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A misconception exists that horses are commonly slaughtered for pet food, however. The message light was dark. The research was made possible by the hard work involved in the making of the sites listed above, as well as the various sources listed throughout the chronology.

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Horse is commonly eaten in many countries in Europe and Asia. Aside raising local draft horses for meat, [67] [68] Japan imports living horses from Canada and meat from several countries - five largest are Canada, Mexico, Italy, Argentina and Brazil. The consumption of horse meat has been common in Central Asia societies, past or present, due to the abundance of steppes suitable for raising horses. 7 inch android phones how to unlock From the moment it started it made my scalp tickle, and the long, slow descent into screams and cries can even make someone listening to it stone-cold sober think they really had seen a glimpse of Hell! Tonga has long lacked land area compared with its population so the missionaries introduced horsemeat in lieu of cattle.

Here Come the Fleas 4. In Sardinia, sa petza 'e cuaddu or sa petha d e caddu campidanese and logudorese for horse meat is one of the most renowned meats and sometimes is sold in typical kiosks with bread - also in the town of Sassari is a long tradition of eating horse steaks carri di cabaddu in the local dialect. They only have to lie down for an hour or two every few days to meet their minimum REM sleep requirements.

However, since the s, it can be found in supermarket butcher shops and others. The trip was a sort of homecoming for fellow Canadians Laurin and Turcotte though the jockey did not ride because he was serving a suspension. Similarly, the hock contains bones equivalent to those in the human ankle and heel. Secretariat nevertheless won the race by more than four lengths. In a small stable not 30 feet away, pony girl Robin Edelstein knocked a water bucket against the wall. Horses Through Time First ed.

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22.02.2018 - Foal meat carne de potro is preferred rather than horse meat, and it is easy to find in supermarkets and usually prepared as stew or steak. Horses in the subspecies caballus are domesticated, although some domesticated populations live in the wild as feral horses. In Germany horse meat is sold by specialized butchers Pferdemetzgereien and by mail order. I hit the lampshade, recorded that, faded it up into the ringing part without the percussive start. It was done either at half-speed or chopped together from little bits of tape

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22.03.2018 - I had been around Secretariat all spring, and the most ice I had seen near him was in a glass of tea. I just put together a drum loop and got a friend of mine Paul Radio [to] come and play drums to the loop to pull the whole thing out and this became the Hell track and we just got every freaky, nasty sound we could find and started Horse our heads off over the top and tearing people to bits. For biographical material and lists of commercial albums containing her music consult the canonical site delia-derbyshire. We don't know if her version is based on their melody or not. The hoof continually grows, and in most domesticated horses Pure to be trimmed and horseshoes reset, if used every five to eight weeks, [65] though the hooves of horses in the wild wear down and regrow at a rate suitable for their terrain. He may not make it. Archived from the original on January 3,

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27.01.2018 - The four horses behind him disappeared. In the first turn Turcotte swung him to the outside, and Secretariat began passing horses, and down the back side I watched the jockey move him boldly from eighth to seventh to sixth. In many countries, such as the United States, horse meat was outlawed in pet food in the s. The tarpan or European wild horse Equus ferus ferus was found in Europe and much of Asia. Russell Meerdink Company Ltd. It can be served raw as sashimi in thin slices dipped in soy sauce, often with ginger and onions added.

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27.02.2018 - The colt had filled out substantially since I had last seen him under tack, in the fall, and he looked like some medieval charger—his thick neck bowed and his chin drawn up beneath its mass. So the camels rode off into the sunset with my voice in their hooves and a green lampshade on their backs. Equine nutritionHorse groomingVeterinary medicineand Farrier. Dreamed them and turned them over like pillows in my rubbery sleep.

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Please get in touch if you know more about any of them. A version of Bach's "Air on a G String, "which she dismissed as "rubbish", though it has a fair number of admirers. Her papers contain detailed notes and tape labels for the creation of sound for what appears to be a two-act play produced in collaboration with F.

This may be Sandy Brown, composer of the score for "Searching". Her papers contain two half-sheets of handwritten manuscript score for Music to Undress to, one with the theme and chords, the other with the bass accompaniment.

Here, we provide these fragments recreated using LilyPond: Time To Go 0: Don Haworth is a british playwright and documentary maker. Her papers include her score dated July for Science Serves the Arts, a science series for 6th formers broadcast From her notes, it appears to be an "arabic" version of hers of a theme for a TV programme "Science and Industry" for which a theme had already been created by?

We don't know if her version is based on their melody or not. It also gets called "Arabic Science and History". A short synthetic sound effect is used near the end of the film while Drake is using an electronic device to open a museum's safe; it consists of a sine wave of varying frequency followed by some feedback noise at which Drake makes a pained expression.

In her papers are her notes for a piece she calls "F. Her papers include notes for "Oliver Twist" in collaboration with playwright Richard Wortley. Doctor Who August "[The Doctor Who theme is] the single most important piece of electronic music".

It proved them all wrong. Their music sounded really electronic but in fact they were all acoustic instruments and because the Radiophonic Workshop was a below-the-line cost she came to the Radiophonic Workshop and the boss recommended Ron Grainer because he had done something called "Giants of Steam".

Ron saw the visual titles, as usual something like a black and white negative, and he took the timings and went away and wrote the score. When Grainer heard the result, his response was "Did I really write that?

Dick Mills, who helped Delia create the piece, says: You know those inch jack-bay panels? You could get blank panels too, to fill in between them. They were slightly flexible, so Delia found one that made a good musical twang and played it with her thumb.

We recorded it then vari-speeded up and down to different pitches, copied them across to another tape recorder, then made hundreds of measured tape edits to give it the rhythm.

But with Doctor Who we had a bum note somewhere and couldn't find it! It wasn't that a note was out of tune -- there was just one little piece of tape too many, and it made the whole thing go out of sync.

Eventually, after trying for ages, we completely unwound the three rolls of tape and ran them all side by side for miles -- all the way down the big, long corridor in Maida Vale. We compared all three, matching the edits, and eventually found the point where one tape got a bit longer.

