They Might Be Giants is an American alternative rock band formed in 1982 by John Flansburgh and John Linnell. During TMBG's early years and Linnell performed as a duo accompanied by a drum machine. In the early 1990s, TMBG expanded to include a backing band; the duo's current backing band consists of Marty Beller, Dan Miller, Danny Weinkauf. The group is known for their uniquely experimental and absurdist style of alternative music utilising surreal, humorous lyrics and unconventional instruments in their songs. Over their career, they have found success on college radio charts, they have found success in children's music, in theme music for several television programs and films. TMBG have released 22 studio albums. Flood has been certified platinum and their children's music albums Here Come the ABCs, Here Come the 123s, Here Comes Science have all been certified gold; the band has won two Grammy Awards. They were nominated for a Tony Award for Best Original Score Written for the Theatre for SpongeBob SquarePants: The Broadway Musical.
The band has sold over 4 million records. Linnell and Flansburgh first met as teenagers growing up in Massachusetts, they did not form a band at that time. The two attended separate colleges after high school and Linnell joined The Mundanes, a new wave group from Boston; the two reunited in 1981 after moving to Brooklyn to continue their career. At their first concert, They Might Be Giants performed under the name El Grupo De Rock and Roll, because the show was a Sandinista rally in Central Park, a majority of the audience members spoke Spanish. Soon discarding this title, the band assumed the name of a 1971 film They Might Be Giants, in turn taken from a Don Quixote passage about how Quixote mistook windmills for evil giants. According to Dave Wilson, in his book Rock Formations, the name They Might Be Giants had been used and subsequently discarded by a friend of the band who had a ventriloquism act; the name was adopted by the band, searching for a suitable name. A common misconception is that the name of the band is a reference to themselves and an allusion to future success.
In an interview, John Flansburgh said that the words "they might be giants" are just a outward-looking forward thing which they liked. He clarified this in the documentary movie Gigantic by explaining that the name refers to the outside world of possibilities that they saw as a fledgling band. In an earlier radio interview, John Linnell described the phrase as "something paranoid sounding"; the duo began performing their own music in and around New York City – Flansburgh on guitar, Linnell on accordion and saxophone and accompanied by a drum machine or prerecorded backing track on audio cassette. Their atypical instrumentation, along with their songs which featured unusual subject matter and clever wordplay, soon attracted a strong local following, their performances featured absurdly comical stage props such as oversized fezzes and large cardboard cutout heads of newspaper editor William Allen White. Many of these props would turn up in their first music videos. From 1984–1987, They Might Be Giants were the house-band at Darinka, a Lower East Side performance club.
One weekend a month they played on the stage there and by the end of their three-year stint sold out every performance. On March 30, 1985, TMBG released their 7" flexi-disc, dubbed "Wiggle Diskette" at Darinka; the disc included demos of the songs "Everything Right Is Wrong" and "You'll Miss Me". At one point, Linnell broke his wrist in a biking accident, Flansburgh's apartment was burgled, stopping them from performing for a time. During this hiatus, they began recording their songs onto an answering machine, advertising the phone number in local newspapers such as The Village Voice, using the moniker "Dial-A-Song", they released a demo cassette, which earned them a review in People magazine. The review caught the attention of Bar/None Records. Through the 1980s until 1998, Dial-A-Song consisted of an answering machine with a tape of the band playing various songs; the machine played one track at a time, ranging from demos and uncompleted work to mock advertisements the band had created. It was difficult to access due to the popularity of the service and the dubious quality of the machines used.
