"Pulaski, Tennessee is to have one of the largest and most magnificent halls this side of Cincinnati," announced The Pulaski Citizen on June 26, 1868. The opening of the opera house on December 25 of that same year began an era in Giles County of unprecedented cultural and community growth.
Pulaski, like many towns with a population under 10,000, has a square that is built around a central courthouse. In early 1868, the whole east side of this square was destroyed by fire. Many plans were put forth for rebuilding, but in June of 1868, Mr. Angenol Cox announced plans for a magnificent hall to be constructed on the east side of the square replacing a large portion of the burned area. This was the first building erected after the fire. Mr. Cox contracted a Nashville architect, M. D. LeMoine, to render plans for his proposed building. The first floor was to house two merchants with the magnificent hall to be located in the second story. For maps of Pulaski's square from the first 40 years of the theater, click here.
The Pulaski Citizen printed the following description of the proposed building.
The idea for Mr. Cox's proposed hall came about because of an article published in The Pulaski Citizen in 1867 entitled "Amusement Wanted."
The fitness of the name in no way hindered the better theatre companies and entertainers from coming to perform in Antoinette Hall for the citizens of Giles County. The type of entertainment seen at the opera house was widely varied. For more about these performances and performers, click here. Performances were given by John Happy, a humorist; The Tyrolian Concert Troupe; Professor Fahn, lecturer; Rosenaw & Bros., a widely acclaimed minstrel show of the day; and singer Kate Gilbert and company. The opera house became the focal point of the community affairs and activities. As well as many fine outside performers, Pulaski found it had many talented individuals who contributed to the continuing popularity of the opera house even though Mr. Cox, in a dispute with local authorities over licensing, closed the opera house for a period of five months during 1870. Overwhelming local enthusiasm prompted him to pay the outrageous license fee and reopen the hall. Increased interest in the Arts led to more local involvement in the hall's activities. These activities included performances by local talent to raise money for the War Orphan Home. The Pulaski Amateur Club also performed weekly. The performances at the hall promoted cultural growth which, in turn, stimulated demand for good traveling theatrical companies, lecturers and individual performers.
Of local regional interest in 1871, was the Giles County Fruit Growers Society's first Exposition was held at the hall. The Citizen described the scene in detail.
The successful Exposition of Fruit Growers was attributed to Antoinette Hall's owner, Angenol Cox, who traveled north to research the fruit yielding varieties to find the best suited to the local climate and soil for best productivity. Fruit growing proved to be very prosperous for Giles County. Mr. Cox's own vineyard's yield was 3,000 gallons of wine, with his best on display at the Exposition. Fruit growers from North Alabama and Middle Tennessee as far north as Nashville came to Antoinette Hall to participate in the Exposition.
1871 proved to be a very prosperous year for local and outside interests in Pulaski and Antoinette Hall. After the Exposition, Pulaski's Dramatic Club performed weekly closing the year on December 25 with a splendid performance and minstrel combination.
It was during the early 1870s that Cox left Pulaski and relocated to the mid-West. For more about his life after Pulaski, click here.
1872 was as successful a year for Antoinette Hall as the preceding years. The building was not under management of a local man, Mr. Crane, who took pride in getting the best outside speakers and theatrical amusements available to small towns. The last event of the year on December 25th was a Grand Ball Masque for Pulaski society and their out-of-town guests.
During the middle 1870s the great lecturers of that time grew in popularity. The crowds increased in number as the many lecturers became familiar to the townspeople. The outstanding acoustics made Antoinette Hall an exceptional one in which to speak. For more on the acoustics, click here.
Due to poor management in the latter years of the '70s and early years of the '80s, interest in the hall declined. The outside performances during this time were few and far between causing local interest to wane.
Early in 1884, a local enterprising young businessman, B.C. Steel, then a proprietor of the St. Giles Hotel, leased Antoinette Hall renaming it the Opera House and refitting it in the elegant style of the day. The Pulaski Citizen speculated that when completed, "it will be a worthy companion in artistic style to other halls in the South."
Mr. Steel, in his quest to refit the Opera House in the latest style had trouble acquiring the new opera chairs. In order to purchase new seats, Mr. Steel held a Calico Ball at the St. Giles Hotel in September 1884, with all proceeds going toward acquisition of the opera chairs. To see one of the chairs, click here.
In the fall of 1884, the finishing touches on the opera house were almost complete. Workmen were busy installing the new opera chairs, curtains and scenery, all in readiness for Mr. Steel's fine list of performers for the new season.
During the following years with no manager, the opera house is opened for local plays, benefits and Martin College commencement exercises only. This continues until 1891 at which time performances by outside theatre companies came to the Opera House but received little attention from the local citizens. The Pulaski newspaper observed, "If Pulaski does not want good theatre companies to pass us the go by, let us come out in force for the next three nights for the Kate Mortimer Company." All pleas were to no avail.
The desire for operatic entertainment is now answered in 1893 with the contracting of a new manager, A. M. Notgrass. Mr. Notgrass has arranged for Lillian Lewis to appear Feb. 2, 1893, in Lady Lill, a singing comedy; for Professor D. L. Lewis to lecture on Temperance and The Scripture; for Kings Comedy Company to perform "Little Lord Fauntleroy" and for the appearance of The New York Stars, a vocal and instrumental group. Pulaski citizens were now taking a more active interest in the opera house. The Pulaski Dramatic Club performed several times, and a new club, The Patterson Dramatic Company, was formed. The winter season closed with commencement exercises of Martin College and Pulaski's public schools. The summer months are idle for the opera house, but interest rekindles with the opening of Giles County's schools and the fair.
After such a prosperous year for the Opera House, the town is shocked when A. M. Notgrass announced on Dec. 14, 1893, that the Opera House will close Christmas never to be opened again. "Manager Notgrass states that the new owner declines to make a new lease. Pulaski is too good a town to do without amusements of this sort, and a new opera house should be erected." Mr. Notgrass had hoped to reopen the Opera House, but decided to abandon the idea due to excessive rent. Although no manager was contracted, outside theatre companies continued to make appearances at the opera house. Among those performing was political leader and activist, Bob Taylor, to lecture on "The Paradise of Fools." A guarantee had been signed by prominent businessmen to assure Bob Taylor's appearance.
On May 21, 1894, commencement exercises for local schools were held at the Opera House. In addition to those held in previous years, Pulaski's colored high school held commencement at the opera house on June 28 for the first time. In the fall, the doors opened again with the appearance of the Ford Dramatic Company on October 25 followed by Bob Taylor with his latest lecture, "Visions and Dreams." Five hundred and fifty Pulaski citizens turned out for the famous lecturer. The Citizen reported that the Chattanooga News stated that "Taylor's new lecture if 50 percent better than his previous lectures, The Fiddle and The Bow and The Paradise of Fools." December 10 heralds the appearance of Henry Waterson, editor of the Courier Journal of Louisville, Kentucky, and an orator of national reputation to speak to Pulaski audiences. On December 24, the Henry Minstrel Company would be in Pulaski, and there would be matinees for the children.
Our small town and opera house may have had limited major productions, but good outside and local performances prevailed. On March 28, 1895, the Schubert Symphony Club and Lady Quartette opened at the opera house. The Club drew a large crowd and planned to return. "The Merchant of Venice" and "The Burglar" were presented by a company of Pulaski amateurs during the spring season. The end of the season brought the commencement exercises of the local schools. The fall season in 1895 opened with the famous Georgia Richards and Pringles Minstrel Show.
A fund raiser for the Sam Davis monument was held at the opera house November 19. The entertainment consisted of a series of tableaux and pictures illustrating important incidents in the life of Sam Davis. The year closed with a bang of great performances. On November 14, the celebrated opera singer, Signorina Moreska, entertained to a large crowd at the hall followed on the 28th with the play "Doctor Faustus," which was seldom seen outside the larger cities. Mr. John B. Hymer had prepared the play for presentation in smaller towns.
1896 began a new year for the opera house. On the agenda for the hall was a much needed coat of paint and the addition of 200 chairs. At this time, the seats in the rear were being elevated so they were as desirable as any other theater. Pulaski's call for variety was answered in 1896 by many versed and talented performers of the day among which was a familiar face, Bob Taylor, the great lecturer, and his brother, Alf, who spoke on "Yankee Doodle of Dixie." Mrs. C. O. Baker of Chicago made an appearance on February 27 to speak to the ladies of Pulaski. On the lighter side was the appearance of the Tennessee Plantation Minstrels, composed of local talent performing "Fabio Romani," said to be "a wild goose chase." Pulaski society enjoyed class concerts given by Mr. Lidie Auirett Rivers and his pupils assisted by Pulaski's orchestra on May 28. In the following weeks, commencement exercises by local schools were held. A new type entertainment was presented at the opera house December 10t by the Honorable Willington Vandiver. Mr. Vandiver is a story teller of great renown presenting his best monologue, "The Missing Rib." This Alabama attorney was a good, funny speaker. The following night brought the Schumann's Ladies Orchestra for a night of outstanding musical selections. The year ended with performances from the local dramatic club bringing another good season to a close.
The close of the season brought about the addition of the new drop curtain described in detail in the December 10 issue of the Citizen. The paper stated: "The work on the new drop curtain was completed this week and shows a degree of artistic skill absent from the old curtain. The central scene is from the famous Ben Hur chariot race. This is displayed to advantage by looping back the rich curtain whose folds form the top margin of the drop curtain. At the lower corner is cupid holding a scroll which stretches across the stage to a vase of tropical plants at the lower right. The space surrounding the chariot race is divided by artistic scroll work into advertising cards and tastily done advertisements of Pulaski business houses complete the work." The opera house is now ready for the new year.
The opera house continues to open her doors for performances in 1898. On January 20, the Fields and Hanson Minstrel Show opened the new year. Continuing on into the winter season are local shows, and finally in the late spring, the Martin College and public schools commencement exercises. The fall season at the opera house had only two scheduled performances; i.e., the Daniel Darleigh play, "Back On the Farm," on November 24 followed on the 25 by the "Corning Daily Journal." Oliver Scott's Minstrel Show closed the year on December 2. Mr. McKissack showed a definite lack of interest in the opera house. He seldom contracted for any outside performances; but the citizens of Pulaski were hopeful that with the coming of the new year, the owner would have the time and resources to make the necessary contracts. The new year held no great outlook for the opera house. There was one performance by local talent scheduled during the winter season. The play, "The Real Widow Brown," was performed on January 15 to a good crowd. The fall season opened on November 16 with local musical talent. Mrs. Exell and her piano pupils were accompanied by the singing of Mrs. Wales and Mrs. Brown.
On December 1, a benefit for the King's Daughters was held. It was an unusual sort of amusement where reproductions of famous paintings were sold. Secured for a performance on December 8 is a mammoth colored minstrel show composed of 45 people performing Wrights Original Nashville Student and Gideon's Big Band Minstrel. In the Pulaski Citizen on December 14, it is stated that "A. M. Notgrass, the hustling manager of the opera house, has secured the Reverend Frank A. Wells as lecturer for December 20, closing a century of entertainment at the opera house."
The mild depression evident in Pulaski at the beginning of the 1900s affects the entertainment of this time. The winter season is slow with little interest in the few local performances given. The big event of the year is the appearance of former Governor, R. L. Taylor, on November 22 to present the latest in his series of lectures, "Sentiment."
On February 21, the opera house played host to The Tennessee Plantation Minstrels to raise funds for the proposed Sam Davis monument. The Pulaski Daughters of the Confederacy entertained at the opera house on April 9. The fundraiser was a success, and another performance was in the planning stage.
An announcement in the April 11 issue of The Citizen said, "Thanks are due E. E. Bennett, lessee of the opera house for naming again A. M. Notgrass manager. The paper and people of this town back E. E. Bennett in the hope for a successful year and many more years to come at the opera house." The renowned Justin Thatcher, a great tenor of the day, was scheduled for a May 1st performance to benefit the Pulaski Episcopal Church. On May 9, Mr. Thatcher is joined by the Chicago Concert Club for a one-night performance. The April 11 editor of The Citizen, which stated E. E. Bennett had leased the opera house may also have heralded some other changes as well. At this time, the opera house may have undergone a change in ownership. E. F. McKissack sold the opera house to Austin Hewitt. I have concluded this from evidence found in the Pulaski courthouse. On Dec. 14, 1901, there is a deed stating the sale of the opera house by owner, Austin Hewitt, to Andrew L. King for the sum of $12,500. Mr. King had taken a great interest in the opera house and had worked with A. M. Notgrass to obtain the best traveling shows to perform in Pulaski.
The 1902 season began with the appearance of former Governor Robert Taylor, lecturing on his latest subject, "The Old Plantation," followed on January 16 with a local talent group performing "A Noble Outcast." February 28 was the date scheduled for the Old Fiddlers Contest to benefit the King's Daughters. This unusual entertainment drew a large number of participants and an enthusiastic crowd. The fall season opened with the famous lecturer, A. W. Hawks, of Baltimore on October 2. Mr. Hawk's lecture, "Sunshine and Shadows," had received national acclaim from his peers. The opening of the Mozart Symphony Club was on October 27. The performance was to benefit the Sam Davis monument.
"Out of the ordinary is the introduction of the sing-a-phone, a music box which accurately reproduces the human voice. The sing-a-phone will be at the opera house November 27 reproducing the voices of the great singers of the day," the Citizen announced.
1902 was a very productive and prosperous year for the opera house and the citizens of Giles County. This was a turning point in the history of the opera house. The change of ownership produced a successful season, and this success is evident in the years to follow.
Mr. King showed great interest in both the hall and the town. He took the time to contract A. M. Notgrass as manager and worked with him in attracting and contracting outside talent during the next 30 years. 1927 brought about the organization of the Little Theatre Guild. "The Guild incorporated itself in September of that year. It became the first such organization in Tennessee to be incorporated." The Selwyn Brothers, New York actors and members of the famous Lamb's Club, had been traveling with Robert Mantess's Shakespeare Group and were scouting around for a Southern engagement. Hearing about the exceptional success of the Pulaski's Little Theatre Guild, they came to investigate. They were so impressed with Pulaski's organization of the Guild that they returned several times giving invaluable advice. Over the next 10 years, the Little Theatre Guild prospered, opening to a full house with each performance. The Guild presented 12 performances with a variety of entertainment.
The highlight of the entertainment and the life of the Pulaski Guild was David Rhea's "Sam Davis - The Immortal Scout." This play was a significant achievement, showing such marked acting ability, authentic costumes and artistic lighting effects that the fame of the local group spread far and wide.
The opera house doors were opened during the '30s for the productions of Pulaski's Little Theatre Guild only. During this time, interest in theatrical entertainment lessened. In the late '30s, the opera house closed its doors, bowing out of the spotlight it had held for so long and gave way to progress, the introduction of the walk-in theatre.
The opera house still stands waiting for her hall to ring again with joyous entertainment. The opera house doors have been closed for all these years and during this time, lack of attention and maintenance have taken their toll. Many of the exterior architectural features have been removed or marred during this period of abandonment. The interior has also suffered greatly. Little remains of its once beautifully frescoed ceiling. All of the furniture and fixtures have been removed, leaving only the stage with its beautifully detailed wings and graceful curving balcony. The State of Tennessee, Governor Lamar Alexander and the Giles County Historical Society have now taken a combined interest in preserving the architectural landmarks in Pulaski. Old theaters are of particular interest nationwide. They are proving to be of great interest because almost all are architecturally and historically significant and are readily adaptable for the contemporary performing arts usage. Most of the historic theaters were build to be the focal point of a community's cultural life, and their architectural significance stems from this fact. These buildings served as community gathering places not only for entertainment but for social events, educational lectures, political conventions and rallies, commencements and town meetings as well. There has been a growing need for theaters since 1965 with the increased interest and rapid growth in the performing arts. This has, in turn, created a demand for adequate performing spaces and facilities. In the renovating of old theaters for contemporary use, changes must be made to accommodate the demands of modern theater technology, to satisfy contemporary building codes and to provide the creature comforts required.
Restored and functioning historic theaters have played an important role in the revitalization of economically depressed areas. In both urban and non-urban areas, existing businesses benefit and compatible businesses such as hotels, restaurants, cinemas, bookstores, boutiques and art galleries are spawned. New business creates new jobs and new tax revenues. The increased activity also attracts new residents to the community. This one theater can trigger a chain reaction that could lead to the revitalization of our entire area.
Pulaski is not an economically depressed area as defined by today's standards. Our town does have tremendous historic importance. Our opera house is possibly the only remaining opera house from that era in Tennessee. According to National Register of Historic Places documents, it is perhaps the oldest remaining opera house in Tennessee and among the oldest in the country. Giles Countians have talked and worked for the restoration of this opera house in years past but have been unable to concentrate the efforts needed to accomplish such a project. Homecoming Tennessee '86 is the idea of Governor Alexander for the purpose of promoting the restoration and renovation of historic places in Tennessee. We now have the chance to get not only Giles County involved in the project, but the State as well.
I am working on the opera house as my major at the O'More School of Design. The opera house is a restoration project consisting of the renovation of the opera house and adjoining office area. I have proposed several uses for the opera house, many of which are those for which it was originally used; but I have also proposed additional renovation for use as a movie theater. The old office areas will be utilized as dressing areas, rehearsal space, costume storage and a concession and eating area with an adjoining gift shop. To meet the standards for Handicapped and Fire Codes, the addition of an elevator and bathrooms to the existing area will be necessary.
The opera house brought about an unprecedented era in the lives of Giles Countians during its 50 years of existence. Pulaski, in the late 1980s, now is the chance to restore the opera house and gain the benefits as our predecessors did. The opera house during its active years promoted cultural growth as Pulaski prospered. Through my studies and with local and state involvement, we too can prosper and reap the cultural benefits the restoration of the opera house will promote in Pulaski.