When we took that splice out it was back in sync, so we could mix it all down. Ron Grainer brought me the score. He expected to hire a band to play it, but when he heard what I had done electronically, he'd never imagined it would be so good.

He offered me half of the royalties, but the BBC wouldn't allow it. I was just on an assistant studio manager's salary and that was it The boss wouldn't let anybody have any sort of credit.

The version that has Delia's stamp of approval is the 1: They kept on tarting it up out of existence. I was really very shocked at what I had to do in the course of so-called duty. Pilot episode version with Thundershot - never released on disk Broadcast version with Hiss-Flare 2: This version incorporates the famous Doctor Who cliffhanger scream and Brian Hodgson's Tardis launch sound.

It was realised by Delia Derbyshire, Brian Hodgson and Paddy Kingsland for use in the tenth season but was dropped after two episodes. The Theme Gallery continues: Carnival of Monsters" and there is also what appears to be a copy of a half-finished tape: It was like a science program And then the producer had the nerve to turn down my music, saying it was too lascivious.

It was just twangy things with electronic pick-ups, and I just used a single note and then did little glissandos on it and pitched it and treated it. In a draft version of the script for the Reeling and Writhing play, scriptwriter Nicola McCartney has the following dialogue about the event: He says they can't use the tapes you sent up.

Can you believe it? I said, "For goodness sake, man, it's a programme about sex education! She stops working and is very silent. Derbyshire also contributed some effects to Roberto Gerhard's Anger of Achilles radio play, which won the Prix Italia "RAI prize for literary or dramatic programmes with or without music".

Radiophonic Workshop", first broadcast 17 May Achilles' plea to his goddess mother Thetis 1: The sending of the false dream to Agamemnon 2: Father Zeus' message, thunderclap, horse effects 1: Thetis theme reprise 0: This play set them an extremely difficult task and they rose to the challenge with a degree of imaginative intuition and technical mastery which deserves the highest admiration and which will inevitably earn a lion's share of any success the production may eventually achieve.

I only wish that it were possible for the names of contributors of this calibre to be mentioned in the credits in the Radio Times and on the air. But failing this I should like to register the fact that I regard their contribution to this production as being at least of equal importance to that of the producer himself.

Four Inventions for Radio Working title: All the voices were recorded from life by Barry Bermange and arranged in a setting of pure electronic sounds. Delia's editing and repetition, together with her dissonant, often terrifying musique concrete soundbeds, make this distinctly uneasy bedtime listening.

The entire piece is 45 minutes in length. Broadcast 5 Jan on the Third Programme and An attempt to describe God in human terms, and to create, in the manner of a religious painting, an overall impression of man's love for Him.

The voices were recorded from life and arranged by the author in a setting of radiophonic sound. Plainsong Antiphon John Hahessy boy soprano - unacc. What a good idea.

But what do you really mean? What sort of sounds? I did, and with great care and elaboration he drew me a beautiful Gothic altarpiece and said 'That's the sort of sound I want'.

In the first you will hear several thoughtful voices groping towards God, feeling their way into something undefined. In the second, some more assured voices cite concrete images; a defined notion of God begins to emerge.

The third is a contest between those who love God and those who cannot believe in Him. The assured and confident voices in the last section are inspired by absolute faith.

Produced by David Thomson. It is conceived as a dream of Death. Using the montage process of his earlier programmes, 'The Dreams' and 'Amor Dei', the author has arranged in settings of electronic sound a collection of voices recorded from life.

There are four movements. An attempt to reconstruct with sounds and voices some of the hazards of growing old. The Evenings of Certain Lives is about the sense of isolation.

And the private agony. There is a ten-minute extract of "The Evenings" on one of the tapes from Delia's attic, of which two clips were broadcast in the "Sculptress of Sound" radio programme.

Her papers contain a leaflet for a Theatre 62's production of John Arden's play "The Business of Good Government" with sound by Unit Delta Plus, in which she is credited with composing the soundscore.

The BBC made a radio adaption of the play which was broadcast on 16th December, though there is no evidence that Delia had any involvement with that. There are two sides of manuscript in her papers for a piece called "Ape", which is probably "Ape and Essence", a TV version of Aldous Huxley's novel of the same name in the TV series "The Wednesday Play", series 1, programme 61, broadcast 18th May Delia seems to have reused the music for the Brighton Festival in I think this was the climax of a science fiction play called "The Prophet".

It ended up with all these robots and they sang a song of praise to this bloke, presumably the prophet, and this was the song they sang. It is difficult to pronounce because it's made from backwards chanting and I think if you play it forwards it would say something like "Praise to the master, his wisdom and his reason" and I just chose the best bits and "Ziwzih Ziwzih", "his wiz, his wiz": And I must say that the Oo-oo-oo is electronic!

I think it was at the same time as one of the Beatles' songs, "Please please me", and so that was like, I think, er, Drew said he thought it sounded medieval. Well that was because it was like a new religion and they'd go back to square one and the perfect fifth as the greeks did.

And so my oo-oo-oo's were done on the Wobbulator. It was probably in the mid '60s. I had a script, that's all. The actors, I got them to chant. The words they were singing were, "Praise to the master, his wisdom and his [reason]" [ Then I used just this one bar repeated which had [previously] been rejected from a science and health program for being too lascivious for the schoolchildren.

But the 'Ooh-ooh-ooh' isn't me That's a piece of test equipment that does wave sweeps. The script, dated 20th April, calls the piece "Outer space". Lyrics "An unreleased perv-pop classic in the novelty vein, recorded with Anthony Newley.

The future Mr Joan Collins was after an electronic backing track and called in Delia. The piece is composed in a traditional musical way with melody, rhythm and harmony, and the musical parameters are all totally predetermined.

The sources of sound are simple sine tones. So they got on to me. So I produced this bloopy track and he loved it so much he double-tracked his voice and he used my little tune. The winking knees in the rain, and their mini-skirts.

