James Abbott or Jim Abbott may refer to:
The Dell in Milton Road, Southampton, England was the home ground of Southampton Football Club, between 1898 and 2001.
The stadium was opened in September 1898, with the inaugural match on 3 September being against Brighton United. The first goal at the stadium was scored by Watty Keay and Saints won 4-1. The stadium had been built for an estimated £10,000 by George Thomas, a local fish merchant, who had bought the land just off Hill Lane and had transformed what was a natural dell, a lake flanked by banks of woodland. Thousands of tons of rubble had to be used to provide the foundations for the new ground. Initially the stadium had open staging behind each of the goals with stands along each side. The estimated capacity on opening was 24,500, of which 4,000 were seated.
In 1927, the original West Stand was demolished (together with the club secretary’s house) and the new West Stand was built. This was designed by Archibald Leitch, one of the greatest football stand designers of the day, who had also designed stands at Roker Park and at Goodison Park. A year later, on the last day of the 1928-29 season a dropped cigarette caused a fire which destroyed the East Stand. A replacement stand was built which mirrored the West Stand, increasing the ground capacity to approximately 30,000.
On 30 November 1940, a German bomb fell on the stadium during The Blitz, creating an 18-foot crater in the Milton Road penalty area. While the pitch was being restored, Saints had to play their remaining fixtures in 1940-41 away, although in February 1941, they played a “home” War Cup tie with Brentford at Fratton Park, Portsmouth.
In March 1941, an explosion of munitions stored at the ground caused a major fire in the West Stand although this was rebuilt soon afterwards.
At the start of the 1941-42 season they played their home games at Dew Lane, Eastleigh, before the Dell was re-opened in October 1941.
In 1950, The Dell became the first ground in England to have permanent floodlighting installed. The first game played under the lights was on 31 October 1950, in a friendly against Bournemouth & Boscombe Athletic, followed a year later by the first “official” match under floodlights, a Football Combination (Reserve team) match against Tottenham Hotspur on 1 October 1951.
During the post-war years, huge crowds packed into The Dell. The attendance record was broken on 8 October 1969, when 31,044 watched Saints lose 3-0 to a Manchester United team which included George Best and Bobby Charlton.
In the 1980s there were several changes at the ground, with the makeshift chocolate boxes at the Milton Road end being replaced by a new stand, and the standing areas under the East and West stands being fitted with bench seats, before The Dell became an all-seater stadium in the wake of the Hillsborough disaster. New stands were erected at both ends of the stadium and the ground’s capacity plunged to a little over 15,000, the smallest in the top level of English football. The Milton Road Stand was notable for its wedge-like appearance.
[1]
By this time, the Saints were looking for a new home. In the 1990s it seemed as if the search was over as the club announced plans to move to a new stadium at Stoneham near Eastleigh. However, the club fell into a dispute with the local council about the lack of community facilities. Many people in Eastleigh were also unhappy with having another town’s football club in their area (Refer to EBC Planning application Z/32214/003/00
). The dispute was resolved when the Chairman, Rupert Lowe, declared new plans for the club to move to a new 32,000 all-seater, St Mary’s Stadium, for a cost of £32 million. In 2001 work was completed ahead of schedule.
On 19 May 2001, club legend Matthew Le Tissier said goodbye to the stadium that had been host to his entire career by scoring a spectacular volley in the final minutes of the last league game securing a 3-2 win against Arsenal.
On 26 May the club’s loyal fans said goodbye to The Dell by stripping all of its seats, the pitch and one man even walked off with an advertising board at the end of a friendly with Brighton and Hove Albion - making them the first and last club to play Southampton at the stadium. Saints won this game 1-0, with the goal (the last ever at The Dell) being scored by Uwe Rösler.
During its 103-year life, The Dell had been home to Southampton during some of its finest moments - most of all the 1976 FA Cup victory.
The Dell was demolished later in 2001 and a housing estate now occupies the site [2]. The blocks on the site bear the names of Saints Legends:
Sir James Hector (March 16, 1834–November 6, 1907) was a Scottish geologist, naturalist, and surgeon who accompanied the Palliser Expedition as a surgeon and geologist. He went on to have a lengthy career as a government employed man of science in New Zealand, and during this period he dominated the Colony’s scientific institutions in a way that no single man has since.
He attended the Edinburgh Academy. At 14, he began articling as an actuary at his father’s office. He joined University of Edinburgh as a medical student and received his medical degree in 1856. Shortly after receiving his medical degree, upon the recommendation of Sir Roderick Murchison – director-general of the Geological Survey of the United Kingdom – Hector was appointed geologist on the Palliser Expedition under the command of John Palliser. The goal of the Palliser expedition to British North America (now Canada) was to explore new train routes for the Canadian Pacific Railway and to explore new species of plants.
In 1858, when Palliser’s expedition was exploring a mountain pass near the continental divide of the Canadian Rockies, Hector was kicked and seriously wounded by a packhorse. While Hector recovered, the pass and nearby river have been known since as the Kicking Horse Pass and Kicking Horse River respectively. The reason why Hector was kicked was because his horse fell in the river and while Hector and his companions were helping him, the packhorse kicked Hector in the chest. After 4 hours of Hector being unconscious, his companions declared James Hector dead. They were digging his grave when some natives came to help,suddenly one of them noticed Hector’s chest was moving. The native dragged him out of the grave and waited until he regained consciousness. James wrote about the expedition in his diary and here is a passage from it: “In attempting to recatch my own horse, which had strayed off while we were engaged with the one in the water, he kicked me in the chest”.
Following his return to Britain after the Palliser expedition, Hector again secured a paid scientific position with Roderick Murchison’s help. In 1862 he arrived in Dunedin in New Zealand to conduct a three year geological survey of Otago. Hector travelled throughout the south of New Zealand’s South Island to assess its potential for settlement and to record the location of useful minerals. He also assembled a staff of half a dozen men to assist with such tasks as fossil collecting, chemical analysis, and botanical and zoological taxonomy.
In 1865 Hector was appointed to found the Geological Survey of New Zealand, and he moved to Wellington to supervise the construction of the Colonial Museum, which was to be the Survey’s headquarters. As the chief Government-employed scientist, Hector gave politicians advice on questions as diverse as exporting wool to Japan and improving fibre production from New Zealand flax. His political influence was underlined by his marriage in 1868 to Maria Georgiana Monro, daughter of the speaker of the House of Representatives.
Hector managed the Colony’s premier scientific society – the New Zealand Institute – for thirty-five years, and from 1885 was Chancellor of the University of New Zealand. He controlled virtually every aspect of state-funded science. He had close and, at times, tense relationships with other men of science, in particular Julius von Haast. At the end of his career he was criticized for failing to acquire Maori artifacts for the Colonial Museum and for not adequately defending his departments from the Liberal Government’s funding cuts. In 1902, for example, the ethnographer Elsdon Best wrote to Augustus Hamilton, the future director of the Colonial Museum, to state that Hector should be forced from office and that they should ‘put a live man in in his place’.
Hector retired in 1903, after four decades at the centre of organized science in New Zealand. He died in Lower Hutt, New Zealand, in 1907.
West Coast hip hop, also known as West Coast rap or California hip hop, is a style of hip hop music that originated in California in the early 1980s. It has since grown into a sub-genre of hip hop and has developed several creative centers, most of which are in African American communities in California. It dominated the hip-hop air waves in the early and mid-1990s with the popularity of G-funk. The release of Dr. Dre’s The Chronic was the spark that led to the West Coast’s peak.
The center of West Coast hip hop is the Los Angeles area, but can also include the San Francisco Bay Area, San Diego, Sacramento, and Seattle. As well as Arizona, Nevada and Colorado.
The origins of West Coast hip hop can be traced back to the late 1970s. After its invention in New York City, hip hop music started to spread across the country. It quickly jumped coasts to California, where a strong presence of African Americans embraced hip-hop, prominently in block parties and some clubs. However, the West Coast scene became truly established during the 1980s as hip hop music first gained national appeal, and established itself in California in general (and in Los Angeles in particular). Early hardcore rap performers included Bay Area legend Too $hort, who started rapping as early as 1983 and put out three independent albums beginning in 1985 before his 1987 major-label debut, Born to Mack, went gold. Too $hort would release 2 more albums before 1991 that went platinum and double platinum respectively. In Los Angeles during the same period, artists like Ice T, Capitan Rapp, King Tee, Toddy Tee, and Mix Master Spade, C.I.A. gained prominence, while World Class Wreckin’ Cru, DJ Unknown, Egyptian Lover and the Arabian Prince innovated a style called electro hop (or simply electro), essentially a hybrid of dance music and rap - following the lead of Afrika Bambaataa, who had originally created hip hop by mixing together reggae, funk, and German techno. Electro hop was a less funky, more bass-heavy West Coast sound, similar to Florida rap group 2 Live Crew and the Miami bass scene. However, hip hop followers didn’t fully accept electro hop in the long run, and it had all but disappeared by the mid-1990s.
