text:
Hanging in the United States
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Hanging has been practiced legally in the United States of America from the nation's birth, up to 1972 when the United States Supreme Court found capital punishment to be in violation of the eighth amendment to the United States Constitution.[1] Four years later, the Supreme Court overturned its previous ruling, and in 1976, capital punishment was again legalized in the United States.[2] Hanging has returned to the states of Washington and New Hampshire.[3][4]
Contents
[hide]
1 Colonial America
2 1776 – 1830
3 1830 – 1920
3.1 The Wild West
3.2 Lynching
3.3 The Electric Chair
4 1921 – Present
5 References
Colonial America[edit]
In 1623 Daniel Frank was condemned to hang for theft in the Jamestown colony. It was the first hanging to take place in that part of the British North American colonies that eventually broke away as the United States. Frank is actually not the very first entry in Watt Espy’s encyclopedic 15,000-plus catalogue of “American” executions — he’s the second. In 1608, George Kendall had been shot for a mutinous plot, also in Jamestown, Virginia. We don’t have a firm date for that event. It seems that Kendall was suspected of spying for the Spanish against the interests of the British explorers and settlers. (http://www.executedtoday.com/2012/08/05/1623-daniel-frank-the-first-hanging-in-the-usa/) John Billington is thought to be one of the first men to be hanged in New England. Billington was convicted of murder in September 1630 after he shot and killed John Newcomen.[5]
Execution of Ann Hibbins on Boston Common, June 19, 1656. Sketch by F.T. Merril, 1886
During the Salem witch trials, most of the men and women convicted of witchcraft were sentenced to public hanging. It is estimated that seventeen women and two men were hanged as a result of the trials. However, modern scholars maintain that thousands of individuals were hanged for witchcraft throughout the American colonies.[6]
Hangings during the colonial era of America were mostly performed publicly in order to deter the behavior for which the criminals were hanged. Thousands of townspeople would gather around the gallows to hear a sermon and observe the hangings of convicted criminals. Such experiences were deemed as good lessons on morality for the children and townspeople.
1776 – 1830[edit]
Following the American Revolution led by the Continental Congress and the subsequent ratification of the United States Constitution, the Bill of Rights was signed into law and became the first ten amendments to that constitution. The eighth amendment of the Bill of rights states that cruel and unusual punishment shall not be inflicted. During this time period, hanging was not considered to be cruel and unusual, yet almost two hundred years later, this amendment was key to the temporary suspension of capital punishment by the Supreme Court. Today, the eighth amendment is still an essential argument employed by those in favor of abolishing capital punishment.
During this time of political unrest, some prominent members of society believed that capital punishment such as hanging ought to be abolished. One such man, Benjamin Rush, published a pamphlet in 1797 speaking out against the death penalty. In the pamphlet Rush often raises religious arguments such as, “The punishment of murder by death is contrary to reason, and to the order and happiness of society, and contrary to divine revelation.” [7] Individuals like Benjamin Rush laid the foundation for death penalty abolition movements that are still carried on today.
Hangings were common during the early part of the nineteenth century. Just as in Colonial America, hangings were still conducted in public for all to witness. However, unlike the colonial era, men and women were no longer hanged for offenses like adultery. In fact, by 1794 Pennsylvania only hanged criminals convicted of murder in the first degree.[8] In New York, the number of capital crimes were brought down from nineteen to just two. By 1815, other states like Vermont, Virginia, Kentucky, Maryland, New Hampshire, and Ohio also drastically decreased their number of capital offenses, usually lowering the number down to just two or three.[9] Because of these changes in law, hangings began to decrease in some regions of the country. However, some states went in the opposite direction. Most of the southern states in addition to Rhode Island, Massachusetts, New Jersey, and Connecticut actually raised their number of capital offenses.[9]
1830 – 1920[edit]
Starting in the early 1830s, public hangings were considered by many to be cruel. Many others considered them a major community event and still others took to them as an opportunity to become unruly as with modern sporting events: “Sometimes tens of thousands of eager viewers would show up to view hangings; local merchants would sell souvenirs and alcohol. Fighting and pushing would often break out as people jockeyed for the best view of the hanging or the corpse! Onlookers often cursed the widow or the victim and would try to tear down the scaffold or the rope for keepsakes. Violence and drunkenness often ruled towns far into the night after 'justice had been served.” [10] By 1835, five states including, Pennsylvania, New York, New Jersey, Rhode Island, and Massachusetts enacted laws providing for private hangings. Fourteen years later in 1849, fifteen more states also enacted such laws. However, most opponents of hanging opposed these laws. These abolitionists believed that public execution would eventually lead the general population to cry out against the capital punishment, eventually putting an end to hanging in the United States.
In 1862 President Abraham Lincoln sanctioned the hanging of 39 Sioux Indians convicted of murdering white settlers in Mankato, Minnesota.[11] This mass execution remains the largest of its kind in United States history.[10]
Four people were hanged for their participation in the assassination of Abraham Lincoln. Mary Surratt, one of the four, was the first woman to receive capital punishment by the United States federal government.
