Academic literature on the topic 'Lifetime Deer License'

Motor vehicles are changing the way people live, but they are also putting a huge strain on urban traffic. In the majority of major cities, parking has become the number one problem for car owners to get around. The management efficiency of car parks directly affects the traffic of the whole city. In order to improve the management efficiency of the car park, this paper designs an intelligent parking management system based on ARM and ZigBee wireless sensor network. Firstly, according to the internal environment and economic cost of the car park, ultrasonic sensors are used to monitor whether the parking space is empty or not. The information collected by the ultrasonic sensors is transmitted to the ARM host controller through the ZigBee wireless sensor network, and the ARM host controller determines whether there are free parking spaces based on the collected information. Secondly, Faster R-CNN, a deep learning algorithm, is selected as the license plate recognition model, and the Faster R-CNNN is improved by the residual module. Finally, in order to extend the lifetime of the ZigBee wireless network, the ZigBee routing algorithm is investigated, and an improved routing algorithm based on energy averaging is proposed. The effectiveness of the improved routing algorithm is demonstrated by a simulation analysis through NS2. The test results show that the designed intelligent parking management system is able to complete the functions of parking space detection and license plate recognition normally, thus effectively improving the efficiency of the car park and providing great convenience to motorists.

Dugong Reserve Estimate Tightens on New Well Results Neptune Energy redefined the estimated reserves at its Dugong discovery in the Norwegian sector of the North Sea to between 40–108 million BOE based on the results of appraisal well 34/4-16 S. Prior to this appraisal, the operator believed the prospect could hold as much as 120 million BOE. The main objective of the well was achieved by establishing the oil/water contact. Neptune Energy said the new range will be subject to further detailed analysis and review, and a drillstem test on the well is planned at a later stage. The appraisal well was drilled using the Odjfell-operated semisubmersible Deepsea Yantai in about 330 m of water. The Dugong discovery will either be linked to nearby infrastructure or developed as a standalone development. Dugong is located 158 km west of Florø, Norway, and is close to the existing production facilities of the Snorre and Statfjord fields. The Dugong license partners are Neptune Energy (operator and 45%), Petrolia NOCO (20%), Idemitsu Petroleum Norge (20%), and Concedo (15%). Oselvar P&A Work Underway Decommissioning of the DNO Norge-operated Oselvar field has kicked off with the operator contracting semisubmersible Borgland Dolphin for plug-and-abandonment work. Oselvar is in the southern part of the Norwegian sector in the North Sea, 20 km southwest of the Ula field. The water depth is 70 m. Oselvar was discovered in 1991, and the plan for development and operation was approved in 2009. The field was developed via a trio of subsea wells tied to Ula. Production started in 2012 and ended in 2018. The Borgland Dolphin was moved to the field on 20 March. The rig recently went through a series of upgrades including the installation of new shale shakers, new standpipe manifold, an upgraded drilling control system, and an upgraded helideck. Decommissioning must be completed by the end of 2022. Equinor Green Lights FPSO for Brazil’s BM-C-33 Development Equinor, together with license partners Repsol Sinopec Brasil and Petrobras, have approved an FPSO-based development concept for BM-C-33, a gas/condensate field located in the Campos Basin pre-salt in Brazil. Subsea wells will be tied back to the FPSO located at the field. Gas and oil/condensate will be processed at the floater to sales specifications and exported. Crude will be offloaded by shuttle tankers and shipped to the international market after ship-to-ship transfer. A newbuild hull has been selected to accommodate the field’s planned 30-year lifetime. “BM-C-33 holds substantial volumes of gas,” said Veronica Coelho, Equinor’s country manager in Brazil. “A completion of the ongoing liberalization of the natural gas market in Brazil in line with the current plan, is key for the further development of the project. BM-C-33 is an asset that can generate value for the society, both through the creation of direct and indirect jobs, ripple effects, and through a gas supply that can induce industrial growth, as has happened in other countries.” Gas export capacity is planned for 16 million cubic meters per day with average exports expected to be 14 million cubic meters per day. Daily oil processing capacity is of 20,000 cubic meters per day. The gas-export solution is based on an integrated offshore gas pipe-line from the FPSO to a new dedicated onshore gas-receiving facility inside the Petrobras TECAB site at Cabiúnas, before connecting to the domestic gas-transmission network. Lundin Makes Small Discovery Near Edvard Grieg Lundin Energy Norway encountered a 10-m oil column with its wildcat well 16/4-13 S about 15 km south of the Edvard Grieg field in the central part of the North Sea. The operator added that about 7 m of the encountered column was of moderate to poor reservoir quality. The oil/water contact was encountered 1950 m below the sea surface. The entire reservoir, including the water zone, comprises conglomeratic sandstones in a thickness of about 380 m. Preliminary estimates place the size of the discovery between 0.5 and 1.4 million cubic meters of recoverable oil equivalent. The licensees will assess the discovery regarding a possible tie-in to the Solveig field. The well was drilled by Seadrill semisubmersible West Bollsta and will be permanently plugged and abandoned. The rig will now move to drill the 16/4-BA-1H production well on the Solveig field. Wintershall Gets Permit for Bergknapp Appraisal The Norwegian Petroleum Directorate granted Wintershall Dea Norge a drilling permit for well 6406/3-10 A to spud a follow-up probe to a discovery made in April 2020. The Bergknapp appraisal will be drilled from the Odjfell semisubmersible Deepsea Aberdeen once the rig has concluded the drilling of wildcat well 6507/4-2 S for Wintershall in production license 211. The Bergknapp appraisal will be drilled about 8 km west of the Maria field in the Norwegian Sea. The discovery well 6406/3-10 intersected an oil column of at least 60 m in the Garn formation and an oil column of at least 120 m in the Tilje formation. Preliminary estimates of the Bergknapp discovery indicate it could hold between 26–97 million BOE. The find is in production license 836 S where Wintershall is the operator and holds a 40% stake. The other licensees are DNO Norge (30%) and Spirit Energy Norway AS (30%). The area in this license comprises parts of Blocks 6406/2 and 6406/3. Guyana Says Liza Hits First-Phase Capacity Guyana’s President Irfaan Ali announced that the first phase of the Liza offshore crude project had achieved its intended full-production capacity of around 130,000 B/D. Ali told virtual attendees at the Guyana Basin Summit that he expected an additional 10 exploration and appraisal wells to be drilled off Guyana this year. He said the second phase of the Liza project, operated by ExxonMobil, would begin in 2022. The consortium led by Exxon, which includes partners Hess and CNOOC Ltd., has made 18 discoveries containing more than 8 billion bbl of recoverable oil and gas in Guyana’s Stabroek block. Equinor and Partners in Barents Bounty Equinor and partners Vår Energi and Petoro have struck oil in exploration well 7220/7-4 in production license 532 in the Barents Sea. Recoverable resources are so far estimated at between 31–50 million BOE. The well was drilled about 10 km southwest from the well 7220/8-1 on the Johan Castberg field. “Succeeding in the Barents Sea requires perseverance and a long-term perspective,” says Nick Ashton, Equinor’s senior vice president for exploration in Norway. “This discovery strengthens our belief in the opportunities that exist, not least around the Castberg, Wisting, Snøhvit, and Goliat areas.” The well, drilled by semisubmersible Transocean Enabler, struck 109 m of oil in the Stø and Nordmela formations. The top reservoir was encountered at a vertical depth of 1788 m below sea level. The expected gas cap was not encountered in the well. The well was not formation tested, but extensive data acquisition and sampling took place. Equinor said further development of the discovery toward the planned infrastructure for the Johan Castberg field will be considered at a later stage. Exploration well 7220/7-4 is the first of four planned exploration wells for Equinor in the Barents Sea this year. Eni Strikes Light Oil at Cuica Eni has made a new light-oil discovery in Block 15/06 at its Cuica prospect in the deep waters offshore Angola. The prospect is located inside the Cabaça Development Area and close to the Armada Olombendo FPSO (East Hub). Eni estimates Cuica could hold between 200 and 250 million bbl of oil in place. The Cuica-1 NFW was drilled as a deviated well by Seadrill-operated drillship Sonagol Libongos in 500 m of water and reached a total vertical depth of 4100 m, encountering an 80-m total column of reservoir of light oil (38 °API) in sandstones of Miocene age with good petrophysical properties. The discovery well is going to be sidetracked up-dip to be placed in an optimal position as a producer well. According to Eni, data collection from the well indicates an expected production capacity of around 10,000 BOPD. Cuica is the second significant oil discovery inside the existing Cabaça Development Area. The well location, intentionally placed close to East Hub’s subsea network, will allow a fast-track tie-in of the exploration well and relevant production. Eni expects the well could be on line within 6 months. Following the discoveries of Kalimba, Afoxé, Ndungu, Agidigbo, Agogo and appraisals achieved between 2018 and 2020, Cuica represents the first commercial discovery in Block 15/06 after the relaunch of the exploration campaign post-2020 COVID-19 pandemic. The discovery confirms the exploration potential of the block. A 3-year extension of the exploration period of Block 15/06 was recently granted until November 2023. The Block 15/06 joint venture comprises Eni (operator, 36.8421%), Sonangol P&P (36.8421%), and SSI Fifteen Ltd. (26.3158%). No Injuries Reported in West Mira Incident An equipment failure onboard Northern Ocean semisubmersible West Mira resulted in production equipment descending to the seabed. The rig owner said no one was injured and the well at the location was secured “with three barriers in place.” The unit was in the process of lowering the equipment on the Wintershall-operated Nova field. “While lowering a x-mas tree from West Mira, the winch wire snapped when the tree was five meters below the sea surface. The x-mas tree sunk to the seafloor 368 meters below water level. Eight people were working in the area of the rig where the incident occurred in safe distance from moving equipment,” said Wintershall. The rig manager, Seadrill Europe Management AS, and Wintershall are conducting investigations into the incident and have agreed to a plan to secure the production equipment. “A remote operated vehicle (ROV) was sent to the seafloor to assess the situation,” added the oil company. “The ROV survey showed no risk of discharge of well fluids or hydrocarbons and the x-mas tree has been localized on the template.”

