title: Petroleum coke

text: A high sulfur content in petcoke reduces its market value, and may preclude its use as fuel due to restrictions on sulfur oxides emissions for environmental reasons. Methods have thus been proposed to reduce or eliminate the sulfur content of petcoke. Most of them involve the desorption of the inorganic sulfur present in the pores or surface of the coke, and the partition and removal of the organic sulfur attached to the aromatic carbon skeleton.


title: Petroleum coke

text: Petroleum coke may be stored in a pile near an oil refinery pending sale. For example, in 2013 a large stockpile owned by Koch Carbon near the Detroit River was produced by a Marathon Petroleum refinery in Detroit which had begun refining bitumen from the oil sands of Alberta in November 2012. Large stockpiles of petcoke also existed in Canada as of 2013, and China and Mexico were markets for petcoke exported from California to be used as fuel. As of 2013 Oxbow Corporation, owned by William I. Koch, was a major dealer in petcoke, selling 11 million tons annually.


title: Petroleum coke

text: In 2017 a quarter of US exports of the fuel went to India, an Associated Press investigation found. In 2016 this amounted to more than eight million metric tons, more than 20 times as much as in 2010. India's Environmental Pollution Control Authority tested imported petcoke in use near New Delhi, and found sulfur levels 17 times the legal limit.


title: Petroleum coke

text: The International Convention for Prevention of Pollution from Ships (MARPOL 73/78), adopted by the IMO, has mandated that marine vessels shall not consume residual fuel oils (bunker fuel, etc) with a sulfur content greater than 0.5% from the year 2020. Nearly 38% of residual fuel oils are consumed in the shipping sector. In the process of converting excess residual oils into lighter oils by coking processes, pet coke is generated as a byproduct. Pet coke availability is expected to increase in the future due to falling demand for residual oil. Pet coke is also used in methanation plants to produce synthetic natural gas, etc. in order to avoid a pet coke disposal problem.


title: Petroleum coke

text: Petroleum coke is sometimes a source of fine dust, which can penetrate the filtering process of the human airway, lodge in the lungs and cause serious health problems. Studies have shown that petroleum coke itself has a low level of toxicity and there is no evidence of carcinogenicity.


title: Petroleum coke

text: Petroleum coke can contain vanadium, a toxic metal. Vanadium was found in the dust collected in occupied dwellings near the petroleum coke stored next to the Detroit River. Vanadium is toxic in tiny quantities, 0.8 micrograms per cubic meter of air, according to the EPA.


title: Petroleum coke

text: According to multiple EPA studies and analyses, petroleum coke has a low health hazard potential in humans. It does not have any observable carcinogenic, developmental, or reproductive effects. During animal case studies repeated-dose chronic inhalation did show respiratory inflammation due to dust particles, but not specific to petroleum coke.


title: Petroleum coke

text: Environmental concerns stem from the storage and combustion of petcoke. By-waste accumulates as petcoke is processed, making waste management an issue. Petcoke's high silt content of 21.2% increases the risk of fugitive dust drifting away from petcoke mounds under heavy wind. An estimated 100 tons of petcoke fugitive dust including PM10 and PM2.5 are released into the atmosphere per year in the United States. Waste management and release of fugitive dust is especially an issue in the cities of Chicago, Detroit and Green bay.


title: Petroleum coke

text: Externalities stem from petcoke that cause potential environmental impacts. Petcoke is composed of 90% elemental carbon by weight which is converted to during combustion. Use of petcoke also produces emissions of sulfur, and the potential for water pollution through nickel and vanadium runoff from refining and storage.


title: Paul W. Downs

text: Paul W. Downs (born November 21, 1982) is an American actor, writer, and director. He is best known for his portrayal of Trey Pucker on the Comedy Central series "Broad City", and as a co-creator, showrunner, and actor on the HBO Max series "Hacks", for which he won a Primetime Emmy Award for Outstanding Writing for a Comedy Series.


title: Paul W. Downs

text: Downs has been creating digital shorts with Lucia Aniello since the pair met in 2007 at the Upright Citizens Brigade. In 2012 they made a web series called "Paulilu Mixtape" for Above Average Productions, a division of Broadway Video.


title: Paul W. Downs

text: In 2011, Downs made a sketch comedy short called "The Rattler", in this sketch, his cousins Ella and Patrick made a brief appearance.


title: Paul W. Downs

text: Downs played "Hot Guy" in an episode of the MTV series "The CollegeHumor Show" in 2009. Additional appearances on "CollegeHumor" included a parody of the deli scene from "When Harry Met Sally...".


title: Paul W. Downs

text: From 2014–2019, Downs played Trey on the Comedy Central sitcom "Broad City". Trey is a fitness instructor and the boss turned romantic interest of Abbi Abrams (played by Abbi Jacobson) at Soulstice. Downs was one of the writers and executive producers on the show.


title: Paul W. Downs

text: On April 29, 2015, it was announced that Downs and Aniello would be writing a female spin-off of "21 Jump Street". On June 22, 2015, it was announced that the duo sold their script for "Move That Body", a feature film acquired by Sony. Retitled "Rough Night" and released in 2017, Aniello directed, while Downs co-starred in the film.


title: Paul W. Downs

text: On April 20, 2016 Downs starred in the Comedy Central miniseries "Time Traveling Bong" alongside "Broad City" co-star Ilana Glazer.


title: Paul W. Downs

text: In 2016 he appeared in a "" parody skit on the 36th episode of the sketch series "Inside Amy Schumer".


title: Paul W. Downs

text: Downs is showrunning and co-starring in the HBOMax show "Hacks", starring Jean Smart. More recently, he and his comedy partner Lucia Aniello struck a deal with Warner Bros. Television.


title: Paul W. Downs

text: Downs studied theater at Duke University where he did improv as a member of Duke University Improv (DUI). He lives in Los Angeles with Aniello, his wife and comedy partner.


title: Chicago Transit Authority (album)

text: Chicago Transit Authority is the debut album by the Chicago-based rock band Chicago (then known as Chicago Transit Authority). It was recorded and released in 1969 and became a sleeper hit, reaching number 17 on the "Billboard" 200 by 1971 and spawning several successful singles, including "Does Anybody Really Know What Time It Is?", "Questions 67 and 68" and "Beginnings". The album stayed on the "Billboard" chart for 171 weeks, beating the previous record for a rock album's longevity of 155 weeks and has been certified double platinum by the Recording Industry Association of America (RIAA). For this inaugural recording effort the group was nominated for a Grammy Award for 1969 Best New Artist of the Year. The album was inducted into the Grammy Hall of Fame in 2014.


title: Chicago Transit Authority (album)

text: Chicago was formed in early 1967, first as the Big Thing, then Chicago Transit Authority when producer James William Guercio took them on in 1968. Their trademark was fusing brass and jazz with a soulful rock and roll feel that Guercio thought would prove successful, lobbying for his label to sign the band.


title: Chicago Transit Authority (album)

text: Chicago Transit Authority signed to Columbia Records late in 1968 and recorded their first album in late January 1969 at CBS studios on 52nd Street in New York City. While Guercio had recently produced Blood, Sweat & Tears' second album (which proved to be a huge smash), he did so to raise capital for his band, and to secure the contract with Columbia (which was reluctant at first to have two jazz-rock bands since Blood, Sweat & Tears was already on their roster). By the end of the "Chicago Transit Authority" sessions, the band had decided they wanted it to be a double album. Skeptical, as the band had no track record, Columbia agreed to the concept only if the group would take a royalty cut.


title: Chicago Transit Authority (album)

text: In addition to the material recorded for the album, "Wake Up Sunshine", "It Better End Soon" (both later released on their second album), "Loneliness is Just a Word" (later released on "Chicago III"), and an early version of "Mississippi Delta City Blues" (with mostly different music than its eventual versions on "Live in Japan" and "Chicago XI") all date from this era, and were performed as early as 1968. Other early original songs, such as "Dedicated to Girl Number 1" and "Once Upon a Life", were never released.


title: Chicago Transit Authority (album)

text: Released in April 1969, "Chicago Transit Authority" (sometimes informally referred to simply as "CTA") was not an immediate hit, eventually reaching No. 17 in the US and No. 9 in the UK. While critical reaction was generally favorable, sales were slow at first and the album initially failed to produce any hit singles, with the group seen as an album-oriented collective. Meanwhile, FM radio, with its album-oriented format, helped push sales along. In 1970 and 1971, "Does Anybody Really Know What Time It Is?" (No. 7), "Beginnings" (No. 7) and "Questions 67 and 68" (No. 71 and No. 24 for the 1971 re-release) all made it into the Billboard Hot 100 belatedly. Buoyed by the success of their later albums, "Chicago Transit Authority" had stayed on the charts for 171 weeks as of June 1975, setting the then record for a rock album's chart longevity by October 1974 at 155 weeks, and was certified gold (and later platinum and double platinum) by the Recording Industry Association of America (RIAA).


title: Chicago Transit Authority (album)

text: While the band toured the album, legal action was threatened by the actual Chicago Transit Authority, forcing the group to truncate their name to simply "Chicago".


title: Chicago Transit Authority (album)

text: Keyboardist Robert Lamm, guitarist Terry Kath and bassist Peter Cetera shared lead vocals, while James Pankow, Lee Loughnane and Walter Parazaider handled all brass and woodwinds (trombone, trumpet and saxophone, clarinet and flute respectively) and Danny Seraphine played drums. (Parazaider is pictured in the album package playing flute, but doesn't actually play it on the album.) Band members added percussion during sections of a song when they weren't playing their main instrument. For example, on "I'm a Man", Pankow was on cowbell, Parazaider on tambourine, and Loughnane on claves. Lamm, Kath and Pankow were the band's main composers at this time. According to the band's producer, James William Guercio, Jimi Hendrix was an avowed fan of Kath's playing. According to the album's original liner notes, the solo performance of Kath on "Free Form Guitar" was created without the use of any pedals. In a nod to Hendrix's guitar expressionism (Hendrix most notably used wah and fuzz pedals), Kath instead plugged directly into his studio amplifier and improvised the entire track in one take for the purpose of pure tone. "Free Form Guitar" was an influence on the genre of noise music.


title: Chicago Transit Authority (album)

text: The album is one of two not to have any songwriting contributions from Cetera during his tenure in the band, the other being "Chicago V". He started writing songs with the second album, "Chicago".