The so-called “gangsta rap” movement also originated in California in the 1980s, serving as a sharp contrast to electro hop and other lighter forms of hip hop. Ice-T’s “6 In The Mornin’” (1986) received some national exposure while his 1987 recording Rhyme Pays was a landmark for the genre and could be considered one of the first purely gangsta rap albums. It managed to go gold. N.W.A.’s N.W.A. and the Posse came out shortly thereafter. The CD was a compilation album of loosely connected rappers under the name “N.W.A.” (”Niggaz With Attitude”). While not proving to be popular nor having a major affect on hip hop, it set up N.W.A. for their follow up album, which is credited for popularizing gangsta rap to this day. It was about a year after their first album that the group was shortened to the members Eazy-E, Ice Cube, Dr. Dre, DJ Yella, and the addition of MC Ren; along with continued contributions from unofficial members The D.O.C. and Arabian Prince.
In 1988, the now-legendary N.W.A. released their blockbuster, Straight Outta Compton, and put the West Coast on the hip hop map. Their sound was influenced by hardcore, metal-tinged rap performers like Ice-T, and 1970s soul music and p-funk. Straight Outta Compton united these sounds with minimalistic beats and blunt, hard-hitting lyrics filled with references to (and often promotions of) violence, hedonism, and the criminal lifestyle. Individual members also were able to write pages in hip-hop history. Shortly after Straight Outta Compton was released, Eazy-E released his wildly received debut album, Eazy-Duz-It, in 1988, with most of the production done by Dr. Dre. In 1989, unofficial member The D.O.C. (a Texas native) released his solo debut album No One Can Do It Better which managed to be released with critical acclaim, (including a 5 Mic rating from The Source) and sold over a million copies. When Ice Cube left the group in 1989 his lyrics and delivery earned him two platinum and widely acclaimed (both gaining the highest ratings from The Source) albums in AmeriKKKa’s Most Wanted and Death Certificate released in 1990 and 1991 respectively. The remaining members of the group followed up by releasing Efil4zaggin which leaned more towards violent, criminal rap that became more growingly associated with hip-hop and became the first gangsta rap album to reach number 1 on the Billboard charts. After this the group would break up with Dr. Dre leaving the label to sign to Death Row Records.
Two other West Coast groups that came out around this time were Digital Underground and Compton’s Most Wanted. While neither group proved to be as popular or controversial as N.W.A., they still helped to shape early West Coast rap. However, like N.W.A., some of its individual members would go on to form moderate (ie. MC Eiht of CMW) to successful (ie. 2Pac of DU) solo careers, and continue to build upon West Coast rap. During 2Pac’s early career, he would rap about many social and political issues with the albums 2Pacalypse Now and Strictly 4 My N.I.G.G.A.Z. before his style began to lean towards gangsta/thug rap in the mid-1990s.
Latin rap also got its first start during this time. While previously being restricted to New York, West Coast artists like Kid Frost and Mellow Man Ace were pioneers in the sub-genre. Although not popular at the time, these artists paved the way for the most successful Latin rap group/artist to ever come out, the South Gate, CA natives, Cypress Hill.
It has been suggested that the West Coast movement gained early recognition in Los Angeles
& Dallas which is in Texas but a portion of Dallas called West Dallas is home to rappers such as The D.O.C. & Tha Realest.These rappers reside in Dallas but have the west coast spirit,
partly due to the city’s affiliation with the entertainment industry where most of the major record companies and labels reside.
West Coast hip hop also received early contributions from groups based in the Bay Area, and Oakland in particular. Too $hort, for instance, was a giant in the genre, and MC Hammer was one of the first “pop-rap” national superstars. Both artists began their rap careers on the streets of Oakland, and the radically different paths their careers have taken are indicative of the fracturing of hip hop culture into multiple sub-genres over the last twenty years. Its varied levels of success have never failed to make The Bay’s music popular among its own people.
Seattle, Washington, although primarily being known as the center of grunge rock, has also had an active scene from early on, though their only commercial success thus far has been Sir Mix-a-Lot of “Baby Got Back” fame.
With the nationwide success of N.W.A., the West Coast had finally established a style that matched the intensity and grit of the hip hop that was coming from the East Coast at the time. In gangsta rap, the West Coast scene had a voice that could compete with Public Enemy, KRS-One, and other East Coast powerhouses. Although N.W.A. would eventually split, its remaining members continued to build, popularize, and revolutionize on the foundation the group had laid.
Three of N.W.A.’s most prominent members, Ice Cube, Eazy-E, and Dr. Dre, launched successful solo careers after the group’s dissolution. Ice Cube’s style was more militant, angry, racially charged, and political, while Eazy-E’s style was more violent gangsta rap mixed with some g-funk.
Dr. Dre’s style, innovated with Warren G, dubbed “g-funk” or “gangsta funk” (also known as “ghetto funk”), was slower and more melodic, with heavy basslines topped by flutes and p-funk samples, and finished with a slurring, often whimsical lyrical delivery. The genre was characterized by a generally hedonistic subject matter including violence, sex, and drug use, and a slurred “lazy drawl” that was said to sacrifice lyrical complexity for clarity and rhythmic cadence. Dr. Dre’s debut album, The Chronic released in 1992, is widely considered to be a seminal work in the genre and not only established the dominant sound of hip hop music for years to come, but also launched the careers of several key West Coast hip hop artists, including Snoop Doggy Dogg, Dat Nigga Daz, Kurupt, Nate Dogg and Warren G. Dr. Dre would continue to refine his work on Snoop Doggy Dogg’s debut album Doggystyle, which launched Snoop Dogg into one of the most well known rap careers ever. Furthermore, the album’s success established Death Row as a dominant force in gangsta rap. G-funk also became the dominant genre of West Coast rap for years to come for new and veteran artists alike.
After the release of The Chronic, many producers from the West Coast, and even some from the East Coast, began producing in the g-funk style or imitating it. Most notably, producers Warren G and DJ Quik produced their most well-known material in the g-funk era, Dr. Dre’s fellow Death Row “inmate” Dat Nigga Daz produced Tha Dogg Pound’s debut album, Dogg Food, in the same style.
Lasting influences in hip-hop that have carried on even to this day include heavy use of funk-style synthesizers, and hooks sung using a talk box in a style pioneered by funk singer Roger Troutman.
While the beginnings of the rivalry between coastlines can be traced back to N.W.A., it took a personal beef between two of gangsta rap’s greatest prodigies to fully capture the nation’s attention. While 2Pac was working on his third album Me Against the World in 1994, he was shot by muggers in the lobby of a New York City recording studio that friend The Notorious B.I.G. was recording at. While serving prison time for sexual assault, 2Pac accused The Notorious B.I.G. and Puff Daddy, amongst others, of having prior knowledge of the shooting. This series of events sparked an inter coastal war between Bad Boy Entertainment (owned by Puff Daddy) and Death Row Records (owned by Suge Knight).
The tension between Death Row and Bad Boy increased as both labels released a series of scathing tracks blatantly filled with insults, threats, and accusations targeted at the opposing labels. The rivalry ended when 2Pac was fatally shot in Las Vegas, Nevada in 1996, a slaying that The Notorious B.I.G. was suspected by the public to be involved in. However, it is now widely believed that it actually resulted from a fight involving members of 2Pac’s entourage and a Crip gang member earlier in the night. The Notorious B.I.G. was also fatally shot in Los Angeles, California, in a similar fashion to 2Pac, six months later. The majority of fans and artists saw this so-called beef as silly and wanted no part of it.
