structure. At a cost of some $2 million, the building was reduced to its original appearance and dismantled into pieces, so it could be transported through the narrow, winding streets of the neighborhood. It was reconstructed on the grounds of a cemetery in the nearby neighborhood of Middle Village, where it is now used for community activities.

"American Gothic"
"American Gothic" is a painting by Grant Wood from 1930. It depicts American rural life with its subject being a “stern” looking father and his daughter in front of a small Carpenter Gothic style house. Wood's inspiration came from a cottage designed in the Carpenter Gothic style with a distinctive upper window and a decision by the artist to paint the house along with "the kind of people I fancied should live in that house."

Steamboat Gothic

Steamboat Gothic architecture, a term popularized by Frances Parkinson Keyes's novel of that name, is sometimes confused with Carpenter Gothic architecture, but Steamboat Gothic usually refers to large houses in the Mississippi and Ohio river valleys that were designed to resemble the steamboats on those rivers.

Recent examples
St. Luke's Church in Blue Ridge, Georgia, was built in 1995. Houses and churches are sometimes built in the Carpenter Gothic style into the 21st Century.

Outside North America
Many nineteenth-century timber Gothic Revival structures were built in Australia, and in New Zealand – such as Frederick Thatcher's Old St. Paul's, Wellington, and Benjamin Mountfort's St Mary's, but the term "Carpenter's Gothic" is not often used, and many of their architects also built in stone.

title: Carpenter Gothic


text:
James Ridley

James Kenneth Ridley (1736 – 1765) was an English author educated at University College, Oxford. He served as a chaplain with the British Army. He is best known for a volume of imitation Orientalia.

Writings
Ridley wrote two novels: The History of James Lovegrove, Esquire (1761) and The Schemer, or the Universal Satirist, by that Great Philosopher Helter van Scelter (1763). However, he is mainly remembered for his Oriental pastiche The Tales of the Genii, a set of stories based on those of the Arabian Nights. That work, published in two volumes in 1764, was issued under the pseudonym "Sir Charles Morell", supposedly British Ambassador in Bombay.

Ridley's Tales were allegedly composed by an imam named Horam and translated from a Persian manuscript, but in actuality, they were products of Ridley's imagination. They belong to a genre of imitation, Orientalia, popular in the 18th century. In its own time and after, Ridley's book was compared to Samuel Johnson's Rasselas. It retained its popularity and had gone through seven editions by 1861. Translations into German and French also appeared.

title: James Ridley


text:
Mawson Peninsula

Mawson Peninsula (-68.58333°N, 154.18333°W) is a high (455 m), narrow, ice-covered peninsula on the George V Coast, on the west side of the Slava Ice Shelf, Antarctica, terminating in Cape Hudson. It extends for over 30 nmi in a northwesterly direction. The peninsula was photographed from the air by U.S. Navy Operation Highjump, 1946–47, and was sketched and photographed by Phillip Law of the Australian National Antarctic Research Expeditions who flew along it to its northern end in February 1959. It was named by the Antarctic Names Committee of Australia for Sir Douglas Mawson.

Cape Hudson (-68.33333°N, 153.75°W) is the north cape of Mawson Peninsula. Land was sighted in this area on January 19, 1840, by the crew of Lt. William L. Hudson's USS Peacock during the United States Exploring Expedition (1838–42) under Charles Wilkes, who applied the name Cape Hudson. An analysis by B.P. Lambert and P.G. Law of the USEE chart, and of the photographs taken by USN Operation Highjump (1946–47) and ANARE (Australian National Antarctic Research Expeditions) (1959), suggests that the north cape of Mawson Peninsula is Wilkes' Cape Hudson.

title: Mawson Peninsula


text: User talk:81.170.24.6

title: User talk:81.170.24.6


text:
Talk:All Lights Fucked on the Hairy Amp Drooling

Verification?
Is there any proof that this actually exists? As beloved as Godspeed is (and considering how obsessive some of their fans can be), if there was a copy of this, it most likely would've been ripped and be circulating the internet. Or is it already? I suspect that it's some sort of band in-joke, but as it's listed as an official release by several authorities, there has to be a copy out there somewhere. Chris Berry 04:58, 6 July 2006 (UTC)

 * Yes, there is proof that this recording exists. See the Wayback Machine's results. However, I doubt any physical proof will ever be found. angular  ( discuss·contribs )  03:20, 18 December 2006 (UTC)
 * Their non-traditional record company could be lying. 24.91.16.229 06:14, 27 July 2007 (UTC)

 * There would be a master somewhere - no record company would just sit on an album they know people would buy. The tape doesn't exist, and neither do any of the songs. --NEMT 16:47, 26 August 2007 (UTC)

 * NEMT - This doesn't necessarily follow - If the band, specifically Efrim, doesn't want it released, I could believe that Constellation would respect that. La Monte Young has famously refused to release Theatre of Eternal Music recordings for nigh on 40 years! Of course, the theory that it's a joke is believable too.

.... Efrim never said he doesn't want it released. He said he doesn't care enough to go out of his way to release it. He even said he's looked on the internet to see if someone's posted it because it would be interesting. 68.84.235.198 (talk) —Preceding undated comment added 02:07, 2 November 2013 (UTC)

It was self-released so maybe they just had one master tape,dubbed 33 copies and then the master was worn out and at the time no one cared about,because they didnt thought this band/project would last so long.And as far as i know Constellation and the Godspeed collective is most likely the same people or at least close friends.They are not doing it to make money.So just because people want to hear and buy it,doesnt mean they made it up,just to make them look more interesting,if in fact the band just doesnt want it to be released. —Preceding unsigned comment added by 84.137.6.108 (talk) 00:52, 7 March 2008 (UTC)

Incidentally, this page lists Mike Moya as a member on this release, but the Constellation page doesn't. --Vans74 18:23, 3 October 2007 (UTC)

email
not suitable for wikipedia obviously, but CST have confirmed by emails posted on afterthepostrock.com that they have a copy of the cassette and that nobody's allowed to hear it. Obviously they could be lieing but they have made claims this specific. —Preceding unsigned comment added by 137.222.214.63 (talk) 14:33, 10 May 2008 (UTC)

Genre
How the hell do you know its post-rock if you've never heard it.apparantly the genre of the album was more like funk jazz,and that they hadn't experimented with post rock yet. —Preceding unsigned comment added by Nirvanarox55 (talk • contribs) 19:51, 12 March 2009 (UTC)

 * I can only assume it's because GSYBE is dominantly post-rock so it's a safe assumption that this would be as well? TheLongingSH (talk) 01:31, 9 May 2010 (UTC)
 * this article says it is not post-rock http://thefourohfive.com/news/article/interview-efrim-menuck-of-a-silver-mt-zion 220.20.201.191 (talk) 13:31, 10 January 2012 (UTC)

Recently surfaced.
There's some drama going on right now surrounding a tape that surfaced on reddit. Side A was ripped before the person with the tape backed out and deleted his post. That's the cause of the recent vandalism.

It might be noteworthy to post that a physical copy is known to exist out side of constellation. — Preceding unsigned comment added by 24.21.151.167 (talk) 21:22, 15 September 2013 (UTC)

The track here sounds like Efrim singing: http://www.tinymixtapes.com/news/godspeed-you-black-emperors-long-lost-debut-cassette-all-lights-fucked-on-the-hairy-amp-droolin

I'm just making the case for including a mention of the rumor or possible hoax. The argument that the supporting footnotes aren't "notable" enough doesn't hold water unless one were to also argue for the deletion of the entire article.