title: Chicago Transit Authority (album)

text: Because of dealings between the recording company and the group's producer, James William Guercio, the group's studio time was limited to only five days of basic tracking and five days of overdubbing by the recording company. According to Guercio, the album was "done 8-track."


title: Chicago Transit Authority (album)

text: According to band member Walt Parazaider, when the group went into the studio to record the album, they " 'found out we knew very little about what we were doing. ... The first song was “Does Anybody Really Know What Time It Is?” We tried to record it as a band, live, all of us in the studio at once.' " Finally it was decided that drums, bass, keyboard, and guitars would be recorded first, and then the horns and vocals.


title: Chicago Transit Authority (album)

text: The cover design for the album is called "Painted Shingle" on the group's official web site. The inside jacket features individual photos of each band member, which reviewer Peter Morelli notes, "For a band deliberately constructed to be a leaderless democracy, Robert Lamm (far right, standing) sure stands out in the band photos!"


title: Chicago Transit Authority (album)

text: In 1974, the album was also mixed in quadraphonic sound and released on SQ encoded LP (GQ-33255) and Dolby Quadraphonic 8-Track (QCA-33255).


title: Chicago Transit Authority (album)

text: In 2002, "Chicago Transit Authority" was remastered and reissued on one CD by Rhino Records and Columbia Records. Rhino Records trimmed some of the songs, noticeably the fadeouts on "Questions #67 and #68" (six seconds longer on the LP) and "Free Form Guitar" (five seconds longer), the 10 second gap between "Someday" and "Liberation", and some studio chatter.


title: Chicago Transit Authority (album)

text: In 2010, Rhino Handmade re-released the original quadraphonic mix of the album on a limited edition DTS DVD, and in 2016, in DTS-HD Master Audio, as part of Chicago Quadio Box Set.


title: Chicago Transit Authority (album)

text: On June 26, 2019, Rhino Records announced a 50th Anniversary Remix edition of Chicago Transit Authority, offering it in both CD and double LP formats. Although the press release announced an August 30, 2019 release date, the date was pushed back to September 13, 2019 outside of Canada. The band worked with engineer Tim Jessup, who also mixed the band’s "Live at the Isle of Wight Festival." Robbie Gerson, reviewing the vinyl release for "Audiophile Audition", gave an overall positive review, saying, "Rhino has done an outstanding job in re-mastering "Chicago Transit Authority" to 180-gram vinyl." In his review for "All About Jazz", Doug Colette gave the CD four out of five stars, noting that there's "less precedence for the harmony singing," but that there's "wallop to the drums," "edge to the guitar," and "great care throughout to highlight, without overstatement but with proportionate accuracy and impact, the tightly-fused rhythm work of drummer Danny Seraphine and bassist Peter Cetera: both sound equally vigorous and muscular in their playing."


title: Chicago Transit Authority (album)

text: "Chicago Transit Authority" is the only Chicago album listed in "1001 Albums You Must Hear Before You Die".


title: Chicago Transit Authority (album)

text: "Chicago Transit Authority" (Columbia 8) reached No. 17 in the US during a chart stay of 171 weeks. It also peaked at No. 9 in the UK.


title: Dolly Alderton

text: Dolly Alderton (born 31 August 1988) is a British journalist, author and podcaster. She is a columnist for "The Sunday Times". Her memoir "Everything I Know About Love" won a 2018 National Book Award for autobiography and was shortlisted for the 2019 Non-Fiction Narrative Book of the Year in the British Book Awards, and adapted into a BBC/Peacock eponymous television drama series.


title: Dolly Alderton

text: Alderton was born in London and raised in Stanmore. She was born to British and Canadian parents, and describes herself as "half Canadian". Born Hannah Alderton, she changed her name to Dolly in her early teens. She was educated at St Margaret's School in Bushey, and Rugby School, where she boarded in the sixth form. She earned a degree in Drama and English from the University of Exeter, and a master's degree in journalism from City University.


title: Dolly Alderton

text: Alderton began writing for "The Sunday Times" in 2015, working initially as a dating columnist from 2015 to 2017.


title: Dolly Alderton

text: Alderton's debut book, "Everything I Know About Love", was published in February 2018. BBC News described it as "offering readers a frank and deeply personal account of friendships, relationships and growing up as a millennial." The memoir was shortlisted for the National Book Awards in 2018 in the Autobiography category (won that year by Michelle Obama for "Becoming"). It was shortlisted for the 2018 Waterstones Book of the Year. In October 2020, Alderton was working on a TV adaptation of "Everything I Know About Love". It was produced by Working Title Television and Universal International Studios for BBC, with a screenplay by Alderton, directed by China Moo-Young.


title: Dolly Alderton

text: Her first novel, "Ghosts," was published in October 2020 by Fig Tree. The novel concerns a 32-year-old food writer, Nina, who meets someone through a dating app, while her father is beginning to show signs of dementia. In October 2020, it was reported that Alderton had sold the film rights to "Ghosts."


title: Dolly Alderton

text: In October 2022, Alderton released a third book entitled "Dear Dolly". The book is a collection of her Sunday Times columns and also includes a new personal essay.


title: Dolly Alderton

text: Alderton co-created and co-hosted "The High Low" with Pandora Sykes"." "The High Low" was a weekly podcast focusing on pop culture and current affairs. The podcast ran for four years and over 150 episodes were recorded. The final episode aired on 2 December 2020. "The High Low: A Christmas Special Live Stream" took place on 8 December 2020 to raise funds for Blood Cancer UK.


title: Dolly Alderton

text: Alderton presented the podcast "Love Stories" in conjunction with her book "Everything I Know About Love", where she interviewed a number of guests including Stanley Tucci, Ruth Jones and Marian Keyes. Season one was released between February 2018 and May 2018, and season two between January 2019 and March 2019. In January 2019, Penguin published a feature titled "Six inspiring lessons I learnt from Love Stories", where Alderton described the experience as a "great privilege".


title: Dolly Alderton

text: Alderton has been a guest on numerous podcasts, including "Off Menu" with Ed Gamble and James Acaster, "How to Fail" with Elizabeth Day, and "Table Manners" with Jessie Ware.


title: Dolly Alderton

text: From February to April 2021, Alderton co-hosted a spin-off series for the "Sentimental Garbage" podcast titled "Sentimental in the City" with Caroline O'Donoghue. In March 2021, the podcast received a five-star review in The Times.


title: Dolly Alderton

text: Alderton's work explores themes of love, female friendship, and her experiences living as a millennial woman.


title: Dolly Alderton

text: Naomi Gordon described Alderton's award-winning memoir "Everything I Know about Love" as "self-deprecating, and occasionally heartbreaking[,] musings on love, friendship, relationships, and growing up as millennial".


title: Dolly Alderton

text: From 2011, Alderton worked as a story producer for series 2-5 of the BAFTA-winning "Made in Chelsea", made by Monkey Kingdom.


title: Dolly Alderton

text: Alderton has written and directed two independent films with her writing partner Lauren Bensted. Alderton released "The Confluence", a documentary about Tagg's Island in 2014, and "Anna Island", a short film accepted to the London Short Film Festival, in 2015.


title: Dolly Alderton

text: Alderton worked as a script assistant on the final series of Channel 4's "Fresh Meat" and directed the behind-the-scenes online videos for the last series of "Fresh Meat" and the last series of Channel 4's "Peep Show".


title: Dolly Alderton

text: Alderton adapted her book "Everything I Know About Love" into a romantic comedy with Working Title TV. In May 2021, Alderton announced the adaptation had been commissioned by the BBC and later by Peacock in the US. The BBC synopsis describes the romantic comedy as a portrayal of two best friends, Maggie and Birdy, as they "finally land in London to live it large, when the unexpected happens – dependable Birdy gets a steady boyfriend." It has been described as a "generous, funny, warm-hearted and uplifting Sex & The City for millennials which covers bad dates and squalid flat-shares, heartaches and humiliations, and, most importantly, unbreakable female friendships". The drama premiered on BBC One in June 2022 and stars Emma Appleton, Bel Powley, Marli Siu and Aliyah Odoffin. All episodes are available to stream on BBC iPlayer.


title: Dolly Alderton

text: In the same month, it was announced that NBCUniversal's Peacock picked the series as well for US streaming to add to its original programming catalogue lineup for the summer season, and it premiered on August 25, 2022.


title: Dolly Alderton

text: She appeared in a "Forbes 30 Under 30" List in 2018. In 2019, she was a judge for the Women's Prize for Fiction.


title: Dolly Alderton

text: Food is one of her principal interests, and she has named spaghetti vongole as her preferred last meal, and is passionate about pickling and vinegar.


title: Suhani Shah

text: Suhani Shah was born in Udaipur, Rajasthan in 1990. She left her school in class 2 to pursue her passion. She was home-schooled because of her constant tours all over the world. Suhani never had a formal education and says that "Experiences have taught more than what a school could or would".


title: Suhani Shah

text: Her first stage show was held at Thakorbhai Desai Hall in Ahmedabad on 22 October 1997. She has won several awards and has been conferred the title of "Jadoopari" () by All India Magic Association. As of 2019, she has done more than 5000 shows. She started off as an illusionist and is now a mentalist. She works as a clinical hypnotherapist at her clinic "Suhani Mindcare" in Goa. She is a corporate trainer, an author and a counsellor too and has given several TED Talks.


title: Suhani Shah

text: She is active on YouTube, where she uploads videos, which range from Magic, Mentalism, Vlogs, Shorts, and Stream Highlights, Jagrata Stream .


title: Suhani Shah

text: She also has a web show, known as "That's My Job", where she invites many guests and makes them guess the professions of the participants of the show. Notable people who have attended the show, as participants and guests, include Ujjwal Chourasia (Techno Gamerz), KR$NA, Zakir Khan, Vijay Shekhar Sharma, Nischay Malhan ,Triggered Insaan, Munawar Faruqui, Samay Raina, Tanmay Bhat, Anshu Bisht (GamerFleet) etc.


title: Surf's Up (album)

text: Surf's Up is the 17th studio album by American rock band the Beach Boys, released August 30, 1971 on Brother/Reprise. It received largely favorable reviews and reached number 29 on the US record charts, becoming their highest-charting LP of new music in the US since 1967. In the UK, "Surf's Up" peaked at number 15, continuing a string of top 40 records that had not abated since 1965.


