text: In the first six months of Operation Barbarossa, few Germans were captured by Red Army forces. After the Battle of Moscow and the retreat of the German forces the number of prisoners in the Soviet prisoner of war camps rose to 120,000 by early 1942. The German 6th Army surrendered in the Battle of Stalingrad, 91,000 of the survivors became prisoners of war raising the number to 170,000 in early 1943. 85,000 died in the months following their capture at Stalingrad, with only approximately 6,000 of them lived to be repatriated after the war.


title: German prisoners of war in the Soviet Union

text: As the desperate economic situation in the Soviet Union eased in 1943, the mortality rate in the POW camps decreased. At the same time POWs became an important source of forced labor for the Soviet economy deprived of manpower. With the formation of the "National Committee for a Free Germany" and the "League of German Officers", POWs who co-operated with the Soviets received more privileges and better rations.


text: As a result of Operation Bagration and the collapse on the southern part of the Eastern front, the number of German POWs nearly doubled in the second half of 1944. In the first months of 1945 the Red Army advanced to the Oder river and on the Balkans. Again the number of POWs rose – to 2,000,000 in April 1945.


text: A total of 2.8 million German Wehrmacht personnel were held as POWs by the Soviet Union at the end of the war, according to Soviet records. A large number of German POWs had been released by the end of 1946, when the Soviet Union held fewer POWs than the United Kingdom and France between them . With the creation of a pro-Soviet German state in the Soviet occupation zone of Germany – the German Democratic Republic – in October 1949, all but 85,000 POWs had been released and repatriated. Most of those still held had been convicted as war criminals and many sentenced to long terms in forced labor camps – usually 25 years. It was not until 1956 that the last of these "Kriegsverurteilte" ('war convicts') were repatriated, following the intervention of West German Chancellor Konrad Adenauer in Moscow.


text: The Soviet Union released Austrian prisoners at a much faster rate than the Germans, but the last Austrians were not released until 1955.


text: According to Richard Overy, Russian sources state that 356,000 out of 2,388,000 POWs died in Soviet captivity. In his revised Russian language edition of "Soviet Casualties and Combat Losses", Krivosheev put the number of German military POWs at 2,733,739 and dead at 381,067 (356,700 German nationals and 24,367 from other nations) However, Soviet era sources are disputed by historians in the West, who estimate 3.0 million German POWs were taken by the USSR and up to 1.0 million died in Soviet captivity. Waitman Wade Beorn states that 35.8% of German POWs died in Soviet custody, which is supported by other academic works.


text: According to Edward Peterson, the U.S. chose to hand over several hundred thousand German prisoners to the Soviet Union in May 1945 as a "gesture of friendship". Niall Ferguson maintains that "it is clear that many German units sought to surrender to the Americans in preference to other Allied forces, and particularly the Red Army". Heinz Nawratil maintains that U.S. forces refused to accept the surrender of German troops in Saxony and Bohemia, and instead handed them over to the Soviet Union.


text: According to a report in the "New York Times" thousands of prisoners were transferred to Soviet authorities from POW camps in the West, e.g. it is known that 6,000 German officers were sent from the West to the Sachsenhausen concentration camp which at the time was one of the NKVD special camp and from which it is known that they were transferred to POW camps. Soviet Ministry for the Interior documents released in 1990 listed 6,680 inmates in the NKVD special camps in Germany 1945–49 who were transferred to Soviet POW camps.


text: The West German government set up a Commission headed by Erich Maschke to investigate the fate of German POWs in the war. In its report of 1974 they found that 3,060,000 German military personnel were taken prisoner by the USSR and that 1,094,250 died in captivity (549,360 from 1941 to April 1945; 542,911 from May 1945 to June 1950 and 1,979 from July 1950 to 1955). According to German historian Rüdiger Overmans ca. 3,000,000 POW were taken by the USSR; he put the "maximum" number of German POW deaths in Soviet hands at 1.0 million. Based on his research, Overmans believes that the deaths of 363,000 POWs in Soviet captivity can be confirmed by the files of Deutsche Dienststelle (WASt), and additionally maintains that "It seems entirely plausible, while not provable, that 700,000 German military personnel listed as missing actually died in Soviet custody".


text: Source of figures: Rüdiger Overmans, "Soldaten hinter Stacheldraht. Deutsche Kriegsgefangene des Zweiten Weltkriege." Ullstein., 2000 Page 246


text: According to Russian historian Grigori F. Krivosheev, Soviet NKVD figures list 2,733,739 German "Wehrmacht" (Военнопленные из войск вермахта) POWs taken with 381,067 having died in captivity. The table below lists the Soviet statistics for total number of German prisoners of war reported by the NKVD as of 22 April 1956 (excluding USSR citizens who were serving in Wehrmacht). The Soviets considered ethnic Germans of Eastern Europe conscripted by Germany as nationals of their country of residence before the war, for example the Sudeten Germans were labelled as Czechs. These figures do not include prisoners from Italy, Hungary, Romania, Finland and Japan. The Soviet statistics for POW do not include conscripted civilians for the Forced labor of Germans in the Soviet Union.


text: However Austrian historian maintains that Soviet era documents indicate that 2.6 million prisoners were taken by the Soviets including 400,000 civilians.


title: Lease

text: A lease is a contractual arrangement calling for the user (referred to as the "lessee") to pay the owner (referred to as the "lessor") for the use of an asset. Property, buildings and vehicles are common assets that are leased. Industrial or business equipment are also leased. Basically a lease agreement is a contract between two parties: the lessor and the lessee. The lessor is the legal owner of the asset, while the lessee obtains the right to use the asset in return for regular rental payments. The lessee also agrees to abide by various conditions regarding their use of the property or equipment. For example, a person leasing a car may agree to the condition that the car will only be used for personal use.


title: Lease

text: A lease is a legal contract, and thus enforceable by all parties under the contract law of the applicable jurisdiction.


title: Lease

text: In the United States, since it also represents a conveyance of possessory rights to real estate, it is a hybrid sort of contract that involves qualities of a deed.


title: Lease

text: Some kinds of leases may have specific clauses required by statute depending upon the property being leased, the jurisdiction in which the agreement was signed, and the residence of the parties.


title: Lease

text: All kinds of personal property (e.g. cars and furniture) or real property (e.g. raw land, apartments, single family homes, and business property, which includes wholesale and retail) may be leased. As a result of the lease, the owner (lessor) grants the use of the stated property to the lessee.


title: Lease

text: The narrower term 'tenancy' describes a lease in which the tangible property is land (including at any vertical section such as airspace, storey of building or mine). A premium is an amount paid by the tenant for the lease to be granted or to secure the former tenant's lease, often in order to secure a low rent, in long leases termed a "ground rent". For parts of buildings it is most common for users to pay also by collateral contract, or by the same contract, a service charge which is normally an express list of services in a lease to minimize disputes over service charges. A gross lease or tenancy stipulates a rent that is for the global amount due including all service charges.


title: Lease

text: A cancelable lease (UK: determinable/breakable lease) is a lease that may be terminated (formally "determined") solely by the lessee or solely by the lessor without penalty. A mutually determinable lease can be determined by either. A non-cancelable lease is a lease that cannot be so terminated. Commonly, "lease" may imply a non-cancelable lease, whereas "rental agreement" may connote a cancelable lease.


title: Lease

text: Influenced by land registration, commonly tenancies initially granted for more than a year are referred to more simply as leases.


title: Lease

text: The lease will either provide specific provisions regarding the responsibilities and rights of the lessee and lessor, or there will be automatic provisions as a result of local law. In general, by paying the negotiated fee to the lessor, the lessee (also called a tenant) has possession and use (the rental) of the leased property to the exclusion of the lessor and all others except with the invitation of the tenant. The most common form of real property lease is a residential rental agreement between landlord and tenant. As the relationship between the tenant and the landlord is called a tenancy, this term generally is also used for informal and shorter leases. The right to possession by the tenant is sometimes called a leasehold interest. A lease can be for a fixed period of time (called the term of the lease).


title: Lease

text: A lease should be contrasted with a license, which may entitle a person (called a licensee) to use property, but which is subject to termination at the will of the owner of the property (called the licensor). An example of a licensor/licensee relationship is a parking lot owner and a person who parks a vehicle in the parking lot. A license may be seen in the form of a ticket to a baseball game or a verbal permission to sleep a few days on a sofa. The difference is that if there is a term (end time), a degree of privacy suggestive of exclusive possession of a clearly defined part, practised ongoing, recurrent payments, a lack of right to terminate save for misconduct or nonpayment, these factors tend toward a lease; by contrast, a one-time entrance onto someone else's property is probably a license. The seminal difference between a lease and a license is that a lease generally provides for regular periodic payments during its term and a specific ending date. If a contract has no ending date then it may be in the form of a "perpetual license" and still not be a lease.


title: Lease

text: Under normal circumstances, owners of property are at liberty to do what they want with their property (for a lawful purpose), including dealing with it or handing over possession of the property to a tenant for a limited period of time. If an owner has granted possession to another (i.e., the tenant) then any interference with the quiet enjoyment of the property by the tenant in lawful possession is itself unlawful.


title: Lease

text: Similar principles apply to real property as well as to personal property, though the terminology differs. The right to sub-lease may or may not be permitted to a tenant. Where it is permitted, the lease granted directly by the owner is called a "headlease", or sometimes a "master lease". Headlease tenants and their tenants who may in turn also sublet are termed "mesne landlords" from the old French for middle. The headlease tenant has no right to grant a sublease which extends beyond the end of the headlease.


title: Lease

text: To circumvent privity of estate which is the general principle flowing from privity of contract, laws exist in several jurisdictions to bind subtenants to some of the restrictive covenants (terms) of the headlease, for instance in England and Wales those which have been held by courts to touch and concern the land.


title: Lease

text: A transfer of a remaining interest in a lease, assignment, is a type of ("alienation") is often possible and an implied rights to assign exist by compulsory law or as a default position in some jurisdictions. Sharing or parting with possession can be a breach of certain leases resulting in action for forfeiture.


title: Lease

text: Enfranchisement is the obtaining of the landlord's title and is most commonly negotiated with the landlord where a tenant pays only a "ground rent". Merger is where the landlord and tenant happen to be the same and can terminate a lease where there are no subtenants in certain jurisdictions.