The Wild West[edit]
As the United States began to expand west, most new states favored the death penalty, and hanging continued to be the most popular means of execution. In addition, disregarding the trend set by many northern states, these states would hang criminals for offenses like robbery and rape. Because of the abundant lawlessness and crime in the Wild West, judges were strict, and hangings were commonplace.[12] If a judge was particularly ruthless, he became known as a hanging judge. Isaac Parker, perhaps the best-known hanging judge, sentenced 160 men to death by hanging. However, of those 160, only 79 were actually executed. The remaining 81 either appealed, died in jail, or were pardoned. Though at the time, these judges were criticized for issuing so many death sentences, a few modern scholars maintain that most of the judges were honorable men trying to establish law and order in the wild American frontier.[12]
Old Sparky, the electric chair used at Sing Sing prison
Lynching[edit]
After the American Civil War, the frontier opened up, and law lagged behind, with an undetermined number of local criminals suffering Lynching, or extrajudicial hanging. In the South, tensions arising from Reconstruction led to several lynchings. Scholars estimate that 4,742 total people, mostly male, were lynched from 1882 to 1920. About 3,445 of those individuals were African American and 1,297 were white.[13]
The Electric Chair[edit]
In 1890, New York became the first state to use the electric chair as a means of execution. Though it took two surges of electricity lasting nearly two minutes to kill William Kemmler, the electric chair replaced hanging as the most efficient and preferred method of execution in the United States. This was the first time in United States history that a method other than hanging was the leading means of execution.[14]
1921 – Present[edit]
Since the introduction of the electric chair in 1890, the number of hangings have steadily decreased. In 1936 Rainey Bethea was hanged after he was convicted of rape. Over 20,000 people came to Owensboro, Kentucky to witness Bethea's execution. Many scholars maintain that the unprecedented nationwide attention and coverage the execution received caused the United States to outlaw public executions. Therefore, Bethea was the last individual to be hanged publicly in the United States.[15] Since Bethea's execution, states had been eliminating hanging as means of execution altogether, until the death penalty was de facto suspended in the late 1960s. Delaware's Billy Bailey was the last criminal to be hanged in the United States. Bailey was just the third criminal to be hanged since 1965, the other two being Charles Rodman Campbell and Westley Allan Dodd.[16] Since the death penalty was restored in 1976, the states of Washington and New Hampshire have returned to hanging as an available method of execution.
References[edit]
Jump up ^ FURMAN v. GEORGIA. The Oyez Project at IIT Chicago-Kent College of Law. 11 December 2011. <https://www.oyez.org/cases/1970-1979/1971/1971_69_5003>.
Jump up ^ GREGG v. GEORGIA. The Oyez Project at IIT Chicago-Kent College of Law. 11 December 2011. <https://www.oyez.org/cases/1970-1979/1975/1975_74_6257>.
Jump up ^ Revised Code of Washington, RCW 10.95.180 (Title 10, Chapter 10.95, Section 10.95.180) "Death penalty — How executed." Found at Washington State Legislature Official website.
Jump up ^ New Hampshire Laws, TITLE LXII: Criminal Code, Chapter 630: Homicide, Section 630:5, Procedure in Capital Murder. – Clause XIV. From statutes 1974, 34:10. 1977, 440:2. 1986, 82:1. 1990, 199:3, eff. Jan. 1, 1991. Found at General Court of New Hampshire State Official website.
Jump up ^ Bradford, William. Of Plymouth Plantation. The Vision Forum, Inc, 1999
Jump up ^ Stack, Richard A. Dead Wrong: Violence, Vengeance, and the Victims of Capital Punishment. Greenwood Publishing Group, 2006.
Jump up ^ Rush, Benjamin. Considerations on the Injustice and Impolicy of Punishing Murder by Death. Gale ECCO, 2010. Print.
Jump up ^ Stefoff, Rebecca. Furman v. Georgia: Debating the Death Penalty. New York: Benchmark Books, 2007. Print.
^ Jump up to: a b Mackey, Philip English. Voices Against Death: American Opposition to Capital Punishment, 1787-1975. New York: Burt Franklin, 1976. Print.
^ Jump up to: a b Randa, Laura E. Society’s Final Solution: A History and Discussion of the Death Penalty. University Press of America, 1997. Print.
Jump up ^ ^ “Execution of Indians in Minnesota.” The New York Times 4 Jan. 1863, p. 5. Web. 14 Dec. 2011.
^ Jump up to: a b Stolberg, Mary M. “Politician, Populist, Reformer: A Reexamination of ‘Hanging Judge’ Isaac C. Parker.” The Arkansas Historical Quarterly, Spring, 1988, Vol.47, p.3 -28. Web. 14 Dec. 2011.
Jump up ^ Lynching in America: Statistics, Information, Images. University of Missouri -Kansas City, n.d. Web. 14 Dec 2011. http://law2.umkc.edu/faculty/projects/ftrials/shipp/lynchingyear.html
Jump up ^ Guernsey, JoAnn Bren. “Death Penalty: Fair Solution or Moral Failure?” Twenty-First Century Books, 2009. Print.
