The Permian Basin is a large sedimentary basin in the southwestern part of the United States. The basin contains the Mid-Continent Oil Field province; this sedimentary basin is located in southeastern New Mexico. It reaches from just south of Lubbock, past Midland and Odessa, south nearly to the Rio Grande River in southern West Central Texas, extending westward into the southeastern part of New Mexico, it is so named because it has one of the world's thickest deposits of rocks from the Permian geologic period. The greater Permian Basin comprises several component basins; the Permian Basin covers more than 86,000 square miles, extends across an area 250 miles wide and 300 miles long. The Permian Basin lends its name to a large oil and natural gas producing area, part of the Mid-Continent Oil Producing Area. Total production for that region up to the beginning of 1993 was over 14.9 billion barrels. The cities of Midland, Odessa and San Angelo, Texas serve as the headquarters for oil production activities in the basin.
The Permian Basin is a major source of potassium salts, which are mined from bedded deposits of sylvite and langbeinite in the Salado Formation of Permian age. Sylvite was discovered in drill cores in 1925, production began in 1931; the mines are located in Lea and Eddy counties, New Mexico, are operated by the room and pillar method. Halite is produced as a byproduct of potash mining; the Delaware Basin is the larger of the two major lobes of the Permian Basin within the foreland of the Ouachita–Marathon thrust belt separated by the Central Basin Platform. The basin contains sediment dating to Pennsylvanian, Wolfcampian and early Guadalupian times; the eastward-dipping Delaware basin is subdivided into several formations and contains 25,000 feet of laminated siltstone and sandstone. Aside from clastic sediment, the Delaware basin contains carbonate deposits of the Delaware Group, originating from the Guadalupian times when the Hovey Channel allowed access from the sea into the basin; the westward-dipping Midland Basin is subdivided into several formations and is composed of laminated siltstone and sandstone.
The Midland Basin was filled via a large subaqueous delta that deposited clastic sediment into the basin. Aside from clastic sediment, the Midland Basin contains carbonate deposits originating from the Guadalupian times when the Hovey Channel allowed access from the sea into the basin; the Central Basin Platform is a tectonically uplifted basement block capped by a carbonate platform. The CBP separates the Delaware and Midland Basins and is subdivided into several formations, from oldest to youngest Wolfcamp, Drinkard, Blinebry, Glorietta, San Andres, Queen, Seven Rivers and Tansill Formations; the sequence comprises carbonate reef deposits and shallow marine clastic sediments. The Eastern and Northwestern Shelves are composed of shelf edge reefs and shelf carbonates flanking the Delaware and Midland Basins that grade up-dip into siltstones and evaporites; the Eastern and Northwestern Shelves are subdivided into the San Andres, Queen, Seven Rivers and Tansill Formations. The San Simon Channel is a narrow syncline that separated the Central Basin Platform from the Northwestern Shelf during Leonardian and Guadalupian times.
The Sheffield Channel separates the southern margin of the Midland Basin from the southern shelf and the Ouachita–Marathon thrust-belt during Leonardian and Guadalupian times. The Hovey Channel is a topographical low located on the southern edge of the Delaware Basin, allowing access to the Panthalassa sea during Guadalupian times; the Hovey Channel was an anticline which formed during Precambrian faulting, was the main source of sea water for the Delaware Basin. The closing of the Hovey Channel towards the end of the Permian Period caused the death of the Permian Reef, as without water being brought in through the Channel, salinity levels rose drastically in the Delaware Basin and the reef could not survive; the Horseshoe Atoll is a westward-tilting arcuate chain of reef mounds 175 miles long located in the Midland Basin, consisting of 1,804 feet of limestone accumulated in the Pennsylvanian and 1,099 feet in the Permian, with 15 significant reservoirs from 6,099 feet to 9,902 feet in depth.
The reef complex consists of Upper Pennsylvanian Strawn and Cisco limestones, overlain by Lower Permian Wolfcamp sandstones and shales of terrigenous origin prograding northeast to southwest. The first production well, Seabird Oil Company of Delaware No. 1-B J. C. Caldwell, was completed in 1948; the Permian Basin is the thickest deposit of Permian aged rocks on Earth which were deposited during the collision of North America and Gondwana between the late Mississippian through the Permian. The Permian Basin includes formations that date back to the Ordovician Period. Prior to the breakup of the Precambrian supercontinent and the formation of the modern Permian Basin geometry, shallow marine sedimentation onto the ancestral Tobosa Basin characterized the passive margin, shallow marine environment; the Tobosa Basin contains basement rock that dates back to 1330 million years ago, and, still visible in the present-day Guadalupe Mountains. The basement rock contains biotite-quartz granite, discovered at a depth of 12,621 feet.