title: Surf's Up (album)

text: The album's title and cover artwork (a painting based on the early 20th-century sculpture "End of the Trail") are an ironic, self-aware nod to the band's early surfing image. Originally titled "Landlocked", the album took its name from the closing track "Surf's Up", a song originally intended for the group's unfinished album "Smile". Most of "Surf's Up" was recorded from January to July 1971. In contrast to the previous LP "Sunflower", Brian Wilson was not especially active in the production, which resulted in thinner vocal arrangements.


title: Surf's Up (album)

text: Lyrically, "Surf's Up" addresses environmental, social, and health concerns more than the group's previous releases. This was at the behest of newly recruited co-manager Jack Rieley, who strove to revamp the group's image and restore their public reputation following the dismal reception to their recent albums and tours. His initiatives included a promotional campaign with the tagline "it's now safe to listen to the Beach Boys" and the appointment of Carl Wilson as the band's official leader. The record also included Carl's first major song contributions: "Long Promised Road" and "Feel Flows".


title: Surf's Up (album)

text: Two singles were issued in the US: "Long Promised Road" and "Surf's Up". Only the former charted, when it was reissued with the B-side "Til I Die" later in the year, peaking at number 89. In 1993, "Surf's Up" was ranked number 46 in "NME"s list of the "Top 100 Albums" in history. In 2000, it ranked number 230 in Colin Larkin's "All Time Top 1000 Albums". , it is ranked as the 761st highest rated album of all time on Acclaimed Music. Session highlights, outtakes, and alternate mixes from the album were collected for the 2021 compilation "Feel Flows".


title: Surf's Up (album)

text: On the evening of July 29, 1970, Brian Wilson, accompanied by Mike Love and Bruce Johnston, granted his first-ever full-length radio interview to KPFK DJ John Frank, also known as Jack Rieley. In the interview, Wilson mentioned that although he is "proud of the group and the name", he felt that "the clean American thing has hurt us. And we're really not getting any kind of airplay today." Among other topics, Wilson stated that the group was not "putting enough spunk in our production and I don't know who to blame. ... Another thing is that we haven't done enough to change our image, though. ... we sort of operate a democracy thing in our productions. Maybe that's the problem. I don't know." The subject eventually turned to "Surf's Up", an unreleased song from the band's unfinished album "Smile". Brian said he did not want to release the song because it was "too long".


title: Surf's Up (album)

text: On August 8, Rieley sent the band a six-page memo that explained how to stimulate "increased record sales and popularity". At the end of August, the group's latest record "Sunflower" was released as their first album on Reprise Records. It became the worst-selling album in the group's history. Band promoter and co-manager Fred Vail remembered one meeting with the band in which "we were talking about ... "Sunflower" not charting, and they were wondering why. I said to them, 'Listen, this is a phase right now. If you stay the course, your real audience won't forget you. They won't desert you.' But the Beach Boys really didn't believe in themselves." Vail was soon replaced by Rieley, primarily at the instigation of Love and Johnston.


title: Surf's Up (album)

text: Some of Rieley's earliest initiatives were to end the group's practice of wearing matching stage uniforms and to appoint Carl Wilson as the band's official leader. The group spent the majority of September and October rehearsing for upcoming concerts. On October 3, at the invitation of Van Dyke Parks, the band performed two sets at the eighth annual Big Sur Folk Festival in California to an audience of 6,000. According to music historian Keith Badman, the performances "help[ed] to establish the group's image in the eyes of the rock hierarchy, and they are subsequently 'rediscovered' as an important live act." Biographer David Leaf wrote that the concert inspired what was effectively an apologetic review from "Rolling Stone" co-founder Jann Wenner, who previously criticized the band for pulling out of the 1967 Monterey Pop Festival. A rumor circulated among news outlets who reported that Brian was then writing music with Parks for an upcoming Beach Boys television special, "H-2-0".


title: Surf's Up (album)

text: In early November, Brian temporarily rejoined the touring band in playing four dates at the Whisky a Go Go. The group had not played a concert in Los Angeles since 1966, while Brian had not performed with the touring group since early 1970, when he briefly filled in for Love. These performances served as a warm-up to the band's second major tour of the year, which lasted from November 19 to December 20, around the UK and Europe. Guitarist Ed Carter and keyboardist Daryl Dragon accompanied the band for this tour, along with supporting act the Flame. Reports from this period suggested that the group were planning to move from Los Angeles to Britain once their recording commitments were finished. From January to early April 1971, they worked intermittently on their second album for Reprise.


title: Surf's Up (album)

text: "Surf's Up" was recorded between January and July 1971, with the exception of a few tracks. After the release of "Sunflower", band engineer Stephen Desper assembled a collection of songs consisting mostly of outtakes deemed suitable for a follow-up LP, which he labelled "Second Brother Album". Rieley later called these selections "forgettable" and said that he was "totally perplexed ... I met with [Warner executive] Mo Ostin, a true Brian Wilson fan, at Warner Brothers, who listened to the songs, and he declared: 'No way.'"


title: Surf's Up (album)

text: Rieley encouraged them to write songs with more socially conscious and topical lyrics, although he stated in a 2013 interview, "It was not part of a master plan. ... We never had any 'What are we gonna write about?' meeting. Never once did anything like that ever occur." He assigned the project the brief working title of "Landlocked" to represent "a demarcation line, separating striped-shirted bullshit that had become irrelevant, an object of public scorn, from artistry, creativity and great new songs." An album cover was designed with this title, featuring white san-serif [sic] letters printed atop a photograph of a dark field.


title: Surf's Up (album)

text: The "Landlocked" cover was ultimately discarded in favor of a different design. Rieley said that the final cover "was something that caught my eye at an antique record shop near Silver Lake. It was a painting and I bought it. It reminded me a bit of the Brother Records logo, but it was different." Conversely, Desper recalled that a print of a painting of the "End of the Trail", "use[d] to hang in Murry Wilson's office behind his desk, as Brian recalls from his childhood. Brian always like[d] the painting as it was part of Denny's, Carl's and his youth." "Surf's Up" was the first album for which the group printed the lyrics of each song on the record sleeve.


title: Surf's Up (album)

text: In 1974, Rieley stated that his growing involvement with the songwriting process attracted the ire of Love, Johnston, and Al Jardine, who "tried to force me to march into Mo Ostin's and sell him on their 1969 track 'Loop De Loop'". I refused and Brian, Dennis, and Carl backed me up." Due to Brian's reduced involvement, the vocal arrangements were not as dense as those for "Sunflower". Johnston recalled, "It was strange to be doing vocal arrangements to make it sound like the Beach Boys when we were the Beach Boys. That's a little weird to me."


title: Surf's Up (album)

text: "Long Promised Road" and "Feel Flows" were Carl's first significant solo compositions and were recorded almost entirely by himself. "Student Demonstration Time" (a topical reworking of Jerry Leiber and Mike Stoller's R&B classic "Riot in Cell Block Number 9") and the environmental anthem "Don't Go Near the Water" found Love and Jardine embracing the group's new socially conscious direction.


title: Surf's Up (album)

text: "Til I Die" was a song Brian had been working on since mid-1970. It was written while he was suffering from an existential crisis, and he took weeks to refine the arrangement, using an electronic drum machine and crafting a harmony-driven, vibraphone and organ-laden background. "A Day in the Life of a Tree", written by Brian and Rieley, is about a tree succumbing to the effects of environmental pollution; the accompaniment includes harmonium, an antique pump organ, and a smaller pipe organ.


title: Surf's Up (album)

text: Johnston said that he wrote "Disney Girls (1957)" "because I saw so many kids in our audiences being wiped out on drugs" and wanted to capture the feeling of an era in which people were "a little naive but a little healthier." Jardine also contributed "Take a Load Off Your Feet", a "Sunflower" outtake, and "Lookin' at Tomorrow (A Welfare Song)", both co-written with longtime friend Gary Winfrey. Biographer Timothy White wrote that the latter song was "a poignant mini-soliloquy from a jobless rounder, seems like a coda to 'Long Promised Road,' the pioneer busted in his starry-eyed ambitions but still 'looking at tomorrow' for a fresh potential." Jardine said that it was "actually an old folk song" to which he "rewrote the lyrics to reflect the times".


title: Surf's Up (album)

text: Rieley had asked Brian about including "Surf's Up" on "Landlocked", and in early June, Brian suddenly gave approval for Carl and Rieley to finish the song. Carl overdubbed a new vocal in the song's first part, the original backing track dating from November 1966. The second movement consisted of a December 1966 solo piano demo recorded by Brian, augmented with vocal and Moog synthesizer overdubs. Johnston recalled, "We ended up doing vocals to sort of emulate ourselves without Brian Wilson, which was kind of silly." With the song completed, "Landlocked" was given the new title of "Surf's Up".


title: Surf's Up (album)

text: Dennis Wilson's songs "4th of July" and "(Wouldn't It Be Nice to) Live Again" were recorded in early 1971 but left off the record. In a September 1971 interview, Dennis stated, "I have a belief in my music. And it sounds nothing like it should on the album – it should have a flow on it from one song to another ... It didn't sound like The Beach Boys. They thought it did. I said ‘Bullshit’ and pulled my songs off." According to Rieley, the absence of any Dennis songs on "Surf's Up" was for two reasons: to quell political infighting within the group concerning the album's share of Wilson-brother songs, and because Dennis wanted to save his songs for a solo album, projected for release in 1971.


title: Surf's Up (album)

text: "(Wouldn't It Be Nice to) Live Again" was written with Stanley Shapiro. According to Beach Boys biographer Jon Stebbins, Dennis had wanted the song to close the record, following Til I Die", but Carl objected. In 2013, it was released for the box set "Made in California", along with a 1974 recording of "Barnyard Blues", a song that Dennis had composed during the "Surf's Up" sessions. Dennis also recorded "Barbara", a piano demo named after his then-girlfriend, and a track called "Old Movie". "Barbara" was released in 1998 for the "Endless Harmony Soundtrack".


title: Surf's Up (album)

text: Other outtakes include Brian's "My Solution" and "H.E.L.P. Is On the Way". According to singer Terry Jacks, the group asked him to be their producer for a session. On July 31, 1970, they attempted a rendition of the Jacques Brel/Rod McKuen song "Seasons in the Sun", but the session went badly, and the track was never finished. Jacks later had a hit with his own version of the song in 1974. Afterward, Mike Love told an interviewer: "We did record a version [of 'Seasons'] but it was so wimpy we had to throw it out. ... It was just the wrong song for us. I'm glad Terry had a hit with it." Love's "", recorded in August 1970, was later remade in a different time signature for the 1973 album "Holland". In March 1971, Carl recorded a Moog synthesizer sound collage titled "Telephone Backgrounds (On a Clear Day)".