Software Listing of Author : "Effectiveaspects.com"
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text:
CR7 Chapter 3: Discovery of a Prodigy
Club & Country
The Soccer Shop, Club & Country
2016 USA National Team Kits
The summer of 2016 will be a big one for both the Men's and Women's USA National teams. The USMNT will be playing in and hosting the 100th anniversary of the Copa America, and the USWNT are defending their Olympic gold title this summer in Rio. To usher in this next chapter in their journey, Nike has unveiled brand new kits featuring a new, modernized crest for US Soccer.
The 2016 USA Home jersey features a classic white colorway with blue striped sleeves, while the new Away kit takes an opposite approach with a sharp black jersey and patriotic red and blue sleeves. Special design details are featured throughout the jerseys like the "1 Nation. 1 Team." motto that is knitted into the inner sleeve cuffs.
The new 2016 kits are available in the Soccer Shop in men's, women's, and youth sizes.
Source: http://news.nike.com/news/usa-2016-national-men-and-women-s-football-kits
Tagged: usmnt, uswnt, usa, nike, new arrivals
USWNT Bids a Heartfelt Farewell To Lauren Holiday, Shannon Boxx & Lori Chalupny
The USWNT completed a 2-game series against Brazil over the weekend as a part of their continuing Victory Tour from the 2015 World Cup Win. The series was bittersweet with new, talented players joining the squad and three of the team's most successful players finishing up their International careers. Shannon Boxx played her last game in Seattle, which ended in a 1-1 draw with Brazil. The match was Boxx's 195th cap, and she ends her career as a World Champion and a 3-time Olympic champion.
The game on Sunday in Orlando proved more successful for the U.S., with Alex Morgan scoring early in the first half and newcomers Crystal Dunn and Stephanie McCaffrey sealing the win 3-1. This was the last match for Lauren Holiday and Lori Chalupny, who are both World Cup and Olympic champions with 133 and 106 caps respectively. Holiday reflected on her tremendous career before the game:
Everyone's goal on this team is to leave this game better than they found it. I think my generation of players has done that, and I'm incredibly proud how this team has handled all the ups and downs along the way, all the while being so dedicated to improving women's sports overall. This will be the greatest job I'll ever have and I'm absolutely honored to have been a part of this team and this tradition.
Source: http://www.ussoccer.com/stories/2015/10/25/22/42/151025-wnt-v-bra-orlando-game-story
Tagged: uswnt
USMNT: Disappointing Result in CONCACAF Gold Cup But Looking Ahead
Playing in the third place game was not where the US Men's National Team players and coaches envisioned themselves at the start of the 2015 CONCACAF Gold Cup. After strong performances against Guatemala, Haiti, Honduras and Panama in the group stage, and a thumping 6-0 defeat of Cuba in the quarterfinals, the USMNT seemed poised to defeat Jamaica in the Semifinals. Unfortunately, a shaky first half saw the US conceding two goals and looking inconsistent on both ends of the field. Midfielder Michael Bradley was able to rally the team at the start of the second half with an early goal, but the US was unable to level the score at the end of regulation, ending their mission of keeping the Gold Cup in the USA.
The third place match proved to be another disappointing result for the USMNT, losing to Panama 2-3 in PKs. The US trailed Panama in the first half by a goal, but Deandre Yedlin and Clint Dempsey combined to even the score at 1-1 during the second half. Clint Dempsey was awarded the Golden Ball award at the end of the tournament, having scored the most goals throughout. Brad Guzan was awarded the Golden Glove for best goalkeeper, having only allowed 5 goals during the tournament.
Even with the undesirable finish in the Gold Cup, the USMNT has important matches to prepare for in the coming months including a playoff against rivals Mexico to determine who will represent CONCACAF in the 2017 Confederations Cup. The Confederations Cup is an important warm-up for the 2018 World Cup to be held in Russia. The US also enters the fourth round of regional qualifying for the 2018 World Cup in the later months of 2015.
The USMNT plays close to home at Foxborough Stadium on September 8th in a friendly against Brazil. Tickets go on sale July 31st.
Source: http://www.ussoccer.com/stories/2015/07/25/09/48/150725-mnt-looking-ahead
Tagged: usmnt
Club & Country, The Soccer Shop
Strong Alone, World Champions Together: USWNT Wins Third Star
With a stunning 5-2 victory over Japan in the 2015 Women's World Cup Final, the U.S. Women's National Team was once again crowned World Champions. The game was far from boring, with the U.S. scoring the first four goals in 20 minutes. Carli Lloyd was the star of the game, scoring the fastest hat-trick in World Cup Final history, including an incredible goal from half-field. Lauren Holiday and Tobin Heath also found their way onto the score sheet. Lloyd received the Golden Ball and Silver Boot awards at the end of the game, and Hope Solo was also awarded the Golden Glove award. This victory marks the third World Cup championship for the Women's National Team, and a third star will be added above the crest along with the other two stars from 1991 and 1999.
The black & gold "World Champions" t-shirts will be available in The Soccer Shop in women's and youth sizes toward the end of July.
Source: http://news.nike.com/news/strong-alone-champions-together-nike-celebrates-u-s-women-s-national-team-s-historic-third-world-cup-victory
Tagged: uswnt, nike, jerseys