title: Lease

text: In the United States a lessee may negotiate a right of first refusal clause into their land or property lease giving them the right to make a purchase offer on the property before the leasor can negotiate with third-party buyers. This gives tenants the ability to commit to a piece of property before any other potential buyers have the opportunity.


title: Lease

text: Over the centuries, leases have served many purposes and the nature of legal regulation has varied according to those purposes and the social and economic conditions of the times. Leases, for example, were mainly used for agricultural purposes until the late 18th century and early 19th century when the growth of cities in industrialized countries made leases an important form of landholding in urban areas.


title: Lease

text: The modern law of landlord and tenant in common law jurisdictions retains the influence of the common law and, particularly, the "laissez-faire" philosophy that dominated the law of contract and property law in the 19th century. With the growth of consumerism, consumer protection legislation recognized that common law principles, which assume equal bargaining power between the contracting parties, create hardships when that assumption is inaccurate. Consequently, reformers have emphasized the need to assess residential tenancy laws in terms of protection they provide to tenants. Legislation to protect tenants is now common.


title: Lease

text: Consequently, Common law has treated Lease as not similar or equivalent to a common commercial contract, especially in regard to the question of whether a Lease Agreement can be terminated by notice, in the same way and manner as a usual commercial contract.


title: Lease

text: A fixed-term tenancy or tenancy for years lasts for some fixed period of time. It has a definite beginning date and a definite ending date. Despite the name "tenancy for years", such a tenancy can last for any period of time—even a tenancy for one week may be called a tenancy for years. At common law the duration did not need to be certain, but could be conditioned upon the happening of some event, (e.g., "until the crops are ready for harvest" or "until the war is over"). In many jurisdictions that possibility has been partially or totally abolished.


title: Lease

text: A fixed term tenancy comes to an end automatically when the fixed term runs out or, in the case of a tenancy that ends on the happening of an event, when the event occurs. If a holdover tenant remains on the property after the termination of the lease, s/he may become a tenant at sufferance because the lessor/landlord has suffered (or allowed) the tenant to remain as a tenant instead of evicting him or her. Such a tenancy is generally "at will," meaning the tenant or the landlord may terminate it at any time, upon the providing of proper statutory notice.


title: Lease

text: A periodic tenancy, also known as a tenancy from year to year, month to month, or week to week, is an estate that exists for some period of time determined by the term of the payment of rent. An oral lease for a tenancy of years that violates the Statute of Frauds (by committing to a lease of more than one year—depending on the jurisdiction—without being in writing) may actually create a periodic tenancy, depending on the laws of the jurisdiction where the leased premises are located. In many jurisdictions the "default" tenancy, where the parties have not explicitly specified a different arrangement, and where none is presumed under local or business custom, is a month-to-month tenancy.


title: Lease

text: Either the landlord or the tenant may terminate a periodic tenancy when the period or term is nearing completion, by giving notice to the other party as required by statute or case law in the jurisdiction. Neither landlord nor tenant may terminate a periodic tenancy before the period has ended, without incurring an obligation to pay for the months remaining on the lease. Either party must give notice if it intends to terminate a tenancy from year to year, and the amount of notice is either specified by the lease or by state statute. Notice is usually, but not always, at least one month, especially for the year-to-year periodic tenancy. Durations of less than a year must typically receive notice equal to the period of the tenancy—for example, the landlord must give a month's notice to terminate a tenancy from month to month. However, many jurisdictions have increased these required notice periods, and some have reduced the capacity of a landlord to use them drastically. For jurisdictions that have local rent control laws, a landlord's ability to terminate a residential tenancy is substantially reduced. For example, in California, the cities of Los Angeles, Santa Monica, West Hollywood, San Francisco, and Oakland have "rent stabilization ordinances" that limit a landlord's ability to terminate a periodic tenancy, among other restrictions.


title: Lease

text: The notice must also state the effective date of termination, which, in some jurisdictions, "must" be on the "last day" of the payment period. In other words, if a month-to-month tenancy began on the 15th of the month, in a jurisdiction with a "last day" requirement the termination could not be effective on the 20th of the following month, even though this would give the tenant more than the required one month's notice.


title: Lease

text: A "tenancy at will" is a tenancy which either the landlord or the tenant may terminate at any time by giving reasonable notice. Unlike a periodic tenancy, it isn't associated with a time period. It may last for many years, but it could be ended at any time by either the lessor or the lessee for any reason, or for no reason at all. Proper notice, as always with landlord/tenant law, must be given, as set forth in the state's statutes. If there is no formal lease, the tenancy at will is the one that usually exists. In rare cases it may occur where the tenancy is not for consideration. Under the modern common law, a tenancy at will without compensation is very rare, partly because it comes about only if the parties expressly agree that the tenancy is for no rent, commonly where a family member is allowed to live in a home (a nominal consideration may be required) without any formal arrangements. In most residential tenancies for a fixed term, for consideration, the tenant may not be removed except for cause, even if there is no written lease. (However, an oral lease for more than 12 months is not enforceable if the statute of frauds in the jurisdiction includes leases of more than 12 months.) Many residential leases convert to "at will" tenancy subject to 30 days' notice. Alternatively, a tenancy at will (without a specific time limit) may exist for a temporary period where a tenant wishes to take possession of a property and the landlord agrees, but there is insufficient time in which to negotiate and complete a new lease. In this case, the tenancy at will is terminated as soon as a new lease is negotiated and signed. The parties may also agree on the basis that if the parties fail to enter into a new lease within a reasonable time period, then the tenant must vacate the premises.


title: Lease

text: If a lease exists at the sole discretion of the landlord, the law of the jurisdiction may imply that the tenant is granted, by operation of law, a reciprocal right to terminate the lease at will. However, a lease that explicitly exists at the will of the tenant (e.g. "for as long as the tenant desires to live on this land") generally does not imply that the landlord may terminate the lease; rather, such language may be interpreted as granting the tenant a life estate or even a fee simple.


title: Lease

text: Subject to any notice required by law, a tenancy at will also comes to an end when either the landlord or the tenant acts inconsistently with a tenancy. For example, the changing of locks by the landlord is an indication of the end of the tenancy, as is the vacation of the premises by the tenant. However, in some jurisdictions, such as California, a landlord is prohibited from using a "self help" remedy, such as changing the locks, to terminate a tenancy, particularly a residential tenancy. Doing so may constitute a "constructive eviction" and expose the landlord to civil and criminal liability.


title: Lease

text: A "tenancy at sufferance" (sometimes called a "holdover tenancy") exists when a tenant remains in possession of a property after the expiration of a lease, and until the landlord acts to eject the tenant from the property. Although the tenant is technically a trespasser at this point, and possession of this type is not a true estate in land, authorities recognize the condition in order to hold the tenant liable for rent. The landlord may evict such a tenant at any time, and without notice.


title: Lease

text: The landlord may also impose a new lease on the holdover tenant. For a residential tenancy, this new tenancy is month to month. For a commercial tenancy of more than a year, the new tenancy is year to year; otherwise it is the same period as the period before the original lease expired. In either case, the landlord can raise the rent, so long as the landlord has told the tenant of the higher rent before the expiration of the original lease.


title: Lease

text: Formal requirements for a lease are determined by the law and custom of the jurisdiction in which real property is located. In the case of personal property, it is determined by the law and custom of the jurisdiction in which the rental agreement is made.


title: Lease

text: A tenancy for a duration greater than one year must be in writing in order to satisfy the Statute of Frauds.


title: Lease

text: The term of the lease may be fixed, periodic or of indefinite duration. If it is for a specified period of time, the term ends automatically when the period expires, and no notice needs to be given, in the absence of legal requirements. The term's duration may be conditional, in which case it lasts until a specified event occurs, such as the death of a specified individual. A periodic tenancy is one which is renewed automatically, usually on a monthly or weekly basis. A tenancy at will lasts only as long as the parties wish it to, and may be terminated by either party without penalty.


title: Lease

text: It is common for a lease to be extended on a "holding over" basis, which normally converts the tenancy to a periodic tenancy on a month by month basis. It is also possible for a tenant, either expressly or impliedly, to give up the tenancy to the landlord. This process is known as a "surrender" of the lease.


title: Lease

text: There have been recent restrictions and limitations in New York City regarding lease terms. One limitation in particular stated that units can not be leased for a period of less than two weeks and any unit leased for less than 90 days may not allow guests or pets in the unit.


title: Lease

text: As stated by the Australian Consumer Law (ACL), 2013, a lack of transparency regarding a term in a standard-form consumer contract may cause a significant imbalance in the parties' rights and obligations.


title: Lease

text: Terms that may not be considered transparent include terms that are hidden in fine print or schedules or phrased in complex or technical language.


title: Lease

text: Rent is a requirement of leases in some common law jurisdictions, but not in civil law jurisdictions. In England and Wales it was held in the case of "Ashburn Anstalt v Arnold" that rent was not a requirement for there to be a lease, however the court will more often construe a licence where no rent is paid as it is seen as evidence for no intention to create legal relations. There is no requirement for the rent to be a commercial amount; a peppercorn or rent of some nominal amount is sufficient for this requirement.


title: Lease

text: A sharing arrangement with much of a landlord's property or, for no specific room of a building for instance, may defeat a finding of a lease, however this common requirement of a lease is interpreted differently in many jurisdictions.


title: Lease

text: In addition to the above, a car rental agreement may include various restrictions on the way a renter can use a car, and the condition in which it must be returned. For example, some rentals cannot be driven off-road, or out of the country, or towing a trailer, without specific permission. In New Zealand you may have to specifically endorse a promise that the car will not be driven onto Ninety-Mile Beach (because of the hazardous tides).


title: Lease

text: There will certainly be a requirement to show a driver's license, and only those drivers appearing on the contract may be authorized to drive. It may include an option to purchase auto insurance (UK: motor insurance), if the renter does not already have a policy to cover rentals—another important consideration for multiple drivers. Some agencies may even require a bond payable if the car is not returned in order, often held in the form of a credit-card authorization—voided if the car is returned per agreement. A renter should be advised that he or she will be responsible for any tolls, parking or traffic violations incurred upon the vehicle during the rental period. There should also be advice on handling thefts, accidents, break-downs, and towing.