Jump up ^ "The Last Public Execution in America." Natl. Public Radio. 1 May 2001. Radio.
Jump up ^ O'Shea, Kathleen. Women and the Death Penalty in the United States, 1990-1998. Praeger, 1999. Print.
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text:
Shine On You Crazy Diamond
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2012) (Learn how and when to remove this template message)
"Shine On You Crazy Diamond"
The single edit of Part I
Song series by Pink Floyd
from the album Wish You Were Here
Published
Pink Floyd Music Publishers Ltd
Released
15 September 1975
Recorded
January–July 1975
Genre
Progressive rock[1]
Length
26:00 (All parts)
13:32 (Parts I–V)
12:28 (Parts VI–IX)
3:53 (Single edit)
Label
Harvest (UK)
Columbia/CBS (US)
Songwriter(s)
David Gilmour, Roger Waters, Richard Wright [2]
Producer(s)
Pink Floyd
"Shine On You Crazy Diamond" is a nine-part Pink Floyd composition written by David Gilmour, Roger Waters, and Rick Wright. It appeared on Pink Floyd's 1975 concept album Wish You Were Here.
Contents
[hide]
1 Background
2 Recording
3 The Syd Barrett incident
4 Composition
4.1 Parts I–V
4.2 Parts VI–IX
5 Live performances
6 Personnel
7 Edited versions
8 Releases
9 References
10 External links
Background[edit]
The song was conceived and written as a tribute and remembrance to their former band member Syd Barrett; the title of the song itself can also be seen as a reference to Barrett (Shine On You Crazy Diamond). The work was first performed on their 1974 French tour and recorded for their 1975 concept album Wish You Were Here. It was intended to be a side-long composition (like "Atom Heart Mother" and "Echoes") but was ultimately split into two sections and used to bookend the album, with new material composed that was more relevant to the album and to the situation in which the band found themselves.[3]
Recording[edit]
Bassist Roger Waters commented, as the sessions were underway, that "at times the group was there only physically. Our bodies were there, but our minds and feelings somewhere else."[4] Eventually an idea was raised to split the epic in two, Parts I–V and Parts VI–IX.[4]
According to guitarist David Gilmour and drummer Nick Mason on the Wish You Were Here episode of In the Studio with Redbeard, Pink Floyd recorded a satisfactory take of "Shine On You Crazy Diamond", but because of a new mixing console which was installed at Abbey Road Studios, it needed to be re-recorded because excessive 'bleed' from other instruments could be heard on the drum tracks.[5]
On part 3, a piano part seems to have been added "live" to the final mix, making it absent from multitrack masters. That part was re-recorded at British Grove Studios by pianist Richard Wright during the multi-channel mix used for the album Immersion Edition and the SACD release.[6]
We originally did the backing track over the course of several days, but we came to the conclusion that it just wasn't good enough. So we did it again in one day flat and got it a lot better. Unfortunately nobody understood the desk properly and when we played it back we found that someone had switched the echo returns from monitors to tracks one and two. That affected the tom-toms and guitars and keyboards which were playing along at the time. There was no way of saving it, so we just had to do it yet again.
— David Gilmour, An Interview with David Gilmour by Gary Cooper[5]
With the invention of 16-track and 2-inch tape there was the belief for quite a while that there would be something wrong with editing tape that big. Consequently whenever we played these pieces, they had to be played from beginning to end. Particularly for Roger [Waters] and myself being the rhythm section, which would be laid down first, this was [chuckling] a fairly tough business because the whole thing had to be sort of right.
— Nick Mason, In the Studio with Redbeard
The Syd Barrett incident[edit]
Syd Barrett, visiting Abbey Road Studios on 5 June 1975
One day during recording, Barrett (now heavyset, with a completely shaved head and eyebrows) wandered into the studio (although Mason has since stated that he is not entirely certain whether "Shine On You Crazy Diamond" was the particular work being recorded when Barrett was there). Because of his drastically changed appearance, the band did not recognize him for some time. When they eventually determined the withdrawn man in the corner was Barrett, Roger Waters allegedly became so distressed about his appearance he was reduced to tears.[3] Someone asked to play the suite again for Barrett and he said a second playback was not needed when they had just heard it. When asked what he thought of the song, Barrett said it sounded a "bit old". He subsequently slipped away during celebrations for Gilmour's wedding to Ginger Hasenbein, which took place later that day.[7] Gilmour confirmed this story, although he could not recall which composition they were working on when Barrett showed up.[8][9]
Roger was there, and he was sitting at the desk, and I came in and I saw this guy sitting behind him – huge, bald, fat guy. I thought, "He looks a bit... strange..." Anyway, so I sat down with Roger at the desk and we worked for about ten minutes, and this guy kept on getting up and brushing his teeth and then sitting – doing really weird things, but keeping quiet. And I said to Roger, "Who is he?" and Roger said "I don't know." and I said "Well, I assumed he was a friend of yours," and he said "No, I don't know who he is." Anyway, it took me a long time, and then suddenly I realised it was Syd, after maybe 45 minutes. He came in as we were doing the vocals for "Shine On You Crazy Diamond", which was basically about Syd. He just, for some incredible reason picked the very day that we were doing a song which was about him. And we hadn't seen him, I don't think, for two years before. That's what's so incredibly... weird about this guy. And a bit disturbing, as well, I mean, particularly when you see a guy, that you don't, you couldn't recognize him. And then, for him to pick the very day we want to start putting vocals on, which is a song about him. Very strange.
