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(Redirected from Bantock, Sir Granville Ransome)
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Sir Granville Bantock (7 August 1868 – 16 October 1946) was a British composer of classical music.
Contents
1Biography
2Select List of Works
2.1Opera
2.2Choral
2.3Choral Unaccompanied
2.4Male Voice
2.5Solo Voice and Orchestra
2.6Symphony
2.7Concerto
2.8Tone Poem
2.9Orchestra
2.10Brass Band
2.11Incidental Music
2.12Chamber
2.13Piano
2.14Song
3Discography
4References
5External links
Biography
Granville Ransome Bantock was born in London. He was intended by his parents (his father was a Scottish doctor) for the Indian Civil Service but was compulsively drawn into the musical world. His first teacher was Dr Gordon Saunders at Trinity College of Music. Later he studied with Frederick Corder at the Royal Academy of Music. There he won the Macfarren Prize in the first year of its operation. Early conducting engagements took him around the world with a musical comedy troupe. He founded a music magazine, The New Quarterly Music Review, but this lasted only a few years. In 1897, he became conductor at the New Brighton Tower concerts, where he pioneered the works of Joseph Holbrooke, Frederic Hymen Cowen, Charles Steggall, Edward German, Hubert Parry, Charles Villiers Stanford, Corder and others, frequently devoting whole concerts to a single composer. He was also conductor of the Liverpool Orchestral Society with which he premièred Delius’s Brigg Fair on 18 January 1908. He became Principal of the Birmingham and Midland Institute school of music in 1900. He was a close friend of fellow composer Havergal Brian. He was Peyton Professor of Music at the University of Birmingham from 1908 to 1934 (in which post he succeeded Sir Edward Elgar). In 1934, he was elected Chairman of the Corporation of Trinity College of Music in London. He was knighted in 1930. His students included the conductor and composer Anthony Bernard and the composer Eric Fogg.
He was influential in the founding of the City of Birmingham orchestra (later the City of Birmingham Symphony Orchestra), whose first performance in September 1920 was of his overture Saul. Bantock’s Hebridean Symphony was recorded by the CBO on 28 January 1928 at Riley Hall, Constitution Hill, Birmingham. This acoustic version conducted by Adrian Boult was never released.
His music was influenced by folk song of the Hebrides (as in the 1915 Hebridean Symphony) and the works of Richard Wagner. Many of his works have an “exotic” element, including the choral epic Omar Khayyám (1906–09). Among his other better-known works are the overture The Pierrot of the Minute (1908) and the Pagan Symphony (1928). Many of his works have been commercially recorded since the early 1990s.
A Bantock Society was established shortly after the composer’s death in London. Its first president was Jean Sibelius, a composer whose music was championed by Bantock during the early years of the century. Sibelius dedicated his Third Symphony to Bantock.
Edward Elgar dedicated the second of his Pomp and Circumstance Marches to Bantock.
Select List of Works
Opera
The Pearl of Iran, A Romantic Opera (1894, one act, libretto by composer)
Caedmar, A Romantic Opera (1892, one act, libretto by Frederick Corder, RAM 12 July 1892, then *Crystal Palace, 18 October 1892 and Olympic Theatre, 25 October 1892)
The Seal Woman, A Celtic Folk Opera (libretto by Marjorie Kennedy Fraser who also appeared in the performance as an old crone, utilising melodies drawn from Kennedy Fraser’s collection of Hebridean folk songs, conducted by the composer, Birmingham Repertory Company, 27 September 1924, produced by Barry Jackson)
Eugene Aram (opera in four acts, unfinished, libretto based on Bulwer Lytton and Thomas Hood, performed as a recitation in 1892)
Choral
The Fire Worshippers, dramatic cantata for solo voices chorus and orchestra (1892, after Thomas Moore’s Lalla Rookh, prelude conducted by August Manns at the Crystal Palace)
Christus, A Festival Symphony in ten parts for solo voices chorus and orchestra (only two parts completed: “Christ in the Wilderness” - Gloucester Festival 1907; and “Gethsemane”)
The Time Spirit, rhapsody for chorus and orchestra (text H.F.B., dedicated to Herbert Brewer);
Sea Wanderers, poem for chorus and orchestra (text H.F.B.)