redpajama_set_name: RedPajamaCommonCrawl


Skype 8.31 has been released with major quality improvements and bug fixes. The main plus point of Skype is that you can use it to call on mobile phones and even on landlines too. It has become a major communication tool for businesses. Though the features updates are already been there in some tools other than Skype but they do not give additional add ones which the Skype provides to its users.
Microsoft has been working hard to make sure that Skype 8 includes all the features of version 7.40 which is scheduled to be discontinued soon. The features like searching in conversations and selecting text from multiple messages are already added in Skype 8.30.
6.1 Can Skype 8.31 run along side Skype 7.40?
6.2 When will Skype 7.40 support expire?
6.3 What is the difference between Skype for Business and Skype 8?
6.4 What is Skype for web?
6.5 Can I record my audio call in Skype?
6.6 Can I use Skye for screen sharing?
6.7 Does Skype cost money?
During a group call, you can send pictures by drag and drop and you can check shared media by the gallery available for the group chat and call. You can also react to certain photo using emojis.
You can change themes to dark or light according to the mode you like. Just go to Settings -> General ->Themes.
A new feature of @mention has been introduced. This feature allows you ton mention anyone specially in the chat by using @mention.
You can also integrate the Skype call and can create content based on Skype calls. You can make incoming calls available on third party apps too. Just go to Settings-> Callings-> Advanced and Enable NDI usage.Although this features was in previous Skype one version too but you can access in latest one too. You can capture audio and video feeds and make them available to others too.
It is expected update that Skype will be added on Amazon Alexa devices. Alexa in amazon is like Cortana in Windows 10. User will be able to answer the calls using their voice on Alexa Based devices.
The installation is simple. Just download Skype from the links given below, run the installer and follow the instructions. If you want to update the Skype, go to Skype and Select Help and Feedback. It will manually check for the updates and install the latest updates on your machine.
Some users in some regions had previously encountered issues in signing in . Incorrect credential or connection related errors were displayed to such users. This issue has now been resolved.
Same issues had been observed for XBox One users. They had to face sign in issues . The regions affected were specially Europe and United States. This bug has also been fixed.
Skype 8.31 is supported on majority of the platforms including Windows XP, Windows Vista, Windows 7, Windows 8.1 and Windows 10. Skype is also supported on non-Microsoft platforms like Mac, Linux, Android and iOS. Skype runs on both 32-bit and 64-bit versions of the Operating Systems.
Let's quickly go through some frequently asked questions related to Skype so that we can use and troubleshoot the application effectively.
Can Skype 8.31 run along side Skype 7.40?
Yes you can run Skype 7.40 and 8.31 along side each other. The two apps will be able to sign into the same account simultaneously. But since Microsoft is listening to its Skype users and is adding almost all the missing features in Skype 8.31, it is wise to upgrade to the latest version of Skype instead of using the Classic one which is bound to be discontinued soon.
When will Skype 7.40 support expire?
Support for Skype version 7 will end on November 1, 2018. You will be automatically logged out of the previous version and you can use Skype only if you install the latest versions higher than version 7. Before expiration, you can access previous chat history within one year duration. You can also export your chat history to spreadsheet or some other software but you can encounter some formatting issues.
What is the difference between Skype for Business and Skype 8?
Skype for Business is a managed version of Skype meaning that it can be managed from a centralized location like Active Directory or a DNS Server. Skype for business functionality is almost same like Skype. The difference is in video conferencing and security. Skype for Business comes with enterprise grade security features and supports up to 250 people in online meetings. It is not free and costs around $2/user/month.
You can now login to Skype even if you don't have the application installed on your computer. Just go to https://web.skype.com and login with your Microsoft credentials to login to Skype for web. Skype is also integrated into Outlook.com web mail. You will automatically be signed into Skype if you login to outlook.com.
Can I record my audio call in Skype?
Yes the newest version of Skype 8.31 lets the user record audio calls. The option becomes visible when you call someone.
Can I use Skye for screen sharing?
Although Skype can't be used for support assistance, the users can share their computer screens on Skype. The option is visible when you are in a call with another Skype user.
Skype to Skype calls and text messages are free. There are some charges when you call from Skype to any landline or mobile no. worldwide. You can check out the calling rates here.
If you have any question in mind regarding Skype 8.31, please ask in the comments below and we will try to answer all your queries.


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With four million containers in production, Tom Demaline, owner of Willoway Nurseries, uses PBH Nature's Media Amendment as both a container topdress and a media amendment.
Joe Moore, head grower for Lucas Greenhouses, opted to try PBH because he liked the fact that it was a natural by-product. In doing so, he discovered numerous other benefits, including a lower input cost.
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Patrick Bellrose, president of Fahr Greenhouses, converted his entire operation to PBH after trying the product and quickly realizing its many benefits. The list of advantages he cites include lower cost, lack of Pythium, better root development, less dust and sustainability.
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Incorporation of parboiled rice hulls into Sphagnum peat-based substrates did not result in significant nitrogen tie-up.
Parboiled fresh rice hulls were free of viable weed seed.
When incorporated into Sphagnum peat-based substrates, parboiled fresh rice hulls did not negatively impact the chemical properties of the substrate.
Root and shoot growth was similar for plants grown in Sphagnum peat-based substrates amended with equivalent amounts of perlite or parboiled fresh rice hulls.


GOT has been watched worldwide and has atracted a large fan base since its inception in 2010. It's been a thrilling ride so far, and HBO has us on the edge of our seats for the season finale which would be released next year.
The television network is one to tease a lot. While we are still struggling to wait for the finale as they have plainly refused to release many details of the finale, they revealed that a prequel of the series is also in production.
HBO officially revealed this detail themselves. According to the television network, the King Kong and Gypsy actress would lead the cast ensemble for the prequel. We do not know any more details about the actress' character except that she would be playing the role of a "charismatic socialite with a dark secret" typical of most GOT characters.
Naomi was definitely a strong choice for the casting as we expect her presence on the set to garner a lot more than just Game of Thrones and A Song of Fire and Ice fans.
Josh Whitehouse of Poldark and Alleycats has also been revealed to join the cast. This was made known by HBO shortly after revealing that Naomi Watts would lead the ensemble. Unlike Naomi, there are no details of the actor's role in The Long Nights, so we would just be content with guessing who he might be playing.
Obviously, a strong male character, we might get to see Josh playing Bran the builder or probably Azor Ahai. Whatever his role in the movie is, we bet he would be as adorable as the Jon Snow character in the prequel.
HBO's The Long Nights have its settings years before Ned or Robb Stark. One of the details about the movie's description revealed it'd be set to feature the first Starks. Given it's setting and the inclusion of the Wall, we would most likely be seeing a Stark ancestor, and Bran the builder, who existed during the Age of the Heroes, around the same time.
Bran was an important figure not just in the Stark household but in the whole of Westeros as well. The builder is known for creating many of the region's landmarks including the Storm's end and the Wall.
Well given that we are expecting to see some members of the first Stark men, it's only right that we get to see the founders of other important houses like House Lannister or House Gardener of the Reach.
Like its predecessor, The Long Nights is expected to have a very large cast ensemble of first Stark men, members of other families might make appearances as well and we might just be sure that the White Walkers and children of the Forest would play important roles as well.
The Long Nights are set thousands of years before GOT, so it is highly unlikely that any of our favorite actor or actress on the show would make an appearance in the movie So there probably won't be any Arya, Cersei, Daenerys or Jon Snow, however, there might be a few exceptions.
If the creators of the show decide to travel through time, we might just get to see Bran Stark aka The Three-Eyed Raven as he capable of projecting himself through time, but that's just a likelihood as another Three-Eyed Raven existed before Bran, and one seer might just be enough for the film. Vladimir Furdik could also make an appearance as the Night King as his creation was slated around the same period as The Long Nights.
This is an educated guess as not much is known about the movie. But it is a possibility that the show could be centered around Azor Ahai. The character was the legendary warrior that ended the war with the White Walkers. References of Azor and his sword, the Lightbringer, had been made in GOT series with Melisandre describing him as the savior.
The Red Priestess believed Stannis Baratheon and later Jon Snow were reincarnations of the warrior. With his references in GOT, connections to the White Walkers and period around which the plot of The Long Nights is set, Azor might be the major character although we have absolutely no idea who would be cast for the role.
One major detail about The Long Nights is that it would include the origin story of the White Walkers. They may be the villains in GOT but the show's creators are certain that the White Walkers' origin story would be fascinating to a lot of GOT fans. With a hint towards the first great war between the humans and the White Walkers, be sure to see numerous people cast for White Walker roles.
Revealed details of the prequel include the origin stories of the White Walkers, and the first great war between the humans and the White Walkers. It's really doesn't take a genius to figure out how the Children of the Forest fit into this movie.
The woodland creatures possess a variety of magical gifts which allowed them to assist the humans in defeating the White Walkers during the war. With little details about them revealed in GOT it's hard to know if the cast that played the roles in GOT would be making a reprisal return for The Long Nights.
A cast breakdown revealed by HBO reveals that The Long Nights is going to feature a more diverse cast ensemble than the Game of Thrones. The movie is set to feature a lot of casts across different ages, races, and genders.
This is an improvement on the cast ensemble of GOT as a lot of fans were concerned about the lack of diversity. The movie creators are currently looking for Caucasian actresses between the ages of 28 and 34, and a black actor between the age of 50 and 63 for a regular roles.
For some feminist, the use of the phrase "a strong female character" would be archaic but gender equality is still trying to find its place in today's modern society. Although it could have just been easily termed a strong character, HBO is currently looking to continue the tradition of creating important female roles that would make any actor jealous.
We already know Naomi Watts is starring in the series, but we might as well expect other actresses to play important roles in The Long Nights.
Note: One more exciting GOT story is just one swipe away from you!


