History.

The band was founded in 1990 by then former Sabbat vocalist Martin Walkyier and Satan/Pariah guitarist Steve Ramsey, after Walkyier left Sabbat over an argument with guitarist Andy Sneap as to the direction of the music. The two's aim was to put together the 'ultimate pagan metal band' (initial ideas for the band included such extravagances as traditional Robin Hood costumes, though these concepts were soon dropped). Rounding out the group with another ex-member of Pariah, bassist Graeme English, as well as drummer Keith Baxter, they penned a deal with German record label Noise International and recorded and released "The Wayward Sons of Mother Earth" in 1991. The album cover was designed by Garry Sharpe-Young.  After a tour with Overkill they added Fritha Jenkins on violin and keyboard and a second guitarist in the shape of Baxter's friend Dave Pugh, allowing for a more folk-based sound on their follow-up release "A Burnt Offering for the Bone Idol" in 1992. The group's early output was followed by "Jonah's Ark" in 1993. In 1994 the band released "Prince of the Poverty Line", on which Cath Howell replaced Fritha Jenkins. Jenkins had left to have a baby, and Howell had deputised on the "Jonah's Ark" tour, it being Jenkins intention to return. When she elected not to do so, Howell became a permanent member.  Howell resumed her studies and was replaced by Georgina Biddle for 1995's "The Silent Whales of Lunar Sea", after which both Baxter and Pugh left the group. Having a deficit of band members, the band was generally unable to tour, although they replaced Tiamat on the Black Sabbath "Forbidden" UK tour in 1995. This was whilst recording "Irrational Anthems", which was released early the following year.  "Oui Avant-Garde á Chance" was recorded within the space of a year and, like "Irrational Anthems" used studio/session drummer Paul AT Kinson. "The Answer Machine?" followed in 1997 with Kinson on drums, but the band still lacked a permanent drummer, Jay Graham and guitarist Kevin "Riddler the Fiddler" Ridley (who had previously been the band's producer and singer/guitarist in the punk band Forgodsake) signed on in 1998, in time to record "Vintage Whine" for a 1999 release.  The lineup remained stable for the recording of 2000's "Folkémon", but founding member Walkyier left the band in 2001, citing various reasons, such as financial difficulties and the band's unwillingness to tour in South America owing to security concerns as the final straw, though other band members have commented that his somewhat acerbic personality was one of the major contributing factors to the group's lineup instability. Walkyier went on to form The Clan Destined. For many fans, Walkyier's lyrics and delivery style were one of the band's central attractions, and there were fears that his departure spelled the end of the band. After replacing drummer Jay Graham (who left shortly after Walkyier) with drummer Arron Walton, and moving Kevin Ridley onto vocals, the group sprang into action to remedy these fears with 2002's "No Daylights... Nor Heel Taps" which featured studio recordings of "Irish Pub versions" of Skyclad classics by the new line-up, proceeded by a single, 2001's "Swords of a Thousand Men". The single's title track, a cover tune (originally recorded by Tenpole Tudor), also appeared on "Folkémon" as a bonus track, although in a different version. The single featured two recordings of the track, one of them with Ridley on vocals and one with Ridley sharing the microphone with Ten Pole Tudor's vocalist Edward Tudor-Pole. The single/album release was accompanied by "The Same...But Different" tour, the largest Skyclad had undertaken for many years. Also in 2001 the band's former record label released "Another Fine Mess", which featured live recordings from 1995 and the contents of the "Outrageous Fourtunes" EP.  After some unpleasantness between Walkyier and the other band members over copyrights and royalties for his lyrics, as well as the release of tracks featuring him, 2004's "A Semblance of Normality" marked the band's first new material post-Walkyier. Its style was very much in the vein of previous releases, with Ridley's lyrics making an obvious effort to follow similar themes and styles to Walkyier's whilst retaining an individual identity.  Skyclad self-released an EP, "Jig-a-Jig", in 2006. A new album had been planned for the same year but Black Lotus Records went out of business just a few months after Skyclad had signed to it.  The band's twelfth studio album "In The... All Together" was released in spring 2009 via Scarlet Records.  In June 2012, Walkyier announced that a band called "Martin Walkyier's Skyclad" would be headlining a festival in Nottingham, England in September of that year.  Skyclad's 13th studio album "Forward Into The Past" was released on 28 April 2017 via Listenable Records. It is the first album since 1995's "Silent Whales of Lunar Sea" to feature second guitarist Dave Pugh, who returned to Skyclad as a full member in 2014.

Skyclad are a British heavy metal band with heavy folk influences in their music. They are considered one of the pioneers of folk metal. The etymology behind the term "skyclad" comes from a pagan/wiccan term for ritual nudity, in which rituals are performed with the participants metaphorically clad only by the sky, as a sign of equality. The name alludes both to the band's religious leanings and to their social beliefs, as set out in the song "Skyclad" on their first album.

Skyclad je britská heavy metalová kapela, jejíž hudba je výrazně ovlivněná folkem. Je považována za jednoho ze zakladatelů folk metalu.


Development.

The Mark I was a development of "Little Willie", the experimental tank built for the Landship Committee by Lieutenant Walter Wilson of the Royal Naval Air Service and William Tritton of William Foster Co., between July and September 1915. It was designed by Wilson in response to problems with tracks and trench-crossing ability discovered during the development of Little Willie. A gun turret above the hull would have made the centre of gravity too high when climbing a German trench parapet (which were typically four feet high), so the tracks were arranged in a rhomboidal form around the hull and the guns were put in sponsons on the sides of the tank. The reworked design was also able to meet the Army requirement to be able to cross an wide trench.  A mockup of Wilson's idea was shown to the Landship Committee when they viewed the demonstration of Little Willie. At about this time, the Army's General Staff was persuaded to become involved and supplied representatives to the Committee. Through these contacts Army requirements for armour and armament made their way into the design. The prototype Mark I, ready in December 1915, was called ""Mother"" (previous names having been "The Wilson Machine", "Big Willie", and "His Majesty's Land Ship "Centipede""). "Mother" was successfully demonstrated to the Landship Committee in early 1916; it was run around a course simulating the front including trenches, parapets, craters and barbed wire obstacles. The demonstration was repeated on 2 February before the cabinet ministers and senior members of the Army. Kitchener, the Secretary of State for War, was skeptical but the rest were impressed. Lloyd George, at the time Minister of Munitions, arranged for his Ministry to be responsible for tank production.  The Landship Committee was re-constituted as the "Tank Supply Committee" under the chairmanship of Albert Stern; Ernest Swinton, who had promoted the idea of the tank from the Army angle was also a member. General Haig sent a staff officer Hugh Elles to act as his liaison to the Supply Committee. Swinton would become the head of the new arm, and Elles the commander of the tanks in France.  The first order for tanks was placed on 12 February 1916, and a second on 21 April. Fosters built 37 (all "male"), and Metropolitan Carriage, Wagon, and Finance Company, of Birmingham, 113 (38 "male" and 75 "female"), a total of 150.  When the news of the first use of the tanks emerged, Lloyd George commented,

Description.

The Mark I was a rhomboid vehicle with a low centre of gravity and long track length, able to negotiate broken ground and cross trenches. The main armament was carried in sponsons on the hull sides.  The hull was undivided internally; the crew shared the same space as the engine. The environment inside was extremely unpleasant; since ventilation was inadequate, the atmosphere was contaminated with poisonous carbon monoxide, fuel and oil vapours from the engine, and cordite fumes from the weapons. Temperatures inside could reach 50 °C (122 °F). Entire crews lost consciousness inside the tank or, sometimes, collapsed when again exposed to fresh air.  To counter the danger of bullet splash or fragments knocked off the inside of the hull, crews were issued with leather-and-chainmail masks. A leather helmet was also issued, to protect the head against projections inside the tank. Gas masks were standard issue as well, as they were to all soldiers at this point in the war (see Chemical warfare). The side armour of 8 mm initially made them largely immune to small arms fire, but could be penetrated by the recently developed armour-piercing K bullets. There was also the danger of being overrun by infantry and attacked with grenades. The next generation had thicker armour, making them nearly immune to the K bullets. In response, the Germans developed the 13.2 mm Mauser anti-tank rifle, and also a "Geballte Ladung" ("Bunched Charge") – several stick grenades bundled together for a much bigger explosion.  A direct hit by an artillery or mortar shell could cause the fuel tanks (which were placed high in the front horns of the track frames either side of the drivers' area, to allow gravity feed) to burst open. Incinerated crews were removed by special Salvage Companies, who also salvaged damaged tanks.  Steering was difficult, controlled by varying the speed of the two tracks. Four of the crew, two drivers (one of whom also acted as commander; he operated the brakes, the other the primary gearbox) and two "gearsmen" (one for the secondary gears of each track) were needed to control direction and speed, the latter never more than a walking pace. As the noise inside was deafening, the driver, after setting the primary gear box, communicated with the gearsmen with hand signals, first getting their attention by hitting the engine block with a heavy spanner. For slight turns, the driver could use the steering tail: an enormous contraption dragged behind the tank consisting of two large wheels, each of which could be blocked by pulling a steel cable causing the whole vehicle to slide in the same direction. If the engine stalled, the gearsmen would use the starting handle – a large crank between the engine and the gearbox. Many of these vehicles broke down in the heat of battle making them an easy target for German gunners. There was no wireless (radio); communication with command posts was by means of two pigeons, which had their own small exit hatch in the sponsons, or by runners. Because of the noise and vibration, early experiments had shown that radios were impractical, therefore lamps, flags, semaphore, coloured discs, and the carrier pigeons were part of the standard equipment of the various marks.  During the First World War, British propaganda made frequent use of tanks, portraying them as a wonder weapon that would quickly win the war. They were featured in films and popular songs.

