User:Clusternote/Sandbox 1

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Welcome to the Wikimedia Commons Sandbox. This page allows you to carry out experiments. Click this link to edit the sandbox and make your changes. Click the Publish changes button when finished. Please do not place copyrighted, offensive or libelous content in the sandbox. If you have any questions regarding Wikimedia Commons, please read the FAQ and Commons:First steps; or your questions can be posed at the village pump. Thanks!

See also: User:Clusternote/Templates.

Generate MET Artwork as GWToolset

See also: Template:Generate MET Artwork as GWToolset/Str find last c/IfOr100/Testcase and Template:Generate MET Artwork as GWToolset/estimateCollectionYearFromAccessionNumber/Testcase.

{{Generate MET Artwork as GWToolset/Str find last c}}

• {{Str index|12345|0}} ⇒ ""
• {{Str index|12345|1}} ⇒ "1"
• {{Str index|12345|3}} ⇒ "3"
• {{Generate MET Artwork as GWToolset/Str find last c/IfOr10||||||||||||else=-10000}} ⇒ -10000
• {{Generate MET Artwork as GWToolset/Str find last c/IfOr100||||||||||||else=-10000}} ⇒ -10000
• {{Generate MET Artwork as GWToolset/Str find last c|a.b|,}} ⇒ "-1"
• {{Generate MET Artwork as GWToolset/Str find last c|a,b|,}} ⇒ "2"
• {{Generate MET Artwork as GWToolset/Str find last c|a,b,c|,}} ⇒ "4"
• {{Generate MET Artwork as GWToolset/Str find last c|a,b,c,d|,}} ⇒ "6"
• {{Generate MET Artwork as GWToolset/Str find last c|a,b,c,d,e,fghi|,}} ⇒ "10"
• {{Generate MET Artwork as GWToolset/Str find last c/sub|a,b,c|,|5}} ⇒ ""
• {{Generate MET Artwork as GWToolset/Str find last c/sub|a,b,c|,|4}} ⇒ "4"
• {{Generate MET Artwork as GWToolset/Str find last c/sub|a,b,c|,|3}} ⇒ ""
• {{Generate MET Artwork as GWToolset/Str find last c/sub|a,b,c|,|2}} ⇒ "2"
• {{Generate MET Artwork as GWToolset/Str find last c/sub|a,b,c|,|1}} ⇒ ""
• {{#ifexpr: {{Generate MET Artwork as GWToolset/Str find last c|a,b,c|,}} > 0 |{{str left|a,b,c|{{#expr: {{Generate MET Artwork as GWToolset/Str find last c|a,b,c|,}} - 1}} }} }} ⇒ "a,b"
• {{#ifexpr: {{Generate MET Artwork as GWToolset/Str find last c|a,b,c|,}} > 0 |{{str right|a,b,c|{{Generate MET Artwork as GWToolset/Str find last c|a,b,c|,}} }} }} ⇒ "c"

{{Generate MET Artwork as GWToolset/estimateCollectionYearFromAccessionNumber}}

• {{Generate MET Artwork as GWToolset/estimateCollectionYearFromAccessionNumber|1998.121‎}}=1998
• {{Generate MET Artwork as GWToolset/estimateCollectionYearFromAccessionNumber|98.121‎}}=1898

{{Str find last}}

{{Str find last|12, 5, 890|,}}=Template:Str find last

{{Search more media in the 21th century by year}}

Note: You can find more media about "Akihabara" in 2015,  using: Special:Search/2015 Akihabara.

Panoramic view of Los Angeles, ca.1913

Panoramic view of Los Angeles, looking north from a building on the corner of Hill Street from 6th Street, 1913

read more

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A "Hauser" mandolin from Germany.	A "Hauser" mandolin from Germany.

