title: Will It Go Round in Circles

abstract: "Will It Go Round in Circles" is a song by American soul musician Billy Preston from his 1972 album Music Is My Life. It was written by Preston and Bruce Fisher and released as a single in March 1973. The record topped the Billboard Hot 100 and sold over a million copies. This was the first of two number one hits for Preston as a solo performer, the other being "Nothing from Nothing", although he is also credited on the Beatles' 1969 hit "Get Back".

text:
# Will It Go Round in Circles

"**Will It Go Round in Circles**" is a song by American soul musician Billy Preston from his 1972 album *Music Is My Life*. It was written by Preston and Bruce Fisher and released as a single in March 1973. The record topped the *Billboard* Hot 100 and sold over a million copies. This was the first of two number one hits for Preston as a solo performer, the other being "Nothing from Nothing", although he is also credited on the Beatles' 1969 hit "Get Back".

## Personnel

Source:

* Billy Preston – piano, vocals
* George Johnson – guitar
* Louis Johnson – bass guitar
* Hubert Heard – organ, melodica
* Manuel Kellough – drums
* Tom Scott – saxophone
* Jim Horn – saxophone
* George Bohanon – trombone
* Buck Monari – trumpet
* Paul Hubinon – trumpet

## Chart performance

## Certifications

| Region | Certification | Certified units/sales |
| --- | --- | --- |
| United States (RIAA) | Gold | 1,000,000^ |
| ^ Shipments figures based on certification alone.
 | | |

## Covers

The song was covered by Donny Osmond on his 2009 album *Love Songs Of The '70s*. Phish did two renditions in 1999, including on 10 September at The Gorge Amphitheatre. Orlando Brown recorded it for the 2006 soundtrack album *That's So Raven Too!*, for his Disney Channel series *That's So Raven*; his version was also featured in the Disney Channel original film *Wendy Wu: Homecoming Warrior*. The song was performed in Hebrew by Yehonatan Geffen and Dani Litani in their 1974 live show *That's All for Now - For Now That's All*.

## InfoBox

| "Will It Go Round in Circles" | |
| --- | --- |
| Side A of the US single | |
| Single by Billy Preston | |
| from the album  *Music Is My Life* | |
| B-side | "Blackbird" |
| Released | March 1973 |
| Genre | Funk, soul |
| Length | 3:42 (single version)
4:28 (album version) |
| Label | A&M |
| Songwriter(s) | Billy Preston, Bruce Fisher |
| Producer(s) | Billy Preston |
| Billy Preston singles chronology | |
| "Slaughter"
(1972) "**Will It Go Round in Circles**"
(1973) "Space Race"
(1974) | |
|  | |
| Official audio | |
| "Will It Go Round In Circles" on YouTube | |
|  | |


title: Mona Nicoară

abstract: Mona Nicoară is a Romanian film director and producer. She is best known for her work on the documentary films Our School and The Distance Between Me and Me.

text:
# Mona Nicoară

**Mona Nicoară** is a Romanian film director and producer. She is best known for her work on the documentary films *Our School* and *The Distance Between Me and Me*.

## Life and career

Mona was born in Ineu, Romania and is currently based in New York City. She graduated from the University of Bucharest and Columbia University in New York. In 2001, she started her career as an associate producer for Children Underground. Her directorial debut documentary film *Our School* premiered in the United States at the 2011 Tribeca Film Festival and won the Grand Jury Prize for the Best US Feature at SilverDocs. Her second documentary film *The Distance Between Me and Me* is about Romanian poet Nina Cassian. She has taught writing and literature at Columbia University and the Cooper Union and film at NYU Tisch and Rutgers University.

## Filmography

| Year | Film | Director | Producer | Notes |
| --- | --- | --- | --- | --- |
|
| 2011 | *Our School* |  |  | Documentary |
| 2018 | *The Distance Between Me and Me* |  |  | Documentary |
|
|

## InfoBox

| Mona Nicoară | |
| --- | --- |
|  | |
| Born | 21 May<br>Ineu, Romania |
| Occupation(s) | Director and Producer |
| Years active | 2011–present |


title: William Carver (burgess)

abstract: William Carver, a British merchant, mariner, planter and politician who represented Lower Norfolk County in the House of Burgesses from 1665 through 1669, is best known for his participation in Bacon's Rebellion, which led to his execution in 1676.

text:
# William Carver (burgess)

**William Carver** (before 1640   before September 7, 1676), a British merchant, mariner, planter and politician who represented Lower Norfolk County in the House of Burgesses from 1665 through 1669, is best known for his participation in Bacon's Rebellion, which led to his execution in 1676.

## Early and family life

Probably born in Bristol, England. By the mid-1650s Carver owned a ship that engaged in trade between Bristol and London in England, and its colonies.

He married a woman named Elizabeth and had a 10-year-old son in 1659. His wife had died by 1667 since property was transferred to that now 18 year old young man without her signature. Carver probably remarried, to a woman whose name was unrecorded, but supposedly died of grief after hearing of his execution, as described below.

## Career

On June 15, 1659, Carver patented 500 acres of land on the South Branch of the Elizabeth River in Lower Norfolk County in the Hampton Roads area. In 1663 he renewed that patent (which also required some development of the acreage) and acquired an additional 890 acres nearby based on the people whose immigration he funded. In 1667 Carver named his 18-year-old son as manager of that property.

Meanwhile, in 1663, Carver received an appointment as a local justice of the peace (which involved collective administrative duties as well as judicial responsibilities in that era).

Two years later, Lower Norfolk voters elected Carver one of the county's representatives in the House of Burgesses, and he continued in that position until 1669 (although interim elections may not have been held during the Long Assembly and he may have been removed because of legal problems discussed below). Carver served on the Committee for Propositions, and when the Second Anglo-Dutch War ended in 1667, he was appointed to a committee to ask Governor Sir William Berkeley and his Council whether enough money remained to erect a fort to protect the Hampton Roads area.

Carver also served as a tax collector for Lower Norfolk County in 1669 and 1672, and as a road overseer in 1669 and 1671. He also served as the county sheriff in 1670.

At least one biographer reading accounts of Carver's fondness for "the juice of the grape" speculates that Carver was alcoholic, which led to a decline in his social responsibilities. On July 25, 1672, Carver stabbed Thomas Gilbert to death during a dinner at which they sat next to another. Witnesses described Carver's behavior as irrational, but he was acquitted of murder when brought to trial, possibly because he could not remember anything about the incident. However, after Carver returned from the Jamestown court session, he was again arrested. Furthermore, during another legal dispute, Carver accused his adversary's wife of practicing witchcraft.

In June 1676, Carver again traveled to Jamestown while a newly-called assembly was in session. He requested a military commission from Nathaniel Bacon, who had received several commissions to lead a campaign against Native Americans who had raided settlements recently. Instead, Bacon appointed Carver and fellow merchant (and recent arrival) Giles Bland as commanders of a naval force. Governor Sir William Berkeley had retreated with his most loyal followers to the Eastern Shore of Virginia, specifically "Arlington", a plantation owned by Councillor John Custis II. Bacon's men commandeered ships near Jamestown (including the 265 ton *Rebecca* captained by Thomas Larimore), and Carver, Bland and several hundred men were to kidnap Berkeley. However, after arriving in Northampton County near Arlington, Carver accepted Berkeley's invitation to dine with him on September 1. The governor may have plied Carver with wine before Carver returned to his ship. The next day, the governor's supporters boarded the *Rebecca* and seized it, Carver and Bland, and its crew.

## Death and legacy

Carver and three others were convicted of treason at a court martial and hanged, probably in early September 1676, and the location of their burials is not known. In November, Carver's property was ordered confiscated and sold, and Carver was among those specifically exempted from the governor's pardon declaration issued that winter. However, Carver's son was later able to recover some of the lands that his father had patented, and in 1681 sold them. Decades later, William Craford founded a town on part of that land, which became Portsmouth, Virginia.

## InfoBox

| William Carver | |
| --- | --- |
|  | |
| Member of the House of Burgesses for Lower Norfolk County | |
| **In office**
1665-1669 | |
| Preceded by | John Knowles |
| Succeeded by | Lemuel Mason |
|  | |
| Personal details | |
| Born | England |
| Died | early September 1676
Northampton County, Colony of Virginia |
| Resting place | unknown |
| Spouse | Elizabeth |
|  | |


title: Moments of Mindfulness

abstract: Moments of Mindfulness (originally published on October 5, 2005, by Parallax Press) is a non-fiction, self-help book by Thích Nhất Hạnh. It is like a journal for Meditation.

text:
# Moments of Mindfulness

**Moments of Mindfulness** (originally published on October 5, 2005, by Parallax Press) is a non-fiction, self-help book by Thích Nhất Hạnh. It is like a journal for Meditation.

## Overview

Moments of Mindfulness is intended to be a personal notebook.

This book has teachings of Thích Nhất Hạnh, the Buddhist monk and basic meditation instructions. It has two-colour illustrations by Jenifer Kent. The set contains 40 cards to provide inspiration and work as starting points for meditation and reveal spiritual answers for daily problems. It also has blank pages for personal reflections.

1. Thich Nhat Hanh (5 November 2013). *Moments of Mindfulness: Daily Inspiration*. Parallax Press. ISBN 978-1-937006-46-4.
2. "Moments of Mindfulness". *www.goodreads.com*. Retrieved 2021-01-20.
3. "Moments of Mindfulness". *www.goodreads.com*. Retrieved 2021-01-20.
4. "Meditation Books". *Positive Psychology*. 28 August 2019. Retrieved 20 January 2021.
5. "קורס מיינדפולנס". Tuesday, 16 February 2021

## InfoBox

Moments of Mindfulness
|  | |
| --- | --- |
| Author | Thích Nhất Hạnh |
| Genre | self-help |
| Published | 2005 |
| Publisher | Parallax Press |
| Publication date | October 5, 2005 |
| Pages | 160 |
| ISBN | 978-1-937006-46-4 |


title: Moments of Love

abstract: Moments of Love is a 2006 Philippine romance film directed by Mark Reyes from a screenplay written by Gina Marissa Tagasa, based on an original story by the film's producer, Annette Gozon-Abrogar. The film stars Dingdong Dantes, Iza Calzado and Karylle.

text:
# Moments of Love

***Moments of Love*** is a 2006 Philippine romance film directed by Mark Reyes from a screenplay written by Gina Marissa Tagasa, based on an original story by the film's producer, Annette Gozon-Abrogar. The film stars Dingdong Dantes, Iza Calzado and Karylle.

## Plot

Marco (Dingdong), a photographer, along with his sister (Isabel) and their cousin Duke (Jojo) are on a vacation in an old sleepy town. While strolling around town a mysterious woman is hit by a van while trying to save Marco's life. He visits the woman and is drawn to her granddaughter Lianne (Karylle). Marco and Lianne start to develop a relationship but recent events cause Marco to be withdrawn. He suddenly finds himself haunted by a deep feeling of loneliness.