title: Lease

text: Further terms may include added fees for late returns, drop-off at a different location, or failure to top up the petrol immediately before the return.


title: Lease

text: Finally, there may be provisions for making a non-refundable deposit with a booking, terms for payment of the initial period (with discounts, vouchers, etc.), extended periods, and any damages or other fees that accrue prior to the return.


title: Lease

text: A rental agreement is often called a lease, especially when real estate is rented. Real estate rentals are initiated by a rental application which is used to build the terms of the lease. In addition to the basics of a rental (who, what, when, how much), a real estate rental may go into much more detail on these and other issues. The real estate may be rented for housing, parking vehicles, storage, business, agricultural, institutional, or government use, or other reasons.


title: Lease

text: The security deposit is often handled as an escrow deposit, owned by the tenant, but held by the landlord until the premises are surrendered in good condition (ordinary wear and tear excepted). In some states, the landlord must provide the tenant with the name and account number of the bank where the security deposit is held, and pay annual interest to the tenant. Other regulations may require the landlord to submit a list of pre-existing damage to the property, or forfeit the security deposit immediately (because there is no way to determine whether a prior tenant was responsible). In UK the government has introduced deposit protection scheme leading to several property inventory services which can optionally be used to carry out an inventory.


title: Lease

text: In order to rent (alternatively called lease) in many apartment buildings, a renter (lessee) is often required to provide proof of renters insurance before signing the rental agreement. There is a special type of the homeowners insurance in the United States specifically for renters—HO-4. This is commonly referred to as renter's insurance or renter's coverage. Similar to condominium coverage, referred to as a HO-6 policy, a renter's insurance policy covers those aspects of the apartment and its contents not specifically covered in the blanket policy written for the complex. This policy can also cover liabilities arising from accidents and intentional injuries for guests as well as passers-by up to 150' of the domicile. Renter's policies provide "named peril" coverage, meaning the policy states specifically what you are insured against. Common coverage areas are:


title: Lease

text: Additional events including riot, aircraft, explosion, hail, falling objects, volcanic eruption, snow, sleet, and weight of ice may also be covered.


title: Lease

text: In real estate law, sublease (or, less formally, sublet) is the name given to an arrangement in which the lessee (e.g. tenant) in a lease assigns the lease to a third party, thereby making the old lessee the sublessor, and the new lessee the sublessee, or subtenant. This means they are not only leasing the property, but also subleasing it simultaneously. For example, if a company leases an office space directly from a landlord, the lessor, and subsequently outgrows the office, then the company can sublease the smaller office space to another company, the subtenant, and enter into a new lease for a larger office space, thereby hedging their real estate exposure.


title: Lease

text: The sublessor remains liable to the original lessor in accordance with the initial lease, including all remaining rent payments, including operating expenses and all other original lease terms. In a down-market, the original lessee may require a lower rent payment from the sublessee than what he or she may have originally paid, leaving the remaining rent owed to the lessor to be paid by the original lessee. However, if market prices have increased since the original lease was signed, the sublessor might be able to secure a higher rent price than what is owed the original lessor. However, many commercial leases stipulate that any overages in rent be shared with the landlord, the lessor.


title: Lease

text: In residential real estate, it is sometimes illegal to charge the subtenant more than the original amount in the sublessee's contract (for instance, in a rent control situation where the rental amount is controlled by law). Subletting of social housing is generally illegal, whatever the rent charged to the subtenant; in the UK it is officially described as a category of housing fraud. In New York the subletting of Mitchell-Lama cooperatives is illegal. Mitchell-Lama residents must maintain a primary residence to remain in their cooperative.


title: Lease

text: A sublease can also apply to vehicles as an alternate type of car rental. In a vehicle sublease, a lessee or vehicle owner can assign a lease to a third party and by way of contractual agreement for specific dates. Although this arrangement is not popular, it is a growing trend in the travel industry as a less expensive alternative for travelers and locals.


title: Lease

text: Leasing is also used as a form of financing to acquire equipment for use and purchase. Many organizations and companies use lease financing for the acquisition and use of many types of equipment, including manufacturing and mining machinery, vessels and containers, construction and off-road equipment, medical technology and equipment, agricultural equipment, aircraft, rail cars and rolling stock, trucks and transportation equipment, business, retail and office equipment, IT equipment and software.


title: Lease

text: Lease financing for equipment is generally provided by banks, captives and independent finance companies.


title: Misericorde (weapon)

text: A misericorde ( or ) (from French word "miséricorde" 'mercy') was a long, narrow knife, used from the High Middle Ages to deliver the death stroke (the mercy stroke, hence the name of the blade, derived from the Latin "misericordia", "act of mercy") to a seriously wounded knight. The blade was thin enough to strike through the gaps between armour plates.


title: Misericorde (weapon)

text: This weapon was used to dispatch knights who had received mortal wounds, which were not always quickly fatal in the age of bladed combat; it could also be used as a means of killing an active adversary, as during a grappling struggle. The blade could be pushed through the visor or eye holes in the helm with the aim of piercing the brain, or thrust through holes or weak points in plate armor, such as under the arm, with the aim of piercing the heart. The weapon was known from the 12th century and has appeared in the armaments of Germany, Persia, and England. It was also used by Polish knights and/or princes from at least the 14th century.


title: Indians in Uganda

text: There is a sizable community of people of Indian origin living in Uganda. In 2003, there were an estimated 15,000 people of Asian descent (majority of Indians and Pakistanis) living in Uganda, compared to approximately 80,000 before they were expelled by the dictator Idi Amin in 1972.


title: Indians in Uganda

text: Many returned to Uganda in the 1980s and 1990s and have once again gone on to dominate the country's economy. Despite making up less than 1% of the population, they are estimated to contribute up to 65% of the country's tax revenues. Sudhir Ruparelia, who is of Indian origin, is the richest man in Uganda and has an estimated fortune of $1 billion.


title: Indians in Uganda

text: In 1895 construction of the Uganda Railway began. The Imperial British East Africa Company awarded Alibhai Mulla Jeevanjee, an agent based in Karachi, with the contract to supply the required labour force. Jeevanjee recruited his workforce from the Punjab region of British India. The first group to arrive had a total of 350 men, and over a six-year period, a total of 31,895 men worked on the project. Some died, others returned to India after the end of their contracts, and others chose to stay. The population was later bolstered by Gujarati traders called "passenger Indians", both Hindu and Muslim free migrants who came to serve the economic needs of the indentured labourers and to capitalize on the economic opportunities.


title: Indians in Uganda

text: Over time, Indians became prosperous and dominated much of the Ugandan economy, with some acting in the role of 'colonial overseers' for the British regime, which prompted the rise of resentment and Indophobia. These resentments came to a crisis when Idi Amin ousted Milton Obote by military coup d'état in 1971. The following year, Amin ordered the expulsion of Asians living in Uganda. As a result, many Indians migrated to the United Kingdom, Canada, the United States, and elsewhere and began rebuilding their lives. After Amin's death, however, more Indians who were born in Uganda started migrating back.


title: Indians in Uganda

text: Demographically, the number of people of mixed Ugandan-Indian heritage is not known (Multiracial Ugandans in Uganda).


title: Myriad Colors Phantom World

text: In the near future, the accidental release of an experimental virus causes an outbreak that changes the brain chemistry of every person in the world, allowing them to perceive extra-dimensional beings called "Phantoms". In addition, some children born after the outbreak have developed special powers that allow them to battle and seal Phantoms. Even though the vast majority of phantoms are harmless, many of these gifted children are placed in clubs, schools, and organizations dedicated to dealing with Phantoms that prove to be nuisances or threats to humanity. The story revolves around Haruhiko Ichijo and his friends in the Phantom-hunting Club of Hosea Academy, a private school for children with special abilities to seal Phantoms, and their everyday life and struggles, dealing with Phantoms.


title: Myriad Colors Phantom World

text: The light novel was written by Sōichirō Hatano and illustrated by Shirabi. It was published by Kyoto Animation's novel imprint KA Esuma Bunko on 20 December 2013. The book received an honorable mention in the novel category of the fourth Kyoto Animation Award on 5 April 2013. Previous works to be featured in the awards have received anime adaptations. A second novel was released on 30 October 2015. A third novel was released on 11 February 2016.


title: Myriad Colors Phantom World

text: An anime television series aired between 7 January and 31 March 2016 on ABC Asahi, Tokyo MX, TV Aichi, and BS11. The series was directed by Tatsuya Ishihara and written by Fumihiko Shimo, with animation produced by Kyoto Animation. Kazumi Ikeda handled the series' character designs, and also served as the chief animation director. Shinpei Sawa provided the designs for the Phantoms. The series' music was composed by Effy. Additionally, Ryuuta Nakagami served as director of photography; Mikiko Watanabe was the series' art director; Kana Miyata provided the color key; Hiroshi Karata was in charge of accessories planning; and Yota Tsuruoka was the sound director. The opening theme song is "Naked Dive" by Screen Mode, while the ending theme is by Azusa Tadokoro. The anime was released on seven Blu-ray and DVD compilation volumes containing two episodes and one picture drama each between 6 April and 5 October 2016. An original video animation was bundled with the seventh volume. Funimation released the series in North America on home video, and Madman Entertainment distributes the title in Australia and New Zealand on behalf of Funimation.


title: 2020 United States presidential election in Washington (state)

text: The 2020 United States presidential election in Washington was held on Tuesday, November 3, 2020, as part of the 2020 United States presidential election in which all 50 U.S. states plus the District of Columbia participated. Washington voters chose electors to represent them in the Electoral College via a popular vote, pitting the Republican Party's nominee, incumbent President Donald Trump, and running mate Vice President Mike Pence against Democratic Party nominee, former Vice President Joe Biden, and his running mate California Senator Kamala Harris. Washington has 12 electoral votes in the Electoral College.


text: Prior to the election, most news organizations forecast Washington as a state that Biden would win, or a safe blue state. Biden won the state by almost 20 points, the largest winning margin for a presidential candidate of any party since 1964. He also flipped the swing county of Clallam, which now holds the record for the longest ongoing streak of voting for the national winner, having supported the winning candidate in every election since 1980. Biden also became the candidate with the highest vote total in the state's history, with 2,369,612 votes. This was the first time since 1988 that Washington voted to the left of Illinois.