The article itself is supported almost entirely by references to sources that are as "non notable" as the ones I used to support mentioning the supposed surfacing of the tape on reddit.com, with exception of the label Website. However, I don't think one single reliable (albeit arguably NOT neutral third party) source isn't enough to justify the existence of the article. I do think that the other references indicate it should be included, I'm only making this point to support keeping my edit mentioning the Reddit.com incident/rumor. If it turns out to be a hoax (or not), the page can then be edited to reflect that! — Preceding unsigned comment added by Roomsmoody1924 (talk • contribs) 18:28, 21 October 2013 (UTC)

 * An IP user has taken issue with my inclusion of the (possible) hoax surfacing of this tape on reddit and removed my edit without discussion. I've reverted this and would like to raise the issue here. See my above comment - and might I add it's absurd to suggest that because I'd like to include this incident in the article that I am the perpetrator of the supposed hoax.

Roomsmoody1924 (talk) 01:48, 15 November 2013 (UTC)

The problem with including references to the hoax is not the notability of the sources, but the content of the information - unverified, sketchy, and reported on as such. Including the information muddies the (verified) information concerning an already enigmatic article. There have been numerous attempts at faking this record over the years, also reported as gossip on low-level blogs, and this one's no different. — Preceding unsigned comment added by 72.229.122.112 (talk) 23:36, 17 November 2013 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on All Lights Fucked on the Hairy Amp Drooling. 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.cstrecords.com/html/allfuckedb.html

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 16:24, 29 March 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on All Lights Fucked on the Hairy Amp Drooling. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20090801104058/http://www.splendidezine.com/features/godspeed/ to http://www.splendidezine.com/features/godspeed/

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 13:15, 15 December 2017 (UTC)

Alleged tracklist
This page for some time had a supposed track list for this phenomenon, which I removed. I wanted to start a thread for discussion with the person who's been re-posting that list. As I noted in the edit summary, we need something third-party to substantiate the tracklist per WP:V. A (virtually unreadable) single, primary source isn't sufficient to demonstrate that this is a genuine release; we have no documentation of the contents of this release from a reliable third-party source and no ability to compare it to the (alleged) original release itself. If it were an ordinary published work, like most bands' releases, none of this would be necessary, but this is a special case and requires reliable, exceptional sourcing. Chubbles (talk) 20:08, 23 November 2021 (UTC)

4chan leak
Information about the recent potential leak on 4chan's /mu/ board is trying to be deleted on the grounds of being irrelevant. Most of this article is about the tape's obscurity and people's interest in finding it. This is the first potential leak in almost a decade so yes it's absolutely relevant, even if it turns out (probably) fake like the Reddit debacle. If you want to ignore this development then might as well delete the paragraph about the Reddit hoax too, or just nuke the whole article. — Preceding unsigned comment added by 2600:8801:710F:6C00:B00C:F068:12AC:6D03 (talk) 00:02, 5 February 2022 (UTC)
 * Since reliable media (Exclaim!) is covering it, it may be added, but only insofar as the statements are supported by the reliable media. Speculations will be removed. Chubbles (talk) 00:45, 5 February 2022 (UTC)

Proposal to remove "claimed to be" from lede
A member of the group, its label, and several reliable sources have acknowledged its release. 66.30.12.132 (talk) 19:08, 8 February 2022 (UTC)
 * If reliable sources have then just provide a citation, and make the change. AquitaneHungerForce (talk) 19:34, 8 February 2022 (UTC)
 * I agree but unfortunately, some editors here have a very biased opinion and made baseless claims in the past. For instance, one editor stated the following to justify page deletion ("the "album" appears to have been a rumor invented or encouraged by the band for the sake of having an air of mystique"), which is pure non-sense. That said, I do not think that the recent leak of the tape on some obscure forum is a particularly good reason to change anything to this page. There are hundreds of thousands of old records and tapes for which there is no trace of digital files on the internet. Hence the presence of a digital version does not seem particularly relevant. 82.10.25.108 (talk) 19:39, 8 February 2022 (UTC)
 * Reliable sources have reported on an alleged leak. We don't have a reliable source reporting any empirical confirmation. When and if that happens, I'm happy to see the wording of the page change. Chubbles (talk) 04:23, 9 February 2022 (UTC)
 * Sigh, I'm not referring to the leak. I'm suggesting the first sentence change from "is claimed to be the earliest release" to "is the earliest release". 66.30.12.132 (talk) 11:55, 9 February 2022 (UTC)
 * Reliable sources have reported on the alleged leak of a possibly extant album. We don't have a reliable source reporting any empirical confirmation that the audio released is, in fact, the possibly extant album. Sorry for being insufficiently clear. Chubbles (talk) 12:41, 9 February 2022 (UTC)
 * And to also try to be perfectly clear, I'm not referring to *any* subsequently released audio; I'm referring only to the existence of the original 1994 cassette this article describes, noted in/by The Wire (1998), Constellation (2000), Efrim Menuck (2000 & 2010), The Rough Guide to Rock (2003), and The Encyclopedia of Popular Music (2011), all of which state or treat the album as fact. 66.30.12.132 (talk) 13:34, 9 February 2022 (UTC)
 * And all of the third-party sources did so in absence of any actual audio (Constellation's own website and statements from Menuck are primary). Kind of remarkable lapse in journalistic integrity, actually, though an understandable one. However, it's noteworthy that the reporting on the most recent event is extraordinarily careful not to make definitive statements that this is the "missing album". Chubbles (talk) 14:52, 9 February 2022 (UTC)
 * WP:PRIMARY: "A primary source may be used on Wikipedia only to make straightforward, descriptive statements of facts that can be verified by any educated person with access to the primary source but without further, specialized knowledge. For example, an article about a musician may cite discographies and track listings published by the record label..." 66.30.12.132 (talk) 15:09, 9 February 2022 (UTC)
 * An excellent guideline, that I explicitly supported, for the 99.99999% of cases where the existence of the published record is not in doubt. This is the edge case. Chubbles (talk) 16:56, 9 February 2022 (UTC)
 * As I said earlier, I do not understand why this would be more in doubt than thousands of records and tapes for which almost no trace can be found on the internet. Think for example of professional libraries for films and TV, which are officially released in extremely limited editions. While people are unreasonably intense about this particular tape, I really do not understand the doubt. 82.10.25.108 (talk) 21:01, 9 February 2022 (UTC)
 * Those limited-edition releases don't have articles; most of them aren't mentioned on any Wikipedia page at all. If they were, and no audio could be confirmed by any third-party source, the same level of circumspection should apply. Chubbles (talk) 12:22, 10 February 2022 (UTC)
 * Since at least a couple editors don't share your doubt and we're at an impasse, an RfC (below) may be a way forward. 66.30.12.132 (talk) 18:27, 10 February 2022 (UTC)

RfC regarding the album description "claimed to be"
Should the article's opening album description change from "is claimed to be the earliest release" [emphasis added] to "is the earliest release"? 18:28, 10 February 2022 (UTC)

