Maryland Route 908 is a collection of unsigned state highways in the U. S. state of Maryland. These five highways are service roads that parallel and provide access to U. S. Route 50 and US 301 along their western approach to the Chesapeake Bay Bridge; the first modern highway from Cape St. Claire to Skidmore was constructed in the late 1920s and replaced by the modern alignment of US 50 in the late 1940s; the frontage roads on either side of the U. S. Highway were constructed in the early 1950s; the mainline segments of MD 908 assumed their present form when US 50 and US 301 were upgraded to a freeway in the early 1990s. There are two additional segments of the highway at Skidmore. MD 908A runs 0.55 miles from US 50 and US 301 east along the eastbound side of the U. S. Highways to MD 179 near Cape St. Claire. MD 908B has a length of 2.09 miles from MD 931R near Cape St. Claire east along the westbound side of US 50 and US 301 to MD 908D in Skidmore. MD 908C extends 2.52 miles from MD 179 near Cape St. Claire east along the eastbound side of the U.
S. Highways to the end of state maintenance just east of MD 908D in Skidmore. MD 908A begins at the state highway begins as the Exit 29A ramp from eastbound US 50 and US 301; the highway heads east as Buschs Frontage Road, which gains a westbound lane and parallels the eastbound direction of US 50-301. After passing an on-ramp to the freeway, the state highway veers around a loop ramp from MD 179's interchange with the U. S. Highways and reaches its eastern terminus at MD 179; the roadway continues on the east side of the intersection as MD 908C. That highway heads east as Whitehall Road, which passes around another loop of the interchange and parallels the freeway before temporarily moving away for an interchange with the eastbound direction of the freeway. MD 908C returns to paralleling the freeway and reaches the county-maintained north–south segment of Whitehall Road; the north leg of the intersection is a right-in/right-out interchange with eastbound US 50 and US 301. MD 908C continues east as Skidmore Drive, which veers around the U.
S. Highways' interchange with MD 908D, intersecting Holly Beach Farm Road, MD 931Y; the state highway meets the southern end of MD 908D, just east of which the highway reaches its eastern terminus. The roadway continues east as Old Ferry Slip Road. MD 908B begins in Cape St. Claire where East College Parkway makes a 90-degree turn east to parallel the westbound lanes of US 50 and US 301. MD 908B parallels the freeway until the highway approaches MD 908D. After passing a ramp to westbound US 50 and US 301, MD 908B reaches its eastern terminus at the northern end of MD 908D; the roadway continues east as the entrance to Sandy Point State Park. MD 908D is the designation for Oceanic Drive, a 0.41-mile service road that connects MD 908C and MD 908B in Skidmore and crosses over and has a partial cloverleaf interchange with US 50 and US 301. This interchange is the closest interchange to the western end of the Chesapeake Bay Bridge and its toll plaza; the four-way intersection at MD 908D's northern terminus includes the county-maintained continuation of Oceanic Drive and the access road to Sandy Point State Park.
MD 908E is the designation for Admin Service Road, a 0.24-mile one-lane road that connects the ramp from MD 908D to westbound US 50 and US 301 to the Chesapeake Bay Bridge administration building. The highway is maintained by the Maryland Transportation Authority; the corridor today used by US 50, US 301, MD 908 was constructed as an eastward extension of MD 179 from St. Margarets to Skidmore in 1928. Between 1942 and 1944, a ferry terminal was constructed at Sandy Point as the new western end of the Annapolis–Matapeake ferry. A 6-mile highway was constructed from MD 2 east to the new terminal along the alignment of the modern US 50 freeway; this highway, designated a westward extension of MD 404 by 1946, replaced the portion of MD 179 east of what is now MD 908B's western terminus. MD 404 was expanded to a four-lane divided highway in 1948 and 1949. US 50 replaced MD 404 when the U. S. Highway was extended east from Annapolis to Ocean City in 1949 in anticipation of the Chesapeake Bay Bridge, which opened in 1952.