His yearning leads to a telephone conversation with Divina (Iza), the daughter of a haciendero. They find solace in each other. Divina lives in the past (1957) while Marco lives in the present (2006).

## Cast

* Dingdong Dantes as **Marco** \- A photographer from 2006 who is on vacation with his sister and cousin while his parents are in London. He gets to know Divina through the mysterious phone in his room, which is Divina's old room.
* Iza Calzado as **Divina Buenacer** \- The daughter of a haciendero from the 1950s. She loves to paint. She gets to know Marco through the mysterious phone in her room.
* Karylle as **Lianne** \- Rosa Santos' (Later revealed to be Divina) young granddaughter. Her grandmother's accident leads her to meet Marco.
* Gloria Romero as **Rosa Santos/old Divina** \- Lianne's grandmother who is actually Divina. She is renamed Rosa Santos by her kind husband who is the captain of the ship that sunk when Divina tried to go to Manila.
* Chinggoy Alonzo as **Señor Andres Miguel Buenacer** \- Divina's father who decides to betroth his daughter to Juancho, who is Divina's childhood friend, but later backs out on the agreement after he realizes that his daughter is unhappy.
* Ces Quesada as **Señora Amelia Buenacer** \- Divina's mother who thinks that her daughter should marry for love.
* Ian Veneracion as **Captain Ricardo Santos** \- Divina's kind husband, whom she meets after he saves her from their ship (which was bound for Manila) sunk. He is also the one who renamed the amnesia stricken Divina, Rosa Santos.
* Paolo Contis as **Juancho** \- Divina's fiancée and childhood friend. He does everything in his power to try to make Divina his.
* Isabel Oli as **Ava** \- Marco's sister who becomes concerned when her brother suddenly acts strangely. She falls in love with Kiko, Ceding's grandson.
* Dion Ignacio as **Kiko** \- Ceding's grandson, who helps his grandmother take care of the Buenacer villa. He falls in love with Ava, Marco's sister.
* Sandy Andolong as **Elma**
* Jojo Alejar as **Duke** \- Marco and Ava's witty cousin. Once a famous actor and director, he is trying to make a comeback to save his failing career.
* Ama Quiambao as **old Ceding** \- Kiko's grandmother who is the caretaker of the Buenacer mansion.
* Valerie Concepcion as **young Ceding** \- Divina's best friend and confidante, she is the maid of the Buenacer's and remains loyal to them even in 2006, during which she converted the villa into a bed and breakfast for travelers as a means to take care of the villa.

## Soundtrack

| Moments of Love | |
| --- | --- |
| Soundtrack album by Various artists | |
| Released | February 14, 2006 |
| Recorded | 2006 |
| Genre | Pop |
| Label | GMA Records |

Accompanying the movie is its soundtrack, released on February 14, 2006, on GMA Records.

### Track listing

All music is composed by Nonong Buencamino

| No. | Title | Performer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Moments Of Love Suite" | Nonong Buencamino | 4:04 |
| 2. | "Moments Of Love" (Orchestra) | Jennylyn Mercado, Janno Gibbs | 4:18 |
| 3. | "Sana'y Maghintay Ang Walang Hanggan" | Karylle | 3:56 |
| 4. | "Moments Of Love" (Vocal) | Brenan Espartinez, Charmaine Piamonte, Michael Garcia | 5:06 |
| 5. | "Sana'y Maghintay Ang Walang Hanggan" | Alvin Nunez | 3:56 |
| 6. | "Moments Of Love" (New Age) | Agatha Obar | 4:36 |
| 7. | "Marco" | Nonong Buencamino | 3:53 |
| 8. | "Give Me One More Chance" | Sipol | 3:03 |
| 9. | "Moments Of Love" (Instrumental) | Nonong Buencamino | 3:51 |

## Awards and nominations

* Nominated and awarded a Certificate of Excellence in the 2006 New York Festival Film and Video Awards.

## InfoBox

| Moments of Love | |
| --- | --- |
| A classic tale of romance between two individuals living in a different time | |
| Directed by | Mark A. Reyes |
| Screenplay by | Gina Marissa Tagasa |
| Story by | Annette Gozon-Abrogar |
| Produced by | Jose Mari Abacan
Annette Gozon-Abrogar |
| Starring |  |
| Cinematography | Jay Linao |
| Edited by | Marya Ignacio |
| Music by | Nonong Buencamino |
| Production
company | GMA Films |
| Distributed by | GMA Films |
| Release date | * March 29, 2006 (2006-03-29) |
| Running time | 104 minutes |
| Country | Philippines |
| Language | Filipino |
| Box office | ₱100 million |


title: Mohas Hanuman Mandir

abstract: Mohas Hanuman Mandir is a Hanuman temple located in Mohas village, which is 35 km away from Katni, Madhya Pradesh, India. Mohas village's people believe that by eating the herbs found in the temple, broken bones get healed by the blessings of the God.

text:
# Mohas Hanuman Mandir

**Mohas Hanuman Mandir** is a Hanuman temple located in Mohas village, which is 35 km away from Katni, Madhya Pradesh, India.

Mohas village's people believe that by eating the herbs found in the temple, broken bones get healed by the blessings of the God.

## History

Mohas village's people believe that Adhari Lal Patel was the father of the priest of the temple, Sarman Patel, was suggested by a sage in the forest to do good to the people by providing them some herbs. So, he started giving herbs to people. The place where he gave herbs later developed to a temple.

## InfoBox

| Mohas Hanuman Mandir | |
| --- | --- |
| Religion | |
| Affiliation | Hinduism |
| District | Katni |
| Deity | Lord Hanuman |
| Location | |
| Location | Mohas Village |
| State | Madhya Pradesh |
| Country | India |


title: Molecular Biology and Evolution

abstract: Molecular Biology and Evolution (MBE) is a monthly peer-reviewed scientific journal published by Oxford University Press on behalf of the Society for Molecular Biology and Evolution. It publishes work in the intersection of molecular biology and evolutionary biology. The founding editors were Walter Fitch and Masatoshi Nei; the present editors-in-chief are Brandon Gaut and Claudia Russo.

text:
# Molecular Biology and Evolution

***Molecular Biology and Evolution*** (***MBE***) is a monthly peer-reviewed scientific journal published by Oxford University Press on behalf of the Society for Molecular Biology and Evolution. It publishes work in the intersection of molecular biology and evolutionary biology. The founding editors were Walter Fitch and Masatoshi Nei; the present editors-in-chief are Brandon Gaut and Claudia Russo.

## Subject matter

Evolution is the most fundamental of biological processes. MBE publishes patterns and processes that impact the evolution of life at molecular levels, across a full breadth of taxonomy, genomic organization, and functions, forms, and phenotypes. MBE's Methods, Resource, and Protocol sections include research tools that enable discoveries, while the Reviews and Perspectives synthesize different aspects of the evolutionary thought.

## Editorial process

All MBE manuscripts are peer-reviewed. Decisions to publish are made by the Board of Editors, led by the Editors-in-Chief (EiCs) that oversee processing and set the direction of the journal. The board also includes Associate Editors (AEs) who solicit peer reviews and make an initial recommendation and the Senior Editors (SEs) who make the final recommendation that lead to the decision for each manuscript.

## Management

MBE is entirely owned by The Society for Molecular Biology and Evolution (SMBE). The SMBE Council appoints the Editor-in-Chief. The Journal is published by Oxford University Press. MBE has transitioned to full Open Access, with all papers free to access from 1 January 2021. All articles accepted for publication from 1 August 2020 have been published as Open Access.

## Impact

According to the *Journal Citation Reports*, the journal has a 2017 Impact Factor of 10.217, a 2018 Impact Factor of 14.797, a 2019 Impact Factor of 11.062, a 2022 Impact Factor of 10.700 and a 2023 Impact Factor of 11.00. In 2023, MBE was ranked 8th out of the 172 journals in the Genetics & Heredity category, 16th out of 285 journals within the Biochemistry & Molecular Biology category and 4th out of 54 in the Evolutionary Biology category.

1. Evolution, The Society for Molecular Biology &. "Molecular Biology and Evolution". *smbe.org*. Retrieved 20 October 2017.
2. "About | Molecular Biology and Evolution | Oxford Academic". *academic.oup.com*. Retrieved 20 October 2017.

## InfoBox

*Molecular Biology and Evolution*
|  | |
| --- | --- |
| Discipline | Evolutionary biology |
| Language | English |
| Edited by | Claudia Russo & Brandon Gaut |
| Publication details | |
| History | 1983present |
| Publisher | Oxford University Press on behalf of the Society for Molecular Biology and Evolution |
| Frequency | Monthly |
| Open access | Yes |
| Impact factor | 11.000 (2023) |
| Standard abbreviations
 | |
| ISO 4 | *Mol. Biol. Evol.* |
| Indexing
 | |
| CODEN | MBEVEO |
| ISSN | 0737-4038 (print)
1537-1719 (web)
 |
| LCCN | 90648368 |
| OCLC no. | 439813139 |
| Links | |
|  | |


title: Monardella undulata

abstract: Monardella undulata is an uncommon species of flowering plant in the mint family known by the common name curlyleaf monardella. It is an annual herb and is endemic to the coast of California.

text:
# Monardella undulata

***Monardella undulata*** is an uncommon species of flowering plant in the mint family known by the common name **curlyleaf monardella**. It is an annual herb and is endemic to the coast of California.

## Description

*Monardella undulata* grows as a small shrub up to 2.5 m (8 ft) across. Its branched stems are 10–100 cm (4 in – 3 ft 3 in) long, and vary from sparsely hairy to being covered with dense, matted, woolly hairs giving a white appearance (tomentose). Its leaves may be fleshy and are located in clusters along the stem. The flowers are strongly scented, arranged in terminal spikes, 10–30 mm (0.4–1.2 in) wide, and vary from straw-colored through lavender to rose-purple.

### Subspecies

Subspecies include:

## Distribution and habitat

It is endemic to the coast of California from Sonoma to Santa Barbara Counties, where it is known from several coastal habitat types, including dunes, coastal sage scrub, chaparral, and forest.

## Conservation

The plant is threatened by forces that degrade its coastline habitat, such as sand mining and competing introduced plant species.

This species is an important food plant for the endangered Myrtle's silverspot butterfly (*Speyeria zerene myrtleae*), which eats its nectar.

## InfoBox

| *Monardella undulata* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Lamiales |
| Family: | Lamiaceae |
| Genus: | *Monardella* |
| Species: | ***M. undulata*** |
| Binomial name | |
| ***Monardella undulata***<br>Benth. | |
|


title: William Castlebury Shippen

abstract: William Castlebury Shippen was an American politician and Methodist minister. A native of Ohio born on 21 December 1829, Shippen was a founding member of the Methodist Episcopal Church's Upper Iowa Conference in 1852. He served on the Iowa Senate between 1862 and 1868, as a Republican legislator for District 13, which included his home of Monroe County at the time. He moved to Helena, Montana in 1873, and became known there for chopping down the local hanging tree in 1875. Shippen subsequently moved to Butte for one year, and then to Oregon, where he died in 1911.

text:
# William Castlebury Shippen

**William Castlebury Shippen** (21 December 1829 – 9 or 11 August 1911) was an American politician and Methodist minister.