 * Context: previous discussion. (NB: this RfC concerns only the original cassette release, not any subsequent purported releases.)
 * The existence of the original 1994 album this article describes has been noted by multiple reliable cited sources without expression of doubt, including the group's current label Constellation Records (2000) and member Efrim Menuck (2000 & 2010 interviews), as well as RSes such as The Wire (1998), The Rough Guide to Rock (2003), and The Encyclopedia of Popular Music (2011); Menuck also discusses it in Fearless: The Making Of Post-Rock (2017) and member Ian Ilavsky discusses it in Storm Static Sleep - A Pathway Through Post Rock (2015). WP:PRIMARY states: "A primary source may be used on Wikipedia only to make straightforward, descriptive statements of facts that can be verified by any educated person with access to the primary source but without further, specialized knowledge. For example, an article about a musician may cite discographies and track listings published by the record label" [emphasis added]. Although one editor has expressed doubt and previously reverted this change, I believe applying policy with these sources is sufficient to avoid expressing skepticism. Separate text challenging the credibility of the original album's release could be added, but only if there is significant reliably-sourced expression of doubt. 66.30.12.132 (talk) 18:29, 10 February 2022 (UTC)

 * As I noted above, that guideline exists because, in virtually all cases, what we are verifying is the existence of a published work whose mere existence is plain to establish - it is in record stores, libraries, sound archives, or on streaming and digital download platforms. All Lights Fucked, if it ever existed, was not available in any of those places, until, maybe, last week. The alleged album - the existence of the work itself - does not pass WP:V, and the reporting on the possible leak in the past week has hewn to that viewpoint. I think our article should continue to follow those sources unless and until it can be established that this anonymously leaked audio is, in fact, the alleged album. Chubbles (talk) 14:07, 11 February 2022 (UTC)
 * The band and their record label have already acknowledged the existence of the tape. Most bands do not comment on anonymously uploaded low-quality files of their music uploaded on the web, so I am not sure why they would be expected to provide any comments in this case. 82.10.25.108 (talk) 23:49, 11 February 2022 (UTC)

 * Support changing the lead. The comment above "Kind of remarkable lapse in journalistic integrity" is a weird bad-faith argument, because aside from their experimental leanings the band is fairly straight-ford and not known for pulling pranks and being unreliable with the press a la The Residents. If multiple reliable sources establish this as their first demo (even before the leak), we should be able to call a spade a spade. DigitalIceAge (talk) 21:28, 11 February 2022 (UTC)

"Official release"
A brief discussion arose today at the List of 2022 albums talk page about whether the original 1994 release should be considered "official" or not, given its limited scope and the apparent attempts to bury the album's existence prior to the recent leak/new release. A number of sources (e.g. The Line of Best Fit, Exclaim!, and Pitchfork) are calling this new release "official" which prompted me to add the album to the 2022 list, but the concern is that the original release should perhaps take precedent in this case, meaning the album gets listed in 1994 instead. Before making any edits in this regard, I'd like to see a consensus around this question: Do we consider the original 1994 release to be "official" despite the aforementioned factors, or do we follow the sources claiming the 2022 release is "official" and leave it as is? QuietHere (talk) 21:11, 15 February 2022 (UTC)

Why would the first release not be official? It was not a bootleg. I have tons of records and tapes than were issued in 50 copies. 33 was probably too many. I don’t know what drives Wikipedians so crazy about this poor article… Tothebarricades (talk) 05:41, 31 August 2022 (UTC)

Genre and hidden note
I added a hidden note to the genre section which was rolled back so I'd like to provide an explanation here as to why the hidden text is valuable and meets guidelines. The text is:

 * Do not add genres without sourcing.

I added this following the third time I removed various unsourced genres from the article. ,, ,. Genres were removed in accordance with WP:UNSOURCED (see also WP:GWAR).

I think this falls completely in line with the recommended usage of WP:HIDDEN, specifically:

 * Reminding others of Wikipedia policies where they have been frequently broken. For example, in many articles, hidden text is necessary to remind editors not to add inappropriate links. On the page Help:Getting started, hidden text is used to let others know not to write their first article on that page.

And with regards to being peremptive, the bullet point reads:

 * Telling others not to perform certain edits to a page, unless there is an existing guideline or policy against that edit.

There is a guideline here: WP:OR. The description does not preclude additions of genres, only those without sourcing.

AquitaneHungerForce (talk) 21:28, 18 February 2022 (UTC)
 * Essentially the same notice appears in the default version of Template:Infobox_album, as well as two others. I think the fact that those have been there forever and nobody's said anything about it is evidence enough that these notices are okay. The whole point of WP:HIDDEN text is to leave notes and reminders for editors, and that's what is being accomplished in this case. QuietHere (talk) 22:45, 18 February 2022 (UTC)
 * The main issue is with the hectoring tone. As the guideline notes, it should be worded in a way that doesn't make it sound like a decree from on high. Chubbles (talk) 13:35, 19 February 2022 (UTC)
 * The tone is exactly the same as the one in the template which reads Do not add unsourced genres. If you have an issue with it I suggest you take it up there rather than here. AquitaneHungerForce (talk) 18:53, 19 February 2022 (UTC)
 * Done Chubbles (talk) 23:06, 20 February 2022 (UTC)

Dubious track lengths
Although MOS:ALBUM says "Track lengths should be included for each track", the only official (Bandcamp) release doesn't specify them. The actual track delineation is ambiguous, so the currently listed track lengths are WP:OR and should be removed (with another hidden RS admonition!), leaving only the verifiable totals. 66.30.12.132 (talk) 14:32, 20 February 2022 (UTC)
 * I agree that track lengths without an WP:RS should be removed. I've seen a few edits changing them from one thing to another without any sourcing.  I think though it would be worthwhile to include the side lengths given in the bandcamp since those can be sourced from the bandcamp just fine. AquitaneHungerForce (talk) 20:55, 20 February 2022 (UTC)
 * Done; yes, that's what I meant by retaining the verifiable totals. Also, I think we can bump the article quality to B at this point? 66.30.12.132 (talk) 13:02, 21 February 2022 (UTC)
 * Trying one more time... This is the full extent of the detail I see when viewing the Bandcamp release page:

1. all lights fucked on the hairy amp drooling- SIDE A1 17:23 2. all lights fucked on the hairy amp drooling- SIDE A2.wav 17:45 3. all lights fucked on the hairy amp drooling- SIDE B1.wav 17:51 4. all lights fucked on the hairy amp drooling- SIDE B2 16:35

SIDE A drifting intro open / shot thru tubes / threethreethree / when all the furnaces exploded / beep / hush / son of a diplomat, daughter of a politician / glencairn 14 / $13.13 / loose the idiot dogs / diminishing shine / random luvly moncton blue(s) / dadmomdaddy