text: The Seattle area, home to almost two-thirds of the state's population, is overwhelmingly Democratic. Despite this, even if you remove the votes from King, Snohomish, and Pierce counties (the entire Seattle metropolitan area), Biden would have carried the state by over 4,000 votes. However, Trump won a considerable majority in outlying communities, garnering over 70% of the vote in rural counties such as Columbia. Eastern Washington is very rural and leans Republican, partly due to the strong tinge of social conservatism it shares with neighboring Idaho, a GOP stronghold. That said, Biden was able to improve on Clinton's margin in Whitman County--anchored by the college town of Pullman--increasing it from 4.1% in 2016 to 10.2% in 2020, the best performance for a Democrat in the county since 1936. In addition, he narrowed Trump's margin in Spokane County from 8.4% to 4.3%. Biden earned 75% of the vote in King County, home to Seattle. This was the largest margin by any candidate in a presidential race since the county's creation.


text: Per exit polls by the Associated Press, Biden's strength in Washington came from 59% among white voters and 79% among Asian-Americans. 34% of voters were secular and supported Biden by 78%. Additionally, a majority of Native Americans in the state backed Biden by about 65%, with some tribes supporting Biden by over 80%. Biden also became the first Democrat since Washington's admission into the union to win the presidency without winning Mason County, the first Democrat since John F. Kennedy in 1960 to prevail without winning Cowlitz County, and the first Democrat since Woodrow Wilson in 1916 to prevail without winning Grays Harbor County and Pacific County.


text: The primaries for the major parties were on March 10, 2020. On March 14, 2019, Governor Jay Inslee signed a bill moving the state's presidential primary up from May to the second Tuesday in March.


text: Donald Trump, Bill Weld, Joe Walsh, and Rocky de la Fuente had declared their candidacy for the Republican Party, but only Trump met all of the state party's criteria by the official deadline of January 21, 2020, for being included on the ballot. Thus Trump essentially ran unopposed in the Republican primary, and thus he received all of Washington's 43 delegates to the 2020 Republican National Convention.


text: A number of Democratic Party candidates ran or expressed interest in running. Additionally, Seattle-based billionaire Howard Schultz announced a potential bid as an independent in early 2019, but backed out in September of that year. The party's candidates included on the ballot at the deadline were Michael Bennet, Joe Biden, Michael Bloomberg, Cory Booker, Pete Buttigieg, John Delaney, Tulsi Gabbard, Amy Klobuchar, Deval Patrick, Bernie Sanders, Tom Steyer, Elizabeth Warren and Andrew Yang.


text: As a minor party, Washington State's Green Party affiliate is excluded from the publicly funded Presidential Primary in Washington State. The Green Party of Washington facilitated its primary by a mail-in ballot to its members after its Spring Convention on May 23 (deadline was June 13).


text: All candidates recognized by the Green Party of the United States by April 23 were on the ballot, plus a write-in option:


text: These slates of electors were nominated by each party in order to vote in the Electoral College should their candidate win the state:


text: By winning nearly 58% of the vote, Joe Biden's performance was the best showing for a presidential candidate of any party in Washington since Lyndon B. Johnson's landslide victory in 1964.


title: Bass drum

text: The bass drum is a large drum that produces a note of low definite or indefinite pitch. The instrument is typically cylindrical, with the drum's diameter much greater than the drum's depth, with a struck head at both ends of the cylinder. The heads may be made of calfskin or plastic and there is normally a means of adjusting the tension either by threaded taps or by strings. Bass drums are built in a variety of sizes, but size does not dictate the volume produced by the drum. The pitch and the sound can vary much with different sizes, but the size is also chosen based on convenience and aesthetics. Bass drums are percussion instruments and vary in size and are used in several musical genres. Three major types of bass drums can be distinguished.


title: Bass drum

text: In many forms of music, the bass drum is used to mark or keep time. The bass drum makes a low, boom sound when the mallet hits the drumhead. In marches, it is used to project tempo (marching bands historically march to the beat of the bass). A basic beat for rock and roll has the bass drum played on the first and third beats of bars in common time, with the snare drum on the second and fourth beats, called backbeats. In jazz, the bass drum can vary from almost entirely being a timekeeping medium to being a melodic voice in conjunction with the other parts of the set.


title: Bass drum

text: Bass drums have many synonyms and translations, such as "gran cassa" (It), "grosse caisse" (Fr), "Grosse Trommel" or "Basstrommel" (Ger), and "bombo" (Sp).


title: Bass drum

text: The earliest known predecessor to the bass drum was the Turkish davul, a cylindrical drum that featured two thin heads. The heads were stretched over hoops and then attached to a narrow shell. To play this instrument, a person would strike the right side of the davul with a large wooden stick, while the left side would be struck with a rod. When struck, the davul produced a sound much deeper than that of the other drums in existence. Because of this unique tone, davuls were used extensively in war and combat, where a deep and percussive sound was needed to ensure that the forces were marching in proper step with one another. The military bands of the Ottoman Janissaries in the 18th century were one of the first groups to utilize davuls in their music; Ottoman marching songs often had a heavy emphasis on percussion, and their military bands were primarily made up of davul, cymbal and kettle drum players.


title: Bass drum

text: Davuls were ideal for use as military instruments because of the unique way in which they could be carried. The Ottoman janissaries, for example, hung their davuls at their breasts with thick straps. This made it easier for the soldiers to carry their instruments from battle to battle. This practice does not seem to be limited to just the Ottoman Empire, however; in Egypt, drums very similar to davuls were braced with cords, which allowed the Egyptian soldiers to carry them during military movements.


title: Bass drum

text: The davul, however, was also used extensively in non-military music. For example, davuls were a major aspect of Turkish folk dances. In Ottoman society, davul and shawm players would perform together in groups called davul-zurnas, or drum and shawm circles.


title: Bass drum

text: At its peak, the Ottoman Empire stretched from Vienna down to northern Africa and most of the middle east. This long reach meant that many aspects of Ottoman culture, including the davul and other janissary instruments, were likely introduced to other parts of the world. In Africa, the indigenous population took the basic idea of the davul – that is, a two-headed cylindrical drum that produces a deep sound when struck – and both increased the size of the drum and changed the material from which it was made, leading to the development of the long drum. The long drum can be made a variety of different ways but is most typically constructed from a hollowed out tree trunk. This is vastly different from the davul, which is made from a thick shell. Long drums were typically 2 meters in length and 50 centimetres in diameter, much larger than the Turkish drums on which they were based. The indigenous population also believed that the tree from which the long drum was made had to be in perfect shape. Once an appropriate tree was selected and the basic frame for the long drum was constructed, the Africans took cow hides and soaked them in boiling hot water, in order to stretch them out. Although the long drum was an improvement on the davul, both drums were nevertheless played in a similar fashion. Two distinct sticks were used on the two distinct sides of the drum itself. A notable difference between the two is that long drums, unlike davuls, were used primarily for religious purposes.


title: Bass drum

text: As the use of the long drum began to spread across Europe, many composers and musicians started looking for even deeper tones that could be used in compositions. As a result of this demand, a narrow-shelled, single-headed drum called the gong drum was introduced in Britain during the 19th century. This drum, which was 70-100 centimetres in diameter and deep-shelled, was similar to the long drum in both size and construction. When struck, the gong drum produced a deep sound with a rich resonance. However, the immense size of the drum, coupled with the fact that there was not a second head to help balance the sound, meant that gong drums tended to produce a sound with a definite pitch. As a result, they fell out of favour with many composers, as it became nearly impossible to incorporate them in an orchestra in any meaningful way.


title: Bass drum

text: Because they were unable to be used by orchestras, music makers began to build smaller gong drums that would not carry a definite pitch. This smaller version of the gong drum is today called orchestral bass drum, and it is the prototype with which people are most familiar today. The modern bass drum is used primarily in orchestras. The drum, similar to the davul and long drum, is double-headed, rod tensioned and measures roughly 40 inches in diameter and 20 inches in width. Most orchestral bass drums are situated within a frame, which allows them to be positioned at any angle.


title: Bass drum

text: Bass drums are also highly visible in modern drum kits. In 1909, William Ludwig created a workable bass drum pedal, which would strike a two-headed bass drum in much the same way as a drumstick. During the 1960s, many rock ‘n’ roll drummers began incorporating more than one bass drum in their drum kit, including The Who's Keith Moon and Cream's Ginger Baker.


title: Bass drum

text: In classical music, composers have much more freedom in the way the bass drum is used than in other genres of music. Common uses are:


title: Bass drum

text: Apart from the standard beaters mentioned above, implements used to strike the drum may include keyboard percussion mallets, timpani mallets, and drumsticks. The hand or fingers can also be used (it. con la mano). The playing techniques possible include rolls, repetitions and unison strokes. Bass drums can sometimes be used for sound effects. e.g. thunder, or an earthquake.


title: Bass drum

text: Bass drums are too large to be hand held and are always mounted in some way. The usual ways of mounting a bass drum are:


title: Bass drum

text: In a drum kit, the bass drum is much smaller than in traditional orchestral use, most commonly 20 or 22 inches (51 or 56 cm) in diameter. Sizes range from 16 to 28 inches (41 to 71 cm) in diameter while depths range from 12 to 22 inches (30 to 56 cm), with 14 to 18 inches (36 to 46 cm) being normal. Vintage bass drums are generally shallower than the current standard of 22 in × 18 in (56 cm × 46 cm).


title: Bass drum

text: Sometimes the front head of a kit bass drum has a hole in it to allow air to escape when the drum is struck for shorter sustain. Muffling can be installed through the hole without taking off the front head. The hole also allows microphones to be placed into the bass drum for recording and amplification. In addition to microphones, sometimes trigger pads are used to amplify the sound and provide a uniform tone, especially when fast playing without a decrease in volume is desired. Professional drummers often choose to have a customized bass drum front head, with the logo or name of their band on the front.