A native of Ohio born on 21 December 1829, Shippen was a founding member of the Methodist Episcopal Church's Upper Iowa Conference in 1852. He served on the Iowa Senate between 1862 and 1868, as a Republican legislator for District 13, which included his home of Monroe County at the time. He moved to Helena, Montana in 1873, and became known there for chopping down the local hanging tree in 1875. Shippen subsequently moved to Butte for one year, and then to Oregon, where he died in 1911.


title: William H. Fogler

abstract: William H. Fogler, of Rockland, Maine, was a justice of the Maine Supreme Judicial Court from March 25, 1898, to February 18, 1902. Born in Lincolnville, Maine, Folger attended Waterville College in 1859 and 1860, and read law to gain admission to the Waldo Bar in 1862. He was a Colonel in the 19th Maine Volunteers during the American Civil War. He moved to Rockland in 1890, and was appointed as an associate justice on March 25, 1898, serving in that capacity until his death.

text:
# William H. Fogler

**William H. Fogler** (August 10, 1837 – February 18, 1902), of Rockland, Maine, was a justice of the Maine Supreme Judicial Court from March 25, 1898, to February 18, 1902.

Born in Lincolnville, Maine, Folger attended Waterville College (later called Colby College) in 1859 and 1860, and read law to gain admission to the Waldo Bar in 1862. He was a Colonel in the 19th Maine Volunteers during the American Civil War. He moved to Rockland in 1890, and was appointed as an associate justice on March 25, 1898, serving in that capacity until his death.


title: William H. Folly

abstract: Private William H. Folly was an American soldier in the U.S. Army who served with the 8th U.S. Cavalry during the Apache Wars. He was one of thirty-four cavalry troopers who received the Medal of Honor for gallantry in several engagements against the Apache Indians in the Arizona Territory from August to October 1868.

text:
# William H. Folly

Private **William H. Folly** was an American soldier in the U.S. Army who served with the 8th U.S. Cavalry during the Apache Wars. He was one of thirty-four cavalry troopers who received the Medal of Honor for gallantry in several engagements against the Apache Indians in the Arizona Territory from August to October 1868.

## Biography

William H. Folly was born in Bergen County, New Jersey. He later enlisted in the U.S. Army as a private with Company B of the 8th U.S. Cavalry. Folly was assigned to frontier duty and saw action during the Apache Wars during the late-1860s. In the late summer and fall of 1868, Folly was among the 50-60 cavalrymen, mostly from Company B and L, ordered to protect settlers in the Arizona Territory from Apache raiding parties. He and his comrades frequently encountered the Apache during their patrols, often in ambushes or sniper attacks from hidden ravines, and won distinction in several of these battles during this 90-day period. On July 24, 1869, in one of the largest award presentations ever held at the time, Folly was among the thirty-four men in his regiment who received the Medal of Honor for "bravery in scouts and actions against Indians".

## Medal of Honor citation

Rank and organization: Private, Company B, 8th U.S. Cavalry. Place and date: Arizona, August to October 1868. Entered service at:------. Birth: Bergen County, N.J. Date of issue: July 24, 1869.

**Citation:**

> Bravery in scouts and actions against Indians.

## InfoBox

| William H. Folly | |
| --- | --- |
| Born | Bergen County, New Jersey, United States |
| Allegiance | United States of America |
| Service/branch | United States Army |
| Years of service | c. 18681869 |
| Rank | Private |
| Unit | 8th U.S. Cavalry |
| Battles/wars | Indian Wars<br>Apache Wars |
| Awards | Medal of Honor |


title: William H. Forsyth

abstract: William Holmes Forsyth was an American artist.

text:
# William H. Forsyth

**William Holmes Forsyth** was an American artist.

## Early life and education

Forsyth was born in Chicago. He was educated at the Latin School of Chicago and the Hotchkiss School in Lakeville, Connecticut. Later, he attended Princeton University in 1930, where he studied art history under Charles Rufus Morey.

Forsyth married Agnes Mitchell in 1942.

## Career

Forsyth started his career at the Metropolitan Museum of Art in 1933, initially volunteering for the medieval collection.

By 1934, Forsyth had become an assistant, working under curator James Rorimer. Forsyth and Rorimer were instrumental in establishing the Cloisters, facilitated by John D. Rockefeller Jr.'s donation of land and medieval artifacts, including the notable The Unicorn Tapestries.

In 1937, Forsyth was instrumental in acquiring the last two pieces of the Unicorn Tapestries from France, completing the collection. The Cloisters opened the following year. Forsyth's career progressed within the museum, leading to his promotion to curator in 1968.

Forsyth authored several scholarly works, including *The Entombment of Christ: French Sculptures of the 15th and 16th Centuries* and *The Pietà in French Late Gothic Sculpture: Regional Variations*. He retired from the Metropolitan Museum of Art in 1971, at which point he was named emeritus curator.

## Bibliography

* *The Entombment of Christ: French Sculptures of the 15th and 16th Centuries*
* *The Pietà in French Late Gothic Sculpture: Regional Variations*


title: Straight-eight engine

abstract: The straight-eight engine or inline-eight engine is an eight-cylinder internal combustion engine with all eight cylinders mounted in a straight line along the crankcase. The type has been produced in side-valve, IOE, overhead-valve, sleeve-valve, and overhead-cam configurations. A straight-eight can be timed for inherent primary and secondary balance, with no unbalanced primary or secondary forces or moments. However, crankshaft torsional vibration, present to some degree in all engines, is sufficient to require the use of a harmonic damper at the accessory end of the crankshaft. Without such damping, fatigue cracking near the rear main bearing journal may occur, leading to engine failure. Although an inline six-cylinder engine can also be timed for inherent primary and secondary balance, a straight-eight develops more power strokes per revolution and, as a result, will run more smoothly under load than an inline six. Also, due to the even number of power strokes per revolution, a straight-eight does not produce unpleasant odd-order harmonic vibration in the vehicle's driveline at low engine speeds. The smooth running characteristics of the straight-eight made it popular in luxury and racing cars of the past. However, the engine's length demanded the use of a long engine compartment, making the basic design unacceptable in modern vehicles. Also, due to the length of the engine, torsional vibration in both crankshaft and camshaft can adversely affect reliability and performance at high speeds. In particular, a phenomenon referred to as "crankshaft whip," caused by the effects of centrifugal force on the crank throws at high engine rpm, can cause physical contact between the connecting rods and crankcase walls, leading to the engine's destruction. As a result, the design has been displaced almost completely by the shorter V8 engine configuration.

text:
# Straight-eight engine

The **straight-eight engine** or **inline-eight engine** (often abbreviated as **I8**) is an eight-cylinder internal combustion engine with all eight cylinders mounted in a straight line along the crankcase. The type has been produced in side-valve, IOE, overhead-valve, sleeve-valve, and overhead-cam configurations.

A straight-eight can be timed for inherent primary and secondary balance, with no unbalanced primary or secondary forces or moments. However, crankshaft torsional vibration, present to some degree in all engines, is sufficient to require the use of a harmonic damper at the accessory end of the crankshaft. Without such damping, fatigue cracking near the rear main bearing journal may occur, leading to engine failure.

Although an inline six-cylinder engine can also be timed for inherent primary and secondary balance, a straight-eight develops more power strokes per revolution and, as a result, will run more smoothly under load than an inline six. Also, due to the even number of power strokes per revolution, a straight-eight does not produce unpleasant odd-order harmonic vibration in the vehicle's driveline at low engine speeds.

The smooth running characteristics of the straight-eight made it popular in luxury and racing cars of the past. However, the engine's length demanded the use of a long engine compartment, making the basic design unacceptable in modern vehicles. Also, due to the length of the engine, torsional vibration in both crankshaft and camshaft can adversely affect reliability and performance at high speeds. In particular, a phenomenon referred to as "crankshaft whip," caused by the effects of centrifugal force on the crank throws at high engine rpm, can cause physical contact between the connecting rods and crankcase walls, leading to the engine's destruction. As a result, the design has been displaced almost completely by the shorter V8 engine configuration.

## Early period (1903–1918)

The first straight-eight was conceived by Charron, Girardot et Voigt (CGV) in 1903, but never built. Great strides were made during World War I, as Mercedes made straight-eight aircraft engines like the Mercedes D.IV. Advantages of the straight-eight engine for aircraft applications included the aerodynamic efficiency of the long, narrow configuration, and the inherent balance of the engine making counterweights on the crankshaft unnecessary. The disadvantages of crank and camshaft twisting were not considered at this time, since aircraft engines of the time ran at low speeds to keep propeller tip speed below the speed of sound.

Unlike the V8 engine configuration, examples of which were used in De Dion-Bouton, Scripps-Booth, and Cadillac automobiles by 1914, no straight-eight engines were used in production cars before 1920.

## Inter-war period (1919–1941)

### Luxury automobiles

Italy's Isotta Fraschini introduced the first production automobile straight-eight in their Tipo 8 at the Paris Salon in 1919 Leyland Motors introduced their OHC straight-eight powered Leyland Eight luxury car at the International Motor Exhibition at Olympia, London in 1920. The Duesenberg brothers introduced their first production straight-eight in 1921.

Straight-eight engines were used in expensive luxury and performance vehicles until after World War II. Bugattis and Duesenbergs commonly used double overhead cam straight-eight engines. Other notable straight-eight-powered automobiles were built by Daimler, Mercedes-Benz, Isotta Fraschini, Alfa Romeo, Stutz, Stearns-Knight and Packard. One marketing feature of these engines was their impressive length — some of the Duesenberg engines were over 4 ft (1.2 m) long, resulting in the long hoods (bonnets) found on these automobiles.

### Premium automobiles in the United States

In the United States in the 1920s, automobile manufacturers, including Hupmobile (1925), Chandler (1926), Marmon (1927), Gardner (1925), Kissel (1925), Locomobile (1925) and Auburn (1925) began using straight-eight engines in cars targeted at the middle class. Engine manufacturer Lycoming built straight-eight engines for sale to automobile manufacturers, including Gardner, Auburn, Kissel, and Locomobile. Hupmobile built their own engine. Lycoming was purchased by Auburn owner Errett Lobban Cord, who used a Lycoming straight-eight in his front-drive Cord L-29 automobile, and had Lycoming build the straight-eight engine for the Duesenberg Model J, which had been designed by the Duesenberg brothers for the Cord-owned Duesenberg Inc. The automobile manufacturers within the Cord Corporation, comprising Auburn, Cord, and Duesenberg, were shut down in 1937. Lycoming continues to this day as an aircraft engine manufacturer.