title: Surf's Up (album)

text: Rieley arranged for the group to appear in a series of commercials with the tagline "It's now safe to listen to the Beach Boys." He also arranged a guest appearance at a Grateful Dead concert at Bill Graham's Fillmore East in April 1971 to foreground the band's transition into the counterculture. For their performances this year, the Beach Boys enlisted a full horn section and additional percussionists. A journalist who attended the show later reported that Bob Dylan, who was watching from the sound booth, remarked aloud, "You know, they're pretty fucking good." Contrary to what is later written of the show, the Grateful Dead's audience was unfavorable toward the Beach Boys' appearance. On May 1, the band performed at "The Peace Treaty Celebration Rock Show", an anti-war rally concert organized by the Mayday Collective, with approximately 500,000 people in attendance. Footage of the band performing "Student Demonstration Time" later appeared in the 1985 documentary "An American Band".


title: Surf's Up (album)

text: On May 24, "Long Promised Road" (B-side "Deirdre") was issued as lead single, becoming their sixth consecutive US single that failed to chart. That same month, Dennis accidentally punched his hand through a glass window, severing nerves and tendons. The injury left him unable to play drums for the band, and so he was replaced by the Flame's Ricky Fataar. Dennis continued to make occasional appearances at concerts, singing or playing keyboards. In July, the American music press rated the Beach Boys "the hottest grossing act" in the country, alongside Grand Funk Railroad. On July 7, the film "Two-Lane Blacktop", co-starring Dennis, made its worldwide premier in New York City. Despite critical acclaim, the film was largely unnoticed by cinema-goers.


title: Surf's Up (album)

text: "Surf's Up" was released on August 30 to more public anticipation than the Beach Boys had had for several years. Aided by some FM radio exposure, it outperformed "Sunflower" commercially and was their best selling album in years. On September 6, "Time" reported that the album was "doing well enough. Barely out, it is fast approaching $250,000 in sales." From September 22 to October 2, the band toured the eastern US, but the performances received mixed reviews. Their setlists included every song from the album except Til I Die" and "A Day in the Life of a Tree". Dennis also played solo piano renditions of his unreleased songs "Barbara" and "I've Got a Friend".


title: Surf's Up (album)

text: On October 28, the Beach Boys were the featured cover story on that date's issue of "Rolling Stone". It included the first part of a lengthy two-part interview, titled "The Beach Boys: A California Saga", conducted by journalists Tom Nolan and David Felton. Unusually, the story devoted minimal attention to the group's music, and instead focused on the band's internal dynamics and history, particularly around the period when they fell out of step with the 1960s counterculture. At the end of the month, "Surf's Up" peaked on the US charts at number 29, becoming their highest-charting album there since "Wild Honey" (1967).


title: Surf's Up (album)

text: In the UK, "Surf's Up" was released by EMI's Stateside label in October and peaked at number 15. Rieley was unhappy with the delay, remarking that the album "sold more import copies than they sold of British pressings." The UK singles, "Long Promised Road" (B-side "Deirdre") and "Don't Go Near the Water" (B-side "Student Demonstration Time"), failed to chart. In November, "Surf's Up" (B-side "Don't Go Near the Water") was released as the last US single and failed to chart.


title: Surf's Up (album)

text: "Surf's Up" received generally favorable reviews. "Time"s reviewer described it as "one of the most imaginatively produced LPs since last fall's "All Things Must Pass" by George Harrison and Phil Spector". A "Rolling Stone" writer stated: "the Beach Boys stage a remarkable comeback ... an LP that weds their choral harmonies to progressive pop and which shows youngest Wilson brother Carl stepping into the fore of the venerable outfit." In his review for the magazine, Arthur Schmidt was effused with the record, highlighting "Surf's Up" and "Disney Girls" as his favorite songs, and wrote: "This is a good album, probably as good as "Sunflower", which is terrific ... It is certainly the most original in that it has contributed something purely its own." Richard Williams of "The Times" called the record "mostly very good" in his review;" in another review of the album from 1972, he wrote that it "won't disappoint anyone at all ... they've produced an album which fully backs up all that's recently been written and said about them." "NME"s Richard Green called it a "very good album, very different from anything they've done before."


title: Surf's Up (album)

text: Robert Christgau was less impressed in "The Village Voice". While highlighting "Take a Load Off Your Feet" and "Disney Girls (1957)", he found most of the other songs forgettable and the album the group's worst since 1968's "Friends", before writing, "Van Dyke Parks's wacked-out lyricist meandering is matched by the sophomoric spiritual quest of Jack Rieley, and the music drags hither and yon." In "The Rag", Metal Mike Saunders lamented that most of the press furor over the Beach Boys' reputed comeback "has been rubbish" and opined that "Surf's Up" suffered from the same issues as "Sunflower", namely "horrendous production and engineering" and a lack of "focus". He wrote, "At any rate, the Brian Wilson Enigma remains unanswered, and the Beach Boys without him are just another rock group." "The Guardian"s Geoffrey Cannon felt that the album was inconsistent.


title: Surf's Up (album)

text: In 1974, the staff of "NME" ranked "Surf's Up" number 96 in their list of the "Top 100 Albums" of all time. When the magazine surveyed its writers again in 1993, the album's position rose to number 46. In 2000, the record was voted number 230 in the third edition of Colin Larkin's "All Time Top 1000 Albums". In 2004, "Surf's Up" was ranked number 61 on "Pitchfork"s list of "The Top 100 Albums of the 1970s". Contributor Dominique Leone wrote:


title: Surf's Up (album)

text: Music critic John Bush wrote "[Most of the] songs are enjoyable enough, but the last three tracks are what make "Surf's Up" such a masterpiece." "Mojo" critic Ross Bennett regarded "Surf's Up" as "the definitive version" of the "Smile" recordings, "with those crystalline vocals imbuing Parks' cryptic verses with a grace and simplicity missing from the 2004 reboot". Keith Phipps from "The A.V. Club" called it "the darkest album of the group's career, a record that also spotlighted a growing social conscience".


title: Surf's Up (album)

text: Conversely, Scott Schinder wrote in "Icons of Rock" (2006) that "Surf's Up" "lacked the solid group dynamic that had elevated "Sunflower"" despite two "impressive songwriting contributions from Carl". James E. Perone, writing in "The 100 Greatest Bands of All Time" (2015), opined that "the album's lyrical themes are so wide ranging that the social commentary tended to get somewhat lost, and the year 1971 was late enough in the counterculture era that 'Student Demonstration Time' and 'A Day in the Life of a Tree' seem like a case of too little, too late." Stebbins opined that the album suffered from a lack of Dennis songs and was not as strong as "Sunflower" in its totality. "Record Collector"s Jamie Atkins said that the lack of Dennis songs was balanced by the strong offerings from Carl, although Rieley's "awkward wordplay ... was rather less clever than he had perhaps intended. Happily, they did not detract from the quality of the songs:"


title: Surf's Up (album)

text: "Surf's Up" was the last Beach Boys album recorded with Bruce Johnston until 1979's "L.A. (Light Album)". He later criticized the record: "To me, "Surf's Up" is, and always has been, one hyped up lie! It was a false reflection of The Beach Boys and one which Jack [Rieley] engineered right from the start. ... It made it look like Brian Wilson was more than just a visitor at those sessions. Jack made it appear as though Brian was really there all the time." In another interview, Johnston said: "All I can say is that at the beginning, I thought that what he was trying to do was absolutely right on the money. He helped the band become aware of what our niche was in pop music."


title: Surf's Up (album)

text: The record is also listed in the musical reference book "1001 Albums You Must Hear Before You Die". In 2014, John Wetton named "Surf's Up" his favorite prog album of all-time, elaborating: "The summer of '71 had so many musical milestones ... but "Surf's Up" was a revelation. I was in Family, a major player in the first wave of British progressive bands, but this collection from the iconic California surf-pop band shifted my parameters, blurring all the boundaries of my musical vocabulary. ... And the cover? Mega prog!" , it is listed as the 761st-highest rated album of all time on Acclaimed Music.


title: Surf's Up (album)

text: In 2021, expanded editions of "Sunflower" and "Surf's Up" were packaged within "Feel Flows", a box set that includes session highlights, outtakes, and alternate mixes drawn from the two albums. The set also includes the first ever releases of the "Surf's Up"-era outtakes "Big Sur" (1970 version), "Sweet and Bitter", "My Solution", "Seasons in the Sun", "Baby Baby", "Awake", and "It's a New Day".


title: Timothy McGee

text: Timothy Farragut "Tim" McGee () is a fictional character from the CBS television series "NCIS". He is portrayed by Sean Murray. McGee specializes in cybersecurity and computer crime, and is a graduate of Johns Hopkins University and MIT.


title: Timothy McGee

text: Murray appeared as a guest star in eight episodes of the first season of "NCIS"; in season two he joined the main cast and was added to the opening credits. In season twenty, Murray became the show's new main lead.


title: Timothy McGee

text: McGee was born in Bethesda, Maryland, on September 13, 1978, to an Irish American family. He spent his childhood in Alameda, California, as his father was a naval officer stationed there. His parents bought him his first car—a 1984 Camaro Z28 5-speed—the day he turned sixteen. However, he crashed into a bus while trying to figure out how to use the windshield wipers. He got a student pass the day he got out of traction. He earned a Bachelor of Science degree in biomedical engineering from Johns Hopkins University and a Master of Science degree in computer forensics from MIT. His college GPA was 3.9, as he failed a fencing class in his sophomore year. He worked at the NCIS field office in Norfolk, Virginia, before being transferred to the headquarters in the Washington Navy Yard, a move made permanent at the end of the season two episode "See No Evil."


title: Timothy McGee

text: McGee has a younger sister, Sarah, who is played by Troian Bellisario (Murray's stepsister in real life). Sarah attends Waverly College and intends to be a writer like her older brother.


title: Timothy McGee

text: Special Agent Timothy McGee, commonly referred to by Special Agent Anthony DiNozzo as "Probie", "McGeek", "McQueen", "McGoo", "Probie wan kenobi", "McProbie", "Baldy McBald", "McDigit", "Timmy MaGee", and even "Elf Lord", is part of a major case squad led by Special Agent Gibbs. He gained his field agent status when he was transferred to Washington from Norfolk.