Markings.

When first deployed, British tanks were painted with a four-colour camouflage scheme devised by the artist Solomon Joseph Solomon. It was found that they quickly got covered with mud, rendering elaborate, camouflage paint schemes superfluous. In late 1916, the Solomon scheme was abandoned and tanks were painted with a single shade of dark brown.  At the rear of the tank, a three, four or five digit serial number was painted in white or yellow at the factory. At the front there was a large tactical marking, a prefix letter indicating the company or battalion, and a number (training tanks had no letter, but three numbers). Some tanks had their tactical number painted on the roof for air recognition. Later, vertical red and white stripes were painted on the front to aid recognition after the Germans began deploying captured British tanks.  Tanks were often given individual names and these were sometimes painted on the outside. A small handful were known to carry artwork (similar to aircraft nose art).

Variants.

The first tanks were known as the Mark I after the subsequent designs were introduced. Mark I's that were armed with two 6 pounder guns and three.303 Hotchkiss machine guns were called "Male" tanks; those with four Vickers machine guns and one Hotchkiss were called "Female". Ernest Swinton is credited with inventing the terms.  To aid steering, a pair of large wheels were added behind the tank. These were not as effective as hoped and were subsequently dropped.  The subsequent Mark II, III, IV, and V, and later tanks, all bear a strong resemblance to "Mother".

Mark I.

The Gun Carrier Mark I was a separate design, intended to carry a field gun or howitzer that could be fired from the vehicle. In service, it was mostly used for carrying supplies and ammunition. Forty-eight of them were built.  Initial production of the Mark I was to be by Fosters and Metropolitan: 25 from Fosters and 75 from Metropolitan, which had greater capacity in Wednesbury at the Old Park site of the Patent Shaft Company, a subsidiary of the Metropolitan. Metropolitan also received an order for a further 50 so that the Army would be able to raise six tank companies of 25 tanks each and set up further production under their Oldbury Wagon and Carriage Company. As there were not enough 6-pounder guns available for all 150 tanks, it was decided to equip half of them with just machine guns. A new sponson design with two Vickers machine guns in rotating shields was produced.  Later in the war when newer tanks came into use some Mark Is were converted to be used for carrying supplies. A few Female Mark Is were used as mobile wireless stations by installation of a wireless transmitter. The radio could only be operated once the tank had stopped and erected a very tall mast that carried the aerial array.

Mark II.

The Mark II incorporated minor improvements over the Mark I. With the Army declaring the Mark I still insufficiently developed for use, the Mark II (for which orders were first placed in July) would continue to be built, but would be used only for training. Due to this intended role, they were supposedly clad in unhardened steel, though some doubt was cast on this claim in early 1917. Initially, 20 were shipped to France and 25 remained at the training ground at Wool, Dorset in Britain; the remaining five were kept for use as test vehicles. As the promised Mark IV tanks had not arrived by early 1917, it was decided, despite the protestations of Stern (see below), to ship the 25 training vehicles in Britain to France, where they joined the other 20 Mark IIs and 15 Mark Is at the Battle of Arras in April 1917. The Germans were able to pierce the armour of both the Mark I and Mark II tanks at Arras with their armour-piercing machine gun ammunition.  The Mark II was built from December 1916 to January 1917 by Foster & Co and Metropolitan (25 Male and 25 Female respectively).  Five Mark IIs were taken for experiments on improved powerplants and transmission. They were provided to firms to show what improvements they could make over the Mark I system in an open competition. In the demonstrations held in March 1917, only three of them were able to compete alongside "Mother", which had been fitted with a Daimler petrol-electric system. Wilson's epicyclic gear system, which replaced the secondary gear and the gearsmen, was clearly superior and adopted in later designs.

Mark III.

The Mark III was a training tank and used Lewis machine guns and a smaller sponson for the females. Fifty were built. It was originally intended that the Mark III was to have all the proposed new design features of the Mark IV. This is why there were two distinct training types, the Mark II being little more than a slightly improved Mark I. However, development of the new features was so slow that the change from the Mark II was very gradual. The last two Mark IIIs were melted down in the Second World War. They did not see action overseas.

Mark IV.

The Mark IV was a more heavily armoured version of the Mark I, and went into production in May 1917. Fundamental mechanical improvements had originally been intended, but had to be postponed. The main change was the introduction of shorter-barrelled 6-pounder guns. It had all its fuel stored in a single external tank (located between the rear track horns) in an attempt to improve crew safety. The sponsons could be pushed in to reduce the width of the tank for rail transportation. Rails on the roof carried an unditching beam. A total of 1,220 were built: 420 males, 595 females and 205 tank tenders, which were supply tanks.  The Mark IVs were used successfully at the Messines Ridge in June 1917, where they outpaced the infantry on dry ground, but in the Third Ypres of July and August they found the swampy ground difficult and were of little use. About 432 Mark IV tanks were used during the Battle of Cambrai in November 1917.  The first tank-to-tank battle was between Mk IV tanks and German A7Vs in the Second Battle of Villers-Bretonneux in April 1918.

Mark V series.

The Mark V was first intended to be a completely new design of tank, of which a wooden mock-up had been finished. However, when the new engine and transmission originally destined for the Mark IV became available in December 1917, the first, more advanced Mark V design was abandoned for fear of disrupting the production run. The designation "Mark V" was switched to an improved version of the Mark IV, not equipped with the new systems. The original design of the Mark IV was to be a large improvement on the Mark III but had been scaled back to be a mild improvement because of technical delays. The Mark V thus turned out very similar to the original design of the Mark IV – i.e. a greatly modified Mark III.  Four hundred were built, two hundred each of Males and Females. Several were converted to "Hermaphrodites" (also known as "Composites") by fitting one male and one female sponson so that each tank had a 6-pounder. This measure was intended to ensure that female tanks would not be outgunned when faced with captured British male tanks in German use or the Germans' own A7V.  The Mark V was first used in the Battle of Hamel on 4 July 1918, when 60 tanks contributed to a successful assault on the German lines by Australian units. It took part in eight further major engagements during the War. A number saw service in the Allied intervention in the Russian Civil War on the White Russian side. Most were captured and used by the Red Army in the Russian Civil War. Four were retained by Estonian forces, and two by Latvia.

Mark V*.

The Mark V* was a version with a stretched hull, lengthening it by. It had a larger "turret" on the roof and doors in the side of the hull. The extra section was also designed to house a squad of infantry. The weight was 33 tons. Of orders for 500 Males and 200 Females, 579 had been built by the Armistice – the order was completed by Metropolitan Carriage in March 1919.

Mark V**.

Because the Mark V* had been lengthened, its original length-width ratio had been spoiled. Lateral forces in a turn now became unacceptably high, causing thrown tracks and an enormous turn circle. Therefore, Major Wilson redesigned the track in May 1918, with a stronger curve to the lower run reducing ground contact and the tracks widened to. The Mark V engine was bored out to give and was sat further back in the hull. The cabin for the driver was combined with the commander's cabin; there now was a separate machine gun position in the back. Of a revised order for 700 tanks (150 Females and 550 Males), only 25 were built and only one of those by the end of 1918.

Mark VI.

The Mark VI was one of a pair of related projects to develop the tank initiated in late 1916. The Mark V would be the application of as many advanced features as could be managed on the Mark I hull design and the Mark VI would be a complete break with the Mark I hull. The Mark V would not be built as such, because of the delays with the Mark IV and it would be a different Mark V that was built. The Mark VI project design had a completely new hull – taller and with rounded track paths. The single main gun was in the front of the hull. It did not progress past the stage of a wooden mock-up; the project was cancelled in December 1917 in order that a tank co-developed with the US (the Mark VIII) could go forward.

Mark VII.

Mark Knothe, the Technical Liaison Officer between Stern, Elles and Anley, contributed to the development of the tank, designing a longer Mark I with Williams-Janney hydraulic transmission; one of the Mark IIs used as test vehicles had used a hydraulic transmission. In October 1917 Brown Brothers in Edinburgh were granted a contract to develop this line of research further. In July 1918, the prototype was ready. Its drive system was very complex. The Ricardo engine drove into Variable Speed Gear Ltd. pumps that in turn powered two hydraulic motors, moving one track each by means of several chains. To ward off the obvious danger of overheating, there were many fans, louvres and radiators. However, steering was easy and gradual and the version was taken into production to equip one tank battalion. Three had been built, and only one delivered out of an order for 74 when war ended. It was passed over in favour over the VIII, which was ordered at the same time. The hull was slightly lengthened in comparison with the Mark V. No Mark VIIs survive.

Mark VIII.

