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Other misquotations include "Just the facts, ma'am" (attributed to Jack Webb's character of Joe Friday on Dragnet), "Heavy lies the crown" from Shakespeare's Play Henry IV, Part 2, "Elementary, my dear Watson" (attributed to Sherlock Holmes; it was, however, said in the films The Adventures of Sherlock Holmes and The Return of Sherlock Holmes), "Luke, I am your father" (attributed to Darth Vader in Star Wars), "Play it again, Sam" (attributed to Ilsa in Casablanca), "Do you feel lucky, punk?" (attributed to Harry Callahan in Dirty Harry) and "We don't need no stinkin' badges!" (attributed to Gold Hat in The Treasure of the Sierra Madre).
Quotative inversion Quotative inversion occurs in sentences where the direct quotation can occur before a verb of saying or after a verb of saying. It can trigger inversion of the verb and the verb's subject. Subject-verb inversion occurs most often in written works, being rare in speech. Quotations may appear before the inverted verb, but can also appear after the subject, such as: "I am going to follow you all the rest of my life," declared the man and Said the woman: "I see you with both my eyes." Syntax In syntactic terms, these direct quotations can be presented in two forms.
The first is as the complement of a quotative verb (e.g. Marie said: "My brother has arrived"), and the second being as a head clause with a quotative adjunct (e.g. "My brother has arrived", Marie announces). The verb phrase can be further expanded to include a complement, such as: "They'll never make it!" cried John to Mary. Subjects must precede the complement, otherwise the structure formed will be ungrammatical (e.g. *"They'll never make it!" cried to Mary John). Quotative inversion is only allowed when the verb is in the simple present or the simple past. The most common pairing is the verb said with a nominal subject, such as: "That's the whole trouble," said Gwen.
Additionally, noun phrases are not permitted in addition to the subject when inversion takes place. They are allowed only when there is no subject-verb inversion, or when part of a preposition phrase. a. "Why?" Gabrielle asked the attendant. - No subject-verb inversion b. "Why?" asked Gabrielle of the attendant. - NP part of a preposition phrase c. *"Why?" asked Gabrielle the attendant. - Subject-verb inversion unlikely with an NP in addition to the subject In English, both verb-subject and subject-verb word orders are permitted: a. "Don't turn back!" warned Marcel. - Verb-subject order b. "Who's on first?" Joe demanded. - Subject-verb order This however, is not the case in all languages.
For example, in Peninsular Spanish, this inversion is not allowed. Quotatives must follow verb-subject order: a. «No, no es un enanito», rectifica el viejo. - Verb-subject order "No, he is not a gnome", corrects the old man. b. *«No, no es un enanito», el viejo rectifica. - Subject-verb order unlikely for introducing quotations "No, he is not a gnome", the old man corrects. In spoken discourse Traditionally, quotations—more specifically known as direct quotations—have been distinguished from indirect quotations. Direct quotations differ from indirect quotations in that they are reported from the perspective of the experiencer, while indirect quotations are reported from the perspective of the reporting speaker (e.g.
"He said: 'I am leaving now'” versus "He said (that) he was leaving immediately"); are free in their syntactic form, while indirect quotations are subject to language-specific structural requirements (e.g. indirect quotations in many Indo-European languages are required to have the syntactic form of a well-formed declarative subordinate clause); incorporate extralinguistic material and pragmatic markers, while indirect quotations do not. Crucially, direct quotations have a performative aspect (i.e. occur simultaneously with re-enactments of previous behaviours), which indirect quotations lack. Both direct and indirect quotations in spoken discourse are not intended to be verbatim reproductions of an utterance that has been produced.
Instead, direct quotations convey the approximative meaning of such an utterance along with the way in which that utterance was produced. From a sociolinguistic perspective, a direct quotation in spoken discourse can therefore also be defined as “a performance whereby speakers re-enact previous behaviour (speech/thought/sound/voice effect and gesture) while assuming the dramatic role of the original source of this reported behaviour”. Indirect quotations are simply paraphrases of something that a reporting speaker heard. Reasons for using Quotations are employed in spoken discourse for many reasons. They are often used by speakers to depict stories and events that have occurred in the past to other interlocutors.
The speaker does not necessarily have to have been an original participant in the story or event. Therefore, they can quote something that they did not hear firsthand. Quotations are also used to express thoughts that have never been uttered aloud prior to being quoted. For example, while telling a story, a speaker quotes inner thoughts that they had during a specific situation. Finally, speakers use quotations to propose future dialogue for participants in a situation that may take place in the future. For example, two friends talk about their 10-year high school reunion that will take place in the future and propose what they would say.
While future dialogue can be proposed for a situation that will likely happen, it can also be based on a situation that will not actually take place. In the latter usage, the proposed dialogue only exists in the conversational context. The quoted material is usually not a verbatim replication of an utterance that someone originally said. Instead, quotations in spoken discourse reproduce what a speaker wishes to communicate to their recipients; quotations demonstrate something that someone said, the manner in which that person said it, and the current speaker’s feelings about what was said. In this way, quotations are an especially effective storytelling device; the speaker is able to give a voice to the protagonists in their stories themselves, which allows the speaker’s audience to experience the situation in the way that the speaker themselves experienced it.
Form In most languages, quotations in spoken discourse are introduced by a verb of saying and a pronoun. For example, a quotation in English can be introduced by “She said”. In some languages, there is a discourse marker in addition to the verb of saying that functions as verbal quotation marks. For example, Japanese uses the quotative particle (a type of quotative marker) to along with the conjugated verb of saying itta: Gloss: TOP=Topic Marker DAT=Dative NOM=Nominative COM=complementizer {| class="wikitable" |- | ゆき || は || あなた　|| には || 彼女 || が || 好き || と || 言った。 |- | Yuki || wa || anata|| ni wa || kanocho || ga || suki || to || itta.
|- | Yuki|| TOP || you || DAT || her || NOM || like || COM || said |- | colspan=9|"Yuki said that you liked her." |} Verbs of saying (known as quotative verbs when used to introduce quotations) and quotative particles are used as quotative markers, which signal quotations in utterances. Quotative evidentials are also used in some languages to indicate quoted speech (e.g. Cusco Quechua spoken in Peru, Nanti spoken in lowland southeastern Peru, Laal spoken in Chad). Quotative markers Quotative markers are used to mark a section of an utterance as quoted speech (i.e. a quotation). In oral speech, quotative markers act as quotation marks and often include a verb of saying (e.g.
say). A quotative marker usually appears either before or after the reported speech or thought, depending on the syntax of the language. For example, compare the following languages: English In English, the quotative verb say occurs before the quotation: a. She said “Will you answer the phone, will you answer the phone” In American English, verbs such as be like, go, and be all are non-standard quotatives that are commonly used in colloquial speech. They are observed in the speech of young people not only in American English, but in other varieties of English as well (e.g. be like in New Zealand English, be like and go in Glasgow English).