title: Timothy McGee

text: In addition to responding to crime scenes and conducting investigations (along with the rest of the field team), McGee also serves as Gibbs' computer consultant and frequently assisted Abby Sciuto in the forensics lab when necessary.


title: Timothy McGee

text: During the first few seasons, McGee was portrayed as timid and inexperienced. In the Season 3 episode "Probie", he was visibly shaken after killing his first suspect, even though it was in self-defense and his teammates backed him in the subsequent investigation. When questioned about McGee's guilt, Gibbs commented that McGee "doesn't know how to lie". His character was almost entirely altered by episode 6.12 "Caged", evolving into a bolder and more assertive character.


title: Timothy McGee

text: Following Gibbs' brief retirement and Tony's subsequent promotion he becomes the senior field agent. He takes on the role very seriously, gaining Tony's respect. Tony later stops calling him "Probie" and starts calling him "Tim". He is shown to be very protective of his younger sister, Sarah, especially when she shows up after apparently committing a murder. He hides the case from his team to protect her while simultaneously launching an investigation into the case in the episode "Twisted Sister".


title: Timothy McGee

text: Timothy McGee has green eyes and brownish-blond hair. He was overweight until the end of season 6; during the seventh season, he was shown to be losing weight. When DiNozzo pesters him about it, McGee replies that he has lost 15 pounds. McGee's weight loss led to speculation that Sean Murray, the actor who portrays McGee, was ill; in October 2010 Murray, via his Twitter account, explained that it was a deliberate weight loss via dieting, consuming only organic food and abstaining from alcohol and sugar. Murray has lost 25 pounds.


title: Timothy McGee

text: In his initial appearances, McGee always wore a suit, dress shirt and a necktie. From season 4, he stopped wearing neckties and adopted a slightly more open-collar look. From season 7, he began frequently wearing leather jackets and bomber jackets over his shirt. For the first 14 seasons, McGee had a clean-shaven appearance; during his time being held hostage in Paraguay between seasons 14 and 15, he grew a beard, which he has since kept since his return to NCIS.


title: Timothy McGee

text: McGee has a passion for jet packs, computers and enjoys playing games relating to tactical warfare and covert infiltration. This is shown to be an interest shared by his sister Sarah in the episode "Red Cell", when she takes over his live war game as he leaves his apartment. In the episode "Broken Bird", his first computer was revealed to have been a Mac SE, followed by a PowerBook, and finally a PC. He uses a Logitech Y-SAE71-SK-2930 keyboard to carry out his everyday work.


title: Timothy McGee

text: In the episode "Ignition", he discusses his fascination with jet packs, even going so far as to show Gibbs a film he has made about them (produced under his pen name "Thom E. Gemcity", an anagram of Timothy McGee). Gibbs allows McGee to take the lead in the case because of this knowledge.


title: Timothy McGee

text: McGee is also shown to be an expert tracker, being able to find a cadaver without the assistance of dogs by reading changes in the land and observing bird droppings. He revealed he was a Scout, which occupied his time while his father was deployed. He even said "I love the outdoors", much to the chagrin of the more city-like DiNozzo. However, at least twice McGee has encountered poison ivy and suffered severe rashes.


title: Timothy McGee

text: In the episode "Dead Man Talking", it is revealed that McGee writes mystery/crime stories, and in the episode "Twisted Sister", it is revealed he has published a book entitled "Deep Six". It became known in the episode "Cover Story" that McGee has been successful as a writer, and garnered a fanbase. It was kept a secret from the NCIS team for a long time. Under his pseudonym "Thom E. Gemcity" (an anagram of "Timothy McGee"), he has penned at least two novels as part of the "Deep Six" series, one published and one in progress. The title of the first book, "Deep Six: The Continuing Adventures of L.J. Tibbs" (whose name and character are based on Leroy Jethro Gibbs) suggests there have been previous novels, but these have yet to be named, though the cover of McGee's first revealed book states that it is volume one. The next of McGee's books to be released, and sequel to its predecessor is entitled "Deep Six: Rock Hollow". Sean Murray commented, "As Thom E. Gemcity, he takes many liberties. I don't know if he knew the first book was going to be as successful as it was. But now he's got to run with it. I'm sure success has just increased his level of anxiety." In the episode "Cover Story", Rock Hollow becomes a focus point in that the NCIS team are investigating two murders (both committed because their killer thought they had robbed a convenience store and killed the clerk, as it was written in the book), when McGee is pressured to, and reveals everything that has taken place has been part of the book he is currently writing. It is then discovered that the story was stolen from the typewriter ribbon McGee threw away, and that Abby could be the next victim.


title: Timothy McGee

text: McGee's writing has given him enough fame to be feted as a minor celebrity and he can enjoy perks such as VIP clubbing, as seen in the episode "Friends and Lovers". McGee has ostensibly used the profits from his writing to purchase a Porsche Boxster (seen in the episode "Twisted Sister") and an Armani leather jacket (seen in the episode "Dead Man Walking"). He later mentions that he put the rest into a hedge fund, which crashed.


title: Timothy McGee

text: The characters in McGee's books are actually based on the characters in the NCIS team, with Leroy Jethro Gibbs as L.J. Tibbs, Anthony DiNozzo as Tommy, Ziva David as Lisa, Abby Sciuto as Amy Sutton, Jimmy Palmer as Pimmy Jalmer, and himself as McGregor. In the episode "Smoked", it is shown that in his novel "Deep Six", McGee portrays "Tommy" and "Lisa" as lovers, "Pimmy" as a necrophiliac (a reference to Jimmy's job as Ducky's assistant in the autopsy room) and "Tibbs" as in love with a Lt. Col. (mirroring Gibbs' brief relationship with Lt Col Hollis Mann). Unimpressed, Tony and Ziva subject McGee to relentless teasing and tormenting for the rest of the episode. Jimmy especially disliked his portrayal and refuses to give McGee a ride back to NCIS headquarters.


title: Timothy McGee

text: In the Season 10 finale, McGee began dating Delilah Fielding (Margo Harshman), a Department of Defense "cryptologist in a dark office". In season 11, the team meets her while investigating a case. In the Season 11 episodes "Kill Chain" and "Double Back", Delilah is left badly injured in a missile attack at a black-tie event she and McGee are attending. While McGee is not seriously injured, Delilah is left permanently paralyzed due to shrapnel embedded in her spine, and she thereafter uses a wheelchair; McGee struggles to cope with the thought of her being injured. She soon recovers from the incident and continues to assist the NCIS team. In the episode "Page Not Found", McGee confides in Tony that he is planning to ask Delilah to move in with him; Delilah later reveals to Tony that she wants to take a job opening for a senior intelligence analyst, which would require her to move to Dubai for a year. Tony then separately tells the two about their other half's plans; McGee encourages her to take the job and they agree to continue their relationship long-distance. McGee also gives her a copy of his house key, which she accepts, reiterating her intent to move in with him after her assignment is over.


title: Timothy McGee

text: Delilah returns to Washington in season 12 and they resume their relationship. He proposes to her in the episode "Love Boat", which she happily accepts. They are (unofficially) married in "Something Blue" shortly after finding out that they are expecting. In "Voices", McGee learns that Delilah is having twins, a boy and a girl, and in the next episode, she gives birth to John "Johnny" McGee, named after Tim's father, and Morgan McGee, named after a former cop turned security guard who died saving Tim's life.


title: Timothy McGee

text: As the junior field agent of the team, McGee is often subject to teasing from DiNozzo and Kate and Ziva, often together (though Kate and Ziva's teasing is not as mean-spirited as DiNozzo's), and, to some extent, Gibbs, though he doesn't come to head-smack him until later, unlike Kate and DiNozzo, who do so simultaneously on the day of his promotion almost immediately after Tim mentioned the word 'hazing'. In one episode, Gibbs walked into the lab, found him lying on the floor on his back while working on the underside of Abby's hotbox, and quipped, "Special Agent Goodwrench?" In "Forced Entry", he is tricked by Tony and Kate into drinking Gibbs' coffee, which is considered a major taboo. In subsequent episodes, Tony often pulls his seniority card by taking advantage of McGee's naivete and tricking him into performing less desirable tasks such as searching for a gun in a muddy ditch with only a metal detector and bagging bear poo while investigating a bear attack, brushing off McGee's protests with "because I can". In "Singled Out", a frustrated McGee futilely tells Tony to stop calling him "probie"; Gibbs later tells McGee that his former mentor Mike Franks still calls him "probie" even though he retired nearly a decade ago. McGee's most notable nicknames come from DiNozzo, either "Probie", due to his junior (probational) status on the team, or "McGeek", alluding to McGee's intelligence. DiNozzo uses multiple variations on both of these names to make fun of McGee, some of which are clever but not demeaning (McGPS, McProof, The Great McOz), some which are mocking (McLawyer, McGiggle, McGoo, McNerd, McFlowerPower), some of which seem irrelevant (McTim), and some intended to deliberately cause offense (Baldy McBald). When Tony discovers that McGee's online gaming name was "Elf Lord", it is often referenced by the team members through jokes and light-hearted teasing; Gibbs has occasionally called him Elf Lord in Season 5.


title: Timothy McGee

text: As with most new agents who had experience with Gibbs, McGee finds him difficult to work with due to his unorthodox management style and unpredictable temperament, with Tony constantly giving him tips on how to get along with Gibbs. Initially he is intimidated by Gibbs, especially after incurring his wrath having accidentally drunk or spilled his coffee several times during his earlier seasons. Gibbs himself is shown to gain more respect of McGee over time, as his personality matures and he becomes a more assertive character. Gibbs has also shown substantial trust and faith in his abilities over the course of time. In the episode "Witness", Gibbs sent McGee to check out a possible murder of a Navy Petty Officer and let him decide whether to call an investigation. He let McGee accompany him into the interrogation room while still a "probie" and allows him interrogate a suspect alone as early as the Season 3 episode "Deception". McGee is always shown as a computer consultant to Gibbs.


title: Timothy McGee

text: Ziva has had a friendly relationship with McGee since her start at NCIS. It resembles one of brother and sister. While Ziva teases McGee a great deal, often with Tony, they remain on friendly terms (Ziva's teasing is far more playful than Tony's, who takes a much more sadistic approach to the pranks he pulls on McGee). McGee was the first person to point out that Ziva was avoiding Tony at the start of season 7 and that sooner or later she would have to straighten out that relationship. He is much more comfortable and confident around Ziva than her predecessor, Kate Todd.