When Stern was removed from his post following disagreements with the War Office, he was sidelined by appointment to a new department to work on a cooperative design between the Allies – assembly in France, hulls, guns and their ammunition from the UK and other components (principally the engines) from the USA. American involvement in the development of the tank design led to the Mark VIII, also known as "Liberty" or Anglo-American tank (though initially the French were partially involved).  The engine was compartmentalised from the crew, and the turret structure included forward and rear firing machine guns. Of a planned (shared production) of 1,500 each, a single British prototype was finished by the end of the war. The British built just 24, the Americans completed 100 between September 1918 and 1920, at the Rock Island Arsenal, at a cost of $35,000 [£8,750] apiece ($430,000 [£226,000] in 2006). About 40 hulls for the U.S Liberty were produced by the Manchester Tank Syndicate, 11 British Type Mark VIII by the North British Locomotive Co.  They were used and upgraded until the 1930s, when they were given to Canada for training; some M1917s were sold to the Canadians at nominal scrap value. The tank itself was over 34 feet (10 m) long, and there had been an even longer 44-foot (13 m) version planned but never made (the Mark VIII*). The tank was outdated by the 1930s due to its speed (under 6 mph/10 km/h) and armour (16–6 mm), but it did have one of the longest independent trench crossing capabilities of any armoured fighting vehicle (AFV) ever made. Modern main battle tanks and AFVs rely on bridge laying tanks for crossing large deep trenches.

Mark IX.

The Mark IX was a troop carrier or infantry supply vehicle – among the first tracked armoured personnel carriers not counting experiments with the lengthened Mk Vs. Thirty-four were built out of an order for 200.

Mark X.

The Mark X was a paper-only project to improve the Mark V, originally known as Mark V***. This was basically a contingency plan in case the Mark VIII project failed (if so a production of 2000 was foreseen for 1919), trying to produce a tank with as many parts of the Mark V as possible but with improved manoeuvrability and crew comfort.

Combat history.

The first tanks were added, as a "Heavy Branch", to the Machine Gun Corps until a separate Tank Corps was formed on 28 July 1917 by Royal Warrant. A small number of Mark I tanks took part in the Battle of the Somme during the Battle of Flers-Courcelette in September 1916. They were used to cut through barbed wire to clear the way for infantry, and were even driven through houses to destroy machine gunner's emplacements. Although many broke down or became stuck, almost a third that attacked made it across no man's land, and their effect on the enemy was noted, leading to a request by the British C-in-C Douglas Haig for a thousand more. This came as a surprise: William Tritton had already started the development of a heavier tank: the Flying Elephant. Unfortunately for the Allies, it also gave the Germans time to develop a specifically designed anti-tank weapon for the infantry, an armour-piercing 7.92 mm K bullet.  Eight Mk I tanks were used against Turkish forces in the Second Battle of Gaza in April 1917 during the Sinai and Palestine Campaign. With its three destroyed tanks replaced by Mk IVs, the tank company fought at the Third Battle of Gaza.  British tanks were used with varying success in the offensives of 1917 on the Western Front; however, their first large scale use in a combined operation was at the Battle of Cambrai in November 1917, when nearly 400 tanks working closely with advancing infantry and a creeping barrage overran the German lines in the initial attack. During the Battle of Amiens in August 1918, several hundred Mark V tanks, along with the new Whippet and Mk V* tanks, penetrated the German lines in a foretaste of modern armoured warfare.  Mark V tanks captured by the Red Army from the White Army in the course of the Russian Civil War were used in 1921 during the Red Army invasion of Georgia and contributed to the Soviet victory in the battle for Tbilisi.  In 1945, occupying troops came across two badly damaged Mk V tanks in Berlin. Photographic evidence indicates that these were survivors of the Russian Civil War and had previously been displayed as a monument in Smolensk, Russia, before being brought to Berlin after the German invasion of the Soviet Union in 1941. Accounts of their active involvement in the Battle of Berlin have not been verified.

Surviving vehicles.

A number of tanks have survived, although several are just shells that have had all internal components removed. The largest collection is at The Tank Museum at Bovington in the United Kingdom, which holds eight tanks. Two of these are maintained in running condition, the Mark IV Male, "Excellent" and Mark V Male number "9199". "Excellent" last ran in the 1980s and "9199" in the 2000s. The Bovington museum does not intend to run them again, due to the wear and tear that would be inflicted on the now-fragile, historic vehicles. Instead, the museum acquired a replica Mark IV tank (constructed for the film "War Horse"), which is used for public demonstrations.

Little Willie.

Little Willie survives at the Bovington Tank Museum. It was saved from being scrapped in 1940 on the pretext that it was helping to defend Bovington base against possible German attacks. Many other prototypes were melted down during the invasion scare.

Mark I.

A single male survives. This is the only surviving Mark I and the world's oldest surviving combat tank. It is part of the collection at the Bovington Tank Museum. It is painted to represent Number 705, C19, "Clan Leslie" although its identity and wartime history are unknown. There are indications that it may have served as a driver-training tank and it has been suggested it is Number 702, which would make it the second Mark I built. Between 1919 and 1970, it was sited in the grounds of Hatfield House to commemorate the fact this was a testing site for tanks during their earliest development.

Mark II.

There is a single more or less complete surviving Mark II,, at the Bovington Tank Museum. This tank still has battle damage sustained at the Battle of Arras in April 1917. This vehicle was originally a Male, had been rebuilt as a supply vehicle, was restored and for a time displayed as a Mark I with a Female barbette on the right side, and was later shown as a Mark II.  Surviving parts from Mark II no. 799 (D26), including tracks and gunshields, can be seen at the Musée Jean et Denise Letaille, Bullecourt.

Mark IV.

Seven Mark IVs survive.

Mark V.

Eleven Mark Vs survive. The majority are in Russia or Ukraine and are survivors of the tanks sent there to aid the White forces during the Russian Civil War.

Mark IX.

A single restored vehicle survives at Bovington.

References.

Citations Bibliography

British heavy tanks were a series of related armoured fighting vehicles developed by the UK during the First World War.

Mark I byl britský tank nasazený v první světové válce a vůbec první bojově nasazený tank v historii válek. Poprvé byl nasazen 15. září 1916 v bitvě na Sommě. Jeho výzbroj byla nesena ve sponsonech na bocích trupu a tanky se dělily na „mužské“ (Male), které byly vyzbrojeny dvěma kanóny ráže 57 milimetrů QF 6 pounder Hotchkiss, což byla původně námořní děla, a čtyřmi kulomety Hotchkiss ráže.303 British, a „ženské“ (Female), jejichž hlavní výzbroj představovaly kulomety Vickers, doplněné také kulomety Hotchkiss. Pancéřování dosahovalo síly až 10 milimetrů, a v praxi se ukázalo být zranitelné nově vyvinutou německou střelou typu "Spitzgeschoss mit Kern" ráže 7,92 mm.


Early life.

Pagnol was born on 28 February 1895 in Aubagne, Bouches-du-Rhône department, in southern France near Marseille, the eldest son of schoolteacher Joseph Pagnol and seamstress Augustine Lansot. Marcel Pagnol grew up in Marseille with his younger brothers Paul and René, and younger sister Germaine.

School years.

In July 1904, the family rented the "Bastide Neuve", – a house in the sleepy Provençal village of La Treille – for the summer holidays, the first of many spent in the hilly countryside between Aubagne and Marseille. About the same time, Augustine's health, which had never been robust, began to noticeably decline and on 16 June 1910 she succumbed to a chest infection (""mal de poitrine"") and died, aged 36. Joseph remarried in 1912.  In 1913, at the age of 18, Marcel passed his baccalaureate in philosophy and started studying literature at the University in Aix-en-Provence. When World War I broke out, he was called up into the infantry at Nice but in January 1915 he was discharged because of his poor constitution (""faiblesse de constitution""). On 2 March 1916, he married Simone Colin in Marseille and in November graduated in English. He became an English teacher, teaching in various local colleges and at a lycée in Marseille.

Career.

Time in Paris.

In 1922, he moved to Paris, where he taught English until 1927, when he decided instead to devote his life to playwriting. During this time, he belonged to a group of young writers, in collaboration with one of whom, Paul Nivoix, he wrote the play, "Merchants of Glory", which was produced in 1924. This was followed, in 1928, by "Topaze", a satire based on ambition. Exiled in Paris, he returned nostalgically to his Provençal roots, taking this as his setting for his play "Marius", which later became the first of his works to be adapted into a film in 1931.  Separated from Simone Collin since 1926 (though not divorced until 1941), he formed a relationship with the young English dancer Kitty Murphy. Their son Jacques Pagnol was born on 24 September 1930. (Jacques later became his father's assistant and subsequently a cameraman for France 3 Marseille.)

Filmmaking career.

In 1929, on a visit to London, Pagnol attended a screening of one of the first talking films and he was so impressed that he decided to devote his efforts to cinema. He contacted Paramount Picture studios and suggested adapting his play "Marius" for cinema. This was directed by Alexander Korda and released on 10 October 1931. It became one of the first successful French-language talking films.  In 1932 Pagnol founded his own film production studios in the countryside near Marseille. Over the next decade Pagnol produced his own films, taking many different roles in the production – financier, director, script writer, studio head, and foreign-language script translator – and employing the greatest French actors of the period. On 4 April 1946, Pagnol was elected to the Académie française, taking his seat in March 1947, the first filmmaker to receive this honour.

Themes of Pagnol's films.

In his films, Pagnol transfers his playwriting talents onto the big screen. His editing style is somberly reserved, placing emphasis on the content of an image. As a pictorial naturalist, Pagnol relies on film as art to convey a deeper meaning rather than solely as a tool to tell a story. Pagnol also took great care in the type of actors he employed, hiring local actors to appear in his films to highlight their unique accents and culture. Like his plays, Pagnol's films emphasize dialogue and musicality. The themes of many of Pagnol's films revolve around the acute observation of social rituals. Using interchangeable symbols and recurring character roles, such as proud fathers and rebellious children, Pagnol illuminates the provincial life of the lower class. Notably, Pagnol also frequently compares women and land, showing both can be barren or fertile. Above all, Pagnol uses all this to illustrate the importance of human bonds and their renewal.