I'd done it as a lovely little innocent love song, because he said to me that the only songs are, "I love you, I love you" or songs saying "you've gone, you've gone.

But he was really chuffed! Joan and Jackie Collins dropped him off in a limousine at my lovely little flat above a flower shop, and he said "If you can write songs like this, I'll get you out of this place"!

It was only a single-track demo tape. So he rang up his record company saying "We want to move to a multi-track studio". Unfortunately the boss of the record company was on holiday, and by the time he returned Anthony Newley had gone to America with Joan Collins, so it was never released.

The music was indoors, in a theatre setting, with a screen on which were projected light shows done by lecturers from the Hornsey College of Art. It was billed as the first concert of British electronic music; that was a bit presumptuous!

John Betjeman was there Amor Dei, 15 mins see above Moogies Bloogies, 15 mins see above This was Moogies Bloogies' first and perhaps only public airing until Pot-pourri, 5 mins "Each of the short sections was composed as a piece of introductory music for the BBC, with similar rhythms, melodic intervals and sound qualities.

The first and last will have light projection by Hornsey College of Art. The middle section will be heard in darkness and musically is derived from the other two sections. A limited number of sounds was chosen in each section and their order and coincidence were selected randomly.

It was determined beforehand what the results of any such combinations might be. The levels of reverberation, the rise and fall times, and the mixing of a large number of these sounds, as well as their being recorded on one or more tracks, werre also determined by probabilistic methods.

The different quality of the first and last sections is due to the difference in pitch of the tones initially chosen and the probabilistic selection of time intervals, loudnesses and switching from track to track.

In this way the spatial structure is also varied. This will be especially apparent in the transition between the central section and the last section where the sound will appear from several different directions.

The central section is the only one which is musically self-sufficient. The other two were composed with light projection in mind. This is a new art form combining sound with light coming mostly from 15 automatic projectors playing onto 60ft-high screens, which changes colour according to the sound.

There will be another five projectors developed from a Russian invention, whch create patterns, blending and blurring vividly coloured shapes. They will be hand-operated by artists and designers David Vaughan, Douglas Binder and Dudley Edwards, the three men behind this form of entertainment.

This will be programmed with continuously developing moving images by 10 high powered 2kw and 5kw automatic projectors. An arrangement of 30 loudspeakers will provide three dimensional sound.

From Monday to Friday, from 8 until midnight, for the two weeks of the Festival the arena will function as a discotheque. Colours and imaged will be programmed on to these together with appropriate sounds tracks.

There is a also a set of her notes on the back of a flyer dated Tuesday, 28th March in which she lists ten of her pieces for the event: Lay in the life? It isn't a classic Delia moment by any means [.

In her papers is a group of papers collectively called "Philips" done with Unit Delta Plus, 3. His body was trucked immediately to Lexington, Ky. Thomas Swerczek, a professor of veterinary science at the University of Kentucky, performed the necropsy.

The heart of the average horse weighs about nine pounds. All the chambers and the valves were normal. It was just larger. I think it told us why he was able to do what he did. I n the late afternoon of Monday, Oct.

For reasons as obscure to me then as now, I felt compelled to see Lawrence Robinson. For almost 30 years, until he suffered a stroke in March, Robinson was the head caretaker of stallions at Claiborne Farm.

I had not seen him since his illness, but I knew he still lived on the farm, in a small white frame house set on a hill overlooking the lush stallion paddocks and the main stallion barn.

It was through Secretariat that I had met Robinson. On the bright, cold afternoon of Nov. I flew with the horse that day, and as the plane banked over the field, a voice from the tower crackled over the airplane radio: For me, that final walk beneath a grove of trees, with the colt slanting like a buck through the autumn gloaming, brought to a melancholy close the richest, grandest, damnedest, most exhilarating time of my life.

For eight months, first as the racing writer for Newsday of Long Island, N. Sixteen years had come and gone since then, and I had never attended a Kentucky Derby or a yearling sale at Keeneland without driving out to Claiborne to visit Secretariat, often in the company of friends who had never seen him.

Oh, I knew all the stories, knew them well, had crushed and rolled them in my hand until their quaint musk lay in the saddle of my palm. Knew them as I knew the stories of my children.

Knew them as I knew the stories of my own life. Told them at dinner parties, swapped them with horseplayers as if they were trading cards, argued over them with old men and blind fools who had seen the show but missed the message.

Dreamed them and turned them over like pillows in my rubbery sleep. Woke up with them, brushed my aging teeth with them, grinned at them in the mirror. Horses have a way of getting inside you, and so it was that Secretariat became like a fifth child in our house, the older boy who was off at school and never around but who was as loved and true a part of the family as Muffin, our shaggy, epileptic dog.

T he story I now tell begins on that Monday afternoon last October on the macadam outside Stone Farm. I had never been to Paris, Ky. He yelled back to me: Go down to Claiborne House. Then a right at the driveway across the road.

Go up a hill to the big black barn. Turn left and go down to the end. The house was right where he said. I knocked on the front door, then walked behind and knocked on the back and called through a side window into a room where music was playing.

But I had time to kill, so I wandered over to the stallion paddock, just a few yards from the house. The stud Ogygian, a son of Damascus, lifted his head inquiringly. He started walking toward me, and I put my elbows on the top of the fence and looked down the gentle slope toward the stallion barn.

And suddenly there he was, Secretariat, standing outside the barn and grazing at the end of a lead shank held by groom Bobby Anderson, who was sitting on a bucket in the sun. Even from a hundred yards away, the horse appeared lighter than I had seen him in years.

It struck me as curious that he was not running free in his paddock—why was Bobby grazing him? But something was terribly wrong. On Labor Day, Secretariat had come down with laminitis, a life-threatening hoof disease, and here, a month later, he was still suffering from its aftershocks.

Instead, for a full half hour, I stood by the paddock waiting for Robinson and gazing at Secretariat. The gift of reverie is a blessing divine, and it is conferred most abundantly on those who lie in hammocks or drive alone in cars.