— Richard Wright[10]
Composition[edit]
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As neither the original 1975 vinyl release nor the CD re-release actually delineate the various parts precisely, the make-up of the parts below is based on a comparison of the recorded timings with the identifications in the published sheet music. Without benefit of the publication, it is easy to mistake Parts I and II as Part I, Part III as Part II, and so on, with the extensive postlude of Part V (at 11:10) as the beginning of the fifth section.
Parts I–V[edit]
Part I (Wright, Waters, Gilmour; from 0:00 to 3:54) begins with the fade-in of a dense G-minor synthesizer pad created with an EMS VCS 3, ARP Solina, a Hammond organ and the sounds of a wine glass harp (recycled from an earlier project known as Household Objects). This is followed by Wright's Minimoog passages followed by a lengthy, bluesy guitar solo played by Gilmour on a Fender Stratocaster (neck pickup) using a heavily compressed sound and reverb. The harmony changes from G minor to D minor at 2:29, then to C minor, and back to G minor. This is repeated, and the part ends with the synth pad fading into the background. During this section some very faint conversation in the studio can be heard in the left channel.
Four Note Theme
The main four note guitar theme that sets the tempo for the next section of the epic.
Problems playing this file? See media help.
Part II (Gilmour, Waters, Wright; from 3:54 to 6:27)[11] begins with a four-note theme (B♭, F, G, E) (known informally as "Syd's theme") repeated throughout much of the entire section. This theme leads the harmony to C major (in comparison to the use of C minor in Part I). Mason starts his drumming and Waters his bass playing after the fourth playing of the four-note theme, which is the point where the riffs get into a fixed tempo, in 6/8 time. The chord leads back to G minor (as from Part I), followed by E♭ major and D major back to a coda from G minor. This part includes another solo by Gilmour.
Part III (Waters, Gilmour, Wright; from 6:27 to 8:42) begins with a Minimoog solo by Wright accompanied by a less complex variation of Mason's drums from Part II. This part includes Gilmour's third guitar solo, in the G natural minor scale, and ends with a fade into Part IV. When performed on the Animals tour, Gilmour added distortion to the guitar for this solo. This solo is often dropped in live performances while the rest of part III is still played—notably on Delicate Sound of Thunder and Pulse.
Part IV (Gilmour, Wright, Waters; from 8:42 to 11:10) Waters sings his lyrics, with Gilmour, Wright and female backing vocalists Venetta Fields and Carlena Williams on harmonies.
Part V (Waters, Gilmour, Wright; from 11:10 to 13:32) Part IV is followed by two guitars repeating an arpeggio variation on the main theme for about a minute with the theme of Part II. A baritone saxophone overlays the sounds, played by Dick Parry. The saxophone changes from a baritone to a tenor saxophone, as a time signature switch from 6/8 to 12/8 creates the feeling that the tempo doubles up. The sax solo is accompanied by a Solina string synthesizer keyboard sound. A machine-like hum fades in with musique concrète and segues into "Welcome to the Machine".
Parts VI–IX[edit]
Part VI (Wright, Waters, Gilmour; from 0:00 to 4:59) begins with a howling wind from the preceding song "Wish You Were Here".[12] As the wind fades away, Gilmour comes in on the bass guitar. Waters adds another bass with a continuing riff pattern. Then Wright comes in playing an Solina String Ensemble Synthesizer and after a few measures, several rhythm guitar parts (Gilmour played the power chord rhythm part using his black Fender Stratocaster before switching to lap steel guitar for the solo in live performances from 1974–77. Snowy White did the rhythm guitar parts on this track on the band's 1977 "In the Flesh" tour) and drums come in, as well as a Minimoog synthesizer to play the opening solo. At the two-minute mark, Wright's Minimoog and Gilmour's lap steel guitar play notes in unison before Gilmour does a lap steel guitar solo (the lap steel had open G tuning with the high E string tuned to E) with some counterpointing from Wright's synthesizers. It lasts for about three minutes (four when played on the band's "In the Flesh" tour) and Gilmour played each section an octave higher than the previous one. The highest note he hit on the lap steel/slide solo was a B♭6, followed by a reprise of the guitar solo from Part IV (which was played by White live on Pink Floyd's 1977 tour so Gilmour could switch back to his Fender Stratocaster). The song then switches time signatures to 6/8 (found in Parts II–V), giving the appearance of a slower tempo and reintroducing the vocals.