The coastal rivalry raised Death Row Records to notorious status. Combined with the rise of g-funk, West Coast artists like Snoop Dogg, Dr. Dre, 2Pac, and Tha Dogg Pound all released multi-platinum albums on Death Row Records. Although enjoying much success because of surrounding controversy, many critically acclaimed albums that are now considered classics in hip hop history were released during this time such as All Eyez on Me, The Chronic, Doggystyle, Dogg Food, and Tha Doggfather . At the height of its popularity, West Coast artists were selling three times more than their East Coast rivals. Meanwhile, other gangsta rap artists from California were also enjoying much success, if not as much as Death Row artists. Warren G, DJ Quik, Eazy-E, Ice Cube, and Westside Connection all debuted or continued to release gangsta rap/g-funk albums in the early and mid-1990s, which enjoyed at least moderate success.
On the other side of the coin, non Death Row artists were rising to popularity. Coolio released his platinum selling album It Takes a Thief and his multi-platinum and world famous album Gangsta’s Paradise in 1994 and 1995 respectively. Mack 10 released his self titled album in 1995 and managed to go gold. Too $hort and newcomer E-40 pushed the Bay Area to a rare level of moderate success, with E-40 releasing his second album, In a Major Way in 1995, which went gold (and eventually went platinum 7 years after it was released). Too $hort continued to release music about pimp lifestyle and drugs that helped him receive 4 platinum albums between 1992 and 1996 . Eazy-E’s Ruthless Records held a string of artists on its roster matching the label’s hardcore, violent style in artists such as MC Ren, B.G. Knocc Out, Dresta and Kokane. The earliest success of Latin rap also came from this time, as Cypress Hill released a string of platinum selling albums in the early and mid-1990s while at the same time continuing to pioneer Latin rap set forth by fellow West Coast rapper Kid Frost. Their style mixed Latin rap with gangsta rap and g-funk to create a seminal work in the genre and made them the first Latin rappers to have gold, platinum, and multi-platinum albums. Their first two albums (and to a lesser degree, their third) were met with great critical acclaim.
While not nearly as successful commercially, Bay Area rappers were also starting to emerge and contribute to West Coast hip hop. Spice 1, Keak Da Sneak, San Quinn, Luniz, B-Legit, E-A-Ski, Ant Banks, Mac Dre, and many others began releasing a wide range of albums at this time. Though most of them were most popular in California.
Following incidents with the two Coasts, Death Row Records’ success diminished as Dr. Dre departed to form Aftermath Entertainment, 2Pac got murdered, and Snoop Dogg left to join No Limit Records. Gangsta rap disappeared from the national spotlight and the resulting void was filled by East Coast pop-rap acts such as Puff Daddy, Ma$e, and actor/musician Will Smith. By 1997, West Coast hip hop had begun to diminish from the mainstream media, though still popular in it’s home region.
In the late 1990s, the West Coast’s underground hip hop scene began to gain prominence as underground hip hop started to boom as artists tried to stray away from the negativity gangsta rap brought the Coast. Artists like Terry Choe a.k.a Teezy, Blackalicious, Zion I, The Pharcyde, Aceyalone, Hieroglyphics, Jurassic 5, The Coup, Ozomatli, Spearhead, Del tha Funkee Homosapien, Souls of Mischief, Planet Asia, and others (most of whom self-identify as “conscious” artists, and all of whom include political, social, or insightful messages in their music) gained recognition without being signed to major labels. Other artists such as Dilated Peoples and The Black Eyed Peas while signed to major labels, failed to break out into the mainstream for lack of promotion or other reasons yet still had the same style and maintained an underground following. Eventually The Black Eyed Peas would later find success in the 2000’s after releasing the album “Elephunk” with a more mainstream sound.
Despite the emergence of the underground movement as a factor at the turn of the century, gangsta rap was still the dominant genre of West Coast hip hop, although the sound and feel of the music had began to change since the g-funk era. Snoop Dogg, Ice Cube, and Dr. Dre continued to be major players in the national mainstream, but other artists from the 1990s and local gangsta rap artists continued to struggle for name recognition, having enjoyed less commercial success than their East Coast and Southern counterparts. While the West Coast still got some exposure such as Dr. Dre’s second album 2001, Xzibit’s introduction to the mainstream, and Snoop Dogg’s work with Tha Eastsidaz, most artists like Warren G, Kurupt, WC, Mack 10, DJ Quik, and Daz, and the remaining veteran artists of the 1990s continued to rapidly lose recognition among music fans. While newer rappers like Yukmouth, Jayo Felony, and Ras Kass were able to begin strong leads in California and trying to bring gangsta rap to a new level.
Hyphy music also began to develop around this time, originating in the San Francisco Bay Area. While The Bay was an early contributor to hip hop, like the rest of West Coast rap, it was on the decline in the late 1990s. Around the turn of the millennium, a new sub-genre of hip hop emerged and flourished almost exclusively in The Bay. While Bay Area music was still considered new hip hop to some, (despite success from Yukmouth, Too $hort and E-40) it was continually building up since the early 1990s. The earliest pioneers included Keak Da Sneak (who coined the word “hyphy”) and Mac Dre (the purveyor of thizz culture), with later push by E-40 (the “Ambassador Of The Bay”). While some automatically associate The Bay with hyphy music and vice versa, the music from Bay Area isn’t exclusively hyphy (although hyphy is almost exclusively in The Bay Area). The hyphy culture also grew with its music, creating a trend of dances, slang, and behaviour associated with it, some of which The Bay claims has been stolen by other artists. Hyphy’s style of exuberant energy, “going dumb” and excessive behaviour was a sharp contrast to the steryotypical Southern California’s style of music of gangs, violence, low riders and having a serious/cool persona, which dominated rap; hyphy’s style didn’t overwhelmingly associate itself with these topics. It should also be noted that “hyphy” and “hyphy movement” are not synonyms. While the former is the music and culture, the latter refers to its gainings into national spotlight.
West Coast rap seems to be fighting to be part of the mainstream again as there is on going a third generation of artists. The Game’s album The Documentary along with a well publicized beef with 50 Cent has received more attention to the West Coast, and he is said to be the driving force behind West Coast rap.
Since The Game released The Documentary, artists like Glasses Malone, Bishop Lamont, Omar Cruz, Crooked I, JT the Bigga Figga, Lil Eazy-E, Eastwood, Bailey, Clyde Carson (of The Team), Spider Loc, The Fixxers, Hood Surgeon, and Ya Boy have all received increased attention with regard to future releases. The Bay Area is also picking up steam with their sub-genre of music hyphy music, promoted by long time veteran E-40. While other artists like Mykestro, Guerilla Black, Roscoe, Scipio, Sly Boogy, Mistah F.A.B., and The Federation, Jay Rock, and Ca$his are also trying to help re-introduce West Coast rap to the world, the West Coast still has to compete with a market dominated by Southern artists that even East Coast rappers have trouble competing with. Combined with the continued growth of Pop-rap or commercialism, this has led to a mystery regarding which direction the current generation of rappers will go. As of right now, The Game, Snoop Dogg, Dr. Dre, E-40, Too Short, The Black Eyed Peas, and Ice Cube seem to be the only artists in 2006 that have created strong leads in mainstream hip hop.
After the success of his album R&G (Rhythm & Gangsta): The Masterpiece, Snoop Dogg convoked West Coast artists (about 65 people) into a meeting called the Western Conference on July 4, 2005. They agreed to join forces again and to end long standing beefs between each other in hopes of helping West Coast music back to its once reigning place through unity. It served as occasion for several members to announce cease-fires in their beefs including the reconciliation of Tha Dogg Pound, Jayo Felony and Snoop Dogg, and The Game and JT the Bigga Figga. Snoop Dogg offered his label Doggystyle Records and his CEO position at Koch Records to be an “engine” of the movement, and that he will promote with his name. Dr. Dre announced he will release his third and final album, Detox, in September 2007.
However, for much of the 2000s, the West Coast continued losing its appeal to the (then growing) Dirty South. In particular, Southern rap experienced an unprecedented degree of mainstream popularity in 2003. Since 2000, The Game remains the only rapper to sell a multi-platinum album on the West Coast (aside from The Black Eyed Peas, who do not follow traditional West Coast hip hop music and are often overlooked).
One of the popular underground styles of dancing called krumping has started to become more mainstream due to the popularity of the David LaChapelle film Rize.
Standard Radio & Telefon AB (SRT) was a Swedish telecommunications and computer manufacturer, at one time part of the ITT group. They developed an advanced mainframe as well as a computer terminal called Alfaskop that became an export success. A bit much of a success, since an export of a system for air traffic control to Moscow caused a diplomatic incident.
