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"The Manitoba Social Credit Party (originally the Manitoba Social Credit League) was a political party in the Canadian province of Manitoba.http://www.thecanadianencyclopedia.ca/en/article/social-credit/ In its early years, it espoused the monetary reform theories of social credit. It was formed in the 1935-1936, shortly after William Aberhart's supporters formed a Social Credit government in Alberta. While the party never won many seats in the Legislative Assembly of Manitoba, it maintained a presence in the legislature for most of the period from 1936 to 1973. Origins In its earliest years, the Social Credit League took the form of a populist protest movement. Like other Social Credit parties in Canada, it eventually became as a party of conservatism while retaining an anti-establishment message. The party's leadership was consistently anti-socialist. The Social Credit Party ran 19 candidates in the provincial election of 1936, five of whom were elected. It did not have a leader during the election, but chose Stanley Fox to lead the parliamentary group shortly thereafter. During this period, the party supported the monetary reforms of Major Douglas, which Aberhart had been promoting in Alberta for several years. The 1936 election produced a minority government, with 23 Liberal-Progressives, 16 Conservatives, 7 Independent Labour Party members, the 5 Social Crediters and 4 others. After early talks for a Liberal-Progressive/Conservative coalition broke down, the Social Crediters made a surprise offer to keep the outgoing Liberal-Progressive government of John Bracken in power. Some party members may have hoped for a formal coalition, but this came to nothing and the party supported the government from the outside for the next four years. Fox stepped down as party leader in 1937, and was replaced by S.E. Rogers. World War II and coalition After the start of World War II, Bracken promoted a "non-partisan government" for Manitoba, in which all four major parties would hold cabinet portfolios in a demonstration of provincial unity. The plan was approved by the other parties, and Social Credit joined the government in late 1940. Social Credit Member of the Legislative Assembly (MLA) Norman Turnbull was sworn in as a minister without portfolio on November 4, 1940, and served in this capacity until February 14, 1946. The decision to join government caused a split in the party. Salome Halldorson crossed the floor to sit as an Opposition Social Credit MLA and won the support of Alberta Socred Premier Ernest Manning as well as the Manitoba Social Credit League which officially expelled the four Social Credit MLAs who supported the government. Nevertheless, in the election of 1941, several Social Credit candidates ran in opposition to the coalition, while coalition supporters continued to call themselves Social Credit candidates. This division damaged the party's credibility with the electorate, and only three Social Credit candidates were elected: Fox, Turnbull and Rogers (all government supporters). Decline The party does not seem to have had a leader in the parliament which followed, and in fact became little more than an appendage of the Liberal-Conservative coalition as the 1940s progressed. Fox and Turnbull were re-elected in the 1945 election, but the party ran only two other candidates in the rest of the province. It completely lost its coherence as a parliamentary force in the late 1940s, and did not run any candidates in the 1949 election. The Social Credit Party re-emerged for the election of 1953: William Bullmore was elected in the constituency of Dauphin, and Gilbert Hutton won in Minnedosa. The party was again marginalized in the parliament which followed, however, and none of its candidates were elected in the provincial elections of 1958 and 1959. Although the Social Credit parties of Alberta and British Columbia had largely abandoned their monetary policies by this time, Bullmore and Hutton continued to promote social credit during their time in parliament. During the late 1940s and the 1950s, the President of the Manitoba Social Credit League was Wilbert James Tinkler. He was the closest that the party had to an official leader in this period, as neither Bullmore nor Hutton held an official role in the legislature. Tinkler ran for federal and provincial office on six occasions. Tinkler became the president of the Social Credit league at a time when it had only a minimal presence in the legislature, and a weak provincial organization. The party had joined the governing coalition of Premier John Bracken in 1940, and its parliamentary representation was subsequently regarded as little more than an adjunct to the province's Liberal-Conservative government. Several figures within the party had campaigned against the alliance in 1941, but all were defeated. The party's organization subsequently collapsed, and it offered no candidates for election in 1949. Social Credit did not have