title: Bass drum

text: The kit bass drum may be more heavily muffled than the classical bass drum, and it is popular for drummers to use a pillow, blanket, or professional mufflers inside the drum, resting against the batter head, to dampen the blow from the pedal, and produce a shorter "thud".


title: Bass drum

text: Different beaters have different effects, and felt, wood and plastic ones are all popular. Bass drums sometimes have a tom-tom mount on the top, to save having to use (and pay for) a separate stand or rack. Fastening the mount involves cutting a hole in the top of the bass drum to attach it; "virgin" bass drums do not have this hole cut in them, and so are professionally prized.


title: Bass drum

text: In 1900, Sonor drum company introduced its first single bass drum pedal. William F. Ludwig made the bass drum pedal workable in 1909, paving the way for the modern drum kit. A bass drum pedal operates much the same as the hi-hat control; a footplate is pressed to pull a chain, belt, or metal drive mechanism downward, bringing a beater or mallet forward into the drumhead. The beater head is usually made of either felt, wood, plastic, or rubber and is attached to a rod-shaped metal shaft. The pedal and beater system are mounted in a metal frame and like the hi-hat, a tension unit controls the amount of pressure needed to strike and the amount of recoil upon release.


title: Bass drum

text: A double bass drum pedal operates much the same way as a single bass drum pedal does, but with a second footplate controlling a second beater on the same drum. Most commonly this is attached by a shaft to a remote beater mechanism alongside the primary pedal mechanism. One notable exception to this pattern is the symmetrical Sleishman twin bass drum pedal.


title: Bass drum

text: Alternatively, some drummers opt for two separate bass drums with a single pedal on each, for a similar effect.


title: Bass drum

text: When using a double bass drum pedal, the foot which normally controls the hi-hat pedal moves to the second bass drum pedal, and so the hi hat opens and remains open. A closed hi-hat sound can be more useful for some genres of music, so drummers use a drop clutch to keep the cymbals closed without use of the pedal.


title: Bass drum

text: There are 3 primary ways to play single strokes with one foot. The first is heel-down technique, where the player's heel is planted on the pedal and the strokes are played with the ankle. This stroke is good for quiet playing and quick syncopated rhythms. The next technique is heel-up, where the player's heel is lifted off of the pedal and the strokes originate from the hip. The ankle is still flexed with each stroke, but the full weight of the leg can be used to add additional power for louder playing situations. Lifting the heel allows access to the several double stroke techniques as well. The third primary technique is the floating stroke where the heel is lifted off the pedal as in heel-up, but the stroke is played primarily from the ankle as in heel-down. This motion can allow greater speed and higher note density at louder volumes but is not efficient for slow tempos or sparse rhythms.


title: Bass drum

text: Drummers such as Thomas Lang, Virgil Donati, and Terry Bozzio are capable of performing complicated solos on top of an ostinato bass drum pattern. Thomas Lang, for example, has mastered the heel-up and heel-down (single- and double-stroke) to the extent that he is able to play dynamically with the bass drum and to perform various rudiments with his feet.


title: Bass drum

text: In order to play "doubles" on the pedal, drummers can employ 3 main techniques: slide, swivel, or heel-toe. In the slide technique, the pedal is struck around the middle area with the ball of the foot. As the drum produces a sound, the toe is slid up the pedal. After the first stroke, the pedal will naturally bounce back, hit the toe as it slides upwards, and rebound for a second strike. In the swiveling double, the pedal is struck once in the normal manner for the first note, then the heel is immediately rotated around the ball of the foot to the side of the pedal while simultaneously playing a second stroke. This rotation can be to the inside or outside, either will work, and results in a faster second stroke than is ordinarily possible. In the heel-toe technique the foot is suspended above the foot-board of the pedal. The entire foot is brought down and the ball of the foot strikes the pedal. The foot snaps up, the heel comes off the footboard, and the toes come down for a second stroke. Once mastered either technique allows the player to play very fast double strokes on the bass drum. Noted players include Rod Morgenstein, Tim Waterson (who formerly held the world record for the fastest playing on a bass drum, using double bass), Tomas Haake, Chris Adler, Derek Roddy, Danny Carey and Hellhammer. The technique is commonly used in death metal and other extreme forms of music where triggers and double bass are typically employed. Double strokes can only properly replace single strokes for long runs of evenly spaced notes when using triggers or sample replacement as the sound is inherently uneven. Some tempos are only possible with double strokes, however.


title: Bass drum

text: In many forms of heavy metal and hard rock, as well as some forms of jazz, fusion, and punk, two bass drums are used, or alternatively two pedals on one bass drum. If two drums are used, that is often to give a more impressive appearance on large stages, but sometimes, the second drum is being pitched differently to provide some variety in the notes, thus creating a more nuanced sound. The first person to use and popularize the double bass drum setup was jazz drummer Louie Bellson, who came up with the idea when he was still in high school. Double bass drums were popularized in the 1960s by rock drummers Ginger Baker of Cream, Mitch Mitchell of the Jimi Hendrix Experience, Keith Moon of The Who and Nick Mason of Pink Floyd. After 1970, Billy Cobham and Narada Michael Walden used double kick drum with the jazz fusion project Mahavishnu Orchestra, Chester Thompson with Frank Zappa and Weather Report, Barriemore Barlow with Jethro Tull, and Terry Bozzio with Frank Zappa. For these genres the focus was 'odd-meter grooves and mind blowing solos'. Double bass drumming later became an integral part of heavy metal, as pioneered by the likes of Les Binks, Carmine Appice, Ian Paice, Cozy Powell, Phil Taylor and Tommy Aldridge. American thrash metal band Slayer's former drummer Dave Lombardo was named "the godfather of double bass" by the magazine "Drummerworld". Later metal genres including death metal use double kick drumming extensively often with blast beat techniques, whilst focusing on precision, 'endurance', 'speed' and 'rapid footwork'.


title: Bass drum

text: Double bass drumming can be achieved with a number of techniques; most commonly, with simple alternating single strokes. However, in order to increase the speed, some drummers use the heel-toe technique; these are essentially double strokes where the drummer can perform two hits with one foot movement, which causes less fatigue at higher tempos.


title: Bass drum

text: Notable names that have a hand in raising the bar for double bass drumming, include: Terry Bozzio, Simon Philips, Virgil Donati, Derek Roddy, Gene Hoglan, George Kollias, Bobby Jarzombek and Tomas Haake. Bozzio introduced the ostinato in his "Melodic Drumming and the Ostinato" educational DVDs, playing various drum rudiments on the feet, while freely playing with the hands, creating polyrhythms. Donati is regarded as the first drummer to successfully use inverted double strokes with both feet, in addition to complex, syncopated ostinato patterns. Roddy, Hoglan and Kollias are acknowledged as the leaders of extreme metal drumming with their use of single strokes at 250+ beats per minute, while, Jarzombek and Haake's double bass drumming influenced the djent genre.


title: Bass drum

text: The history and development of double bass (as well as notated playing instruction) can be traced in the books "Encyclopedia of Double Bass Drumming " written by Bobby Rondinelli and Michael Lauren and "The Complete Double Bass Drumming Explained" written by Ryan Alexander Bloom. In addition to these books, "Double Bass Drumming" written by Joe Franco and "Double Bass Drum Freedom" written by Virgil Donati are also commonly used resources for double bass instruction.


title: Bass drum

text: The "bass line" is a unique musical ensemble consisting of graduated pitch marching bass drums commonly found in marching bands and drum and bugle corps. Each drum plays a different note, and this gives the bass line a unique task in a musical ensemble. Skilled lines execute complex linear passages split among the drums to add an additional melodic element to the percussion section. This is characteristic of the marching bass drum—its purpose is to convey complex rhythmic and melodic content, not just to keep the beat. The line provides impact, melody, and tempo due to the nature of the sound of the instruments. The bass line usually has from as many as seven bass drums to as few as two. But most high school drumlines consist of between 3 and 5. Bass drums used in such ensembles are usually those that use 2 mallets (formerly scorch bass drums, to distinguish them from those bass drums that formerly used one mallet, known in the 1930s as standard bass drums).


title: Bass drum

text: A bass line typically consists of four or five musicians, each carrying one tuned bass drum, although variations do occur. Smaller lines are not uncommon in smaller groups, such as some high school marching bands, and several groups have had one musician playing more than one bass drum, usually small ones, with one mounted on top of the other.


title: Bass drum

text: The drums are typically between 16" and 32" in diameter, but some groups have used bass drums as small as 14" and larger than 36". The drums in a bass line are tuned such that the largest will always play the lowest note with the pitch increasing as the size of the drum decreases. Individually, the drums are usually tuned higher than other bass drums (drum set kick drums or orchestral bass drums) of the same size, so that complex rhythmic passages can be heard clearly and articulated.


title: Bass drum

text: Unlike the other drums in a drumline, the bass drums are generally mounted sideways, with the drumhead facing horizontally, rather than vertically. This results in several things. First of all, to ensure that a vibrating membrane is facing the audience, bass drummers must face perpendicular to the rest of the band and so are the only section in most groups whose bodies do not face the audience while playing. Consequently, bass drummers usually point their drums at the back of the bass drummer in front of them, so that the drum heads will all be lined up, from the audience's point of view, next to one another in order to produce optimal sound output.


title: Bass drum

text: Since the bass drum is oriented differently from a snare or tenor drum, the stroke itself is different, but the fundamentals remain the same. Your forearms should be parallel to the ground and bent at the elbows. The line between your shoulder and elbow should be vertical and the mallet should be held upward at a 45-degree angle. The hands hold bass mallets in such a way as to place the center of the mallet in the center of the head. The mallet shaft bottom should be flush against the bottom part of the hand when playing, differing from other grips typical to percussion instruments.


title: Bass drum

text: The motion of the basic stroke is either similar to the motion of turning a doorknob, that is, an absolute forearm rotation, or similar to that of a snare drummer, where the wrist is the primary actor, or more commonly, a hybrid of these two strokes. Bass drum technique sees huge variation between different groups both in the ratio of forearm rotation to wrist turn and the differing views on how the hand works while playing. Some techniques also call for the use of fingers supporting the motion of the mallet by opening or closing, but no matter whether it is open or closed the thumb needs to be close to the rest of the fingers.