Omar Kháyyám for solo voices chorus and orchestra - Part I (Birmingham Festival, 1906), Part II (Cardiff Festival 1907), Part III (Birmingham Festival 1909, BBCSO/Del Mar, 27 November 1968, first broadcast performance); complete (based on the third version of Fitzgerald’s adaptation, London Choral Society/Arthur Fagge, Queen’s Hall, February 1910; Vienna, February, 1912, BBC Symphony Orchestra under Norman Del Mar, 5-6 January 1979)
The Song of Liberty for solo voices chorus and orchestra (1914, for the 21st Festival of the International Labour Party, Bradford)
The Song of Songs for soloists, double chorus and orchestra (started in 1912 completed 1922; text: Book of Solomon, Three Choirs Festival, Gloucester, 1922, then Dorothy Silk, Frank Mullings, Norman Allin, Hallé, composer, 10 March 1927)
The Burden of Babylon for chorus, brass and drums (1927, text: Bible)
The Pilgrim’s Progress for solo voices, chorus and orchestra (1928, BBC commission, Queen’s Hall, BBC Orchestra and Choral Society / composer, 1928-29 season, 23 November 1928; this was the first appearance for the Choral Society)
Prometheus Unbound for chorus and orchestra (1936, text by Shelley)
King Solomon for chorus, narrator and orchestra (1937, for the Coronation of King George VI, BBC SO/Boult, 6 May 1937)
Choral Unaccompanied
Atalanta in Calydon, A Choral Symphony (A. C. Swinburne, Liverpool Welsh Choral Union, Gitana Ladies’ Choir, Birkenhead and the Manchester Orpheus Glee Society, conducted by Harry Evans, 1912)
Vanity of Vanities, A Choral Symphony (from Ecclesiastes, Welsh Choral Union, Harry Evans, Liverpool, February, 1914)
A Pageant of Human Life, A Choral Symphony (Thomas More)
The Golden Journey to Samarkand (1922, James Elroy Flecker)
America - National Song (before 1946, Coolidge)
The Great God Pan, A Choral Ballet (Sheffield Festival 1920)
Choral Hymn for a Priest’s First Mass (1946)
Male Voice
Mass in B flat major (liturgical, 1903)
Choral Suite from the Chinese (1914, Cranmer Byng)
Suite from Cathay (1923, Ezra Pound)
Choral Suite (1926, Collins)
Seven Burdens of Isaiah (1927, Bible)
Three Sea Songs (1920s, Henry Newbolt)
Three Cavalier Tunes (1920s, Robert Browning)
Three Browning Songs (1929)
Lucifer in Starlight (George Meredith)
Solo Voice and Orchestra
Wulstan - baritone (1892, composer)
Five Ghazals of Hafiz with a Prelude - baritone (1905, Hafiz translated E. Arnold, BBCSO/Clarence Raybould, 15 December 1937)
Ferishtah’s Fancies - tenor (1905, Robert Browning, renowned interpretation came from Frank Mullings)
Sappho, nine fragments with a Prelude (1906, Sappho translated by Helen F. Bantock, the Prelude and three of the songs were sung by Edith Clegg with the composer conducting at an RPS concert in 1911-12, first appearances with the Society for both the composer and the singer)
Pagan Chants - tenor (1917-18, Thorley);
The Vale of Arden (1919, Alfred Hayes)
The March - tenor (1919, J. C. Squire)
The Sphinx, a cycle - baritone or contralto (1941, Oscar Wilde)
Thomas the Rhymer (1946, traditional)
Symphony
Hebridean Symphony (1913, dedicated to Raymond Bantock, prefixed with the poem: From the lonely shieling of the misty island / Mountains divide us and the mist of seas/ Yet still the blood is strong, the heart is highland/ And we in dreams behold the Hebrides. Carnegie Trust Award, Glasgow 17 January 1916, Queen’s Hall, London Symphony Orchestra/Hamilton Harty, March 1917);
Pagan Symphony (motto: et ego in Arcadia vixi, Paris 3 September 1927, BBC SO/Sir Adrian Boult, 8 May 1936)
The Cyprian Goddess: Symphony No. 3 (1938/39)
Celtic Symphony for strings and six harps (1940, BBC Scottish Orch / Raybould, Home Service 24 July 1942 and Birmingham, 25 November 1967)
Concerto
Elegiac Poem for cello and orchestra (1898)
Sapphic Poem for cello and orchestra (1906, dedicated to Willi Lehmann)
Celtic Poem for cello and orchestra (1914, arrangement of the piece for cello and piano, dedicated to Herbert Withers);
Hamabdil for cello, harp and strings (1919, part of the Judith incidental music, dedicated to Percy Hall)
Dramatic Poem for cello and orchestra (1941)
Tone Poem
Tone Poem No. 1, Thalaba, The Destroyer (1900, after Robert Southey)
Tone Poem No. 2, Dante and Beatrice (1901, revised 1910, * Scottish Orchestra/composer, Glasgow, 24 May 1911, revised version of Dante, London Musical Festival, 1911)