In reference to this, one of Dial-A-Song's many slogans over the years was the tongue-in-cheek "Always Busy, Often Broken". The number, 387-6962, was a local Brooklyn number and was charged accordingly, but the band advertised it with the line: "Free when you call from work". At one point in 1988, the Dial-A-Song answering machine recorded a conversation between two people who had listened to Dial-A-Song questioned how they made money out of it. An excerpt from the conversation has been included as a hidden track on the EP for Hotel Detective. In the late 90s, TMBG started switching to a digital unit to update the format for Dial-A-Song but due to frequent crashes, the band returned to the original format. In March 2000, TMBG started the website dialasong.com, more reliable than the original, phone-based version, as it used a Flash document to stream the songs. In 2002, Dial-A-Song's answering machine broke down, fans responded by sending new similar models. In the following year, Dial-A-Song resumed service with a new answering machine.
By 2005, a computer system from TechTV was provided to maintain the system but technical dif
Alexander Robert "Sandy" Nairne is an English historian and curator. From 2002 until February 2015 he was the director of London. Nairne is the son of senior civil servant Sir Patrick Nairne, attended Radley College and studied at University College, Oxford in the early 1970s and rowed for the Oxford University second crew Isis. Nairne came into contact with Nicholas Serota, while working at the Museum of Modern Art, Oxford in 1974–76. After a period as an Assistant Curator at the Tate Gallery - during which he additionally worked on international curation projects such as the Irish biennial EVA International - Nairne was appointed Director of Exhibitions at the Institute of Contemporary Arts, a position he held until 1984 - exhibitions included "Brand New York," Robert Mapplethorpe, Mary Miss, "Women's Images of Men," and "About Time." In 1987, Nairne wrote the television documentary series "State of the Art" for Channel 4. The series and Nairne's accompanying book acts as a follow on to the Robert Hughes series The Shock of the New and provides a critical survey of contemporary visual arts from America and Europe through the 1980s.
In 1988, Nairne was appointed as the director of the Visual Arts Department at the Arts Council. In this capacity, Nairne oversaw the re-invigoration of the British Art Show, the establishing of the Institute of International Visual Arts as a permanent organisation to promote culturally diverse projects, the furtherance of Percent for Art and the creation of the Curating Contemporary Art Course at the Royal College of Art. In 1996, Nairne co-edited with Reesa Greenberg and Bruce W. Ferguson the book Thinking about Exhibitions, a review of international practice in contemporary art exhibitions. Nairne became Director of Programmes for the Tate Gallery under Nicholas Serota. In this capacity, Nairne was responsible for the restructuring of the Tate's collection administration in preparation for the opening of Tate Modern and the redevelopment of the original Tate Gallery in Millbank as Tate Britain. Nairne was responsible for the successful recovery of two late J. M. W. Turner paintings, stolen in Germany in 1994, put back on display at Tate Britain in early 2003.
He negotiated secretly for 8 years on behalf of the Tate to get the two paintings back. His experience is chronicled in Art Theft and the Case of the Stolen Turners. Nairne became Director of the National Portrait Gallery in London in 2002. On 12 June 2014 he announced his resignation which took effect in early 2015, he was succeeded by Nicholas Cullinan. He was appointed Commander of the Order of the British Empire in the 2011 Birthday Honours for services to the arts. Nairne was among those appointed on 29 January 2015 to the Bank of England's Banknote Character Advisory Committee, whose first task would be to decide who should appear on the next £20 banknote. Nairne's wife is the art historian Lisa Tickner, with whom he has a son, the lighting designer Christopher Nairne, a daughter, the curator and art historian Eleanor Nairne, his brother, Andrew Nairne, is Director of Cambridge. His other brother, James Nairne, Andrew's twin, is head of Art at Surrey. Independent article,'Wikipedia under the microscope over accuracy' Portrait of Nairne by Tom Miller in the collection of the National Portrait Gallery
A test probe is a physical device used to connect electronic test equipment to a device under test. Test probes range from simple, robust devices to complex probes that are sophisticated and fragile. Specific types include oscilloscope probes and current probes. A test probe is supplied as a test lead, which includes the probe and terminating connector. Voltage probes are used to measure voltages present on the DUT. To achieve high accuracy, the test instrument and its probe must not affect the voltage being measured; this is accomplished by ensuring that the combination of instrument and probe exhibit a sufficiently high impedance that will not load the DUT. For AC measurements, the reactive component of impedance may be more important than the resistive. A typical voltmeter probe consists of a single wire test lead that has on one end a connector that fits the voltmeter and on the other end a rigid, tubular plastic section that comprises both a handle and probe body; the handle allows a person to hold and guide the probe without influencing the measurement or being exposed to dangerous voltages that might cause electric shock.