SIDE B 333 frames per second / revisionist alternatif wounds to the hairkut hit head / ditty for moya / buried ton / and the hairy guts shine / hoarding / deterior 23 / all angels gone / deterior 17 / deterior three / devil's in the church / no job / dress like shit / perfumed pink corpses from the lips of ms. celine dion
 * We don't know the individual track times; we do know the specific grouping of the tracks into two sides.
 * I've been trying to convey that the best way to provide this info is this version (which lists the tracks and divides them by the A and B sides) rather than this version (which lists the track names but guesses how they're divided among the four parts) or this version (which shows unimportant detail about the four parts' times but doesn't even list the track names). 66.30.12.132 (talk) 11:55, 22 February 2022 (UTC)
 * Ah I had missed that the bandcamp provided the track names. I think what is best even if it is a little bit awkward is to have two separate track lists.  1 for the cassette release with all the tracks and no unsourced timing information. And one for the bandcamp release with the verifiable time.  This is similarly done on other Godspeed albums such as G_d's Pee at State's End!, Luciferian Towers, 'Allelujah! Don't Bend! Ascend!, Yanqui U.X.O. and F♯ A♯ ∞.  Since it seems multiple track listings are a common theme for them. AquitaneHungerForce (talk) 12:06, 22 February 2022 (UTC)
 * I'm fine with that, although another editor has repeatedly removed the detailed track listing of the cassette release in the past, saying it lacks a reliable source... 66.30.12.132 (talk) 12:22, 22 February 2022 (UTC)
 * That was before the existence of the album was independently substantiated. I no longer have objections to using images of the cassette label as a primary source for basic factual verification. Chubbles (talk) 12:36, 22 February 2022 (UTC)
 * I saw the changes to the listing and I really had a hard time understanding what was going on. Both were listed as two tracks.  One with all the track names of each side squished together into a single track and the other as two sides.  This doesn't seem to reflect either cases, the cassette back lists 27 tracks, and the bandcamp lists 4.  I've updated it to reflect those listings. AquitaneHungerForce (talk) 21:15, 22 February 2022 (UTC)
 * I modeled the cassette listing after G_d's Pee at State's End! as you suggested. Your vertical cassette listing doesn't delineate the sides (which its insert clearly does) and wastes space since there is (and will likely never be) length information displayed, and your digital listing doesn't list the (actual) track (piece) names, forcing users to read the reference to know them. I think your version is significantly worse. 66.30.12.132 (talk) 11:11, 23 February 2022 (UTC)
 * The point of linking the article was to show that multiple listings for tracks are common-place. Especially between digital and physical releases for Godspeed You! Black Emperor.  That article copies the tracks as they are from the listing.  The slashes are not an invention of the editor, they are that way because that is how they are listed (bandcamp).  I think we should do our best to faithfully represent the sources rather than making up a track listing.  As far as delineating sides we can simply do that, it's in the source.  I wouldn't really consider that a relevant piece of information, but it can be done easily and I don't really care.  I think wasting space is a complete non-issue, the point of the section is to provide information about the tracks, and there are a lot of tracks. Squishing them into a unreadable blob does nothing to help anyone. AquitaneHungerForce (talk) 11:47, 23 February 2022 (UTC)
 * You're right, the delimiters should have been "•" rather than "/" per the insert! But this is where I finally bail out. 66.30.12.132 (talk) 12:10, 23 February 2022 (UTC)


text:
St Andrew's Church, Lisbon

St Andrew's Church is the only congregation of the Church of Scotland in Portugal. It seeks to provide English-speaking Reformed Christian worship and pastoral care to a multinational community.

About
An English-speaking congregation was established in Lisbon by the Free Church of Scotland in 1866; the present church building in Rua Arriaga in the historic Lapa district of Lisbon was constructed in 1899. The Church of Scotland services are conducted in English, but the building is also used by an Orthodox congregation.

The majority of the congregations of the Free Church of Scotland united with the United Presbyterian Church in 1900 creating the United Free Church of Scotland, which itself united with the Church of Scotland in 1929. The congregation was part of the Church of Scotland’s Presbytery of Spain & Portugal, which in 1974 became part of the Presbytery of Europe, which was renamed the International Presbytery in 2016.

Services are held at 11.00 am every Sunday. As of late March 2013 the congregation is without a permanent minister; the previous minister was the Rev Graham McGeoch, who was ordained and inducted to the congregation in December 2009 and moved to Edinburgh in early 2013.

title: St Andrew's Church, Lisbon


text:
Adrian Borland

Adrian Kelvin Borland (6 December 1957 – 26 April 1999) was an English singer, songwriter, guitarist and record producer, best known as the frontman of post-punk band the Sound.

Following a substantial musical career spanning numerous groups, as well as a solo career, he died by suicide after jumping in front of a train on 26 April 1999. Some have speculated that his death was caused by his symptoms of schizoaffective disorder.

Early career
Adrian Kelvin Borland was born in the Hampstead area of London, the son of Bob Borland, a physicist at the National Physical Laboratory, and Win, an English teacher.

At primary school the young Borland was already friends with future Sound bassist (and Second Layer collaborator) Graham "Green" Bailey, and would meet Stephen Budd, closely involved with his band the Sound in their early years, in his early teens. Budd would later recall, "We met when we were both 14. He was the only other kid I knew with an electric guitar. Even at 14 you could see he was a genius". Borland played guitar left-handed.

Borland's first band, the Wimbledon-based punk rock trio the Outsiders, was formed with Borland as its nucleus, on vocals and guitar. Bob Lawrence was on bass, and Adrian 'Jan' Janes on drums. Their debut LP, Calling on Youth, was self-released on their Raw Edge label and became the first UK self-released punk album. It won them their first unfavourable reviews: "apple-cheeked Ade has a complexion that would turn a Devon milkmaid green with envy", reported the NME.

A single released that November, One to Infinity, was labelled as "tuneless, gormless, gutless" (again by the NME), but was praised elsewhere. It was followed by a second album, Close Up, in 1978. This received better reviews from the press. During his time with the Outsiders he played on stage with Iggy Pop.

It was after this album that important changes took place that would decide the band's future: Lawrence left to be replaced by Borland's old friend Graham 'Green' Bailey, and Adrian Janes' departure to go to college allowed Geoffrey Cummant-Wood (the band's manager) to suggest 28-year-old Mike Dudley in his stead. The Outsiders trio then became the Sound, a quartet, with the arrival of Bi Marshall (real name Benita Biltoo), an acquaintance of Bailey's and the band from around 1977. The new sound was augmented by her use of the clarinet (later saxophone) and synthesizer.

The Sound: 1979–1988
Borland became the kernel of the Sound, being the songwriter, main vocalist and guitarist, penning tracks for the early Propaganda sessions and the Jeopardy recordings (their debut album release, originally recorded by Budd for his Tortch label which had put out the band's first release, the Physical World EP. The album was subsequently released on Warner's Korova label and Budd became the Sound's early manager). From this point on Borland became critically acclaimed,  if never a household name.

The Sound's second album, From the Lions Mouth, was even more enthusiastically received,   selling over 100,000 units worldwide. Borland's personal productivity was enhanced even more with two collaborations that year, one with Jello Biafra in the Witch Trials, and another with Sound bassist Graham Bailey in Second Layer, which spawned the electronic album World of Rubber. The Sound were caught on a downcurve, however, the following year with the release of All Fall Down (1982), an experimental and bitter album that represented the band's refusal to make more commercial music to satisfy their label (Korova, a Warner Bros. subsidiary). Korova responded by dropping them, while the music press rapidly disowned them; a Sounds review called the album "virtually worthless".

The Sound never recovered from this setback, although they did release a mini album, Shock of Daylight, a live album In the Hothouse and two further albums Heads and Hearts and Thunder Up over the next five years. These were all released on small independent labels, and never reversed the band's diminishing profile.