In the late 1920s, volume sellers Hudson and Studebaker introduced straight-eight engines for the premium vehicles in their respective lines. They were followed in the early 1930s by Nash (with a dual-ignition unit), REO, and the Buick, Oldsmobile, and Pontiac divisions of General Motors.

The Buick straight-eight was an overhead valve design, while the Oldsmobile straight-8 and Pontiac straight-8 straight-eights were flathead engines. Chevrolet, as an entry-level marque, did not have a straight-eight. Cadillac, the luxury brand of General Motors, stayed with their traditional V8 engines. In order to have engines as smooth as the straight-eights of its competitors, Cadillac introduced the crossplane crankshaft for its V8, and added V12 and V16 engines to the top of its lineup.

Ford never adopted the straight-eight; their entry-level Ford cars used flathead V8 engines until the 1950s while their Lincoln luxury cars used V8 from the 1930s to the 1980s and V12 engines in the 1930s and 1940s. Chrysler used flathead straight-eights in its premium Chrysler cars, including the Imperial luxury model.

### Airships

The British R101 rigid airship was fitted with five Beardmore Tornado Mk I inline eight-cylinder diesel engines. These engines were intended to give an output of 700 bhp (520 kW) at 1,000 rpm but in practice had a continuous output rating of only 585 bhp (436 kW) at 900 rpm.

## Post-war

After World War II, changes in the automobile market resulted in the decline and final extinction of the straight-eight as an automobile engine. The primary users of the straight-eight were American luxury and premium cars that were carried over from before the war. A Flxible inter-city bus used the Buick straight-eight.

During World War II, improvements in the refinery technology used to produce aviation gasoline resulted in the availability of large amounts of inexpensive high octane gasoline. Engines could be designed with higher compression ratios to take advantage of high-octane gasoline. This led to more highly stressed engines which amplified the limitations of the long crankshaft and camshaft in the straight-eight engines.

Oldsmobile replaced their straight-eight flathead engine with an overhead valve V8 engine in 1949, at which time Cadillac's V8 was changed to one with overhead valves. Chrysler replaced its straight-eight with its famous Hemi V-8 for 1951. Hudson retired its straight-eight at the end of the 1952 model year. Buick introduced a (4.0" bore × 3 1364" stroke = 322 in³ (5.277 L)) V8 in 1953, with similar displacement as their (3 716" bore × 4 516" stroke = 320.2 in³ (5.247 L)) straight-8, the latter being produced until the end of the 1953 model year. Pontiac maintained production on their straight-eight, as well as a L-head inline six, through the end of the 1954 model year, after which a V8 became standard. Packard ended production of their signature straight-eight at the end of 1954, replacing it with an overhead valve V8.

By the end of the 1970s overhead valve V8s powered 80% of automobiles built in the US, and most of the rest had six-cylinder engines.

In Europe, many automobile factories had been destroyed during World War II, and it took many years before war-devastated economies recovered enough to make large cars popular again. The change in the design of cars from a long engine compartment between separate fenders to the modern configuration with its shorter engine compartment quickly led to the demise of the straight-8 engine. As a result of this, and of gasoline prices several times as expensive as in the U.S., four- and six-cylinder engines powered the majority of cars in Europe, and the few eight-cylinder cars produced were in the V8 configuration.

### Military use

The British Army selected Rolls-Royce B80 series of straight-eight engines in the Alvis FV 600 armoured vehicle family. The Alvis Saladin armoured car was a 6x6 design with the engine compartment in the rear, a 76.2mm low pressure gun turret in the centre and the driver in front. The Saracen armoured personnel carrier had the engine in front with the driver in the centre and space for up to nine troops in the rear. The Stalwart amphibious logistics carrier has the driver's compartment over the front wheels, the larger B81 engine in the rear and a large load compartment over the middle and rear. The Salamander firefighting vehicle was unarmoured, and resembled the Stalwart with a conventional fire engine superstructure.

The Rolls-Royce B80 series of engines were also used in other military and civilian applications, such as the Leyland Martian military truck, the winch engine in the Centurion ARV, and various Dennis fire engines.

## Performance and racing cars

Despite the shortcomings of length, weight, bearing friction, and torsional vibrations that led to the straight-eight's post-war demise, the straight-eight was the performance engine design of choice from the late 1920s to the late 1940s, and continued to excel in motorsport until the mid-1950s. Bugatti, Duesenberg, Alfa Romeo, Mercedes-Benz, and Miller built successful racing cars with high-performance dual overhead camshaft straight-eight engines in the 1920s and 1930s.

The Duesenberg brothers introduced the first successful straight-eight racing engine in 1920, when their 3 L engine placed third, fourth, and sixth at the Indianapolis 500. The following year one of their cars won the French Grand Prix, while two others placed fourth and sixth in the race. Based on work the company had done on 16-cylinder aircraft engines during World War I, the overhead camshaft, three-valve-per-cylinder engine produced 115 brake horsepower (86 kW) at 4,250 rpm, and was capable of revving to an astonishing (at the time) 5,000 rpm. No Grand Prix engine before the war had peaked at more than 3,000 rpm.

Bugatti experimented with straight-eight engines from 1922, and in 1924, he introduced the 2 L Bugatti Type 35, one of the most successful racing cars of all time, which eventually won over 1000 races. Like the Duesenbergs, Bugatti got his ideas from building aircraft engines during World War I, and like them, his engine was a high-revving overhead camshaft unit with three valves per cylinder. It produced 100 bhp (75 kW) at 5,000 rpm and could be revved to over 6,000 rpm. Nearly 400 of the Type 35 and its derivatives were produced, an all-time record for Grand Prix motor racing.

Alfa Romeo were the first to react to the engineering problems of the straight-eight: in their racing car engines for the P2 and P3 and in their Alfa Romeo 8C 2300/2600/2900 sports cars of Mille Miglia and Le Mans fame the camshaft drive had been moved to the engine centre, between cylinders four and five, thus reducing the aforementioned limitations. The straight-eight was actually built as a symmetrical pair of straight-four engines joined in the middle at common gear trains for the camshafts and superchargers. It had two overhead camshafts, but only two valves per cylinder.

The Alfa Romeo straight-eight would return after World War II to dominate the first season of Formula One racing in 1950, and to win the second season against competition from Ferrari's V12-powered car in 1951. The Alfa Romeo 158/159 Alfetta was originally designed in 1937 and won 47 of 54 Grands Prix entered between 1938 and 1951 (with a six-year gap in the middle caused by the war). By 1951, their 1.5 L supercharged engines could produce 425 bhp (317 kW) at 9,300 rpm, and could rev as high as 10,500 rpm. However, the engines were at the end of their potential, and rule changes for the 1952 season made the Alfettas obsolete.

Mercedes-Benz would create the last notable straight-eight racing cars in 1955, with the championship-winning W196 Formula One racing car and the 300SLR sports racing car. The 300SLR was famous for Stirling Moss and Denis Jenkinson's victory in the 1955 Mille Miglia, but notorious for Pierre Levegh's deadly accident at the 1955 24 Hours of Le Mans. The 300SLR was the final development of the Alfa Romeo design of the early 1930s as not only the camshaft, but now also the gearbox was driven from the engine's centre. Engineers calculated that torsional stresses would be too high if they took power from the end of the long crankshaft, so they put a central gear train in the middle (which also ran the dual camshafts, dual magnetos, and other accessories) and ran a drive shaft to the clutch housing at the rear.

### Websites


title: Straight-line diagram

abstract: A straight-line diagram is a diagram of a road where the road is shown as a straight line. Such diagrams are usually produced by a highway department, and display features along the road, including bridges and intersecting roads. Rows below the diagram show data about the road, usually including speed limit, number of lanes, bridge numbers, and historical data, among other data. Subway lines also frequently employ straight-line diagrams. An internal SLD viewing system may also include links to other internal data, including photos or plans. Public SLDs are distributed in formats including PDF and TIFF. Straight-line diagrams were historically used in transportation planning but have been supplanted for these purposes by geographic information systems. A strip map is a road map laid out similarly to a straight-line diagram, featuring the same details found in more conventional road maps rather than technical details. In the United States, some strip maps are distributed by state highway departments. In Australia, strip maps are distributed by state automobile associations. In the early 20th century, scrolling strip maps were also a component of some forerunners to satellite navigation devices. One wristwatch introduced in 1927 came with strip maps to be scrolled by hand. The 1932 Iter-Avto was a car-mounted device that scrolled the strip map automatically based on dead reckoning with the speedometer.

text:
# Straight-line diagram

A **straight-line diagram** (abbreviated **SLD**) is a diagram of a road where the road is shown as a straight line. Such diagrams are usually produced by a highway department, and display features along the road, including bridges and intersecting roads. Rows below the diagram show data about the road, usually including speed limit, number of lanes, bridge numbers, and historical data, among other data. Subway lines also frequently employ straight-line diagrams. An internal SLD viewing system may also include links to other internal data, including photos or plans. Public SLDs are distributed in formats including PDF and TIFF.

Straight-line diagrams were historically used in transportation planning but have been supplanted for these purposes by geographic information systems.

A **strip map** is a road map laid out similarly to a straight-line diagram, featuring the same details found in more conventional road maps rather than technical details. In the United States, some strip maps are distributed by state highway departments. In Australia, strip maps are distributed by state automobile associations. In the early 20th century, scrolling strip maps were also a component of some forerunners to satellite navigation devices. One wristwatch introduced in 1927 came with strip maps to be scrolled by hand. The 1932 Iter-Avto was a car-mounted device that scrolled the strip map automatically based on dead reckoning with the speedometer.


title: Straße der Pariser Kommune

abstract: The Straße der Pariser Kommune is a street in Friedrichshain, Berlin, Germany. It was known as Fruchtstraße until March 17, 1971, when it was renamed to commemorate the 100th anniversary of the Paris Commune. The road begins at the meeting point of Mühlenstrasse and Straulauer Platz, which run parallel to the River Spree, and continues north along the rails of the Ostbahnhof to the Karl-Marx-Allee. It becomes the Friedenstraße just beyond this, where it meets the Palisadenstraße and the Weidenweg. North of the Ostbahnhof, it is almost entirely lined with communist-era apartment buildings, though some older buildings have been preserved at the intersection with the Karl-Marx-Allee. One may also find along it the Pegasus youth hostel, the DDR-style Ostel, the offices of the Neues Deutschland publishing house, and some clubs and shops.

text:
# Straße der Pariser Kommune

The **Straße der Pariser Kommune** is a street in Friedrichshain, Berlin, Germany. It was known as **Fruchtstraße** until March 17, 1971, when it was renamed to commemorate the 100th anniversary of the Paris Commune.

The road begins at the meeting point of Mühlenstrasse and Straulauer Platz, which run parallel to the River Spree, and continues north along the rails of the Ostbahnhof to the Karl-Marx-Allee. It becomes the Friedenstraße just beyond this, where it meets the Palisadenstraße and the Weidenweg.