text:
Health|F.D.A. Proposes Guidelines for Salt Added to Food
https://nyti.ms/1WYMITo
F.D.A. Proposes Guidelines for Salt Added to Food
Proposed guidelines from the F.D.A set targets for the gradual reduction in sodium across a range of both manufactured and restaurant foods.Credit...Saul Loeb/Agence France-Presse — Getty Images
By Sabrina Tavernise
The federal government proposed voluntary guidelines for the food industry to reduce salt in the American food supply on Wednesday, a move long sought by public health advocates who said the new standards could eventually help save thousands of lives.
The guidelines came after years of debate, and while voluntary, still set a benchmark by which companies can be measured, something health advocates say is critical to lowering salt levels in the American diet.
More than 70 percent of the sodium consumed in this country is already in food before it reaches the table, according to the Centers for Disease Control and Prevention. The guidelines, put out by the Food and Drug Administration, are intended to help reduce that. They apply to packaged foods like bread, salad dressing, canned soup and cheese, as well as to meals in restaurants.
"While a majority of Americans reports watching or trying to reduce added salt in their diets, the deck has been stacked against them," the F.D.A. said in a statement. "The majority of sodium intake comes from processed and prepared foods, not the saltshaker."
Despite efforts over the past several decades to cut down on sodium, a main component of table salt, the average American adult still consumes 3,400 milligrams a day — equivalent to about 1.5 teaspoons of salt. That is nearly 50 percent more than the 2,300 the federal government recommends. Too much sodium can raise blood pressure, which is a major risk factor for heart disease and stroke. One in three Americans have high blood pressure. For blacks, it is one in two.
But there has been some scientific controversy over how much to reduce sodium.
Some scientists say data has emerged showing that dropping below a certain level is actually dangerous, and raised the risk of heart attacks and other bad health outcomes. A 2013 report from the Institute of Medicine concluded that cutting out too much sodium could be harmful.
David A. McCarron, a research associate in the Department of Nutrition at the University of California, Davis, said a number of studies had shown risks of too little salt.
"Going below 3,000 is dangerous — that's what the data has shown," said Professor McCarron, who has consulted for the food industry.
Dr. Thomas Frieden, the director of the C.D.C., argued the current level is too high.
"We understand that there are some researchers who do not agree on the general consensus" of the correlation between sodium and poor health outcomes, he said. But, he added, "We find fatal flaws" in research they cite.
F.D.A. scientists said the health advantages of getting down to the recommended 2,300 milligrams a day were beyond dispute.
"The science has been well vetted," said Susan Mayne, director of the Center for Food Safety and Applied Nutrition at the F.D.A.
The guidelines are sweeping and set targets for the gradual reduction in sodium in the majority of processed and prepared foods — about 150 categories, including pizza, deli meats, canned soup, snacks, breads and rolls. The reductions would be two-phased, cutting sodium over two years and over 10 years. If the food industry adjusts sodium levels based on the F.D.A.'s targets, the agency said it expected consumption to drop to 3,000 milligrams a day in two years and 2,300 in 10 years.
The guidelines are open to public comment for up to five months.
The voluntary targets would help level the playing field in added sodium in food. There is huge variation in the amount of sodium added to similar products, Dr. Mayne said. For example, salad dressing has 150 milligrams to 2,000 milligrams of sodium per 100 grams (nearly half a cup), and packaged wheat bread has 229 milligrams to 671 milligrams per 100 grams, the measure F.D.A. scientists used in their analysis.
"With that type of variation, it's clear we can make progress," she said.
The food industry offered tempered reaction. The Grocery Manufacturer's Association said in a statement that "we believe additional work is needed to determine the acceptable range of sodium intake for optimal health," including research that indicates health risks "from consuming too little sodium." But the group said it would work with the F.D.A. on sodium reduction targets.
Some companies seemed enthusiastic. "Mars applauds F.D.A. for releasing its draft voluntary guidelines on sodium, and we look forward to providing additional comments on the recommendations," the company said in a statement. It said it had reduced sodium in its products by a quarter from 2007 to 2012, and planned to reduce by an additional 20 percent "across our food portfolio" by 2021.
In an editorial published in The Journal of the American Medical Association on Wednesday, Dr. Frieden wrote that a decrease in sodium intake by as little as 400 milligrams a day could prevent 32,000 heart attacks and 20,000 strokes annually. He pointed out that 39 countries had established sodium targets for foods and meals, with 36 of those voluntary, including Britain, which set voluntary sodium reduction targets in 2003. By 2011, sodium intake had dropped by 15 percent, according to researchers in Britain, average blood pressure declined, and deaths from ischemic heart disease and stroke fell. (Researchers noted that other factors could be at work, too.)
Dr. Frieden argued that the changes in the United States would give consumers the option of eating less sodium because the food supply would be less salty. "It makes the default option the healthier option," he said on a conference call. "If it's not salty enough for them, they can choose to add sodium."
Michael F. Jacobson, the executive director of the Center for Science in the Public Interest, said his group had petitioned the F.D.A. to impose mandatory guidelines but that "they just couldn't go that far because the food industry would go to Congress and say, shut down this process."
Dr. Frieden said some companies had already begun to reduce sodium. He named Walmart; Darden, which operates restaurants including Olive Garden; Unilever; PepsiCo; General Mills; and Nestlé.
General Mills said that as of the end of last year, it had reduced sodium in more than 350 products, which it said was one-third of its current American retail sales.


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Automatic Feed Co., a related company to LaserCoil, is in their second year of partnering with the Napoleon City Schools high school STEM program. Investing in the education and hands-on skill training of motivated students is essential in fulfilling the demand for qualified workers pursuing careers in today's manufacturing environment. Read more about how a local student's practical experience at AFCO helped contribute to his goals for success.