Though not semantically considered verbs of saying, they are used to convey the same meaning as such verbs. Like say, be like, go, and be all occur before the quotation: b. I'm like "I'm so sorry you had to wait" c. She went "Who are you going with?" d. He's all "Okay, come with me come with me" In conversational speech, the use of say and be like occurs at about the same frequency, though say tends to be used in more formal contexts (e.g. office hours between professors and students) and be like tends to occur in more informal contexts (e.g.
a conversation between two young people). Japanese In Japanese, the quotative particle to along with the verb of saying iu (say) occur after the quotation; the conjugated form of iu (say) is itta: Gloss: TOP=Topic Marker ACC=Accusative COM=Complementizer HON=Honorific/Polite form {| class="wikitable" |- | 太郎 || は || 晴海　|| を || 憎んでいる || と || 言った。 |- | Taro || wa || Harumi || o || nikundeiru || to || itta. |- | Taro || TOP || Harumi || ACC || hated || COM || said |- | colspan=7|"Taro said that he hated Harumi." lit. "that 'I hated Harumi" |} The quotative particle to can also occur with verbs of thinking, such as omou (think).
Like to and iu (say), to and omou occur after the quotation. Laal In Laal, the quotative evidential mɨ́ is used for non-self quotation (i.e. quotation in which the speaker quotes someone else, not themself); it is used with a quotative verb ɓɨ́lá. The use of mɨ́ results in an indirect quotation translation. The quotative verb bɨ́lá occurs before the quotation, while the quotative evidential mɨ́ occurs within the quoted speech já mɨ́ nyàg tāā wó: Gloss: QEV=Quotative Evidential NEG=Negation {| class="wikitable" |- | ài || ɓɨ́lá || mɨ́　|| já*i/j || mɨ́ || nyàg || tāā || wó |- | He || say || (say)that || I || QEV || eat || fish || NEG |- | colspan=8|"Hei said that I*i/j don't/didn't eat fish."
|} As the above sentence involves a non-self quotation, à (he) and já (I) have different indices to show that they refer to different referents; only this interpretation is well-formed. The interpretation in which they share identical indices is ill-formed (i.e. ungrammatical), as indicated by the asterisk. In addition to quotative markers, speakers also use prosodic shifts, pauses, pronominal choices, and tense to detect the occurrence and boundaries of quotations in spoken utterances. Syntax Different versions of quotative verbs, particles, and evidentials can be used to express the same idea with varying nuances, often to frame how the primary speaker, or the person who is quoting, feels about a quotation.
The syntax of quotations varies cross-linguistically. A primary speaker may use the tense and linguistic idiosyncrasies of the speech at the time it was uttered in a quotation, independent from the tense in the main clause in some languages, or use the same tense in both the main clause and quotation in other languages. They will also use coreferenced pronouns to the direct quotation's first-person subject in the main clause: Shex said, "Ix..."; theyy said "wey ..." In many languages, the primary speaker may also attempt to quote an utterance in the same language the original speaker used, even if an interlocutor does not understand it; however, it is mainly context-dependent such as when telling stories.
Quotative verbs Quotative verbs are lexical verbs that indicate the speech, thoughts, or perceptions of the original speaker. Quotations can be introduced as the complement to a quotative verb or as the head phrase to an adjunct phrase containing a quotative verb in some languages like English and French. {| class="wikitable" |- ! ||Quotation as complement || Quotation as head phrase adjunct |- | English || Marie said, “My brother has arrived.” || “My brother has arrived," Marie said. |- | French || Marie a dit, “Mon frère est arrivé.” || “Mon frère est arrivé," comme a dit Marie. |} English also displays verb-second (V2) order vestige only in quotation contexts (quotative inversion), requiring the finite verb to appear in the second position of a clause.
For example: "No no no" says Harry. Direct and indirect quotations are sometimes not distinguishable. Traditionally, English uses an overt complementizer that after a quotative verb to indicate indirect quotation, but it is also seen to prompt direct quotation in some English varieties like Indian English, Hong Kong English, and Kenyan English. {| class="wikitable" |- | Hong Kong English || After the movie I just said that "Oh Frank I cannot walk." |- | Indian English || Never a husband says that "I'll make a cup of tea okay, you sit. I'll make a cup of tea." |- | Kenyan English || So Kabuwe Abuwe told us that "If it is for wedding I am not going to contribute."
|} The newer quotative verb be like in English is used to only introduce direct quotations. Be like includes the use of the demonstrative that, which is null in most English varieties, but can be optionally overt in some varieties like Glasgow English. Dutch's quotative verb hebben zoiets van has a similar structure to Standard American English in that it has a null demonstrative that precedes the quotation. It differs from the English structures in that it uses an overt quantifier zoiets to be well-formed. {| class="wikitable" |- ! Standard North American English ! ! Glasgow English ! !
Dutch |- | [TP Aaron [T' was [PP like [DP ∅ [QUOTE I hate you]]]]] || [TP Aaron [T' was [PP like [DP ∅ [QUOTE I hate you]]]]] || [TP Ik [T' hebben [DP zoiets [PP van [DP ∅ [QUOTE I hate you]]]]] |- | *[TP Aaron [T' was [PP like [DP that [QUOTE I hate you]]]]] || [TP Aaron [T' was [PP like [DP that [QUOTE I hate you]]]]] || *[TP Ik [T' hebben [DP ∅ [PP van [DP ∅ [QUOTE I hate you]]]]] |- |} Quotative particles Quotative or hearsay particles are grammatical markers equivalent to full lexical verbs with meanings of "say, mention, tell, etc."
In many languages, they are grammaticalized to different extremes from their previously lexical form. Common patterns of grammaticalization trajectories include verb to complementizer in many African and Asian languages and verb to tense-aspect-mood markers primarily in African languages, but also in Australian languages and multiple other language families. Japanese, for example, uses a sentence-final quotative particle tte verbally to mean "I heard (quote)" with some uncertainty. In sentence-medial position, tte is sometimes regarded along with to to be either a quotative particle or complementizer meaning "I heard (quote)" with less uncertainty and often more knowledge of the origin of the quote.
Gloss: QP=Quotative Particle FP=Final Particle {| class="wikitable" |- | 明日 || 晴れる || -って　 |- | ashita || hareru || tte. |- | tomorrow || will-be-fine || QP |- | colspan=7|"It will be fine tomorrow, I heard." |} {| class="wikitable" |- | 明日 || 晴れる || って/と || 言ってた　||　よ　 |- | ashita || hareru || -tte/to || itteta || yo. |- | tomorrow || will-be-fine || QP || said || FP |- | colspan=7|"(X) said that it would be fine tomorrow." |} Verbs of saying are highly restricted in Australian languages and almost always immediately proceed the complement verb.
Gloss: PL=Plural FUT=Future Tense PST=Past Tense OBL=Oblique Case IRR= Irregular {| class="wikitable" |- ! colspan=3 | Ngarinyin example |- | wurlan || wurr-u-miyangga || bud-ma-ra-ngarrugu |- | word || 3PL-FUT-know || 3PL-say-PST-1PL.OBL.IRR |- | colspan=7|"They will know this word" they said to us. |} Quotative evidentials Quotative or hearsay evidentials provide knowledge of who or where information originated from in speech based on logical assumption. Languages indicate this in various ways: through grammatical marking, additional words and phrases, prosody, gestures, or systematic affixes of verbs. Quotative readings of evidentials are typologically rare. For example, English can express evidentials with an optional adverb, "Allegedly, Annie pulled the trigger."