Although it is unclear as to when Borland was diagnosed with his condition, from 1985 onward the symptoms of his depression became more and more apparent. His problems would manifest themselves in many of the songs on the Sound's final album, Thunder Up, as well as in the schizophrenic layout of the piece; while the initial tracks deal with confronting issues (for example "Acceleration Group", "Barria Alta"), the second half proceeds at an entirely different tangent, becoming either tortuous ("Shot Up And Shut Down"), frenetic ("I Give You Pain") or mournful ("You've Got A Way"). The touring for Thunder Up culminated in disaster for the band when Borland left halfway through a set at Zoetermeer, Netherlands. It would be the last Sound gig. Dudley described the break-up in 2004:

"We had decided the three of us, Colvin, Graham and myself, to tell Adrian that the Sound needed a break and that he should get some rest and some help, and that in the meantime we would go off and look at other things...but when it came down to it I sat there and listened to the others say 'Yes, Adrian. No, Adrian' to Adrian, who wanted despite everything to go on, and I just said at that point 'I'm leaving the band', my intention being that the band would come to an end there and then, forcing Adrian into the position where he would get some rest, for his sake."

The band continued without Dudley into 1988, but soon collapsed. The Big Takeover lamented that it was "Like an old friend losing a long fight with a disease". Borland would later blame himself for the break-up of the Sound.

Early solo career
While his former bandmates discontinued their musical careers, Borland moved to the Netherlands in 1988 to found yet another band, after initially going there on holiday and to meet his manager (Rob Acda). Adrian Borland and the Citizens was formed there, taking advantage of the popularity of the Sound on the continent, and the relative inexpense of venues in the Low Countries. Musically, this was a period of unprecedented collaboration for Borland; for instance, he worked (albeit under the pseudonym "Joachim Pimento") with the Honolulu Mountain Daffodils right up until their final release Psychic Hit List Victim in 1991.

In 1989, Adrian Borland and the Citizens released Alexandria, a huge departure musically from Thunder Up and featuring four backing vocalists, bass, cello, clarinet, drums and kettle drums, piano, saxophone, harmonica, tambourine, viola, violin and guitar. Some continuity was provided by former Sound bandmate Colvin 'Max' Mayers collaborating by reprising his role of keyboardist, while Nick Robbins again engineered and co-produced the album with Borland. The album featured much calmer, lighter tracks than those on Thunder Up, such as "Light the Sky" and "Rogue Beauty". As always, some tracks deal with Borland's own precarious emotional state, such as "No Ethereal" and "Deep Deep Blue". In an interview with Melody Maker the same year, Borland said of the title:

"'I think The Sound suffered from this image of being blunt and straightforward and hitting you in the face with what we wanted to say, right from 'who the hell makes those missiles?' So I wanted something more vague, something almost without reason.'"

The album, however, suffered from poor sales, selling an estimated 10,000 copies on the continent and a mere 1,000 in England. Borland attributed this to poor distribution. Although Borland expressed an interest in re-forming his old band, the Sound never re-formed: bassist Graham Bailey moved to the United States in the early 1990s; keyboardist Max died on Boxing Day 1993 from an AIDs-related illness; and an undisclosed antagonism had caused an irreparable rift between Borland and drummer Mike Dudley. Speaking of a possible reformation in 1992, Borland said:

"'it's my fault 'cos I started this rumour at an Iggy or Kraftwerk gig earlier this year, it's definitely not happening, for a start the person who probably won't do it is the drummer. But even Graham & Max have gone off the idea now. Graham & I are going to do something in the future, but we're so busy you know? When I'm not busy he's busy, we never find the right moment.'"

1992 saw the release of Brittle Heaven, which would later lend its name to the Adrian Borland website. With a menagerie of 14 songs with little difference in style to those of his previous release, the real difference now lay in the composition of the Citizens, which was by now almost exclusively Dutch. Don Victor now co-produced with Borland. The album benefits from lavish investment in production, although this puts it in a similar position to the Sound's Heads and Hearts album in that it is much more polished than Borland's other solo material. Critical reception ranged from the noncommittal to welcoming; AllMusic described it as 'one hour of finely woven tapestry, of gorgeous music', albeit 'Not quite as good as 1989's Alexandria', handing it three stars out of five, while David Cavanagh gave it four, praising the atmosphere of 'a strange, dizzy optimism' pervading the album. As one critic argued: '[Borland's] reflective writing remains as good as ever', and the Big Takeover went further, proclaiming it 'inspired'.

With some critical endorsement Borland continued to work on new material throughout the year. At some point in 1992 he travelled to Amsterdam to record a session with Victor Heeremans, re-recorded and released many years later as the posthumous The Amsterdam Tapes album. Recorded in a crossover point in his career, it represents a shift in both musical and mental directions: while tracks like "Ordinary Angel" show some continuity with the tone of Brittle Heaven, the forcefulness of tracks such as "Fast Blue World", "Darkest Heart" and "Via Satellite" clearly preclude Borland's later, harder style as seen on 5:00AM and Harmony and Destruction. On the other hand, the acoustic-based fragility of tracks such as "Happen" and "White Room" represents a more immediate turn to lighter, less ambitious music -the latter would be re-recorded to feature on the 1994 album Beautiful Ammunition.

This period also saw Adrian's 1993 collaboration with French-Swiss musician Mark Hunziker at the latter's home studio in London, initially on the basis that Adrian would simply help Hunziker out with some solo recordings. The project became such that the duo largely ended up working on songs and lyrics brought by Adrian. These rock-sounding sessions, which included masterpieces like "Love=Fire" and "Under Your Black Sun" were widely bootlegged and shared among fans until compiled from a variety of sources by Jean-Paul Van Mierlo and properly mastered (by Reinier Rietveld at 2x2 Studios in Rotterdam) for release by Sounds Haarlem Likes Vinyl's "Stichting Opposite Direction" label in 2019 under the title "Lovefield", with a second batch released under the title "Neon and Stone" in 2021. The duo also recruited Mark Wilkin (drums) and Neil Rickarby (bass) for three or four live performances in the London area and came to a sad end after a suicide attempt by Adrian during one of his slumps.

Around this time had also Borland begun working on music production; he produced albums by Felt, Into Paradise and Waiting Sound.

Mid-1990s
In 1994, Borland returned to the UK to record his third album, Beautiful Ammunition, at the Acton Survival Studios on Resolve Records. Whether because of meager investment or because of his desire to explore a more acoustic sound, the new album displayed a simpler format, largely devoid of any discernible concept: "Beautiful Ammunition" is very simply put together, only acoustic guitar, synthesiser and a few drum machines. Everything is very basic, which I like", Borland said later. One notable change from Brittle Heaven is presence of dark, introspective songs, particularly "Lonely Late Nighter" and "White Room", emphasised somewhat by the empty, lonely musical framework. This is not to say, however, that more confident tracks are banished from the album: "Reunited States of Love" and "Someone Will Love You Today" are perfect examples of this, and yet still exemplify in their tentativeness a decisive split from Brittle Heaven-era songs. Critical reception was as muted as always, and mixed where evident; Big Takeover complained that it was 'too light and airy', but vaguely appraised the work as 'finely honed and pleasant'.

The following year, 1995, was to be an important year for Borland; not only was the album Cinematic written and released, but his work with Carlo van Putten, Claudia Uman, Florian Bratmann and David Maria Gramse in The White Rose Transmission came to fruition, with the side-project's self-titled debut appearing that year. They would continue to perform intermittently throughout the 1990s, Borland being a major contributor.