North of the Ostbahnhof, it is almost entirely lined with communist-era apartment buildings, though some older buildings have been preserved at the intersection with the Karl-Marx-Allee. One may also find along it the Pegasus youth hostel, the DDR-style Ostel, the offices of the Neues Deutschland publishing house, and some clubs and shops.

52°30′45″N 13°26′19″E / 52.51250°N 13.43861°E / 52.51250; 13.43861


title: Stromatoporoidea

abstract: Stromatoporoidea is an extinct clade of sea sponges common in the fossil record from the Middle Ordovician to the Late Devonian. They can be characterized by their densely layered calcite skeletons lacking spicules. Stromatoporoids were among the most abundant and important reef-builders of their time, living close together in flat biostromes or elevated bioherms on soft tropical carbonate platforms. Externally, some species have raised bumps (mamelons) and star-shaped crevices (astrorhizae), which together help vent exhalant water away from the living surface. Internally, stromatoporoids have a mesh-like skeletal system combining extensive horizontal layers (laminae), vertical rods (pillars), and boxy spaces (galleries), along with other features. The most common growth forms range from laminar (flattened) to domical (dome-shaped). Spheroidal, finger-like, or tree-like species also occur, though they are rare in most environments. Stromatoporoids competed and coexisted with other reef-builders such as tabulate and rugose corals. Some stromatoporoid species are useful as environmental proxies, since their form and distribution can help approximate the depositional environment of sedimentary strata. They hosted a diverse fauna of encrusting symbionts both within and outside their skeletons. Some studies have argued that stromatoporoids were mixotrophs, similar to modern scleractinian corals. Though this hypothesis is plausible, circumstantial evidence is inconclusive. Prior to the 1970s, stromatoporoids were most frequently equated with colonial hydrozoans in the phylum Cnidaria. They are now classified as sponges in the phylum Porifera, based on their similarity to modern sclerosponges. True Paleozoic stromatoporoids encompass seven orders. Two or three of these orders appeared in the Ordovician while the rest evolved in the Silurian. They rediversified subsequent to mass extinctions at the end of the Ordovician and Silurian, but a more profound decline began in the Late Devonian. With a few putative exceptions, they apparently died out during the Hangenberg event at the end of the Devonian. A number of hypercalcified Mesozoic sponges have been classified as stromatoporoids, but they are likely unrelated to the Paleozoic radiation, thus making 'stromatoporoids' a polyphyletic group if they are included. Some Carboniferous sponges have been identified as stromatoporoids with a somewhat greater degree of confidence.

text:
# Stromatoporoidea

**Stromatoporoidea** is an extinct clade of sea sponges common in the fossil record from the Middle Ordovician to the Late Devonian. They can be characterized by their densely layered calcite skeletons lacking spicules. Stromatoporoids were among the most abundant and important reef-builders of their time, living close together in flat biostromes or elevated bioherms on soft tropical carbonate platforms.

Externally, some species have raised bumps (mamelons) and star-shaped crevices (astrorhizae), which together help vent exhalant water away from the living surface. Internally, stromatoporoids have a mesh-like skeletal system combining extensive horizontal layers (laminae), vertical rods (pillars), and boxy spaces (galleries), along with other features. The most common growth forms range from laminar (flattened) to domical (dome-shaped). Spheroidal, finger-like, or tree-like species also occur, though they are rare in most environments.

Stromatoporoids competed and coexisted with other reef-builders such as tabulate and rugose corals. Some stromatoporoid species are useful as environmental proxies, since their form and distribution can help approximate the depositional environment of sedimentary strata. They hosted a diverse fauna of encrusting symbionts both within and outside their skeletons. Some studies have argued that stromatoporoids were mixotrophs (engaged in a mutualistic relationship with photosynthetic algae), similar to modern scleractinian corals. Though this hypothesis is plausible, circumstantial evidence is inconclusive.

Prior to the 1970s, stromatoporoids were most frequently equated with colonial hydrozoans in the phylum Cnidaria (which also includes corals, sea anemones, and jellyfish). They are now classified as sponges in the phylum Porifera, based on their similarity to modern sclerosponges. True Paleozoic stromatoporoids (*sensu stricto*) encompass seven orders. Two or three of these orders appeared in the Ordovician while the rest evolved in the Silurian. They rediversified subsequent to mass extinctions at the end of the Ordovician and Silurian, but a more profound decline began in the Late Devonian. With a few putative exceptions, they apparently died out during the Hangenberg event at the end of the Devonian. A number of hypercalcified Mesozoic sponges have been classified as stromatoporoids, but they are likely unrelated to the Paleozoic radiation, thus making 'stromatoporoids' (in the broad sense) a polyphyletic group if they are included. Some Carboniferous sponges have been identified as stromatoporoids with a somewhat greater degree of confidence.

## Morphology

Stromatoporoids are robust sponges with a dense calcite skeleton lacking spicules. Like other sponges, they grow outwards and upwards from a single base attached firmly to the substrate. Most were ambitopic (occupying soft substrate such as mud or sand for most of their life), though some were encrusting (concreted onto hard substrates such as rocks or other organisms). The base was stabilized by a crust-like layer covered with concentric wrinkles. The **basal layer** has historically been termed an epitheca or peritheca, names used for a similar attachment layer in sessile cnidarians.

In many species, the upper surface of the skeleton is ornamented with small mounds known as **mamelons**. A few species may supplement the mamelons with radiating cracks or grooves known as **astrorhizae**. Internally, the astrorhizae diverge as independent tapering tubes that intersect smaller open spaces within the skeletal frame. Astrorhizae are generally equated with the exhalant canals of other sponges, while the mamelons help to channel waste water away from the surface. This mechanism works via Bernoulli's principle, which states that flow pressure increases as speed decreases, such as when the flow is redirected by a vertical barrier. The surface may also be covered with even smaller bumps known as **papillae**. In contrast to mamelons, papillae are simply external extensions of internal pillars, rather than stacked deflections of the skeleton's outer surface.

### Internal structures

By comparison to modern sponges with a similar anatomy, living tissue was likely only present at the outer surface of the stromatoporoid skeleton. By volume, the majority of the organism was a dead mesh of internal cavities and support structures. Since most stromatoporoid fossils are only visible in vertical or horizontal cross-section, the internal form of the skeleton is usually the most important region for the purpose of species differentiation. In all species, the most conspicuous internal features are **laminae**, layers arranged transversely (parallel to the living surface of the sponge). Laminae have an intermediate width and spacing (on average around four per millimeter) relative to other layers with the same orientation. Significantly thinner layers, when present, are termed **microlaminae**, while thickened irregular plates are termed **pachystromes**. Another universal type of internal structure are **pillars**, cylindrical rods oriented longitudinally (i.e., perpendicular to the laminae). Laminae and pillars are often straight and internally solid, but they can exhibit distinctive textures and distortions in some subgroups.

The cubical open spaces among the laminae and pillar meshwork are known as **galleries**. In life the galleries would have been filled with seawater, while in fossils the spaces are filled by recrystallized calcite. The galleries may be supplemented by very fine curved plates, termed **dissepiments**. Some species have more complex skeletons with broader pockets beyond the narrow galleries. **Pachysteles** are longitudinal walls which demarcate maze-like corridors, as visible in a transverse cross-section through the skeleton. Stacked dome-shaped pockets, known as cysts, are defined by large convex plates, known as **cyst plates**.

### Growth forms

Stromatoporoids can show a variety of growth forms, with low domes or plates as the most common varieties. Whenever an influx of sediment buries the edge of the skeleton, the buried portion ceases growing while the exposed central portion expands outwards to cover the sediment once more. This can create a ‘ragged’ appearance for some fossils, akin to an inverted stack of bowls or plates with sharp lower edges and smoothly curved upper edges. This is one example of how stromatoporoid growth forms can vary somewhat through the animal's lifespan. A single species can acquire a taller, narrower form to survive high sedimentation rates, while acquiring a flatter and more stable form to survive in energetic shallow waters. Some stromatoporoids appear to grow intermittently in a ‘ragged’ style even without sediment burial, as indicated by an abundance of encrusters under the overhanging 'shelves'.

Stromatoporoid growth forms include:

* Laminar – Sheet- or plate-shaped, with a broad base and a thin, flat skeleton expanding outwards along the substrate. Sheet-like forms with a slightly thicker profile are sometimes labelled 'tabular'.
* Domical – Dome- or mound-shaped, with a curved surface developing both outwards and upwards from a broad base. Domes occupy a spectrum from low (height less than half of the base's diameter) to high (height up to double the diameter). Some high domical species taper significantly, acquiring a conical shape.
* Bulbous – Bulb-shaped, with a narrow base widening upwards into a semi-spherical mass.
* Columnar – Cylindrical, tall (height more than double the diameter) and trunk-like, without branches. In many cases the outer wall of the column is reinforced with laminar outgrowths. One example of a columnar stromatoporoid is *Aulacera*, a very large aulaceratid from the Late Ordovician of Anticosti Island, Quebec.
* Digitate – Hand-shaped, with finger-like columns clustered together above a broad shared base.
* Dendroid – Bush-shaped, with a thicket of narrow columns branching away from a narrow base.
* Digitolaminar – A composite form combining both digitate and laminar characteristics. Finger-like projections are superimposed onto one or more flat plate-like platforms.
* Irregular – A composite form without an easily characterized shape. Both vertical and horizontal growth habits may be apparent in a single skeleton, with domes, platforms, and columns interspersed throughout the development of the sponge.

## Classification

### Taxonomy

From Stearn et al. (1999) and The *Treatise on Invertebrate Paleontology*:

### Affinities

Like many fossil invertebrates, stromatoporoids have long been regarded as an enigmatic group with an uncertain relationship to modern taxa. For much of their history of study, stromatoporoid fossils could only be observed externally or through natural cross-sections. Several hypotheses developed in the 19th and 20th centuries based on this limited set of data. A few authors suggested that stromatoporoids were sponges or relatives of *Gypsina* (an encrusting foraminifera). However, for much of their history the mainstream interpretation was that stromotoporoids were colonial cnidarians, most closely related to mineralized hydrozoans such as *Hydractinia* and *Millepora*. *Hydractinia* in particular has a thinly encrusting layered skeleton, augmented by internal rods, external knobs, and radiating nutrient canals. These features were equated with pillars, mamelons, and astrorhizae, respectively.

In 1970, several living sponges were found to possess a calcareous skeletal framework very similar to *Hydractinia* and stromatoporoids. The modern sponges, collectively termed sclerosponges, immediately reinvigorated the hypothesis that stromatoporoids were sponges. Moreover, closer investigations of stromatoporoid fossils were able to determine that an individual mound represents a single animal, rather than a colonial congregation of polyps. Among the strongest evidence for sponge affinities was the degree of similarity between astrorhizae and exhalant canals, which were easier to homologize than the more integrated canal system of *Hydractinia*.