The interlocutor then knows the source of the quotation is from elsewhere, but this is not a quotative reading as there is no direct performative quoting or verbs of saying. Languages including Cusco Quechua, Kham, Tagalog, and Kaalallisut are documented as containing quotative evidentials. In languages with "true" quotative evidentials (which usually introduce quoted statements), it is also possible for them to occur with interrogatives and imperatives, yielding quoted interrogatives and quoted imperatives. Similar to quotative particles, quotative evidentials are usually grammaticalized from full lexical verbs. Nhêengatú, a Tupí-Guaraní lingua franca of North-West Amazonia, has a reported evidential marker paá.
An example scenario is as followed: X saw John go fishing. Mary then and asks X where John went. X replies “u-sú u-piniatika” (he went fishing). Later, Peter asks Mary where John went. She replies to Peter that she did not see John go herself, but rather heard it from a different source using the evidential marker “u-sú u-piniatika paá.” Gloss: REP=Reported Evidential Marker {| class="wikitable" |- | u-sú || u-piniatika || paá |- | 3sg-go || 3sg-fish || REP|- |colspan=3|"He went fishing (they say/I was told)" |} Tagalog's quotative evidentials are used with imperative quotations. Gloss: INF=Infix REP=Reported Evidential Marker {| class="wikitable" |- | kumain || (ka) || daw |- | eat.INF || (you) || REP|- | colspan=3|Someone said: Eat!
|} Cusco Quechua's quotative evidential comes as a derivation of a clitic, =si, for interrogative quotations. Gloss: ACC=Accusative REP=Reported Evidential Marker TOP=Topic PST=Past Tense {| class="wikitable" |- | pi-ta=s || Inés-qa || watuku-sqa |- | who-ACC=REP'''|| Inés-TOP || visit-PST |- | colspan=3|Someone said: Who did Inés visit?'' |} See also Adage Aphorism Block quotation Epigram Fallacy of quoting out of context Maxim (saying) Musical quotation Nested quotation Proverb Scare quotes Sic Use–mention distinction Quotation mark References Category:Communication
This article contains the discography of jazz pianist Oscar Peterson. No distinction is made between sessions as leader or sideman. Albums Filmography 1978 The Silent Partner (Movie Score) 1996 Life of A Legend (View Video) 1998 London: 1964 (Vidjazz) 2004 Music in the Key of Oscar (View Video) 2004 Easter Suite for Jazz Trio (TDK) 2004 A Night in Vienna (Verve) 2004 Norman Granz' Jazz in Montreux Presents Oscar Peterson Trio '77 (Eagle Vision USA) 2007 The Berlin Concert (Inakustik) 2007 Reunion Blues (Salt Peanuts) 2008 Oscar Peterson & Count Basie: Together in Concert 1974 (Impro-Jazz Spain) 2008 Jazz Icons: Oscar Peterson Live in '63, '64 & '65 (Jazz Icons) 2014 During This Time: Oscar Peterson, Ben Webster.
NDR Jazzworkshop 1972 (art of groove) References External links Jazz Discography Project Discogs entry Peterson, Oscar Category:Discographies of Canadian artists
Navtej Singh Johar v. Union of India Secretary Ministry of Law and Justice is a landmark decision of the Supreme Court of India in 2018 that decriminalised all consensual sex among adults, including homosexual sex. The court was asked to determine the constitutionality of Section 377 of the Indian Penal Code, a colonial-era law which, among other things, criminalised homosexual acts as an "unnatural offence". While the statute criminalises all anal sex and oral sex, including between opposite-sex couples, it largely affected same-sex relationships. On 6 September 2018, the court unanimously declared the law unconstitutional "in so far as it criminalises consensual sexual conduct between adults of the same sex".
The verdict was hailed as a landmark decision for LGBT rights in India, with campaigners waiting outside the court cheering after the verdict was pronounced. Elements of Section 377 relating to sex with minors, non-consensual sexual acts such as rape, and bestiality remain in force. Background On 27 April 2016, five people filed a new writ petition in the Supreme Court challenging the constitutionality of Section 377 of the Indian Penal Code. The petitioners claimed that the issues which they raised in their petition were varied and diverse from those raised in the pending curative petition in the 2013 Koushal v. Naz case, in which the Supreme Court had upheld the constitutionality of Section 377.
The Naz had been earlier referred to a five-judge bench in order to decide whether the curative petition could be accepted for consideration. The petitioners were dancer Navtej Singh Johar, journalist Sunil Mehra, chef Ritu Dalmia, hoteliers Aman Nath and Keshav Suri, and businesswoman Ayesha Kapur. This case was the first instance wherein the petitioners argued that they had all been directly aggrieved because of Section 377, alleging it to be a direct violation of fundamental rights. The opposition to decriminalisation petitions was led by Apostolic Alliance of Churches, Utkal Christian Council and Trust God Ministries. Advocate Manoj George represented the first two and Senior Advocate KS Radhakrishnan the third.
The NDA government took a neutral stance, leaving the decision to the “wisdom of the court” as long as it applies to “consensual acts of adults in private”. Trial The petition was first placed before Justice S. A. Bobde and Justice A. K. Bhushan on 29 June 2016. An order was passed to post the matter before the Chief Justice of India, Justice Dipak Misra for appropriate orders since a curative petition was already pending before the constitution bench. On 8 January 2018, the case (Navtej Singh Johar and others v. Union of India) was listed to be heard by the Chief Justice's bench, which passed an order stating that the case would be heard by a constitution bench.
The matter was heard from 17 January 2018 by a five-judge constitution bench of the Supreme Court. On 10 July 2018, the SC commenced hearing of the pleas challenging the constitutionality of section 377. The bench ended its hearing on 17 July and reserved its verdict, asking for both sides to submit written submissions for their claims by 20 July. Judgment On 6 September 2018, the court delivered its unanimous verdict, declaring portions of the law relating to consensual sexual acts between adults unconstitutional. This decision overturns the 2013 ruling in Suresh Kumar Koushal v. Naz Foundation in which the court upheld the law.
However, other portions of Section 377 relating to sex with minors, non-consensual sexual acts, and bestiality remain in force. The court found that the criminalisation of sexual acts between consenting adults violated the right to equality guaranteed by the Constitution of India. While reading the judgment, Chief Justice Misra pronounced that the court found "[c]riminalising carnal intercourse" to be "irrational, arbitrary and manifestly unconstitutional". The court ruled that LGBT people in India are entitled to all constitutional rights, including the liberties protected by the Constitution of India. It held that "the choice of whom to partner, the ability to find fulfilment in sexual intimacies and the right not to be subjected to discriminatory behaviour are intrinsic to the constitutional protection of sexual orientation".
The judgement also made note that LGBT community is entitled to equal citizenship and protection under law, without discrimination. Public opinion and specific reactions The Government of India decided to abstain from the hearings and had left the matter to the "[w]isdom of the [c]ourt". Political parties and organisations The largest constituent party of the National Democratic Alliance, a right-wing Hindu nationalist coalition, currently having a majority in the Lok Sabha (House of the People), the Bharatiya Janata Party (BJP), was one of the few parties which officially stayed silent on the verdict. Several party members did express their personal opinions on the subject, including the BJP spokesperson G. V. L. Narasimha Rao, who said that any decision on the matter "takes in sync with the jurisprudential developments on gay rights the world over would be welcome".