title: Bass drum

text: However, the basic stroke on a drum produces just one of the many sounds a bass line can produce. Along with the solo drum, the "unison" is one of the most common sounds used. It is produced when all of the bass drums play a note at the same time and with a balanced sound; this option has a very full, powerful sound. The rim click, which is when the shaft (near the mallet head) is struck against the rim of the drum, either solo or in unison. Rimshots are rare on a bass drum and usually only happen on the top drums.


title: Bass drum

text: The different positions of the typical five person bass line each require different skills, though not necessarily different levels of skills. Contrary to the popular belief that "higher is better," each drum has its own critical role to play. Bottom, or fifth bass, is the largest, heaviest, and lowest drum in the drumline. Consequently, it is used frequently to help maintain pulse in an ensemble and is thus sometimes referred to as the "heartbeat" of the group (the bottom bass was also often referred to as the "thud" bass in days gone by, indicating that many of their notes were the last one at the end of a phrase). Although this player does not always play as many notes as fast as other bass drummers (the depth of pitch renders most complex passages indistinguishable from a roll), his or her role is essential not only to the sound of the bass line or the drum line, but to the ensemble as a whole, especially in the case of parade bands.


title: Bass drum

text: Fourth bass is slightly smaller than the bottom drum (generally two to four inches (102 mm) smaller in diameter) and can function tonally similarly to its lower counterpart, but usually plays slightly more rapid parts and is much more likely to play "off the beat" - in the middle rather than at the beginning or end of a passage. Third bass is the middle drum, both in terms of position and tone. Its function is usually that of the archetypical bass drum. This player plays an integral role in the actual rendering of complex linear passages. Second bass is known for having a job in the drumline. This player's parts are very likely to be directly adjacent to the beginning or end of a phrase and less likely to be on a beat, which is highly counter-intuitive, especially to a new player. Sometimes this drum can function about the same as the top drum, but usually the second and top drummer function as a unit, playing rudimentally difficult passages split between them.


title: Bass drum

text: Top, or first, bass is the highest pitched drum in the bass line and usually starts or ends phrases. The high tension drum heads allow this player to play notes that are just as taxing as those of the snare line, and often the top bass will play a part in unison with the snare line to add some depth to their sound. Some bass lines have more than five bass drums, with the largest being the largest number (bass 7 on a 7 bass line), and the smallest being referred to as first bass.


title: Bass drum

text: In a marching band's field show, bass drummers tend to turn to face either goal line. When standing on the 20 yard line, it can become difficult to see the drum major while facing the goal line. Or if the basses can't dress a form facing one direction, they can turn the other way for that section. Turns can take place either in unison, or rippled for a different effect.


title: Bass drum

text: For the lower basses it takes a lot more control to turn quickly. Cleaning turns for a bassline can be rather easy. They should lead with the shoulder at the start of the turn and lock the other direction on a specified count. Setting a check-point can help. For instance, one should be flat front on count two of the turn. However, note that the turn should be smooth and not jerky. A common problem may result from not stopping the weight of the drum at the end of the turn and letting the momentum get the better of the player. The solution to that problem involves tightening the core (abdominals and back muscles).


title: Bass drum

text: As well as marking time as above, in some marching bands, the bass drum is used to give orders to the band e.g.


title: Rob Heaps

text: Rob Heaps is a British actor, known for co-starring as Ezra Bloom in the Bravo television series "Imposters". He grew up in York, England. He went to drama school in St. Petersburg, Russia.


title: Jimmy McNichol

text: James Vincent McNichol III (born July 2, 1961), known professionally as Jimmy McNichol, is an American former child actor and singer who first gained fame as a teen idol in the late 1970s. At the beginning of his career his popularity quickly grew causing networks like CBS to create and implement multiple television series specifically for his involvement and leading roles. After making a record number of appearances on top talk shows he was viewed by many as "the face you see everywhere."


title: Jimmy McNichol

text: In 1978, McNichol recorded an album with his sister, Kristy, also a child actress, and the two went on to host a youth-oriented variety show for ABC. McNichol subsequently had lead roles in "Smokey Bites the Dust" (1981), and opposite Susan Tyrrell in the horror film "Butcher, Baker, Nightmare Maker" (1981). After retiring from acting in the 1990s, McNichol relocated with his family to Colorado, and has been active in environmentalist causes, and working as a real estate investor and home renovator.


title: Jimmy McNichol

text: James Vincent McNichol III was born July 2, 1961 in Los Angeles, California, to James and Carolyn McNichol. He is of Lebanese and Irish descent. McNichol is the oldest of three siblings, with a sister Kristy (b. 1962) and brother Tommy (b. 1965). McNichol was raised by his single mother after the children's father, a carpenter, abandoned the family shortly after Tommy's birth. Their mother worked various odd jobs to support them, including as a secretary, cosmetics salesperson, and movie extra. Tommy was raised separately from him and Kristy, by his grandparents in Burbank.


title: Jimmy McNichol

text: He began his career at age 7, acting in a Band-Aid commercial. He appeared in roughly 80 commercials from 1967–1973, including spots for Kool-Aid and Crest. He landed minor roles on shows such as "Little House on the Prairie" (1974) and "S.W.A.T." (1975).


title: Jimmy McNichol

text: His first film appearance was an uncredited role in "Sunshine" (1973) at the age of 12. His first regular starring role was as younger brother Jack on the network series "The Fitzpatricks". Michele Tobin played his sister, Mo, on the show, and they later worked together on "California Fever". McNichol sang the show's theme song and in 1978 recorded an album with his sister, "Kristy and Jimmy McNichol", produced by Phil & Mitch Margo. The album spawned one hit single, a cover of The Chiffons' "He's So Fine", which charted at #70 on the Billboard Hot 100 in August 1978. The siblings also appeared as co-hosts of the fall 1978 "ABC All-Star Saturday Preview Special", a youth-oriented sketch comedy show featuring musical guests such as the Bee Gees and Donny Osmond. McNichol and his sister, however, ceased performing together after Kristy had a manic breakdown while the two were in France; she was diagnosed with bipolar disorder. Afterward, McNichol stepped away from the music industry, later commenting: "I know the outcomeit's a real big high one year, and the next year, nobody knows who you are. All that singing and touring and the guys behind you doing drugs. Eventually it's gonna get to you."


title: Jimmy McNichol

text: When "California Fever" ended, he won the role as host of a weekly talk show, "Hollywood Teen", as well as the "Jimmy McNichol Special", which first aired in April 1980. He also starred in the television film "" (1979), a teen drama about an ex-hockey player and figure skater who fall in love. He subsequently appeared in several other successful made-for-TV movies, including the thriller "Blinded by the Light" (1980), in which he starred opposite his sister Kristy as a gay teenager who escapes a religious cult. He also made several low-budget feature films, including "Smokey Bites the Dust" (1981) and the horror film "Butcher, Baker, Nightmare Maker" (1982), co-starring with Susan Tyrrell and Bill Paxton.


title: Jimmy McNichol

text: In 1984, McNichol accepted the role of Josh Clayton on "General Hospital". He performed in a band throughout the 1980s under the name "Jimmy James". His last major acting role was as Jill Ireland's son Valentine McCallum in the 1991 television film "Reason for Living", co-starring Jill Clayburgh. After completing "Reason for Living", at age 30, McNichol decided to retire from professional acting.


title: Jimmy McNichol

text: McNichol married his wife, Renée, in 1997. They had a son, Nash, in late 1997, and a daughter, Ellis, in late 1998. McNichol is an avid environmentalist and in 1998 was focusing on ecological education with a web site called ECOTV. Since leaving acting, McNichol began a career in residential construction and home rehabilitation. He also collaborated with Playground Television and Pet Power Kids on "Animal Rescue The Rockies" (or "ARTR"), a TV series documenting animal rescue and related issues.


title: Jimmy McNichol

text: In 2006, McNichol and his family relocated from Santa Barbara, California to Durango, Colorado, where he still resided as of 2016. In 2010, he discovered he had a third child: daughter Kellee Maize, a rap artist, songwriter, and entrepreneur from Pittsburgh who had been raised by adoptive parents in Pennsylvania. The two subsequently began a relationship that was profiled in 2014 by Oprah Winfrey.


title: Gary Snyder

text: Gary Snyder (born May 8, 1930) is an American poet, essayist, lecturer, and environmental activist. His early poetry has been associated with the Beat Generation and the San Francisco Renaissance and he has been described as the "poet laureate of Deep Ecology".


title: Gary Snyder

text: Snyder is a winner of a Pulitzer Prize for Poetry and the American Book Award. His work, in his various roles, reflects an immersion in both Buddhist spirituality and nature. He has translated literature into English from ancient Chinese and modern Japanese. For many years, Snyder was an academic at the University of California, Davis and for a time served as a member of the California Arts Council.


title: Gary Snyder

text: Gary Sherman Snyder was born in San Francisco, California, to Harold and Lois Hennessy Snyder. Snyder is of German, Scottish, Irish and English ancestry. His family, impoverished by the Great Depression, moved to King County, Washington, when he was two years old. There, they tended dairy-cows, kept laying-hens, had a small orchard, and made cedar-wood shingles. At the age of seven, Snyder was laid up for four months by an accident. "So my folks brought me piles of books from the Seattle Public Library," he recalled in an interview, "and it was then I really learned to read and from that time on was voracious — I figure that accident changed my life. At the end of four months, I had read more than most kids do by the time they're eighteen. And I didn't stop." Also during his ten childhood years in Washington, Snyder became aware of the presence of the Coast Salish people and developed an interest in the Native American peoples in general and their traditional relationship with nature.


title: Gary Snyder

text: In 1942, following his parents' divorce, Snyder moved to Portland, Oregon, with his mother and his younger sister, Anthea. Their mother, Lois Snyder Hennessy (born Wilkey), worked during this period as a reporter for "The Oregonian". One of his boyhood jobs was as a newspaper copy-boy at the "Oregonian". During his teen years, he attended Lincoln High School, worked as a camp counselor, and went mountain-climbing with the Mazamas youth-group. Climbing remained an interest of his, especially during his twenties and thirties. In 1947, he started attending Reed College on a scholarship. Here, he met, and, for a time, roomed with the writer Carl Proujan, and became acquainted with the young poets Philip Whalen and Lew Welch. During his time at Reed, Snyder published his first poems, in a student journal. In 1948 he spent the summer working as a seaman. To get this job, he joined the now-defunct Marine Cooks and Stewards union, and would later work as a seaman in the mid-1950s to gain experience of other cultures in port cities. Snyder married Alison Gass in 1950; they separated after seven months, and divorced in 1952.