Peter Godwin is an English new wave musician. He was a member of the band Metro, as well as songwriter, his work includes "Criminal World", covered by David Bowie and 1982's "Images of Heaven", a "cult favorite on New Wave radio stations". The dance remix of his song "Baby's in the Mountains" was a big dance hit and described as "intricate but direct". Godwin's 1983 solo studio album, Correspondence was issued by Polydor Records. In 1998, a number of his songs from his time with the band Metro, his early 1980s solo work, a couple of new songs were released on CD titled Images of Heaven: The Best of Peter Godwin, released on Oglio Records, he wrote lyrics with a "spiritual bent" for Steve Winwood's 2008 album Nine Lives. Correspondence Images of Heaven: The Best of Peter Godwin Dance Emotions Images of Heaven Metro New Love Future Imperfect Sunset Rise "Torch Songs for the Heroine" "Images of Heaven" "Luxury" "Cruel Heart" "Emotional Disguise" "Baby's in the Mountains" / "Soul of Love" "The Art of Love" "Rendezvous" "The Big Fight" Steve Winwood - Nine Lives List of new wave artists and bands Nuevo official site Peter Godwin overview and discography Biography at Allmusic.com Peter Godwin's channel on YouTube Peter Godwin on Facebook
The 1981 Oregon Ducks football team represented the University of Oregon in the 1981 NCAA Division I-A football season. Playing as a member of the Pacific-10 Conference, the team was led by head coach Rich Brooks, in his fifth year, played their home games at Autzen Stadium in Eugene, Oregon, they finished the season with a record of nine losses. Source: Gary Beck, RS Sr TB Harry Billups Jon Brosterhous, RS Sr TB Reggie Brown P Ken Burns Michael Cray #75 Donald Davis, RS Sr Mike Delegato, RS Sr S Joe Figures CB Ross Gibbs ILB #47 Ed Hagerty, Sr TE Greg Hogensen, RS Sr Mike Johnson, Fr. LS Steve Johnson PK Doug Jollymour QB Kevin Lusk Bob McCray Greg Moser, Jr Rick Price, RS Sr TE Tim Tyler LB Andy Vobora, Sr DE Mike Walter FB Vince Williams, RS Sr Stu Yatsko, RS SrSource: Source: Three Ducks were selected in the 1982 NFL Draft, which lasted twelve rounds. Source
Flag-waving is a fallacious argument or propaganda technique used to justify an action based on the undue connection to nationalism or patriotism or benefit for an idea, group or country. It is a variant of argumentum ad populum; this fallacy appeals to emotion instead to logic of the audience aiming to manipulate them to win an argument. All ad populum fallacies are based on the presumption that the recipients have certain beliefs and prejudices about the issue. If flag-waving is based on connecting to some symbol of patriotism or nationalism it is a form of appeal to stirring symbols which can be based on undue connection not only to nationalism but to some religious or cultural symbols. I.e. A politician appearing on TV with children, teacher, together with the “common” man, etc; the act of flag-waving is trivial display of support or loyalty to the nation or to the political party
Film is a 1965 short film written by Samuel Beckett, his only screenplay. It was commissioned by Barney Rosset of Grove Press. Writing began on 5 April 1963 with a first draft completed within four days. A second draft was produced by 22 May and a 40-leaf shooting script followed thereafter, it was filmed in New York City in July 1964. Beckett's original choice for the lead – referred to only as “O” – was Charlie Chaplin, but his script never reached him. Both Beckett and the director Alan Schneider were interested in Jack MacGowran. However, the former was unavailable and the latter, who accepted at first, became unavailable due to his role in a "Hollywood epic." Beckett suggested Buster Keaton. Schneider promptly flew to Los Angeles and persuaded Keaton to accept the role along with "a handsome fee for less than three weeks' work." James Karen, to have a small part in the film encouraged Schneider to contact Keaton. The filmed version differs from Beckett's original script but with his approval since he was on set all the time, this being his only visit to the United States.