Meanwhile, Subramanian Swamy, a Rajya Sabha (Council of the States) member of the BJP, attacked the decision, questioning if the court will legalise sexual intercourse with animals in the name of personal liberty. He was of the view that the decision could be overruled "[i]f it leads to excesses, including paedophilia, gay bars, increase in HIV cases, etc." The Prime Minister of India, Narendra Modi, has a record of saying relatively little about LGBT rights compared to other socio-political issues, and refused to comment on the same. The right-wing organisation Rashtriya Swayamsevak Sangh conveyed its agreement with the court's verdict as it didn't believe homosexuality was a crime, but did label the orientation as "unnatural".
In January 2018, the BJP's coalition partner, the Shiv Sena had supported legalisation, with its member and a member of parliament in Lok Sabha for Mumbai South, Arvind Sawant Ganpat saying, "They have the right to live the way they want. What can we say on it." The largest opposition party in India, the Indian National Congress of the United Progressive Alliance, issued a statement welcoming the ruling. The organisation remarked that the judgement should bring about "the beginning of a more equal and inclusive society". This was in contrast to its previous objection in the same case in 2009 when it was in government during the initial Naz Foundation case, stating that gay sex was 'immoral' and that it cannot be decriminalised.
Overseas In terms of non-governmental organisations, the group Human Rights Watch welcomed what happened, with its South Asia director labelling the judgement as "hugely significant". Amnesty International also praised the ruling. The United Nations welcomed the judgement, hoping that it will be the first step towards guaranteeing the full range of fundamental rights to LGBTI persons. Global News suggested that similar colonial laws in South Asia, modelled on India's Section 377, could be declared unconstitutional following this verdict. The agency stated that the ruling "emboldened activists in neighbouring countries". In terms of LGBT rights in Sri Lanka, a similar law in that nation, which has not been enforced in decades, was declared unenforceable by its Supreme Court and is effectively dormant.
However, differences in how constitutional matters are handled mean that the law cannot be removed without the consent of the electorate. Global News also noted that the nations of Bangladesh, Myanmar, and Pakistan face problems with LGBT people suffering from public discrimination, outside of the context of laws restricting homosexuality. Simon Chesterman, dean of the National University of Singapore Faculty of Law, congratulated India on the verdict in a Facebook post. In response to Chesterman's post, Singaporean diplomat Tommy Koh wrote on Facebook that Singaporean LGBT activists should take the opportunity to overturn Section 377A of the Penal Code, a position supported by Chief of Government Communications Janadas Devan.
Later, on September 10, disc jockey and producer Johnson Ong Ming filed a lawsuit in court against Section 377A. However, Law and Home Affairs Minister K. Shanmugam stated that “[t]his issue relates to social mores, values - so can you impose viewpoints on a majority when it so closely relates to a social value system?” See also LGBT rights in India Suresh Kumar Koushal v. Naz Foundation Naz Foundation v. Govt. of NCT of Delhi Landmark rulings of the Supreme Court of India Other landmark decisions worldwide Lawrence v. Texas Jones v. Trinidad and Tobago References External links Category:Supreme Court of India cases Category:LGBT rights in India Category:2018 in case law Category:LGBT rights case law Category:2018 in India Category:2018 in LGBT history
A wrong-side failure describes a failure condition in a piece of railway signalling equipment that results in an unsafe state. A typical example would be a signal showing a 'proceed' aspect (e.g. green) when it should be showing a 'stop' or 'danger' aspect, resulting in a "false clear". (The converse is a right-side failure, where even with any reduction the resulting state is safe overall.) Example of how a wrong-side failure may occur Consider a relay that has to energize to show a green light. If a wire breaks, or the battery is drained, then the relay will de-energize and the signal will show a red light, which is fail-safe.
If a stray wire from another circuit touches the wire connected to that same relay, then that would be a wrong side failure, which is potentially dangerous. This stray wire can be guarded against by ensuring that the insulation on the relay wire is of good quality, and that all terminals are locked away. In addition, the relay may be double-switched, also known as double cut, that is to say that it only energizes if a positive circuit and a negative circuit are both complete. That would then require two stray wires to cause a wrong-side failure, which is much less likely than a single stray wire.
Accidents While accidents from the problem are rare, they do occur: 1876 – Abbots Ripton rail disaster - signals frozen by blizzard in 'clear' position (signal arm hidden in a slot in the post). 1915 – Rockledge, Tennessee - Relocation of a Western Union telegraph line from old alignment to new alignment causes a false clear signal indication when the Western Union wire comes in contact with the signal wire for the automatic block signal at the south end of the siding at Rockledge. A southbound freight train departed Rockledge on the false clear indication and collided with a northbound passenger train that had entered the block at Tantallon on a proper clear indication two minutes before the freight train departed Rockledge.
A contributing factor was that the tower operator at Rockledge only controlled the signals, the track switches being operated by the train crews themselves. 1927 – Marrar, NSW, lightning damage meant that the single line train tablet system incorrectly released two tablets simultaneously putting two trains on a collision course; fortunately they saw each other and were able to stop in time. 1938 – Charing Cross (Northern line) tube crash - signal linesman rewires a faulty signal incorrectly, so that it shows green too soon; two Underground trains collide as a result, injuring twelve. Also Charing Cross (District line) tube crash, signal linesman makes wiring error in cabin, two Underground trains collide, killing six.
1953 – Sydenham Rail Disaster - five killed 1976 – Glenbrook, New South Wales. Automatic signal in rear of a stationary EMU at "caution" when it should have been at "danger". Following goods train enters occupied signal section and collides with EMU; 1 passenger killed. Cause attributable to deteriorated wiring which allowed a false feed. 1979 - Invergowrie rail crash - signal was at "wrong" (i.e. indistinct indication) yet taken by driver to be a 'proceed' signal. 1982 - Valley Heights train collision - electrician wrongly replace out clear glass lenses with coloured glass causing false colour with reflected sunlight.
1988 - Clapham Junction rail crash - single stray wire causes false green signal and collision killing 35. 1990 - Cowan rail disaster, which occurred when sand on the rails insulated the wheels from the rails, causing a failure to shunt that allowed a trailing block signal to improperly display a clear aspect, resulting in a rear-end collision. 2005 - Deelfontein - solder splatter bridges a relay contact. Most testing is done with the relays unplugged which would not detect the splatter, while the solder splatter is likely to lead to a difficult to trace phantom problem. 2009 – On March 26, two trains collided near Arévalo, Spain while engineers were testing a new signalling system.
Lack of safeguards and testing on an active line led to the collision of two freight trains. One of the train drivers died. 2009 – Ft Totten crash Washington DC Metro (WMATA). An inbound Red Line train stopped short of Ft. Totten station; the following train failed to stop and impacted at ~42 mph. Nine dead, 80 injured. Preliminary NTSB reports were that the AC track circuit transmitter was breaking into parasitic oscillation, and that coupled across the rack cabinet to the receiver. False alarms Railway authorities usually give the drivers and signalmen the benefit of the doubt and investigate whether a wrong-side failure is the cause of the accident.
This occurred with the Hinton train collision, but investigations soon showed that a wrong-side failure was not the cause. The 2008 Chatsworth train collision was determined to be human error, not wrong side failure as a few initially said. Wrong-side failures to be reported In the United States there is a rule that wrong-side failures are to be reported to the Federal Railroad Administration. See also Lists of rail accidents References External links False proceed Notifiable incidents Category:Railway signalling
The one-electron universe postulate, proposed by John Wheeler in a telephone call to Richard Feynman in the spring of 1940, is the hypothesis that all electrons and positrons are actually manifestations of a single entity moving backwards and forwards in time. According to Feynman: Overview The idea is based on the world lines traced out across spacetime by every electron. Rather than have myriad such lines, Wheeler suggested that they could all be parts of one single line like a huge tangled knot, traced out by the one electron. Any given moment in time is represented by a slice across spacetime, and would meet the knotted line a great many times.