FSS is a three letter acronym which may refer to any of the following:
FSS is also a code which may refer to any of the following:
People known as Alex Carter include:
Ruth Symons (born in 1914 in New Zealand, died 11 September 2004 in Christchurch, New Zealand) was a New Zealand cricketer. She captained New Zealand in their first women’s Test match, which they lost. Her married name was Ruth Martin.
La Fée Absinthe is one of the best-known brands of absinthe, a highly alcoholic, anise-flavored, distilled liquor containing the herb wormwood (Artemisia absinthium). La Fée Absinthe is created by Green Utopia which is owned and run by George Rowley.
La Fée comes in four styles: Parisian, an anise-flavored absinthe; Bohemian, a low-anise absinth; and La Fée X•S Suisse and La Fée X•S Française, two ‘extra supérieure,’ wine-based absinthes.
La Fée Absinthe Parisienne was first produced in July, 2000 in association with the Musée de l’Absinthe, Auvers-sur-Oise, France, and its founder and curator Marie-Claude Delahaye.
The first traditional absinthe to be commercially produced in France since the ban of 1915, La Fée was developed in a French distillery under the supervision of Mme. Delahaye. It contains a dozen plants, including ‘Artemisia absinthium’ and ‘Petite’ wormwood- Artemisia absinthium (wormwood) and Artemisia pontica (Roman wormwood). It is artificially colored green, bottled at 68% abv and a 45% abv ’shooter’ version.
While La Fée Parisienne is normally drunk in the traditional manner of adding chilled water by pouring it over a sugar cube, Parisienne can be mixed with many modern cocktails.
La Fée Bohemian Absinth was first produced in November 2004 in response to demand for Czech-style absinth in several of its markets worldwide. Being “czech-style” and lacking anise and a louche it should be considered a different product from absinthe.
It is popularly used in cocktails instead of being drunk in the traditional method of absinthe.
La Fée X•S Suisse, officially released in 2007, is a La Bleue produced in the small town of Couvet in the Val-de-Travers region of Switzerland. Each distillation takes place in small copper stills that have the capacity to produce just over 100 bottles.
In 2007 La Fée Absinthe X•S Suisse won the following awards. International Wine and Spirits Competition - Silver and ‘Best in Class’, and at the International Spirits Challenge, - ‘New Brand Innovation Award’
La Fée X•S Française, officially released in 2007, is a naturally colored verte and is distilled in the historical town of Pontarlier, the French homeland of absinthe. X•S Française uses stills purchased second hand in 1870 are used along with traditional distillation methods, a selection of herbs and a wine alcohol base.
See also:
1936 in comics,
other events of 1937,
1938 in comics,
1930s in comics and the
list of years in comics
Publications: January - February - March - April - May - June - July - August - September - October - November - December
In vector calculus, the divergence is an operator that measures the magnitude of a vector field’s source or sink at a given point; the divergence of a vector field is a (signed) scalar. For a vector field that denotes the velocity of air expanding as it is heated, the divergence of the velocity field would have a positive value because the air expands. If the air cools and contracts, the divergence is negative.
A vector field that has zero divergence everywhere is called solenoidal.
Let x, y, z be a system of Cartesian coordinates on a 3-dimensional Euclidean space, and let i, j, k be the corresponding basis of unit vectors.
The divergence of a continuously differentiable vector field F = F1 i + F2 j + F3 k is defined to be the scalar-valued function:
=\frac{\partial F_1}{\partial x}
+\frac{\partial F_2}{\partial y}
+\frac{\partial F_3}{\partial z}. </math>
Although expressed in terms of coordinates, the result is invariant under orthogonal transformations, as the physical interpretation suggests.
The common notation for the divergence ∇·F is a convenient mnemonic, and an abuse of notation, where the dot denotes something just reminiscent of the dot product: take the components of ∇ (see del), apply them to the components of F, and sum the results.
In physical terms, the divergence of a three dimensional vector field is the extent to which the vector field flow behaves like a source or a sink at a given point. It is a local measure of its “outgoingness”—the extent to which there is more exiting an infinitesimal region of space than entering it. If the divergence is nonzero at some point then there must be a source or sink at that position [1]. An alternate but equivalent definition, gives the divergence as the derivative of the net flow of the vector field across the surface of a small sphere relative to the volume of the sphere. (Note that we are imagining the vector field to be like the velocity vector field of a fluid (in motion) when we use the terms flow, sink and so on.)
Formally,
\lim_{r \rightarrow 0}
\iint_{S(r)} {\mathbf{F}\cdot\mathbf{n}dS \over \frac{4}{3} \pi r^3 }</math>
where S(r) denotes the sphere of radius r about a point p in R3, and the integral is a surface integral taken with respect to n, the normal to that sphere.
In light of the physical interpretation, a vector field with constant zero divergence is called incompressible – in this case, no net flow can occur across any closed surface.
The intuition that the sum of all sources minus the sum of all sinks should give the net flow outwards of a region is made precise by the divergence theorem.
The following properties can all be derived from the ordinary differentiation rules of calculus. Most importantly, the divergence is a linear operator, i.e.
= a\;\operatorname{div}( \mathbf{F} )
+ b\;\operatorname{div}( \mathbf{G} ) </math>
for all vector fields F and G and all real numbers a and b.
There is a product rule of the following type: if φ is a scalar valued function and F is a vector field, then
= \operatorname{grad}(\varphi) \cdot \mathbf{F}
+ \varphi \;\operatorname{div}(\mathbf{F}), </math>
or in more suggestive notation
= (\nabla\varphi) \cdot \mathbf{F}
+ \varphi \;(\nabla\cdot\mathbf{F}). </math>
Another product rule for the cross product of two vector fields F and G in three dimensions involves the curl and reads as follows:
= \operatorname{curl}(\mathbf{F})\cdot\mathbf{G}
\;-\; \mathbf{F} \cdot \operatorname{curl}(\mathbf{G}),</math>
or
= (\nabla\times\mathbf{F})\cdot\mathbf{G}
- \mathbf{F}\cdot(\nabla\times\mathbf{G}).</math>
The Laplacian of a scalar field is the divergence of the field’s gradient.
The divergence of the curl of any vector field (in three dimensions) is constant and equal to zero. If a vector field F with zero divergence is defined on a ball in R3, then there exists some vector field G on the ball with F = curl(G). For regions in R3 more complicated than balls, this latter statement might be false (see Poincaré lemma). The degree of failure of the truth of the statement, measured by the homology of the chain complex
(where the first map is the gradient, the second is the curl, the third is the divergence) serves as a nice quantification of the complicatedness of the underlying region U. These are the beginnings and main motivations of de Rham cohomology.
One can establish a parallel between the divergence and a particular case of the exterior derivative, when it takes a 2-form to a 3-form in R3.
If we define:
its exterior derivative <math>d\alpha</math> is given by
+\frac{\partial F_2}{\partial y}
+\frac{\partial F_3}{\partial z} \right) dx\wedge dy\wedge dz</math>
See also Hodge star operator.
The divergence of a vector field can be defined in any number of dimensions. If
define
=\frac{\partial F_1}{\partial x_1}
+\frac{\partial F_2}{\partial x_2}+\cdots
+\frac{\partial F_n}{\partial x_n}. </math>
For any n, the divergence is a linear operator, and it satisfies the “product rule”
= (\nabla\varphi) \cdot \mathbf{F}
+ \varphi \;(\nabla\cdot\mathbf{F}). </math>
for any scalar-valued function φ.
The divergence can be defined on any manifold of dimension n with a volume form (or density) <math>\mu</math> e.g. a Riemannian or Lorentzian manifold. Generalising the construction of a two form for a vectorfield on <math> \mathbb{R}^3</math>, on such a manifold a vectorfield X defines a n-1 form <math>j = i_X \mu</math> obtained by contracting X with <math>\mu</math>. The divergence is then the function defined by
Standard formulas for the Lie derivative allow us to reformulate this as
This means that the divergence measures the rate of expansion of a volume element as we let it
flow with the vectorfield.
On a Riemannian or Lorentzian manifold the divergence with respect to the metric volume form
can be computed in terms of the Levi Civita connection <math>\nabla </math>
where the second expression is the contraction of the vectorfield valued 1 -form <math> \nabla X</math> with itself and the last expression is the traditional coordinate expression used by physicists.
WD may refer to:
In physical geography, a dell is a small wooded valley. Like “dale”, the word “dell” is derived from the Old English language dæl.