Tone Poem No. 3, later dubbed Orchestral Drama: Fifine at the Fair (1901, after Browning’s Pippa Passes, Birmingham Festival, 1912, conducted by the composer, then Eighth Balfour Gardiner Concert, Queen’s Hall, first performance in London, New SO/Gardiner, 18 March 1913; this was to have been given at an RPS concert in the 1911-12 season but was cancelled due to a dispute over fees. Fifine was finally given by the Society on 26 November 1917 conducted by Sir Thomas Beecham). A classic recording of Fifine was made by Beecham conducting the RPO for EMI in 1947. This recording was made under the auspices of the British Council and the Bantock Society
Tone Poem No. 4, Hudibras (1902, after Samuel Butler)
Tone Poem No. 5, The Witch of Atlas (1902, after Percy Bysshe Shelley, Worcester Festival)
Tone Poem No. 6, Lalla Rookh (1902, after Thomas Moore, dedicated to Joseph Holbrooke)
Orchestra
Two Orchestral Scenes from The Curse of Kehama: (1) Processional, (2) Jaga-Naut (1894, after Robert Southey, Philharmonic Society concert, 1897. The Two Scenes are all that was achieved of a project to complete a cycle of 24 tone poems based on Southey’s poem)
Symphonic Overture with organ, Saul (1894, Chester Cathedral, 1897)
Russian Scenes, Suite of five pieces for small orchestra (1899)
Helena: Orchestral Variations on the Theme HFB (The Helena Variations) (1899, dedicated to Helena F. Bantock. “Thoughts and reflections on some of your moods written during a wearisome absence.”, Liverpool Orchestral Society, Philharmonic Hall, Liverpool)
English Scenes, Suite of five pieces for small orchestra (1900)
Comedy Overture, Pierrot of the Minute (1908, after Ernest Dowson)
Three Dramatic Dances (1909)
Old English Suite for small orchestra (1909)
Overture to a Greek Tragedy (1911, after Sophocles’ Oedipus at Colonus)
From the Far West for strings (1912)
In the Far East, Serenade for strings (1912)
Scottish Rhapsody (1913)
Scenes from the Scottish Highlands, Suite for strings (1913)
The Land of the Gael, Suite for strings (1915)
Coronach for strings, harp and organ (1918)
Suite from Judith (1918)
Festal Hymn of Judith (1918)
The Sea Reivers, an Orchestral Ballad (1920, a discarded scherzo from the Hebridean Symphony)
Caristiona, A Hebridean Seascape (1920, revised in 1943-44 with The Sea Reivers and published as Two Hebridean Sea Poems)
Comedy Overture, The Frogs (1935, Aristophanes, Proms, Queen’s Hall, 1936)
Two Marches for the Ceylon Police (1930s?)
Four Chinese Landscapes (1936)
Aphrodite in Cyprus, Symphonic Ode (1938-39)
Macbeth Overture (1940, utilising material from the incidental music)
Comedy Overture, Circus Life (1941, adapted from the overture to the incidental music for A Marionette Show)
Overture to a Greek Comedy, The Women’s Festival (1941, Aristophanes)
Comedy Overture, The Birds (1946, after Aristophanes, Birmingham Town Hall, conducted by Dr Christopher Edmunds)
The Funeral (1946)
Brass Band
Festival March (1914, written for Keir Hardie for the Twenty First International Labour Party Conference, Bradford)
Oriental Rhapsody (1930, founded on the Tone Poem, Lalla Rookh, Open Championship, Eccles Borough Band/J. Dew, 1930)
Prometheus Unbound (1933, after Shelley, arrangement of Prelude to Prometheus Unbound for chorus and orchestra, 1933 National Championship, Foden’s Motor Works Band/Fred Mortimer)
Overture to Shakespeare’s King Lear (1936)
Suite, Russian Melodies (1942-43)
Two Irish Melodies (1942-43)
Three Scottish Melodies (1942-43)
Two Welsh Melodies (1942-43)
Tir-Nan-Og, Hebridean Poem (1945, named after the family home in Birmingham, one of his last works)
Overture, Orion
Incidental Music
Rameses II (very early work, five acts, composer)
Hippolytus (1908, Euripides, in Gilbert Murray’s translation, London Gaiety Theatre, 1908)
Elektra (1909, Sophocles, London Bedford College, July 1909)
The Cortège, A Harlequinade (1918)
Salome, The Dance of the Seven Veils (1918, Oscar Wilde, Court Theatre, London, 19 April 1918)
Judith (1919, Arnold Bennett, Eastbourne and Kingsway Theatre, London, 1919)
Macbeth (1926, Shakespeare, Sybil Thorndike’s Prince Theatre, London production with Thorndike, Henry Ainley, Lewis Casson, and design by Frank Brangwyn, 1926, music later incorporated in Macbeth Overture)
Fairy Gold, a Fairy Play (1938, Alvin Langdon Coburn, Hinton, July, 1938)
Chamber
String Quartet in C minor (1899)
Serenade for horns (1903)
Pibroch, A Highland Lament for cello and harp (1917)
Hamabdil for cello and piano (1919)
Viola Sonata in F major (1919, To Colleen)
Fantastic Poem for cello and piano (1924)
Sonata in G minor for solo cello (1924, dedicated to Cyril Cope)