Each such meeting point represents a real electron at that moment. At those points, half the lines will be directed forward in time and half will have looped round and be directed backwards. Wheeler suggested that these backwards sections appeared as the antiparticle to the electron, the positron. Many more electrons have been observed than positrons, and electrons are thought to comfortably outnumber them. According to Feynman he raised this issue with Wheeler, who speculated that the missing positrons might be hidden within protons. Feynman was struck by Wheeler's insight that antiparticles could be represented by reversed world lines, and credits this to Wheeler, saying in his Nobel speech: Feynman later proposed this interpretation of the positron as an electron moving backward in time in his 1949 paper "The Theory of Positrons".
Yoichiro Nambu later applied it to all production and annihilation of particle-antiparticle pairs, stating that "the eventual creation and annihilation of pairs that may occur now and then is no creation or annihilation, but only a change of direction of moving particles, from past to future, or from future to past." See also Identical particles Eddington number T-symmetry References External links Category:Concepts in physics Category:Quantum mechanics Category:Quantum field theory Category:Quantum electrodynamics Category:1940 in science Category:Physical cosmology Category:Conceptual models Category:Richard Feynman
The Tragedy of Man () is a 2011 Hungarian animated drama film directed by Marcell Jankovics, starring Tibor Szilágyi, Mátyás Usztics, Ágnes Bertalan, Tamás Széles and Piroska Molnár. The narrative is set in several different eras, spanning from the Biblical creation to 50,000 BC and from there to a distant future ahead of our time, and follows Adam, Eve, and Lucifer as they explore humanity and the meaning of life. Each segment has a different visual style to reflect the art of the respective time periods. The film is based on the 1861 play The Tragedy of Man by Imre Madách.
The film went into production in 1988 but encountered difficulties as the production model for Hungarian cinema changed. The segments were financed individually and sometimes exhibited independently at film festivals and on Hungarian television. After 23 years in production, the finished film premiered in 2011. Plot God creates the universe. Lucifer mocks God for the shortcomings of humanity, which he predicts will soon aspire to become God. As the primaeval spirit of negation, he claims to be as old as God and demands his share of the world, which he is granted in the Tree of Knowledge and the Tree of Immortality.
Lucifer tempts Adam and Eve eat the forbidden fruit. Expelled from the Garden of Eden and abandoned by God, Adam reasons that he is no longer obliged to show God any gratitude. He decides to live from his own strength alone. Lucifer offers Adam to experience his own future, and takes him from the Stone Age into the future, throughout human history. In ancient Egypt, Adam is Pharaoh Djoser in 2650 BC who falls in love with Eve in the form of a slave woman. Adam abolishes slavery, but Lucifer argues that it would be futile, as history would prove.
Adam is taken to ancient Greece, where democracy has resulted in corruption and foul political play. Adam appears as Miltiades in 489 BC and is sentenced to death after the masses have been agitated against him. Disillusioned, Adam is taken to ancient Rome in 67 AD where he and Lucifer enjoy themselves with gladiator games and prostitutes. As decadence makes the civilization fall apart, Adam and Eve encounter Saint Peter and then Jesus, and turn to God, who gives them a message of love and fraternity. Adam becomes Tancred, Prince of Galilee in 1096 AD but is disgusted by the East–West Schism and pettiness within the church.
He falls in love with Eve who is locked inside a monastery. Adam is then Johannes Kepler in Prague, 1608. He seeks eternal wisdom by studying the physical world while his wife is unfaithful. Adam becomes Georges Danton during the French Revolution in Paris, 1794. Eve appears as an aristocrat who is guillotined and as a prostitute who revels in the revolutionary terror. Danton is eventually put before the National Convention and executed for conspiring with the aristocracy. Once again in the body of Kepler, Adam wakes up from a dream. He recognizes that ideas are more powerful and long-lasting than individual men.
Adam and Lucifer visit Victorian London in 1897 as unnamed Englishmen, which Adam initially finds impressive but Lucifer argues is decayed on a spiritual level, as everything has become a commodity. Adam tries to court Eve and is eventually able to seduce her, right after World War I, with the help of jewels and a Gypsy fortune teller. When social unrest erupts in the 20th century, Adam wishes for a society ruled after scientific principles for the common good. Lucifer brings Adam to a future egalitarianist world state. Although initially positive, Adam immediately regrets the disappearance of nations, as he thinks people should have a past and an identity to hold on to.
Animals and plants which are not useful are extinct and the useful ones have been genetically modified. Adam questions the materialist worldview and is arrested for criminal thinking. Eve appears as a mother who is punished for refusing to let society educate her child. Adam and Lucifer travel further to a dehumanized future in space. Adam is at first unsettled, but when the spirit of Earth urges him to return, he proclaims that his spirit can live beyond the body. On the verge of annihilation, Adam changes his mind and promises to keep striving on Earth. He accepts mortality and man's struggle.
In a distant ice age, the last remains of humanity are dying. The few people Adam encounters are deformed savages. Lucifer argues that they do not differ in nature from humans of any other era. Adam wakes up in his cave 50,000 BC. He joins Lucifer on a cliff, where he argues for the existence of free will, while Lucifer reminds him of the futility of human ambition. Adam argues that he can still go against God by committing suicide. As he is about to leap from the cliff, Eve finds him and tells him that she is pregnant. God urges Adam to keep having faith.
Adam decides to follow God's word and accepts struggle as an end in itself. Cast Tibor Szilágyi as the Lord Mátyás Usztics as Lucifer Ágnes Bertalan as Eve Tamás Széles as Adam Piroska Molnár as the spirit of Earth Production Marcell Jankovics wrote the screenplay for the film in 1983. It is based on Imre Madách's 1861 play The Tragedy of Man. The film went into production in 1988 at Pannonia Film Studio. Jankovics expected a typical animated feature to take three years to produce, but since The Tragedy of Man would have twice the running time of a typical film he expected it to take six years to make.
After the fall of communism in Hungary in 1989, Jankovics could no longer rely on the state-funded system he had produced his previous films within and had to seek alternative ways to finance the project. The film was produced one segment at a time, after which production ceased until funding had been secured for the next segment. Just like in the original play, there is a total of 15 segments. Each of these were animated in a different visual style. Over the years, several segments were exhibited individually at film festivals and shown on the public television network Duna TV, although the majority of the material was never shown publicly until the entire film was finished.
In 2008 some funding was secured when Jankovics' 1974 short film Sisyphus was used in an American car commercial which was shown at the Super Bowl. In 2011 the film received 19.5 million forint from the culture department of the Ministry of National Resources. The total cost of the film corresponded to 600 million forint (approximately two and half million U.S. Dollars) in the exchange rate at the time of the release. After 23 years in production, the last post-production work was finished in 2011. Release The film premiered on 27 November 2011 at the Anilogue International Animation Film Festival.