Or lean on hillside fences in Kentucky. The mind swims, binding itself to whatever flotsam comes along, to old driftwood faces and voices of the past, to places and scenes once visited, to things not seen or done but only dreamed.

As I scanned the pedigrees, three names leaped out: It was a match of royalty. Where had I heard it before? I had seen Secretariat just a week before. The horse looked magnificent, to be sure, a bright red chestnut with three white feet and a tapered white marking down his face.

So that is where I had first seen him, and here he was in the second at Aqueduct. Florio and I fixed our binoculars on him and watched it all. Watched him as he was shoved sideways at the break, dropping almost to his knees, when a colt named Quebec turned left out of the gate and crashed into him.

Saw him blocked in traffic down the back side and shut off again on the turn for home. Saw him cut off a second time deep in the stretch as he was making a final run.

You should have seen Clem. We see horses like Secretariat all the time. T he Secretariat phenomenon, with all the theater and passion that would attend it, had begun. All you had to do was watch the Hopeful Stakes at Saratoga.

I was at the races that August afternoon with Arthur Kennedy, an old-time racetracker and handicapper who had been around the horses since the s, and even he had never seen anything quite like it.

Dropping back to dead last out of the gate, Secretariat trailed eight horses into the far turn, where jockey Ron Turcotte swung him to the outside. Three jumps past the half-mile pole the colt exploded.

You could see the blue-and-white silks as they disappeared behind one horse, reappeared in a gap between horses, dropped out of sight again and finally reemerged as Secretariat powered to the lead off the turn.

He dashed from last to first in yards, blazing through a quarter in: It was a performance with style, touched by art. So that was when I knew. Like everyone else, I thought Secretariat would surely begin his campaign in Florida, and I did not expect to see him again until the week before the Kentucky Derby.

I was browsing through a newspaper over breakfast one day when I saw a news dispatch whose message went through me like a current. Secretariat would be arriving soon to begin his Triple Crown campaign by way of the three New York prep races: At the time I had in mind doing a diary about the horse, a chronicle of the adventures of a Triple Crown contender, which I thought might one day make a magazine piece.

The colt arrived at Belmont Park on March 10, and the next day I was there at 7 a. For the next 40 days, in what became a routine, I would fall out of bed at 6 a. I took notes compulsively, endlessly, feeling for the texture of the life around the horse.

A typical page of scribblings went like this: Sweat moves around colt. Secretariat sidesteps and pushes Sweat. Secretariat was an amiable, gentlemanly colt, with a poised and playful nature that at times made him seem as much a pet as the stable dog was.

I was standing in front of his stall one morning, writing, when he reached out, grabbed my notebook in his teeth and sank back inside, looking to see what I would do. As the groom dipped under the webbing.

Secretariat dropped the notebook on the bed of straw. Another time, after raking the shed, Sweat leaned the handle of the rake against the stall webbing and turned to walk away.

Secretariat seized the handle in his mouth and began pushing and pulling it across the floor. All up and down the barn. By his personality and temperament. Secretariat became the most engaging character in the barn.

His own stable pony, a roan named Billy Silver, began an unrequited love affair with him. Secretariat just ignores him. Kind of sad, really. Spinning around on his heels, jabbing a finger in the air, he bellowed.

He smelled the wrong horse! I remember wishing that those days could breeze on forever—the mornings over coffee and doughnuts at the truck outside the barn, the hours spent watching the red colt walk to the track and gallop once around, the days absorbing the rhythms of the life around the horse.

I had been following racehorses since I was 12, back in the days of Native Dancer, and now I was an observer on an odyssey, a quest for the Triple Crown. The colt had filled out substantially since I had last seen him under tack, in the fall, and he looked like some medieval charger—his thick neck bowed and his chin drawn up beneath its mass, his huge shoulders shifting as he strode, his coat radiant and his eyes darting left and right.

He was walking to the track for his final workout, a three-eighths-of-a-mile drill designed to light the fire in him for the seven-furlong Bay Shore Stakes three days later.

Laurin, Tweedy and I went to the clubhouse fence near the finish line, where we watched and waited as Turcotte headed toward the pole and let Secretariat rip. Laurin clicked his stopwatch. The colt was all by himself through the lane, and the sight and sound of him racing toward us is etched forever in memory: Turcotte was bent over him, his jacket blown up like a parachute, and the horse was reaching out with his forelegs in that distinctive way he had, raising them high and then, at the top of the lift, snapping them out straight and with tremendous force, the snapping hard as bone, the hooves striking the ground and folding it beneath him.

Laurin clicked his watch as Secretariat raced under the wire. Looking ashen, fearing the colt might have gone too fast, Laurin headed for the telephone under the clubhouse to call the upstairs clocker, Jules Watson: How fast did you get him?

Oh, it did that. I could hear a man screaming behind me. I had ridden horses during my youth in Morton Grove, Ill. I had been to the races a few times, had seen the jockeys ride, and I wanted to feel what it was like.

So I hitched up my stirrups and galloped her around the east turn, standing straight up. Coming off the turn, I dropped into a crouch and clucked to her. I could feel the tears streaming down my face, and then I looked down and saw her knees pumping like pistons.

No car ever took me on a ride like that. And no roller coaster, either. Running loose, without rails, she gave me the wildest, most thrilling ride I had ever had.

And there was nothing like the ride that Secretariat gave me in the 12 weeks from the Bay Shore through the Belmont Stakes. Three weeks after the Bay Shore, Turcotte sent the colt to the lead down the backstretch in the one-mile Gotham.

It looked like they were going to get beat when Champagne Charlie drove to within a half length at the top of the stretch—I held my breath—but Turcotte sent Secretariat on, and the colt pulled away to win by three, tying the track record of 1: By then I had begun visiting Charles Hatton, a columnist for the Daily Racing Form who the previous summer had proclaimed Secretariat the finest physical specimen he had ever seen.