Proponents of the sponge hypothesis admitted that sclerosponges and stromatoporoids were not identical in structure; for example, sclerosponges have spicules while true Paleozoic stromatoporoids do not. Several other enigmatic calcareous fossils (archaeocyathids, disjectoporids, ‘chaetetids’) have been reclassified as sponges thanks to this new information. The sponge hypothesis quickly met widespread acceptance, with a few detractors. Up until the 1990s, some Soviet and Eastern Bloc specialists continued to regard stromatoporoids as cnidarians or cyanobacterial accumulations akin to stromatolites or thrombolites.

## Evolution

### Origination

The first unambiguous stromatoporoids appeared in the Ordovician, but superficially similar organisms have been reported from the Early Cambrian. These are most likely cases of convergent evolution rather than true forerunners. One example were the Kazachstanicyathida, an order of archaeocyath sponges with low growth habits and porous internal domes comparable to cyst plates. In addition, some colonial coralomorphs or algae (*Maldeotaina*, *Yaworipora*, and the ‘khasaktiids’) acquired mesh-like encrusting skeletons with a set of internal rods and domes similar to those of early stromatoporoids.

A more probable set of stromatoporoid ancestors evolved in the Ordovician. These forerunners or close relatives are grouped in the *incertae sedis* sponge order Pulchrilaminida. Pulchrilaminids existed from the late Tremadocian stage (near the end of the Early Ordovician) up to the early Darriwilian stage (about mid-way through the Middle Ordovician). They were low-profile hypercalcified sponges which were similar to stromatoporoids in many respects, with one key difference: pulchrilaminids had spine-like projections (probably homologous with spicules) between the laminae of the skeleton.

The first stromatoporoids to evolve belonged to the order Labechiida, which rapidly acquired worldwide diversity in the Middle Ordovician. The oldest reported labechiid species is from the Floian stage (the latter part of the Early Ordovician), but abrupt diversification was delayed until the mid-to-late Darriwilian stage, simultaneous with the disappearance of pulchrilaminids. The oldest stromatoporoid ‘reefs’ are known from the Chazy Group of eastern North America and the Machiakou Formation of North China.

### Diversity through time

Labechiids were by far the most diverse stromatoporoids of the Ordovician, and some paleontologists have even ventured to reconstruct lines of descent in this preliminary stage of stromatoporoid evolution. The next order to appear were the Clathrodictyida, in the early Katian stage of the Late Ordovician. It has been suggested that clathrodictyids are descended from labechiids, as part of an evolutionary lineage starting at the Siberian species *Priscastroma gemini*. Though less diverse than their labechiid relatives, Ordovician clathrodictyids were widespread and locally abundant in some areas. The third stromatoporoid order, Actinostromatida, may have originated in the Late Ordovician or the Llandovery Epoch (early Silurian). The precise timing depends on the status of *Plumatalinia*, a Late Ordovician Estonian genus often considered a ‘missing link’ between the ancestral labechiids and their presumed descendants, the actinostromatids.

Labechiid diversity contracted during the Late Ordovician mass extinction and throughout the Silurian, while clathrodictyids and actinostromatids diversified substantially. The other four stromatoporoid orders (Amphiporida, Stromatoporellida, Stromatoporida, and Syringostromatida) also originated in the Silurian, though they remained fairly subdued compared to the three older groups. Silurian stromatoporoids would face a second round of extinction in the late Silurian (Pridoli Epoch), which reduced the number of genera back to Middle Ordovician levels.

Stromatoporoids recovered strongly in the Early and Middle Devonian, reaching their overall maximum diversity in the Eifelian stage. Clathrodictyids, stromatoporellids, stromatoporids, and syringostromatids benefited the most from this renewal of biodiversity. The arrival of the Late Devonian disrupted this apex of stromatoporoid evolution. Syringostromatids were the first to be affected, virtually disappearing from the fossil record at the start of the Frasnian stage. Actinostromatids, stromatoporellids, and stromatoporids were next in line, with their diversity and reef extent collapsing at the end of the Frasnian in accordance with the Kellwasser event (Late Devonian mass extinction). Diversity loss prior to the Kellwasser event was likely a factor of both falling origination rates and slightly elevated extinction rates. Other groups presented unexpected patterns: the formerly rare amphiporids reached their highest diversity in the Frasnian, while labechiids staged a remarkable comeback in the Famennian stage, acquiring levels of diversity not seen since the Ordovician. This would not last, as stromatoporoids appear to have been completely extinguished during the Hangenberg event (end-Devonian mass extinction) at the end of the Famennian.

### Post-Devonian identifications

Putative post-Devonian stromatoporoid fossils have been reported, though their referral to the group is rather ambiguous. A supposed labechiid species (*Labechia carbonaria*) is known from the Viséan stage of England. Some sources consider this species to be based on misinterpreted coral fragments, while others certify its legitimacy as a Carboniferous stromatoporoid. Fossils of the Ordovician labechiid *Lophiostroma* have been reported from sediments as young as the Triassic, but this is another case of poor preservation and uncertain identity. Finally, the calcitic sponge *Kyklopora*, from the Serpukhovian stage (upper Mississippian) of Russia, has tentatively been identified as a clathrodictyid. Labechiid-like fossils are abundant in early Pennsylvanian (Bashkirian) reef deposits of the Akiyoshi Limestone Group in Japan, representing a Panthalassan seamount.

Over 60 valid genera of small hypermineralized Mesozoic sponges have been described as stromatoporoids based on their anatomical similarity to stromatoporids, actinostromatids, clathrodictyids, or syringostromatids. One hypothesis suggests a direct line of descent between Paleozoic and Mesozoic forms. Under this interpretation, the Devonian extinctions merely prompted stromatoporoids to abandon mineralization until the Jurassic, explaining their lack of fossils between the two time intervals. Most paleontologists disagree with this idea, since Paleozoic and Mesozoic ‘stromatoporoids’ differ in several key aspects. In contrast to true Paleozoic stromatoporoids, Mesozoic species have recognizable spicules and a more complex microstructure within the laminae and pillars which make up the skeleton. Mesozoic ‘stromatoporoids’ are a polyphyletic group, with different species referable to the Demospongiae (demosponges) and Calcarea (calcareous sponges). Sponges in this category are understudied and many proposed genera have proven to be dubious.

## Paleoecology

### Stromatoporoid reefs

Dense stromatoporoid biostromes and other assemblages, from top left clockwise:

Like modern corals, stromatoporoids were gregarious filter feeders which congregated into closely packed patches. They were adaptable and could thrive at a variety of depths, light levels, and fluctuating sea level regimes. In these regards, they were more similar to corals than to modern calcareous sponges, which generally occupy a narrow selection of rocky habitats with high nutrient supply and low light levels.

Unlike corals, stromatoporoids usually settled on soft substrates, so their ‘reefs’ occupied only a single level rather than a multi-tiered vertical framework of built-up skeletons. Flat, horizontally-extensive ‘reefs’ are formally known as biostromes. Stromatoporoid reefs had fairly low diversity, with only a few species making up the majority of an assemblage by volume. The most diverse stromatoporoid assemblages were biostromes on carbonate platforms at intermediate depths, away from muddier basins or saltier shallows. The predominant species were usually laminar or low domical in form. High domical species and other complex forms only developed in calmer settings, where there is little risk of toppling. In a stable environment, stromatoporoids could grow to very large sizes exceeding several meters in width or height. The largest singular stromatoporoid fossil ever reported is a 30-meter (98 feet) wide *Actinostroma expansum* from the Frasnian-age Shell Rock Formation of Iowa.

Despite their preference for soft flat sediment, stromatoporoids occasionally contributed to built-up skeletal mounds (bioherms) with successive waves of burial and recolonization or regrowth. Shelf-margin stromatoporoid bioherms are particularly well-developed in the Devonian. Notable examples can be found in the Canning Basin of Australia, the Miette Complex of Alberta, the Eifel Region of Germany, and southern Belgium. Raised bioherms would have been strengthened by microbial carbonate and other reef-building organisms living between the sponges.

### Ectosymbionts and encrusters

As hard sessile objects, stromatoporoids were used as a substrate for ectosymbionts, organisms which attach or encrust onto the outer surface of the skeleton. Most encrusting organisms were cryptobionts, meaning that they inhabited shaded spaces and cavities. These hidden areas could be found in gaps between the base of the stromatoporoid and its substrate, or on the underside of shelf-like projections. Displaced or toppled sponges had the potential to host cryptic encrusters on any part of the skeleton. Bryozoans, tabulate corals, crinoids, brachiopods, and clusters of coiled ‘spirorbids’ all occupied the cryptic niche. The rim of the hidden areas hosted the greatest diversity of encrusters, most of which were filter feeders reliant on a current to feed. More exposed areas were also encrusted by corals (both tabulate and rugose), crinoids, bryozoans, and tentaculitids.

### Endosymbionts

Like many modern or prehistoric reef-builders, stromatoporoids were host to endosymbionts, organisms living fully within the skeleton. The most abundant were syringoporids, a type of tube-building tabulate coral. Stromatoporoid fossils with syringoporid burrows are so common that some historical sources have misclassified them as a distinct genus, *Caunopora*. Syringoporids were able to grow at the same rate as their host in order to prevent being overgrown. Other tabulate corals, rugosan corals, and algal fossils have been found wedged between growth zones within the stromatoporoid skeleton. Worm borings such as *Trypanites* are also common endosymbionts, though they apparently only took root in the skeleton after the sponge had died.

A persistent question for stromatoporoid ecology is how they were able to compete with corals in shallow, brightly lit areas. One hypothesis is that heavy laminar growth forms were more resistant to damage from waves and storms, yet laminar stromatoporoids were equally common in deep or undisturbed waters. Another hypothesis argues that stromatoporoids benefited from a mutualistic (mutually beneficial) relationship with endosymbiotic microbes. Modern scleractinian corals are mixotrophs, deriving energy from both tiny prey items and zooxanthellae, photosynthetic algae which live within their cells. Zooxanthellae additionally assist the corals’ biochemical processes, allowing for expeditious growth rates. No equivalent organisms are known in modern sponges, though some demosponges do host a high volume of cyanobacteria within their skeletons.

Several lines of evidence suggest a mixotrophic lifestyle for stromatoporoids, though none are unambiguous. Their ratios of oxygen and carbon isotopes overlap with corals to an extent. If one assumes that latilaminae (growth interruptions parallel to laminae) are annual (like tree rings), stromatoporoid growth rates can reach 2 to 10 mm per year, equivalent to corals and much higher than modern calcareous sponges. On the other hand, most stromatoporoid growth forms emphasized stability and horizontal breadth rather than a vertical ‘race for sunlight’, as exhibited by sessile organisms which rely on photosynthesis, such as land plants and corals.