It was released in regular Hungarian cinemas by Mozinet on 8 December 2011. The film was shown with an intermission, which made a screening last for three hours from start to finish. The film had 20,000 admissions in Hungary, of which 9,500 came from Budapest where it was screened in a single cinema. It was shown at a number of international film festivals. In June 2013 it was shown at the Facets Cinémathèque in Chicago. Reception Bill Stamets of the Chicago Sun-Times wrote: The animation styles vary throughout this chronology of human folly, but this wary sermon stays on message[.]
... Lucifer the interlocutor delights in the endless conflict between human reason and a hands-off God. Stamets continued: To add strains of grandeur, [Jankovics] draws on works by Bach, Mussorgsky, Respighi and Wagner. He thrills when visualizing the French Revolution as a tri-color mob in motion. Later, twisting DNA strands are depicted nearly as mystically. All told, The Tragedy of Man is illustrated theology.
See also The Annunciation, a 1984 film based on the same play References External links Official website at the Internet Archive Publicity page at the Hungarian distributor's website Category:2010s drama films Category:2010s historical films Category:2010s science fiction films Category:2011 animated films Category:2011 films Category:Animated drama films Category:Animated films based on literature Category:Cultural depictions of Adam and Eve Category:Cultural depictions of Johannes Kepler Category:Cultural depictions of Georges Danton Category:The Devil in fiction Category:Hungarian films based on plays Category:Films based on the Hebrew Bible Category:Films directed by Marcell Jankovics Category:Films set in ancient Egypt Category:Films set in ancient Greece Category:Films set in ancient Rome Category:Films set in the Byzantine Empire Category:Films set in the future Category:Films set in London Category:Films set in Paris Category:Films set in Prague Category:French Revolution films Category:God in fiction Category:Hungarian animated films Category:Hungarian drama films Category:Hungarian films Category:Hungarian historical films Category:Hungarian animated science fiction films Category:Hungarian-language films Category:Religious epic films
The tripeptide Arg-Gly-Asp (RGD) consists of Arginine, Glycine, and Aspartate. It was originally identified as the amino acid sequence within the extracellular matrix protein fibronectin that mediates cell attachment. The RGD cell binding sequence has since been identified in other extracellular matrix proteins, including vitronectin and laminin. The family of membrane proteins known as integrins act as receptors for these cell adhesion molecules via the RGD motif. A subset of the integrins recognize the RGD motif within their ligands, the binding of which mediates both cell-substratum and cell-cell interactions. These integrins include αvβ3, α5β1 and αIIbβ3. The RGD domain is both sufficient and indispensable for cell membrane binding.
As such, the RGD cell binding motif has supreme relevance in the fields of oncology, tissue engineering and regenerative medicine. Because of their cell-adhesive activity, RGD peptides are frequently incorporated into biomaterials designed to promote wound healing. RGD is also an important peptide sequence often used in Targeted therapy. For example, the RGD peptide can be used to target cancer cells on which cell membrane integrins are up-regulated compared to healthy cells. Though the minimum sequence peptide RGD retains the property of cell adhesion, integrin-RGD bonds are considerably weaker than integrin-fibronectin bonds. The reduced adhesion strength is likely due to both lack of secondary structure and other synergistic domains, namely PHSRN, present in the full-length protein.
Furthermore, full length protein domains differentially mediate cell morphology, cell migration and cell proliferation compared to RGD alone. Other minimum sequence motifs have been identified, including the GFOGER 30 amino acid sequence from collagen 1 and the YGISR and A5G81 sequences from laminin. References Further reading Category:Cell adhesion Category:Protein structural motifs
An all-female band is a musical group in popular music that is exclusively composed of female musicians. This is distinct from a girl group, in which the female members are solely vocalists, though this terminology is not universally followed. While all-male bands are common in many rock and pop scenes, all-female bands are less common. 1920s–1950s In the Jazz Age and during the 1930s, "all-girl" bands such as the Blue Belles, the Parisian Redheads (later the Bricktops), Lil-Hardin's All-Girl Band, the Ingenues, the Harlem Playgirls led by the likes of Neliska Ann Briscoe and Eddie Crump, the International Sweethearts of Rhythm, Phil Spitalny's Musical Sweethearts, and "Helen Lewis and Her All-Girl Jazz Syncopators" were popular.
Dozens of early sound films were made of the vaudeville style all-girl groups, especially short subject promotional films for Paramount and Vitaphone. (In 1925, Lee DeForest filmed Lewis and her band in his short-lived Phonofilm process, in a film now in the Maurice Zouary collection at the Library of Congress.) Blanche Calloway, sister of Cab Calloway, led a male band, Blanche Calloway and Her Joy Boys, from 1932 to 1939, and Ina Ray Hutton led an all-girl band, the Melodears, from 1934 to 1939. Eunice Westmoreland, under the name Rita Rio, led an all-girl band appearing on NBC Radio and in short subjects for Vitaphone and RKO before changing her career to acting and her professional name to Dona Drake, appearing in numerous 1940s movies.
Ivy Benson's "All Girls Band" was the BBC's resident dance band in 1943 and toured until the 1980s. All-girl bands active in vaudeville, variety shows, and early sound films during the 1920s to the 1950s are documented by Kristin McGee in Some Liked it Hot: Jazz Women in Film and Television. Sally Placksin, Linda Dahl, D. Antoinette Handy, and Frank Driggs along with professor Sherrie Tucker, in her book Swing Shift: "All-Girl" Bands of the 1940s, have also documented this era. A Polish group Filipinki was established in 1959. 1960s Bands composed solely of women began to emerge with the advent of rock and roll.
Among the earliest all-female rock bands to be signed to a record label were Goldie and the Gingerbreads, to Atlantic Records in 1964, the Pleasure Seekers with Suzi Quatro to Hideout Records in 1964 and Mercury Records in 1968, the Feminine Complex to Athena Records in 1968, and Fanny (who pioneered the all-female band sound in the early to mid-1970s) in 1969 when Mo Ostin signed the m to Warner Bros. Records. There were also others, such as the Liverbirds (1962–1967), the Ace of Cups (1967), the Heart Beats (1968), and Ariel (1968–1970) which included the three members of the Deadly Nightshade.
From 1964-1968 the Pandoras was an all-girl band (one of the first) playing a few original tunes and a bunch of popular covers at concerts and dances throughout New England. They started out as a trio, with Simmons College students Kathy Kinsella and Pinky Keehner on rhythm guitar and lead guitar, and Sally Levy on drums. Much later, under the management guidance of Peter Bonfils, the band had some success, including a recording contract and a couple of singles with Liberty Records ("About My Baby", b/w "New Day," and "Games" b/w "Don't Bother"), and gigs that showed all around the U.S. as well as in Newfoundland and Puerto Rico, opening for acts including the Kingsmen, Dionne Warwick, the Byrds, and Gary Lewis & the Playboys.
The Shaggs were an all-female family band who earned some regional notoriety during their time as a performing band in the late 1960s; by the time they had disbanded in 1975 their first album Philosophy of the World had caught the attention of Frank Zappa and by 1980, NRBQ arranged for it to have a wide release. The Shaggs, particularly in their early years, were noted for their inability to adhere to basic norms of popular music (their drummer, Helen Wiggin, often found herself detached from the music her sisters Dot and Betty were singing and playing on guitar), which somewhat ironically (and to their bewilderment) made them icons of outsider music.