To reach the mitigation goals of the Paris Agreement, many countries will have to phase out their coal power plants prematurely, i.e., before the end of their normal lifetimes, which will lead quite possibly to significant stranded assets. This could present a major challenge, particularly for many of the rapidly developing countries whose electricity demand is growing and which are currently expanding their coal fleets. Recent research shows that countries with aging power plants and decreasing coal consumption are more inclined to phase out coal, but little is known about where, why, and how coal power plants are being prematurely retired. In the context of the hybrid Paris Agreement, attention is increasingly shifting to domestic mitigation capacities and, alongside this—given the vested interests involved in different sectors—to state capacity to implement the transformations required to achieve deep decarbonization. In this article, we aim to study those capacities in the context of coal phaseout. We use a recent and comprehensive global dataset on coal power plants and employ a mixed-methods research design to (a) identify general emerging patterns with respect to premature coal fleet retirement, and (b) derive stylized types of political strategies to prematurely retire coal power plants. We find state capacity to be a robust predictor of general and premature coal retirement, and we identify three main strategies that countries have used to date to prematurely retire coal: (a) <em>rein-in</em> using top-down regulatory enforcement of environmental, climate, or other regulations that affect the operating licenses of coal plants; (b) <em>buy-out</em> or provision of compensation to companies and regions to appease vested interests; and (c) <em>crowd out</em> where accelerating market and price dynamics in the power sector crowd out coal. We propose that future research should explore more systematically the kinds of strategy that might be most promising in the regions and countries needing to rapidly phase out coal, taking into account their political structures, and also the implications that such strategies might have for global mitigation efforts.

Sonadrill Lands Contract for Drillship Seadrill confirmed a new contract has been secured by Sonadrill Holding, Seadrill’s 50:50 joint venture with an affiliate of Sonangol for the drillship West Gemini. Sonadrill has secured a 10‑well contract with options for up to eight additional wells in Angola for an unknown operator. Total contract value for the firm portion of the deal is expected to be around $161 million, with further revenue potential from a performance bonus. The rig is expected to begin the work in the fourth quarter of this year with a firm term of about 18 months, in direct continuation of the West Gemini’s existing contract. The West Gemini is the third drillship to be bareboat chartered into Sonadrill, along with two Sonangol‑owned units, the Sonangol Quenguela and Sonangol Libongos. Seadrill will manage and operate the units on behalf of Sonadrill. Together, the three units position the Seadrill joint venture as an active rig operator in Angola, furthering the goal of building an ultradeepwater franchise in the Golden Triangle and driving efficiencies from rig clustering in the region. Petrobras Receives TotalEnergies, Shell Payments for Atapu TotalEnergies and Shell have formalized payments to Petrobras for separate, minority stakes in the pre‑salt Atapu field in the Santos Basin. TotalEnergies paid $4.7 billion reais ($940 million) while Shell paid closer to $1.1 billion. The Atapu block was acquired by the consortium comprising Petrobras (52.5%), Shell (25%), and TotalEnergies (22.5%) in the Second Bidding Round for the Transfer of Rights auction held 17 December 2021. The payments are compensation for monies spent thus far by Petrobras, which was granted contractual rights to produce 550 million BOE from Atapu in 2010. The partners will now work together to produce additional volumes from the field. Production at Atapu started in June 2020 via the P-70 FPSO. The unit is in about 2000 m of water and has the capacity to produce 150,000 BOED. CNOOC Brings New Bohai Sea Discoveries On Stream CNOOC Limited has kicked off production from its Luda 5‑2 oil field North Phase I project and Kenli 6‑1 oil field 4‑1 Block development project. Luda 5‑2 is in the Liaodong Bay of Bohai Sea, with average water depth of about 32 m and utilizes a thermal recovery wellhead platform and production platform tied into the Suizhong 36‑1 oil field. A total of 28 development wells are planned, including 26 production wells and two water‑source wells. The project is expected to reach its peak production of 8,200 B/D of oil in 2024. Kenli 6‑1 is in the south of Bohai Sea, with average water depth of about 17 m. The resource is being developed by a wellhead platform in addition to fully utilizing the existing processing facilities of the Bozhong 34‑9 oil field. A total of 12 development wells are planned, including seven production wells and five water‑injection wells. The field is expected to reach its peak production of 4,000 B/D of oil later this year. CNOOC Limited is operator and sole owner of the Luda 5‑2 oil field North and the Kenli 6‑1 oil field 4‑1 Block. Stabroek Block Bounty Off Guyana Gets Bigger The partners in the prolific Stabroek Block have again increased the gross discovered recoverable resource estimate for the area offshore Guyana. The owners now believe they have discovered reserves of at least 11 billion BOE, up from the previous estimate of more than 10 billion BOE. The updated resource estimate includes three new discoveries on the block at Barreleye, Lukanani, and Patwa in addition to the Fangtooth and Lau Lau discoveries announced earlier this year. The Barreleye‑1 well encountered approximately 70 m of hydrocarbon‑bearing sandstone reservoirs of which 16 m is high‑quality oil‑bearing. The well was drilled in 1170 m of water and is located 32 km southeast of the Liza field. The Lukanani‑1 well encountered 35 m of hydrocarbon‑bearing sandstone reservoirs of which approximately 23 m is high‑quality oil‑ bearing. The well was drilled in water depth of 1240 m and is in the southeastern part of the block, approximately 3 km west of the Pluma discovery. The Patwa‑1 well encountered 33 m of hydrocarbon‑bearing sandstone reservoirs. The well was drilled in 1925 m of water and is located approximately 5 km northwest of the Cataback‑1 discovery. “These new discoveries further demonstrate the extraordinary resource density of the Stabroek Block and will underpin our queue of future development opportunities,” said John Hess, chief executive of Hess and a partner in Stabroek. The co‑venturers have sanctioned four developments to date on Stabroek with both Liza and Liza Phase 2 on stream. The third planned development at Payara is ahead of schedule and is now expected to come on line in late 2023; it will utilize the Prosperity FPSO with a production capacity of 220,000 BOPD. The fourth development, Yellowtail, is expected to come on line in 2025, utilizing the ONE GUYANA FPSO with a production capacity of 250,000 BOPD of oil. At least six FPSOs with a production capacity of more than 1 million gross BOPD are expected to be on line on the Stabroek Block in 2027, with the potential for up to ten FPSOs to develop gross discovered recoverable resources. The Stabroek Block is 6.6 million acres. ExxonMobil affiliate Esso Exploration and Production Guyana Limited is operator and holds 45% interest; Hess Guyana Exploration holds 30% interest; and CNOOC Petroleum Guyana Limited holds 25%. ConocoPhillips Gets Ekofisk License Extension Norway’s Ministry of Petroleum and Energy (MPE) has extended production licenses in the Greater Ekofisk Area from 2028 to 2048 with ConocoPhillips as operator. The company said the license extension provides long‑term operations and resource management aligned with the company’s long‑term perspective on the Norwegian continental shelf. Fields on the shelf are required to operate with a valid production license where the operator and licensees enter into an agreement with the