## InfoBox

| Stromatoporoidea<br>Temporal range: Possible persistence into the Carboniferous. Mesozoic identifications are likely unrelated to the main Paleozoic radiation | |
| --- | --- |
|  | |
| Top view of a stromatoporoid with prominent mamelons. From the Columbus Limestone (Middle Devonian) of Ohio. | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Porifera |
| Class: | Stromatoporoidea<br>Nicholson & Murie, 1878 |
|


title: Stromatoolithus

abstract: Stromatoolithus is an oogenus of dinosaur egg. The oogenus contains one oospecies, S. pinglingensis.

text:
# Stromatoolithus

***Stromatoolithus*** is an oogenus of dinosaur egg. The oogenus contains one oospecies, *S. pinglingensis*.

### Bibliography

* Carpenter, K. 1999. Eggs, Nests, and Baby Dinosaurs: A Look at Dinosaur Reproduction (Life of the Past). Indiana University Press, Bloomington, Indiana
* Z. Zhao, J. Ye, H. Li, Z. Zhao, and Z. Yan. 1991. Extinction of the dinosaurs across the Cretaceous-Tertiary boundary in Nanxiong Basin, Guangdong Province. Vertebrata PalAsiatica 29(1):1-20

## InfoBox

| *Stromatoolithus*
Temporal range: | |
| --- | --- |
|
| Egg fossil classification | |
| *Basic shell type*: | Dinosauroid-spherulitic |
| Oogenus: | *Stromatoolithus*
Zhao et al., 1991 |
|
| Oospecies | |
| * *S. pinglingensis* Zhao et al., 1991 | |


abstract: Straight from the Heart is the fifth studio album by American country music singer Daryle Singletary. It was released on February 27, 2007, via Shanachie Records. Like his last album, 2002's That's Why I Sing This Way, this album is largely composed of cover songs, save for "I Still Sing This Way", which is an original song. It and "Jesus & Bartenders" were both released as singles from this album, although both failed to chart. As with his last covers album, this one includes several guest appearances.

text:
# Straight from the Heart (Daryle Singletary album)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Allmusic |  |
| Country Standard Time | (favorable) |

***Straight from the Heart*** is the fifth studio album by American country music singer Daryle Singletary. It was released on February 27, 2007, via Shanachie Records. Like his last album, 2002's *That's Why I Sing This Way*, this album is largely composed of cover songs, save for "I Still Sing This Way", which is an original song. It and "Jesus & Bartenders" were both released as singles from this album, although both failed to chart. As with his last covers album, this one includes several guest appearances.

## Track listing

| No. | Title | Writer(s) | Original artist(s) | Length |
| --- | --- | --- | --- | --- |
| 1. | "The Bottle Let Me Down" | Merle Haggard | Merle Haggard | 2:51 |
| 2. | "Black Sheep" (with John Anderson) | Robert Altman, Daniel Darst | John Anderson | 3:25 |
| 3. | "Some Broken Hearts Never Mend" | Wayland Holyfield | Don Williams | 3:08 |
| 4. | "Promises" | Randy Travis, John Lindley | Randy Travis | 3:58 |
| 5. | "I've Got a Tiger by the Tail" (with Ricky Skaggs) | Harlan Howard, Buck Owens | Buck Owens | 2:33 |
| 6. | "Jesus and Bartenders" | Larry Cordle, Leslie Satcher | Larry Cordle | 3:29 |
| 7. | "These Days I Barely Get By" | George Jones, Tammy Wynette | George Jones | 3:03 |
| 8. | "Miami, My Amy" | Hank Cochran, Dean Dillon, Royce Porter | Keith Whitley | 3:35 |
| 9. | "I Still Sing This Way" | Chris DuBois, David Lee, Daryle Singletary | Daryle Singletary | 3:27 |
| 10. | "Lovin' on Back Streets" | Hugh King | Mel Street | 3:02 |
| 11. | "Fifteen Years Ago" | Ray Smith | Conway Twitty | 3:40 |
| 12. | "We're Gonna Hold On" (with Rhonda Vincent) | Jones, Earl Montgomery | George Jones and Tammy Wynette | 2:55 |

## Personnel

## Chart performance

| Chart (2007) | Peak
position |
| --- | --- |
| U.S. *Billboard* Top Country Albums | 74 |

## InfoBox

| Straight from the Heart | |
| --- | --- |
|  | |
| Studio album by Daryle Singletary | |
| Released | February 27, 2007 (2007-02-27) |
| Genre | Country |
| Label | Shanachie |
| Producer | Gregory Cole, Chuck Rhodes |
| Daryle Singletary chronology | |
| *That's Why I Sing This Way*
(2002) ***Straight from the Heart***
(2007) *Rockin' in the Country*
(2009) | |


abstract: "Straight from the Heart" is a song recorded by Canadian rock musician Bryan Adams. It was released in 1983 as the lead single from his third studio album, Cuts Like a Knife.

text:
# Straight from the Heart (Bryan Adams song)

"**Straight from the Heart**" is a song recorded by Canadian rock musician Bryan Adams. It was released in 1983 as the lead single from his third studio album, *Cuts Like a Knife*.

## Background

The song was written by Eric Kagna, a Vancouver singer/songwriter, and the instrumental bridge was contributed by Adams. The official songwriter credit is shared equally between Adams and Kagna. Adams did not release his version of the song until 1983. The song was first recorded by Ian Lloyd in 1980, on his album *Third Wave Civilization*.

## Chart history

It was his breakthrough song in the U.S., the first to make the top 40, reaching number 10. It also peaked at #32 on the Adult Contemporary chart, the first Bryan Adams single to appear on that chart. On the Canadian Adult Contemporary chart, "Straight from the Heart" reached number one.

| Chart (1983) | Peak
position |
| --- | --- |
| Australia (Kent Music Report) | 98 |
| Canada *RPM* Top Singles | 20 |
| Canada *RPM* Adult Contemporary | 1 |
| UK Singles (The Official Charts Company) | 51 |
| US *Billboard* Hot 100 | 10 |
| US *Billboard* Adult Contemporary | 29 |
| US *Billboard* Mainstream Rock | 32 |

| Year-end chart (1983) | Rank |
| --- | --- |
| US Top Pop Singles (*Billboard*) | 71 |

## Other versions

## InfoBox

| "Straight from the Heart" | |
| --- | --- |
| North American picture sleeve | |
| Single by Bryan Adams | |
| from the album  *Cuts Like a Knife* | |
| B-side | "One Good Reason" |
| Released | 1983 |
| Genre | Soft rock |
| Length | 3:32 |
| Label | A&M |
| Songwriter(s) | Bryan Adams, Eric Kagna |
| Producer(s) | Bryan Adams and Bob Clearmountain |
| Bryan Adams singles chronology | |
| "Lonely Nights"
(1982) "**Straight from the Heart**"
(1983) "Cuts Like a Knife"
(1983) | |


title: Straight from the Hart

abstract: Straight from the Hart is a 2011 autobiography by Canadian professional wrestler Bruce Hart. The book chronicles Hart's childhood in Calgary as a member of the Albertan Hart wrestling family, his career in the wrestling industry to his later life as a trainer. It was published by ECW Press. The book is one of a long line of books by or about members of Hart's family.

text:
# Straight from the Hart

***Straight from the Hart*** is a 2011 autobiography by Canadian professional wrestler Bruce Hart. The book chronicles Hart's childhood in Calgary as a member of the Albertan Hart wrestling family, his career in the wrestling industry to his later life as a trainer. It was published by ECW Press. The book is one of a long line of books by or about members of Hart's family.

## Publication history

The book was first announced in May 2010.

In March Hart was interviewed about the book on WDFN Wrestling Elite and Monday Night Mayhem. On Monday Night Mayhem Hart explained that the motivation for him writing the book partly came from the fact that he believed that despite all of the many books about his family none of them did it justice. The cover blurb was revealed on June 10, 2010, and mainly described Hart's childhood and family relations. In February 2011 Hart had a 51-minute-long interview on *Pro Wrestling Insider Elite* about the book the interview covers Hart's, decision to write the book, other books on the Stampede era, his feelings upon learning as a child that pro wrestling is staged, running into problems with the Alberta Commission about the storylines he wrote for the characters and matches, places in the world he loved to wrestle in, being stabbed overseas, discovering Dynamite Kid (Tom Billington) in England, the loss of territories in modern pro wrestling and many other subjects covered in the book. The book was made available for immediate shipping on PWInsider.com's store, which through Amazon on January 8, 2011.

## Summary

Born as the second child of twelve to pro wrestling promoters Stu and Helen Hart, Bruce Hart grows up in the famed Hart House alongside his siblings Smith, Keith, Wayne, Dean, Ellie, Georgia, Bret, Alison, Ross, Diana and Owen. He learns the art of pro wrestling from his father in the family's school "The Dungeon" and works for his parents promotion Stampede Wrestling, travels the world while growing his family with his wife Andrea and at last ends up as his father before him, as a trainer of young wrestlers.

## Reception

Nathaniel Moore of *The Globe and Mail* described the book as an acute report painting a quintessential morality play about a Canadian independent company fighting for its own identity during the years of Ronald Reagan's cash-crazed United States. Writing for *SLAM! Wrestling* Jason Clevett expresses that the book helps add a new dimension to the legacy of the Hart family through some of its stories but that some of it gets lost due to Hart's bitterness towards the wrestling business and some members of his family.

Journalist Heath McCoy of the *Calgary Herald* expressed that the book is a way for Hart to try to gain some appreciation for his work in wrestling, which McCoy claims Hart believes he has not received to the level he deserves. Jose Marrero of *WrestleView* shares that view, stating that Hart has a reputation of being an individual who believes he never got his due and that those feelings translated into the book. He goes into detail, saying that Hart describes his tenure as a wrestling booker in a way that portrays him as a great writer who was a constant victim of others' maliciousness. Marrero also mentions that some of Hart's accounts surrounding his discovering Tom Billington, (a highly influential and revolutionary wrestler) who Hart brought to Canada from England are contradictory form those in Billingtons own autobiography, *Pure Dynamite: The Price You Pay for Wrestling Stardom*. The contradictions mainly centre around Billington's relationship with his younger cousin, Davey Boy Smith, who was also a highly successful wrestler, in his book Hart describes seeing Smith and Billington working together as wrestlers in Britain, but in *Pure Dynamite* it is implied that Billington and Smith barely knew each other before Billington had already moved to Canada and that Smith had only begun training to be a wrestler after Billington was already in Stampede Wrestling. Marrero stated that he found this to be very interesting. Marrero finished the review by examining the subject of Bruce's relationship with his younger brother, former world champion Bret Hart, whom Bruce has a very strained relationship with, Marrero concludes that if someone is a big Bret Hart fan they will not enjoy the book due to Bruce's repeated jabs at his brothers expense, some of which Marrero found deserved and others not.