Highway 5 is a highway in northern and central Arkansas. Its northern terminus is at the Missouri state line where it continues as Route 5 (this road completely crosses the state and eventually becomes Iowa Highway 5). Its southern terminus is at U.S. Highway 67/U.S. Highway 167 in the southwestern part of Cabot.
List of cities and towns on the northern section of Arkansas 5:
A second section of Highway 5 begins in southern Little Rock at U.S. Highway 70 Business and follows a former alignment of U.S. Highway 70, passing through Bryant and ending at Highway 7 approximately 7 miles north of Hot Springs.
The Main Street Bridge, which crosses the Arkansas River to connect Little Rock with the city of North Little Rock, is also designated as Highway 5, although it is not signed.
Future Development is a 1998 album by Del tha Funkee Homosapien under the Hieroglyphics Imperium Recordings label. Its 1998 release was only on the Hieroglyphics website and as a cassette in Japan. It was rereleased in America as a CD in 2002.
The n Series is a Dell product line that does not ship with a pre-installed version of Microsoft Windows. Apparently prohibited from shipping computers without an operating system by an existing licensing agreement with Microsoft, Dell instead ships these systems with either the open-source FreeDOS operating system or the Ubuntu Linux distribution.
A result of OEM licensing with Microsoft, Dell is also prohibited from advertising these computers. Customers must request them specifically or search for them on Dell’s website. The company has come under fire for making the FreeDOS-powered machines no cheaper and more difficult to purchase than identical systems running Windowshttp://www.theregister.co.uk/2005/10/06/dell_open_pc/.
Dell also offers various Precision Workstations with Red Hat Enterprise Linux pre-installed.
National Association of Personal Financial Advisors
(or NAPFA)
is an American organization created in 1983
to aid the field of Fee-Only financial planning
by encouraging interest and
establishing a new level of professional standards and reputation for excellence. According to its web site, NAPFA’s core values are competancy, comprehensive financial planning, objective fee-only compensation, a client-centered fiduciary relationship, and complete disclosure of fees.
Magazines and media often cite NAPFA’s checklist of difficult questions to ask your financial planner.
One of the distinguishing characteristics of NAPFA, aside from its insistence on fee-only as the most certain method of minimizing potential conflicts of interest between a financial planner and their clients, is that NAPFA is the only financial planning organization to require a peer review of a candidate members work output prior to granting membership. NAPFA members are compensated directly by their clients. They cannot accept sales commissions from financial services or insurance firms. Members that have been through the peer review process are allowed to use the designation “NAPFA Registered Financial Advisor”. The combination of fee-only and a peer review have kept NAPFA’s membership small compared to other professional organizations.
NAPFA defines a ‘fee-only’ financial planner as one who is compensated solely by the client, with neither the advisor nor any related party receiving compensation that is contingent on the purchase or sale of a financial product. This definition seems to indicate an hourly or retainer fee schedule similar to tax advisor or attorney. However, NAPFA’s definition has been interpreted by the organization to allow membership to planners who are compensated based upon a percentage of the clients’ assets under management. Ostensibly, this kind of asset fee differs in some material way from other asset-based compensation arrangements such as 12-b-1 fees.
While NAPFA members tries to eliminate two of the most heinous elements of the financial planning industry — commissions and conflicts of interest — NAPFA is not without criticism. NAPFA is commonly criticized for being too self-righteous, too dramatic, and too heavy with transplants from the public accounting world. It also is criticized for having a lack of consistency, organization-wide, in terms of whether asset fees are ethical. This issue has threatened to splinter NAPFA into rival factions during the recent years. John Sestina and Bert Whitehead are two prominent NAPFA members who believe NAPFA’s ambivalence to asset fees is ethically wrong.
Rowena, Texas is a town in southwestern Runnels County in the U.S. state of Texas.
Paul J. Baron designed the town in 1898.
It was the birthplace of Bonnie Parker.
According to the US Census, the population was estimated at 483 in 2000, an increase of three percent from 1990s 466 Rowenans. The United States Postal Service now estimates population at 714.
Elevation is 1,628 feet above sea level.
Jean-Gabriel Castel (born 1925) is a French and Canadian law professor and Professor Emeritus at Osgoode Hall Law School.
Born in Nice, France he served in the French Resistance during World War II receiving military decorations for his service. After the war, he received two law degrees in Paris. He received a J.D. in 1953 from the University of Michigan and a D. Juris. in 1958 from Harvard University.
From 1954 to 1959, he taught at the Faculty of Law of McGill University. In 1959, he moved to Osgoode Hall Law School and taught there until hs retirement in 1999. From 1957 to 1984, he was Editor-in-Chief of the Canadian Bar Review.
He is the author of Canadian Conflict of Laws, the leading Canadian work on the conflict of laws.
In 1985, he was made an Officer of the Order of Canada. He is a Fellow of the Royal Society of Canada and a member of the Order of Ontario. He is a Chevalier de la Légion d’Honneur and officer de l’Ordre national du Mérite.
The Ethnography of communication (EOC) is the a method of discourse analysis in linguistics, which draws on the anthropological field of ethnography. Unlike ethnography proper, though, it takes both language and culture to be constitutive as well as constructive. According to Deborah Cameron (2001), EOC can be thought of as the application of ethnographic methods to the communication patterns of a group. Littlejohn & Foss (2005) recall that Dell Hymes suggests that “cultures communicate in different ways, but all forms of communication require a shared code, communicators who know and use the code, a channel, a setting, a message form, a topic, and an event created by transmission of the message (p. 312).”
So, EOC can be used as a means by which to study the interactions among members of various cultures: being able to discern which communication acts and/or codes are important to different groups, what types of meanings groups apply to different communication events, and how group members learn these codes provides insight into particular communities. This additional insight may be used to enhance communication with group members, make sense of group members’ decisions, and distinguish groups from one another, among other things.
Originally coined “Ethnography of speaking” in Dell Hymes eponymous 1962 paper, it was redefined in his 1964 paper, Introduction: Toward Ethnographies of Communication to accommodate for the non-vocal and non-verbal characteristics of communication.
Several research studies have used ethnography of communication as a methodological tool when conducting empirical research. A couple examples of this work include: Philipsen’s (1975) study which examined the ways in which blue-collar men living near Chicago communicated or did not communicate based on communication context; and Katriel’s (1990) study of Israeli communication acts involving griping and joking about national and public problems. These studies not only identify communication acts, codes, rules, functions, and norms, but they also offer different ways in which the method can be applied.
Lobo is a fictional Western comic book hero who is the medium’s first African-American character to headline his own series.
Lobo starred in Dell Comics’ little-known but groundbreaking, two-issue series Lobo (Dec. 1965 & Sept. 1966), also listed as Dell Comics #12-438-512 and #12-439-610 in the company’s quirky numbering system. Co-Created by writer D. J. Arneson and artist Tony Tallarico, it chronicled the Old West adventures of a wealthy, unnamed African-American gunslinger called “Lobo” by the first issue’s antagonists. On the foreheads of vanquished criminals, Lobo would leave the calling card of a gold coin imprinted with the images of a wolf and the letter “L”.
Tallarico in a 2006 interview said that he and Dell writer D.J. Arneson co-created the character based on an idea and a plot by Tallarico, with Arneson scripted it.
On May 19, 2006, Temple University College of Arts and Sciences presented Tallarico its Pioneer Award for Lifetime Achievement in the Comics and Books Industries, in recognition of his creating the first comic book to star an African-American.
While Marvel Comics’ 1950s predecessor Atlas Comics had published the African tribal-chief feature “Waku, Prince of the Bantu” — the first known mainstream comic-book feature with a Black star, albeit not African-American — it was one of four regular features in each issue of the omnibus title, Jungle Tales (Sept. 1954 - Sept. 1955). Comic books’ first known African-American superhero, Marvel’s Falcon, was introduced in 1969Captain America #117 (Sept. 1969), but there would be no Black star of his or her own comic until 1972, with Marvel’s Luke Cage, Hero for Hire, followed in 1973 by Marvel’s Black Panther (introduced as a supporting character in a 1966 issue of Fantastic Four) in Jungle Action.