title: Timothy McGee

text: McGee lives near Ziva, in Silver Spring (a Maryland suburb of DC). When Ziva was in Israel between seasons 5 and 6, she and McGee e-mailed each other once a week. McGee has been to Ziva's house at least once, he was invited to her dinner party in season 3. McGee was also the one to show Ziva some ways to work from the area they live, and in return she gave him an apple – which Tony immediately stole before McGee was aware of the gift. Throughout season 7 as Ziva prepares to become an American citizen McGee supports her, even testing her, and attends her naturalization ceremony.


title: Timothy McGee

text: When McGee was introduced in "Sub Rosa", Todd protested DiNozzo's apparent abuse of authority when he ordered McGee to stay on a crime scene until someone else can come to relieve him. Todd and McGee were partnered for a very short time during the episode "UnSEALed", during which he came to her aid when she was tied up by a former Navy SEAL.


title: Timothy McGee

text: Throughout Season 2, DiNozzo and Todd would sometimes gang up on McGee to tease him, but Todd generally disapproved of DiNozzo's pranks and hazing of McGee. After the murder of a witness under McGee's watch, Todd was the first to try to comfort him.


title: Timothy McGee

text: In the episode "See No Evil", the air conditioning of the building is down. McGee tries to personally upgrade the network wiring since the union won't do it due to the heat. When Kate discovers him under her desk, she believes McGee is trying to look up her skirt and despite McGee's protests, drags him up from underneath by his ears. Seconds later, McGee tells Tony he didn't look and Tony says he believes him, only for him to ask if Kate is a "pantyhose or a thong girl" but McGee doesn't reply as Kate responds by elbowing DiNozzo in the stomach.


title: Timothy McGee

text: After Todd's death, like the rest of the grief-stricken team, McGee had to cope with the loss of a friend, and like DiNozzo, would fantasize about her. Later, McGee is shown mourning with DiNozzo over Todd's dead body.


title: Timothy McGee

text: Following Gibbs' retirement, McGee is promoted to Senior Field Agent after DiNozzo was promoted to Team Leader, after which Tony displays increased respect for McGee. With Ziva's departure in the episode "Aliyah", McGee is promoted to be Tony's partner in the field, and their relationship in the episode "Truth or Consequences" is shown to be friendly. For example, Tony used McGee's first name, Tim, more often and hasn't called him 'Probie' since season seven began. He is shown on friendly, even familial, terms with every member of the team.


title: Timothy McGee

text: In "Probie", McGee, who was deeply shaken after killing someone (later revealed to be an undercover policeman) in self-defense, later confesses to Tony feelings of inferiority to the rest of the team as he is the only field agent on Gibbs' team to have little experience in using weapons compared to his colleagues (Tony was a cop, Gibbs was a sniper, Kate was previously in the Secret Service while Ziva was a highly skilled Mossad operative).


title: Timothy McGee

text: In Season 11, with the transfer of Ellie Bishop from NSA to NCIS, McGee has begun to assert to seniority. He used some of Tony's old pranks on Bishop, such using a trick coin when tossing to see who has to retrieve a corpse from a septic tank.


title: Timothy McGee

text: In the Season 13 finale episode, "Family First", with DiNozzo having resigned from the team for good, McGee is promoted to Senior Field Agent and becomes the show's main character.


title: Timothy McGee

text: McGee had an extended relationship with forensics technician Abby Sciuto in season one, but there is no direct reference to their relationship ending. However, despite this, they are still very close and often tease each other about their previous relationship/dates (sexual jokes, suggestive comments, etc.), and in some instances Abby has shown jealousy of attention women have given McGee. In contrast to Tony DiNozzo, McGee has had few relationships, or possible ones, almost all of which have begun and ended in the same episode.


title: Timothy McGee

text: In "Sub Rosa", McGee's first appearance in Season 1, McGee asks Tony about Abby. Tony responds that she is not his type, stating that as he has never had the urge to tattoo his butt, they would have little in common. At the end of the episode, McGee tells Tony that he went to get the word 'Mom' tattooed on his butt to impress Abby.


title: Timothy McGee

text: In Season 5 McGee has issues with a girl who stole his heart and his credit, when he asks for help from Abby she tells him "I love you McGee and that should be enough".


title: Timothy McGee

text: When in stressful or uncomfortable situations, as seen in the episode "Grace Period", while trying to deal with the death of a friend, McGee will often retreat to the forensics lab for reassurance from Abby.


title: Timothy McGee

text: McGee owns a dog called Jethro, that was accused of murdering a Petty Officer during the Season 5 episode, "Dog Tags". Abby looked after him and named him after Gibbs, but because her landlord wouldn't let her have a dog in her apartment, she forced McGee to take him.


title: Timothy McGee

text: Aside from Gibbs' basement, McGee's home has been shown in the most episodes of all the series' characters. Various characters have been inside at one point or another; namely Tony DiNozzo, Ziva David, Caitlin Todd, Sarah McGee, Abby Sciuto and Abby's previous boyfriend/stalker, Mikel.


title: Timothy McGee

text: In the Season 9 episode, "Life Before His Eyes" Abby and McGee are shown as a happy couple in the alternate reality scenarios.


title: Timothy McGee

text: Ducky is one of the few individuals to use McGee's full given name of Timothy as illustrated in "See No Evil". As with Abby, Ducky at times adopts a fatherly attitude towards Tim as demonstrated in the season four episode "Smoked". Ducky's fatherly relationship with McGee mellows into one of mutual respect.


title: Timothy McGee

text: In the episode "Collateral Damage" a discussion occurred between Gibbs and Director Vance about the ideal qualities an NCIS agent should possess. Director Vance told Gibbs that in his view, McGee exemplified the model NCIS agent, in sharp contrast to Gibbs who prefers agents in the mold of DiNozzo. During "Enemies Domestic", McGee seemed pretty shaken-up and almost distraught after seeing the extent of Vance's injuries following the explosion.


title: Timothy McGee

text: Several members of McGee's family have appeared in the series over the years. His younger sister, Sarah, first mentioned in the Season 2 episode, "See No Evil", plays a prominent role in the fourth season episode "Twisted Sister". The two differ greatly in personality but are still very close. McGee helps clear Sarah as a potential murder suspect and is willing to risk his NCIS career to do so. Sarah McGee is portrayed by Troian Bellisario, Murray's real-life step-sister, and daughter of series creator and former executive producer Donald P. Bellisario.


title: Timothy McGee

text: In "Hide and Seek", it is revealed that McGee's father is a naval officer, and stationed in California. In "The Penelope Papers", it is revealed that McGee's maternal grandmother, Penelope Langston (played by Lily Tomlin) is still alive and was close to McGee when he was young. While talking to Penelope, McGee reveals that he and his father have not spoken in seven years; Penelope and McGee agree that McGee's father is like Gibbs, in that both love McGee, but have difficulty expressing their affection. The casting of Jamey Sheridan as McGee's father was announced in February 2013. The role was described as "complex and layered" by executive producer Gary Glasberg, and in the late March episode "Squall", Sheridan appeared as Admiral John McGee. The admiral is initially considered as a prime suspect; only to reveal that he has been sick for a while and tried to keep it quiet. Tony has described McGee's family situation as akin to the film "The Great Santini" – a "military brat" brought up in a strict household. In "The Penelope Papers" and several other episodes, the admiral admitted to Tim his regret in not spending as much time as he should have with his family. McGee's father passes on in Season 12.


title: Timothy McGee

text: The character's portrayal and Murray's performance were well received by critics who praised the character's growth throughout the show's run. MaGee's seeming inexperience in the field during early seasons was noted by critics, with Bill Keveney of "USA Today" describing him as "a wet-behind-the-ears computer expert" in 2005. A few months later, Noel Holston from "Sun Sentinel" styled McGee as the "newer, nerdier agent" of the group. In 2007, television historian Tim Brooks described him as "the earnest, conservative probationary agent with invaluable computer skills who was often the victim of Tony's pranks".


title: Timothy McGee

text: "The Daily News" referred to McGee as "the requisite tech wizard" of the show. Alyssa Rosenberg from "The Washington Monthly" suggested that the characters of McGee, "an MIT-educated geek who writes thinly veiled novels about the team", and Abby Sciuto appear as "liberal stand-ins" in contrast to more conservative figures on "NCIS", such as Gibbs and Tony DiNozzo. None of the characters' political views are specified within the series, and Rosenberg stated that, as a result, the show does not "demand that the audience take sides in divisive issues".


title: Rolls-Royce Wraith (2013)

text: The Rolls-Royce Wraith is a full-size luxury car/grand tourer manufactured by Rolls-Royce Motor Cars and based on the chassis of the Rolls-Royce Ghost, shares its name with the 1938 model by the original Rolls-Royce company.


title: Rolls-Royce Wraith (2013)

text: The body style is a two-door pillar-less coupe with iconic suicide doors, where all side windows can roll down like in a convertible. This body style was popular in American cars during the 1950s and 1960s, and was known as the hardtop body style, not used by Rolls-Royce since 1955.


title: Rolls-Royce Wraith (2013)

text: The Rolls-Royce Wraith was built in order to replace the earlier 2-door car model, the Rolls-Royce Phantom Coupé, built on the basis of the Rolls-Royce Ghost, unlike the earlier model which was based on the 7th Generation Rolls-Royce Phantom, the flagship car model of Rolls-Royce Motor cars until the arrival of the 8th Generation. It is the fastest car made by Rolls-Royce Motor Cars.


title: Rolls-Royce Wraith (2013)

text: The vehicle was announced in January 2013 and unveiled at the 2013 Geneva Motor Show. Deliveries began from the fourth quarter of 2013.


title: Rolls-Royce Wraith (2013)

text: The standard Wraith has a 6.6 litre, turbo-charged V12 engine which delivers . The car accelerates from in 4.4 seconds. The car has the ability to reach a top speed of making it the fastest accelerating Rolls-Royce ever produced.


title: Rolls-Royce Wraith (2013)

text: The Wraith Black Badge is a special edition of the Wraith which is performance based. Its exterior features are painted black (including the Spirit of Ecstasy), and its interior consists of carbon fibre applications.


title: Rolls-Royce Wraith (2013)

text: In addition, the Black Badge moniker has been applied to the Rolls-Royce Cullinan and the Rolls-Royce Dawn.