Within the probe body, the wire is connected to a rigid, pointed metal tip that contacts the DUT. Some probes allow an alligator clip to be attached to the tip, thus enabling the probe to be attached to the DUT so that it need not be held in place. Test leads are made with finely stranded wire to keep them flexible, of wire gauges sufficient to conduct a few amperes of electric current; the insulation is chosen to be both flexible and have a breakdown voltage higher than the voltmeter's maximum input voltage. The many fine strands and the thick insulation make the wire thicker than ordinary hookup wire. Two probes are used together to measure voltage and two-terminal components such as resistors and capacitors; when making DC measurements it is necessary to know which probe is positive and, negative, so by convention the probes are colored red for positive and black for negative. Depending upon the accuracy required, they can be used with signal frequencies ranging from DC to a few kilohertz.
When sensitive measurements must be made shields and techniques such as four-terminal Kelvin sensing are used. Tweezer probes are a pair of simple probes fixed to a tweezer mechanism, operated with one hand, for measuring voltages or other electronic circuit parameters between spaced pins. Spring probes are spring-loaded pins used in electrical test fixtures to contact test points, component leads, other conductive features of the DUT; these probes are press-fit into probe sockets, to allow their easy replacement on test fixtures which may remain in service for decades, testing many thousands of DUTs in automatic test equipment. Oscilloscopes display the instantaneous waveform of varying electrical quantities, unlike other instruments which give numerical values of stable quantities. Scope probes fall into two main categories: active. Passive scope probes contain no active electronic parts, such as transistors, so they require no external power; because of the high frequencies involved, oscilloscopes do not use simple wires to connect to the DUT.
Flying leads are to pick up interference, so they are not suitable for low-level signals. Furthermore, the inductance of flying leads make. Instead, a specific scope probe is used, which uses a coaxial cable to transmit the signal from the tip of the probe to the oscilloscope; this cable has two main benefits: it protects the signal from external electromagnetic interference, improving accuracy for low-level signals. Although coaxial cable has lower inductance than flying leads, it has higher capacitance: a typical 50 ohm cable has about 90 pF per meter. A one-meter high-impedance direct coaxial probe may load the circuit with a capacitance of about 110 pF and a resistance of 1 megohm. Oscilloscope probes are characterised by their frequency limit, where the amplitude response has fallen by 3 dB, and/or by their rise time t r; these are related as f 3 d B = 0.35 / t r Thus a 50 MHz probe has a rise time of 7 ns. The response of the combination of an oscilloscope and a probe is given by t r = t r 2 + t r 2 For example, a 50 MHz probe feeding a 50 MHz scope will give a 35 MHz system.