Part VII (Waters, Gilmour, Wright; from 4:59 to 6:09) contains the vocals, in a similar vein to Part IV though half the length, before segueing into Part VIII. Waters again sings the lead vocals with Gilmour, Wright, Venetta Fields and Carlena Williams providing backing vocals.
Part VIII (Gilmour, Wright, Waters; from 6:09 to 9:07) brings in Waters to play a second electric guitar for a high-noted sound riff while Gilmour plays the arpeggio riff that bridges Parts VII and VIII. A solid progression of funk in 4/4 plays for about two minutes before very slowly fading out as a single sustained keyboard note fades in around the nine-minute mark. Throughout this section, Wright's keyboards dominate, with the use of a Minimoog synthesizer, and a Hohner Clavinet. Originally the section clocked in at 8 minutes before it was edited down to three minutes on the final version (the unedited Part 8 without the electric piano and Minimoog overdubs surfaced on a bootleg called The Extraction Tapes). When performed on the "In the Flesh" tour in 1977, the section would be extended to between 5 and 10 minutes as it would feature guitar solos from Gilmour (which would vary from funky power chords to a proper solo as the Animals tour progressed) and Snowy White. In addition to their guitar solos, there was also occasional trading of leads from Gilmour and White instead of the keyboard sounds as heard on record.
Part IX (Wright, from 9:07 to 12:28) is played in 4/4 time. Gilmour described Part IX in an interview[which?] as "a slow 4/4 funeral march... the parting musical eulogy to Syd".[13] Again, Wright's keyboards dominate, with little guitar input from Gilmour. Mason's drums play for much of this part, and the keyboards play for the final minute before fading out. On the fade-out, a short keyboard part of the melody of "See Emily Play" (at 12:12), one of Barrett's signature Pink Floyd songs, can be heard. Part IX, and the album, ends in G major, a Picardy third. When performed early on the Animals tour, the part begins with the piano (as heard on record) then the synth solo is played (as on record) by Dick Parry with some slide guitar accompaniment by Snowy White would then change to half synthesizer/half harmony lead guitar solo for the remainder of European leg and first US leg. For the final US leg, after the piano began it was a bluesy guitar solo from Gilmour then harmony guitars from Gilmour and White (Gilmour playing the highest parts) and then ending like on record. This was the final solo writing credit Wright would receive in Pink Floyd during his lifetime, as well as his last writing credit of any kind until The Division Bell in 1994.
Live performances[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2013) (Learn how and when to remove this template message)
The song series was first performed in 1974 as "Shine On",[14] during the band's French tour in June that year. It was first introduced as "Shine On You Crazy Diamond" on the British tour in November 1974. The set was originally performed as one whole suite with some of the parts differing from the album versions with samplings of Barrett's solo song "Dark Globe" during the opening of the performance. The version from the British tour was included on the 2011 Experience and Immersion editions of Wish You Were Here. The multi-part version of "Shine On You Crazy Diamond" was first performed on the band's 1975 North American tour with "Have a Cigar" thrown into the middle of the piece. The 1975 versions were close to the final versions except parts one and nine were still not refined yet. The band performed the whole nine-part "Shine On You Crazy Diamond" as part of the Wish You Were Here portion of their 1977 In the Flesh Tour, with extra musicians White on guitar and backing vocals and Parry on saxophones.
Parts I–V of "Shine On You Crazy Diamond" became a staple of Pink Floyd's live performances from 1987–94. The track opened shows for most of the A Momentary Lapse of Reason tour of 1987–89 and the tour closing performance at Knebworth in 1990 with Candy Dulfer on saxophone.[15] The first eleven performances had "Echoes" as the show opener before the band proceeded to play all of A Momentary Lapse of Reason in the rest of the first half in a slightly different sequence to the album. A condensed edition of the track (without the Gilmour solo in Part III) would then open the second half of the shows on the group's 1994 The Division Bell tour (documented on Pulse) except on shows where all of The Dark Side of the Moon was performed when "Shine On You Crazy Diamond" opened the first half and in the last month and a half of the tour the band added part VII to Parts I–V. A similar version was also played during David Gilmour's Rattle That Lock Tour in 2015 with the according screen film on display.
Gilmour performed almost the whole suite (save part IX) at his 2001 and 2002 semi-unplugged concerts (which were documented on his 2002 David Gilmour in Concert video film) and has performed Parts I–II and IV–V (in a new arrangement) on his 2006 On an Island solo tour. Part III was omitted and Parts I and II were simplified and more guitar-focused. Gilmour performed Parts I–V on his Live in Gdańsk album on disc two and on the DVD in the four-disc edition of the album. The five-disc edition and the online downloads available in the three and four-disc editions include Parts I–V recorded in Venice and Vienne in 2006. In many of his performances, solo and with Pink Floyd, Gilmour alters the vocal melody to avoid the higher notes that were originally sung by Waters.