title: Rolls-Royce Wraith (2013)

text: Unveiled online alongside the Rolls-Royce Dawn Landspeed in June 2021, the Landspeed Edition is a limited version of the Wraith Black Badge made to pay homage to Captain George E.T. Eyston.


title: Rolls-Royce Wraith (2013)

text: It is a special edition of the Rolls-Royce Wraith. Deriving from ancient Greek, the name 'Kryptos' refers to all that is concealed.


title: Rolls-Royce Wraith (2013)

text: Designed as a homage to the clandestine world of cryptology, this car's production is limited to 50 units.


title: Rolls-Royce Wraith (2013)

text: It is a car modified by the German car modification firm Mansory based on the Rolls-Royce Wraith. It was unveiled at the Geneva Motor Show, 2014.


title: Rolls-Royce Wraith (2013)

text: The car has new exterior features such as the new rim system, front grille modification and new lower bodywork while the interior features include new carbon fibre applications and the traditional Mansory marble-coloured appliances are also available.


title: Rolls-Royce Wraith (2013)

text: The engine of the original car has been tuned so that the car has the ability to accelerate from 0 to 100kph (60 mph) in 4.4 seconds.


title: Rolls-Royce Wraith (2013)

text: The Mansory Wraith has a Special edition called the Mansory Wraith Bleurion which has black coloured exterior features such as the front grille etc, comes in blue colour exterior colour (including the Spirit of Ecstasy) and its interior is also blue colour based.


title: Rolls-Royce Wraith (2013)

text: The Wraith 2 is a car based on the Rolls-Royce Wraith modified by the German car modification firm Mansory. Its bodywork is identical to the bodywork of the Wraith Bleurion.


title: Rolls-Royce Wraith (2013)

text: The car's interior and exterior features are painted gold and the car has a new rim system. It has gold palm seats stitched on the seats which gives it the name "Palm Edition 999".


title: Rolls-Royce Wraith (2013)

text: The engine of the Wraith 2 has also been tuned to have the same acceleration capability of its predecessor and a top speed of .


title: Rolls-Royce Wraith (2013)

text: The Novetic Wraith Overdose is a car made on the basis of the Rolls-Royce Wraith by the German car modification company, Novitec Group.


title: Rolls-Royce Wraith (2013)

text: This car has new exterior lower bodywork and the suspension has been lowered. It also has a special stainless-steel sport exhaust system with electronic sound management. It also has its 12-cylinder twin-turbo engine tuned to produce of maximum power and of peak torque.


title: Sheet music

text: Sheet music is a handwritten or printed form of musical notation that uses musical symbols to indicate the pitches, rhythms, or chords of a song or instrumental musical piece. Like its analogs – printed books or pamphlets in English, Arabic, or other languages – the medium of sheet music typically is paper (or, in earlier centuries, papyrus or parchment). However, access to musical notation since the 1980s has included the presentation of musical notation on computer screens and the development of scorewriter computer programs that can notate a song or piece electronically, and, in some cases, "play back" the notated music using a synthesizer or virtual instruments.


title: Sheet music

text: The use of the term "sheet" is intended to differentiate written or printed forms of music from sound recordings (on vinyl record, cassette, CD), radio or TV broadcasts or recorded live performances, which may capture film or video footage of the performance as well as the audio component. In everyday use, "sheet music" (or simply "music") can refer to the print publication of commercial sheet music in conjunction with the release of a new film, TV show, record album, or other special or popular event which involves music. The first printed sheet music made with a printing press was made in 1473.


title: Sheet music

text: Sheet music is the basic form in which Western classical music is notated so that it can be learned and performed by solo singers or instrumentalists or musical ensembles. Many forms of traditional and popular Western music are commonly learned by singers and musicians "by ear", rather than by using sheet music (although in many cases, traditional and pop music may also be available in sheet music form).


title: Sheet music

text: The term "score" is a common alternative (and more generic) term for sheet music, and there are several types of scores, as discussed below. The term "score" can also refer to theatre music, orchestral music or songs written for a play, musical, opera or ballet, or to music or songs written for a television programme or film; for the last of these, see Film score.


title: Sheet music

text: Sheet music from the 20th and 21st century typically indicates the title of the song or composition on a title page or cover, or on the top of the first page, if there is no title page or cover. If the song or piece is from a movie, Broadway musical, or opera, the title of the main work from which the song/piece is taken may be indicated.


title: Sheet music

text: If the songwriter or composer is known, their name is typically indicated along with the title. The sheet music may also indicate the name of the lyric-writer, if the lyrics are by a person other than one of the songwriters or composers. It may also include the name of the arranger, if the song or piece has been arranged for the publication. No songwriter or composer name may be indicated for old folk music, traditional songs in genres such as blues and bluegrass, and very old traditional hymns and spirituals, because for this music, the authors are often unknown; in such cases, the word "Traditional" is often placed where the composer's name would ordinarily go.


title: Sheet music

text: Title pages for songs may have a picture illustrating the characters, setting, or events from the lyrics. Title pages from instrumental works may omit an illustration, unless the work is program music which has, by its title or section names, associations with a setting, characters, or story.


title: Sheet music

text: The type of musical notation varies a great deal by genre or style of music. In most classical music, the melody and accompaniment parts (if present) are notated on the lines of a staff using round note heads. In classical sheet music, the staff typically contains:


title: Sheet music

text: Most songs and pieces from the Classical period (ca. 1750) onward indicate the piece's tempo using an expression—often in Italian—such as "Allegro" (fast) or "Grave" (slow) as well as its dynamics (loudness or softness). The lyrics, if present, are written near the melody notes. However, music from the Baroque era (ca. 1600–1750) or earlier eras may have neither a tempo marking nor a dynamic indication. The singers and musicians of that era were expected to know what tempo and loudness to play or sing a given song or piece due to their musical experience and knowledge. In the contemporary classical music era (20th and 21st century), and in some cases before (such as the Romantic period in German-speaking regions), composers often used their native language for tempo indications, rather than Italian (e.g., "fast" or ""schnell"") or added metronome markings (e.g., = 100 beats per minute).


title: Sheet music

text: These conventions of classical music notation, and in particular the use of English tempo instructions, are also used for sheet music versions of 20th and 21st century popular music songs. Popular music songs often indicate both the tempo and genre: "slow blues" or "uptempo rock". Pop songs often contain chord names above the staff using letter names (e.g., C Maj, F Maj, G7, etc.), so that an acoustic guitarist or pianist can improvise a chordal accompaniment.


title: Sheet music

text: In other styles of music, different musical notation methods may be used. In jazz, for example, while most professional performers can read "classical"-style notation, many jazz tunes are notated using chord charts, which indicate the chord progression of a song (e.g., C, A7, d minor, G7, etc.) and its form. Members of a jazz rhythm section (a piano player, jazz guitarist and bassist) use the chord chart to guide their improvised accompaniment parts, while the "lead instruments" in a jazz group, such as a saxophone player or trumpeter, use the chord changes to guide their solo improvisation. Like popular music songs, jazz tunes often indicate both the tempo and genre: "slow blues" or "fast bop".


title: Sheet music

text: Professional country music session musicians typically use music notated in the Nashville Number System, which indicates the chord progression using numbers (this enables bandleaders to change the key at a moment's notice). Chord charts using letter names, numbers, or Roman numerals (e.g., I–IV–V) are also widely used for notating music by blues, R&B, rock music and heavy metal musicians. Some chord charts do not provide any rhythmic information, but others use slashes to indicate beats of a bar and rhythm notation to indicate syncopated "hits" that the songwriter wants all of the band to play together. Many guitar players and electric bass players learn songs and note tunes using tablature, which is a graphic representation of which frets and strings the performer should play. "Tab" is widely used by rock music and heavy metal guitarists and bassists. Singers in many popular music styles learn a song using only a lyrics sheet, learning the melody and rhythm "by ear" from the recording.


title: Sheet music

text: Sheet music can be used as a record of, a guide to, or a means to perform, a song or piece of music. Sheet music enables instrumental performers who are able to read music notation (a pianist, orchestral instrument players, a jazz band, etc.) or singers to perform a song or piece. Music students use sheet music to learn about different styles and genres of music. The intended purpose of an edition of sheet music affects its design and layout. If sheet music is intended for study purposes, as in a music history class, the notes and staff can be made smaller and the editor does not have to be worried about page turns. For a performance score, however, the notes have to be readable from a music stand and the editor has to avoid excessive page turns and ensure that any page turns are placed after a rest or pause (if possible). As well, a score or part in a thick bound book will not stay open, so a performance score or part needs to be in a thinner binding or use a binding format which will lie open on a music stand.


title: Sheet music

text: In classical music, authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores.


title: Sheet music

text: Comprehending sheet music requires a special form of literacy: the ability to read music notation. An ability to read or write music is not a requirement to compose music. There have been a number of composers and songwriters who have been capable of producing music without the capacity themselves to read or write in musical notation, as long as an amanuensis of some sort is available to write down the melodies they think of. Examples include the blind 18th-century composer John Stanley and the 20th-century songwriters Lionel Bart, Irving Berlin and Paul McCartney. As well, in traditional music styles such as the blues and folk music, there are many prolific songwriters who could not read music, and instead played and sang music "by ear".


title: Sheet music

text: The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music, jazz and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece or hear it played or sung. Skilled composers and conductors have this ability, with Beethoven being a noted historical example. Not everyone has that specific skill. For some people music sheets are meaningless, whereas others may view them as melodies and a form of art. As Jodi Picoult, an American writer once said in her novel entitled "my sister's keeper", “it's like picking up an unfamiliar piece of sheet music & starting to stumble through it, only to realize it is a melody you'd once learned by heart, one you can play without even trying.”


title: Sheet music

text: Classical musicians playing orchestral works, chamber music, sonatas and singing choral works ordinarily have the sheet music in front of them on a music stand when performing (or held in front of them in a music folder, in the case of a choir), with the exception of solo instrumental performances of solo pieces, concertos, or solo vocal pieces (art song, opera arias, etc.), where memorization is expected. In jazz, which is mostly improvised, sheet music (called a "lead sheet" in this context) is used to give basic indications of melodies, chord changes, and arrangements. Even when a jazz band has a lead sheet, chord chart or arranged music, many elements of a performance are improvised.