It is therefore advantageous to use a probe with a higher frequency limit to minimize the effect on the overall system response. To minimize loading, attenuator probes are used. A typical probe uses a 9 megohm series resistor shunted by a low-value capacitor to make an RC compensated divider with the cable capacitance and scope input; the RC time constants are adj
Marguerite Gosse Clark was an American politician. Marguerite H. Gosse was born in Virginia City, Nevada in 1890, her father, Harry Gosse, was the owner of the Riverside Hotel in Reno, Nevada, a member of the Improved Order of Red Men, a past Past Grand Sachem of the State of Nevada. Her mother was Josephine, she had Henry. She was a Republican member of the Nevada Assembly, representing Washoe County. Gosse was the first woman native to the state to serve in the Nevada Legislature. In 1922, she became the founder of the Nevada Womans' Party; the following year, she introduced the Nurse Practice Act of Nevada. Gosse married Jack Clark, who owned bar interests in Reno. Kling, Dwayne; the Rise of the Biggest Little City: An Encyclopedic History of Reno Gaming, 1931-1981. University of Nevada Press. ISBN 978-0-87417-829-6
Metol are trade names for the organic compound with the formula HSO4. It is the hydrogen sulfate salt of the protonated derivative of N-methylaminophenol; this colourless salt is a popular photographic developer used in white photography. Several methods exist for the preparation of N-methylaminophenol, it arises by decarboxylation of N-4-hydroxyphenylglycine. It can be obtained by reaction of hydroquinone with methylamine. Metol is an excellent developing agent for most continuous tone developer applications, it has been used in published developer formulas as well as commercial products. However, it is difficult to produce concentrated developer solutions using Metol, therefore most Metol developers are supplied in dry chemical mix. A developer containing both Metol and hydroquinone is called an MQ developer; this combination of agents provides greater developer activity since the rate of development by both agents together is greater than the sum of rates of development by each agent used alone.
This combination is versatile. Therefore, this form of Metol replaced most other developing agents except for hydroquinone and derivatives of Phenidone. Notable formulas include Eastman Kodak D-76 film developer, D-72 print developer, D-96 motion picture negative developer. Alfred Bogisch, working for a chemical company owned by Julius Hauff, discovered in 1891 that methylated p-aminophenol has more vigorous developing action than p-aminophenol. Hauff introduced this compound as a developing agent; the exact composition of Bogisch and Hauff's early Metol is unknown, but it was most methylated at the ortho position of the benzene ring, rather than at the amino group. Some time Metol came to mean the N-methylated variety, the o-methylated variety fell out of use. Aktien-Gesellschaft für Anilinfabrikation sold this compound under the trade name Metol, which became by far the most common name, followed by Eastman Kodak's trade name Elon; because it has been in use for this purpose for over 100 years, by amateur photographers, there is a substantial body of evidence regarding the health problems that contact with Metol can cause.
These are principally local dermatitis of the forearms. There is some evidence of sensitization dermatitis, in which repeated exposure triggers a chronic condition, resistant to medication; the use of Metol in caustic solutions and the presence of other materials in darkrooms that have been implicated in dermatitis—such as hexavalent chromium salts—may exacerbate some health impacts
The 1983–84 Oklahoma Sooners men's basketball team represented the University of Oklahoma in competitive college basketball during the 1983–84 NCAA Division I season. The Oklahoma Sooners men's basketball team played its home games in the Lloyd Noble Center and was a member of the National Collegiate Athletic Association's former Big Eight Conference at that time; the team posted a 29–5 overall record and a 13–1 conference record to finish first in the Conference for head coach Billy Tubbs. This was the first Big Eight Conference Regular Season Championship for Tubbs; the team was led by All American and Big Eight Conference Men's Basketball Player of the Year Wayman Tisdale. The team lost its second game at the Great Alaska Shootout, it won eleven in a row before enduring its only conference loss at Iowa State. It won four in a row before losing to Memphis; the team won the rest of its regular season games and the first two Big Eight Conference Tournament games bringing its win streak to 13. It lost the conference title game to Kansas.
The team lost its first game in the 1983 NCAA Men's Division I Basketball Tournament to Dayton. Over the course of the season, Wayman Tisdale established the current Oklahoma Sooners men's basketball single-season scoring average and single-game points records; the following is a summary of the team's performance in the NCAA Men's Division I Basketball Tournament: West Dayton 89, Oklahoma 85 All-American: Wayman Tisdale Big Eight POY: Tisdale The following players were drafted in the 1984 NBA Draft: The following players were varsity letter-winners from this team who were drafted in the NBA Draft in years: 1985 NBA Draft: Wayman Tisdale 1987 NBA Draft: Tim McCalister, David Johnson, Darryl Kennedy