authorities, including relevant field activities. The authorities may require commitments, leading to increased oil recovery. The existing production licenses 018, 018 B, and 275 in the Greater Ekofisk Area were set to expire on 31 December 2028; however, the MPE approved an extension through 2048. The new terms provide a potential for extending Ekofisk’s lifetime to nearly 80 years. The license partners are ConocoPhillips (operator, 35.11%), TotalEnergies EP Norge (39.896%), Vår Energi (12.388%), Equinor (7.604%), and Petoro (5%). BHP’s Wasabi Disappoints in US GOM Australian operator BHP encountered noncommercial hydrocarbons with its Wasabi‑2 well in the US Gulf of Mexico. BHP said the well in Green Canyon Block 124 was plugged and abandoned following the disappointing results. “This completes the Wasabi exploration program, with results under evaluation to determine next steps,” the company said. The well was targeting oil in an early Miocene reservoir. Transocean drillship Deepwater Invictus spudded the well in 764 m of water in November 2021. The previous Wasabi‑1 well had a mechanical problem and was plugged and abandoned 4 days earlier, prior to reaching its prospective targets. BHP operates Wasabi with a 75% interest. Lukoil Says Titonskaya Holds 150 Million BOE Russia’s Lukoil believes it has discovered around 150 million BOE following analysis of the two wells it drilled at the Titonskaya structure on the Caspian Sea shelf. Work is now underway to refine the seismic models of productive deposits and study deep samples of formation fluids. The results of the assessment will be submitted to the State Reserves Commission of the Russian Federation. The structure is in the central part of the Caspian Sea, not far from the Khazri field. Lukoil drilled the first well at the Titonskaya structure in 2020 and announced the new discovery in April 2021. According to that assessment, the probable geological resources of the Titonskaya are 130.4 million tons. In 2021, drilling of the second prospecting and appraisal well began to identify oil and gas deposits in the terrigenous‑carbonate deposits of the Jurassic‑ Cretaceous age. The well was drilled using the Neptune jackup drilling rig. The new find at Titonskaya will likely be tied into Khazri infrastructure. Petrobras’ Roncador IOR Project Comes On Line Petrobras has successfully started production from the first two wells of the improved oil recovery (IOR) project at the Roncador field in the Campos Basin offshore Brazil. The two wells are the first of a series of IOR wells to reach production. Startup is almost 5 months ahead of schedule and at half of the planned cost, according to partner Equinor. The wells will add a combined 20,000 BOED to Roncador, bringing daily production to around 150,000 bbl and reducing the carbon intensity (emissions per barrel produced) of the field. Through this first IOR project, the partnership will drill 18 wells that are expected to provide additional recoverable resources of 160 million bbl. Improvements in well design and the partners’ combined technological experience are the main drivers behind the 50% cost reduction across the first six wells, including the two in production. Roncador is Brazil’s fifth‑largest producing asset and has been in production since 1999. Petrobras operates the field and holds a 75% stake. In 2018, Equinor entered the project as a strategic partner with the remaining 25% interest. In addition to the planned 18 IOR wells, the partnership believes it can further improve recovery and aims to increase recoverable resources by a total of 1 billion BOE. The field has more than 10 billion BOE in place under a license lasting until 2052. The strategic alliance agreement also includes an energy‑efficiency and CO2‑emissions‑reduction program for Roncador. Gazania-1 To Spud Off South Africa Africa Energy will move ahead with its planned Gazania‑1 wildcat well offshore South Africa after securing partner Eco Atlantic’s $20 million in capital requirements for its portion of the probe. The well will be drilled in Block 2B. Island Drilling semisubmersible Island Innovator has been contracted for the work and is expected to mobilize from its current location in the North Sea for the 45‑day trip to South Africa. The Block 2B joint venture plans to spud the well by October with drilling expected to last 30 days, including a full set of logs if the well is successful. The block has significant contingent and prospective resources in relatively shallow water and contains the A‑J1 discovery that flowed light sweet crude oil to surface. Gazania‑1 will target two large prospects 7 km updip from A‑J1 in the same region as the recent Venus and Graff discoveries. Block 2B is located offshore South Africa in the Orange Basin where both TotalEnergies and Shell recently announced significant oil and gas discoveries offshore Namibia. The block covers 3062 km2 approximately 25 km off the west coast of South Africa near the border with Namibia in water depths ranging from 50 m to 200 m. The Southern Oil Exploration Corp. (Soekor) discovered and tested oil on Block 2B in 1988 with the A‑J1 borehole, which intersected thick reservoir sandstones between 2985 m and 3350 m. The well flowed 191 B/D of 36 °API oil from a 10‑m sandstone interval at around 3250 m. Africa Energy has a 27.5% interest in Block 2B offshore South Africa. The block is operated by a subsidiary of Eco Atlantic which holds a 50% interest. A subsidiary of Panoro Energy holds a 12.5% stake, and Crown Energy AB indirectly holds the remaining 10%. Brazil Grants New Exploration Blocks Brazil’s National Agency of Petroleum, Natural Gas, and Biofuels (ANP) has granted 59 exploratory blocks of oil and natural gas to 13 companies, including Shell, TotalEnergies, and 3R Petroleum. The awards were part of a permanent bid offer round held in Rio de Janiero in April. The auction totaled 422.4 million reais in signature bonuses with leases granted in six Brazilian states: Rio Grande do Norte, Alagoas, Bahia, Espírito Santo, Santa Catarina, and Paraná. The awards will result in investments of 406.3 million reais in the exploratory phase of the contracts. Shell Brazil (70%) was granted six blocks in the Santos Basin in a consortium with the Colombian Ecopetrol (30%). The blocks leases were SM‑1599, SM‑1601, SM‑1713, SM‑1817, SM‑1908, and SM‑1910. TotalEnergies won two areas in the same basin while Brazilian company 3R Petroleum received six areas in the Potiguar Basin. Petro‑Victory was also awarded 19 new blocks in Potiguar, increasing its holdings in Brazil to 38 blocks (37 in Potiguar). The new blocks are nearby Petro‑Victory infrastructure at the Andorinha, Alto Alegre, and Trapia oil fields. Eni Finds More Oil in Egypt’s Western Desert Eni struck new oil and gas reserves with a trio of discoveries in the Meleiha concessions of Egypt’s Western Desert. The finds have already been tied into existing infrastructure in the region and have added around 8,500 BOED to overall production from the area. The operator drilled the Nada E Deep 1X well, which encountered 60 m of net hydrocarbon pay in the Cretaceous‑Jurassic Alam El Bueib and Khatatba formations Meleiha SE Deep 1X well, which found 30 m of net hydrocarbon pay in the Cretaceous‑Jurassic sands of the Matruh Khatatba formations, and the Emry Deep 21 well, which encountered 35 m of net hydrocarbon pay in the massive cretaceous sandstones of Alam El Bueib. The results, added to the discoveries of 2021 for a total of eight exploration wells, give Eni a 75% success rate in the region. The company added that additional exploration activities in the concession are ongoing with “promising indications.” With these discoveries, Eni, through AGIBA, a joint venture between Eni and EGPC, continues to pursue its near‑field strategy in the mature basin of the Western Desert, aimed at maximizing production by containing development costs and minimizing time to market. Eni is planning a new high‑resolution 3D seismic survey in the Meleiha concession this year to investigate the gas potential of the area. Eni is currently the leading producer in Egypt with an equity production of around 360,000 BOED.