text:
1.1Formation and psychedelic folk (July 1967 – mid-1970)
1.2Glam rock and commercial success (July 1970 – December 1972)
1.3Transition, decline and resurgence (January 1973 – September 1977)
1.4Bolan's death, disbandment and reformation attempts
2Influence and legacy
4Members
4.1Timeline
4.2Album line-up timeline
7Cited sources
T. Rex (band)
English rock band
T. Rex during their heyday (left to right): Bill Legend, Mickey Finn, Marc Bolan, Steve Currie
Marc Bolan & T. Rex
psychedelic folk (early)
Regal Zonophone
Relativity Records
X-T. Rex
Mickey Finn's T-Rex
Spinoff of
John's Children
Steve Peregrin Took
Mickey Finn
Steve Currie
Bill Legend
Paul Fenton
Gloria Jones
Jack Green
Dino Dines
Davy Lutton
Miller Anderson
Herbie Flowers
T. Rex (originally Tyrannosaurus Rex) were an English rock band, formed in 1967 by singer-songwriter and guitarist Marc Bolan, who was their leader, frontman and only consistent member. Though initially associated with the psychedelic folk genre, Bolan began to change the band's style towards electric rock in 1969, and shortened their name to T. Rex the following year. This development culminated in 1970 with their first hit single "Ride a White Swan", and the group soon became pioneers of the glam rock movement.
From 1970 to 1973, T. Rex encountered a popularity in the UK comparable to that of the Beatles, with a run of eleven singles in the UK top ten. They scored four UK number one hits, "Hot Love", "Get It On", "Telegram Sam" and "Metal Guru". The band's 1971 album Electric Warrior received critical acclaim, reached number 1 in the UK and became a landmark album in glam rock. The 1972 follow-up, The Slider, entered the top 20 in the US. Bolstering their style with soul music, funk and gospel, the band released Tanx in 1973 which reached the top 5 in several countries. From 1974, T. Rex's appeal began to wane, though the band continued releasing albums. Their subsequent releases blended rock with R&B and occasionally even disco.
In 1977, Bolan died in a car crash several months after the release of the group's final studio album Dandy in the Underworld, and the group disbanded. T. Rex have continued to influence a variety of subsequent artists. The band was inducted into the Rock and Roll Hall of Fame in 2020.[1]
Formation and psychedelic folk (July 1967 – mid-1970)[edit]
Marc Bolan founded Tyrannosaurus Rex in July 1967, following a handful of failed solo singles and a brief career as lead guitarist in psych-rock band John's Children. After a solitary disastrous performance as a four-piece electric rock band on 22 July at the Electric Garden in London's Covent Garden alongside drummer Steve Porter plus two older musicians: guitarist Ben Cartland and an unknown bassist, the group immediately broke up.[2][3] Subsequently, Bolan retained the band name and the services of Porter, who switched to percussion under the name Steve Peregrin Took, and the two began performing acoustic material as a duo with a repertoire of folk-influenced Bolan-penned songs. Inspired by an influential performance by Ravi Shankar whom Bolan had seen while touring West Germany with John's Children, the band adopted a stage manner resembling the performance of traditional Indian music.[3][4]
The combination of Bolan's acoustic guitar and distinctive vocal style with Took's bongos and assorted percussion—which often included children's instruments such as the Pixiphone—earned them a devoted following in the thriving hippy underground scene. BBC Radio One Disc jockey John Peel championed the band early in their recording career.[5] Peel later appeared on record with them, reading stories written by Bolan. Another key collaborator was producer Tony Visconti, who went on to produce the band's albums well into their second, glam rock phase.[6] Their debut album My People Were Fair and Had Sky in Their Hair... remained in the UK Albums chart for nine weeks and peaked at number 15.[7] Their second album Prophets, Seers & Sages was released a few months later.
During 1968–1969, Tyrannosaurus Rex had become a modest success on radio and on record. Their third single "Pewter Suitor", released in January 1969, failed to chart but their third album Unicorn came within striking distance of the UK Top 10 Albums.[7] While Bolan's early solo material was rock and roll-influenced pop music, by now he was writing dramatic and baroque songs with lush melodies and surreal lyrics filled with Greek and Persian mythology as well as poetic creations of his own. The band became regulars on Peel Sessions on BBC radio, and toured Britain's student union halls.[8]
Their fourth single "King of the Rumbling Spires" issued in July, was a musical departure compared to the previous material: they used a full rock band setup with a drumkit and an entirely electric sound. However, by mid-1969 there was a rift developing between the two halves of Tyrannosaurus Rex. Bolan and his girlfriend June Child were living a quiet life, Bolan working on his book of poetry entitled The Warlock of Love and concentrating on his songs and performance skills. Took, however, had fully embraced the anti-commercial, drug-taking ethos of the UK Underground scene centred around Ladbroke Grove. Took was also attracted to anarchic elements such as Mick Farren/Deviants and members of the Pink Fairies Rock 'n' Roll and Drinking Club.[9] Took also began writing his own songs, and wanted the duo to perform them, but Bolan strongly disapproved of his bandmate's efforts, rejecting them for the duo's putative fourth album, in production in Spring/Summer 1969. In response to Bolan's rebuff, Took contributed two songs as well as vocals and percussion to Twink's Think Pink album.[10]
Behind the scenes, Bolan's relationship with Took ended after this dispute, although they were contractually obliged to go through with a US tour which was doomed before it began. Poorly promoted and planned, the acoustic duo were overshadowed by the loud electric acts they were billed with. To counter this, Took drew from the shock rock style of Iggy Pop; Took explained, "I took my shirt off in the Sunset Strip where we were playing and whipped myself till everybody shut up. With a belt, y'know, a bit of blood and the whole of Los Angeles shuts up. 'What's going on, man, there's some nutter attacking himself on stage.' I mean, Iggy Stooge had the same basic approach."[11]
As soon as Bolan returned to the UK in September, he replaced Took with percussionist Mickey Finn.[6] and they completed the fourth album, released in early 1970 as A Beard of Stars, the final album under the Tyrannosaurus Rex moniker. This line up headlined the very first Glastonbury Festival in 1970.[12] As well as progressively shorter titles, Tyrannosaurus Rex's albums began to show higher production values, more accessible songwriting from Bolan, and experimentation with electric guitars and a true rock sound.[13]
Glam rock and commercial success (July 1970 – December 1972)[edit]
Bolan continued the process of simplification by shortening the band's name to T. Rex.[14] The new sound was more pop-oriented, and the first single, "Ride a White Swan" recorded in July and released in October 1970 made the Top 10 in the UK by late November and would soon reach number 2.[7] Ticket fees were reduced to 10 shillings/50p to attract a younger audience.[15] The eponymous first T. Rex album, also recorded that summer, was released in December and continued the move to electric guitars.[13] In early 1971, T. Rex reached the top 20 of the official UK Albums Chart.[14] During the February–April 1971 suspension of the official album chart (caused by a national postal strike) a chart by Melody Maker—which the Official Chart Company's website nowadays recognises as canonical for the gap period—listed the LP as having peaked at number 7.[16][17]
T. Rex – "Hot Love"
Problems playing this file? See media help.
"Ride a White Swan" was quickly followed by a second single, "Hot Love", which reached the top spot on the UK charts, and remained there for six weeks.[7] Between these two releases, Bolan first recruited bassist Steve Currie, and then drummer Bill Legend, to form a full band to record and tour to growing audiences. After Chelita Secunda added two spots of glitter under Bolan's eyes before an appearance on Top of the Pops for which Bolan wore shiny satin trousers and a shiny jacket (from Chelsea boutique Alkasura) in place of his previous hippy clothes, soon followed by another appearance for the show on which he wore a silver velvet/satin sailor suit, the ensuing performances would often be viewed as the birth of glam rock.
After Bolan's displays, glam rock would gain popularity in the UK and Europe during 1971–1972. The completion of T. Rex's move to electric guitar rock coincided with Bolan's more overtly sexual lyrical style and image. Having already begun standing up onstage to perform electric songs, Bolan also incorporated more physical showmanship, such as struts, dances and poses, into his stage act. The group's new image and sound quickly attracted a new audience much to the despair of the band's early fans. Some of the lyrical content of Tyrannosaurus Rex remained, but the poetic, surrealistic lyrics were now interspersed with sensuous grooves, orgiastic moans and innuendo.
In September 1971, T. Rex released Electric Warrior, which featured Currie and Legend. Often considered to be their best album, the chart-topping Electric Warrior brought much commercial success to the group;[7] publicist BP Fallon coined the term "T. Rextasy" as a parallel to Beatlemania to describe the group's popularity.[18] The album included T. Rex's best-known song, "Get It On", which hit number one in the UK. In January 1972 it became a top ten hit in the US, where the song was retitled "Bang a Gong (Get It On)". The album still recalled Bolan's acoustic roots with ballads such as "Cosmic Dancer" and the stark "Girl". Soon after, Bolan left Fly Records; after his contract had lapsed, the label released the album track "Jeepster" as a single without his permission. Bolan went to EMI, where he was given his own record label in the UK—T. Rex Records, the "T. Rex Wax Co."[3]
The band released the singles "Telegram Sam" and "Metal Guru" respectively in January and in May 1972, and both became number one hits in the UK.[7] In May, Bolan's old label Fly released the chart-topping compilation album Bolan Boogie, a collection of singles, B-sides and LP tracks, which affected sales of the band's forthcoming album. When it was released in July, The Slider peaked at number four in the UK,[7] and it became their most successful album in the US, entering the top 20 of the Billboard 200.[19] The band then released two other standalone singles "Children of the Revolution" and "Solid Gold Easy Action" which both reached number 2 in the UK. In December, Bolan's own rock film Born to Boogie was released to theatres. The film featured two T. Rex shows at the Empire Pool, Wembley, which had been shot by Ringo Starr and his crew earlier in the year.
Transition, decline and resurgence (January 1973 – September 1977)[edit]
Bolan performing on ABC's In Concert, 1973
Tanx was a commercial success, reaching number 3 in the German Albums chart,[20] number 4 in the UK,[7] and number 5 in Norway.[20] An eclectic album containing several melancholy ballads and rich production, Tanx showcased the T. Rex sound bolstered by extra instrumental embellishments such as Mellotron and saxophone. "The Street and Babe Shadow" was funkier while the last song "Left Hand Luke and the Beggar Boys" was seen by critics as a nod to gospel with several female backing singers.[21] Released at the same time in March 1973, the heavy rock "20th Century Boy" was another important success, peaking at number 3 in the UK Singles chart but was not included in the album.[7] "The Groover" marked the end of the golden era in which T. Rex scored 11 singles in a row in the UK top ten.
Zinc Alloy and the Hidden Riders of Tomorrow was released in February 1974, and reached number 12 in the UK. Musically, the band ventured into blue-eyed soul and blended rock with funk and R & B influences.[22] Lyrically, the album harkened back to the Tyrannosaurus Rex days with long song titles and lyrical complexity, but was not a critical success. In the US, Warner Brothers dropped the band without releasing the album. Bill Legend stopped working with Bolan at that time. T. Rex had an extended line-up which included second guitarist Jack Green and B. J. Cole on pedal steel. Soon after the album's release, Bolan split with producer Visconti, then in December 1974, Finn also left the band. A single, "Zip Gun Boogie", appeared in late 1974 credited as a Marc Bolan solo effort (though still on the T. Rex label). It only reached UK No. 41, and the T. Rex band identity was quickly re-established.