At 67, Hatton had seen them all. I was his backstretch eyes, he my personal guru. One morning Hatton told me that Secretariat had galloped a quarter mile past the finish line at the Gotham, and the clockers had timed him pulling up at 1: On the day of the Wood, I drove directly to Aqueduct and spent the hour before the race in the receiving barn with Sweat, exercise rider Charlie Davis and Secretariat.

When the voice over the loudspeaker asked the grooms to ready their horses. Sweat approached the colt with the bridle. Secretariat always took the bit easily, opening his mouth when Sweat moved to fit it in, but that afternoon it took Sweat a full five minutes to bridle him.

Secretariat threw his nose in the air, backed up, shook his head. In fact, just that morning. Laurin decided to run Secretariat anyway—the colt needed the race—but he never told anyone else about the boil.

Worse than the abscess, though, was the fact that Secretariat had had the feeblest workout of his career four days earlier when Turcotte, seeing a riderless horse on the track, had slowed the colt to protect him from a collision.

Secretariat finished the mile that day in 1: Thus he came to the Wood doubly compromised. The race was a disaster. Turcotte held the colt back early, but when he tried to get Secretariat to pick up the bit and run.

I could see at the far turn that the horse was dead. He never made a race of it, struggling to finish third, beaten by four lengths by his own stablemate, Angle Light, and by Sham.

Laurin trained him, too, and so Laurin had just won the Wood, but with the wrong horse. All those hours at the barn, all those early mornings at the shed, all that time and energy for naught.

And in the most important race of his career. Secretariat had come up as hollow as a gourd. The next two weeks were among the most agonizing of my life. As great a stallion as he was, Bold Ruler had been essentially a speed sire and had never produced a single winner of a Triple Crown race.

In the next two weeks Churchill Downs became a nest of rumors that Secretariat was unsound. Jimmy the Greek Snyder caused an uproar when he said the colt had a bum knee that was being treated with ice packs.

I had been around Secretariat all spring, and the most ice I had seen near him was in a glass of tea. All I could hope for, in those final days before the Derby, was that the colt had been suffering from a bellyache on the day of the Wood and had not been up to it.

He needed hard, blistering workouts before he ran, and that slow mile before the Wood had been inadequate. He greeted me in an anteroom, looking surprisingly relaxed. Gilman had taken him aside a few days earlier and told him of the abscess.

Turcotte saw that the boil had been treated and had disappeared. The news had made him euphoric, telling him all he needed to know about the Wood. He shook me off.

I shook his hand, wished him luck and left. Despite what Turcotte had said, I was resigned to the worst, and Secretariat looked hopelessly beaten as the field of 13 dashed past the finish line the first time.

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Presentation Delia Derbyshire is one of the earliest and most influential electronic sound synthesists. She was musically active from until the mid seventies. Pure Heart. In waging the most glorious Triple Crown campaign ever, Secretariat made racing history in In the doing, he took the author on an unforgettably.

23.03.2018 - The script, dated 20th Aprilcalls the piece "Outer space". I awoke to the crowing of a cock and watched as the stable workers showed up. Gsm htc desire 820 thx a 5 5 13 4 grey - Samsung h... The Whole Horse Catalog: Secretariat ran flat into legend, started running right out of the gate and never stopped, ran poor Sham into defeat around the first turn and down the backstretch and sprinted clear, opening two lengths, four, then five. Horses evolved on the North American continent, and by about 12, years ago, migrated to other parts of the world, [4] becoming extinct in the Americas.

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27.01.2018 - He yelled back to me: TBW, track 4 See also the article at mb I am always pleased to receive suggestions for better ordering, or news of other material of which I am ignorant, as well as reports of errors in the site contents, however minor. One plus 5t price in india do they believe - Amp s... Horse Meat in Sweden Gustafskorv ". The horse Equus ferus caballus [2] [3] is one of two extant subspecies of Equus ferus. Current genetic tests can identify at least 13 different alleles influencing coat color, [44] and research continues to discover new genes linked to specific traits.

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05.02.2018 - A Natural Approach to Horse Management. The night before the race I called Laurin at home, and we talked for a long while about the horse and the Belmont. Cubot p baby you can drive my car - Zip download b... Secretariat floated back to earth. Wikimedia Commons has media related to Horses. It can be downloaded from mediafire.

Horse meat is the culinary name for meat cut from a horse. It is a major meat in only a few countries, notably in Central Asia, but it forms a significant part of the. Generic Radio Workshop Script Library Series: Academy Award Theater Show: Brief Encounter Date: Nov 20

Davis cowered below, as if beneath a thunderclap, snatching at the chain and begging the horse to come down. Secretariat floated back to earth. He danced around the ring as if on springs, his nostrils flared and snorting, his eyes rimmed in white.

Unaware of the scene she was causing, Edelstein rattled the bucket again, and Secretariat spun in a circle, bucked and leaped in the air, kicking and spraying cinders along the walls of the pony barn.

I stood in awe. I had never seen a horse so fit. The Derby and Preakness had wound him as tight as a watch, and he seemed about to burst out of his coat. I had no idea what to expect that day in the Belmont, with him going a mile and a half, but I sensed we would see more of him than we had ever seen before.

Secretariat ran flat into legend, started running right out of the gate and never stopped, ran poor Sham into defeat around the first turn and down the backstretch and sprinted clear, opening two lengths, four, then five.

He dashed to the three-quarter pole in 1: I dropped my head and cursed Turcotte: What is he thinking about? Has he lost his mind? The colt raced into the far turn, opening seven lengths past the half-mile pole.

The timer flashed his astonishing mile mark: I was seeing it but not believing it. Secretariat was still sprinting. The four horses behind him disappeared. Halfway around the turn he was 14 in front Belmont Park began to shake.

The whole place was on its feet. Turning for home, Secretariat was 20 in front, having run the mile and a quarter in 1: He came home alone. He opened his lead to As rhythmic as a rocking horse, he never missed a beat.