Between 1952 and 1954, 3.3 miles of service roads were constructed parallel to US 50. These service roads included MD 908A from its western terminus to where the highway veers away from US 50 and US 301 at the west end of the MD 179 interchange. S. Highways at the east end of the MD 179 interchange to Holly Beach Farm Road, it is not clear. MD 908D was constructed when the U. S. Highways' interchange with Oceanic Drive was built in 1974; the gap in MD 908B was filled by 1978. US 50 and US 301 were reconstructed as a freeway from MD 2 to the Chesapeake Bay Bridge in 1991, including a new interchange with MD 179; the four segments of MD 908 assumed their present courses as part of that project. MD 908E was assigned near the Chesapeake Bay Bridge toll plaza in 2009. All sections of MD 908 are within Anne Arundel County. Maryland Roads portal MDRoads: MD 908
James Shorttel Bannon was a radio announcer and Hollywood Western film actor known for his work on the I Love a Mystery and Red Ryder series during the 1940s and 1950s. Born in 1911 in Kansas City, Bannon attended Rockhurst High School and Rockhurst University, where he played football and polo. In 1944, he was ineligible for World War II service, owing to an ulcer, therefore served as a civilian flight instructor. Bannon began his broadcasting career on local radio station KCKN briefly at KMOX in St. Louis, he moved to Los Angeles in 1937, beginning his show business career in radio as an announcer on The Great Gildersleeve, The Chase and Sanborn Hour, Stars over Hollywood, among others, with his most prominent acting role being that of Detective Jack Packard in the serial I Love a Mystery. A motion-picture adaptation of the show, with Bannon reprising his radio character, was released by Columbia Pictures in 1945 in hopes of launching a franchise, but only two additional pictures would be produced.
Bannon left radio in 1946 to sign with Columbia as a contract player in his attempt to become a Western movie star, but left the next year for Republic Pictures. He first served as a stuntman and double before being cast as the lead in his first picture with the company, the 1948 serial Dangers of the Canadian Mounted. While filming The Man from Colorado, Bannon punched director Charles Vidor during an on-set altercation. Vidor was fired from the production because of conflicts with star William Holden and replaced by Henry Levin, who had directed Bannon in the I Love a Mystery film adaptation. Bannon teamed with Whip Wilson and Fuzzy Knight in five low-budget Westerns for Monogram Pictures, all released in 1951. Bannon is best known for being the last of four actors to portray the fictional cowboy Red Ryder in the long-running B-movie series, completing between 1949 and 1950 what would be the final four pictures in the franchise that were distributed by Eagle-Lion Films, after Republic had let its series rights expire.
Bannon campaigned for the part by outfitting his car with a Texas Longhorn hood ornament and a Colt 45-style gearshift knob while dressing in Western attire. Upon being cast, he dyed his salt-and-pepper hair red and visited a hairstylist in Louisville, Kentucky, to keep it maintained. Bannon said in 1965 that it was the "toughest part of" playing Red Ryder, "since the pictures were in color." His offscreen requirements in portraying the character included making personal appearances in costume across the country, in addition to a stint with the Tom Packs Circus in 1950. Following the end of the Red Ryder series, Bannon appeared in films of varying genres before transitioning to Western roles on television, he had a starring role in Flying A Productions' 1955 series The Adventures of Champion, which lasted for one 26-episode season. He filmed two guest appearances on another Flying A show, Annie Oakley, the next year. Meanwhile, he and fellow Red Ryder actor Allan "Rocky" Lane shot separate pilots for a proposed television series in 1951 and 1955 but both failed to sell.
Bannon relocated to Chicago in 1955 to film one season of soap opera Hawkins Falls, Population 6200. Bannon worked sporadically in the 1960s with bit parts on programs such as Sea Hunt, Wagon Train, Lassie, his final role was a one-time guest spot on Death Valley Days in 1965. He moved to Phoenix, Arizona, to join radio station KTAR as a morning news broadcaster and the host of his own afternoon show. Bannon was the first husband of comedian Bea Benaderet, they wed in 1938 and had two children and Maggie. However, his Red Ryder contract obligations took a toll on their marriage, Benaderet filed for divorce in 1950, their son, Jack Bannon, became an actor like his parents. In 1961, Jim Bannon married twenty-three years his junior. In his life, Bannon suffered from emphysema, he died in Ventura, California, on July 28, 1984, at age 73. Bannon, Jim; the Son that Rose in the West. Devil's Hole Printery. ASIN B000711G6O. OCLC 15926620. Jim Bannon at RadioGOLDINdex Jim Bannon on IMDb Jim Bannon at AllMovie Jim Bannon at Find a Grave I Love a Mystery press release
Destroyer is the fourth studio album by American rock band Kiss, released on March 15, 1976 by Casablanca Records in the US. It was the third successive Kiss album to reach the top 40 in the US, as well as the first to chart in Germany and New Zealand; the album was certified gold by the RIAA on April 22, 1976, platinum on November 11 of the same year, the first Kiss album to achieve platinum. The album marked a departure from the raw sound of the band's first three albums. After attaining modest commercial success with their first three studio albums, Kiss achieved a commercial breakthrough with the 1975 concert album Alive!. It was the first album by the band to be certified gold; the success of Alive!, which spent 110 weeks on the charts, benefited not only the struggling band but their cash-strapped label Casablanca Records. Kiss signed a new contract with Casablanca in late 1975 because the label had been supportive from the start of the band's career; the contract was for two albums, an indication that Casablanca was unsure if the group could duplicate the accomplishments of Alive!.