Randy Wood can refer to any of the following people
Serafino dell’Aquila (1466-1500), Italian poet and improvisatore, was born in 1466 at the town of Aquila, from which he took his name, and died in the year 1500. He spent several years at the courts of Cardinal Sforza and Ferdinand, duke of Calabria; but his principal patrons were the Borgias at Rome, from whom he received many favors. Aquila seems to have aimed at an imitation of Dante and Petrarch; and his poems, which were extravagantly praised during the author’s lifetime, are occasionally of considerable merit. His reputation was in great measure due to his remarkable skill as an improvisatore and musician. His works were printed at Venice in 1502, and there have been several subsequent editions.
Kristin (Harmon) Nelson (born June 25, 1945) is an American actress and painter. She is the daughter of American football star Tom Harmon and actress Elyse Knox. Actor Mark Harmon is her brother, and actress Kelly Harmon is her sister.
In 1970 she starred with Johnny Crawford in The Resurrection of Broncho Billy, that won the Academy Award for Live Action Short Film.
She was married twice: first she married in 1963 actor and recording artist Rick Nelson, the father of her four children. They divorced in 1981, and in 1988 she married Mark Tinker whom she divorced in 2000.
She has four children:
Jens Christian Svabo (1746 - 1824) was a pioneering Faroese linguist, scholar, and ethnographer. Svabo was born in Miðvágur, Vágar, the Faroe Islands to a minister and his wife. Svabo studied history, music, and theology in Miðvágur and later in Tórshavn. Between 1765 and 1800 he lived in Denmark and studied music there, especially the violin. In 1800, he returned to Tórshavn and lived in a house known as the Pætursarstovu: it was in the attic of this home that in 1928 a book of songs written by Svabo was found. This manuscript is now part of the collection of the Føroya Landsbókasavn (Faroese National Library).
Svabo’s work as a songwriter is of merit and indeed, his songs are still played and recorded by groups interested in traditional Faroese and Celtic music. However, it is Svabo’s work on the Faroese language and its tradition of oral folktales that has brought him the greatest attention. Svabo’s travels around Vágar and later the areas around Tórshavn were at their time unmatched and his efforts to write down oral legends and tales were the first real impetus to the serious study of Faroese oral history. He also wrote a dictionary (republished in the 1960s as: Dictionarium færoense. København: Munksgaard) and worked to standardize the Faroese written language in terms of spelling and grammar to match the traditional spoken language (see Svabo’s Om den færøske marsviin-fangst). His efforts to examine distinct dialects of Faroese (especially that of his native Vágar) were the first efforts in this area of regional linguistics of Faroese, also.
The Føroya Landsbókasavn has a number of items and exhibits related to Svabo’s diverse career.
The A33 is a major road in England. It consists of three sections: the first from Southampton to the southern end of the M3 motorway, the second from just north of Winchester to its junction with the A30 road; and the third from Basingstoke to Reading. The southern sections, formerly one of the two trunk roads to Southampton, has been bypassed by the M3, and as part of the planning approval, the old A33 Winchester bypass (a notorious bottleneck with traffic lights) was torn up and restored to grass. This was subject to direct action protests at Twyford Down.
People named John Hudson include:
Computing Today was a computer magazine published by Argus Specialist Publications, it was printed in the UK from the late 1970s to the mid 1980s.
It gave computer hardware and software reviews, programming tutorials and program listings for many of the popular home computers of the time. UK Subscription was 12 pounds 10 pence including postage.
Dell International Services is the support and services division of Dell Inc., the large American computer hardware company.
Dell moved its major support divisions overseas to India, Philippines and other countries. The company is now present in Bangalore, Hyderabad, Chandigarh, Bratislava, Dalian, Panama City, Morocco, San Salvador, Edmonton, Ottawa and Metro Manila (Pasay City & Quezon City).
Dell International Services in Bangalore, India also houses the IT Global Development Center.
OpenManage, a Dell, Inc. product, consists of a number of network management and systems management applications.
The Dorothy Dunnett Readers’ Association is a charity set up by Dorothy Dunnett, with the following aims:
The organisation meets annually in Scotland, but has members in England, Scotland, Wales, Northern Ireland, France, Germany, Canada, the USA, Australia, New Zealand and other countries around the world.
George T. Delacorte, Jr., (1894 – 1991) founded the Dell Publishing Company in 1921. His goal was to entertain readers who were not satisfied with the genteel publications available at the time. The company was one of the largest publishers of books, magazines, and comics during its heyday. His most successful innovation was the puzzle magazine, a genre that continues to grow in popularity to this day.
An alumnus of Columbia University (1913), he donated money to the university which established the Delacorte Professorship in the Humanities and helped found the George T. Delacorte Center for Magazine Journalism and the creation of the Delacorte Professorship in Magazine Journalism in 1984. The university recognized him with an honorary doctorate in 1982.
In 1962, he donated money to establish the Delacorte Theater in Central Park, New York City. He also donated money for the George Delacorte Musical Clock in the park, a sculpture of Alice in Wonderland, sculpures of The Tempest and Romeo and Juliet, and a fountain in City Hall Plaza.
He died in Manhattan in 1991 at the age of 97, survived by his widow Valerie Delacorte.
Dorothy Kingsley (born October 14, 1909 – died September 26, 1997) was an American screenwriter. Kingsley, the daughter of journalist Walter Kingsley and stage actress Alma Hanlon, was born in New York City, NY. First in New York and later in Hollywood, she was one of the few successful female gag writers for radio in the 1930s.
Kingsley was one of the three co-writers of the movie script for Seven Brides for Seven Brothers. Kingsley, Albert Hackett and Frances Goodrich based their script on the short story “The Sobbin’ Women” by Stephen Vincent Benet. She also wrote the screenplay for Kiss Me, Kate.
The United States was the nation of origin of hip hop, a cultural movement that began in the 1970s in New York City, among primarily African American and Hispanic audiences. For many years, hip hop remained known only in a few neighborhoods in New York, but it spread to nearby urban areas like Philadelphia and New Jersey. By the end of the decade, hip hop was known in many of the United States’ most populous cities.
During the early to mid-1980s, hip hop underwent regional diversification, while New York-based East Coast hip hop attained the first national recognition for recorded hip hop. Cities like Miami, Los Angeles, Washington D.C., Detroit, Atlanta, Chicago and San Francisco Bay Area developed their own styles, incorporating local influences.
Beginning with N.W.A., West Coast rap, based primarily in Los Angeles, became a mainstream success. For the first time, New York was not the only city on the hip hop map. The two were rivals in many ways, fueling the East Coast-West Coast rivalry. In the late 1990s, many cities saw their own scenes find popular acclaim. These included Miami, Atlanta, St. Louis and New Orleans.
Baltimore’s biggest claim to fame in rap is its status as the boyhood home of the legendary Tupac Shakur, who attended the Baltimore School for the Arts. Also from Baltimore was the 1990s R&B group Dru Hill, and its lead singer Sisqo, who in 2000 had a few hits, most notably with the “Thong Song.” Baltimore is also the hometown of Mario, who is best known for his hit single “Let Me Love You.” There is also a music scene in Baltimore that is often referred to as Baltimore Club. While not traditional hip hop, it incorporates hip hop as well as house and drum and bass influences. It is also the birthplace of DMX, who in turn grew up in Yonkers, New York.
Boston is the hometown of Guru of the East Coast trailblazers, GangStarr, which represent New York City. Other Boston hip hop acts include Mr. Lif and Akrobatik of the Perceptionists, Benzino, New Jack Swing legend Bobby Brown, East Coast Family.
The African American neighborhoods of Newark and East Orange produced many rappers in the early-to-mid 1990s East Coast boom, the most famous of which were Redman, Naughty by Nature, and The Fugees. Other Jersey artists include Queen Latifah, Chino XL, Faith Evans, Apache, Artifacts, Joe Budden, and Lords of the Underground. Sugarhill Gang, who achieved fame for their early rap hit “Rapper’s Delight” in 1979, were from New York City, but their recordings were based in Englewood, New Jersey, as was their label, Sugar Hill Records.
New York City (specifically the West and South Bronx) was the birthplace of hip hop, in 1973 and all of its prime early movers, such as DJ Kool Herc, Grandmaster Flash, Caz and Afrika Bambaataa grew up and began performing there. See [1] Where it all began.