US Design patents

USD100301S Organ Console (1936-05-01 filed, 1936-07-07 published) by George H.Stephens - Hammond A.pdf

• US patent 100301, George H.Stephens, "Organ Console", granted 1936-07-07 , assigned to Hammond Clock Company , filed 1936-05-01. (design patent)

USD108133S Electric Organ (1937-12-09 filed, 1938-01-25 published) by George H.Stephens - Hammond E.pdf

• US patent 108133, George H.Stephens, "Electric Organ", granted 1937-12-09 , assigned to Hammond Instrument Company , filed 1938-01-25. (design patent)

USD113021S Electrical Musical Instrument (1938-11-25 filed, 1939-01-24 published) by George H.Stephens - Hammond Novachord.pdf

• US patent 113021, George H.Stephens, "Electrical Musical Instrument", granted 1938-11-25 , assigned to Hammond Instrument Company , filed 1939-01-24. (design patent)

USD120175S Organ Console (1939-09-08 filed, 1940-04-23 published) by George H.Stephens - Hammond C.pdf

• US patent , George H.Stephens, "Organ Console", granted 1940-04-23 , assigned to Hammond Instrument Company , filed 1939-09-08. (design patent)

USD158625S Electrical Musical Instrument (1949-04-07 filed, 1950-05-16 published) by George H.Stephens - Hammond M.pdf

• US patent 158625, George H.Stephens, "Electrical Musical Instrument", granted 1950-05-16 , assigned to Hammond Instrument Company , filed 1949-04-07. (design patent)

USD164072S Organ Console (1950-06-23 filed, 1951-07-24 published) by George H.Stephens - Hammond S.pdf

• US patent 164072, George H.Stephens, "Organ Console", granted 1951-07-24 , assigned to Hammond Instrument Company , filed 1950-06-23. (design patent)

The Vault, HRC London

      Hard Rock
           CAFE
          LONDON
 THE VAULT
    YOUR TOUR
 STARTS HERE
    Tours leave on the hour
      and then every 20
        minutes after.
    Check out Hard Rock's
         most prized
     memorabilia collection

[left] Hohner ST series (stratocaster copy)

     STEREOPHONICS
DURING THE SUMMER OF 1997, PRIOR TO THE GROUP MARKIING IT BIT,
A FAN MET THE MEMBERS OF STEREOPHONICS AT A LOCAL RECORD STORE
IN CARDIFF AND HAD THIS GUITAR SIGNED. A SHORT TIME LATER, THEIR
DEBUT ALBUM “WORD GETS AROUND” WAS RELEASED. THE GUITAR WAS
LATER DONATED TO HARD ROCK'S MEMORABILIA COLLECTION.

[center left] Gibson Flying V

JIMI HENDRIX
JIMI HENDRIX EXPANDED THE VOCABULARY
  OF THE ELECTRIC ROCK GUITAR MORE
THAN ANYONE BEFORE OR SINCE. HENDRIX
 WAS A MASTER AT COAXING ALL MANNER
   OF UNFORESEEN SONICS FROM HIS
 INSTRUMENT, OF TEN WITH INNOVATIVE
   AMPLIFICATION EXPERIMENTS THAT
  PRODUCED ASTRAL-QUALIRTY FEEDBACK
AND ROARING DISTORTION. THIS FLYING V
  WAS CUSTOM BUILT FOR JIMI. ALSO ON
DISPLAY IS A BELT WORN BY JIMI HENDRIX
 AND A PAIR OF ROSE-TINTED SUNGLASSES
  WORN BY NOEL REDDING WHILE A MEMBER
    OF THE JIMI HENDRIX EXPERIENCE.

[center right] (U.S.ARMY shirt, glasses & spectacles)

JOHN LENNON
       THE BEATLES
THE BEATLES WERE THE GREATEST AND
MOST INFLUENTIAL ACT OF THE ROCK
   ERA, AND INTRODUCED MORE
 INNOVATION INTO POPULAR MUSIC
THAN ANY OTHER ROCK BANC OF THE
20TH CENTURY. ON DISPLAY IS A PAIR
  OF EYEGLASSES AND JACKET WORN
EXTENSIVELY BY JOHN LENNON IN THE
   '70S DURING PEACE CONCERTS.
  YOU CAN ALSO SEE HIM WEAR THE
  JACKET IN A CLIP FROM THE FILM
          "FORREST GUMP".

        (watch)

JIMI HENDRIX
...

[right wall: left] (keyboard ?)

[THE BEATLES] ?

        (boots)

?