Bob Ezrin, who had worked with Alice Cooper, was brought in to produce the album. Ezrin introduced to Kiss sound effects, screaming children, reversed drums and a children's choir; the song "Great Expectations" uses the first phrase of the main theme from the second movement of Beethoven's Piano Sonata No. 8 in C minor, Op. 13, but songwriting is credited to Simmons and Ezrin. Destroyer is the first Kiss album to prominently feature outside musicians, such as members of the New York Philharmonic. One musician not credited was Dick Wagner, from Alice Cooper's band, replacing Ace Frehley on the track "Sweet Pain". Wagner played the acoustic guitar found on the song "Beth"; the success of Alive! and Destroyer enabled the band to embark on their first tour of Europe. Rehearsals for Destroyer began in August 1975, while the group was embarked on their supporting tour for Alive!. The band felt that Bob Ezrin was the right person to help them take their sound to the next level and to maintain the commercial success they had achieved with Alive!
The first recording sessions for the album took place in September 3–6, 1975 at Electric Lady Studios in New York City, during a brief break between the Dressed to Kill and Alive! tours. The basic album tracks were recorded during this time; the majority of the recording sessions for Destroyer took place in January 1976, after the conclusion of the Alive! tour. The first demo recorded during the Destroyer sessions was "Ain't None of Your Business" featuring Peter Criss on vocals; the plodding, heavy song, written by country songwriters Becky Hobbs and Lew Anderson, was rejected by the band and appeared on the 1977 debut album by Michael Des Barres' band Detective. Although this song was rejected, other outside songs and suggestions were accepted by the band. In particular, Kim Fowley and Mark Anthony became important contributors during the songwriting process. Bringing in the title and basic structure of the song "King of the Night Time World" from their previous band Hollywood Stars' then-unreleased 1974 album Shine Like a Radio.
During the recording sessions, Ezrin resorted to numerous tactics designed to increase the quality of music Kiss recorded. Because none of the group were trained musicians, Ezrin halted the sessions at one point to provide lessons in basic music theory. In an effort to instill a sense of discipline, he wore a whistle around his neck and exhorted the band with sayings such as, "Campers, we're going to work!". When Simmons stopped playing during the recording of an outro, Ezrin yelled at him, saying, "Don't you stop a take unless I tell you!"Paul Stanley compared the experience of working with Ezrin as "musical boot camp" but said that the group "came out a lot smarter for it." Simmons echoed the sentiment by stating, "It was what we needed at the time." The cover art for Destroyer was painted by fantasy artist Ken Kelly. Kelly was given a backstage pass, he said of the performance, "It blew me away." Kelly was commissioned by the band to draw the cover for 1977's Love Gun. Kelly's original version of the album cover was rejected by the record company because they felt the scene was too violent looking with the rubble and flames.
The original version had the members of Kiss wearing the Alive! costumes. The front cover shows the group striding on top of a pile of rubble, a desolate background spotted with destroyed buildings, some of which are engulfed in flames; the back cover with more buildings on fire. The front of the inner sleeve featured a large Kiss logo and the lyrics to "Detroit Rock City"; the other side displayed the lyric "SHOUT IT OUT LOUD", as well as an advertisement for the Kiss Army fan club. In anticipation of the 35th anniversary of the release of Destroyer, producer Bob Ezrin approached Simmons and Stanley about doing a remix and re-release of the original album. With their approval, Ezrin acquired the original 16-track analog master tapes and had them digitally transferred for remixing. In addition to re-equalizing elements of each song, Ezrin added in some parts of tracks, omitted from the original mix; these include some additional vocals on "Detroit Rock City" and "Beth", the substitution of a guitar solo by Frehley on "Sweet Pain" for the one from the original, performed by Wagner.