The city also produced all of the style’s early stars, like LL Cool J (from Queens) and Kurtis Blow. Other influential artists from the New York area and this era that have endured through the ages are KRS-One (from the Bronx), Public Enemy (from Long Island), Run-DMC (from Queens), and the Beastie Boys (from Brooklyn). By the beginning of the 1990s, however, the West Coast had eclipsed New York in popular success. This began a rivalry which culminated in the deaths of New York MC Notorious B.I.G. and West Coast rapper 2Pac, who was born in East Harlem. In 1993 the pioneering Wu-Tang Clan from Staten Island emerged, and have continued to be influential to independent street hip hop. By the middle of the decade, Puff Daddy (from Manhattan), the Notorious BIG and Mase reinvigorated East Coast rap to popular acclaim with a very pop-oriented approach to hip hop. The East Coast also bred several hard-edged stars during this time, like the legendary Big Pun, Busta Rhymes, DMX (from Yonkers) and Nas, culminating in the breakthrough of Brooklyn’s Jay-Z late in the decade. New York also produced a vital underground in the Native Tongues Posse, led by alternative hip hop crew A Tribe Called Quest, which also included Long Island’s De La Soul. 50 Cent & his G-Unit clique, Ja Rule, Fat Joe, Jadakiss, and Fabolous are a few successful rappers/groups of the 21st century from the New York area.
Philadelphia has produced a few of the most hard-edged rappers, including Schoolly D and Kurupt. DJ Jazzy Jeff and the Fresh Prince were one of the first to put Philly on the map. The Roots have also been followed by underground fans since the mid-1990s. It also famous for early 2000s mainstream acts such as Beanie Sigel, Eve, Freeway, State Property, Cassidy and Cyssero. The Philadelphia underground scene consists of Reef the Lost Cauze, Chief Kamachi, Hezekiah, Random (hip-hop artist), iCon the Mic King, The Last Emperor, and more. The Philadelphia hip hop scene has a unique style and slang; the term “jawn” is used as a universal interjection.
Pittsburgh has been renowned for their producers. Notables are Mel-Man and Sam Sneed. More recent acts include ex-aftermath artist Joe Beast, The Govament, Charon Don, Pittsburgh Slim, and Wiz Khalifa. Pittsburgh has not had any real big major artists surface, but it seems like a new group of artists are beginning to emerge from Pittsburgh.
Virginia has long been a state of East Coast Hip-Hop innovation since the early 90’s with Teddy Riley’s (originally from New York) Future Records; based in Virginia Beach and its Wreckx-N-Effect duo with hits like “Rump Shaker”. Which later gave rise to other performers and producers like Pharrell Williams and Chad Hugo as The Neptunes. He also spear-headed the Hip-Hop sub-genre of New Jack Swing.
The scene has also produced numerous other well sought after producers such as Timbaland, Bink!, Nottz, and Rich Harrison. Other notable acts include Skillz and The Superfriendz, DMP, Clipse who shot to mainstream status with their Neptunes produced hit “Grindin”, Yung Nem from Hampton Roads who is a member of the Bronx and Virginia group Young Warriorz, Wu Syndicate (a short lived expansion of the Wu-Tang Clan), also NBA player Allen Iverson as Jewelz and his controversial unreleased album, and Missy Elliott.
Virginia has a well defined underground scene with epicenters around the cities of Hampton Roads (Chesapeake, Norfolk and Virginia Beach), Richmond, VA, Roanoke, and the Northern Virginia suburbs of Washington, D.C.
Washington, D.C. is best known for its distinct dance music called go go, which arose as a fusion of funk with rapping. Chuck Brown is the best-known performer of go go.
Washington D.C. has always been a hotbed for R&B talent. Artists like Ginuwine, Mýa, and Amerie are all from the area. DC is now looking to take their place in the hip-hop industry. Dana Mozie Jr. is a notable pioneer in helping to establish Washington’s Hip Hop scene on a local and national level. Dana plays drums for Shaw and Cardozo marching bands. He spun records at Douglas Records formerly in downtown DC on F Street NW. He formed a rap group called the Quickly Brothers and Spring Break. They performed around the DC Hip Hop underground scene, often winning rap contest. The first song he produced “Man With The Plan” was signed by DC’s Go Go Band Experience Unlimited’s Ivan Goff. It sold well and got limited airplay on DC’s underground rap radio. At 15, Dana teamed with Cathy Hughes and Alfred Liggins, CEO’s Founders of Radio One Inc. to help lauch America’s only Black owned radio dynasty. At 16 he paved the way for youth as radio DJ’s when he became the youngest person on the air in America to host a major market(D.C) radio show in a major market time slot (3-7pm). Later as a Howard Freshman, Puffy hired Dana to produce his first act- 2 Kings and Cipher(Amen Ra/D-Dot). While at Howard, Dana worked as a College Rep for G-Street Express/CD Enterprise (Concert Promoters). He pitched them about RUN DMC. It resulted in G Street producing the RUN DMC Rasing Hell Tour with 26 weeks of sold out shows. Russell Simmons hired him to promote Slick Rick and Public Enemy Lp’s in the mid-atlantic region, they both went platinum. Bad Boy’s Producer Ron Lawrence(Biggie, Diddy, Luther Vandross) introduced Dana to Salt N Pepa. They asked Dana to relocate to NYC and join their team of Producers called Hurby luv Bug & The Invincibles. He went by the name of Dana Dum. They went on to sale 25 Million records and earn a Grammy! Dana also produced sports music for Knicks (Go NY Go), Wizards (You Da Man), and many others for Jordan/Nulls, TNT, NFL, MLB. He returned back to Howard University to complete his degree in Political Science and Communications in graduated in 2007. During that time, he became the first Hip Hop Producer to be called by a US President to volunteer by serving the American People at the White House. Dana “Dum” Mozie
The first Chicago hip hop record was the Groovy Ghost Show by Casper, released in 1980 and a distinctively Chicago sound began by 1982, with Caution and Plee Fresh. Chicago also saw the development of house music (a form of electronic dance music, Chicago House) in the early 1980s and this soon mixed with hip hop and began featuring rappers; this is called hip house, and gained some national popularity in the late 1980s and early 1990s. The Chicago underground scene produced several major acts such as Common, Da Brat, Do or Die, and Crucial Conflict.
Despite having the second-largest African American population in the nation (after New York, in numbers), only now with Kanye West, Twista,Shawnna, Lupe Fiasco, Common, Yung Berg, Rhymefest, GLC and Boo and Gotti, is the Windy City beginning to receive mainstream attention.
Chicago rappers, Twista and Rebel XD, were Guinness Book record holders in the category “Fastest Rap MC” (though of the pair, only Twista has released a CD).
One of the most influential hip hop groups from Ohio and in Midwest hip hop in general have been Bone Thugs-N-Harmony from Cleveland. Famous rappers Ray Cash and Bow Wow and also hail from Cleveland & Columbus. Also Cincinnati hip hop producer and rapper Hi-Tek has become a well respected player in the hip industry. He is best know as the producer and other half of Talib Kweli. Hi-Tek has released a collaboration album with Talib Kweli and two solo albums. His third solo album is due to be released in November 2007. Hi-Tek has produced songs for 50cent, G-Unit, The Game, Talib Kweli, Mos Def and Common.
Detroit’s earliest forays into recorded hip hop were in the field of ghettotech, a fusion of techno music and Miami bass. Later, nationally-renowned performers such as Insane Clown Posse, Kid Rock, Eminem, D12, Trick Trick, Obie Trice, Slum Village, J Dilla, King Gordy, Esham, Twiztid, Papa Graz and Royce Da 5′9″ made Detroit an industry center.
St. Louis, Missouri has produced a few prominent rappers, of which Nelly & the St. Lunatics, Chingy, Jibbs, Huey and J-Kwon are the best known.
Tech N9ne is known to be a reasonably fast rapper, also known for his ability to speed-rap, a skill mostly dominant in the American Midwest, and due to his geographic location as well as his fast rapping shares many of the same fans as Twista and Bone Thugs-N-Harmony. Tech, however, is also known to compose a rather slower flow, with a yelling, almost chanting delivery. He has been both praised and stigmatized for his dark, almost psychotic and sometimes suicidal subject matter, which has kept Tech N9ne out of the mainstream rap scene.
Rusty Ps has taken home the most awards, local and statewide, for Rap/HipHop in Wisconsin/Milwaukee history. Other noteworthy Milwaukee hip hop acts are Speech (rapper) of the hip hop group, Aarrested Development, Coo Coo Cal, Baby Drew, Derrick Note, The Country Boy Clique, The United Nations, Taste Emcees, Def Harmonic, Mayhem Entertainment, Rico Love, Malicious, Black Elephant and Genesis.