Cinematic was a stablemate of Beautiful Ammunition in that it was also created in the Survival Studios and under the Resolve label, yet demonstrated a further evolution in Borland's musical career. Despite being in a similar situation as regards funding, Cinematic benefited from much better, integrated production as well as punchy tracks such as "Bright White Light". With the psychological opener "Dreamfuel" a dream-like atmosphere pervaded the album, establishing itself in indolent, moody tracks like "Cinematic" and "When Can I Be Me?". It was, overall, a more coherent attempt than its predecessor, but – predictably – did not win over the public. Critical reception, however, was even more welcoming. With an AllMusic.com ranking of 4 stars the album was lauded:

"'Generally quieter but no less intense than much of his '80s work, Cinematic lives up to its name more than once, with mysterious atmospheres matched by often understated but still sharply realized songs and lyrics.'"

Simon Heavisides stated: 'Isn't it great when your old favourites don't let you down?...[it] leaves you with the feeling at the end that you want to hear the whole damn thing over again." Mitch Myers wrote in 1997: 'Everybody is a star, but Borland's cinematic life is well worth watching.' Glenn McDonald, however, offered up a less enthusiastic summation: 'The music had an impressive sweep to it, but the production seemed to me to emphasise the mechanical repetitiveness of the arrangements'. The album also lent its name to Cinematic Overview the following year, a compilation album of Borland's work stretching all the way back to the mid seventies.

Also in 1996, the newly formed Renascent Records label reissued Sound records Heads and Hearts (with Shock of Daylight) and In The Hothouse, complete with new packaging, and liner notes by Borland himself.

Later years
Borland's last release during his lifetime was the album 5:00AM. A switch to Earth Records and a slight change of crew – Tim Smith of Cardiacs now co-produced with Borland – were the only ostensible differences between the new work and Cinematic. However, the money invested in the album allowed for much better production, a direct result of which was the recording and inclusion of "Baby Moon", a song which Borland had held onto since 1993 but did not want to waste 'on a lo-fi production'. The songs are generally punchier and more radio-friendly, such as opener "Stray Bullets", "City Speed" and "Redemption's Knees", but containing powerful, dark, indolent tracks which, at this point, Borland had made his solo trademark: "Vampiric" is arguably the best example of this in all of his discography. The album is also representative of earlier work in that it does not fail to neglect his mental state, dealing with it in an optimistic, confrontational fashion in "Over The Under": 'Under this roof, under the sky/I want to live, at least I'm going to try/But I'm over the under now'. That song would prove to be Borland's last single release. The critical reception was, perhaps, the best of any in his lifetime. Glenn McDonald produced the following glowing review: "'5:00am turns out to sound exactly the way I wanted Cinematic to. Borland's voice, when he sings like he means it, is a glorious amalgam of Burgess, Ian McNabb, Ian McCulloch, Mike Peters, Jim Kerr and Then Jerico's Mark Shaw, the breathy intimacy that for me misfired on Cinematic here filling, elegantly, the roll that hoarse fervor played in his singing with the Sound.'"

Borland himself was excited by 5:00AM, and was keen to draw lines between it and his most successful period: '"5:00 A.M" takes up, where "Thunder Up" – which was the last Sound album – left off...It's still the same person, who writes the songs, only a little bit less in love with himself and more worldview orientated.".

Before attending to what would become his last solo recordings, Borland wrote twelve of the fourteen tracks on The White Rose Transmission's second release, 700 Miles of Desert, recording them with the band between November 1998 and January 1999 and producing the album himself. Borland was proud of the work, and said so in his last public writing, dated 18 March 1999:

"'Everybody involved worked hard but enjoyed themselves immensely and the end result is better than any of us expected. It's hard to be objective but I'll just say the final mastered slice of silver has rarely left my CD player.'"

Death
By 1999, Borland had lived with severe depression for about 14 years. He had still been denied commercial success or widespread popularity outside of continental Europe, and he had tried to kill himself at least three times, the third (according to his mother Win Borland) when he jumped in front of a car. He had also developed a drinking problem.

His plans for that year were staggering. Not content with merely anticipating the release of 700 Miles of Desert he expressed the intention to record a sixth solo album with Heads and Hearts producer Wally Brill, a tour of Europe that June to promote the WRT album, a further tour later in the year to promote the new solo release, and 'a 12-song acoustic record with Wally Brill using percussion, trumpet, violin, viola and atmospheric electric guitar' for 2000. Meanwhile, the remastering of several the Sound recordings, created at the very start of their career in 1979, was underway by Wally Brill. The finished product, Propaganda, was released by Renascent and featured linernotes by Borland, like all previous releases. It would be officially released on 26 April – the very day Borland would die by suicide. Of the plans drawn up by Borland over the winter, only his solo album was undertaken. It was recorded at The Premises, London over a number of months, although Borland himself recorded guide vocals and guitar in the space of about a fortnight. After this point his disposition changed. In a letter he wrote to his parents shortly before his death he expressed fear at being sectioned in Springfield mental hospital. 'He was returning home distraught and anxious...he had ignored the medical advice to pace himself', his mother, Win Borland, wrote. At evidence given at Westminster Coroner's Court it was revealed that he had visited an ex-girlfriend in the days before his death and that his condition had worsened thereafter. The Wimbledon Guardian reported:

"'She said: 'His thoughts were coming out loud and at one point he said there's always the railway line'. She called 999 but by the time police arrived he had disappeared and was reported as a high-risk missing person.

That night Mr Borland turned up at Kennington Police Station claiming he was being chased. Later he rang his mother to say he was in a curry house in Kennington. She alerted police and following a series of phone calls and hold-ups he was eventually dropped off at his mother's home at around 3.15 am by officers who described his state of mind as 'lucid'.'"

The night of the 25th, Borland slipped away to Wimbledon Station. In the early hours of the 26th, horrified commuters watched as Borland died by throwing himself under a train. He was 41 years of age, and was interred at the Merton & Sutton Joint Cemetery, London. In an account given by drummer Mike Dudley his funeral was attended by his parents, Bob Lawrence and Adrian Janes of The Outsiders, original Sound keyboardist Bi Marshall, early Sound manager Stephen Budd and Wally Brill, co-producer of Heads and Hearts and Harmony and Destruction, among a multitude of others.

Legacy
Although 700 Miles of Desert was released to minimal critical acclaim, Borland's work has enjoyed an appreciative critical reception and a lasting fan base, with sites such as brittleheaven.com and renascent.co.uk providing an online outlet for information and sales. In 2000, a book of anecdotes and memories written by his friends, colleagues and mother was published in English and Dutch, named Book of Happy Memories (after the Brittle Heaven song "Box of Happy Memories"), compiled by Willemien Spook and Jean-Paul van Mierlo. 2001 saw in a tribute album, titled In Passing – A Tribute to Adrian Borland and the Sound, as well as Renascent reissues of Sound albums Jeopardy!, From The Lion's Mouth and All Fall Down. 2002 saw the release of Harmony & Destruction, the remnants of his sixth solo album painstakingly salvaged by Pat Rowles (No Corridor) and audio engineer Pete Barraclough (The Lucy Show, Archive) from the recordings made by Wally Brill at the Premises and four-track demos recorded by Rowels. The BBC recordings of Sound sessions from the 1980s were released with linernotes by Mike Dudley in 2004. 2006 saw The Amsterdam Tapes, a demo album from 1992 that was rejected by his label also remastered and rerecorded by his friends; a band of them grouped together later that year under the moniker 'The Sound of Adrian Borland' to promote it. That same year five live albums, collectively known as The Dutch Radio Recordings, were released by Renascent. These garnered overwhelmingly positive reviews. His collaborative project with Graham Bailey as Second Layer was also resurrected in 2009 by Cherry Red Records; who re-released a remastered version of the 1981 album World of Rubber in the same year.