title: Gary Snyder

text: While attending Reed, Snyder conducted folklore research on the Warm Springs Indian Reservation in central Oregon. He graduated with a dual degree in anthropology and literature in 1951. Snyder's senior thesis, entitled "The Dimensions of a Myth", employed perspectives from anthropology, folklore, psychology, and literature to examine a myth of the Pacific Northwest's Haida people. He spent the following few summers working as a timber scaler at Warm Springs, developing relationships with its people that were rooted less in academia. This experience formed the basis for some of his earliest published poems (including "A Berry Feast"), later collected in the book "The Back Country". He also encountered the basic ideas of Buddhism and, through its arts, some East Asian traditional attitudes toward nature. He went to Indiana University with a graduate fellowship to study anthropology. (Snyder also began practicing self-taught Zen meditation.) He left after a single semester to return to San Francisco and to 'sink or swim as a poet'. Snyder worked for two summers in the North Cascades in Washington as a fire lookout, on Crater Mountain in 1952 and Sourdough Mountain in 1953 (both locations on the upper Skagit River). His attempts to get another lookout stint in 1954 (at the peak of McCarthyism), however, failed. He found himself barred from working for the government due to his association with the Marine Cooks and Stewards. Instead, he went back to Warm Springs to work in logging as a choker setter. This experience contributed to his "Myths and Texts" and the essay "Ancient Forests of the Far West".


title: Gary Snyder

text: Back in San Francisco, Snyder lived with Whalen, who shared his growing interest in Zen. Snyder's reading of the writings of D. T. Suzuki had in fact been a factor in his decision not to continue as a graduate student in anthropology, and in 1953 he enrolled at the University of California, Berkeley to study Asian culture and languages. He studied ink and wash painting under Chiura Obata and Tang dynasty poetry under Ch'en Shih-hsiang. Snyder continued to spend summers working in the forests, including one summer as a trail-builder in Yosemite. He spent some months in 1955 and 1956 living in a cabin (which he dubbed "Marin-an") outside Mill Valley, California with Jack Kerouac. It was also at this time that Snyder was an occasional student at the American Academy of Asian Studies, where Saburo Hasegawa and Alan Watts, among others, were teaching. Hasegawa introduced Snyder to the treatment of landscape painting as a meditative practice. This inspired Snyder to attempt something equivalent in poetry, and with Hasegawa's encouragement, he began work on "Mountains and Rivers Without End", which would be completed and published 40 years later. During these years, Snyder was writing and collecting his own work, as well as embarking on the translation of the "Cold Mountain" poems by the 8th-century Chinese recluse Han Shan; this work appeared in chapbook form in 1959, under the title "Riprap & Cold Mountain Poems".


title: Gary Snyder

text: Snyder met Allen Ginsberg when the latter sought Snyder out on the recommendation of Kenneth Rexroth. Then, through Ginsberg, Snyder and Kerouac came to know each other. This period provided the materials for Kerouac's novel "The Dharma Bums", and Snyder was the inspiration for the novel's main character, Japhy Ryder, in the same way Neal Cassady had inspired Dean Moriarty in "On the Road". As the large majority of people in the Beat movement had urban backgrounds, writers like Ginsberg and Kerouac found Snyder, with his backcountry and manual-labor experience and interest in things rural, a refreshing and almost exotic individual. Lawrence Ferlinghetti later referred to Snyder as 'the Thoreau of the Beat Generation'.


title: Gary Snyder

text: Snyder read his poem "A Berry Feast" at the poetry reading at the Six Gallery in San Francisco (October 7, 1955) that heard the first reading of Ginsberg's poem "Howl" and marked the emergence into mainstream publicity of the Beats. This also marked Snyder's first involvement with the Beats, although he was not a member of the original New York circle, having entered the scene through his association with Whalen and Welch. As recounted in Kerouac's "Dharma Bums", even at age 25 Snyder felt he could have a role in the fateful future meeting of West and East. Snyder's first book, "Riprap", which drew on his experiences as a forest lookout and on the trail crew in Yosemite, was published in 1959.


title: Gary Snyder

text: Independently, some of the Beats, including Whalen, had become interested in Zen, but Snyder was one of the more serious scholars of the subject among them, preparing in every way he could think of for eventual study in Japan. In 1955, the First Zen Institute of America offered him a scholarship for a year of Zen training in Japan, but the State Department refused to issue him a passport, informing him that "it has been alleged you are a Communist." A subsequent District of Columbia Court of Appeals ruling forced a change in policy, and Snyder got his passport. In the end, his expenses were paid by Ruth Fuller Sasaki, for whom he was supposed to work; but initially he served as personal attendant and English tutor to Zen abbot Miura Isshu, at Rinko-in, a temple in Shokoku-ji in Kyoto, where American Buddhist popularizer Dwight Goddard and British author and Japanese culture devotee R. H. Blyth had preceded him. Mornings, after "zazen", "sutta" chanting, and chores for the abbot, he took Japanese classes, bringing his spoken Japanese up to a level sufficient for "kōan" study. He developed a friendship with Philip Yampolsky an eminent translator and scholar of Zen Buddhism, who took him around Kyoto. In early July 1955, he took refuge and requested to become Miura's disciple, thus formally becoming a Buddhist.


title: Gary Snyder

text: In 1958, he returned to California via the Persian Gulf, Turkey, Sri Lanka and various Pacific Islands, voyaging as a crewman in the engine room on the oil tanker "Sappa Creek", and took up residence at Marin-an again. He turned one room into a "zendo", with about six regular participants. In early June, he met the poet Joanne Kyger. She became his girlfriend, and eventually his wife. In 1959, he shipped for Japan again, where he rented a cottage outside Kyoto. He became the first foreign disciple of Rinzai "Rōshi" Oda Sesso, the new abbot of Daitoku-ji. He married Kyger on February 28, 1960, immediately after her arrival in Japan, which Fuller Sasaki insisted they do, if they were to live together and be associated with the Nichibei Daiichi Zen Kyokai. Snyder and Kyger were married from 1960 to 1965.


title: Gary Snyder

text: During the period between 1956 and 1969, Snyder went back and forth between California and Japan, studying Zen, working on translations with Fuller Sasaki, and finally living for a while with a group of other people on the small, volcanic island of Suwanosejima. His previous study of written Chinese assisted his immersion in the Zen tradition, which has its roots in Tang Dynasty China, and enabled him to support himself while he was living in Japan. Snyder received the Zen precepts and his dharma name of "Chofu" ("Listen to the Wind"), and lived occasionally as a "de facto" monk, but never registered to become a priest, planning eventually to return to the United States to "turn the wheel of the dharma". During this time, he published two collections of his poems from the early to mid 1950s, "Myths & Texts" (1960), and "Six Sections from Mountains and Rivers Without End" (1965). This last was the beginning of a project that he was to continue working on until the late 1990s. Much of Snyder's poetry expresses experiences, environments, and insights involved with the work he has done for a living: logger, fire-lookout, steam-freighter crew, translator, carpenter, and itinerant poet, among other things. During his years in Japan, Snyder was also initiated into "Shugendo", a highly syncretic ascetic religious cult. In the early 1960s he traveled for six months through India with Kyger, Ginsberg, and Ginsberg's partner, the poet and actor Peter Orlovsky. Snyder and Kyger separated soon after one trip to India, and divorced in 1965.


title: Gary Snyder

text: In the 1950s, Snyder took part in the rise of a strand of Buddhist anarchism emerging from the Beat movement. Snyder was the inspiration for the Japhy Ryder character in Kerouac's novel "The Dharma Bums" (1958). Snyder had spent considerable time in Japan studying Zen Buddhism, and in 1961 published an essay, "Buddhist Anarchism", where he described the connection he saw between these two traditions, originating in different parts of the world: "The mercy of the West has been social revolution; the mercy of the East has been individual insight into the basic self/void." He advocated "using such means as civil disobedience, outspoken criticism, protest, pacifism, voluntary poverty and even gentle violence" and defended "the right of individuals to smoke ganja, eat peyote, be polygynous, polyandrous or homosexual" which he saw as being banned by "the Judaeo-Capitalist-Christian-Marxist West".


title: Gary Snyder

text: In 1966, Snyder joined Allen Ginsberg, Richard Baker, future Roshi of the San Francisco Zen Center, and Kriyananda aka Donald J Walters, to buy in the Sierra foothills, north of Nevada City, California. In 1970, this would become his home, with the Snyder family's portion being named Kitkitdizze. Snyder spent the summers of 1967 and 1968 with a group of Japanese back-to-the-land drop-outs known as "the Tribe" on Suwanosejima (a small Japanese island in the East China Sea), where they combed the beaches, gathered edible plants, and fished. On the island, on August 6, 1967, he married Masa Uehara, whom he had met in Osaka a year earlier. In 1968, they moved to California with their infant son, Kai (born April 1968). Their second son, Gen, was born a year later. In 1971, they moved to the San Juan Ridge in the foothills of the Sierra Nevada of Northern California, near the South Yuba River, where they and friends built a house that drew on rural-Japanese and Native-American architectural ideas. In 1967 his book "The Back Country" appeared, again mainly a collection of poems stretching back over about fifteen years. Snyder devoted a section at the end of the book to his translations of eighteen poems by Kenji Miyazawa.