Waters has also performed the epic on his 1999 and 2000 tours documented on his In the Flesh – Live album and DVD which was a condensed parts I, II, IV, VI, VII, and IX. Part VI on these performances had a lap steel solo from Jon Carin then guitar solos from Doyle Bramhall II and White. Then on Waters' 2002 tour, he played all nine parts like on record (although part VIII was shortened). An abridged version of parts I–V was performed on Waters' 2006–07 The Dark Side of the Moon Live tour.
Personnel[edit]
Roger Waters – bass guitar, lead vocals, additional electric guitar on Part VIII, glass harp
David Gilmour – electric guitars, backing vocals, lap steel guitar, additional bass guitar on Part VI, EMS Synthi AKS, glass harp
Richard Wright – Hammond organ, ARP String Ensemble, Minimoog, quadruple-tracked EMS VCS 3, clavinet and electric piano on Part VIII, Steinway piano on Parts III and IX, glass harp, backing vocals, Bösendorfer piano on the multi-channel re-release (recorded in 2008).[6]
Nick Mason – percussion
with:
Dick Parry – baritone and tenor saxophones
Carlena Williams – backing vocals
Venetta Fields – backing vocals
Edited versions[edit]
Three different edited versions of the composition have appeared on compilation albums:
A Collection of Great Dance Songs (Parts I, II, IV, VII)
The version on this compilation album was cut significantly. Parts III, V, VI, VIII and IX were dropped completely. Parts IV and VII are linked by the guitar solo from earlier in Part IV. Lastly, the riff that links Parts VII and VIII is repeated several times as the song segues into the introductory radio passage from "Wish You Were Here".
Echoes: The Best of Pink Floyd (Parts I–VII)
The version on this compilation album was also cut, but less significantly. The guitar solo on Part III was dropped. Part VI was shortened. Parts VIII and IX were dropped completely. Linking Parts V and VI is the sound of wind. These are the same wind effects used to bridge "Wish You Were Here" to Part VI of "Diamond" on the original LP. Finally, the riff that links Parts VII and VIII is repeated several times as the song segues into the introductory passage of clocks of "Time".
A Foot in the Door – The Best of Pink Floyd (Parts I–V)
This version was also cut. Parts VI–IX were dropped completely. Part I was shortened. The guitar solo on Part III was dropped. The saxophone on Part V has an early fade-out. Finally, the machine-like hum that segues into "Welcome to the Machine" in the original album was dropped, the song simply stops and "Brain Damage" begins.
Releases[edit]
"Shine On You Crazy Diamond" features on all the below releases:
Albums
Wish You Were Here (Original release) – Pink Floyd, 1975
A Collection of Great Dance Songs (Edited version) – Pink Floyd, 1981[16]
Delicate Sound of Thunder (Live version, Parts I–V) – Pink Floyd, 1988
PULSE (Live version, Parts I–V and VII) – Pink Floyd, 1995
In the Flesh – Live (Live version, Parts I–VIII) – Roger Waters, 2000
Echoes: The Best of Pink Floyd (Edited version) – Pink Floyd, 2001[17]
Live in Gdańsk (Live version, Parts I–II, IV–V) – David Gilmour, 2008
Wish You Were Here 2011 remastered "Experience" and "Immersion" sets (early live version recorded in November 1974) – Pink Floyd, 2011
A Foot in the Door – The Best of Pink Floyd (Edited version, Parts I–V) – Pink Floyd, 2011
Video/DVD/BD
Delicate Sound of Thunder (VHS, Part I only) – Pink Floyd, 1988
PULSE (VHS and DVD, Parts I–V and VII) – Pink Floyd, 1995 (VHS) 2006 (DVD)
In the Flesh – Live (DVD, Parts I–VIII) – Roger Waters, 2000
David Gilmour in Concert (DVD, Parts I–II, IV–V and VI–VII, reprise of Part V) – David Gilmour, 2002
Remember That Night (DVD and BD, Parts I–II and IV–V) – David Gilmour, 2007
Live in Gdańsk 3-disc, 4-disc and deluxe editions (Parts I–II, IV–V) – David Gilmour, 2008
References[edit]
Jump up ^ Murphy, Sean (22 May 2011). "The 25 Best Progressive Rock Songs of All Time". PopMatters. Retrieved 31 July 2016.
Jump up ^ "Shine On You Crazy Diamond : Sheet Music" (PDF). Sheets-piano.ru. Retrieved 2016-07-27.
^ Jump up to: a b "WYWH Interview w/ Roger". Ingsoc.com. Retrieved 2016-07-27.
^ Jump up to: a b Macan, Edward (1997). Rocking the Classics: English Progressive Rock and the Counterculture (illustrated ed.). Oxford University Press. p. 114. ISBN 9780195098877.
^ Jump up to: a b "Wish You Were Here songbook". Pink-floyd.org. Retrieved 2016-07-27.
^ Jump up to: a b 4 years ago (2012-04-26). "The Missing Piano on Vimeo". Vimeo.com. Retrieved 2016-07-27.
Jump up ^ "Nothing Found For Wiki Total_Guitar_1996 404". Neptunepinkfloyd.co.uk. Retrieved 2016-07-27.