I remember seeing Turcotte look over to the timer, and I looked over, too. It was blinking 2: The record was 2: Turcotte scrubbed on the colt, opening 30 lengths, finally The clock flashed crazily: The place was one long, deafening roar.

The colt seemed to dive for the finish, snipping it clean at 2: I bolted up the press box stairs with exultant shouts and there yielded a part of myself to that horse forever.

The next morning I returned to Claiborne to interview Seth Hancock. I stopped, and he called me in. We thought we had it under control, but he took a bad turn this morning. He may not make it.

Down the hall, sitting at his desk. What Sosby had told me was just beginning to sink in. You want to know who Secretariat is in human terms? Just imagine the greatest athlete in the world. Now make him six-foot-three, the perfect height.

Make him real intelligent and kind. He was all those things as a horse. So how do you think I feel? Before I left I asked Hancock to call me in Lexington if he decided to put the horse down.

Secretariat was suffering the intense pain in the hooves that is common to laminitis. That morning Anderson had risen at dawn to check on the horse, and Secretariat had lifted his head and nickered very loudly.

I left Claiborne stunned. That night I made a dozen phone calls to friends, telling them the news, and I sat up late, dreading the next day. I woke up early and went to breakfast and came back to the room.

The message light was dark. It was Wednesday, Oct. We had talked for more than an hour when Seth, looking shaken and pale, walked through the front door. He did not answer. I left the house, and an hour later I was back in my room in Lexington.

I had just taken off my coat when I saw it, the red blinking light on my phone. I walked around the room. Out the door and down the hall. Back into the room. Out the door and around the block. Out the door and down to the lobby.

I called sometime after noon. I phoned Annette Covault, an old friend who is the mare booker at Claiborne, and she was crying when she read the message: The last time I remember really crying was on St.

At the moment she called, I was sitting in a purple room in Caesars Palace, in Las Vegas, waiting for an interview with the heavyweight champion, Larry Holmes.

Now here I was in a different hotel room in a different town, suddenly feeling like a very old and tired man of 48, leaning with my back against a wall and sobbing for a long time with my face in my hands.

Terms under which this service is provided to you. Read our privacy guidelines, your California privacy rights, and ad choices. Pure Heart In waging the most glorious Triple Crown campaign ever, Secretariat made racing history in In the doing, he took the author on an unforgettably exhilarating ride By William Nack.

June 4, SI Longform: On that autumn afternoon at Claiborne Farm in, Secretariat grazed in the paddock outside the stallion barn at the end of a lead shank held by a groom instead of running free in the pasture.

Oh, I knew all the stories, knew them well, had crushed and rolled them in my hand, until their quaint musk lay in the saddle of my palm. Secretariat made the last start of his career on the turf on Oct.

The trip was a sort of homecoming for fellow Canadians Laurin and Turcotte though the jockey did not ride because he was serving a suspension. I remember wishing that those days could breeze on forever—the mornings over coffee and doughnuts at the truck outside the barn.

On the eve of the Belmont, Secretariat had become such a national sensation that he graced the covers of time, sports illustrated and Newsweek in the same week, briefly overshadowing both the Watergate scandal and the Vietnam war.

The colt had filled out substantially since I had last seen him under tack, in the fall, and he looked like some medieval charger—his thick neck bowed and his chin drawn up beneath its mass.

In his last workout before the Bay Shore Stakes, Secretariat and Turcotte blue helmet blew through three furlongs in less than 34 seconds, an incredibly fast move that had Laurin brown hat and coat worried that the colt had exerted himself too much.

Secretariat nevertheless won the race by more than four lengths. And in the most important race of his career, Secretariat had come up as hollow as a gourd. In winning the mile-and-a-quarter Kentucky Derby, Secretariat not only set a track record of 1: In the Derby, Secretariat defeated rival Sham, who had finished second in front of him in the Wood Memorial two weeks earlier.

With his win in the Preakness on May 19, , Secretariat set his second track record in as many Triple Crown races. A malfunctioning timer at Pimlico put his original time at 1: Secretariat again broke in last place in the Preakness, but he swept into the lead on the first turn with a fast early move.

On the morning of the Belmont, Secretariat was wound so tightly that he he rose up on his hind legs and began pawing at the sky while walking around in circles.

Unlike his starts in both the Derby and the Preakness, Secretariat 2 broke sharply in the Belmont, and led the race at every call. His record time of 2: Secretariat won the Belmont—completing the Triple Crown sweep—by a record 31 lengths.

Sham, the runner-up in the Derby and Preakness, finished last. Now here I was, suddenly feeling like a very old and tired man of 48, leaning with my back against a wall and sobbing for a long time with my face in my hands.

Three days before Secretariat died from the effects of laminitis, an employee at a local TV station took video of the great stallion grazing in a paddock. Back to top Editor, Time Inc.

Ryan Hunt Creative Director: Chris Hercik Director of Photography: Brad Smith Story Editor: Alicia Hallett Interactive Web Developer: I think this was the climax of a science fiction play called "The Prophet".

I think it was at the same time as one of the Beatles' songs, "Please please me", and so that was like, I think, er, Drew said he thought it sounded medieval.

Well that was because it was like a new religion and they'd go back to square one and the perfect fifth as the greeks did. And so my oo-oo-oo's were done on the Wobbulator. It was probably in the mid '60s.

I had a script, that's all. The actors, I got them to chant. The words they were singing were, "Praise to the master, his wisdom and his [reason]" [ Then I used just this one bar repeated which had [previously] been rejected from a science and health program for being too lascivious for the schoolchildren.

The sources of sound are simple sine tones. So they got on to me. So I produced this bloopy track and he loved it so much he double-tracked his voice and he used my little tune.

The winking knees in the rain, and their mini-skirts. I'd done it as a lovely little innocent love song, because he said to me that the only songs are, "I love you, I love you" or songs saying "you've gone, you've gone.

The first and last will have light projection by Hornsey College of Art. The middle section will be heard in darkness and musically is derived from the other two sections.