As a novelist.

In 1945, Pagnol remarried, to actress Jacqueline Pagnol. They had two children together, Frédéric (born 1946) and Estelle (born 1949). Estelle died at the age of two. Pagnol was so devastated that he fled the south and returned to live in Paris. He went back to writing plays, but after his next piece was badly received he decided to change his job once more and began writing a series of autobiographical novels – "Souvenirs d'enfance" – based on his childhood experiences.  In 1957, the first two novels in the series, "La Gloire de mon père" and "Le château de ma mère" were published to instant acclaim. The third "Le Temps des secrets" was published in 1959, the fourth "Le Temps des Amours" was to remain unfinished and was not published until 1977, after his death. In the meantime, Pagnol turned to a second series, "L'Eau des Collines" – "Jean de Florette" and "Manon des Sources" – which focused on the machinations of Provençal peasant life at the beginning of the twentieth century and were published in 1962.  Pagnol adapted his own film "Manon des Sources", with his wife Jacqueline in the title role, into two novels, "Jean de Florette" and "Manon des Sources", collectively titled "L'Eau des Collines".

Death.

Marcel Pagnol died in Paris on 18 April 1974. He is buried in Marseille at the cemetery "La Treille", along with his mother, father, brothers, and wife. His boyhood friend, David Magnan ("Lili des Bellons" in the autobiographies), died at the Second Battle of the Marne in July 1918, and is buried nearby.

Translations.

Pagnol was also known for his translations of Shakespeare (from the English) and Virgil (from the Latin):  Pagnol's "Hamlet" is still performed in France, although some have criticized his portrayal of Hamlet as somewhat effeminate.

Film adaptations.

In 1986, "Jean de Florette" and "Manon des Sources" were remade by filmmaker Claude Berri.  In 1990, "La Gloire de mon père" and "Le château de ma mère", Pagnol's affectionate reminiscences of childhood, were filmed by Yves Robert.  In 2000, Jacques Nahum produced "Marius", "Fanny", and "César" for French television.  In 2011, "La Fille du puisatier" was filmed by Daniel Auteuil.  In 2013, "Marius" and "Fanny" were remade by Daniel Auteuil.

Tribute.

On February 28, 2020, Google celebrated his 125th birthday with a Google Doodle.

Marcel Paul Pagnol (; ; 28 February 1895 – 18 April 1974) was a French novelist, playwright, and filmmaker. Regarded as an auteur, in 1946, he became the first filmmaker elected to the Académie française. Although his work is less fashionable than it once was, Pagnol is still generally regarded as one of France's greatest 20th-century writers and is notable for the fact that he excelled in almost every medium—memoir, novel, drama and film.

Marcel Pagnol (28. února 1895, Aubagne – 18. dubna 1974, Paříž) byl francouzský spisovatel, dramatik a filmař, člen Francouzské akademie. Znám je především pro svou tetralogii "Vzpomínky z dětství".


Production.

Produced by Ian Anderson and recorded and engineered by Robin Black in London, "Heavy Horses" marks the last Jethro Tull studio album with full participation of bass player John Glascock. Anderson stated that the recording of the album came at a time when other artists were moving towards the new trends in music, and the band decided they did not want "to appear as if we were trying to slip into the post-punk coattails that were worn by The Stranglers or The Police [...] They were bands that were seen as being part of the punk world, but they weren't".

Musical style and themes.

"Heavy Horses" bares more earthly and prosaic themes compared to its predecessor. Songs about the conformist view of daily life ("Journeyman"), or dedicated to Anderson's dog ("Rover") and cat ("...And the Mouse Police Never Sleeps"), or even another one for his new son, James ("No Lullaby"). However, an element already present in "Songs from The Wood" continued as "Heavy Horses" served as a discourse on transience and disappearing worlds. The title track - one of two complex suites on the record - is compared by Anderson to an "equestrian "Aqualung" ". Other tracks, such as "Acres Wild" and "Weathercock", works as a plea for better days ahead. But, alongside the changes on themes, the music went much harder, too. The mini-epic of the title track flowing from a piano ballad to a fiddle-fest (of Curved Air's Darryl Way) to full gallop, is a great example of the album's style as a whole. "No Lullaby" rushes from a crushing Martin Barre riff as "Weathercock" starts full folk, to add progressive rock flavours. Barre declared that ""Songs From The Wood" and "Heavy Horses" are two of the best albums from my time in Jethro Tull".

Reception.

"Rolling Stone"'s contemporary review was positive, calling the instrumental arrangements lavish and stating that "Heavy Horses" and the folk genre, as a follow up to "Songs From the Wood", suited Jethro Tull perfectly.  AllMusic calls "Heavy Horses" one of the prettiest records of the band, praising both Martin Barre's and John Glascock's playing as Robin Black engineering and the special participation of Curved Air violinist Darryl Way.

Charts.

The album sold more than 1,000,000 copies and reached No. 19 on the "Billboard" 200 album chart,

2018 40th Anniversary "New Shoes" Deluxe Edition.

On 2 March 2018 Jethro Tull released a five-disc ‘bookset’ version of Heavy Horses with a 96-page booklet that includes a track-by-track annotation of the album and its associated recordings by Ian Anderson. It is similar to the band's other 40th Anniversary reissues, with the first disc containing another Steven Wilson stereo remix followed by ‘associated recordings’ including seven previously unreleased tracks. The second and third discs contain 22 previously unreleased live tracks, recorded at the Festhalle in Berne Switzerland during the European leg of their 1978 "Heavy Horses" Tour, from 28 May 1978, remixed to stereo by Jakko Jakszyk. The set also includes DVDs.

Heavy Horses is the eleventh studio album by British progressive rock band Jethro Tull, released on 10 April 1978. It is considered the second album in a trilogy of folk-rock albums by Jethro Tull, the first and third being "Songs from the Wood" (1977) and "Stormwatch" (1979), although folk music's influence is evident on a great number of Jethro Tull releases.

Heavy Horses je album vydané britskou rockovou skupinou Jethro Tull 10. dubna 1978. Je to jedno z posledních alb kde byl uplatněn akustický keltský rock ze střední éry Jethro Tull, než nastoupily syntezátory. Společně s alby "Songs from the Wood" a "Stormwatch" představuje realizaci ideálu – rockové písničky, které se věnují dosud nedotčenému tématu, ekologii a anglické mystice. Album pokračuje folkovým soundem ve stylu "Songs from the Wood" ale bylo upuštěno od folkového obsahu textů, výměnou za více realistickou perspektivu měnícího se světa. To bylo vysoce oceňováno hudebními kritiky, zejména na živých vystoupeních.


History.

Origin.

The "Silver Bible" was probably written for the Ostrogothic King Theodoric the Great, either at his royal seat in Ravenna, or in the Po valley or at Brescia. It was made as a special and impressive book written with gold and silver ink on high-quality thin vellum stained a regal purple, with an ornate treasure binding. After Theodoric's death in 526 the Silver Bible is not mentioned in inventories or book lists for a thousand years.

Discovery.

Parts of the "Codex Argenteus" (literally, "Silver Book"), 187 of the original 336 parchment folia, were preserved at the former Benedictine abbey of Werden (near Essen, Rhineland). The abbots at Werden were imperial princes and had a seat in the Imperial Diet. While the precise date of the "Silver Bible" is unknown, it was discovered at Werden in the 16th century.  The codex, or the remaining part of it, came to rest in the library of Holy Roman Emperor Rudolph II at his imperial seat in Prague. At the end of the Thirty Years' War, in 1648, after the Battle of Prague, it was taken as war booty to Stockholm, Sweden, to the library of Queen Christina of Sweden. After her conversion to Catholicism and her abdication, the book went to the Netherlands among the property of Isaac Vossius, her former librarian, in 1654. In the 1660s, it was bought and taken to Uppsala University by Count Magnus Gabriel De la Gardie, who also provided its present lavishly decorated binding.  The codex remains at the Uppsala University Library in the Carolina Rediviva building. On 5 April 1995, parts of the codex that were on public display in Carolina Rediviva were stolen. The stolen parts were recovered one month later, in a storage box at the Stockholm Central Railway Station.  The details of the codex's wanderings for a thousand years remain a mystery; it is unknown whether the other half of the book may have survived.  In 1998 the codex was subjected to carbon-14 analysis and was dated to the sixth century. It was also determined that the manuscript had been bound at least once during the sixteenth century.

The Speyer fragment.

The final leaf of the codex, fol. 336, was discovered in October 1970 in Speyer, Germany, 321 km south-east of Werden. It was found at the restoration of the Saint Afra chapel, rolled around a thin wooden staff, contained in a small reliquary originating in Aschaffenburg. The leaf contains the final verses of the Gospel of Mark.

Publications.