Violin Sonata No. 1 in G major (1929, dedicated to Albert Sammons)
Pagan Poem for flute and piano (1930)
Violin Sonata No. 2 in D major (1932, dedicated to Arthur Caterall)
A Chinese Mirror for string quartet (1933, arrangements from the Chinese Poems, first set)
Viola Sonata in B minor
Cello Sonata No. 1 in B minor (1940)
Violin Sonata No. 3 (1940)
Cello Sonata No. 2 in F sharp minor (1945)
Dramatic Poem for cello and piano (1945)
Piano
Suite, A Marionette Show (1918)
Three Scottish Scenes (1919)
Lalla Rookh, Tales and Dances (1919)
The Cloisters at Midnight (New College, Oxford, 1920)
Arabian Nights (1920, seven Pieces, dedicated to Gustav Holst)
Miniatures (twelve pieces)
Phantoms (1934)
Nine Dramatic Poems (1935, Browning)
Song
Songs of the East (Helena Bantock) and many others
Discography
Bantock, Song of Songs etc., RPO, Vernon Handley, Elizabeth Connell, Hyperion
Bantock, Sappho, Sapphic Poem, etc., RPO, Vernon Handley, Susan Bickley, Julian Lloyd Webber, Hyperion
Bantock, Hebridean Symphony, Old English Suite, Russian Scenes, Czecho-Slovak Philharmonic Orchestra(Kosice), Adrian Leaper. (Naxos 8.555473.)
References
^ The Lied and Art Song Texts Page
^ abcdef Keith Anderton, slevenotes, Hebridean Symphony, Naxos 8.555473, 1989
The Lied and Art Song Texts Page Texts of the Songs of Bantock with translations in various languages.
Free scores by Granville Bantock in the International Music Score Library Project
Bantock picture
Bantock Society
A Brief Introduction to his Life and Work
Hyperion Records Ltd
Review of Sappho and Sapphic Poem
Archival material relating to Granville Bantock listed at the UK National Register of Archives
] Performance of Sapphic Poem for cello and orchestra
Retrieved from “http://en.wikipedia.org/wiki/Granville_Bantock”
Categories: 1868 births | 1946 deaths | English composers | 20th-century classical composers | Romantic composers | Knights Bachelor | Alumni of the University of Birmingham | Alumni of the Royal Academy of Music | Trinity College of Music alumni
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This page was last modified on 24 November 2009 at 19:56.
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Björn Arne Nittmo (born June 26, 1966 in Lomma, Sweden) is a retired American football placekicker, being the first Swedish-born player ever in the National Football League.
Contents
1Football career
2Miscellaneous
3References
4External links
Football career
The left-footed Nittmo, famous for his very long kickoffs, played college football at Appalachian State University. He was the first Swedish-born player in the NFL, when he played for the New York Giants in 1989. He also tried to cut the roster of the Kansas City Chiefs the following year, but didn’t make the team. Other teams of his career include the Montreal Machine of the World League of American Football (this league later became the NFL Europa). He has also played for the Cleveland Thunderbolts and the Tampa Bay Storm of the Arena Football League, as well as the Shreveport Pirates of the Canadian Football League. In 2005, Nittmo was invited to the Ottawa Renegades’ training camp, but was cut prior to the start of the season.
Miscellaneous
Nittmo appeared on Late Night with David Letterman a few times during his stint with the New York Giants. Letterman seemed to be obsessed with the kicker’s name and even coined a new catchphrase to both celebrate and mock him: “Who do you think you are, Bjorn Nittmo?” (season 8, episode 162). Nittmo’s celebrity continued briefly when in 1999, he appeared as a kicker in the football flick Any Given Sunday.
The Blackwater River of Florida is a 58-mile (93 km) long river arising in southern Alabama and flowing through the Florida Panhandle to the Gulf of Mexico. The river enters Florida in Okaloosa County and flows through Santa Rosa County to Blackwater Bay, an arm of Pensacola Bay. The river passes through Blackwater River State Park. Milton, the county seat of Santa Rosa County, is located on the river.
The Blackwater’s sandy bottom, white beaches and large sandbars contrast with the dark tannic water that gives the river its name. Blackwater is a translation of the Creek work oka-lusa which means water black.
31 miles (50 km) of the river are navigable by canoe, kayak or small boats. This section of the river, from Kennedy Bridge near Munson, Florida to Deaton Bridge in the Blackwater River State Park, is designated a Florida Canoe Trail — part of a statewide system of greenways and trails.