A limited number of sounds was chosen in each section and their order and coincidence were selected randomly. It was determined beforehand what the results of any such combinations might be.

The levels of reverberation, the rise and fall times, and the mixing of a large number of these sounds, as well as their being recorded on one or more tracks, werre also determined by probabilistic methods.

This will be programmed with continuously developing moving images by 10 high powered 2kw and 5kw automatic projectors. An arrangement of 30 loudspeakers will provide three dimensional sound.

In her papers is a group of papers collectively called "Philips" done with Unit Delta Plus, 3. The music is included in the Attic Tapes and is a collage of her other pieces, artfully blended and reworked to transition from one to the next.

The "tomorrow" I imagine here is the antithesis of that which the BBC in the 60s made much play of promoting to its audience; instead, it could easily be some kind of dystopia, a state of decay or de-evolution.

The Tuareg tribe are nomads in the Sahara desert and I think they live by bartering, taking salt, I think it was, across the desert. In the piece, the extract you're going to hear, I tried to convey the distance of the horizon and the heat haze and then there's this very high, slow reedy sound.

That indicates the strand of camels seen at a distance, wandering across the desert. That in fact was made from square waves on the valve oscillators we've just talked about, but square waves put though every filter I could possibly find to take out all the bass frequencies and so one just hears the very high frequencies.

It had to be something out of this world. Delia has since referred to the piece as including her " castrated oboe ", but the only non-electronic source really recorded is her voice, cut up and re-pieced.

And yet virtually nothing happens It still haunts me. She used her own voice for the sound of the hooves, cut up into an obbligato rhythm, and she added a thin, high electronic sound using virtually all the filters and oscillators in the workshop.

I hit the lampshade, recorded that, faded it up into the ringing part without the percussive start. So the camels rode off into the sunset with my voice in their hooves and a green lampshade on their backs.

It is not know whether this was ever realised. It was about the same time that she met John Lennon [. And we did the soundtrack for the shorter film, which was the wrapping of the lions in Trafalgar Square, which was a happening.

Yes, isn't it jolly? At Kaleidophon she produced electronic title music for Who Is, "a four-country, thirteen-programme, colour-TV series". One of her Who Is papers is headed "N. In July-Sep, she created two potential signature tunes for "The Living World", a television series produced by Robina Gyle-Thompson, both of which were rejected by the programme's maker John Sparks in August in favour of a "jazz theme".

It was filmed 23rdth July with studio recording on the 8th and 9th August and shown on BBC2 on 18th February Released as tracks 48, 50 and 51 of "Out Of This World: Delia's papers contain the complete typeset score for her musical setting of Apollinaire's poem of the same name.

It consists of two verses with a chorus after each verse. At Kaleidophon she made electronic music for 'the coloured wall' for the Association of Electrical Engineers. And so I met this guy, I was giving a lecture at Morley College in London and he came up to me afterwards.

He played the double bass, the same as I did, and he was already doing tracks for the Ballet Rambert and we got together and started this album. Some soundwaves you don't hear - but they reach you.

A world that existed before the dawn of the synthesizer, when a 'sample' was a length of recording-tape delicately and skillfully spliced in place. Production coordinator, tape effects, electronics, special stereo effects Delia Derbyshire, Brian Hodgson: Electronic sound realisation Paul Lytton: Vocals Track list the track times in square brackets are those stated on the sleeves: Love Without Sound 2: An Electric Storm in Hell 7: From the moment it started it made my scalp tickle, and the long, slow descent into screams and cries can even make someone listening to it stone-cold sober think they really had seen a glimpse of Hell!

We'll give it to you in a day! We'll finish it tonight! So the last track using half of the second side we mutually didn't want to make. I just put together a drum loop and got a friend of mine Paul Lytton [to] come and play drums to the loop to pull the whole thing out and this became the Hell track and we just got every freaky, nasty sound we could find and started screaming our heads off over the top and tearing people to bits.

We delivered it the next day and there you have it. More details on the web page geocities. These inherited traits result from a combination of natural crosses and artificial selection methods.

Horses have been selectively bred since their domestication. An early example of people who practiced selective horse breeding were the Bedouin, who had a reputation for careful practices, keeping extensive pedigrees of their Arabian horses and placing great value upon pure bloodlines.

Breeds developed due to a need for "form to function", the necessity to develop certain characteristics in order to perform a particular type of work. One of the earliest formal registries was General Stud Book for Thoroughbreds, which began in and traced back to the foundation bloodstock for the breed.

Worldwide, horses play a role within human cultures and have done so for millennia. Horses are used for leisure activities, sports, and working purposes. The Food and Agriculture Organization FAO estimates that in, there were almost 59,, horses in the world, with around 33,, in the Americas, 13,, in Asia and 6,, in Europe and smaller portions in Africa and Oceania.

There are estimated to be 9,, horses in the United States alone. Communication between human and horse is paramount in any equestrian activity; [] to aid this process horses are usually ridden with a saddle on their backs to assist the rider with balance and positioning, and a bridle or related headgear to assist the rider in maintaining control.

Historically, equestrians honed their skills through games and races. Equestrian sports provided entertainment for crowds and honed the excellent horsemanship that was needed in battle.

Many sports, such as dressage, eventing and show jumping, have origins in military training, which were focused on control and balance of both horse and rider.

Other sports, such as rodeo, developed from practical skills such as those needed on working ranches and stations. Sport hunting from horseback evolved from earlier practical hunting techniques.

All forms of competition, requiring demanding and specialized skills from both horse and rider, resulted in the systematic development of specialized breeds and equipment for each sport.

The popularity of equestrian sports through the centuries has resulted in the preservation of skills that would otherwise have disappeared after horses stopped being used in combat.

Horses are trained to be ridden or driven in a variety of sporting competitions. Examples include show jumping, dressage, three-day eventing, competitive driving, endurance riding, gymkhana, rodeos, and fox hunting.