title: Sheet music

text: Handwritten or printed music is less important in other traditions of musical practice, however, such as traditional music and folk music, in which singers and instrumentalists typically learn songs "by ear" or from having a song or tune taught to them by another person. Although much popular music is published in notation of some sort, it is quite common for people to learn a song by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral – and aural – tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-Western cultures developed their own forms of musical notation and sheet music as well.


title: Sheet music

text: Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer "writes" the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions to render Western and non-Western music in readable form for study, analysis and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection "The Beatles: Complete Scores" (London: Wise Publications, 1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail.


title: Sheet music

text: Modern sheet music may come in different formats. If a piece is composed for just one instrument or voice (such as a piece for a solo instrument or for "a cappella" solo voice), the whole work may be written or printed as one piece of sheet music. If an instrumental piece is intended to be performed by more than one person, each performer will usually have a separate piece of sheet music, called a "part", to play from. This is especially the case in the publication of works requiring more than four or so performers, though invariably a "full score" is published as well. The sung parts in a vocal work are not usually issued separately today, although this was historically the case, especially before music printing made sheet music widely available.


title: Sheet music

text: Sheet music can be issued as individual pieces or works (for example, a popular song or a Beethoven sonata), in collections (for example works by one or several composers), as pieces performed by a given artist, etc.


title: Sheet music

text: When the separate instrumental and vocal parts of a musical work are printed together, the resulting sheet music is called a "score". Conventionally, a score consists of musical notation with each instrumental or vocal part in vertical alignment (meaning that concurrent events in the notation for each part are arranged in parallel). The term "score" has also been used to refer to sheet music written for only one performer. The distinction between "score" and "part" applies when there is more than one part needed for performance.


title: Sheet music

text: A "full score" is a large book showing the music of all instruments or voices in a composition lined up in a fixed order. It is large enough for a conductor to be able to read while directing orchestra or opera rehearsals and performances. In addition to their practical use for conductors leading ensembles, full scores are also used by musicologists, music theorists, composers and music students who are studying a given work.


title: Sheet music

text: A "miniature score" is like a full score but much reduced in size. It is too small for use in a performance by a conductor, but handy for studying a piece of music, whether it be for a large ensemble or a solo performer. A miniature score may contain some introductory remarks.


title: Sheet music

text: A "study score" is sometimes the same size as, and often indistinguishable from, a miniature score, except in name. Some study scores are octavo size and are thus somewhere between full and miniature score sizes. A study score, especially when part of an anthology for academic study, may include extra comments about the music and markings for learning purposes.


title: Sheet music

text: A "piano score" (or "piano reduction") is a more or less literal transcription for piano of a piece intended for many performing parts, especially orchestral works; this can include purely instrumental sections within large vocal works (see "vocal score" immediately below). Such arrangements are made for either piano solo (two hands) or piano duet (one or two pianos, four hands). Extra small staves are sometimes added at certain points in piano scores for two hands to make the presentation more complete, though it is usually impractical or impossible to include them while playing.


title: Sheet music

text: As with vocal score (below), it takes considerable skill to reduce an orchestral score to such smaller forms because the reduction needs to be not only playable on the keyboard but also thorough enough in its presentation of the intended harmonies, textures, figurations, etc. Sometimes markings are included to show which instruments are playing at given points.


title: Sheet music

text: While piano scores are usually not meant for performance outside of study and pleasure (Franz Liszt's concert transcriptions of Beethoven's symphonies being one group of notable exceptions), ballets get the most practical benefit from piano scores because with one or two pianists they allow the ballet to do many rehearsals at a much lower cost, before an orchestra has to be hired for the final rehearsals. Piano scores can also be used to train beginning conductors, who can conduct a pianist playing a piano reduction of a symphony; this is much less costly than conducting a full orchestra. Piano scores of operas do not include separate staves for the vocal parts, but they may add the sung text and stage directions above the music.


title: Sheet music

text: A "part" is an extraction from the full score of a particular instrument's part. It is used by orchestral players in performance, where the full score would be too cumbersome. However, in practice, it can be a substantial document if the work is lengthy, and a particular instrument is playing for much of its duration.


title: Sheet music

text: A "vocal score" (or, more properly, "piano-vocal score") is a reduction of the full score of a vocal work (e.g., opera, musical, oratorio, cantata, etc.) to show the vocal parts (solo and choral) on their staves and the orchestral parts in a piano reduction (usually for two hands) underneath the vocal parts; the purely orchestral sections of the score are also reduced for piano. If a portion of the work is "a cappella", a piano reduction of the vocal parts is often added to aid in rehearsal (this often is the case with "a cappella" religious sheet music).


title: Sheet music

text: Piano-vocal scores serve as a convenient way for vocal soloists and choristers to learn the music and rehearse separately from the orchestra. The vocal score of a musical typically does not include the spoken dialogue, except for cues. Piano-vocal scores are used to provide piano accompaniment for the performance of operas, musicals and oratorios by amateur groups and some small-scale professional groups. This may be done by a single piano player or by two piano players. With some 2000s-era musicals, keyboardists may play synthesizers instead of piano.


title: Sheet music

text: The comparable "organ score" exists as well, usually in association with church music for voices and orchestra, such as arrangements (by later hands) of Handel's "Messiah". It is like the piano-vocal score in that it includes staves for the vocal parts and reduces the orchestral parts to be performed by one person. Unlike the vocal score, the organ score is sometimes intended by the arranger to substitute for the orchestra in performance if necessary.


title: Sheet music

text: A collection of songs from a given musical is usually printed under the label "vocal selections". This is different from the vocal score from the same show in that it does not present the complete music, and the piano accompaniment is usually simplified and includes the melody line.


title: Sheet music

text: A "short score" is a reduction of a work for many instruments to just a few staves. Rather than composing directly in full score, many composers work out some type of short score while they are composing and later expand the complete orchestration. An opera, for instance, may be written first in a short score, then in full score, then reduced to a vocal score for rehearsal. Short scores are often not published; they may be more common for some performance venues (e.g., band) than in others. Because of their preliminary nature, short scores are the principal reference point for those composers wishing to attempt a 'completion' of another's unfinished work (e.g. Movements 2 through 5 of Gustav Mahler's 10th Symphony or the third act of Alban Berg's opera "Lulu").


title: Sheet music

text: An "open score" is a score of a polyphonic piece showing each voice on a separate staff. In Renaissance or Baroque keyboard pieces, open scores of four staves were sometimes used instead of the more modern convention of one staff per hand. It is also sometimes synonymous with full score (which may have more than one part per staff).


title: Sheet music

text: Scores from the Baroque period (1600-1750) are very often in the form of a bass line in the bass clef and the melodies played by instrument or sung on an upper stave (or staves) in the treble clef. The bass line typically had figures written above the bass notes indicating which intervals above the bass (e.g., chords) should be played, an approach called "figured bass". The figures indicate which intervals the harpsichordist, pipe organist or lute player should play above each bass note.


title: Sheet music

text: A "lead sheet" specifies only the melody, lyrics and harmony, using one staff with chord symbols placed above and lyrics below. It is commonly used in popular music and in jazz to capture the essential elements of song without specifying the details of how the song should be arranged or performed.


title: Sheet music

text: A "chord chart" (or simply, "chart") contains little or no melodic information at all but provides fundamental harmonic information. Some chord charts also indicate the rhythm that should be played, particularly if there is a syncopated series of "hits" that the arranger wants all of the rhythm section to perform. Otherwise, chord charts either leave the rhythm blank or indicate slashes for each beat.


title: Sheet music

text: This is the most common kind of written music used by professional session musicians playing jazz or other forms of popular music and is intended for the rhythm section (usually containing piano, guitar, bass and drums) to improvise their accompaniment and for any improvising soloists (e.g., saxophone players or trumpet players) to use as a reference point for their extemporized lines.


title: Sheet music

text: A fake book is a collection of jazz songs and tunes with just the basic elements of the music provided. There are two types of fake books: (1) collections of lead sheets, which include the melody, chords, and lyrics (if present), and (2) collections of songs and tunes with only the chords. Fake books that contain only the chords are used by rhythm section performers (notably chord-playing musicians such as electric guitarists and piano players and the bassist) to help guide their improvisation of accompaniment parts for the song. Fake books with only the chords can also be used by "lead instruments" (e.g., saxophone or trumpet) as a guide to their improvised solo performances. Since the melody is not included in chord-only fake books, lead instrument players are expected to know the melody.


title: Sheet music

text: A "tablature" (or "tab") is a special type of musical score – most typically for a solo instrument – which shows "where" to play the pitches on the given instrument rather than "which" pitches to produce, with rhythm indicated as well. Tablature is widely used in the 2000s for guitar and electric bass songs and pieces in popular music genres such as rock music and heavy metal music. This type of notation was first used in the late Middle Ages, and it has been used for keyboard (e.g., pipe organ) and for fretted string instruments (lute, guitar).


title: Sheet music

text: Song sheets are the printed lyrics without musical notation. Academic studies of American music call these sheets "songsters". Over the first half of the 20th century, lyrics to songs were printed and sold individually, in collections on newspaper-sized sheets, combined into booklets, and in magazines. Song sheets typically included photographs of famous entertainers associated with the song, as well as attributions to musical theater and films.


title: Sheet music

text: Song sheets were recognized as competition to sheet music by the American Society of Composers, Authors and Publishers (ASCAP) in 1930, when a representative said, "Thousands now learn the popular melodies from the radio, the publishers state. With the lyrics available for five or ten cents and the strain known, impulse to buy sheet music is eliminated." While sheet music for a song might cost thirty or thirty-five cents, a song sheet typically sold for a nickel or a dime. Choral societies would buy a single copy of the sheet music for the pianist and then multiple song sheets for the singers.


title: Sheet music

text: When the lyrics are printed without permission from the copyright owner, the song sheets are called bootleg song sheets. Song-sheet bootlegging was seen as a minor problem in Chicago in the early 1890s, but became a significant issue from 1929 through the 1930s. The first publishers and distributors of bootleg song sheets were charged with criminal copyright infringement in February, 1930. Through the efforts of the Music Publishers' Protective Association and law enforcement, as well as the advent of legal song sheet magazines, song-sheet bootlegging ended in the early 1940s.


title: Sheet music

text: The first legitimate song sheet magazines began in 1934, and Lyle Engels "Song Hits" which was first published in 1937 was successful for decades. Song sheet magazines included advertisements, gossip columns, record reviews, and promotional biographies of celebrities.