Ezrin used digital manipulation to fix a
Neutron imaging is the process of making an image with neutrons. The resulting image is based on the neutron attenuation properties of the imaged object; the resulting images have much in common with industrial X-ray images, but since the image is based on neutron attenuating properties instead of X-ray attenuation properties, some things visible with neutron imaging may be challenging or impossible to see with X-ray imaging techniques. X-rays are attenuated based on a material's density. Denser materials will stop more X-rays. With neutrons, a material's likelihood of attenuation of neutrons is not related to its density; some light materials such as boron will absorb neutrons while hydrogen will scatter neutrons, many used metals allow most neutrons to pass through them. This can make neutron imaging better suited in many instances than X-ray imaging; the neutron was discovered by James Chadwick in 1932. The first demonstration of neutron radiography was made by Hartmut Kallmann and E. Kuhn in the late nineteen thirties.
The discovery remained a curiosity until 1946. The first neutron radiographs of reasonable quality were made by J. Thewlis in 1955. Around 1960, Harold Berger and John P. Barton began evaluating neutrons for investigating irradiated reactor fuel. Subsequently, a number of research facilities were developed; the first commercial facilities came on-line in the late sixties in the United States and France, in many other countries including Canada, South Africa and Switzerland. To produce a neutron image, a source of neutrons, a collimator to shape the emitted neutrons into a mono-directional beam, an object to be imaged, some method of recording the image are required; the neutron source is a research reactor, where a large number of neutrons per unit area is available. Some work with isotope sources of neutrons has been completed; these offer decreased capital costs and increased mobility, but at the expense of much lower neutron intensities and lower image quality. Additionally, accelerator sources of neutrons have increased in availability, including large accelerators with spallation targets and these can be suitable sources for neutron imaging.
Portable accelerator based neutron generators utilizing the neutron yielding fusion reactions of deuterium-deuterium or deuterium-tritium. After neutrons are produced, they need to be slowed down, to the speed desired for imaging; this can take the form of some length of water, polyethylene, or graphite at room temperature to produce thermal neutrons. In the moderator the neutrons will so slow down; the speed of these neutrons will achieve some distribution based on the temperature of the moderator. If higher energy neutrons are desired, a graphite moderator can be heated to produce neutrons of higher energy. For lower energy neutrons, a cold moderator such as liquid deuterium, can be used to produce low energy neutrons. If no or less moderator is present, high energy neutrons, can be produced; the higher the temperature of the moderator, the higher the resulting kinetic energy of the neutrons is and the faster the neutrons will travel. Faster neutrons will be more penetrating, but some interesting deviations from this trend exist and can sometimes be utilized in neutron imaging.
An imaging system is designed and set up to produce only a single energy of neutrons, with most imaging systems producing thermal or cold neutrons. In some situations, selection of only a specific energy of neutrons may be desired. To isolate a specific energy of neutrons, scattering of neutrons from a crystal or chopping the neutron beam to separate neutrons based on their speed are options, but this produces low neutron intensities and leads to long exposures; this is only carried out for research applications. This discussion focuses on thermal neutron imaging, though much of this information applies to cold and epithermal imaging as well. Fast neutron imaging is an area of interest for homeland security applications, but is not commercially available and not described here. In the moderator, neutrons will be traveling in many different directions. To produce a good image, neutrons need to be traveling in a uniform direction. To accomplish this, an aperture, limits the neutrons entering the collimator.
Some length of collimator with neutron absorption materials absorbs neutrons that are not traveling the length of the collimator in the desired direction. A tradeoff exists between image quality, exposure time. A shorter collimation system or larger aperture will produce a more intense neutron beam but the neutrons will be traveling at a wider variety of angles, while a longer collimator or a smaller aperture will produce more uniformity in the direction of travel of the neutrons, but fewer neutrons will be present and a longer exposure time will result; the object is placed in the neutron beam. Given increased geometric unsharpness from those found with x-ray systems
You Can Feel Me is the second solo studio album by Har Mar Superstar. It was released via Record Collection in 2002. Produced and recorded by Eric Olsen, it features guest appearances from Clark Baechle, Jacob Thiele, Broken Spindles, Busy Signals, Dirty Preston, Beth Ditto, it peaked at number 93 on the UK Albums Chart. The album release show was held at First Avenue. At Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, You Can Feel Me received an average score of 61% based on 11 reviews, indicating "generally favorable reviews". Erik Hage of AllMusic gave the album 3 stars out of 5, calling it "a darn fine R&B album" and "a genuinely funky, finely produced album that bypasses white b-boy cheekiness." Andy Hermann of PopMatters said, " the Adam Sandler of funk magically capable of being crass and endearing at the same time." You Can Feel Me at Discogs