They host a huge range of classes, covering all of the mounted and harness disciplines, as well as "In-hand" classes where the horses are led, rather than ridden, to be evaluated on their conformation.

The method of judging varies with the discipline, but winning usually depends on style and ability of both horse and rider. Although the horse requires specialized training to participate, the details of its performance are not judged, only the result of the rider's actions—be it getting a ball through a goal or some other task.

Horse racing is an equestrian sport and major international industry, watched in almost every nation of the world. There are three types: There are certain jobs that horses do very well, and no technology has yet developed to fully replace them.

For example, mounted police horses are still effective for certain types of patrol duties and crowd control. They may also be the only form of transport allowed in wilderness areas.

Horses are quieter than motorized vehicles. Law enforcement officers such as park rangers or game wardens may use horses for patrols, and horses or mules may also be used for clearing trails or other work in areas of rough terrain where vehicles are less effective.

In agriculture, less fossil fuel is used and increased environmental conservation occurs over time with the use of draft animals such as horses. Modern horses are often used to reenact many of their historical work purposes.

Horses are used, complete with equipment that is authentic or a meticulously recreated replica, in various live action historical reenactments of specific periods of history, especially recreations of famous battles.

Countries such as the United Kingdom still use horse-drawn carriages to convey royalty and other VIPs to and from certain culturally significant events.

Horses are frequently seen in television, films and literature. They are sometimes featured as a major character in films about particular animals, but also used as visual elements that assure the accuracy of historical stories.

People of all ages with physical and mental disabilities obtain beneficial results from association with horses. Therapeutic riding is used to mentally and physically stimulate disabled persons and help them improve their lives through improved balance and coordination, increased self-confidence, and a greater feeling of freedom and independence.

In hippotherapy, a therapist uses the horse's movement to improve their patient's cognitive, coordination, balance, and fine motor skills, whereas therapeutic horseback riding uses specific riding skills.

Horses also provide psychological benefits to people whether they actually ride or not. Exposure to horses appears to improve the behavior of inmates and help reduce recidivism when they leave.

Horses have been used in warfare for most of recorded history. The first archaeological evidence of horses used in warfare dates to between and BC, [] and the use of horses in warfare was widespread by the end of the Bronze Age.

Horses have been used in the 21st century by the Janjaweed militias in the War in Darfur. Horses are raw material for many products made by humans throughout history, including byproducts from the slaughter of horses as well as materials collected from living horses.

Products collected from living horses include mare's milk, used by people with large horse herds, such as the Mongols, who let it ferment to produce kumis. Drinking their own horses' blood allowed the Mongols to ride for extended periods of time without stopping to eat.

Horse meat has been used as food for humans and carnivorous animals throughout the ages. It is eaten in many parts of the world, though consumption is taboo in some cultures, [] and a subject of political controversy in others.

Horse hooves can also be used to produce animal glue. Horses are grazing animals, and their major source of nutrients is good-quality forage from hay or pasture. Horses require routine hoof care from a farrier, as well as vaccinations to protect against various diseases, and dental examinations from a veterinarian or a specialized equine dentist.

From Wikipedia, the free encyclopedia. For other uses, see Horse disambiguation. Equine coat color, Equine coat color genetics, and Horse markings. Equine anatomy, Muscular system of the horse, Respiratory system of the horse, and Circulatory system of the horse.

Skeletal system of the horse. Horse hoof, Horseshoe, and Farrier. Equine digestive system and Equine nutrition. Horse gait, Trot horse gait, Canter, and Ambling. Horse behavior and Stable vices.

Draft horse, Warmblood, and Oriental horse. Horse sleep patterns and Sleep in non-humans. Evolution of the horse, Equus genus, and Equidae. History of horse domestication theories and Domestication of the horse.

Horse breed, List of horse breeds, and Horse breeding. Equestrianism, Horse racing, Horse training, and Horse tack. Horses in art and Horse worship. Hippotherapy and Therapeutic horseback riding.

Equine nutrition, Horse grooming, Veterinary medicine, and Farrier. Systema naturae per regna tria naturae: Mammal Species of the World: A Taxonomic and Geographic Reference 3rd ed.

Johns Hopkins University Press. Opinion Case ". Archived from the original on Horse Anatomy 2nd ed. Complete Equine Veterinary Manual. Ministry of Agriculture, Food and Rural Affairs.

American Endurance Riding Conference. Horses and Tack Revised ed. United States Equestrian Federation. Archived from the original PDF on See McBane, pp. Cornell University College of Veterinary Medicine.

Equus caballus - Description". The Complete Horse Care Manual. Dorling Kindersley Publishing, Inc. Journal of Animal Breeding and Genetics. Communications Services, Oklahoma State University.

Revolution in Horsemanship and What it Means to Mankind. Montana State University eXtension. Problems of Limbs in young Horses". Storey's Guide to Training Horses: Ground Work, Driving, Riding.

The Horse Second ed. Archived from the original on September 9, Horses' Teeth and Their Problems: Prevention, Recognition, and Treatment. Nathan Jeffery, co-author, University of Liverpool.

A Complete Guide to Equine Safety. Retrieved 23 January The Essentials of Horsekeeping. Sterling Publishing Company, Inc. Pet Column July 24, Archived from the original on August 9, Retrieved 8 January A Natural Approach to Horse Management.

True horsemanship through feel. Ed Kept to Himself part 1 ". The Everything Horse Care Book. Large Animal Internal Medicine Second ed. The Nature of Horses. Fossil Horses in Cyberspace.

Florida Museum of Natural History.

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Turn Up The Radio written by Madonna, Martin Solveig, Michael Tordjman, Jade Williams Track 4, Time: When the world starts to get you down And. Transcriptions of the Radio Shows.. Keep Checking Back for Updates.. to "hear" the shows visit our archives. Search for any topic talked about on the radio shows. The horse (Equus ferus caballus) is one of two extant subspecies of Equus ferus. It is an odd-toed ungulate mammal belonging to the taxonomic family Equidae.

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