an official political leader between 1941 and at least 1959. Tinkler, as its leading official for most of this period, was not a prominent public figure, though he did help reconstruct some semblance of a provincial network for the party. He was replaced as party president by S.S. Hunt of Dauphin in late June 1953, but appears to have regained this title later in the decade. Tinkler continued to work in the party after Jacob Froese became its official leader following the 1959 election. Later years The party received another lease on life in November 1959, when Jacob Froese won a by- election in the riding of Rhineland. Froese remained a member of the legislature until the 1973 election, when he was defeated by a Progressive Conservative candidate. The party was unable to win any other seats, however, and Froese effectively acted as an independent MLA during his time in parliament. He served as party leader for most, if not all of the period from 1959 to 1977. Froese was sometimes called the "conscience of parliament", and does not appear to have endorsed his party's original views on monetary reform. The Manitoba Social Credit Party ran five candidates in the 1977 election, all of whom fared poorly. Even Froese was reduced to a fourth-place finish in Rhineland. In the 1981 election, the party announced that it would not run any candidates. Froese was by this time a member of Sidney Green's Progressive Party. The party seems to have dissolved itself shortly thereafter. See also * List of Manitoba political parties * List of Manitoba general elections * Social Credit Party of Canada * Canadian social credit movement References Category:Social credit parties in Canada Category:Political parties established in 1935 Category:Provincial political parties in Manitoba Category:1935 establishments in Manitoba "
"Genome@home was a distributed computing project run by Stefan Larson of Stanford University, and a sister project to Folding@home. Its goal was protein design and its applications, which had implications in many fields including medicine. Genome@home was run by the Pande Lab at Stanford University, a non-profit institution dedicated to science research and education. Function Following the Human Genome Project, scientists needed to know the biological and medical implications of the resulting wealth of genetic information. Genome@home used spare processing power on personal computers to virtually design genes that match existing proteins, although it can also design new proteins that have not been found in nature. This process is computationally demanding, so distributed computing is a viable option. Researchers can use the results from the project to gain a better understanding of the evolution of natural genomes and proteins, and their functionality. This project had applications in medical therapy, new pharmaceuticals, and assigning functions to newly sequenced genes. Genome@home directly studied genomes and proteins by virtually designing new sequences for existing 3-D protein structures, which other scientists obtained through X-ray crystallography or NMR techniques. By understanding the relationship between the sequences and specific protein structures, the Pande lab tackled contemporary issues in structural biology, genetics, and medicine. Specifically, the Genome@home project aided the understanding of why thousands of different amino acid sequences all form the same structures and assisted the fields of proteomics and Structural genomics by predicting the functions of newly discovered genes and proteins. It also had implications in medical therapy by designing and virtually creating new versions of existing proteins. Genome@home's software was designed for uniprocessor systems. It begins with a large set of potential sequences, and repeatedly searches through and refines these sequences until a well-designed sequence is found. It then sends this sequence to the server, and repeats the process. Conclusion For financial reasons, the project was officially concluded on March 8, 2004, although data was still collected until April 15. Following its completion, users were asked to donate to Folding@home instead. Results It accumulated a large database of protein sequences, which will be used for important scientific purposes for years by the Pande Lab and other scientists across the world. Four peer- reviewed scientific publications have resulted from Genome@home. See also *Folding@home *List of distributed computing projects External links *Genome@home *G@h's Scientific Background References Category:Bioinformatics Category:Distributed computing projects "