The book was given a mildly positive review on the *Pro Wrestling Torch* podcast on May 3, 2011. Todd Martin ranked it as a solid read. Dante Spears of *CultOfWhatever* stated in his review that he felt that the book was more a biography of Hart's entire family and a history of the family's territory Stampede more than a book about Hart himself, which he found enjoyable. He expresses that the stories told in the book about Hart's family, life and career were all very interesting. David Bixenspan of *CageSide Seats* criticized the book concerning Hart recollection of many events, especially ones about Bret, stating: "The book is filled with statements that often come off as pretty out there, whether it's bad memory or an agenda or something else. A lot of these center around his brother Bret. The most outlandish-sounding claim is that when their mother Helen was on her deathbed and an hour away from dying, Bret entered her hospital room, saw his sister Diana (who had just written a controversial book about the family that was eventually recalled when Owen's widow Martha took legal action), and literally reached over his dying mother to grab his sister by the neck. Bruce then goes on to say that security guards had to pull Bret off and remove him from the room. When reached for comment, Bret's representatives told me that “Bret has no recollection of anything like that happening. In fact, when Helen died, he elected not to go to the hospital the night she died. In other words, what Bruce wrote is completely false.” (Also, in his book, Bret noted that Helen died at 3:30 AM local time while he was lying awake in bed.) A few sources who are well connected to the family told me that they had never heard the story before". Another example Bixenspan noted was that Hart's description of how he met his future wife Andrea did not at all coincide with the event was told in Heath McCoy's acclaimed book *Pain and Passion: The History of Stampede Wrestling* which portrays Hart as meeting her when he was a substitute teacher at her school. Despite this, he stated that the early parts of the book with stories of the Hart family were very much enjoyable. Writing for the *Seattle Post-Intelligencer* Glen Boyd expresses that Hart's book, on one hand, offers a fascinating inside look at the professional wrestling industry, with its colorful cast of characters and equally cutthroat behind the scenes politics but that it also serves as a forum for Hart to air some of his own issues in public, Boyd felt that if one reads between the lines it becomes "not hard to see through Hart's often harsh criticisms of his more famous siblings (this is especially true in the case of his brother younger Bret "Hitman" Hart), as not being at least a little colored by his own professional jealousy." Nonetheless, Boyd states that the book comes off as a candid retelling of Hart's life and that it often feels like reading a diary. Bret has dismissed many of the stories in the book, including claims that his signature look with black and pink duds and dark shades was inspired by Bruce.

## InfoBox

Straight from the Hart
| Cover to the book, featuring Bruce Hart | |
| --- | --- |
| Author | Bruce Hart |
| Language | English |
| Subject | Wrestling |
| Genre | Autobiography |
| Published | January 14, 2011 |
| Publisher | ECW Press |
| Publication place | Canada |
| Media type | Hardcover and paperback |
| Pages | 272 |
| ISBN | 978-1550229394 |


title: Strike Suit Zero

abstract: Strike Suit Zero is a space flight combat game developed by Born Ready. Strike Suit Zero seeks to revive the space combat genre by introducing "strike mode" as a new element to the dogfight-based gameplay of classic space combat games. Strike Suit Zero takes its inspiration from numerous different franchises, most notably Elite and related franchises: Homeworld, Freelancer, Colony Wars, Star Wars, Gundam, Macross and FreeSpace. The game is built on a proprietary engine. It was released for Microsoft Windows on January 23, 2013, and for OS X and Linux on August 9, 2013. Strike Suit Zero is a story-driven single player game where the player assumes the role of a fighter pilot of a transforming mecha for the United Nations of Earth (U.N.E) in a massive war against the combined forces of the space colonies. The game is designed so that the battles do not revolve entirely around the player; a complete battle simulation between allied and enemy forces will be going on in the background while the player performs specific objectives, giving the impression that the player's role is only one small part of a much larger conflict. The soundtrack is developed by Paul Ruskay, composer of the original Homeworld soundtrack. Ship designs were done by Junji Okubo, known for designing mecha and ships for the game Infinite Space. Strike Suit Zero reached its funding goal of $100,000 on Kickstarter on November 2, 2012. A spin-off game titled Strike Suit Infinity was released in April 2013. A new version of the game called Strike Suit Zero: Director's Cut was released in April 2014 for Xbox One, PlayStation 4 and Windows. It features graphical overhaul, restructured campaign and additional content. An Android port was released in November 2014. It was released on Nintendo Switch on May 2, 2019.

text:
# Strike Suit Zero

***Strike Suit Zero*** is a space flight combat game developed by Born Ready. *Strike Suit Zero* seeks to revive the space combat genre by introducing "strike mode" as a new element to the dogfight-based gameplay of classic space combat games. *Strike Suit Zero* takes its inspiration from numerous different franchises, most notably *Elite* and related franchises: *Homeworld*, *Freelancer*, *Colony Wars*, *Star Wars*, *Gundam*, *Macross* and *FreeSpace*. The game is built on a proprietary engine. It was released for Microsoft Windows on January 23, 2013, and for OS X and Linux on August 9, 2013.

*Strike Suit Zero* is a story-driven single player game where the player assumes the role of a fighter pilot of a transforming mecha for the United Nations of Earth (U.N.E) in a massive war against the combined forces of the space colonies. The game is designed so that the battles do not revolve entirely around the player; a complete battle simulation between allied and enemy forces will be going on in the background while the player performs specific objectives, giving the impression that the player's role is only one small part of a much larger conflict.

The soundtrack is developed by Paul Ruskay, composer of the original Homeworld soundtrack. Ship designs were done by Junji Okubo, known for designing mecha and ships for the game *Infinite Space*.

*Strike Suit Zero* reached its funding goal of $100,000 on Kickstarter on November 2, 2012.

A spin-off game titled *Strike Suit Infinity* was released in April 2013.

A new version of the game called *Strike Suit Zero: Director's Cut* was released in April 2014 for Xbox One, PlayStation 4 and Windows. It features graphical overhaul, restructured campaign and additional content. An Android port was released in November 2014. It was released on Nintendo Switch on May 2, 2019.

## Gameplay

Strike Suit Zero is a sequential mission-based game, aiming to resurrect arcade-style space shooters from the 1990s such as Freespace 2. However, it adds more tactical considerations to the recipe than traditional space shooters: energy-based weapons will be dependent on a limited supply of energy, missile and gun ammunition will be limited, and successful mastery of the strike suit will require effective juggling between fighter-mode and strike-mode.

The game features a third-person view and first-person cockpit view. The game will support HOTAS joysticks and Oculus Rift.

### Playable craft

*Strike Suit Zero* has four types of craft available to the player. These include an interceptor, fighters, bombers and the Strike Suit (a form of transforming mecha) itself, along with two variations.

### Weapon systems

A wide variety of weapon systems are offered to the player, with upgrades and new weapons unlocked as the game progresses. Players are able to customize their ships with different weapons and upgrades. Weapons include plasma cannons, machine guns, lasers, unguided rockets and various types of missiles.

Fire-and-forget missiles, Semi-active homing missiles, Swarm missiles, Anti-Capital ship missiles and unguided rocket pods are featured in the game.

### Non-playable units

The enemy forces utilize interceptors, fighters, heavy fighters and missile-armed fighters as well as larger ships including corvettes, frigates and cruisers.

Space stations and stationary weapon platforms will also be present in the game.

## Reception

### Critical reception

*Strike Suit Zero* received average reviews. Aggregating review websites GameRankings and Metacritic gave the PC version 67.24% and 66/100, the Xbox One version 65.15% and the PlayStation 4 version 67.56%.

IGN praised the dazzling art style, high-speed zero gravity vehicular combat, branching-mission structure, ship designs from renowned Mechanical Design engineer Junji Okubo (Appleseed: Ex Machina, Steel Battalion) and music from award-winning sound designer Paul Ruskay (*Homeworld*). GameSpot also praised it mentioning that "Strike Suit Zero's thrilling combat and awe-inspiring world make space combat feel like a relevant genre after years of stagnation" while Eurogamer heavily criticized it affirming that "The Strike Suit really should be awesome. Instead it's hugely frustrating, makes you get hit an awful lot, and just made me want to play a proper game."

## InfoBox

| Strike Suit Zero | |
| --- | --- |
|  | |
| Developer(s) | Born Ready |
| Publisher(s) | Born Ready |
| Composer(s) | Paul Ruskay, Kokia |
| Platform(s) | Microsoft Windows, Linux, OS X, PlayStation 4, Xbox One, Android, Nintendo Switch |
| Release | * **Microsoft Windows** * January 23, 2013 * **OS X**, **Linux** * August 9, 2013 * **PlayStation 4**, **Xbox One** * April 4, 2014 * **Android** * November 13, 2014 * **Nintendo Switch** * May 2, 2019 |
| Genre(s) | Space combat simulator |
| Mode(s) | Single-player |


title: Structure the Spin Dr.

abstract: Structure The Spin Dr. is the stage name of DJ Jonathan DePrisco. He spent his early career as a resident DJ at large NYC nightclubs including Limelight, The Roxy, and The Tunnel. In 2009 Structure developed a reality television show entitled Party Hard about the culture of New York DJs, however the project was not picked up after the filming of the pilot. On October 16, 2010, Structure performed the entrance music for heavyweight fighter Shannon Briggs live as a part of his ringside team before his title fight with WBC Heavyweight Champion Vitali Klitschko, a performance viewed by over 20 million people. RTL news in Germany highlighted the performance before Brigg's entrance as "Sports meets Entertainment" in the run up to the event. Structure has also performed at several large-scale events, including the 2012 Sundance Film Festival, the Chelsea Hotel, and various fashion shows. Earlier in his career Structure played a style of music he called "Glam Hop", which was a blend of Hip Hop, House music, and an eclectic collection of other genres. In 2012, Structure was involved in court case at the New York Supreme Court, when the former groom at a wedding at which he was supposed to perform sued his fiancé over the deposit paid on his services. He is also active on social media, with over 60,000 Twitter followers.

text:
# Structure the Spin Dr.

**Structure The Spin Dr.** is the stage name of DJ Jonathan DePrisco. He spent his early career as a resident DJ at large NYC nightclubs including Limelight, The Roxy, and The Tunnel. In 2009 Structure developed a reality television show entitled *Party Hard* about the culture of New York DJs, however the project was not picked up after the filming of the pilot. On October 16, 2010, Structure performed the entrance music for heavyweight fighter Shannon Briggs live as a part of his ringside team before his title fight with WBC Heavyweight Champion Vitali Klitschko, a performance viewed by over 20 million people. RTL news in Germany highlighted the performance before Brigg's entrance as "Sports meets Entertainment" in the run up to the event. Structure has also performed at several large-scale events, including the 2012 Sundance Film Festival, the Chelsea Hotel, and various fashion shows. Earlier in his career Structure played a style of music he called "Glam Hop", which was a blend of Hip Hop, House music, and an eclectic collection of other genres. In 2012, Structure was involved in court case at the New York Supreme Court, when the former groom at a wedding at which he was supposed to perform sued his fiancé over the deposit paid on his services. He is also active on social media, with over 60,000 Twitter followers.