First publication mentioning Gothic manuscript appeared in 1569 by Goropius Becanus in his book "Origines Antwerpianae":  In 1597, Bonaventura Vulcanius, Leiden professor of Greek, published his book "De literis et lingua Getarum sive Gothorum". It was the first publication of a Gothic text altogether, calling the manuscript "Codex Argenteus":  But he was not only the first who enabled the learned world to make the acquaintance of the Gothic translation of the Gospels in Gothic script, but also the first who connected this version with the name of Ulfilas:  In his book Vulcanius published two chapters about the Gothic language which contained four fragments of the Gothic New Testament: the Ave Maria (Luke I.28 and 42), the Lord's Prayer (Matt. VI.9-13), the Magnificat (Luke I.46-55) and the Song of Simeon (Luke II.29-32), and consistently gave first the Latin translation, then the Gothic in Gothic characters, and then a transliteration of the Gothic in Latin characters.  In 1737, Lars Roberg, a physician of Uppsala, made a woodcut of one page of the manuscript; it was included in Benzelius' edition of 1750, and the woodcut is preserved in the Linköping Diocesan and Regional Library. Another edition of 1854–7 by Anders Uppström contained an artist's rendition of another page. In 1927, a facsimile edition of the Codex was published.  The standard edition is that published by Wilhelm Streitberg in 1910 as "Die Gotische Bibel" ("The Gothic Bible").

Script and illumination.

The manuscript is written in an uncial script in the Gothic alphabet, reportedly created by Ulfilas. The script is very uniform, so much so that it has been suggested that it was made with stamps. However, two hands have been identified: one hand in the Gospels of Matthew and John and another in the Gospels of Mark and Luke. The illumination is limited to a few large, framed initials and, at the bottom of each page, a silver arcade which encloses the monograms of the four evangelists.

The Codex Argenteus (Latin for "Silver Book/Codex") is a 6th-century manuscript, originally containing part of the 4th-century translation of the Bible into the Gothic language. Traditionally ascribed to bishop Ulfilas, it is now established that the Gothic translation was performed by several scholars, possibly under Ulfilas's supervision. Of the original 336 folios, 188—including the Speyer fragment discovered in 1970—have been preserved, containing the translation of the greater part of the four gospels. A part of it is on permanent display at the Carolina Rediviva building in Uppsala, Sweden.

Codex Argenteus také Stříbrná bible je ruční přepis ze 6. století, který obsahuje gótský překlad bible biskupa Wulfily ze 4. století. Z původních 336 listů se podařilo zrestaurovat 188. Obsahem těchto listů je překlad významné části čtyř evangelií. Část tohoto materiálu je vystavena v knihovně Carolina Rediviva, v Uppsale ve Švédsku.


Geography.

Fisterra has several beaches like O Rostro, Arnela, Mar de Fóra, Langosteira, Ribeira, and Corveiro. Many of the beaches are framed by steep cliffs leading down to the "Mare Tenebrosum" (or dark sea, the name of the Atlantic in the Middle Ages).  There are several rocks in this area associated with religious legends, such as the "holy stones", the "stained wine stones", the "stone chair", and the tomb of "Orcabella".

History.

After the discovery of the remains of St. James, pilgrims on the Way of St. James started to arrive from Santiago to Fisterra to worship in front of an image of Sacred Christ, view the relics of San Guillerme, and see the "End of the Earth".  In 1479, a hospital to accommodate the arriving pilgrims was built. Many of the pilgrims were noblemen or otherwise famous.  Thousands of visitors continue to arrive in Fisterra every day.

Pre-Christian beliefs.

In the area there are many remnants of pre-Christian beliefs and sacred locations. On Cape Finisterre, some claim that there is the "Altar Soli", where the Celts engaged in sun worship and assorted rituals.  The Monte Facho, on Cape Finisterre, was the place where the Celtic Nerios from Duio carried out their offerings and rites in honour of the sun. St. William of Gellone also lived in a house located there. Near St. William's house, sterile couples would have sexual intercourse on one specific stone to try to conceive, following a Celtic rite of fertility.

Culture.

Every Easter there is a local festival featuring the Christ of the Golden Beard.

External links.

<br

Fisterra (; ) is a municipality in the province of A Coruña, in the autonomous community of Galicia, Spain. It belongs to the comarca of Fisterra. Fisterra is on Cape Finisterre, the final destination for many pilgrims on the Way of St. James.

V minulosti bylo toto místo považováno za konec světa. Nyní je obecně známo jako nejzápadnější místo pevninského Španělska. Ve skutečnosti tímto nejzápadnějším bodem je nejspíše mys Touriñán ležící asi 15 km severněji.


Recording.

Slipknot recorded "Vol. 3: The Subliminal Verses" with producer Rick Rubin at The Mansion in Los Angeles in 2003. There had been speculation regarding the possibility of a third album and the band's future, owing to members working on other musical projects. After the album was completed, the band said these side projects "saved the band" and "helped [them] break out of the box [they] were in". Coming back together and working out their differences hindered the writing process initially. In 2008, drummer Joey Jordison said, "We didn't talk to each other for three months, we just sat there wasting money in the fucking Houdini mansion." Percussionist Shawn Crahan stated, "Eventually we got sick of waiting for shit to happen. We got together, had a few beers and wrote a really artsy, fucked up song called 'Happy Ending'."  In a Q&A for his book "You're Making Me Hate You", Corey stated that the first verse and chorus of "Circle" were written and recorded during the "Iowa" tour in 2001, and that it was the same take that ended up on the album.  In a 2003 interview, Jordison explained that despite the initial problems more than enough material was written for the album and added that "it's better to have stuff to pick from than to settle for shit", in contrast to how Slipknot settled too soon with fewer songs on previous albums. Band members were divided over their experience of working with producer Rubin; some doubted his commitment to Slipknot as he split his time between many artists at once. Lead vocalist Corey Taylor admitted in an interview that he drank heavily throughout their time in the mansion, saying "I would drink from the moment I got up until the moment I passed out." He explained that; "everything I did while I was drinking sounded like shit", while expressing how unhappy he was with the choice of vocal takes which ended up on the album. During this time, percussionist Crahan worked on "", a video documenting the creation process of the album and the touring which would follow.  In 2008, Taylor said he met Rubin only four times during the entire recording of "Vol. 3..." and that Rubin barely showed up to the studio: "We were being charged horrendous amounts of money. And for me, if you're going to produce something, you're fucking there. I don't care who you are." He added: "He is overrated, he is overpaid, and I will never work with him again."  Conversely, guitarist Jim Root said in that same interview, "A lot of the guys in the band say Rick was unavailable. And yeah, he takes on a lot of projects at one time, but he also does things that are beneficial. He would listen to what we'd done, then have us retrack things that needed work. He's kind of like Big Brother up on the hill. Even though he wasn't there physically every day, he was. That's my favorite record we've done."

Musical and lyrical themes.

Before the release of "Vol. 3", band members had promised a more experimental album; drummer Jordison said that "it's almost as if Slayer was tapping on Radiohead". For the first time in Slipknot's career, songs such as "Circle" and "Vermilion Pt. 2" were led by an acoustic rather than an electric guitar. According to Todd Burns of "Stylus", songs such as "Pulse of the Maggots" and "Before I Forget" incorporate a "pounding metal" style. AllMusic wrote that tracks, such as "The Blister Exists", "Three Nil", and "Opium of the People", combine the two extremes of their recognizable metal edge with melody, and the most apparent shifts being in Taylor's vocal style, with relatively few songs relying solely on screamed vocals in comparison to their earlier work. "Entertainment Weekly" wrote that the album "[bounced] between over-powering speed-metal and haunting acoustic rock".  "Vol. 3: The Subliminal Verses" is Slipknot's first album that does not warrant a Parental Advisory label, mainly because the lyrics of "Vol. 3", compared to other Slipknot albums, are much less explicit in terms of profanity and obscure dark themes. The special edition still has a Parental Advisory label. In a 2008 interview, guitarist Mick Thomson explained that vocalist Corey Taylor made a point of avoiding the use of profanity in response to claims that he relied on use of it. Only two instances of profanity occur; the use of the word "bitched" in Duality and "bastards" which appears in the monologue leading into "Pulse of the Maggots". According to AllMusic, the lyrics of "Vol. 3: (The Subliminal Verses)" include metaphors and touch on themes that include anger, disaffection, and psychosis. Taylor's diversity in his vocal delivery was praised; Burns considered tracks like "Vermilion Pt. 2" to have "stately vocal harmonies". Taylor's performance on the closing track "Danger – Keep Away" was specifically praised; "Stylus" called it the most "depressing and emotional" track on the album. Burns concluded that overall "the riffs have lost none of their impact, but it seems like finally the group also wants you to appreciate their vocal and lyrical impact."

Artwork.

The cover of the album features the "maggot mask" designed by Shawn Crahan. The name of the mask is a reference to the name given to fans by the band. The mask was made of stitched leather, with a zipper around the mouth area, and copies can be obtained as part of the band's merchandise. It is featured in the music video for the album's second single "Vermilion", in which the band appears whenever the protagonist wears the mask.

Promotion.

Prior to the release of the album, the band released "Pulse of the Maggots" in its entirety as a free downloadable track on the now defunct SK Radio website, it was available for one day only on March 30, 2004. This also marked the beginning of Slipknot's touring cycle, The Subliminal Verses World Tour, starting with their appearance on the Jägermeister Music Tour. On May 4, 2004, "Duality" was released as their first official single. "Vol. 3: (The Subliminal Verses)" was finally released on May 25, 2004, to coincide with the release of the album "Duality" was released on a special edition 7-inch red vinyl. Alongside the normal edition of the album Roadrunner Records also released a limited edition CD that could connect to the Slipknot web site and obtain new songs and other promotional material, but as of 2009 the link on the CD has stopped working. Other singles from the album included "Vermilion", "Before I Forget" and "The Blister Exists". On April 12, 2005, a special edition version of the album, containing a bonus disc, was released.