The river’s average flow rate is 2-3 miles per hour, with an average depth of 2.5 feet. Depending on rainfall, water levels can fluctuate rapidly and low-lying areas are seasonally flooded by the river. This floodplain supports a wide variety of flora and fauna.
Aquatic plants include water fern, water lily, coontail, bladderwort and spatterdock. Oak, maple, sycamore, magnolia, holly, tupelo, mountain laurel and azaleas dominate the forest along the river and streams of the floodplain. Carnivorous plants such as parrot pitcher plants, white-top pitcher plants and sundews can also be found. Upland pine forests are mixed with turkey oak, sweetgum, flowering dogwood and persimmon. Open canopy forests combine several types of pine and dense groundcovers that include gallberry, saw palmetto, wild blueberry, wax myrtle and wiregrass. Atlantic white cedars line the river, and one of these was designated Florida Champion in 1982, the largest of its species.
Wildlife found nearby include white-tailed deer, turkeys and bobcats. River otters and alligators are rare, but occasionally seen. A variety of birds, including red-headed and pileated woodpeckers, hawks, crows, warblers and Mississippi Kites frequent the river area. Shorebirds such as plovers and sandpipers, as well as many types of heron and egret, can be found along the banks and sandbars.
The river has spawned many oxbow lakes, some of which can be seen from the river.
Two hurricanes in 1995, Erin and Opal, changed the course of the river downstream from Deaton Bridge in Blackwater River State Park. The section of the river between Deaton Bridge and Milton, Florida is no longer navigable by boat.
The navigable section of the river begins at Kennedy Bridge on State Forestry Road 24 (Kennedy Bridge Road) east of Munson, Florida. The next access point is six miles downstream at Peaden Bridge on State Forestry Road 50 (Peaden Bridge Road). Five miles downstream, between Munson and Baker, Florida, is Cotton Bridge on State Road 4. Twelve miles downstream is Bryant Bridge, on State Forestry Road 21 (Bryant Bridge Road) near Holt, Florida. The final access point, and the end of the Florida Canoe Trail, is eight miles downstream at Deaton Bridge on State Forestry Road 23 in Blackwater River State Park.
References
Marth, Del and Marty Marth, eds. The Rivers of Florida. Sarasota, Florida: Pineapple Press, Inc. ISBN 0-910923-70-1. P. 95.
Florida Park Service & Department of Environmental Protection brochure Blackwater River State Park, 7720 Deaton Bridge Road, Holt, Florida 32564. (850) 983-5363.
External links
Florida Department of Environmental Protection website
VisitFlorida.com
Santa Rosa County park at Cotton Bridge
Article from the Journal Gazette, Ft. Wayne, Indiana
See Also: Florida Everglades · Intracoastal Waterway · List of Florida rivers
Retrieved from “http://en.wikipedia.org/wiki/Blackwater_River_(Florida)”
Categories: Rivers of Florida | Okaloosa County, Florida | Santa Rosa County, Florida | Outstanding Florida WatersHidden categories: Florida articles missing geocoordinate data | All articles needing coordinates
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Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009)
Earl of Banbury was a title in the Peerage of England. It was created in 1626 for William Knollys. He had already been created Baron Knollys in 1603 and Viscount Wallingford in 1616, both in the Peerage of England. The titles are considered to have become extinct on his death in 1632. However, the extinction has been contested up to the present day. For more information on this, see the Knollys family. The family surname is pronounced “Noles”.
In May 1804, King George III intended to confer the titles of Earl of Banbury, Viscount Wallingford and Baron Reading on the outgoing Prime Minister Henry Addington. However, Addington refused the honour and chose to remain in the Commons until 1805, when he joined Pitt’s government as Lord President of the Council with the lesser title of Viscount Sidmouth.
Earls of Banbury
William Knollys, 1st Earl of Banbury (1547–1632)
See also
Viscount Knollys
Knowles Baronets
Viscount Sidmouth
Retrieved from “http://en.wikipedia.org/wiki/Earl_of_Banbury”
Categories: Earldoms | BanburyHidden categories: Articles lacking sources from December 2009 | All articles lacking sources
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A block and tackle is a system of two or more pulleys with a rope or cable threaded between them, usually used to lift or pull heavy loads.
Contents
1Overview
2Mechanical advantage
3Friction
4Rigging methods
5See also
6Notes
7References
8External links
Overview
This block and tackle on a davit of the Mercator is used to help lower a boat.
Various ways of rigging a tackle. All these are rigged to disadvantage.
Seamen aboard the now-defunct USNS Southern Cross freighter rigged this block and tackle to make heavy lifts during cargo operations.