Although strictly underground, there existed a sub-terraean hip hop culture in the Twin Cities starting as early as 1981. Similar to the development of hip hop in the South Bronx, Twin Cities rap started as humble parties with a DJ and an emcee.[1]. A DJ named Travitron was comparable to the DJ Kool Herc of the Twin Cities area. Shows took place at many venues, most notoriously Club Hip Hop on Selby Avenue in St. Paul. Other artists and DJ’s include Disco T, Verb X, Brother Jules, Delite, and Truth Maze. The first real album to come out of the Twin Cities was called The I.R.M. Crew, released in 1985. Graffiti and b-boy crews were also existent in the city. This is the world that the current movers of Twin Cities Hip Hop were brought up in.
The main movers of Twin Cities Hip Hop came together to form the group Headshots, a precursor to the Rhymesayers Entertainment label. Members of this group included Slug, I Self Devine, Micranots, Musab, Siddiq, and Ant. Slug was one of the main artists to move into the foreground, setting the tone for the style of music to follow in the years to come. Many new artists, such as Brother Ali, are beginning to gain national attention.
In the late 1990s, a wave of Atlanta-based performers like Goodie Mob and Outkast gained some national renown. By the early 2000s, Outkast had become critical darlings and the Southern rap-inspired Dirty South style was a major component of popular hip hop. Atlanta has popularized Crunk mostly because of rappers like Lil’ Jon. Atlanta has also popularized snap music, which has become its own subgenre of hip hop, and other dances including the Bankhead Bounce, the A-town Stomp, the Laffy Taffy, Walkin’ It Out and the Roosevelt. Atlanta is currently the most productive hip hop city with the biggest names being Outkast, Bubba Sparxxx, Ludacris, Lil Jon, Young Jeezy, Ying Yang Twins, Bonecrusher, Field Mob, Dem Franchise Boyz, Usher,Young Bloodz, D4L, Crime Mob, Yung Joc,Killer Mike, Jermaine Dupri and T.I. New and other artists include; Bobby Creekwater, Lil Scrappy, Stat Quo and many others.
Houston first came on to the national scene in the late 1980s with the violent and disturbing stories told by the Geto Boys, with member Scarface going successfully solo in the mid 90s.
In the early 2000s Houston, also known as the “3rd coast”, exploded into the forefront of Southern hip hop, with commercially successful acts like Mike Jones, Slim Thug, Lil Flip, Chamillionaire and Paul Wall. UGK now calls Houston home although they are originally from Port Aruther, TX. UGK which consits of Bun B and Pimp C are considered to be Texas underground legends. They have been an enormously influential entity on southern hip hop since the 1980s.
Houston has produced hip hop artists such as Mike Jones, Slim Thug, Lil Flip, Chamillionaire, Paul Wall, Bun B and Pimp C of UGK,Brooke Valentine, Trae, Z-Ro, Big Hawk, Big Pokey, Chingo Bling, Devin the Dude, DJ Screw, Lil’ Keke, Michael 5000 Watts, Scarface, Rob G and the legendary Geto Boys.
Dallas, Tx has also begun to emerge as force with artists such as Big Tuck, Tum Tum, Play N Skillz, Mr. Pookie and Mr Lucci.
Memphis is credited as the original source of the fly sound that spread across the South in the 2000s, with 1990s groups like Three 6 Mafia and 8Ball & MJG.
Other hip hop artists from Memphis include Yo Gotti, V-Slash, [[RISKY D}} & DJ VENTRA,
Young Buck, Allstar Cashville Prince and Haystak are so far the only known rappers from another major city in Tennessee, coming from Nashville.
TAKE NOTE TO PAGE: http://en.wikipedia.org/wiki/List_of_hip_hop_musicians_from_Memphis,_Tennessee
Miami is best-known for a bass-heavy form of hip hop called Miami bass. It had a brief brush with national fame in the late 1980s, aided by a censorship controversy surrounding the crew 2 Live Crew. Vanilla Ice, Trick Daddy and Trina are other well-known rappers, as well as Latino rapper Pitbull. Jin was also from Miami, but moved to New York City. Hip-Hop producers Cool and Dre also hail from Miami. 2006 has seen the reemergence of Miami’s hip hop scene with the break out success of Rick Ross, new CD’s from Luke, DJ Khaled, Plies, Trick Daddy & Pitbull and also newcomers Dirtbag, DeLa & Garcia. Singer T-Pain is from Florida’s capital city of Tallahassee. Tampa is home to the production team JUSTICE LEAGUE who won a Grammy in 2007 for working with Mary J. Blige, and are rumored to be teaming with The BASIQS, the rap duo reported by Orange Magazine as “The next big thing” to come out of Florida.
Hip Hop production dueo The Runners hail from Orlando.
Before Atlanta’s takeover around 2001, the most popular scene in the South was New Orleans, led by Master P’s No Limit Records featuring his 504 Boyz, Lil’ Romeo, Silkk the Shocker, Mystikal, and C-Murder. Cash Money Records and Cash Money Millionaires, consisting of the Big Tymers, who are Baby and Mannie Fresh, the Hot Boyz, which were Lil Wayne, Juvenile, B.G. and Turk, had a 1999 hit, “Bling Bling”, which created a national catchphrase called Bling. They formed in 1991 by Baby and his brother Slim and made many hit records throughout the late 90s and 2000s. The future of New Orleans rap is in jeopardy due to the aftermath of Hurricane Katrina, which has directly affected many local rap personalities.
David Banner, from Jackson, Mississippi, is the only known rapper to come out of Mississippi, with recent hits such as “Like a Pimp” and “Play”.
Litefoot, the most prominent Native American rapper, is based in Tulsa, and operates the record label Red Vinyl.
In the early 1980s, recorded hip hop from Los Angeles began. There were two styles. One was hardcore hip hop vocalists, like Ice-T, King Tee and Toddy Tee, while the others performed a kind of electronic dance music called electro hop; these included the Arabian Prince, Egyptian Lover, and World Class Wreckin’ Cru.
Though there was no major acclaim until the very end of the 1980s, West Coast artists did grown in stature during the middle of the decade. These hits included Ice-T’s “6′n da Mornin’” (1986), one of the first gangsta rap songs, and Toddy Lee’s “Batter.” Ice-T’s Rhyme Pays (1987) brought critical acclaim for the West Coast. With the success of N.W.A and N.W.A. and the Posse soon after, West Coast hip hop moved quickly towards the mainstream. N.W.A.’s Straight Outta Compton completed the transition of West Coast hip hop to the forefront of American popular hip hop, but it was 1992’s The Chronic by Dr. Dre that established the style’s permanence. Death Row Records was the prominent West Coast record label. Founded by Suge Knight the label included Dr. Dre, Snoop Dogg and 2Pac. Another notable west coast group from the time was Latin group Cypress Hill who, like Ice-T, also dabbled in the alternative rock scene and gangsta rap. Other prominent Los Angeles artists are DJ Quik, Mack 10, Ras Kass and Ice Cube.
The Chronic was the beginning of what was known as G-funk, and included such stars as Snoop Doggy Dogg and Warren G. Its release came at a pivotal period, simultaneous with the release of Nirvana’s Nevermind, and American music went through a watershed moment. There was a backlash against the late 1980s heavy metal bands, which were seen as cheap and formulaic. Nirvana and Dr. Dre shared an anti-establishment attitude which resonated with the country’s youth.
Since Eazy-E and Tupac died, West Coast rap has died down a bit with the exceptions of elder statesmen Dr. Dre and Snoop Dogg as well as Xzibit. Recently the West Coast has made a comeback with Compton rapper The Game.
Though technically a part of L.A.’s hip hop scence, its huge population and successful hip-hop scene has led to some seeing Long Beach in its own light. It is the home of stars such as Snoop Dogg, Warren G, Nate Dogg, Tha Dogg Pound and Tha Eastsidaz who have all had spans of major.
Rapper/Actor Nick Cannon is from San Diego, with singles like, “Gigolo”, “Your Pops Don’t Like Me”, and “Dime Piece”, he has enjoyed moderate success with music before moving on as an entertainer. Mexican rapper Lil Rob is another rapper from San Diego to become mainstream, with his recent hits “Summer Nights” and “Bring Out the Freak in You”. Jayo Felony is a rap veteran who as been rapping gangsta rap since the late 90’s. Other rappers include Mitchy Slick.