Bolan's Zip Gun (1975) saw the group further developing the soul and funk of previous records. Most of the material had already been released the previous year in the US as Light of Love. It was self-produced by Bolan who, in addition to writing the songs, gave his music a harder, more futuristic sheen. Bolan's own productions were not well received in the music press. However, in the US, Rolling Stone magazine gave it a positive review.[23] During this time Bolan became increasingly isolated, while high tax rates in the UK drove him into exile in Monte Carlo and the US. No longer a vegetarian, Bolan put on weight due to consumption of hamburgers and alcohol, and was ridiculed in the music press.
T. Rex's penultimate album, Futuristic Dragon (1976), featured an inconsistent production style that veered from Wall of Sound-style songs to disco backing, with nostalgic nods to the old T. Rex boogie machine. It only managed to reach number 50, but the album was better received by the critics and featured the singles "New York City" (number 15 in the UK) and "Dreamy Lady" (number 30).[7] The latter was promoted as T. Rex Disco Party. To promote the album, the band toured the UK, and performed on television shows such as Top of the Pops, Supersonic and Get It Together.
In the summer of 1976, T. Rex released two more singles, "I Love to Boogie" (which charted at number 13) and "Laser Love", which made number 42.[7] In early 1977 Dandy in the Underworld was released to critical acclaim. Bolan had slimmed down and regained his elfin looks, and the songs too had a stripped-down, streamlined sound. A spring UK tour with punk band the Damned on support garnered positive reviews. As Bolan was enjoying a new surge in popularity, he talked about performing again with Finn and Took, as well as reuniting with Visconti.
Bolan's death, disbandment and reformation attempts[edit]
Marc Bolan and his girlfriend Gloria Jones spent the evening of 15 September 1977 drinking at the Speakeasy and then dining at Morton's club on Berkeley Square, in Mayfair, Central London.[24] While driving home early in the morning of 16 September, Jones crashed Bolan's purple Mini 1275 GT into a tree (now the site of Bolan's Rock Shrine), after failing to navigate a small humpback bridge near Gipsy Lane on Queens Ride, Barnes, southwest London, a few miles from his home at 142 Upper Richmond Road West in East Sheen.[25] While Jones was severely injured, Bolan was killed in the crash, two weeks before his 30th birthday.[26]
As Bolan had been the only constant member of T. Rex and also the only composer and writer, the group disbanded immediately upon his death. Only Legend survives from the band prior to its commercial decline; Took went on to co-found Pink Fairies and appear on Mick Farren's solo album Mona – The Carnivorous Circus before spending the 1970s working mostly on his own material, either solo or fronting bands such as Shagrat (1970–1971) and Steve Took's Horns (1977–1978).[27] He died in 1980 from asphyxiation caused by choking on a cocktail cherry.[28] The following year Currie, who had played for Chris Spedding before moving to Portugal in 1979, died there in a car crash.[29] Finn played as a session musician for the Soup Dragons and the Blow Monkeys before his death in 2003 of possible liver and kidney failure.[30]
Since Bolan's death there have been two known public attempts by former members to reform the band. These have drawn strong criticism from fans and former associates of Bolan who contend that without a living Bolan, no such band can be an authentic lineup.[31][32] In 1997 Finn, Green and Legend's successor Paul Fenton formed a "T.Rex" lineup, soon renamed Mickey Finn's T-Rex, with former Smokie and Saxon members. Following Finn's death in 2003 the band continued on as T. Rex (A Celebration of Marc and Mickey) until a petition signed by Legend, Tony Visconti and David Bowie, among others, forced them to revert their name back to Mickey Finn's T-Rex with his family's blessing.[31][33][34] In 2014 Legend put together his own version of the band, Bill Legend's T. Rex, later known as X-T. Rex. [35]
Influence and legacy[edit]
T. Rex vastly influenced several genres over several decades including glam rock, the punk movement, post-punk, indie pop, britpop and alternative rock. They were cited by acts such as New York Dolls, the Ramones, Kate Bush, Siouxsie and the Banshees, Joy Division, R.E.M., the Smiths, the Pixies and Tricky.
Sylvain Sylvain of the New York Dolls said that when forming his band with Billy Murcia and Johnny Thunders: "[they]'d all sit on the bed with these cheap guitars and do Marc Bolan songs, as well as some blues and instrumentals".[36] Sparks were inspired at their beginnings by Tyrannosaurus Rex, before T. Rex:[37] seeing them live "was really our education" stated Ron Mael.[38] The Stooges were inspired by T. Rex when composing and recording the songs of Raw Power. Guitarist and songwriter James Williamson related: "We were over in England at the time when Marc Bolan was red hot, and we were looking at his stuff and thinking 'hey, we could be like that,' and writing our stuff and just thinking it would take off."[39] Joey Ramone of the Ramones said about Bolan: "I get into people who are unique and innovative and have colour. That's why I love Marc Bolan. There was something so mystical about him, his singing voice, his manner. His songs really move ya, they're so moving and dark."[40]
Siouxsie and the Banshees performed a cover version of "20th Century Boy" early in their career, eventually releasing it as a B-side in 1979. Joy Division's Bernard Sumner was marked by the sound of the guitar of early T. Rex; his musical journey began at a poppy level with "Ride a White Swan".[41] The Slits' guitarist Viv Albertine was fascinated by Bolan's guitar playing: "It was [...] the first time I ever listened to a guitar part. Because back then girls didn't really listen to guitar parts, it was a guy's thing. And guitars were really macho things then and I couldn't bear say, Hendrix's guitar playing, it was too in your face and too threateningly sexual, whereas Marc Bolan's guitar playing was kind of cartoony. And I could sing the parts. They weren't virtuoso, they were funny, they were humourous [sic] guitar parts."[42]
Smiths' composer and guitarist Johnny Marr stated: "T. Rex was pure pop".[43] "The influence of T. Rex is very profound on certain songs of the Smiths like "Panic" and "Shoplifters of the World Unite". Lead singer Morrissey also admired Bolan. While writing "Panic" he was inspired by "Metal Guru" and wanted to sing in the same style. He didn't stop singing it in an attempt to modify the words of "Panic" to fit the exact rhythm of "Metal Guru". Marr later stated: "He also exhorted me to use the same guitar break so that the two songs are the same!"[44] Marr rated Bolan in his ten favourite guitarists.[45] Prefab Sprout's Paddy McAloon cited "Ride a White Swan" as "the song that vindicated my love of pop".[46] R.E.M. covered live "20th Century Boy" early in their career in 1984:[47] singer Michael Stipe said that T. Rex and other groups of the 1970s "were huge influences on all of us",[48] "[they] really impacted me".[49]
The Pixies's lead guitarist Joey Santiago cited Electric Warrior in his 13 defining records,[50] as did the Jam's Paul Weller.[51] Santiago said: "Bolan took the blues and made it a lot more palatable".[50] Kate Bush listened to Bolan during her teenage years and then mentioned his name in the lyrics of the song "Blow Away (for Bill)".[52] Nick Cave covered live "Cosmic Dancer",[53] commenting that Electric Warrior contained "some of the greatest lyrics ever written",[54] further adding, it was "my favorite record, [...] the songs are so beautiful, it is an extraordinary record".[55] Tricky cited Bolan as "totally unique and ahead of his time".[56] When talking about his favourite albums, PJ Harvey's collaborator John Parish said that T. Rex "is the place to start", adding that "this band and that album [Electric Warrior] was what got me into music in the first place". When he saw T. Rex on Top of the Pops playing "Jeepster", he felt: "that's my kind of music [...] The thing I related to as 12-year-old I still go back to and uses as one of my main touchstones when I'm making records".[57] Parish explained, "I've been listening to T.Rex pretty consistently since 1971".[58] Oasis "borrowed" the distinct guitar riff from "Get It On" on their single "Cigarettes & Alcohol".[59] Oasis's guitarist, Noel Gallagher, has cited T. Rex as a strong influence.[60] The early acoustic material was influential in helping to bring about progressive rock and 21st century folk music-influenced singers as Devendra Banhart,[61] who said: "I love Tyrannosaurus Rex so much, it's so easy to love, so righteous to love, and so natural to love, I can't imagine anyone not liking it."[62]
T. Rex are referenced in several popular songs, including David Bowie's "All the Young Dudes" (which he wrote for Mott the Hoople in 1972),[63] the Ramones' "Do You Remember Rock 'n' Roll Radio?",[64] Serge Gainsbourg's "Ex-Fan Des Sixties",[65] the Who's "You Better You Bet",[66] B A Robertson's "Kool in the Kaftan",[67] R.E.M.'s "The Wake-Up Bomb",[68] My Chemical Romance's "Vampire Money",[69] and Panic! at the Disco's "Middle of a Breakup".[70] The music of T. Rex features in the soundtracks of various movies, including Velvet Goldmine,[71] Death Proof,[72] Billy Elliot,[73] the Bank Job,[74] Dallas Buyers Club,[75] and Baby Driver.[76] The sleeve of The Slider album can be seen in the Lindsay Anderson movie O Lucky Man!,[77] and in Tim Burton's Dark Shadows.[78] In Miha Mazzini's novel King of the Rattling Spirits, the narrator starts remembering his childhood when he sees Tyrannosaurus Rex record "King of Rumbling Spires" in the record store and realizes he has mistakenly remembered the title as "King of the Rattling Spirits".[79]
Main article: T. Rex discography
As Tyrannosaurus Rex
My People Were Fair and Had Sky in Their Hair... But Now They're Content to Wear Stars on Their Brows (1968)
Prophets, Seers & Sages: The Angels of the Ages (1968)
Unicorn (1969)
A Beard of Stars (1970)
As T. Rex
T. Rex (1970)
Electric Warrior (1971)
The Slider (1972)
Tanx (1973)
Zinc Alloy and the Hidden Riders of Tomorrow (1974)
Bolan's Zip Gun (1975)
Futuristic Dragon (1976)
Dandy in the Underworld (1977)
Members[edit]
Final line-up
Marc Bolan – lead/rhythm guitar, lead vocals (July 1967 – Sep 1977; died 1977), also keyboards (Jan 1969 – Sept 1970)[a] and bass (January 1969-September 1970, April 1976-August 1976)[b]
Dino Dines – keyboards (Jan 1974 – Sep 1977; died 2004)
Tony Newman – drums, percussion (Aug 1976 – Sep 1977)
Herbie Flowers – bass (Aug 1976 – Sep 1977)[c]
Ben Cartland – guitar (July 1967)[d]
unknown – bass (July 1967)[d]
Steve Peregrin Took – percussion, backing vocals (August 1967 – Sep 1969; died 1980), also drums (July 1967, Jan–Sep 1969), and bass (Jan – Sep 1969)[e]
Mickey Finn – percussion, backing vocals (Oct 1969 – Feb 1975; died 2003), also drums (June 1970 and Mar 1971), and bass (Oct 1969 – Dec 1970)[f]
Steve Currie – bass (Dec 1970 – Aug 1976; died 1981)
Bill Legend – drums (Mar 1971 – Nov 1973)[g]
Gloria Jones – keyboards, tambourine, vocals (Jul 1973 – Aug 1976)
Jack Green – lead guitar (Jul 1973 – Nov 1973)
Paul Fenton – drums (Dec 1973 – Feb 1974) also percussion (Nov 1974)[h]
Davey Lutton – drums (Jan 1974 – Aug 1976) also percussion (Feb 1975 – Aug 1976)
Miller Anderson – lead guitar (Aug 1976 – June 1977)
Timeline[edit]
Album line-up timeline[edit]
Lead vocals Marc Bolan
Guitar Marc Bolan Marc Bolan, B.J. Cole, Jack Green Marc Bolan Marc Bolan, Miller Anderson
Percussion Steve Peregrin Took Mickey Finn Mickey Finn, Bill Legend Mickey Finn Marc Bolan
Bass Steve Peregrin Took Marc Bolan Marc Bolan, Tony Visconti Steve Currie Steve Currie, Danny Thompson Steve Currie Steve Currie, Herbie Flowers, Scott Edwards, Marc Bolan
Drums Steve Peregrin Took Mickey Finn Bill Legend Davy Lutton, Paul Fenton Davy Lutton Davy Lutton, Tony Newman, Paul Humphrey
Keyboards Marc Bolan, Steve Peregrin Took Marc Bolan, Tony Visconti Rick Wakeman Tony Visconti Lonnie Jordan, Tony Visconti Dino Dines, Gloria Jones Dino Dines
Producer Tony Visconti Marc Bolan, Tony Visconti Marc Bolan
List of 1970s one-hit wonders in the United States
^ "Class of 2020". Rock and Roll Hall of Fame. Retrieved 15 January 2020.
^ Marc Bolan 1947-1977 A Chronology - Cliff McLenehan, Helter Skelter Publishing 2002, p25
^ a b c Paytress, Mark. Bolan: The Rise and Fall of a 20th Century Superstar. Omnibus Press. 2003
^ Auslander, Phillip (2006). Performing Glam Rock: Gender and Theatricality in Popular Music. University of Michigan Press. p. 92. ISBN 9780472068685. Retrieved 27 September 2019.
^ Stand and Deliver: The Autobiography Pan Macmillan, 2007
^ a b Philip Auslander Performing glam rock: gender and theatricality in popular music University of Michigan Press, 2006