Although used in many situations, they are especially common on boats and sailing ships, where motorized aids are usually not available, and the task must be performed manually. The block and tackle pulley was probably invented by Archimedes.
A Block is a set of pulleys or “sheaves” all mounted on a single axle. When rope or line is run through a block or a series of blocks the whole assembly is called a Tackle. Usually it is a compound machine.
The most common arrangement of block and tackle is to have a block attached to a fixed position (the fixed or standing block), and another block left to move with the load being pulled or lifted (The moving block).
The block and tackle pulley is actually a compound pulley.
Mechanical advantage
The mechanical advantage of a block and tackle is equal to the number of parts in the line, that either attach to or run through the moving block, or the number of supporting ropes. For example, take a block and tackle with 2 sheaves on both the moving block and the fixed block. If one compares the blocks, one will see one block will have 4 lines running through its sheaves. The other will have 4 lines running through its sheaves (including the part of the line being pulled or hauled), with a 5th line attached to a secure point on the block. If the hauling part is coming out of the fixed block, the block and tackle will have a mechanical advantage of 4. If the tackle is reversed, so that the hauling part is coming from the moving block, the mechanical advantage is now 5.
The mechanical advantage of a tackle is relevant, because it dictates how much easier it is to haul or lift your load. A tackle with a mechanical advantage of 4 (a double tackle) will be able to lift 100 lbs with only 25 lbs of tension on the hauling part of the line. In the diagram on the right the mechanical advantage of the tackles shown is as follows:
Gun Tackle = 2
Luff Tackle = 3
Double Tackle = 4
Gyn Tackle = 5
Threefold purchase = 6
The formula used to find the effort required to raise a given weight is:
Where: S is the power in the hauling part. P is the power gained by the purchase (this is the same as the number of parts at the moving block). n is the number of sheaves in the purchase. W is the weight lifted. 10 is the denominator of the fraction for friction. An arbitrary 10%.
Mechanical advantage correlates directly with velocity ratio. The velocity ratio of a tackle refers to the relative velocities of the hauling line to the hauled load. A line with a mechanical advantage of 4, has a velocity ratio of 4:1. In other words, to raise a load at 1 meter per second, 4 meters of line per second must be pulled from the hauling part of the rope.
Friction
The increased force produced by a tackle is offset by both the increased length of rope needed and the friction in the system. In order to raise a block and tackle with a mechanical advantage of 6 a distance of 1 metre, it is necessary to pull 6 metres of rope through the blocks. Frictional losses also mean there is a practical point at which the benefit of adding a further sheave is offset by the incremental increase in friction which would require additional force to be applied in order to lift the load. Too much friction may result in the tackle not allowing the load to be released easily, or by the reduction in force needed to move the load being judged insufficient because undue friction has to be overcome as well.
Rigging methods
A tackle may be
“Rigged to advantage” - where the pull on the rope is in the same direction as that in which the load is to be moved. The hauling part is pulled from the moving block.
“Rigged to disadvantage” - where the pull on the rope is in the opposite direction to that in which the load is to be moved. The hauling part is pulled from the fixed block.
While rigging to advantage is obviously the most efficient use of equipment and resources, there are several reasons why rigging to disadvantage may be more desirable. The decision of which to use depends on pragmatic considerations for the total ergonomics of working with a particular situation. Lifting from a fixed point overhead is an obvious example of such a situation.
See also
Block
Crane
Deadeye
Tripod
Two six heave
Winch
Trucker’s hitch
Notes
^ “Tackle” can be pronounced /?te?k?l/ in this usage.
^“Royal Canadian Sea Cadets - Master Lesson Plan - Phase Level Three = PO:Seamanship”. pp. 2. http://www.rcsccwarrior.ab.ca/Resources/Disc_Files/Resources/Phase_III/406_Seamanship/406.09_MLP.pdf. Retrieved 2009-12-27. “A tackle (pronounced taycle) is a purchase that has the following characteristics:”
^ abcMacDonald, Joseph A. Handbook of Rigging: For Construction and Industrial Operations. McGraw-Hill Professional. pp. 376. ISBN 978-0071493017. “Tackle may be rigged to advantage - where the pull on the rope is in the same direction as that in which the load is to be moved; or it may be rigged to disadvantage - where the pull on the rope is in the opposite direction of that in which the load is to be moved”
^ Notes on cargo work: Kemp and Young. 3rd Edition. SBN 853090408 Page 4
^ Friction may mean that the rope in a tackle “bunches” and jams when the force is released if the tackle has too much friction for the load to balance, or that the tackle does not “lower” the load
References
Rescue Technician: Operational Readiness for Rescue Providers, edited by Claire Merrick et al., published by Mosby, Inc., St. Louis, Mo., 1998, copyright held by Maryland Fire and Rescue Institute. ISBN 0-8151-8390-9 See Chapters 4 and 5, p. 41 and ff.