Critical reception.

Critical reception to "Vol. 3: The Subliminal Verses" was generally positive. It received a score of 70% on review aggregator Metacritic based on 12 reviews. Johnny Loftus of AllMusic called the album "not just another flashy alt-metal billboard", praising the band's "dedication to making it a Slipknot album". Todd Burns of "Stylus" wrote that people who accuse the band of having "softened" are "mistaking softness for maturation". Burns went on to call the album "the best pop inflected metal album since System of a Down's "Toxicity"". Sean Richardson of "Entertainment Weekly" gave the album an A− and wrote that it is a "deranged hippie update" of Slayer's "masterpiece" "Reign in Blood", which was also produced by Rubin. "Q" hailed "Vol. 3: The Subliminal Verses" as "a triumph". John Robb of PlayLouder complimented Slipknot's unexpected rise to become "one of the biggest groups in the world", dubbing "Before I Forget" a "classic [Slipknot] anthem". Robb added that the album is better than "Iowa", citing its "differing textures". "Rolling Stone" gave the album a rating of 3 out of 5, stating the album presented "newer extremes" for the band, "which in Slipknot's case means tunefulness and traditional song structures".  A review from the BBC praised the album, declaring that there "is no finer metal band on the planet". It cited the group's integration of "hyperactive bass drums, complex, compelling riffs and ridiculously fast fretwork" with more melodic styles and described Vermilion as "the key track... an emotional, melodramatic, utterly convincing rollercoaster ride".  "Alternative Press" criticized the album, writing that it "plays out like a tepid, second-rate version of "Iowa", which pretty much makes it a third-rate anything else." Yahoo!'s Chris Heath also reviewed the album negatively, writing that "The Nameless" combines "the ludicrously vicious and ridiculously placid" and that by doing so makes the track feel "awkward". Heath added, "the themes are predictably absurd... yet mildly comical given the inclusion of such disparate styles stationed side by side."  "Vol. 3: The Subliminal Verses" peaked at position number two on the US "Billboard" 200, online, Australian Recording Industry Association, and Canadian sales charts. The album was certified Platinum in the United States on February 21, 2005. In 2006, the band won their first Grammy for Best Metal Performance with "Before I Forget". In 2009, "Metal Hammer" called it one of the "Albums of the Decade". It was also rated 31st in UK magazine "Kerrang!"'s "The 50 Best Albums of the 21st Century" reader poll. In 2005, the album was ranked number 396 in "Rock Hard" magazine's book of "The 500 Greatest Rock & Metal Albums of All Time".

Track listing.

All tracks written by Corey Taylor, Mick Thomson, Shawn Crahan, Craig Jones, Jim Root, Chris Fehn, Paul Gray, Joey Jordison and Sid Wilson.

Personnel.

Aside from their real names, members of the band are referred to by numbers zero through eight.

Vol. 3: (The Subliminal Verses) is the third studio album by American heavy metal band Slipknot. The album was released on May 25, 2004, by Roadrunner Records, and a special edition, containing a bonus disc, was released on April 12, 2005. It is the band's only album produced by Rick Rubin. Following the band's tour to promote its second album in 2001, speculation regarding the future began. Some band members had already been involved in side projects including Murderdolls, To My Surprise, and the reformation of Stone Sour. In 2003, Slipknot moved into The Mansion to work on the album. Initially, the band was unproductive; lead vocalist Corey Taylor was drinking heavily. Nevertheless, they wrote more than enough material for a new album—the band's first to incorporate more traditional, melodic song structures, guitar solos and acoustic guitars.

Vol. 3: (The Subliminal Verses) je v pořadí třetí studiové album americké metalové skupiny Slipknot vydané u nakladatelství Roadrunner Records.


History.

Aboriginal.

Clear evidence has established indigenous people living on the west coast of Australia for at least 40,000 years, though at present it is unclear when the first indigenous people may have originally explored and lived in and around Geraldton.  The original local Aboriginal people of Geraldton are the Naaguja people with the Nanda immediately to the north and Badimia immediately to the east. Today the Aboriginal people of the region generally identify as "Yamatji" or Wajarri people. Wajarri country is inland from Geraldton and extends as far south and west as Mullewa, north to Gascoyne Junction and east to Meekatharra. The Aboriginal people of the Murchison-Gascoyne region were instrumental in assisting early settlers in the area in identifying permanent water sources, and worked in the pearling, pastoral and fishing industries.  Yamatji art is a distinctive style of painting, using thousands of dots of ochre and other earth-based pigments to create patterns and images relevant to Yamatji/Wajarri culture.  The Western Australia Museum at the marina in Geraldton hosts a permanent exhibit on Yamatji/Wajarri culture and history of the region.

European arrival.

Many European mariners encountered, or were wrecked on, the Houtman Abrolhos islands west of Geraldton during the 17th and 18th centuries. Although two mutineers from the were marooned on the mainland in 1629 there is no surviving evidence that they made landfall at or near the site of the current town.  The wreck of the "Batavia", flagship of the Dutch East India Company (VOC) fleet on her maiden voyage, on Morning Reef of the Houtman Abrolhos on 4 June 1629, and the events surrounding the subsequent mutiny, rescue and punishment of her crew are of great historical significance to the region. A detailed account of the events is recorded in a 24 December 1897 Western Mail article "The Abrolhos Tragedy", translated from the notes of Francois Pelsaert, the commander of the "Batavia" when she ran aground. The Western Australian Museum in Geraldton houses an exhibition of clay pipes, silver coins, cannons, the original "Batavia" stone portico and numerous other relics recovered from the wreck of the "Batavia" and other notable local historical shipwrecks such as the, and.  The explorer George Grey, while on his second disastrous expedition along the Western Australian coast, passed over the future site of Geraldton on 7 April 1839. George Fletcher Moore, the colony's attorney-general, on the colonial schooner "Champion", explored the region in January 1840 and discovered Champion Bay. He was followed by Captain John Clements Wickham and Lieutenant John Lort Stokes of, who led an expedition to the area in April 1840, and named and surveyed Point Moore and Champion Bay.  A decade later, explorer Augustus Gregory travelled through the area. A member of his party, James Perry Walcott, discovered lead ore in 1848 in the bed of the Murchison River. The "Geraldine" mine was subsequently established, named after the County Clare family home of Charles FitzGerald, the 4th Governor of Western Australia. The town of Geraldton, named after Governor FitzGerald, was surveyed in 1850 and land sales began in 1851.

World War II.

During World War II Geraldton was the location of No. 4 Service Flying Training School RAAF. This flying school was formed on 10 February 1941 and disbanded in May 1945.

Climate.

Geraldton has a Mediterranean climate with semi-arid influence. Geraldton is very sunny, receiving around 164 clear days annually.  In the winter the temperature is mild with daily highs averaging around. Most of the yearly rainfall falls in this period.  In the summer months, Geraldton averages, with some days over. Daily afternoon sea breezes cool coastal areas and summer temperatures in coastal suburbs of Geraldton (Seacrest, Tarcoola, Geraldton CBD, Beresford, Sunset Beach, Bluff Point and Drummond Cove) are generally cooler than in inland suburbs, such as Strathalbyn, Utakarra, Woorree, Deepdale and Moonyoonooka.

Demographics.

In June 2018 the population of Geraldton was 37,648, a decline from the recent peak of 38,792 in 2014.  According to the 2016 census of Population, in urban Geraldton:

Economy.

The economic output generated within Greater Geraldton, the local government area incorporating Geraldton, is estimated at $2.944 billion. Greater Geraldton represents 56.26% of the $5.233 billion in output generated in Mid West Region and 1.19% of the $247.705 billion in output generated in Western Australia.

Port of Geraldton.

The Port of Geraldton is a major west coast port with seven bulk handling berths and an average loading rate of seven tonnes per hour, ranking nationally (in tonnage for 2012/2013) 12th in exports (14,812,513); 23rd in imports (632,330); and 13th overall (15,444,843).  The major exports from the Geraldton port in 2012/2013 were (tonnage): iron ore (10,741,662); grain (2,618,507); mineral sands (849,933); copper concentrate (149,450); zinc concentrate (148,420); nickel concentrate (65,919); and livestock (2,758). Major imports were petroleum products (328,021). In 2012/2013 the Geraldton port serviced 328 bulk haulage vessels.

Tourism.

Visitor Centre.

The Geraldton Visitor Centre is located at 246 Marine Terrace, formerly the original Railway Station. The historic building is an icon in Geraldton's West End and was originally built in 1878. It was the first railway station constructed on a Government line in Western Australia. Now more than 140 years on, the building's heritage has been preserved through careful restoration and many elements from the original building feature in the Visitor Centre.

Point Moore Lighthouse.

The Point Moore Lighthouse, located south of the Geraldton Port is a cultural and historical attraction. It is the oldest surviving Commonwealth lighthouse in Western Australia and was also the first steel tower to be constructed on the mainland of Australia. The Point Moore lighthouse stands 35m tall and its 1000w Tungsten Halogen Lamp can be seen for 23 nautical miles. It began operation in 1878. The tower was prefabricated in Birmingham, England in 1876 and reached Australia by boat in 1877. However, the foundation for the lighthouse was laid at the wrong place by the local contractors and had to be reconstructed at the new site. Currently, it is a heritage-listed structure which is visited by photographers, travellers, couples, artists, etc.

Geraldton foreshore and city centre.