^ a b c d e f g h i j k "T. Rex uk charts". officialcharts.com. Retrieved 2 February 2016.
^ BBC – Radion 1 – Keeping it Peel – 17/11/1969 BBC Radio One
^ "Steve Took's Domain". Steve-took.co.uk. 27 October 2011. Retrieved 29 February 2012.
^ Sleevenotes by Dave Thompson to CD The Missing Link To Tyrannosaurus Rex Cleopatra Records CLEO 9528-2 1995
^ Steve Took - From Bolan Boogie To Gutter Rock, Charles Shaar Murray. NME 14 October 1972
^ "1970 (19 September)". History. Glastonbury Festival. Retrieved 29 June 2011.
^ a b Legends of rock guitar: the essential reference of rock's greatest guitarists Hal Leonard Corporation, 1997
^ a b Thompson, Dave (2009). Your Pretty Face is Going to Hell: The Dangerous Glitter of David Bowie, Iggy Pop and Lou Reed. New York: Backbeat Books. ISBN 9780879309855.
^ Bramley, John (2017).
^ "The history of the Official Charts: the Seventies". Official Charts. Archived from the original on 25 September 2018. Retrieved 25 September 2018.
^ "T. Rex | Artist | Official Charts". Official Charts. Retrieved 8 February 2015.
^ Reynolds, Simon (2016). Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-first Century. New York: Harper Collins. ISBN 9780062279811. Retrieved 3 August 2019.
^ "The Slider – the Billboard 200". AllMusic. Archived from the original on 24 January 2011. Retrieved 8 February 2022.
^ a b "T. Rex - Tanx World wide: charts". Swedishcharts.com. Retrieved 2 April 2021.
^ Deusner, Stephen M. (5 February 2006). "T. Rex: Tanx / Zip Gun / Futuristic Dragon / Work in Progress | Album Reviews | Pitchfork". Pitchfork. Retrieved 8 February 2015.
^ Thompson, Dave. "Zinc Alloy and the Hidden Riders of Tomorrow – Marc Bolan & T. Rex". AllMusic. Retrieved 8 February 2015.
^ Barnes, Ken (26 September 1974). "T. Rex Light of Love". RollingStone. Retrieved 2 July 2019.
^ "How Marc Bolan's death rocked my world". www.shropshirestar.com.
^ Bignell, Paul (16 September 2012). "Mystery of Marc Bolan's death solved". The Independent. London. Archived from the original on 26 May 2022. Retrieved 12 August 2019.
^ Stan Hawkins The British pop dandy: masculinity, popular music and culture Ashgate Publishing, Ltd., 2009
^ "Auteur to Author". Record Collector Magazine.
^ Stanton, Scott (2003). The Tombstone Tourist: Musicians. Simon and Schuster. p. 288. ISBN 9780743463300. Retrieved 28 July 2019.
^ Colin King Rock on!: the rock 'n' roll greats p.110. Caxton, 2002
^ "Obituary: Mickey Finn, Mickey Finn Percussionist who, as a leading member of T Rex, defined the style of an era and kept the band's name and music alive". The Times. 14 January 2003.
Paytress, Mark (2009). Marc Bolan: The Rise And Fall Of A 20th Century Superstar. Omnibus Press. ISBN 9780857120236. Retrieved 4 December 2019.
"Mickey Finn: Exotic percussionist in at the start of glam rock". The Guardian. 18 January 2003. Retrieved 28 July 2019.
BBC News – Entertainment – T Rex band member dies BBC News (13 January 2003)
^ a b Michael Leonard (30 June 2008). "Bowie signs petition against tribute band | David Bowie | Guitar News". MusicRadar.com. Retrieved 28 July 2014.
^ Jörg Günther. "No Bolan, No T.Rex!". marcbolan.eu. Marc Bolan.Eu. Retrieved 15 January 2023.
^ Michael Leonard (30 June 2008). "Bowie And Legend Sign Petition Against T-rex Tribute Band". Contactmusic.com. Retrieved 28 July 2014.
^ "The Music of Marc and Mickey". T-Rex. 17 July 2015. Retrieved 25 August 2015.
^ Martin Kielty (11 March 2022). "45 Years Ago: T. Rex Briefly Rebound on 'Dandy in the Underworld'". Ultimate Classic Rock. Ultimate Classic Rock. Retrieved 15 January 2023.
^ Antonia, Nina (1998). The Makeup Breakup of The New York Dolls: Too Much, Too Soon. Omnibus Pr. ASIN B01K3KLAZA.
^ Swanson, Dave (11 September 2017). "Sparks Interview". Diffuser. Archived from the original on 13 March 2018. Retrieved 29 November 2017.
^ Roberts, Randall (28 August 2017). "Sparks' Ron and Russell Mael recall getting booted from the Riot Hyatt on Sunset — for throwing a bagel out the window". LA Times. Retrieved 22 November 2017.
^ Vinall, Frances (7 March 2013). "James Williamson of The Stooges". Tonedeaf.thebrag.com. Retrieved 22 November 2020. Surely the Stooges themselves, though, could recognise the significance of the beast they were creating in Raw Power? "We hoped so, of course, but we were completely delusional about that," he remembers, laughing. "We always felt that our music was important and that's why we did it, but we had no concept of how to be commercial." "We were over in England at the time when Marc Bolan was red hot," he recalls, "and we were looking at his stuff and thinking 'hey, we could be like that,' and writing our stuff and just thinking it would take off."
^ True, Everett (2002). Hey Ho Let's Go: The Story of the Ramones. Omnibus Press. ISBN 978-0711991088.
^ Gale, Lee (19 September 2012). "Icon: Bernard Sumner". GQ. Retrieved 22 November 2017.
^ Hasson, Thomas (18 April 2013). "Like Choosing A Lover: Viv Albertine's Favourite Albums". The Quietus. Retrieved 22 November 2017.
^ Freeman, John (16 June 2015). "Rubber Rings: Johnny Marr's Favourite Albums". The Quietus. Retrieved 22 November 2017.
^ "Johnny Marr Interview". Les Inrockuptibles. 21 April 1999.
^ "Johnny Marr Top Ten Guitarists". Uncut. No. November 2004.
"Johnny Marr Top Ten Guitarists" Morrissey-solo.com. Retrieved 16 November 2011.
^ "Prefab Sprout's Paddy McAloon – My Life In Music". Uncut. 2 August 2013. Retrieved 22 November 2017.
^ "R.E.M. - 20th Century Boy (Live at Theatre El Dorado, Paris, France 1984)". YouTube. Archived from the original on 21 December 2021. Retrieved 2 May 2018.
^ Schonfeld, Zach (26 September 2014). "Reclaiming Monster: Reflecting on R.E.M.'s Most Misunderstood Album with Michael Stipe". Newsweek. Retrieved 21 January 2018.
^ Hann, Michael (19 January 2018). "I'm a pretty good pop star': Michael Stipe on his favourite REM songs". The Guardian. Retrieved 2 July 2018.
^ a b Tuffrey, Laurie (22 May 2014). "Planets Of Sound: Joey Santiago Of Pixies' Favourite Albums". The Quietus. Archived from the original on 8 August 2018. Retrieved 21 January 2018.
^ Colegate, Mat (7 May 2015). "At His Modjesty's Request: Paul Weller's Favourite Albums". The Quietus. Archived from the original on 8 August 2018. Retrieved 21 January 2018.
^ Thomson, Graeme (2012). Kate Bush: Under the Ivy. Omnibus. ISBN 978-1780381466. Bush sings the words: "Bolan and moony are heading the show tonight".
^ Trendell, Andrew (20 June 2019). "Conversations With Nick Cave at The Barbican". NME.com. Retrieved 2 July 2019.
^ "Nick Cave performing Cosmic Dancer in Amsterdam". Youtube. 26 May 2019. Retrieved 2 July 2019
^ "Nick Cave covering Cosmic Dancer in Stockholm". Youtube. 31 May 2019. Retrieved 2 July 2019
^ "Tricky on Englishness And The Country That Made Me". The Quietus. 5 October 2008. Archived from the original on 8 August 2018. Retrieved 21 January 2018.
^ Frelon, Luc (2013). "John Parish dans Radio Vinyle #27 sur Fip". Radio France. YouTube. Archived from the original on 21 December 2021. Retrieved 21 January 2018.
^ "Interview with John Parish". adequacy.net. 15 October 2002. Archived from the original on 8 August 2018. Retrieved 22 November 2017.
^ "Oasis biography". Rollingstone.com. Retrieved 25 November 2011.
^ Liam Gallagher: 'David Bowie and T.Rex have inspired my post-Oasis album'. NME. 27 March 2011. Retrieved 25 November 2011
^ Eccleston, Danny (2 May 2011). "Devendra Banhart Rejoicing In The Hands". Mojo.com. Archived from the original on 22 May 2011. Retrieved 25 November 2011.
Strew, Roque. "Devendra Banhart Cripple Crow review". Stylusmagazine.com. 25 September 2005. Retrieved 25 November 2011.
^ Dalton, Trinie. "So Righteous to Love: Devendra Banhart". Arthur magazine. May 2004. Retrieved 2 July 2019.
^ Paytress, 2003. David Bowie wrote the words: "Man I need a TV when I've got T.Rex".
^ The Ramones sing the words: "Will you remember Jerry Lee, John Lennon, T. Rex and OI Moulty?"
^ Serge Gainsbourg namedrops T. Rex next to Elvis Presley in this song written for Jane Birkin in 1978.
^ Steven Rosen. "The Who - Uncensored on The Record". Coda Books. 2011. "To the sound of old T. Rex"
^ Robertson sings the lyrics: "Go out and buy T Rex Fee fi fiddley do"
^ R.E.M. sing the words: "Practice my T-Rex moves and make the scene".
^ My Chemical Romance sing: "Glimmers like Bolan in the shining sun"
^ Panic! At The Disco - Middle Of A Breakup (Official Video), retrieved 20 July 2022
^ Velvet Goldmine. cd 1998 Fontana Records London
^ Death Proof (soundtrack), 2007, Maverick records
^ "Billy Elliot soundtrack". Allmusic. Retrieved 2 December 2018
^ The Bank Job. 2008 Lionsgate. dvd
^ Dallas Buyers Club. Truth Entertainment, Voltage Pictures, Focus Features, 2013 dvd
^ "Sony sued for using T. Rex song in Baby Driver". news.avclub.com. Retrieved 2 December 2018
^ O Lucky Man!. 1973. DVD. Warner Bros.
^ Tim Burton. Dark Shadows. 2012. Warner Bros. Pictures
^ Miha Mazzini. King of the Rattling Spirits. 2001. Scala House Press
^ Played keyboards on "Organ Blues" live and on various studio tracks on Unicorn, A Beard Of Stars and T.Rex albums. Was sole, therefore lead, guitarist except during Jack Green and Miller Anderson's periods with the band.
^ Played bass on the fourth and self-titled fifth album as well as on Dandy in the Underworld.
^ - Completed his notice and left the band following completion of Marc show episode 6 on 7th Sept. Planned replacement Adrian Shaw had not been formally contracted therefore bass position was vacant at the time of Marc's death -
^ a b -One disatrous gig at Electric Garden-
^ - Hired as drummer for same Electric Garden lineup as Cartland and unknown bassist. Retained afterwards as percussionist/vocalist. Plays bass and toy drumkit on occasional tracks on Unicorn, King Of The Rumbling Spires single, planned fourth album tracks and live (drumkit on Chariots of Silk, bass on Do You Remember live @ Lyceum April 1969)-
^ - Replaced Took in all capacities. Played bass live on songs such as Elemental Child, Ride A White Swan and Wind Cheetah until Currie recruited. Played drumkit on studio version of Childe in June 1970 and at a handful of gigs in March 1971 and two TOTP appearances that same month. -
^ -Session musician on Hot Love and Woodland Rock as Bill Fifield January 1971. Later auditioned successfully for full time slot in band March 1971 and debuted April 1971 on US radio session. -
^ - Hired to replace Legend, soon supplemented by Lutton, left shortly afterwards. Later played percussion on Solid Baby studio recording -
Cited sources[edit]
Bolan, Marc (1969). The Warlock of Love. Lupus books.
Bramley, John (2017). Marc Bolan: Beautiful Dreamer. John Blake Publishing Ltd.
Du Noyer, Paul (1997). Marc Bolan (Virgin Modern Icons). Virgin books.
Ewens, Carl (2007). Born to Boogie: The Songwriting of Marc Bolan. Aureus Publishing.
Jones, Lesley-Ann (2013). Ride a White Swan: The Lives and Death of Marc Bolan. Hodder.
McLenehan, Cliff (2002). Marc Bolan, 1947–1977: A Chronology. Helter Skelter Publishing.
Paytress, Mark (2003). Bolan: The Rise and Fall of a 20th Century Superstar. Omnibus Press.
Roland, Paul (2012). Cosmic Dancer: The Life & Music of Marc Bolan. Tomahawk Press.
Sinclair, Paul (1982). Electric Warrior: The Marc Bolan Story. Omnibus Press.
Tremlett, George (1975). The Marc Bolan Story. Futura Books.
Paytress, Mark (May 2005). "Marc Bolan: T. Rextasy". Mojo.
Wikimedia Commons has media related to T. Rex.
My People Were Fair and Had Sky in Their Hair... But Now They're Content to Wear Stars on Their Brows
Prophets, Seers & Sages: The Angels of the Ages
A Beard of Stars
Electric Warrior
Tanx
Zinc Alloy and the Hidden Riders of Tomorrow (as Marc Bolan & T. Rex)
Bolan's Zip Gun
Futuristic Dragon
Dandy in the Underworld
Posthumous albums
You Scare Me to Death (as Marc Bolan)
Billy Super Duper
Dance in the Midnight (as Marc Bolan)
Compilation albums
Bolan Boogie
Light of Love
Born to Boogie
"Ride a White Swan"
"Hot Love"
"Get It On"
"Jeepster"
"Telegram Sam"
"Metal Guru"
"Children of the Revolution"
"Solid Gold Easy Action"
"20th Century Boy"
"The Groover"
"Truck On (Tyke)"
"Teenage Dream"
"Light of Love"
"Zip Gun Boogie"
"New York City"
"Dreamy Lady"
"London Boys"
"I Love to Boogie"
"Laser Love"
"The Soul of My Suit"
"Dandy in the Underworld"
"Celebrate Summer"
British underground
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Edward Barker
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Learn how to draw a simple cartoon puppy in this six steps drawing lesson! So how can you make the difference between a puppy and a dog? Like you are probably aware of, puppies are baby dogs.
In this tutorial, I've also drawn the dog's body thinner and the front legs smaller than the original dog tutorial! From there, you can play with various parts of the animal to create your own puppy and make this one more original! Enjoy!