External links
Fendt, Walter (March 1998). “Pulley System (Model and demonstration)” (JAVA applet). http://www.walter-fendt.de/ph14e/pulleysystem.htm. Retrieved 2009-08-25.
Retrieved from “http://en.wikipedia.org/wiki/Block_and_tackle”
Categories: Simple machines
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This page was last modified on 9 January 2010 at 12:22.
A stone carving depicting Valerio Belli, from the facade of the Palazzo Thiene in Vicenza.
A large bronze cast medallion created by Belli in the early sixteenth century.
Valerio Belli (c. 1468 - 1546), who was also known as Valerio Vicentino, was a celebrated medallist and engraver of gems noted by the art historian Giorgio Vasari. Born in Vicenza, he was active in Northern Italy during the Late Renaissance period.
References
Ticozzi, Stefano (1830). Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d’ogni etá e d’ogni nazione’ (Volume 1). Gaetano Schiepatti; Digitized by Googlebooks, Jan 24, 2007. pp. page 136. http://books.google.com/books?id=0ownAAAAMAAJ&pg=PA5&dq=Stefano+Ticozzi+Dizionario.
Burns, Howard, Marco Collareta and Davide Gasparotto, Valerio Belli Vicentino, 1468 c.-1546, Vicenza, Italy, Neri Pozza, 2000.
Melville-Jones, John R., article “Valerio Belli” in The Dictionary of Art (1006).
This Italian artist-related article is a stub. You can help Wikipedia by expanding it. v•d•e
Retrieved from “http://en.wikipedia.org/wiki/Valerio_Belli”
Categories: 1546 deaths | Italian engravers | Medallists | 1460s births | Italian artist stubs
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This page was last modified on 28 November 2009 at 23:24.
Retrieved from “http://en.wikipedia.org/wiki/Karl_Engelbrektson”
Categories: 1962 births | Living people | People from Falkenberg | Swedish generals | Swedish military personnel stubsHidden categories: Articles needing cleanup from September 2008 | All pages needing cleanup
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This page was last modified on 8 December 2009 at 18:09.
The references in this article or section may not meet Wikipedia’s guidelines for reliable sources.
Please help by checking whether the references meet the criteria for reliable sources. Further discussion may be found on the talk page.
This article has been tagged since March 2009.
Sian Adey-Jones (born December 1957, Bodfari, Denbighshire, Wales) is a former glamour model. She won the Miss Wales title in 1976 and was second runner-up in Miss Universe in the same year.
She subsequently turned to topless modelling, regularly appearing as a Page 3 girl in The Sun newspaper. She also appeared in the 1985 Bond movie A View To A Kill.
In 1978, to celebrate Britain’s only team to qualify for the Argentina World Cup, she appeared in the Daily Mirror wearing just a Scotland football shirt. At that stage the Mirror no longer published topless pictures of glamour models. Sian often appeared in a bikini or a thin white shirt. She also posed topless for posters available in High Street record stores.
She now lives on the island of Ibiza with her Italian husband Rocco. She has a son Dylan and adopted daughter Tallulah.
References
^“Critical Beauty”. Miss Wales. http://www.criticalbeauty.com/MU_Telecast_1976.html. Retrieved 2009-05-28.
^“The gentlemen’s club for the rich and famous that worships a 1980s Page 3 girl”. Daily Mail. http://www.dailymail.co.uk/pages/live/articles/news/worldnews.html?in_article_id=460991&in_page_id=1811. Retrieved 2008-03-14.
This article about a model in the United Kingdom is a stub. You can help Wikipedia by expanding it. v•d•e
This Welsh biographical article is a stub. You can help Wikipedia by expanding it. v•d•e
Retrieved from “http://en.wikipedia.org/wiki/Sian_Adey-Jones”
Categories: Page Three girls | Welsh female models | Welsh female adult models | People from Denbighshire | 1957 births | Living people | Miss Universe contestants | United Kingdom model stubs | Welsh people stubsHidden categories: Articles lacking reliable references from March 2009 | All articles lacking reliable references
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This page was last modified on 8 December 2009 at 22:41.
Ready, Set, Zoom! is a 1955 Warner Bros. cartoon in the Looney Tunes series featuring Wile E. Coyote and Road Runner.