The International Seabed Authority (ISA) is developing regulations to control the future exploitation of deep-sea mineral resources including sulphide deposits near hydrothermal vents, polymetallic nodules on the abyssal seafloor, and cobalt crusts on seamounts. Under the UN Convention on the Law of the Sea the ISA is required to adopt are taking measures to ensure the effective protection of the marine environment from harmful effects arising from mining-related activities. Contractors are required to generate environmental baselines and assess the potential environmental consequences of deep seafloor mining. Understandably, nearly all environmental research has focused on the seafloor where the most direct mining effects will occur. However, sediment plumes and other impacts (e.g., noise) from seafloor mining are likely to be extensive in the water column. Sediment plumes created on the seafloor will affect the benthic boundary layer which extends 10s to 100s of meters above the seafloor. Separation or dewatering of ore from sediment and seawater aboard ships will require discharge of a dewatering plume at some depth in the water column. It is important to consider the potential impacts of mining on the ocean’s midwaters (depths from ~200 m to the seafloor) because they provide vital ecosystem services and harbor substantial biodiversity. The better known epipelagic or sunlit surface ocean provisions the rest of the water column through primary production and export flux (This was not the focus at this workshop as the subject was considered too large and surface discharges are unlikely). It is also home to a diverse community of organisms including commercially important fishes such as tunas, billfish, and cephalopods that contribute to the economies of many countries. The mesopelagic or twilight zone (200-1000 m) is dimly lit and home to very diverse and abundant communities of organisms. Mesopelagic plankton and small nekton form the forage base for many deep-diving marine mammals and commercially harvested epipelagic species. Furthermore, detritus from the epipelagic zone falls through the mesopelagic where it is either recycled, providing the vital process of nutrient regeneration, or sinks to greater depths sequestering carbon from short-term atmospheric cycles. The waters below the mesopelagic down to the seafloor (both the bathypelagic and abyssopelagic) are very poorly characterized but are likely large reservoirs of novel biodiversity and link the surface and benthic ecosystems. Great strides have been made in understanding the biodiversity and ecosystem function of the ocean’s midwaters, but large regions, including those containing many exploration license areas and the greater depths where mining plumes will occur, remain very poorly studied. It is clear that pelagic communities are distinct from those on the seafloor and in the benthic boundary layer. They are often sampled with different instrumentation. The fauna have relatively large biogeographic ranges and they are more apt to mix freely across stakeholder boundaries, reference areas and other spatial management zones. Pelagic organisms live in a three-dimensional habitat and their food webs and populations are vertically connected by daily or lifetime migrations and the sinking flux of detritus from the epipelagic. The fauna do not normally encounter hard surfaces, making them fragile, and difficult to capture and maintain for sensitivity or toxicity studies. Despite some existing general knowledge, ecological baselines for midwater communities and ecosystems that likely will be impacted by mining have not been documented. There is an urgent need to conduct more research and evaluate the midwater biota (microbes to fishes) in regions where mining is likely to occur. Deep-sea mining activities may affect midwater organisms in a number of ways, but it is still unclear at what scale perturbations may occur. The sediment plumes both from collectors on the seafloor and from midwater discharge will have a host of negative consequences. They may cause respiratory distress from clogged gills or respiratory surfaces. Suspension feeders, such as copepods, polychaetes, salps, and appendicularians, that filter small particles from the water and form an important basal group of the food web, may suffer from dilution of their food by inorganic sediments and/or clogging of their fragile mucous filter nets. Small particles may settle on gelatinous plankton causing buoyancy issues. Metals, including toxic elements that will enter the food web, will be released from pore waters and crushed ore materials. Sediment plumes will also absorb light and change backscatter properties, reducing visual communication and bioluminescent signaling that are very important for prey capture and reproduction in midwater animals. Noise from mining activities may alter the behaviors of marine mammals and other animals. Small particles have high surface area to volume ratios, high pelagic persistence and dispersal and as a result greater potential to result in pelagic impacts. All of these potential effects will result in mortality, migration (both horizontal and vertical), decreased fitness, and shifts in community composition. Depending on the scale and duration of these effects, there could be reduction in provisioning to commercial fish species, delivery of toxic metals to pelagic food webs and hence human seafood supply, and alterations to carbon transport and nutrient regeneration services. After four days of presentations and discussions, the workshop participants came to several conclusions and synthesized recommendations. 1. Assuming no discharge in the epipelagic zone, it is essential to minimize mining effects in the mesopelagic zone because of links to our human seafood supply as well as other ecosystem services provided by the mesopelagic fauna. This minimization could be accomplished by delivering dewatering discharge well below the mesopelagic/bathypelagic transition (below ~1000 m depth). 2. Research should be promoted by the ISA and other bodies to study the bathypelagic and abyssopelagic zones (from ~1000 m depths to just above the seafloor). It is likely that both collector plumes and dewatering plumes will be created in the bathypelagic, yet this zone is extremely understudied and contains major unknowns for evaluating mining impacts. 3. Management objectives, regulations and management actions need to prevent the creation of a persistent regional scale “haze” (enhanced suspended particle concentrations) in pelagic midwaters. Such a haze would very likely cause chronic harm to deep midwater ecosystem biodiversity, structure and function. 4. Effort is needed to craft suitable standards, thresholds, and indicators of harmful environmental effects that are appropriate to pelagic ecosystems. In particular, suspension feeders are very important ecologically and are likely to be very sensitive to sediment plumes. They are a high priority for study. 5. Particularly noisy mining activities such as ore grinding at seamounts and hydrothermal vents is of concern to deep diving marine mammals and other species. One way to minimize sound impacts would be to minimize activities in the sound-fixing-and-ranging (SOFAR) channel (typically at depths of ~1000 m) which transmits sounds over very long distances. 6. A Lagrangian (drifting) perspective is needed in monitoring and management because the pelagic ecosystem is not a fixed habitat and mining effects are likely to cross spatial management boundaries. For example, potential broad-scale impacts to pelagic ecosystems should be considered in the deliberations over preservation reference zones, the choice of stations for environmental baseline and monitoring studies and other area-based management and conservation measures. 7. Much more modeling and empirical study of realistic mining sediment plumes is needed. Plume models will help evaluate the spatial and temporal extent of pelagic (as well as benthic) ecosystem effects and help to assess risks from different technologies and mining scenarios. Plume modeling should include realistic mining scenarios (including duration) and assess the spatial-temporal scales over which particle concentrations exceed baseline levels and interfere with light transmission to elucidate potential stresses on communities and ecosystem services. Models should include both near and far field-phases, incorporating realistic near field parameters of plume generation, flocculation, particle sinking, and other processes. It is important to note that some inputs to these models such as physical oceanographic parameters are lacking and should be acquired in the near-term. Plume models need to be complemented by studies to understand effects on biological components by certain particle sizes and concentrations.

augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dictionary 107) Almost everything associated with Robert Johnson has been subject to some form of augmentation. His talent as a musician and songwriter has been embroidered by myth-making. Johnson’s few remaining artefacts—his photographic images, his grave site, other physical records of his existence—have attained the status of reliquary. Even the integrity of his forty-two surviving recordings is now challenged by audiophiles who posit they were musically and sonically augmented by speeding up—increasing the tempo and pitch. This article documents the promulgation of myth in the life and music of Robert Johnson. His disputed photographic images are cited as archetypal contested artefacts, augmented both by false claims and genuine new discoveries—some of which suggest Johnson’s cultural magnetism is so compelling that even items only tenuously connected to his work draw significant attention. Current challenges to the musical integrity of Johnson’s original recordings, that they were “augmented” in order to raise the tempo, are presented as exemplars of our on-going fascination with his life and work. Part literature review, part investigative history, it uses the phenomenon of augmentation as a prism to shed new light on this enigmatic figure. Johnson’s obscurity during his lifetime, and for twenty-three years after his demise in 1938, offered little indication of his future status as a musical legend: “As far as the evolution of black music goes, Robert Johnson was an extremely minor figure, and very little that happened in the decades following his death would have been affected if he had never played a note” (Wald, Escaping xv). Such anonymity allowed those who first wrote about his music to embrace and propagate the myths that grew around this troubled character and his apparently “supernatural” genius. Johnson’s first press notice, from a pseudonymous John Hammond writing in The New Masses in 1937, spoke of a mysterious character from “deepest Mississippi” who “makes Leadbelly sound like an accomplished poseur” (Prial 111). The following year Hammond eulogised the singer in profoundly romantic terms: “It still knocks me over when I think of how lucky it is that a talent like his ever found its way to phonograph records […] Johnson died last week at precisely the moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall” (19). The visceral awe experienced by subsequent generations of Johnson aficionados seems inspired by the remarkable capacity of his recordings to transcend space and time, reaching far beyond their immediate intended audience. “Johnson’s music changed the way the world looked to me,” wrote Greil Marcus, “I could listen to nothing else for months.” The music’s impact originates, at least in part, from the ambiguity of its origins: “I have the feeling, at times, that the reason Johnson has remained so elusive is that no one has been willing to take him at his word” (27-8). Three decades later Bob Dylan expressed similar sentiments over seven detailed pages of Chronicles: From the first note the vibrations from the loudspeaker made my hair stand up … it felt like a ghost had come into the room, a fearsome apparition …When he sings about icicles hanging on a tree it gives me the chills, or about milk turning blue … it made me nauseous and I wondered how he did that … It’s hard to imagine sharecroppers or plantation field hands at hop joints, relating to songs like these. You have to wonder if Johnson was playing for an audience that only he could see, one off in the future. (282-4) Such ready invocation of the supernatural bears witness to the profundity and resilience of the “lost bluesman” as a romantic trope. Barry Lee Pearson and Bill McCulloch have produced a painstaking genealogy of such a-historical misrepresentation. Early contributors include Rudi Blesch, Samuel B Charters, Frank Driggs’ liner notes for Johnson’s King of the Delta Blues Singers collection, and critic Pete Welding’s prolific 1960s output. Even comparatively recent researchers who ostensibly sought to demystify the legend couldn’t help but embellish the narrative. “It is undeniable that Johnson was fascinated with and probably obsessed by supernatural imagery,” asserted Robert Palmer (127). For Peter Guralnick his best songs articulate “the debt that must be paid for art and the Faustian bargain that Johnson sees at its core” (43). Contemporary scholarship from Pearson and McCulloch, James Banninghof, Charles Ford, and Elijah Wald has scrutinised Johnson’s life and work on a more evidential basis. This process has been likened to assembling a complicated jigsaw where half the pieces are missing: The Mississippi Delta has been practically turned upside down in the search for records of Robert Johnson. So far only marriage application signatures, two photos, a death certificate, a disputed death note, a few scattered school documents and conflicting oral histories of the man exist. Nothing more. (Graves 47) Such material is scrappy and unreliable. Johnson’s marriage licenses and his school records suggest contradictory dates of birth (Freeland 49). His death certificate mistakes his age—we now know that Johnson inadvertently founded another rock myth, the “27 Club” which includes fellow guitarists Brian Jones, Jimi Hendrix and Kurt Cobain (Wolkewitz et al., Segalstad and Hunter)—and incorrectly states he was single when he was twice widowed. A second contemporary research strand focuses on the mythmaking process itself. For Eric Rothenbuhler the appeal of Johnson’s recordings lies in his unique “for-the-record” aesthetic, that foreshadowed playing and song writing standards not widely realised until the 1960s. For Patricia Schroeder Johnson’s legend reveals far more about the story-tellers than it does the source—which over time has become “an empty center around which multiple interpretations, assorted viewpoints, and a variety of discourses swirl” (3). Some accounts of Johnson’s life seem entirely coloured by their authors’ cultural preconceptions. The most enduring myth, Johnson’s “crossroads” encounter with the Devil, is commonly redrawn according to the predilections of those telling the tale. That this story really belongs to bluesman Tommy Johnson has been known for over four decades (Evans 22), yet it was mistakenly attributed to Robert as recently as 1999 in French blues magazine Soul Bag (Pearson and McCulloch 92-3). Such errors are, thankfully, becoming less common. While the movie Crossroads (1986) brazenly appropriated Tommy’s story, the young walking bluesman in Oh, Brother, Where Art Thou? (2000) faithfully proclaims his authentic identity: “Thanks for the lift, sir. My name's Tommy. Tommy Johnson […] I had to be at that crossroads last midnight. Sell my soul to the devil.” Nevertheless the “supernatural” constituent of Johnson’s legend remains an irresistible framing device. It inspired evocative footage in Peter Meyer’s Can’t You Hear the Wind Howl? The Life and Music of Robert Johnson (1998). Even the liner notes to the definitive Sony Music Robert Johnson: The Centennial Edition celebrate and reclaim his myth: nothing about this musician is more famous than the word-of-mouth accounts of him selling his soul to the devil at a midnight crossroads in exchange for his singular mastery of blues guitar. It has become fashionable to downplay or dismiss this account nowadays, but the most likely source of the tale is Johnson himself, and the best efforts of scholars to present this artist in ordinary, human terms have done little to cut through the mystique and mystery that surround him. Repackaged versions of Johnson’s recordings became available via Amazon.co.uk and Spotify when they fell out of copyright in the United Kingdom. Predictable titles such as Contracted to the Devil, Hellbound, Me and the Devil Blues, and Up Jumped the Devil along with their distinctive “crossroads” artwork continue to demonstrate the durability of this myth [1]. Ironically, Johnson’s recordings were made during an era when one-off exhibited artworks (such as his individual performances of music) first became reproducible products. Walter Benjamin famously described the impact of this development: that which withers in the age of mechanical reproduction is the aura of the work of art […] the technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence. (7) Marybeth Hamilton drew on Benjamin in her exploration of white folklorists’ efforts to document authentic pre-modern blues culture. Such individuals sought to preserve the intensity of the uncorrupted and untutored black voice before its authenticity and uniqueness could be tarnished by widespread mechanical reproduction. Two artefacts central to Johnson’s myth, his photographs and his recorded output, will now be considered in that context. In 1973 researcher Stephen LaVere located two pictures in the possession of his half–sister Carrie Thompson. The first, a cheap “dime store” self portrait taken in the equivalent of a modern photo booth, shows Johnson around a year into his life as a walking bluesman. The second, taken