Jump up ^ "spettacoli_e_cultura » Il requiem di David Gilmour "I Pink Floyd? Sono finiti"". Repubblica.it. 2006-02-03. Retrieved 2016-07-27.
Jump up ^ "Archived copy". Archived from the original on 26 August 2006. Retrieved 2006-08-19.
Jump up ^ Kendall, Charlie (1984). "Shades of Pink - The Definitive Pink Floyd Profile". The Source Radio Show. Retrieved 27 July 2011.
Jump up ^ "Classic tone: Shine On You Crazy Diamond |". Gilmourish.com. Retrieved 2016-07-27.
Jump up ^ Macan, Edward (1997). Rocking the Classics: English Progressive Rock and the Counterculture (illustrated ed.). Oxford University Press. p. 123. ISBN 9780195098877.
Jump up ^ "Pink Floyd - Wish You Were Here (album review 5)". Sputnikmusic.com. 2012-01-21. Retrieved 2016-07-27.
Jump up ^ Carruthers, Bob (2011). Pink Floyd – Uncensored on the Record. Coda Books Ltd. ISBN 978-1-908538-27-7.
Jump up ^ "Live at Knebworth 1990". Live at Knebworth DVD Review. Pink Floyd News Resource. Retrieved 5 September 2008. As far as the Floyd selection here, not a bad choice - a nice performance of "Shine On", with a lovely solo from the Dutch saxophonist Candy Dulfer, and "Run Like Hell", which ended the concert.
Jump up ^ Ruhlmann, William. "A Collection of Great Dance Songs - Pink Floyd : Songs, Reviews, Credits, Awards". AllMusic. Retrieved 30 June 2013.
Jump up ^ "Echoes: the album credits". Pink Floyd. Archived from the original on 2 June 2010. Retrieved 20 June 2013.
External links[edit]
Wikiquote has quotations related to: Wish You Were Here (Pink Floyd album)
William Ruhlmann review of Shine On You Crazy Diamond
Hubble Ultra Deep Field video featuring Part 1 of the song
Lyrics of this song at MetroLyrics
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"Welcome to the Machine"
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"Have a Cigar"
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"Shine On You Crazy Diamond (Parts VI–IX)"
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Port and starboard
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Image from the Bayeux Tapestry showing a longship with a steering oar on the starboard side[1]
Diagram showing the schematic view of a ship's position lights.
Port and starboard are nautical and aeronautical terms of orientation that deal unambiguously with the structure of vessels and aircraft. Their structures are largely bilaterally symmetrical, meaning they have mirror-image left and right halves if divided long-ways down the middle.
To understand which is which, when a person is facing the bow on a vessel or aircraft, that is, forward towards the direction the vehicle is heading when underway, the port side is the left-hand side and the starboard side is the right-hand side. However, port and starboard never change; they are unambiguous references that are not based on the relative directions of an observer, just like the cardinal directions of east and west don't change no matter the direction a person faces.[2][3]
Contents
1 Etymology
2 The importance of these standard terms
3 See also
4 References
5 External links
Etymology[edit]
The term starboard derives from the Old English steorbord, meaning the side on which the ship is steered. Before ships had rudders on their centrelines, they were steered with a steering oar at the stern of the ship on the right hand side of the ship, because more people are right-handed.[2] Since the steering oar was on the right side of the boat, it would tie up at the wharf on the other side. Hence the left side was called port.[4]
Formerly, larboard was used instead of port. This is from Middle-English ladebord and the term lade is related to the modern load.[3] Larboard sounds similar to starboard and in 1844 the Royal Navy ordered that port be used instead.[5] The United States Navy followed suit in 1846.[6] Larboard continued to be used well into the 1850s by whalers.[citation needed]
The importance of these standard terms[edit]
The navigational treaty convention, the International Regulations for Preventing Collisions at Sea—for instance, as appears in the Merchant Shipping (Distress Signals and Prevention of Collisions) Regulations of 1996 (and comparable US documents from the US Coast Guard),[7]—sets forth requirements for maritime vessels to avoid collisions, whether by sail or powered, and whether a vessel is overtaking, approaching head-on, or crossing.[7]:11-12 To set forth these navigational rules, the terms starboard and port are absolutely essential, and to aid in in situ decision-making, the two sides of each vessel are marked, dusk to dawn, by navigation lights, the vessel's starboard side by green and its port side by red.[7]:15 Aircraft are lit in the same way.
See also[edit]
Glossary of nautical terms
Anatomical terms of location, another example of terms of directionality that do not depend on the location of the observer for things that are bilaterally symmetrical
Handedness
Laterality
Proper right and proper left
Reflection symmetry
Sinistral and dextral
Direction (disambiguation)
References[edit]
Jump up ^ Grape, Wolfgang (1994). The Bayeux Tapestry: Monument to a Norman Triumph. Art and Design Series. Munich, DEU: Prestel. p. 95. ISBN 978-3791313658. Retrieved February 2, 2017.