Contents
1Plot
2Note
3Censorships
4See also
Plot
Introudction: The Road Runner is in the middle of the road, and after surveying his surroundings, dashes at hyperspeed onto a low plateau (Speedipus Rex). Then, he continues to another set of mountain roads and leaves dust clouds everywhere. Meanwhile, Wile E. Coyote (Famishus-Famishus) emerges from his hibernation and is soon fully waken by the Beep-beep of his opponent. He peeks over the plateau to see the Road Runner at the bottom, and runs down the vertical edge with eating utensils to have a nice meal. The Road Runner taunts his nemesis by dodging at the last possible moment and allowing the coyote to hit himself on the rock floor. The chase moves to the real roads, but before long the Road Runner escapes and creates more dust clouds, causing the coyote’s entire jaw to hang open and then drop out as he enters the dust cloud. Wile trails dust as he reclines on a low rock to dream his next plan.
1. Wile covers an entire section of a canyon with glue, making sure to leave space for himself to stand. However, the approaching Beep-beep belongs to a truck and not the Road Runner. This leaves the coyote without enough time to safely escape the glue before being run over; he tries anyway and cannot leap far enough before he gets stuck, and can only watch as he is flattened. So instead, the coyote covers a low rockface with glue from a distance and gets ready to throw a dynamite stick at the Road Runner as he passes. However, the Road Runner goes fast enough to cause the glue to part in the manner of the Red Sea, drowning Wile in his hiding place and preventing him from throwing the dynamite away. He tries anyway, but cannot remove the stick. Then, he begins walking in an effort to allow the wind to temper the fuse, then jumps into a nearby river. However, the explosive detonates in mid-leap, and the coyote pauses in midair before he falls into the water.
2. Wile has set up a “DETOUR Thru Tunnel” through a hollow log, and the Road Runner “falls” for the trap by dashing in at full speed. The camera zooms out to see that the exit leads to nothing but air. But no Road Runner; the camera then cuts to the Road Runner perched on the very edge of the log. Wile is puzzled and climbs in after him. The Road Runner beeps and exits out a hole in the top; the coyote peeks out after him, but his weight causes the log to tip over the cliff and down.
3. Now, the coyote hopes to flatten the bird with a 10,000-lb weight supported by a pair of pulleys. However, the weight doesn’t drop when the coyote lets go of the rope; instead it drops on the coyote when he resumes the chase. Wile strolls into view in the posture of a walking barchair.
4. Hiding behind a cliff, Wile lights a sequence of fireworks attached to a lasso, but fails to throw it at the correct time. Instead, Wile continues spinning the lasso until the fireworks blow up.
5. Next, Wile is loading himself in a slingshot and is backing up for maximum power..until he backs into the Road Runner, who beeps and surprises the coyote. He turns around and tries to grab the bird, but the slingshot pulls him just far back enough to miss him. The coyote floats 2 feet above the ground and flies into a tunnel, where he meets a truck coming the other way. He gets squashed into the grille as the truck rolls through the road.
6. Wile uses an outboard motor, a jim-dandy wagon, a wash tub, water, and roller skates to create a hydropowered wagon that will hopefully lead him on his quest. He soon passes a DANGER BRIDGE OUT sign and can do nothing to stop the wagon before he runs off the bridge. He unties himself from the wagon as it runs through the air, but sees the rope dropping to the river below - and worst of all, the wagon arriving safely at the other end of the bridge! The coyote funereally waves at the camera before he falls into the river.
7. Wile observes the Road Runner’s trajectory across the mountain and sets off his rocket to begin the chase again. The camera cuts to both the rocket and the Road Runner chicken-style until the Road Runner is shown to make a turn just before the coyote smashes into the middle of the curve. The rocket continues down through the mountain and out of a mine before giving up the ghost. Wile sighs with relief - and then the rocket explodes.
8. The coyote uses a female Road Runner costume to attract his counterpart, but (predictably) only attracts a rout of coyotes who chase him down the road as the real Road Runner pulls into view with a “THE END” sign.
The title is a pun on “Ready, Set, Go!”
Note
The sign at the entrance to the mine says “Selzer Mining Co.”, a reference to then-producer Eddie Selzer.
Censorships
On ABC, two scenes of Wile E. trying to snare the Runner with dynamite were cut .
One scene where Wile E. spreads glue across the road and readies to lob a lit dynamite stick at the Road Runner, but instead, the Road Runner runs so fast that he splashes the glue over Wile E., leaving Wile E. stuck to the dynamite and caught in the ensuing explosion.
A later scene where Wile E. uses a lasso with lit sticks of dynamite tied to it, and the dynamite explodes before he can throw the lasso.
See also
Looney Tunes and Merrie Melodies filmography (1950–1959)
This Looney Tunes/Merrie Melodies-related article is a stub. You can help Wikipedia by expanding it. v•d•e
Retrieved from “http://en.wikipedia.org/wiki/Ready,_Set,_Zoom!”
Categories: Looney Tunes stubs | Looney Tunes shorts | 1955 films | Films directed by Chuck Jones
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This page was last modified on 11 November 2009 at 20:22.