title: Gary Snyder

text: "Regarding Wave" appeared in January 1970, a stylistic departure offering poems that were more emotional, metaphoric, and lyrical. From the late 1960s, the content of Snyder's poetry increasingly had to do with family, friends, and community. He continued to publish poetry throughout the 1970s, much of it reflecting his re-immersion in life on the American continent and his involvement in the back-to-the-land movement in the Sierra foothills. His 1974 book "Turtle Island", titled after a Native American name for the North American continent, won a Pulitzer Prize. It also influenced numerous West Coast Generation X writers, including Alex Steffen, Bruce Barcott and Mark Morford. His 1983 book "Axe Handles", won an American Book Award. Snyder wrote numerous essays setting forth his views on poetry, culture, social experimentation, and the environment. Many of these were collected in "Earth House Hold" (1969), "The Old Ways" (1977), "The Real Work" (1980), "The Practice of the Wild" (1990), "A Place in Space" (1995), and "The Gary Snyder Reader" (1999). In 1979, Snyder published "He Who Hunted Birds in His Father's Village: The Dimensions of a Haida Myth", based on his Reed thesis. Snyder's journals from his travel in India in the mid-1960s appeared in 1983 under the title "Passage Through India". In these, his wide-ranging interests in cultures, natural history, religions, social critique, contemporary America, and hands-on aspects of rural life, as well as his ideas on literature, were given full-blown articulation.


title: Gary Snyder

text: In 1986, Snyder became a professor in the writing program at the University of California, Davis. Snyder is now professor emeritus of English.


title: Gary Snyder

text: Snyder was married to Uehara for twenty-two years; the couple divorced in 1989. Snyder married Carole Lynn Koda (October 3, 1947 – June 29, 2006), who would write "Homegrown: Thirteen brothers and sisters, a century in America", in 1991, and remained married to her until her death of cancer. She had been born in the third generation of a successful Japanese-American farming family, noted for its excellent rice. She shared Buddhism, extensive travels, and work with Snyder, and performed independent work as a naturalist.


title: Gary Snyder

text: As Snyder's involvement in environmental issues and his teaching grew, he seemed to move away from poetry for much of the 1980s and early 1990s. However, in 1996 he published the complete "Mountains and Rivers Without End", a mixture of the lyrical and epic modes celebrating the act of inhabitation on a specific place on the planet. This work was written over a 40-year period. It has been translated into Japanese, French and Russian. In 2004 Snyder published "Danger on Peaks", his first collection of new poems in twenty years.


title: Gary Snyder

text: Snyder was awarded the Levinson Prize from the journal "Poetry", the American Poetry Society Shelley Memorial Award (1986), was inducted into the American Academy of Arts and Letters (1987), and won the 1997 Bollingen Prize for Poetry and, that same year, the John Hay Award for Nature Writing. Snyder also has the distinction of being the first American to receive the Buddhism Transmission Award (for 1998) from the Japan-based Bukkyo Dendo Kyokai Foundation. For his ecological and social activism, Snyder was named as one of the 100 visionaries selected in 1995 by "Utne Reader".


title: Gary Snyder

text: Snyder's life and work was celebrated in John J. Healy's 2010 documentary "The Practice of the Wild." The film, which debuted at the 53rd San Francisco International Film Festival, features wide-ranging, running conversations between Snyder and poet, writer and longtime colleague Jim Harrison, filmed mostly on the Hearst Ranch in San Simeon, California. The film also shows archival photographs and film of Snyder's life.


title: Gary Snyder

text: Gary Snyder uses mainly common speech-patterns as the basis for his lines, though his style has been noted for its "flexibility" and the variety of different forms his poems have taken. He typically uses neither conventional meters nor intentional rhyme. "Love and respect for the primitive tribe, honour accorded the Earth, the escape from city and industry into both the past and the possible, contemplation, the communal", such, according to Glyn Maxwell, is the awareness and commitment behind the specific poems.


title: Gary Snyder

text: The author and editor Stewart Brand once wrote: "Gary Snyder's poetry addresses the life-planet identification with unusual simplicity of style and complexity of effect." According to Jody Norton, this simplicity and complexity derives from Snyder's use of natural imagery (geographical formations, flora, and fauna) in his poems. Such imagery can be both sensual at a personal level yet universal and generic in nature. In the 1968 poem "Beneath My Hand and Eye the Distant Hills, Your Body," the author compares the intimate experience of a lover's caress with the mountains, hills, cinder cones, and craters of the Uintah Mountains. Readers become explorers on both a very private level as well as a very public and grand level. A simplistic touch becoming a very complex interaction occurring at multiple levels. This is the effect Snyder intended. In an interview with Faas, he states, "There is a direction which is very beautiful, and that's the direction of the organism being less and less locked into itself, less and less locked into its own body structure and its relatively inadequate sense organs, towards a state where the organism can actually go out from itself and share itself with others."


title: Gary Snyder

text: Snyder has always maintained that his personal sensibility arose from his interest in Native Americans and their involvement with nature and knowledge of it; indeed, their ways seemed to resonate with his own. And he has sought something akin to this through Buddhist practices, Yamabushi initiation, and other experiences and involvements. However, since his youth he has been quite literate, and he has written about his appreciation of writers of similar sensibilities, like D. H. Lawrence, William Butler Yeats, and some of the great ancient Chinese poets. William Carlos Williams was another influence, especially on Snyder's earliest published work. Starting in high school, Snyder read and loved the work of Robinson Jeffers, his predecessor in poetry of the landscape of the American West; but, whereas Jeffers valued nature over humankind, Snyder saw humankind as part of nature. Snyder commented in interviews, "I have some concerns that I'm continually investigating that tie together biology, mysticism, prehistory, general systems theory". Snyder argues that poets, and humans in general, need to adjust to very long timescales, especially when judging the consequences of their actions. His poetry examines the gap between nature and culture so as to point to ways in which the two can be more closely integrated.


title: Gary Snyder

text: In 2004, receiving the Masaoka Shiki International Haiku Awards Grand Prize, Snyder highlighted traditional ballads and folk songs, Native American songs and poems, William Blake, Walt Whitman, Jeffers, Ezra Pound, Noh drama, Zen aphorisms, Federico García Lorca, and Robert Duncan as significant influences on his poetry, but added, "the influence from haiku and from the Chinese is, I think, the deepest."


title: Gary Snyder

text: Snyder is among those writers who have sought to dis-entrench conventional thinking about primitive peoples that has viewed them as simple-minded, ignorantly superstitious, brutish, and prone to violent emotionalism. In the 1960s Snyder developed a "neo-tribalist" view akin to the "post-modernist" theory of French Sociologist Michel Maffesoli. The "re-tribalization" of the modern, mass-society world envisioned by Marshall McLuhan, with all of the ominous, dystopian possibilities that McLuhan warned of, subsequently accepted by many modern intellectuals, is not the future that Snyder expects or works toward. Snyder's is a positive interpretation of the tribe and of the possible future.


title: Gary Snyder

text: Todd Ensign describes Snyder's interpretation as blending ancient tribal beliefs and traditions, philosophy, physicality, and nature with politics to create his own form of Postmodern environmentalism. Snyder rejects the perspective which portrays nature and humanity in direct opposition to one another. Instead, he chooses to write from multiple viewpoints. He purposely sets out to bring about change on the emotional, physical, and political levels by emphasizing the ecological problems faced by today's society.


title: Gary Snyder

text: Gary Snyder is widely regarded as a member of the Beat Generation circle of writers: he was one of the poets that read at the famous "Six Gallery" event, and was written about in one of Kerouac's most popular novels, "The Dharma Bums". Some critics argue that Snyder's connection with the Beats is exaggerated and that he might better be regarded as a part of the San Francisco Renaissance, which developed independently. Snyder himself has some reservations about the label "Beat", but does not appear to have any strong objection to being included in the group. He often talks about the Beats in the first person plural, referring to the group as "we" and "us".


title: Gary Snyder

text: A quotation from a 1974 interview at the University of North Dakota Writers Conference (published in "The Beat Vision"):


title: Gary Snyder

text: I never did know exactly what was meant by the term 'The Beats', but let's say that the original meeting, association, comradeship of Allen [Ginsberg], myself, Michael [McClure], Lawrence [Ferlinghetti], Philip Whalen, who's not here, Lew Welch, who's dead, Gregory [Corso], for me, to a somewhat lesser extent (I never knew Gregory as well as the others) did embody a criticism and a vision which we shared in various ways, and then went our own ways for many years. Where we began to come really close together again, in the late '60s, and gradually working toward this point, it seems to me, was when Allen began to take a deep interest in Oriental thought and then in Buddhism which added another dimension to our levels of agreement; and later through Allen's influence, Lawrence began to draw toward that; and from another angle, Michael and I after the lapse of some years of contact, found our heads very much in the same place, and it's very curious and interesting now; and Lawrence went off in a very political direction for a while, which none of us had any objection with, except that wasn't my main focus. It's very interesting that we find ourselves so much on the same ground again, after having explored divergent paths; and find ourselves united on this position of powerful environmental concern, critique of the future of the individual state, and an essentially shared poetics, and only half-stated but in the background very powerfully there, a basic agreement on some Buddhist type psychological views of human nature and human possibilities.


title: Gary Snyder

text: Snyder has also commented "The term Beat is better used for a smaller group of writers ... the immediate group around Allen Ginsberg and Jack Kerouac, plus Gregory Corso and a few others. Many of us ... belong together in the category of the San Francisco Renaissance. ... Still, beat can also be defined as a particular state of mind ... and I was in that mind for a while".


title: Arthur D. Levinson

text: Arthur D. Levinson (born March 31, 1950) is an American businessman and is the current chairman of Apple Inc. (2011–present) and CEO of Calico (an Alphabet Inc. venture). He is the former chief executive officer (1995–2009) and chairman (1999–2014) of Genentech.


title: Arthur D. Levinson

text: In addition to serving on the board of Apple Inc. (2000–present), Levinson serves on the board of directors of the Broad Institute (affiliated with MIT and Harvard). Previously, Levinson had served on the board of directors at F. Hoffmann-La Roche (2010–2014), NGM Biopharmaceuticals (2009–2014), and Amyris Biotechnologies (2009–2014). He currently serves on the Board of Scientific Consultants of the Memorial Sloan Kettering Cancer Center, the Industrial Advisory Board of the California Institute for Quantitative Biosciences (QB3), the advisory council for the Princeton University Department of Molecular Biology and the advisory council for the Lewis-Sigler Institute for Integrative Genomics.


title: Arthur D. Levinson

text: Born to a Jewish family, the son of Malvina and Sol Levinson, he received his bachelor's degree from the University of Washington in Seattle in 1972 and his PhD in biochemistry from Princeton University in 1977.