1970s Roger Ebert, in his audio commentary for Beyond the Valley of the Dolls (1970) gives the film credit for inspiring all-female rock bands, with the fictional band Carrie Nations created for the film, stating that such bands were quite rare at the time, but started to spring up in the film's wake. On November 6, 1971, Fanny became the first all-female band to reach the Hot 100's top 40, with "Charity Ball" peaking at No. 40. The track had even greater success on WLS, peaking at No. 3 between October 25 and November 1, 1971. In 1975, the Canadian duo of sisters, Kate & Anna McGarrigle, recorded the first of a string of albums, sometimes joined by their sister Jane.
The Runaways were an early commercially successful, hard-edged, all-female hard rock band, releasing their first album in 1976; band members Joan Jett, Cherie Currie, and Lita Ford all went on to solo careers. In the United Kingdom, the advent of punk in the late 1970s with its "anyone can do it" ethos lead to the formation of such bands as the Slits, the Raincoats, Mo-dettes, Dolly Mixture, and the Innocents among others, and the formation of other groups where the female members influenced the music and lyrical content (Au Pairs, Delta 5) or were the featured artist within the ensemble, notably Siouxsie and the Banshees and X-Ray Spex.
The expansion of punk into Europe gave rise to Switzerland's die Kleenex/LiLiPUT. In Australia in 1977 all-girl band Sweet Jayne began doing regular gigs with the original lineup: Cris Bonacci, Chris Scheri, Robyn Clark and Sally Zylstra. Labelled "Sweet and Heavy Rock", Sweet Jayne played mostly original material. Winning the Australasian Yamaha Battle of the Bands in 1978, Sweet Jayne went on through various cassette, vinyl and film clip releases and line up changes and played 700 gigs over 6 years. Sweet Jayne split up in 1983 when Chris Scheri (flute and vocals) and Cris Bonacci (guitar) were invited to the UK to work for Mike Oldfield.
The all-female heavy metal band Girlschool, from South London, formed in 1978 out of the ashes of Painted Lady, as a cover band. While somewhat successful in the UK, they became better known in the early 1980s. One of the original members of the band, Kathy Valentine departed to join the all-female band the Go-Go's, switching from guitar to bass. Among Girlschool's early recordings was an EP titled St. Valentine's Day Massacre which they recorded with Bronze label-mates Motörhead under the name Headgirl. In 1974, the Deadly Nightshade, a rock/country band (Anne Bowen, rhythm guitar/percussion; Pamela Robin Brandt, electric bass; Helen Hooke, lead guitar/violin) was signed by RCA's custom label Phantom.
The contract made RCA/Phantom the first mainstream record label to grant a band the right to reject any advertising offensive to feminist sensibilities. The band released two albums, The Deadly Nightshade in 1975 and F&W (Funky & Western) in 1976. Reunited in 2009, the Deadly Nightshade recorded and released a third album Never Never Gonna Stop in 2012 and they continually toured until Brandt's death in 2015, dissolving the band. 1980s and 1990s The 1980s, for the first time, saw long-sought chart success from all-female bands and female-fronted rock bands. On the Billboard Hot 100 year-end chart for 1982 Joan Jett's "I Love Rock 'n' Roll" at No.
3 and the Go-Go's "We Got the Beat" at No. 2 sent a strong message out to many industry heads that females who could play could bring in money. While Joan Jett played "no-frills, glam-rock anthems, sung with her tough-as-nails snarl and sneer", the Go-Go's were seen as playful girls, an image that even Rolling Stone magazine poked fun at when they put the band on their cover in their underwear along with the caption "Go-Go's Put out!". However musician magazines were starting to show respect to female musicians, putting Bonnie Raitt and Tina Weymouth on their covers. While the Go-Go's and the Bangles, both from the L.A. club scene, were the first all-female rock bands to find sustained success, individual musicians paved the way for the industry to seek out bands that had female musicians and allow them to be part of the recording process.
While the 1980s helped pave the way for female musicians to get taken more seriously it was still considered a novelty of sorts for several years, and it was very much a male-dominated world. In 1984, when film maker Dave Markey, along with Jeff and Steve McDonald from Redd Kross, put together the mockumentary Desperate Teenage Lovedolls, a comically punky version of Beyond the Valley of the Dolls, it also spawned a real band. While the Lovedolls could barely play at first, because of the film, and because they were an "all-female band", they received press and gigs. Klymaxx became the first self-produced all-female band in the R&B/pop style of music to play all instruments; several of their singles - including "Meeting in the Ladies Room" and "I Miss You" charted in both R&B and pop countdowns.
Leading into the 1990s, the surge of heavy metal in the 1980s helped to shed another light on the role of females in music. Because of the success of the Go-Go's and the Bangles many females were frustrated at not being taken seriously or only thought of as "cute chicks playing music" and either joined rock bands or formed all-female metal bands. One such band that was playing harder music in San Francisco was Rude Girl. Originally signed to CBS Records the band splintered before an album would be released and the remaining members released a 12-inch single in 1987 under the name Malibu Barbi.
When Cara Crash and Wanda Day left 4 Non Blondes and joined Malibu Barbi their sound shifted from heavy metal to a sound described as combining a "driving beat with Johnny Rottenesque vocal and post-punk riffs". Around the same time in the Midwest, Madam X was signed to an offshoot of Columbia Records, Jet Records. In 1984, the Rick Derringer-produced album We Reserve the Right was released along with the single "High in High School". the Petrucci sisters were a focal point of the band – Maxine, the lead guitarist, and Roxy, the drummer. However, based on management decisions, it was decided that it would be better if only one of the sisters was in the band and Roxy was placed in another band, the all-female, Los Angeles–based Vixen.
Vixen was founded also in the Midwest, but in St. Paul, Minnesota, by Jan Kuehnemund during the mid-1970s. Kuehnemund folded the band a few months later, when her bandmates either dropped out or joined other bands, and she reformed it after moving to L.A. at the start of the 1980s. Vixen was sometimes described as "the female Bon Jovi", eventually becoming commercially successful due largely to their signature hit "Edge of a Broken Heart" from their self-titled debut album, making the band erroneously a one-hit wonder, although their next hit, a cover of Jeff Paris's "Cryin'", charted even higher in both Britain and the US.
The band folded again in the early 1990s following musical differences, but reformed twice more in their history. Maxine Petrucci also joined Vixen, albeit as a touring bass guitarist, after her sister invited her in 1998 until the Petruccis and their fellow band members were forced to disperse when Kuehnemund, feeling left out and her lead in representing Vixen being usurped, successfully sued to keep the rights to her band's name. She reunited Vixen in 2001, with a new bassist in tow, until disagreements with the band's management caused Kuehnemund's bandmates to leave, driving her to search for and hire new members.
In 2004, Vixen's line-up from the Vixen and Rev It Up era made a one-time appearance on VH1's Bands Reunited, as its Canadian host has been a fan of the band's. The line-up from 2001 recorded a fourth album, Live & Learn, released between 2006 and 2007. Kuehnemund died in 2013 and Vixen was reformed with three-quarters of the "classic" line-up plus Gina Stile, the lead guitarist from the Tangerine period, to honor her legacy. Both Stile and long-time frontwoman/rhythm guitarist Janet Gardner have left the band by the end of the 2010s. With the resurgence of interest in pop-punk bands in the US in the early 1990s, along with the sunset strip "hair metal" scene becoming extremely crowded, bands who combined a "non-image" with loud raw music started were gigging at clubs like Rajis in Hollywood.