[right wall: right] (Kramer axe guitar with Marshall box)

     GENE SIMMONS
                      KISS
KISS MUSIC WAS A COMMERCIALLY POTENT MIX OF ANTHEMIC,
FIST-POUNDING HARD ROCK DRIVEN BY SLEEK HOOKS AND BALLADS
POWERED BY LOUD GUITARS, CLOYING MELODIES, AND SWEEPING STRINGS.
IT WAS A SOUND THAT LAID THE GROUNDWORK FOR BOTH ARENA ROCK
AND THE POP-METAL THAT DOMINATED ROCK IN THE LATE '80S.
DISPLAY IS GENE SIMMONS' SIGNATURE AXE BASS.

        (clothing)

                        SLASH
...

        (Gibson Les Paul with signed)

                        SLASH
                  GUNS N' ROSES
THIS LES PAUL PROTOTYPE WAS ONE OF THREE CREATED B...
CUSTOM SHOP AND WAS USED ON “DOUBLE TALKI...”
YOUR ILLUSION I LP. THIS INSTRUMENT CAN ...
            SLASH'S BED IN THE “PATI...”

        (Epiphone acoustic guitar)

?

Ladies and Gentlemen ... The Beatles!

 Ladies and Gentlemen...

  TH^eBEaTlE^s!

 A Beatle Fan's Bedroom

In the 1960s, many middle-class suburban homes in
America featured separate bedrooms for the teens in
the family. Such household space afforded them
privacy unavailable to previous generations of young
Americans. Many teens turned them with pop culture
objects like photos and posters of sports, music, and
movie stars. Phonographs and record collections
competed for space with schoolbooks, diaries,
trophies, and stuffed animals. Private telephones
were an added luxury.

In the mid-‘60s, at the height of Beatlemania, many
teen bedrooms sported a Beatle motif. This example
of a teen bedroom from suburban New Jersey circa
1964 includes many of the popular Beatlemania
objects found in a Beatle fan's bedroom.

 Ladies and Gentlemen...

 TH^eBEaTlE^s!

In 1964 the Beatles conquered America. The pop music quartet from Liverpool,
England—John Lennon, Paul McCartney, George Harrison and Ringo Star—swept the
nation off its feet and inspired a musical and cultural revolution from coast to coast.
Nothing in their path was immune to their music, humor, and playful innocence.

Theories abound as to why the Beatles impacted us like they did a half-century ago.
Some sociologists believe that with America still mourning the recent assassination of
President John Kennedy, the Beatles took our minds off the national tragedy. That the
band was introduced to the nation via one of its most popular television programs,
The Ed Sullivan Show, also might have had something to do with it, say others.

Many music historians point to the homogenized condition of rock & roll in the early
sixties for the answer to the Beatles' success in America. The era they say, begged for
new sounds, styles, and faces, and the Beatles had all three. Still other experts abide
by the theory that the look and the “British-ness” of the Beatles proved irresistible,
especially to American teens.

Undoubtedly it was all of this, plus the fact that the music the Beatles made—deeply
influenced by American rock & roll and wrapped in a Union Jack—was, in a word, brilliant,
and impossible to ignore. From their arrival in February 1964 to their final concert in
August 1966, Beatlemania ran rampant in America. Though the group continued to
record for a few more years, this was the period of their greatest impact. Song after
song, album after album, film after film, concert after concert—the Beatles took pop
music and everything else affiliated with it to a much higher and more meaningful plane.

 Ladies and Gentlemen...

  TH^eBEaTlE^s!

    The Ed Sullivan Show

...

        Paul McCartney
  Höfner 500/1 bass guitar
 
The German-made Höfner 500/1 bass
was Paul McCartney's main instrument
on stage and in the studio during The
Beatles' touring years. It possessed a
distinct “hollow” sound, while its
unique shape resembled a violin.
McCartney was so identified with the
instrument that it became known as
“the Beatle bass.”

[Period Höfner Beatle Bass guitar] ?
[on loan from ... ... .] ?

             Ringo Starr
       Ludwig “Downbeat”
 Oyster Black Pearl drum kit
The simple American-made Ludwig set displayed
here is representative of the kit that Ringo Starr
played in The Beatles. Live and on record, Starr
played different-size versions of this same
set-up. It was a smaller kit than what most other
drummers were playing at the time. The kit used
for The Beatles' American debut consisted of a
20" bass drum, a 14" snare drum, a 12" tom-tom,
and a 14" floor tom.

Period Ludwig Oyster Black Pearl drum kit
on loan from Gary Astridge.