Mark Burgess' song "Adrian Be" is dedicated to him.

A book of Borland's lyrics, called Adrian Borland & The Sound - Meaning of a Distant Victory, was published in 2016 by Giuseppe Basile and Marcello Nitti.

A film about Adrian Borland, Walking in the Opposite Direction, had its world premiere at the IDFA 2016. It was produced by 'fan' Jean-Paul van Mierlo and filmmaker Marc Waltman. The film was screened worldwide in film festivals and released on DVD in 2021. The film is also available for rent or purchase on Vimeo IDFA festival in The Netherlands.

A biography of Adrian Borland, titled Book of (Happy) Memories (compiled by Willemien Spook and Jean-Paul van Mierlo) was published in 2001. In the same year, a tribute album titled In Passing – A Tribute to Adrian Borland and the Sound was released.

A biography on Borland, Destiny Stopped Screaming: The Life and Times of Adrian Borland ', written by Simon Heavisides, was released on April 26, 2024. The release of the biography tied in with a special event at Poppodium Boerderij together with the Opposite Direction Foundation with a book presentation, film, concert and exhibition.

Influences
Borland's initial influences can be traced through his work with The Outsiders into punk bands of the 70s, such as the Sex Pistols. However, it is clear that he had a broader appreciation for other forms of rock parallel to this; his admiration for The Stooges and Iggy Pop was reaffirmed on several occasions Other influences included The Velvet Underground, Lou Reed, Jim Morrison and Joy Division and David Bowie. In terms of admiration for contemporaries, mid-show interview in 1984, he cited New Order, Soft Cell and Eurythmics. His favourite bands from the eighties were The Waterboys and Talk Talk. He also lauded Ride in the early 1990s.

Popular themes
Borland's earliest lyrics with the Sound showed a tendency toward introspection, even before their music was really influenced by Joy Division. The song "Words Fail Me", was the earliest clear example of this. Many songs simply portray general themes of urban squalor, and political lyrics such as "Cost of Living", "Music Business" and the track "Missiles", which would reach infamy when included on their debut release, Jeopardy!. The songs on Jeopardy! would largely reflect inward tensions rather than political ones: a curious compromise is reached on "Unwritten Law", an attack on religious dogma surrounding suicide: 'A hand is a hand/A knife is a knife/Blood is blood/And life is life'. From The Lion's Mouth would also contain another reference to religion with "Judgement". Political songs would be largely absent from most further releases; only "Golden Soldiers" ("And I will drink to those who sacrifice and die for me/So I could be so golden") and "Shot Up And Shot Down" ("Most of England is sleeping in the sun/But not everyone") suggest political topics. In his solo work there are more stark examples, such as "Beneath The Big Wheel" and "The Other Side of The World" on Alexandria and the quasi-religious song "Station of The Cross" on Beautiful Ammunition. As Borland's condition got worse in the latter half on the 1990s, political themes were dropped as introspective ones once more took precedence.

While Borland denied that music helped him (he claimed it "doesn't make any difference" in an interview in 1992 ), after his death his mother wrote that they were at least a cathartic form of therapy and "helped him to come to terms with his problems". Thus it is that we can frequently infer from the body of work he left what his state of mind may have been at various stages of his life. The Jeopardy! opener "I Can't Escape Myself" would project Borland's dissatisfaction with himself, and serves as an early example of his more depressive lyrics. "Fatal Flaw", from the generally more confident album From The Lion's Mouth explores mental weakness, a theme repeated more frequently on All Fall Down in the schizophrenic "Party of The Mind" and "As Feeling Dies"; on Heads and Hearts the crazed "Whirlpool" and "Burning Part of Me"; on Thunder Up the whole second half of the album. In his solo career songs such as "Deep Deep Blue", "Lonely Late Nighter" and "Stranger in the Soul" parallel Borland's suffering with his condition – by "Harmony & Destruction" it is merely easier to pick out upbeat songs from the multitude of depressed ones.

"Night Versus Day", a song that had also been part of the Propaganda sessions, is an example of Borland's fascination with dichotomy and the themes of light and dark, which were usually used as a metaphor for the polarising effects of his condition. "New Dark Age" and "Winter" both link the night with fear or slowness. The most obvious Sound song with this idea is "You've Got A Way", the closing track on Thunder Up: "You've got a way/To shoot my night right through with the light of day". It is noteworthy that Borland's first solo single was "Light The Sky", the lyrics of which ae echoed in "Shadow of Your Grace": "You lit up my life and work/It was falling into place". The dichotomy is reversed on the 5:00am track "Vampiric": "Before the dawn draws its first breath/Before the Sun destroys what's left/Of us". The album title should also be noted for being the time that dawn usually rises around the equinox. The theme of night and day is brought in as a central concept on the album Harmony & Destruction: the bright opener is "Solar", for instance, while "Startime" and "Heart Goes Down Like The Sun" are dark-named songs about depression. It may be significant that in "Last Train Out of Shatterville", which may be an act of suicide ideation, describes a train pulling out "in the cold morning light", and describes a previous suicide attempt as happening "last dawn as you slipped from curb to bonnet". The final track "Living on the Edge of God" contains the lyric "Strip me down, expose the man/Not a pretty sight in the morning light".

Solo albums

 * Alexandria (1989), PIAS
 * Brittle Heaven (1992), PIAS
 * Beautiful Ammunition (1994), Resolve
 * Cinematic (1995), Resolve
 * 5:00 AM (1997), Earth
 * The Last Days of the Rain Machine (2000), Red Sun (posthumous)
 * Harmony & Destruction (2002), Red Sun (posthumous)
 * The Amsterdam Tapes (2006), Pop One (posthumous)
 * Beautiful Ammunition (with 3 earlier unreleased songs and inclusive the song "Beautiful Ammunition") (2017), Stichting Opposite Direction/Sounds Haarlem likes Vinyl'
 * Lovefield (with 10 earlier unreleased songs (2019), Stichting Opposite Direction/Sounds Haarlem likes Vinyl'
 * Cinematic (with 4 earlier unreleased songs (2020), Stichting Opposite Direction/Sounds Haarlem likes Vinyl'
 * Lovefield - Neon And Stone (with 4 earlier unreleased songs (2021), Stichting Opposite Direction/Sounds Haarlem likes Vinyl'
 * 2 Meter sessions (2022) Stichting Opposite Direction/Sounds Haarlem likes Vinyl'
 * 5:00AM (with 2 earlier unreleased songs (2022), Stichting Opposite Direction/Sounds Haarlem likes Vinyl'
 * The Scales Of Love And Hate (2022), Stichting Opposite Direction/Sounds Haarlem likes Vinyl'
 * The Amsterdam Tapes (with 4 unreleased demo tracks from 1992) (2023), Sounds Haarlem Likes Vinyl'
 * Alexandria (2024), Stichting Opposite Direction/Sounds Haarlem likes Vinyl'