Bands such as Hole, Super Heroines, the Lovedolls, and L7 became popular, while demonstrating on stage, and in interviews, a self-confident "bad girl" attitude at times, always willing to challenge assumptions about how an all-female band should behave. Courtney Love described the other females in Hole as using a more "lunar viewpoint" in their roles as musicians. In the 1990s, riot grrrl became the genre associated with bands such as Bratmobile and Bikini Kill. Other punk bands, such as Spitboy, have been less comfortable with the childhood-centered issues of much of the riot grrrl aesthetic, but nonetheless also have dealt explicitly with feminist and related issues.
All-female Queercore bands, such as Fifth Column, Tribe 8, and Team Dresch, also write songs dealing with matters specific to women and their position in society. A film put together by a San Diego psychiatrist, Dr. Lisa Rose Apramian, along with the former drummer from the Motels and the Droogs, Kyle C. Kyle, the documentary Not Bad for a Girl explored some of these issues with interviews from many of the female musicians on the riot grrrl scene at the time. In contemporary Christian music history, there was the first all-female Christian rock band Rachel Rachel, which existed only during the early 1990s and who performed in an album-oriented rock style.
Jennifer York became the first woman to establish a Christian band, specifically an all-female group. Even though Rachel Rachel's success was short lived when they folded due to "creative differences" and too great a geographic distance, future rock bands or non-rock musical groups in the Christian genre that have only women as members followed their lead in the next decades to come. Many female musicians from all-female bands in the 1980s and 1990s have gone on to more high-profile gigs.
The Pandoras' former members include members of the Muffs; Leather Leone, the singer from Rude Girl and Malibu Barbi, went on to sing for Chastain; Warbride's founder and lead guitarist, Lori Linstruth joined Arjen Lucassen; Abby Travis from the Lovedolls has played with Beck, Elastica, and Bangles; Meredith Brooks, from the Graces, went on to solo success and Janet Robin, from Precious Metal, was the touring guitarist for Brooks as well as Lindsey Buckingham and Air Supply. Sweet Jayne's Cris Bonacci became Girlschool's lead guitarist in 1985 and stayed with the band for fewer than 10 years. Girlschool, despite numerous line-up changes, have never broke up despite a brief hiatus and celebrated their 40th anniversary in 2018.
Outside pop music All-female bands are not restricted to the mainstream genres. The British/Australian string quartet Bond play classical crossover (first and second violin, viola, and cello) and sing the occasional vocals that accompany some of their tracks. Many bands across many genres are all-female, such as the psychedelic folk group Spires that in the Sunset Rise. See also List of all-female bands Gloria Parker Lauren Passarelli Riot grrrl Dekajaz Queercore List of female Jazz- and New Improvising musicians in the German Wikipedia Women in music Women's music Gender bias on Wikipedia Bibliography Rock Chicks: The Hottest Female Rockers from the 1960s to Now by Stieven-Taylor, Alison (2007).
Sydney. Rockpool Publishing. Bayton, Mavis (1998) Frock Rock: Women Performing Popular Music. Oxford and New York: Oxford University Press. Carson, Mina Julia (ed.) (2004) Girls rock! : Fifty Years of Women Making Music. Lexington, Kentucky: University Press of Kentucky. Gaar, Gillian G. (1992) She's a Rebel: The History of Women in Rock & Roll. Seattle, Washington: Seal Press. O'Dair, Barbara (ed.) (1997) Trouble Girls: The Rolling Stone Book of Women in Rock. New York: Random House. Raphael, Amy (1995) Never Mind the Bollocks: Women Rewrite Rock. London: Virago. Savage, Ann M. (2003) They're Playing Our Songs: Women Talk About Feminist Rock Music.
Westport, Conn.: Praeger. References External links GirlBand.org Metal Maidens fanzine Women in Punk Archive maintained by Nicole Emmenegger (aka Jenny Woolworth) Helen Lewis and Her All-Girl Jazz Syncopators at Silent Era Metaladies.com All-Female Metal Bands Category:Types of musical groups Category:Women in music
Performance Handicap Racing Fleet (PHRF) is a handicapping system used for yacht racing in North America. It allows dissimilar classes of sailboats to be raced against each other. The aim is to cancel out the inherent advantages and disadvantages of each class of boats, so that results reflect crew skill rather than equipment superiority. PHRF is used mainly for larger sailboats (i.e., 7 meters and above). For dinghy racing, the Portsmouth yardstick handicapping system is more likely to be used. The handicap number assigned to a class of yachts is based on the yacht's speed relative to a theoretical yacht with a rating of 0.
A yacht's handicap, or rating, is the number of seconds per mile traveled that the yacht in question should be behind the theoretical yacht. Most boats have a positive PHRF rating, but some very fast boats have a negative PHRF rating. If Boat A has a PHRF rating of 15 and Boat B has a rating of 30 and they compete on a 1 mile course, Boat A should finish approximately 15 seconds in front of Boat B. Results are adjusted for handicap by the race committee after all competitors have finished. A variant of PHRF racing is called a pursuit race, commonly referred to as a "rabbit start" where boats start in reverse PHRF order with the starting times staggered based on the PHRF ratings.
In theory, all boats will arrive at the finish line at the same time, which can make for an exciting finish. This means that the boats cross the finish line in order of placement in the race. The Rating System PHRF handicaps are assigned by individuals or committees associated with specific fleets. Handicaps are assigned to a given production class considering predominant local conditions and the handicapper’s experience in handicapping similar boats. These ratings are based on observed performance and any requisite adjustments generally become evident after 5-10 races have been sailed. Scoring options include Time-on-Distance or Time-on-Time. While handicaps are assigned locally, US Sailing provides certain standards and guidelines to maintain a degree of consistency between fleets.
Additionally, as a member benefit, US Sailing develops the PHRF Fleet Handicap Book– a compilation of yacht base handicaps by class from more than 60 PHRF Fleets throughout North America listing over 5000 classes. The Offshore Office also offers administrative and handicapping services to participating PHRF Fleets. The term “Performance Handicap Racing Fleet (PHRF)” is protected by copyright for use by US Sailing and sanctioned regional fleets. Local Rules Each region has its own variation on PHRF rules and ratings, based on local conditions. Here is an example of the Northern California PHRF Base Rating Report SAMPLE, the base rating is listed by boat in alphabetical order.
The following is a sample of the Northern California rules for determining PHRF SAMPLE. If a class of yachts is strongly outperforming their assigned rating, the PHRF committee of a region can adjust the handicap as they see appropriate. Hence PHRF is an observational rule as opposed to the IMS pure measurement rule. This prevents classes of yacht within a region from obtaining mistakenly favorable PHRF ratings and compromising the competitive nature of a fleet. All regions have slightly differing procedures for making changes but all have the same objective - keeping the racing fair for all.
Individual boats The process of determining the PHRF for an individual boat begins with the regional PHRF rating, then adjustments are made for the individual attributes of the boat such as: modifications to the rig, the size of the largest foresail (jib or genoa), the size of the spinnakers, type of keel (full, fin, wing etc. ), the number of blades on the propeller, and the style of the propeller (fixed, folding, feathering). Significant modifications to the mainsail can cause penalties. Flaws No rating rule is perfect and all have flaws. Alleged flaws to the PHRF rating system include: An assumption that a rated boat is in Bristol racing condition - with a clean bottom, new sails, and an experienced crew.