New Orleans Saints quarterback Drew Brees needed just 201 yards to break Peyton Manning's all-time passing yards mark heading into Monday night's game against the Washington Redskins.
Wanting to make sure Brees broke yet another record at home, the Saints came out passing early on. That included the future Hall of Fame quarterback completing 2-of-2 passes for 38 yards on an opening drive that culminated in Mark Ingram's first touchdown of the season.
Before too long, Brees himself was in the record books. It came on this 62-yard touchdown pass to Tre'Quan Smith in the second quarter.
We never really do appreciate greatness when it's staring us right in the face. Brees is great. He has been great. And those around the NFL community took time out of their evenings to pay respects to a man that might ultimately own every major passing record once he ultimately decides to call it quits.
Here are the best reactions to Brees' record-setting night in the Bayou.
Can't break a record any cooler than that. Wow! What an accomplishment for Brees. He still feels under appreciated on the whole.
And if that doesn't give you chills, check your pulse.


text:
Большая Аграфенка — река в России, протекает в Варнавнском районе Нижегородской области. Устье реки находится в 14 км по правому берегу реки Шада. Длина реки составляет 16 км, площадь водосборного бассейна 58,2 км².

Исток реки находится близ границы с Костромской областью в 12 км северо-западнее посёлка Северный. Река течёт на восток, всё течение реки проходит по ненаселённому лесному массиву.

Данные водного реестра
По данным государственного водного реестра России относится к Верхневолжскому бассейновому округу, водохозяйственный участок реки — Ветлуга от города Ветлуга и до устья, речной подбассейн реки — Волга от впадения Оки до Куйбышевского водохранилища (без бассейна Суры). Речной бассейн реки — (Верхняя) Волга до Куйбышевского водохранилища (без бассейна Оки).

По данным геоинформационной системы водохозяйственного районирования территории РФ, подготовленной Федеральным агентством водных ресурсов:
 Код водного объекта в государственном водном реестре — 08010400212110000042833
 Код по гидрологической изученности (ГИ) — 110004283
 Код бассейна — 08.01.04.002
 Номер тома по ГИ — 10
 Выпуск по ГИ — 0

Примечания

Реки Варнавинского района
Бассейн Лапшанги

redpajama_set_name: RedPajamaWikipedia


text:
Q: Azure github action - Could not detect runtime. Please specify using the --runtime flag I am trying to deploy code through Github action for Azure Function App but getting runtime error "Could not detect runtime. Please specify using the --runtime flag" I have tried all --runtime node but still no luck. Its a nodejs API and I tried runtime with NODE:12,NODE:14,NODE16 and etc. Following are the available runtime:
 "linux": [
    "DOTNETCORE:6.0",
    "DOTNETCORE:5.0",
    "DOTNETCORE:3.1",
    "NODE:16-lts",
    "NODE:14-lts",
    "NODE:12-lts",
    "PYTHON:3.9",
    "PYTHON:3.8",
    "PYTHON:3.7",
    "PHP:8.0",
    "PHP:7.4",
    "RUBY:2.7",
    "RUBY:2.7.3",
    "RUBY:2.6",
    "RUBY:2.6.2",
    "JAVA:11-java11",
    "JAVA:8-jre8",
    "JBOSSEAP:7-java11",
    "JBOSSEAP:7-java8",
    "TOMCAT:9.0-java11",
    "TOMCAT:9.0-jre8",
    "TOMCAT:8.5-java11",
    "TOMCAT:8.5-jre8"

:\myapp-nodejs\  az webapp deployment github-actions add --repo  -g mytest -n mytest --login-with-github

Verified GitHub repo and branch Could not detect runtime. Please specify using the --runtime
flag.

 :\myapp-nodejs\  az webapp deployment github-actions add --repo  -g mytest -n mytest --login-with-github --runtime "NODE:14-lts"

Verified GitHub repo and branch
Runtime NODE:14-lts is not supported for GitHub Actions deployments.

A: Just stumbled across this question shortly before I figured out a similar issue myself - the documentation is confusing - maybe try the pipe instead of colon - e.g. --runtime "NODE|14-lts" instead of --runtime "NODE:14-lts"

redpajama_set_name: RedPajamaStackExchange


Pretty simple for the start. This is the image I will be using as my basis.
I setup the basic layout and look of the scene, based on the concept art (which is lovely btw). And I now have a basic feel for the scene.