in the Hooks Bros. studio in Beale Street, Memphis, portrays a dapper and smiling musician on the eve of his short career as a Vocalion recording artist [2]. Neither was published for over a decade after their “discovery” due to fears of litigation from a competing researcher. A third photograph remains unpublished, still owned by Johnson’s family: The man has short nappy hair; he is slight, one foot is raised, and he is up on his toes as though stretching for height. There is a sharp crease in his pants, and a handkerchief protrudes from his breast pocket […] His eyes are deep-set, reserved, and his expression forms a half-smile, there seems to be a gentleness about him, his fingers are extraordinarily long and delicate, his head is tilted to one side. (Guralnick 67) Recently a fourth portrait appeared, seemingly out of nowhere, in Vanity Fair. Vintage guitar seller Steven Schein discovered a sepia photograph labelled “Old Snapshot Blues Guitar B. B. King???” [sic] while browsing Ebay and purchased it for $2,200. Johnson’s son positively identified the image, and a Houston Police Department forensic artist employed face recognition technology to confirm that “all the features are consistent if not identical” (DiGiacomo 2008). The provenance of this photograph remains disputed, however. Johnson’s guitar appears overly distressed for what would at the time be a new model, while his clothes reflect an inappropriate style for the period (Graves). Another contested “Johnson” image found on four seconds of silent film showed a walking bluesman playing outside a small town cinema in Ruleville, Mississippi. It inspired Bob Dylan to wax lyrical in Chronicles: “You can see that really is Robert Johnson, has to be – couldn’t be anyone else. He’s playing with huge, spiderlike hands and they magically move over the strings of his guitar” (287). However it had already been proved that this figure couldn’t be Johnson, because the background movie poster shows a film released three years after the musician’s death. The temptation to wish such items genuine is clearly a difficult one to overcome: “even things that might have been Robert Johnson now leave an afterglow” (Schroeder 154, my italics). Johnson’s recordings, so carefully preserved by Hammond and other researchers, might offer tangible and inviolate primary source material. Yet these also now face a serious challenge: they run too rapidly by a factor of up to 15 per cent (Gibbens; Wilde). Speeding up music allowed early producers to increase a song’s vibrancy and fit longer takes on to their restricted media. By slowing the recording tempo, master discs provided a “mother” print that would cause all subsequent pressings to play unnaturally quickly when reproduced. Robert Johnson worked for half a decade as a walking blues musician without restrictions on the length of his songs before recording with producer Don Law and engineer Vincent Liebler in San Antonio (1936) and Dallas (1937). Longer compositions were reworked for these sessions, re-arranging and edited out verses (Wald, Escaping). It is also conceivable that they were purposefully, or even accidentally, sped up. (The tempo consistency of machines used in early field recordings across the South has often been questioned, as many played too fast or slow (Morris).) Slowed-down versions of Johnson’s songs from contributors such as Angus Blackthorne and Ron Talley now proliferate on YouTube. The debate has fuelled detailed discussion in online blogs, where some contributors to specialist audio technology forums have attempted to decode a faintly detectable background hum using spectrum analysers. If the frequency of the alternating current that powered Law and Liebler’s machine could be established at 50 or 60 Hz it might provide evidence of possible tempo variation. A peak at 51.4 Hz, one contributor argues, suggests “the recordings are 2.8 per cent fast, about half a semitone” (Blischke). Such “augmentation” has yet to be fully explored in academic literature. Graves describes the discussion as “compelling and intriguing” in his endnotes, concluding “there are many pros and cons to the argument and, indeed, many recordings over the years have been speeded up to make them seem livelier” (124). Wald ("Robert Johnson") provides a compelling and detailed counter-thesis on his website, although he does acknowledge inconsistencies in pitch among alternate master takes of some recordings. No-one who actually saw Robert Johnson perform ever called attention to potential discrepancies between the pitch of his natural and recorded voice. David “Honeyboy” Edwards, Robert Lockwood Jr. and Johnny Shines were all interviewed repeatedly by documentarians and researchers, but none ever raised the issue. Conversely Johnson’s former girlfriend Willie Mae Powell was visibly affected by the familiarity in his voice on hearing his recording of the tune Johnson wrote for her, “Love in Vain”, in Chris Hunt’s The Search for Robert Johnson (1991). Clues might also lie in the natural tonality of Johnson’s instrument. Delta bluesmen who shared Johnson’s repertoire and played slide guitar in his style commonly used a tuning of open G (D-G-D-G-B-G). Colloquially known as “Spanish” (Gordon 2002, 38-42) it offers a natural home key of G major for slide guitar. We might therefore expect Johnson’s recordings to revolve around the tonic (G) or its dominant (D) -however almost all of his songs are a full tone higher, in the key of A or its dominant E. (The only exceptions are “They’re Red Hot” and “From Four Till Late” in C, and “Love in Vain” in G.) A pitch increase such as this might be consistent with an increase in the speed of these recordings. Although an alternative explanation might be that Johnson tuned his strings particularly tightly, which would benefit his slide playing but also make fingering notes and chords less comfortable. Yet another is that he used a capo to raise the key of his instrument and was capable of performing difficult lead parts in relatively high fret positions on the neck of an acoustic guitar. This is accepted by Scott Ainslie and Dave Whitehill in their authoritative volume of transcriptions At the Crossroads (11). The photo booth self portrait of Johnson also clearly shows a capo at the second fret—which would indeed raise open G to open A (in concert pitch). The most persuasive reasoning against speed tampering runs parallel to the argument laid out earlier in this piece, previous iterations of the Johnson myth have superimposed their own circumstances and ignored the context and reality of the protagonist’s lived experience. As Wald argues, our assumptions of what we think Johnson ought to sound like have little bearing on what he actually sounded like. It is a compelling point. When Son House, Skip James, Bukka White, and other surviving bluesmen were “rediscovered” during the 1960s urban folk revival of North America and Europe they were old men with deep and resonant voices. Johnson’s falsetto vocalisations do not, therefore, accord with the commonly accepted sound of an authentic blues artist. Yet Johnson was in his mid-twenties in 1936 and 1937; a young man heavily influenced by the success of other high pitched male blues singers of his era. people argue that what is better about the sound is that the slower, lower Johnson sounds more like Son House. Now, House was a major influence on Johnson, but by the time Johnson recorded he was not trying to sound like House—an older player who had been unsuccessful on records—but rather like Leroy Carr, Casey Bill Weldon, Kokomo Arnold, Lonnie Johnson, and Peetie Wheatstraw, who were the big blues recording stars in the mid–1930s, and whose vocal styles he imitated on most of his records. (For example, the ooh-well-well falsetto yodel he often used was imitated from Wheatstraw and Weldon.) These singers tended to have higher, smoother voices than House—exactly the sound that Johnson seems to have been going for, and that the House fans dislike. So their whole argument is based on the fact that they prefer the older Delta sound to the mainstream popular blues sound of the 1930s—or, to put it differently, that their tastes are different from Johnson’s own tastes at the moment he was recording. (Wald, "Robert Johnson") Few media can capture an audible moment entirely accurately, and the idea of engineering a faithful reproduction of an original performance is also only one element of the rationale for any recording. Commercial engineers often aim to represent the emotion of a musical moment, rather than its totality. John and Alan Lomax may have worked as documentarians, preserving sound as faithfully as possible for the benefit of future generations on behalf of the Library of Congress. Law and Liebler, however, were producing exciting and profitable commercial products for a financial gain. Paradoxically, then, whatever the “real” Robert Johnson sounded like (deeper voice, no mesmeric falsetto, not such an extraordinarily adept guitar player, never met the Devil … and so on) the mythical figure who “sold his soul at the crossroads” and shipped millions of albums after