In 2007, the Geraldton foreshore area, previously an abandoned railway marshalling yard, was redeveloped and today hosts a playground with water activities, public green spaces, public beaches, picnic areas, basketball court and shaded play areas. The project was completed in 2008.  Geraldton is a regular port of call for cruise ships with visits occurring approximately ten times per year. Volunteers, organised by the City of Greater Geraldton, greet visitors on arrival to provide information on activities and other assistance.

HMAS "Sydney" memorial.

The memorial for the World War II cruiser is located on Gummer Avenue, at the summit of Mount Scott. The memorial recognises the loss of the light cruiser during a mutually destructive fight with the German auxiliary cruiser "Kormoran" off Shark Bay in November 1941, with none of the 645 crewmen aboard surviving. A temporary memorial, consisting of a large boulder, a flagpole, and a bronze plaque, was erected in 1998. A permanent memorial was dedicated on 18 November 2001, the day before the 60th anniversary. The HMAS Sydney memorial is made up of four major elements: 1. A stele, based on the ships prow; 2. A granite wall listing the ships company; 3. A bronze statue of a women looking out to sea and waiting in vain for Sydney to return; and 4. A dome made up of 645 stainless steel seagulls. The 645 Stainless steel seagulls represent the souls of the lost sailors. In Folklore, birds such as seagulls are sometimes known as'soul birds' because they are regarded as the souls of people who died at sea. (Armstrong,1958) "Sydney" In May 2009, the memorial was recognised by the Australian government as being of national significance.

Activities.

Geraldton has a Mediterranean climate with dry, sunny conditions and warm sea temperatures throughout the summer. Mean sea temperatures in the summer months (measured at 10m) are consistently above 22C, often exceeding 24C. Surface sea temperatures in summer regularly exceed 26C.  The Geraldton foreshore area has pathways for walking, running, cycling, dog-walking, skateboarding and in-line skating. There are skate parks at Cape Burney, Maitland Park, Wonthella, Strathalbyn, Tarcoola Beach, Forrester and Drummond Cove.  Farmers markets occur on Saturday from 8 am to 12 noon in Maitland Park on Cathedral Avenue and on Sunday at the Old railway station on the corner of Chapman Road and Forrest Street.  4WD access is permitted on many beaches around Geraldton. Access points are usually labelled with information and cautions. Road rules apply and beaches are patrolled by local rangers. Non-compliance to road rules or entry into prohibited areas attracts significant penalties. Many beaches are impassable at times around high tide and during periods of ocean surges. At certain times of year, access may become impossible due to beach erosion.

Windsurfing and kitesurfing.

During the spring, summer and early autumn months from September through April, Geraldton experiences consistent seabreezes. Windsurfing and kitesurfing locations include Back Beach, Separation Point ("Seppos"), Point Moore, Hell's Gate, St. George and Sunset Beach. The region is a popular windsurfing location, attracting significant numbers of overseas visitors and product testing by manufacturers. In 2005, Geraldton was host to the Australian KiteSurfing Association (AKSA) Australian National Championships.

Surfing and stand-up paddlesurfing.

Surfing, and more recently Stand-Up Paddlesurfing, are also popular activities in and around Geraldton. Popular surf spots include Flat Rocks, Greenough, Back Beach, Sunset Beach and Glenfield. Stand-Up Paddlesurfing spots include Point Moore, Town Beach, The Foreshore, St. Georges Beach and Drummond Cove to the north.  In winter, local weather conditions shift to predominantly easterly (offshore) winds. Indian Ocean storms generate large swells that produce good conditions for surfing (though the fringe barrier reef protecting the Geraldton coastline blocks much of the swell, significantly reducing the size of the waves that reach the beaches). Large swells may create potentially dangerous rip currents as water flows through passages between the reef.

Fishing, boating and sailing.

Saltwater fishing, boating and sailing are popular along Geraldton's coastline.  Local and visiting recreational fishermen and women target a wide variety of native sport fish from the beaches and wharves that includes Mulloway, Bream, Tailor, Whiting, Sharks and Cod; larger fish such as Dhufish, Mackerel, Tuna, Snapper, Sampsonfish, Coral Trout and larger sharks, amongst many others are found on Geraldton's offshore reefs, located from approximately 8 km to more than 80 km offshore. A recreational fishing licence is not required when fishing from the shore but a licence must be obtained from the Department of Fisheries to fish from a boat. Significant fines apply for non-compliance. Recreational fishing for local Western Rock Lobster is also permitted during the season from December–April (exact dates vary from year to year) however, a special licence is required. Size and daily bag limits apply to certain species of fish and to all lobster catches.  The city is home to the Geraldton Yacht Club, which marked its 100th anniversary in 2014.

Scuba diving and snorkelling.

Scuba diving and snorkelling are popular activities around Geraldton. There are several wreck diving sites off the coast, including the "South Tomi", which was sunk in 2004. The South Tomi is a 58.7 metre long, 9.81 metre wide vessel that was built by Niigata Engineering and Shipping Co Ltd. in Niigata City, Japan. In March 2001, the Republic of Togo registered South Tomi. The same month, the ship was identified fishing illegally in Australian sub-Antarctic waters and pursued by Australian Fisheries officers for 14 days, covering 3,300 nautical miles (approximately 6,100 kilometres). The vessel was boarded by Australian defence forces 320 nautical miles (approximately 600 km) south of Cape Town in South Africa and inspected. The vessel was found to be carrying an illegal catch of protected Patagonian toothfish and the vessel and its catch were confiscated by Australian authorities. The vessel was escorted 8,500 km to Western Australia and arrived on 5 May in Fremantle. The catch was sold by the Australian government for $1.4 million. The City of Geraldton secured the vessel to be sunk as an artificial reef. The ship was towed from Fremantle to Geraldton and scuttled on 18 September 2004 2.9 nautical miles off the Geraldton coast. The site is registered with the WA Department of Fisheries as a wreck and is closed year round to fishing within the defined boundaries – commencing at 28°43.968'S 114°33.392'E, then east to 114°33.206'E, then north to 28°43.752'S, then east to 114°33.392'E, then south to the commencement point. Water depth at the site is approximately 24.5 metres and the deck is 13 metres from the surface. The wreck of the South Tomi is one of WA's Top 10 Dive Wrecks and provides an easily accessible diving alternative to the nearby Houtman Abrolhos.

Team sports.

Geraldton has a number of resident sporting teams, including Australian Rules Football, Basketball, Netball, Soccer and Roller Derby League.  Geraldton is home to the Mid West Academy of Sport, a non-profit community organisation providing support to sporting talent (athletes, coaches, officials and administrators) throughout the Mid West Region of Western Australia.

Horse racing.

Geraldton is home to a horse racing industry and since 1887 has hosted the annual Geraldton Gold Cup meeting.

Events.

The Geraldton Sunshine Festival, established in 1958, is one of Australia's longest-running festivals. The festival takes place annually in October, celebrating the arrival of Spring and providing opportunities for residents and visitors to engage with local businesses and other organisations.  The Goodness Sustainability and Innovation Festival is held each August in and around Geraldton and showcases and celebrates innovation and achievement towards sustainability in the Mid West.  The Big Sky Readers and Writers Festival - The festival has been hosted by the City Of Geraldton and run by The Geraldton Library staff. Australian and International authors come together to share their knowledge and experiences in many ways, from intimate dinners to large scale debates.

Beaches.

The main beaches in Geraldton are Tarcoola Beach, Back Beach, Separation Point, Point Moore, Pages Beach, Town Beach, Champion Bay, St Georges, Sunset Beach and Bluff Point.

Cathedrals.

St. Francis Xavier Cathedral.

The St Francis Xavier Cathedral was designed by World renowned Arts & Crafts architect and Catholic priest Monsignor John Hawes (1876 - 1956). Construction began in 1916 and was completed in 1938. The cathedral's architecture is unique and considered one of the finest Cathedrals of the world built in the 20th Century.

Cathedral of the Holy Cross.

The Anglican cathedral of Geraldton was built during the 1960s.

Entertainment.

Queens Park Theatre is the largest entertainment and conference venue in Geraldton with a 673-seat auditorium (including box and circle seating), two large foyers with bars, a reception room, and a 500-seat outdoor amphitheatre. The theatre hosts professional events and performances from around the world.  Theatre 8 is an amateur theatre that presents various local talents  The Orana Cinemas in the historical West End is Geraldton's only cineplex with 3D available on selected movies. During the summer months a movie is sometimes shown at the side of Dome on Foreshore Drive by Sun City Cinema.  The main pubs near the Geraldton CBD are the Freemason's Hotel on Marine Terrace, The Camel Bar (next to the Post Office), The Vibe and the Geraldton Beach Hotel.

Facilities and services.