       George Harrison
      Gretsch Chet Atkins
 Country Gentleman guitar
Probably the Beatle most curious about
sounds and most apt to experiment
with new instruments, George Harrison
settled on the Gretsch Chet Atkins
County Gentleman guitar in 1963.
However, Harrison's guitar collection
eventually included those made by
Epiphone, Rickenbacker, Gibson, and
Fender.

Replica Gretsch Country Gentleman guitar
on loan from Fender Musical Instrument Corporation.

           John Lennon
    Rickenbacker 325 guitar
 
...

 Ladies and Gentlemen...

     TH^_eBEaTlE^s!

    Woolworth’s

The  F.W.  Woolworth  Company,  more
commonly  known to consumers  in the
1960s  as  simply   Woolworth's   or
Woolworth's five and dime store, was
one of America's largest retail chains. At
the height of Beatlemania, the popular
store, which seemed to be in every town
and city in America,  stocked a wide
array of Beatles merchandise,  which
was often featured in its front windows.

The Beatles Story

1 9 5 7 - 1 9 6 3

MATHEW STREET

AND THE CAVERN

The cavern was the basement cellar of an
old fruit warehouse, which during the
Second World War had been used as an
air raid shelter, then later as an egg
packing station. The warehouse was one
of many on a small, cobbled back street
called Mathew Street, in the middle of
Liverpool's commercial district.




  In 1957, a young businessman called
Alan Sytner had been working in Paris
where he visited a club called Le Caveau
de la Huchette. Impressed by its moody,
bohemian atmosphere, he decided he
would like to open a similar club in England.
Alan returned to Liverpool where he
discovered No.10 Mathew Street. He
opened it as a club on the 16th June, 1957.

  A keen jazz fan, Alan employed the
most popular local jazz bands to perform
and soon the Cavern became one of the
liveliest nightspots in town, frequented
mostly by students and avant-garde
characters. In 1959, the club was bought
by Ray McFall.

  One evening in January 1960, a jazz
festival was organised with star bands such
as Acker Bilk's topping the bill. Some local
bands were also booked, among them
Rory Storm and the Hurricanes. They were
warned that it was a jazz night only, but
after a couple of sedate, pleasant numbers
Rory broke into a real rocker, ‘A Whole Lot
of Shakin’ Foin’ On’. The regular clientele
complained and said they wanted their
beloved jazz back.

However, as the weeks went by Ray McFall
found that the beat groups were bringing
in more custom than the jazz. Ray also
noticed that young office workers were
spending their lunch hours hanging around
music stores such as Hessy’s. This gave
him the idea to put on lunchtime sessions
at the Cavern

Because of the number of groups
appearing in the city, the Cavern had no
difficulty in attracting bands and all the
top names of the Merseybeat era
performed at the club.

 On 21st March 1961, the Beatles appeared
for the first time at the Cavern.

1 9 6 2

 ABBEY ROAD

W

       when   four  young  lads   from
        Liverpool  walked into  Studio
        Two for a commercial test on 6
        June 1962,  they were about to
        write the first chapter of The
        Beatles' Story,   which was to
change the face of recording forever. By
the time they re-appeared on September
4th   they  had  a  new  drummer   and
although their first release, “Love Me
Do” only reached number 17,  it was td
capture  the imagination of the entire
world.                                

  During  their  recording  days,   an
amazing 191 of their songs were recorded
at Abbey Road, and in the process they
changed   pop   recording   techniques
forever. From mono through stereo,  to
four  track   and   eight track,  they
pioneered    changes   in    recording
techniques where the studio effectively
became  a workshop.  Gone were the old
three hour fully prepared sessions and in
their  place  were   open-ended  block
bookings  with  the results  dependent
upon the interface between people  and
technology harnessed to create new and
exciting types of sound. The results of
their achievements will be with us forever
as indeed will the mystique  which has
always surrounded them.               

 ST PAULI

 THE REEPERBAHN

    The St. Pauli district of Hamburg
  was the red light area, full of strip
    clubs, night clubs, and brothels.
  It was the place many of the sailors
   would visit to get drunk and maybe
  have the odd fight or two, certainly
       not the place to send five
   inexperienced lads from Liverpool.

The Beatles' first trip abroad

1960

H A M B U R G

A seaport in West Germany

See also category

 See also category: Musical instruments.

See also category: Musical instruments.