his death may, on that basis, be equally as authentic as the original. Schroeder draws on Mikhail Bakhtin to comment on such vacant yet hotly contested spaces around the Johnson myth. For Bakhtin, literary texts are ascribed new meanings by consecutive generations as they absorb and respond to them. Every age re–accentuates in its own way the works of its most immediate past. The historical life of classic works is in fact the uninterrupted process of their social and ideological re–accentuation [of] ever newer aspects of meaning; their semantic content literally continues to grow, to further create out of itself. (421) In this respect Johnson’s legend is a “classic work”, entirely removed from its historical life, a free floating form re-contextualised and reinterpreted by successive generations in order to make sense of their own cultural predilections (Schroeder 57). As Graves observes, “since Robert Johnson’s death there has seemed to be a mathematical equation of sorts at play: the less truth we have, the more myth we get” (113). The threads connecting his real and mythical identity seem so comprehensively intertwined that only the most assiduous scholars are capable of disentanglement. Johnson’s life and work seem destined to remain augmented and contested for as long as people want to play guitar, and others want to listen to them. Notes[1] Actually the dominant theme of Johnson’s songs is not “the supernatural” it is his inveterate womanising. Almost all Johnson’s lyrics employ creative metaphors to depict troubled relationships. Some even include vivid images of domestic abuse. In “Stop Breakin’ Down Blues” a woman threatens him with a gun. In “32–20 Blues” he discusses the most effective calibre of weapon to shoot his partner and “cut her half in two.” In “Me and the Devil Blues” Johnson promises “to beat my woman until I get satisfied”. However in The Lady and Mrs Johnson five-time W. C. Handy award winner Rory Block re-wrote these words to befit her own cultural agenda, inverting the original sentiment as: “I got to love my baby ‘til I get satisfied”.[2] The Gibson L-1 guitar featured in Johnson’s Hooks Bros. portrait briefly became another contested artefact when it appeared in the catalogue of a New York State memorabilia dealership in 2006 with an asking price of $6,000,000. The Australian owner had apparently purchased the instrument forty years earlier under the impression it was bona fide, although photographic comparison technology showed that it couldn’t be genuine and the item was withdrawn. “Had it been real, I would have been able to sell it several times over,” Gary Zimet from MIT Memorabilia told me in an interview for Guitarist Magazine at the time, “a unique item like that will only ever increase in value” (Stewart 2010). References Ainslie, Scott, and Dave Whitehall. Robert Johnson: At the Crossroads – The Authoritative Guitar Transcriptions. Milwaukee: Hal Leonard Publishing, 1992. Bakhtin, Mikhail M. The Dialogic Imagination. Austin: University of Texas Press, 1982. Banks, Russell. “The Devil and Robert Johnson – Robert Johnson: The Complete Recordings.” The New Republic 204.17 (1991): 27-30. Banninghof, James. “Some Ramblings on Robert Johnson’s Mind: Critical Analysis and Aesthetic in Delta Blues.” American Music 15/2 (1997): 137-158. Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Blackthorne, Angus. “Robert Johnson Slowed Down.” YouTube.com 2011. 1 Aug. 2013 ‹http://www.youtube.com/user/ANGUSBLACKTHORN?feature=watch›. Blesh, Rudi. Shining Trumpets: A History of Jazz. New York: Knopf, 1946. Blischke, Michael. “Slowing Down Robert Johnson.” The Straight Dope 2008. 1 Aug. 2013 ‹http://boards.straightdope.com/sdmb/showthread.php?t=461601›. Block, Rory. The Lady and Mrs Johnson. Rykodisc 10872, 2006. Charters, Samuel. The Country Blues. New York: De Capo Press, 1959. Collins UK. Collins English Dictionary. Glasgow: Harper Collins Publishers, 2010. DiGiacomo, Frank. “A Disputed Robert Johnson Photo Gets the C.S.I. Treatment.” Vanity Fair 2008. 1 Aug. 2013 ‹http://www.vanityfair.com/online/daily/2008/10/a-disputed-robert-johnson-photo-gets-the-csi-treatment›. DiGiacomo, Frank. “Portrait of a Phantom: Searching for Robert Johnson.” Vanity Fair 2008. 1 Aug. 2013 ‹http://www.vanityfair.com/culture/features/2008/11/johnson200811›. Dylan, Bob. Chronicles Vol 1. London: Simon & Schuster, 2005. Evans, David. Tommy Johnson. London: November Books, 1971. Ford, Charles. “Robert Johnson’s Rhythms.” Popular Music 17.1 (1998): 71-93. Freeland, Tom. “Robert Johnson: Some Witnesses to a Short Life.” Living Blues 150 (2000): 43-49. Gibbens, John. “Steady Rollin’ Man: A Revolutionary Critique of Robert Johnson.” Touched 2004. 1 Aug. 2013 ‹http://www.touched.co.uk/press/rjnote.html›. Gioia, Ted. Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionised American Music. London: W. W. Norton & Co, 2008. Gioia, Ted. "Robert Johnson: A Century, and Beyond." Robert Johnson: The Centennial Collection. Sony Music 88697859072, 2011. Gordon, Robert. Can’t Be Satisfied: The Life and Times of Muddy Waters. London: Pimlico Books, 2002. Graves, Tom. Crossroads: The Life and Afterlife of Blues Legend Robert Johnson. Spokane: Demers Books, 2008. Guralnick, Peter. Searching for Robert Johnson: The Life and Legend of the "King of the Delta Blues Singers". London: Plume, 1998. Hamilton, Marybeth. In Search of the Blues: Black Voices, White Visions. London: Jonathan Cape, 2007. Hammond, John. From Spirituals to Swing (Dedicated to Bessie Smith). New York: The New Masses, 1938. Johnson, Robert. “Hellbound.” Amazon.co.uk 2011. 1 Aug. 2013 ‹http://www.amazon.co.uk/Hellbound/dp/B0063S8Y4C/ref=sr_1_cc_2?s=aps&ie=UTF8&qid=1376605065&sr=1-2-catcorr&keywords=robert+johnson+hellbound›. ———. “Contracted to the Devil.” Amazon.co.uk 2002. 1 Aug. 2013. ‹http://www.amazon.co.uk/Contracted-The-Devil-Robert-Johnson/dp/B00006F1L4/ref=sr_1_cc_1?s=aps&ie=UTF8&qid=1376830351&sr=1-1-catcorr&keywords=Contracted+to+The+Devil›. ———. King of the Delta Blues Singers. Columbia Records CL1654, 1961. ———. “Me and the Devil Blues.” Amazon.co.uk 2003. 1 Aug. 2013 ‹http://www.amazon.co.uk/Me-Devil-Blues-Robert-Johnson/dp/B00008SH7O/ref=sr_1_16?s=music&ie=UTF8&qid=1376604807&sr=1-16&keywords=robert+johnson›. ———. “The High Price of Soul.” Amazon.co.uk 2007. 1 Aug. 2013 ‹http://www.amazon.co.uk/High-Price-Soul-Robert-Johnson/dp/B000LC582C/ref=sr_1_39?s=music&ie=UTF8&qid=1376604863&sr=1-39&keywords=robert+johnson›. ———. “Up Jumped the Devil.” Amazon.co.uk 2005. 1 Aug. 2013 ‹http://www.amazon.co.uk/Up-Jumped-Devil-Robert-Johnson/dp/B000B57SL8/ref=sr_1_2?s=music&ie=UTF8&qid=1376829917&sr=1-2&keywords=Up+Jumped+The+Devil›. Marcus, Greil. Mystery Train: Images of America in Rock ‘n’ Roll Music. London: Plume, 1997. Morris, Christopher. “Phonograph Blues: Robert Johnson Mastered at Wrong Speed?” Variety 2010. 1 Aug. 2013 ‹http://www.varietysoundcheck.com/2010/05/phonograph-blues-robert-johnson-mastered-at-wrong-speed.html›. Oh, Brother, Where Art Thou? DVD. Universal Pictures, 2000. Palmer, Robert. Deep Blues: A Musical and Cultural History from the Mississippi Delta to Chicago’s South Side to the World. London: Penguin Books, 1981. Pearson, Barry Lee, and Bill McCulloch. Robert Johnson: Lost and Found. Chicago: University of Illinois Press, 2003. Prial, Dunstan. The Producer: John Hammond and the Soul of American Music. New York: Farrar, Straus and Giroux, 2006. Rothenbuhler, Eric W. “For–the–Record Aesthetics and Robert Johnson’s Blues Style as a Product of Recorded Culture.” Popular Music 26.1 (2007): 65-81. Rothenbuhler, Eric W. “Myth and Collective Memory in the Case of Robert Johnson.” Critical Studies in Media Communication 24.3 (2007): 189-205. Schroeder, Patricia. Robert Johnson, Mythmaking and Contemporary American Culture (Music in American Life). Chicago: University of Illinois Press, 2004. Segalstad, Eric, and Josh Hunter. The 27s: The Greatest Myth of Rock and Roll. Berkeley: North Atlantic Books, 2009. Stewart, Jon. “Rock Climbing: Jon Stewart Concludes His Investigation of the Myths behind Robert Johnson.” Guitarist Magazine 327 (2010): 34. The Search for Robert Johnson. DVD. Sony Pictures, 1991. Talley, Ron. “Robert Johnson, 'Sweet Home Chicago', as It REALLY Sounded...” YouTube.com 2012. 1 Aug. 2013. ‹http://www.youtube.com/watch?v=LCHod3_yEWQ›. Wald, Elijah. Escaping the Delta: Robert Johnson and the Invention of the Blues. London: HarperCollins, 2005. ———. The Robert Johnson Speed Recording Controversy. Elijah Wald — Writer, Musician 2012. 1 Aug. 2013. ‹http://www.elijahwald.com/johnsonspeed.html›. Wilde, John . “Robert Johnson Revelation Tells Us to Put the Brakes on the Blues: We've Been Listening to the Immortal 'King of the Delta Blues' at the Wrong Speed, But Now We Can Hear Him as He Intended.” The Guardian 2010. 1 Aug. 2013 ‹http://www.theguardian.com/music/musicblog/2010/may/27/robert-johnson-blues›. Wolkewitz, M., A. Allignol, N. Graves, and A.G. Barnett. “Is 27 Really a Dangerous Age for Famous Musicians? Retrospective Cohort Study.” British Medical Journal 343 (2011): d7799. 1 Aug. 2013 ‹http://www.bmj.com/content/343/bmj.d7799›.