"The Golden Palominos are an American musical group headed by drummer and composer Anton Fier, first formed in 1981. Aside from Fier, the Palominos membership has been wildly elastic, with only bassist Bill Laswell and guitarist Nicky Skopelitis appearing on every album through 1996. Their latest work, 2012's A Good Country Mile features vocalist Kevn Kinney. While the Palominos' records usually featured a core set of musicians and a certain emotional continuity throughout the bulk of an album, various guest appearances resulted in stylistic changes from track to track. History =Initial lineup= The group first featured Fier, singer-guitarist Arto Lindsay, saxophonist John Zorn, bass guitarist Bill Laswell and violinist/guitarist Fred Frith. Their self-titled debut album was released on New York's Celluloid Records in 1983, and featured guest appearances by bassist Jamaaladeen Tacuma, guitarist Nicky Skopelitis, percussionist David Moss, turntablist M.E. Miller and others. The album has some of the first recorded turntable scratching outside of rap music, courtesy of Laswell and M.E. Miller. M.E. Miller also used vocal splitting technique to create harmony on the song he sings. They were heavily influenced by so-called no wave music (Arto Lindsay had played in the seminal no-wave band DNA), but their music also contained elements of funk and of the improvisational jazz stylings that became Zorn's trademark. This line-up lasted only for the first record, although all of the core members apart from Zorn were guests on subsequent Palominos recordings. =1985–1989= Amanda Kramer - Former Golden Palaminos singer in Concert in 2009 The Palominos' next album, 1985's Visions of Excess, sounded vastly different. Of the band members that were on the first album, only Fier, Laswell and Arto Lindsay remained. Visions of Excess also marked the debut of singer Syd Straw, whose songwriting and vocals were featured prominently, as well as on the group's next album. Michael Stipe, John Lydon and Jack Bruce took turns on lead vocals, while Richard Thompson and Jody Harris were featured on lead guitar. Blast of Silence (Axed My Baby for a Nickel) was released the following year, continuing in much the same vein as Visions of Excess and with appearances by many of the same personnel. It included covers of two songs written by Little Feat's Lowell George, both sung by Syd Straw. The record also featured prominent guest appearances by Peter Blegvad, Matthew Sweet, Don Dixon, Peter Holsapple and T-Bone Burnett. A Dead Horse (1989) carried on in the sound of its predecessors slightly, but some of the songs crossed into a darker, more ambient and ethereal sound that dominated the Palomino records of the 1990s. Syd Straw had moved on and was no longer in the band, with most of the vocals now handled by Amanda Kramer, formerly of the dance music group Information Society. Fier later was a guest on Straw's first solo record, Surprise. =1990–1995= Drunk with Passion marked the first album not on Celluloid Records, taking cues from some of the darker sounds heard on A Dead Horse and using more processed and electronic sounds, giving some of its songs an ethereal feel. This album is arguably more influenced by its guest appearances than are any of the previous albums. Guests included Hüsker Dü's Bob Mould (who formed the band Sugar the following year), Richard Thompson, and Michael Stipe, who provided (along with a forceful solo by Thompson) one of the band's finer moments, the opening track "Alive and Living Now". Nicky Skopelitis also became more of a cornerstone of the band, contributing to the bulk of Drunk with Passion's songs along with Fier and Kramer. In 1992, Fier released his first solo record, Dreamspeed, which is partially a reworking of the Palomino's next album, This Is How It Feels. This Is How It Feels, released on Restless Records in 1993, continued the ambient sound of Drunk with Passion, but also incorporated elements of club and trance music. It also marked the introduction of new lead vocalist Lori Carson, who co-wrote nine of the CD's tracks with Anton Fier. Bill Laswell also returned to contribute on this record, and his production work on this and on the following record, Pure, heavily influenced Laswell's own remix work of the late 1990s, as seen on the CDs Emerald Ather and City of Light. The album also contains the first cover song since Blast of Silence, an ethereal, drum-machine-laced re-interpretation of Jackson Browne's "These Days". To further highlight the album's dance elements, an EP of remixes of songs from This Is How It Feels , entitled Prison of the Rhythm, was released shortly after the CD's release. Pure, released a year later, is seen by many as the band's most focused work, owing much to the strong contributions once again of Carson, Laswell, and Skopelitis. Tracks such as "No Skin" and "Pure" continue in the dance/ambient style of the previous album. The CD also stirred a minor controversy over the bare female breast on its cover, with some stores carrying a version of the CD with a booklet and the cover replaced by simple, text-based artwork. Another remix EP (No Thought, No Breath, No Eyes, No Heart) accompanied Pure's release. Pure was also the last Palominos record for Lori Carson. However, the song "Little Suicides", from Pure showed the same sparse sound, production, and strong yet quiet vocals (albeit less electronic) that influenced Carson's solo work. Anton Fier produced Carson's 1995 solo record, Where It Goes. 1994 also saw the release of what was essentially Fier's second solo recording, Absence of Time (released under the moniker Blind Light), which used outtakes from Pure for much of its framework. =1995–2000= Dead Inside (1996) was another stylistic turnaround for the Palominos, and their last proper album. This record had a deathly, industrial sound, with the line-up consisting only of Fier, multi-instrumentalist Knox Chandler (who before joining the Palominos, was also in a band with Lori Carson), Nicky Skopelitis, and poet Nicole Blackman. Blackman's dark and deliberate lyrics (tellingly, Blackman had also recently worked with the industrial German band KMFDM) made Dead Inside a challenging record; its sound and tone stand out as decidedly unlike any of the others. The album's opener is a brutal, spoken-word track, "Victim", which details a woman's thoughts as she is abducted and eventually murdered by her kidnapper. In 1997, The Palominos released another EP, named Dead Outside, composed of five remixes of tracks from Dead Inside. The EP, in a novelty for its time, was released as free MP3s on the Internet, made available via Nicole Blackman's website and through a fan-created band appreciation website (since decommissioned). The EP consisted of five remixes, each released sequentially for download from the sites for one month only, as per Fier's instructions: # Victim: The Last Thing by Sean Beavan (whose credits include 8MM, Nine Inch Nails, & Marilyn Manson) with John Van Eaton # Ride: Pragmatic Spasmatic by Raymond Watts (of KMFDM & Pig) # Belfast: Empty as Wire by Scanner (a frequent Blackman collaborator) # Ride remixed by Mark Walk (of Ruby) # Victim: Interference by John Van Eaton (another Blackman collaborator who also worked with NiN for 10 years)''' =2000-present= After the turn of the millennium, the band went on hiatus. Both Syd Straw and Lori Carson have gone on to moderately successful and critically acclaimed solo careers, with Carson a frequent contributor to television shows and movies. A compilation of some of Carson's contributed songs, titled Stolen Beauty, was released by Rykodisc in 2003, and her last solo record, The Finest Thing, was released in 2004. Anton Fier re-appeared on the music scene in 2009, producing Drivin' 'n' Cryin's album The Great American Bubble Factory, which was the band's first album in 12 years. In 2010, the Golden Palominos played two shows in New York City: a May 7 show at Le Poisson Rouge and a May 11 show at The Living Room. Both shows were an unqualified success and speculation began as to if more dates or a re- formation of the band was in the future. At around the same time, Fier began drumming again in New York City as a sideman to his friend Tony Scherr, and Kevn Kinney, the lead singer of Drivin' 'n' Cryin', re-connected with Fier at these shows. Fier and Kinney rekindled their friendship and began rehearsing together again, which then progressed into starting a Kickstarter campaign to fund a new Kevin Kinney album. The album, A Good Country Mile, was released on February 21, 2012, and is billed as 'Kevn Kinney and The Golden Palominos' (composed of Fier on drums, Scherr on guitars, and Andy Hess, formerly of Gov't Mule, on bass as well as Aaron Lee Tasjan on guitars and backing vocals). Initial reviews of the album were positive with Jambands stating the "...resulting music is raw and lovely and real as hell." While this represents the first music from the Palominos in nearly 15 years, any additional projects exclusively under the Golden Palominos moniker have not materialized. Discography ;Studio albums * The Golden Palominos (1983) * Visions of Excess (1985) * Blast of Silence (Axed My Baby for a Nickel) (1986) * A Dead Horse (1989) * Drunk with Passion (1991) * This Is How It Feels (1993) * Pure (1994) * Dead Inside (1996) * A Good Country Mile (2012) =Compilations= Much of the Golden Palominos' work has become increasingly hard to find, and compilations do not provide a complete overview of their work. A few best-of compilations are available: two A History collections on Celluloid both released in 1992; a German collection released in 1997; and 2002's collection Run Pony Run. However, none include any material from Drunk with Passion onward. The later albums on Restless are growing harder to find on CD, with the earliest CDs on Celluloid and Drunk with Passion being nearly non- existent. (Dreamspeed is also extremely rare in its original release and is a prized possession of Fier aficionados. However, Fier re-released it and his other solo record, Absence of Time, on John Zorn's Tzadik label in late 2003.) References External links * Profile at Yahoo! Music Category:Alternative rock groups from Ohio Category:Musical groups established in 1981 Category:Musical groups from Cleveland Category:Restless Records artists Category:Charisma Records artists "