The script printed in Collected Shorter Plays of Samuel Beckett states: “This is the original film project for Film. No attempt has been made to bring it into line with the finished work; the one considerable departure from what was imagined concerns the opening sequence in the street. This was first shot as given replaced by a simplified version in which only the indispensable couple is retained. For the rest the shooting script followed the indications in the script.”It was remade by the British Film Institute without Beckett's supervision, as Film: a screenplay by Samuel Beckett. David Rayner Clark directed Max Wall, it first appeared in print in Other Writings. Throughout the first two parts everything is seen through the eye of the camera, although there are occasional moments when O's perception is seen. In the third part, much more of O's perception of the room and its contents is given. In order to distinguish between the two perceptions, objects seen by O were shot through a lens-gauze, blurring his perception while E's perception was shot without gauze or filters, keeping the images sharp.
The film opens onto a rippled image. Without colour, it is difficult to discern what is being shown; as it moves, it is shown to be an extreme close-up of an eyelid. The eye opens closes, opens again and fades into a different rippled image, still somewhat organic but changed, still; as the camera begins to pan right and up, it is discernable as a wall. It is summer; the camera's movement is not smooth. It is, it loses interest and pans left and down back to the wall. The camera shifts violently to the left. A man is hurrying along the wall from left to right, he pauses, hugging the wall, E gets a chance to focus on him. He has on a long dark overcoat, the collar of, turned up and his hat is pulled down over his face. Keaton asked Beckett. “I hadn't thought of that,” the author admitted and proposed, “the same coat,” which appealed to both men. He is hanging onto a briefcase with his left hand whilst trying to shield the exposed side of his face with the other, he realises he cowers against the wall. No longer conscious of being observed, O starts off again, knocking over a trestle and stumbling over a railway sleeper—anything to stay as close as possible to the wall.
He charges into a woman, knocking the man's hat off. E looks from the man's face to back again; the man is wearing a pince-nez. They have been consulting a newspaper, they both look appalled at. E watches O barge through and on his way; the man replaces his hat, takes off his pince-nez. and looks after the fleeing figure. The couple look at each other and the man “opens his mouth to vituperate” but the woman shushes him, uttering the only sound in the whole play. Together they turn to stare directly at E; the action shifts back to O just as he turns a corner. He heads off down the street, he enters. The camera cuts to the vestibule; the viewer is directly behind O. Stairs lead up on the left, but O veers right and pauses, pulling himself together, he takes his E moves in. As soon as he becomes aware of E's presence he rushes down a couple of steps and cowers beside the wall until the camera retreats a little; when it does he reverses back up to street-level and begins up the stairs. A frail old woman is coming down.
The camera gives us a brief close-up. “She carries a tray of flowers slung from her neck by a strap. She descends and with fumbling feet.” O backs up and hurries down the steps to the right again where he sits down on a step and presses his face against the balusters. He glances up to see where she is hides his head from view; as the woman reaches the bottom of the stairs, she looks straight into the lens. The expression on her face changes to the one of wide-eyed horror, displayed on the faces of the man and woman outside, she collapses. E checks on where the man had been, his coat tails are seen flying up the stairs. E chases after him a
Detour is Michael Brodsky's first novel. It is the first person autobiographical account of an bored film devotee going to Cleveland for medical school, making observations on everything in his daily life, either in a philosophical manner, or by comparing any given incident with some classic film scene, or both. Halfway through, the narration is interrupted by Steve's story told in first person; the novel resumes with the original first person narrator, who decides medical school is not for him. According to one critic, Michael Brodsky was so taken with the cultural milieu at the Thalia Theater, a famous New York art house, that he wrote a novel about it. Detour was republished in 1991 by Begos & Rosenberg, with a 1991 copyright, no indication of any earlier edition, yet textually identical with the 1977 edition. Detour was republished in 2003 in an expanded, rewritten edition. Detour was announced to be published in a German translation as Umwege by Suhrkamp Verlag but never appeared and Suhrkamp at present refuses to let either Brodsky or his original editor Michael Roloff, co-publisher at Urizen Books, know what transpired.
Michael Brodsky is a brilliant writer. I find more affinity with him than with any other recent American novelist; this is an extraordinary and artistically rigorous novel.... is a master both of technique and of language, his sentences positively crackling with unexpected insights. Brodsky's a comer, chockablock with high intentions and nerve; the real protagonist is language: adventures occur, not to people, but to metaphors and images. It should be obvious to serious readers... that Brodsky... is a sensitive and insightful writer, one of the best produced by this country in the last 30 years