^ Jump up to: a b NOS Staff (December 8, 2014). "Why Do Ships use "Port" and "Starboard" Instead of "Left" and "Right?"". NOAA National Ocean Service (NOS) Ocean Facts. Washington, DC: U.S. Department of Commerce, National Oceanic and Atmospheric Administration (NOAA). Retrieved February 2, 2017 – via OceanService.NOAA.gov.
^ Jump up to: a b RMG Staff (February 2, 2017). "Port and Starboard: Why do Sailors say 'Port' and 'Starboard', for "Left" and "Right?"". Discover: Explore by Theme. Greenwich, England, UK: Royal Museums Greenwich. Retrieved February 2, 2017 – via RMG.co.uk.
Jump up ^ Administration, US Department of Commerce, National Oceanic and Atmospheric. "Unlike left and right, port and starboard refer to fixed locations on a vessel". oceanservice.noaa.gov. Retrieved 2017-10-12.
Jump up ^ Norie, John William; Hobbs, J. S. (1847) [1840]. Sailing directions for the Bay of Biscay, including the coasts of France and Spain, from Ushant to Cape Finisterre ("A new ed., rev. and considerably improved" ed.). C. Wilson. p. 1. OCLC 41208722. Retrieved 7 February 2010. An order, recently issued by the Lords Commissioners of the Admiralty, states, that in order to prevent mistakes, which frequently occur from the similarity of the words starboard and larboard, in future, the word port is to be substituted for larboard, in all Her Majesty's ships or vessels.
Jump up ^ George Bancroft (February 18, 1846). "Port and Starboard: General Order, 18 February 1846". General Orders. Washington, DC: US Navy, Naval History and Heritage Command (NHHC). Retrieved February 2, 2017 – via History.Navy.mil.
^ Jump up to: a b c MCA Staff (2004) [1996]. The Merchant Shipping (Distress Signals and Prevention of Collisions) Regulations 1996 (PDF). Southampton, ENG: Crown Department of Transport, Maritime and Coastguard Agency (MCA). Retrieved 2 February 2017.
External links[edit]
The dictionary definition of bæcbord at Wiktionary
The dictionary definition of larboard at Wiktionary
The dictionary definition of starboard at Wiktionary
The dictionary definition of port at Wiktionary
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text:
Ride the bus
From Wikipedia, the free encyclopedia
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This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2007) (Learn how and when to remove this template message)
Ride the bus
Type
Drinking
Cards
52
Deck
Anglo-American
Play
Clockwise
Card rank (highest to lowest)
Ace(A)-Two(2)
Playing time
15 minutes
Ride the bus is a drinking game played through using a standard pack of cards. The object of the game is to have the fewest cards at the end of the round.
Contents
[hide]
1 Setup
1.1 Diamond
1.2 Triangle
2 Deal
2.1 Alternate Dealing Pattern
3 "Riding the Bus"
4 External links
Setup[edit]
The first part of the game is for the dealer to set up the table of cards, called The Bus. This can be done in two ways;
Diamond[edit]
This method requires 9 cards, placed in a diamond pattern of 1,2,3,2,1 cards, so that the start and end of the Bus are shorter than the center. If there are eight people, you must arrange an extra row.
Triangle[edit]
This requires placing 10 cards face down on the table in a non-overlapping triangle. The triangle consists of 4, 3, 2, and 1 card per layer, with the apex facing the dealer.
Deal[edit]
The dealer deals four cards to each player, beginning on their left. Remaining cards are left aside in the pile. The pile is left aside as it will be used at the end of the round.
Alternate Dealing Pattern[edit]
The dealer deals cards to each player in 5 rounds and each time the player gets the answer wrong, he/she must drink:
Player must guess the colour of the card (black or red).
Player must guess the suit of the card (spades, clubs, diamonds, hearts).
Player must guess whether the card is higher, lower, or between the previous two cards.
Player must guess whether the card will be the same or different face value than the previous cards received.
"Riding the Bus"[edit]
The dealer then turns a card in the furthest row of the Bus. All players with a card with the same face value may choose to play as many as they have and then discard the played cards. If a player has a playable card, they nominate any other player to take a drink of the victim's choice. If the card turned over was from the bottom row (4 cards), the player with a playable card can nominate another player to take one drink. Each successive row increases the amount of drinks the nominated player can be forced to take (or the drinks can be distributed amongst several players at the player with the playable card's discretion). Ex. If a player with a playable card plays his/her card in the last row of the bus containing only 1 card, the player can nominate 1 player to take 4 drinks or nominate several players to take a drink.
Play continues with the Dealer gradually showing every card in the Bus, being sure to empty each row before uncovering the next.
The game ends once the card in the bottom row of the Bus has been acquired. The player with the most cards remaining will continue playing from the beginning using the alternate deal until he/she guesses the answer correct.
External links[edit]
"Game Plan: Ride the Bus", 9/30/05, The Daily Orange
"Drinking Games Rules: Ride The Bus"
"Ride the Bus to Hell"
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Ride_the_bus&oldid=676365095"
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