Geraldton Airport provides multiple daily flights to and from Perth, operated by QantasLink. General aviation services include charter flights to the Abrolhos Islands, to WA minesites and to various tourist destinations. The main passenger terminal is equipped with a licensed café, a private lounge for hire and a free public Wi-Fi hotspot. Flight training schools, aircraft maintenance facilities and a local aero club are based here. Construction is underway (2014) on an Airport Technology Park.  The Greater Geraldton Regional Library is open seven days a week and provides free access to the Internet via a public WiFi hotspot. Other free public WiFi hotspots are available along the Geraldton Foreshore from the marina to the Esplanade.Free public WiFi hotspot locations in Geraldton  The Geraldton Batavia Coast Marina consists of three jetties, 47 commercial and recreation boat pens, 42 floating pens, boat ramps, toilets, carpark, fishing platform and a boardwalk.  Geraldton Volunteer Marine Rescue (active on weekends and public holidays) monitor marine radio frequency 27.88 MHz and VHF Channel 16. Local groups also monitor other frequencies such as 27.90 MHz, 27.91 MHz and VHF channels 72 and 73, as well as their own channels.  The Geraldton Regional Art Gallery opened in 1984 and was one of the first "A Class" regional galleries in Australia.  The Aquarena is a public swimming facility managed by the City of Greater Geraldton. It has 50-metre and 25-metre pools, a leisure pool, a water slide and hydrotherapy facilities, with water polo and swimming squads and group fitness sessions.  The Queen Elizabeth II Centre (QE2) is home to a variety of community and seniors' groups, and offers facilities for public hire, including two large halls with equipped kitchens. The QEII Centre is available for local and visiting seniors, group meetings and also provides an internet hub for seniors.

Communications.

Geraldton is host to one of the 121 "points of interconnection" for the Australian National Broadband Network (NBN), providing service to the largest geographic region in Australia. Geraldton was the first regional community in Western Australia where the NBN Fibre to the Premises (FttP) network was deployed in July 2013. NBNCo provides a fixed wireless broadband service for some parts of the region and in 2013/2014 introduced high speed optic fibre broadband services to areas of Geraldton in and near the city centre.  All occupiable premises in Geraldton's urbanised areas between Tarcoola Beach in the south and Drummond Cove in the north are outfitted with nbn Fibre to the Premise services, with construction completed in mid 2017. (Excluding Mandurah) Geraldton is currently (2017) the only regional town in Western Australia with nbn Fibre to the Premise services.  A number of Internet Service Providers offer services to Geraldton that include (where available) Fibre to the Premise (FttP) via NBNCo, private fibre networks (Seacrest Estate), as well as via public spectrum (5.8 GHz Class License) wireless links. Upon completion of the nbn rollout, nearly all copper-based services (ADSL, Frame Relay, Standard Analogue Telephone lines, etc.) were decommissioned and are no longer available.  In 2012, the City of Greater Geraldton was one of 33 cities worldwide selected to receive a Smarter Cities® Challenge grant from IBM. The stated aim of the project is to "identify smart digital services and opportunities that leverage the increasing availability of broadband and to develop smart energy strategies that will enable the community's vision of becoming a carbon-neutral region by 2029".  The region is serviced by the major mobile phone companies with 3G networks provided by Telstra, Optus and Vodafone, and 4G and 4Gx (700 MHz) by Telstra.

Health and education.

Healthcare.

Geraldton has two hospitals: Geraldton Regional Hospital (public) and St John of God Hospital (private). Geraldton Regional Hospital is the only facility in Geraldton with a 24-hour Emergency Room.  Geraldton Regional Hospital is a 55-bed hospital comprising accident and emergency, medical, surgical, paediatrics, maternity, intensive nursing, chemotherapy unit, day surgery and a renal dialysis unit.  Allied health services (speech pathology, psychology, physiotherapy, occupational therapy, pharmacy and audiology) are also available at the hospital.  St John of God Hospital is a 60-bed hospital with medical, surgical, acute care, maternity and palliative care. There is also an adjoining specialist centre where residential specialists are based. This included three general surgeons, radiologists, an orthopaedic surgeon, two obstetrician/gynaecologists, an ophthalmologist, GPs and anaesthetists. Visiting specialists consulting rooms are also based here. Geraldton has visiting specialists covering a wide range of medical specialities. Most visit Geraldton monthly.  There are 42 private general practitioners resident in Geraldton, including four general practitioners employed by the Geraldton Regional Aboriginal Medical Service (GRAMS). Most of the GPs and resident specialists in Geraldton are involved in teaching Rural Clinical School medical students.  Community services include the Aboriginal Medical Service, the Community Drug Service Team, the Community Health and Development Centre, and the Community Mental Health Team.  Private diagnostic facilities include Geraldton Radiology at SJOGH, the PathCentre at GRH and SJOG Pathology at SJOGH.

Tertiary education.

Geraldton Universities Centre.

The Geraldton Universities Centre is an independent, not-for-profit, incorporated body, supporting university courses in Geraldton on behalf of a range of universities including CQUniversity, Charles Sturt University and the University of Southern Queensland. The centre is an Australian first with university places allocated specifically for Geraldton, allowing students to study locally while living and working in the Mid West. The majority of graduates now work in regional Western Australia. The student body has grown from 20 student places in 2001 to more than 200 enrolled students in 2015, undertaking a range of bridging and full degree programs.

TAFE.

Central Regional TAFE.

Central Regional TAFE (formerly, Durack Institute of Technology) is a college of TAFE providing education, training programs and services to the community including school leavers, mature age students, industry/corporate groups, international students, employers and those who study for their own personal and professional development.

Batavia Coast Maritime Institute.

The Batavia Coast Maritime Institute (BCMI), a subsidiary of Central Regional TAFE, is a training, research and development facility located at Separation Point in Geraldton. BCMI offers coursework in Aquaculture, Aquaponics, Conservation & Land Management, Coxswain, Master Class V, Horticulture, Environmental Science, Marine Engine Driving Grade 1&2, Laboratory Sciences, Sustainability, Marine VHF Radio, Recreational Skippers Ticket and Restricted Coxswains.

Nearby.

The Houtman Abrolhos islands are west of Geraldton.  The Murchison Radio-astronomy Observatory Support Facility in Geraldton, operated by CSIRO, provides support services for the Square Kilometre Array project located at the Murchison Radio-astronomy Observatory, 315 km northeast of Geraldton.  The Australian Defence Satellite Communications Station (ADSCS) is located at Kojarena, 30 km east of Geraldton.

Transportation.

Geraldton has a public bus service run by TransGeraldton and is connected to Perth with coach services provided by Transwa. QantasLink and Virgin Australia provide services from Geraldton Airport; the airport is also used for general aviation.

Media.

Radio.

Radio services available in Geraldton:

Television.

Television services available include:  The programming schedule is mainly the same as the Seven, Nine and Ten stations in Perth, with variations for news bulletins, sport telecasts such as the Australian Football League and National Rugby League, children's and lifestyle programs and advertorials. GWN7 produces a 30-minute regional news program each weeknight (originating from Bunbury) with a newsroom based in Geraldton, covering the local area.

Newspapers.

The "Geraldton Guardian" was established in 1878 as the "Victorian Express" and is the state's second oldest extant newspaper in continuous circulation (after The West Australian). It is published on Monday, Wednesday and Friday.  "Yamaji News", published since 1995 by the Yamaji Languages Aboriginal Corporation, is a fortnightly Geraldton newspaper presenting issues and stories affecting indigenous people in the Gascoyne and Murchison districts.  The "Midwest Times" is published on Thursday and is issued free to residents and businesses in the Geraldton and the Mid West.

Online.

"Everything Geraldton" is an online news and social media site with a focus on local news, events, community issues and community engagement.

Geraldton (often informally abbreviated to Gero) is a coastal city in the Mid West region of the Australian state of Western Australia, north of the state capital, Perth.

Geraldton je město v Západní Austrálii ležící v zálivu Champion Bay"." Nachází se asi 425 km na sever od Perthu v regionu Mid West. Záliv byl poprvé probádán v roce 1849, poté zde byl založen olověný důl, jenž předcházel vzniku města.


Background.

In mid-November 2006, "The Carpal Tunnel of Love" was the first taste of "Infinity on High" when the band made it available online via AbsolutePunk, before a pre-album release to iTunes on December 12, 2006 as a digital single. In addition, a web-exclusive video was released, but later saw televised airplay on Music Choice On-Demand. The song debuted on the US "Billboard" Hot 100 at number No. 81 on the strength of digital downloads and minor airplay, also coming in at No. 67 on the defunct-Pop 100.  The song was featured in the Sony video game, "".

Composition.

"The Carpal Tunnel of Love" has been referred to as "a prime slab of what the boys have become famous for: highly caffeinated pop-punk mixed with a little white-boy soul and some hard-core yelping." The song features Stump singing in a falsetto in the chorus over Trohman's "crunchy" guitars, as well as a breakdown in which Wentz employs unclean vocals, similar to how he used to in his former band, Arma Angelus. It is one of two Fall Out Boy singles to feature Pete Wentz's screams; the other is "Saturday".

Lyrical content.

Elements of Wentz's lyrics were alleged to have been stolen from the works of Give Up the Ghost/Some Girls singer and lyricist Wesley Eisold, who sued the band for copyright infringement after the song was released. Eisold was credited as an "inspirador" in the album liner notes in all versions of the albums. Fall Out Boy settled out of court. The song title is a combination of carpal tunnel syndrome and the tunnel of love amusement ride.

Music video.

On February 5, 2007, the music video was made available on Fall Out Boy's website and was directed by "Happy Tree Friends" creator Kenn Navarro. The video features "Happy Tree Friends" characters and cartoon versions of the band in a plot where Cuddles and Giggles have fallen in love, and Cuddles' attempts to express his love to Giggles. The video concludes with all of the characters, including the Fall Out Boy members, being killed in graphic and ultraviolent ways.

"The Carpal Tunnel of Love" is a song by American rock band Fall Out Boy from their 2007 album "Infinity on High". It is the tenth track on the album.

The Carpal Tunnel of Love "(Zápěstní tunel lásky)" je druhá píseň Fall Out Boy z jejich alba Infinity on High, které vyšlo v roce 2007.