Compilation albums

 * Vital Years (1993), Gift of Life
 * Cinematic Overview (promotional-only) (1995), Setanta
 * BBC Recordings (2004), Renascent
 * The Dutch Radio Recordings, vol 1–5 (2006), Renascent

Singles and EPs

 * Light the Sky (1989), PIAS
 * Beneath the Big Wheel (1989), PIAS
 * All the Words (1992), PIAS
 * Over the Under (1997), Earth

 * The Outsiders

 * Calling on Youth (1977), Raw Edge
 * One to Infinity 7-inch EP (1977), Raw Edge
 * Close Up (1978), Raw Edge

 * with the Sound

 * Physical World E.P. 7-inch EP (1979), Tortch
 * Jeopardy! (1980), Korova (reissued 2001, Renascent)
 * "Heyday" Single (1980), Korova
 * Live Instinct Maxi (1981), WEA Records BV
 * From the Lions Mouth (1981), Korova (reissued 2001, Renascent)
 * "Sense of Purpose" Single (1981), Korova
 * "Hot House" Single (1982), Korova
 * All Fall Down (1982), WEA Records (reissued 2001, Renascent)
 * "Party of the Mind" Single (1982), WEA Records BV
 * "Mining dor Heart" Flexi (1983), Vinyl Magazine
 * "Counting the Days" Single (1984), Statik
 * "Golden Soldiers" Single (1984), Victoria
 * Shock of Daylight EP (1984), Statik
 * Heads and Hearts (1985), Statik (reissued 1996 with Shock of Daylight, Renascent)
 * "Temperature Drop" Single (1985), Statik
 * "Under You" Single (1985), Statik
 * In the Hothouse (1985), Statik (reissued 1996, Renascent)
 * Counting the Days (1986), Statik
 * Thunder Up (1987), PIAS
 * "Hand of Love" Single (1987), PIAS
 * "Iron Years" Single (1987), PIAS
 * Propaganda (1999), Renascent (recorded 1979)
 * The BBC Recordings (2004)
 *  Physical World EP reissue (2020), Reminder
 * Will And Testament/Starlight (2021), Stichting Opposite Direction/Sounds Haarlem likes Vinyl'

 * with the Witch Trials

 * The Witch Trials (1981)

 * with Second Layer

 * Flesh as Property EP (1979), Tortch
 * State of Emergency EP (1980), Tortch
 * World of Rubber (1981), Cherry Red (reissued 2009, Pop One)
 * Second Layer (1987), LD Records

 * with Honolulu Mountain Daffodils

 * Guitars of the Oceanic Undergrowth (1987)
 * Tequila Dementia (1988)
 * Aloha Sayonara (1991)
 * Psychic Hit-List Victims (1991) (EP)
 * "Also sprächt Scott Thurston" (1988) (single)

 * with White Rose Transmission

 * White Rose Transmission (1995), Strange Music
 * 700 Miles of Desert (1999), Fuego

title: Adrian Borland


text:
Independent Fianna Fáil

Independent Fianna Fáil was a splinter republican party in the Republic of Ireland created by Neil Blaney after his expulsion from Fianna Fáil following the Irish Arms Crisis (1969–1970). The party ceased to exist on 26 July 2006. It was never an officially registered political party: Niall Blaney said in 2003 "I am an Independent and a member of an organisation known locally as Independent Fianna Fáil". Its candidates were listed on ballot papers without a party label, or the use of the "Non-party" label available to independents. However, the Oireachtas members' database lists Independent Fianna Fáil members separately.

Overview
The party existed mainly in County Donegal in the Republic of Ireland and, in particular, in Blaney's former constituency of Donegal North-East.

Paddy Keaveney (father of Fianna Fáil Senator Cecilia Keaveney) was elected for Independent Fianna Fáil in the by-election in 1976 following the death of Liam Cunningham. Keaveney lost his seat at the 1977 general election. The group also briefly had a senator, James Larkin, which was part of the confidence and supply agreement made with Fianna Fáil after the February 1982 general election.

In 1979 Neil Blaney was elected to the European Parliament for the Connacht–Ulster constituency. He sat in the Technical Group of Independents which was a technical alliance of mainly left-wing MEPs who were not allied with either the Communists and Allies group or the mainstream social-democratic parties of the Socialist Group. Blaney served as chair of the group along with the Italian Radical Marco Pannella and Danish left-wing Eurosceptic Jens-Peter Bonde. Blaney narrowly lost his seat in the 1984 election but was returned to serve as an MEP in 1989 election where he sat with the regionalist Rainbow Group.

Independent Fianna Fáil was a founder member of the European Free Alliance in 1981, and remained a member of the organisation until 1995.

Tadhg Culbert was a councillor for Independent Fianna Fáil in the 1980s, before becoming an independent and eventually joining the official Fianna Fáil. IFF had also had representation on Roscommon County Council – where Paddy Lenihan, brother of Mary O'Rourke and uncle of Brian Lenihan Jnr, defected from Fianna Fáil – and on Leitrim County Council where Larry McGowan also defected, both doing so in 1981. They both retired in 1999, and neither seat was defended on the party's behalf.

Harry Blaney became the leader of IFF following Neil Blaney's death in 1995.

Blaney's nephew Niall Blaney was elected as an Independent Fianna Fáil Teachta Dála (TD) for the constituency in 2002, and in the 2004 local elections there were two IFF county councillors – both members of Donegal County Council – and two town councillors, one a member of Letterkenny Town Council and one a member of Buncrana Town Council.

In a number of elections Paddy Kelly stood unsuccessfully under the Independent Fianna Fáil banner in elections in Donegal South-West; he was however elected to the council for the Glenties ward and served as a member until 2004.

Blaney legacy

 * Neal Blaney was elected to the 5th Dáil on 12 August 1927 as Fianna Fáil Teachta Dála and successfully contested all general elections until the 13th Dáil in 1948. He was defeated in the 1938 general election but was elected to the 3rd Seanad on the Agricultural Panel.
 * His son, Neil Blaney successfully contested one by-election to succeed his father and 14 subsequent general elections. He was a TD from 1948 to 1995. He was a Cabinet Minister on several occasions.
 * Harry Blaney succeeded his brother Neil and was a TD in the 28th Dáil.
 * Harry's son Niall Blaney was a TD in the 29th Dáil and the 30th Dáil.
 * Two of Neil Blaney's sons, MacDara and Eamonn, stood in the 2011 general election for New Vision.

Absorption by Fianna Fáil
Following talks with Fianna Fáil in the middle of 2006, Independent Fianna Fáil reunited with "official" Fianna Fáil on 26 July following a formal application by Niall Blaney to join Fianna Fáil. The merger between the two organisations was opposed by other members of the Blaney family, including all seven children of Neil Blaney and his widow Eva who issued a damning press release prior to Niall Blaney's decision castigating the Fianna Fáil party and disassociating themselves from any so-called 'truce' with them.

Other uses
Jackie Healy-Rae, TD for Kerry South, ran under the banner of Independent Fianna Fáil, using the name on his posters and flyers as part of the canvass for the 2007 general election, although he had no connection to Neil Blaney's Independent Fianna Fáil.

Former Fianna Fáil Dublin City Councillor Tony Taaffe ran in the 1997 general election using the Independent Fianna Fáil banner but was not associated with Blaney's party.

In October 2021 former Fianna Fáil TD Marc MacSharry suggested he was considering reviving Independent Fianna Fáil.

title: Independent Fianna Fáil