February 15, 1999 THE DIGITAL EXAM digital was such a sanitary hi-tech word until my urologist snuck up from behind and gave me the bird shocked and taken back I try to ignore the painful experience by pondering the conundrum of homosexuality there had to be more to it than that "You can get dressed now" was the good doctor’s way of saying "Pull up your pants, Dude, and I’ll see you back in my office." but his casual demeanor seemed to exude foreboding "There is a stiffness in the gland demanding further examination. I’d like to schedule a blood test, ultrasound and biopsy." the doctor’s lips kept moving but I couldn’t hear him through the sheet of white fear that guillotined between us CANCER! The big C! Me? I spent the rest of that day up to my genitals in the grave I was digging. Hamlet gazing full into the face of the skull "Alas poor Yorick, I knew him well, Horatio. Before scalpel took gland. Back when he sang in a bass baritone." desperate for encouragement I turn to the illustrated brochure the informative flyer detailing the upcoming procedure where in the ultrasound and biopsy probe resembled the head of a black water moccasin baring its fang "Dang!" says I jumping back relief came 36 hours later something about the PSA blood test the prostate specific-antigen results leading the doctor to now suspect infection prescribing an antibiotic of course five weeks from now the FOLLOW-UP APPOINTMENT! and as the date approaches tension will build like in those Mel Gibson Lethal Weapon films when you know there’s a snake in the grass and Danny Glover isn’t there to cover your ass *** April 2, 1999 As it turns out, at the follow-up appointment, things had worsened so the biopsy and bone scan were re-scheduled and it was discovered that I do have incurable metastatic advanced prostate cancer. Of course the doctor is most optimistic about all the new and miraculous treatments available. But before I go into that, I want you to know that I find myself experiencing a strange and wonderful kind of peace. Hell, I’ve lived 70 years already — done exactly what I wanted to do with my life. All worthwhile dreams have come true. Made my living since 1968 as a "Performance Poet" — Billie Barbara and I have been together for 47 years — growing closer with each passing day. We have four great kids, five neat and nifty grandchildren. All things considered, I’ve been truly blessed and whether my departure date is next year or 15 years from now I’m determined not to wreck my life by doing a lousy job with my death. LIKE HAROLD / LIKE HOWARD like Harold I don’t want to blow my death I don’t want to see a lifetime of pluck and courage rubbed out by five weeks of whiny fractious behavior granted Harold’s was a scary way to go from diagnosis to last breath the cancer moving fast but five weeks of bitching and moaning was more than enough to erase every trace of a man I have wanted to emulate his wife sending word that even she can’t remember what he was like before his undignified departure no — I don’t want to go like Harold like Howard let me come swimming up out of the deepening coma face serene as if seen through undisturbed water breaking the surface to eagerly take the hand of bedside well wishers unexpected behavior I must admit as Howard has always been a world class hypochondriac second only to me the two of us able to sit for hours discussing the subtle shade of a mole turning each other on with long drawn out organ recitals in the end one would have thought such a legendary self centered soul would cower and fold up completely like Harold but no — when my time comes let me go sweetly like Howard *** April 7, 1999 The treatment was decided upon. Next Monday, the good Doctor is going to pit my apricots. From here on the Sultan can rest easy when Masten hangs with his harem. Prognosis good. No more testosterone - no more growth. Now, don’t get me wrong, I’m not looking forward to giving up the family jewels. I must say that over the years they’ve done me proud and to be totally honest I don’t think Billie Barbara will be all that disappointed either. I’m told that Viagra will help in this area., However, I’m also told that the drug is very expensive. Something like twelve bucks a pop. But hell, Billie Barbara and I can afford twenty four dollars a year.. Some thoughts the morning of— Yesterday I did a program for the Unitarian Society of Livermore. About 60 people. I had a bet with the fellow who introduced me, that at least 7 out of the 60 would come up after the reading (which would include my recent prostate musings) and share a personal war story about prostate cancer. I was right. Exactly 7 approached with an encouraging tale about themselves, a husband, a brother, a son. I was told to prepare myself for hot flashes and water retention. To which Billie Barbara said "Join the club!" I ended the presentation with one of those inspirational poetic moments. A hot flash, if you will. "It just occurred to me," I said, " I’m going to get rich selling a bumper sticker I just thought of — REAL MEN DON’T NEED BALLS A couple of days after the event The Community Hospital of the Monterey Peninsula is referred to as CHOMP, and the afternoon of April 12th I must say this august institution certainly lived up to it’s name. The waiting room in the Out Patient Wing is an event unto itself. Patients huddled together with friends and family, everyone speaking in hushed voices. The doomed keeping a wary eye on the ominous swinging doors, where a big tough looking nurse appeared from time to time shouting: NEXT! Actually the woman was quite sweet and mild mannered, enunciating each patient’s name in a calm friendly manner. But waiting to have done to me what was going to be done to me - the chilling word "NEXT!" is what I heard and "Out Patient Wing" certainly seemed a misnomer to me. Wasn’t the "Out-Patient Wing" where you went to have splinters removed? Of course I knew better, because in the pre-op interview the young interviewer, upon reading "Bilateral Orchiectomy" winced visibly, exclaiming under her breath "Bummer!" I recently came across this haiku — bilateral orchiectomy the sound a patient makes when he learns what it is Our daughter April lives in New York and couldn’t join the Waiting Room rooting section so as her stand in she sent her best friend Molly Williams. Now, Molly works as a veterinarian in a local animal shelter and a when I told her my operation was supposed to take no more than half an hour, she laughed: "Heck Ric, I’ll do it in five minutes and not even use gloves." NEXT! My turn to be led through those swinging doors, pitifully looking back over my shoulder. Wife, family and friends, bravely giving me the thumbs up. Things blur and run together after that. I do remember telling the nurse who was prepping me that I was afraid of being put to sleep. "Not to worry" she said, I’d have a chance to express these fears to the anesthetist before the operation would begin. And as promised the man did drop by to assure me that I would get a little something to ease my anxiety before he put me under. When the moment finally arrived, he said that I might feel a slight prick as he gave me the relaxant. Of course, that is the last thing I remember - the prick! Obviously, I‘d been suckered in by the mask man’s modus operandi. On the other side of this I surface to begin the waiting. WAITING for the catheter to be removed — for the incision to heal — WAITING to see if the pain subsides and I can loose the cane — WAITING to learn if my PSA will respond to treatment. Waiting—waiting—waiting—and I’ve never been a cheerful waiter. *** May 7, 1999 The doctor tells me I must keep taking Casodex— one a day at eleven dollars a cap - for the rest of my life. And no more doctor freebees. No wonder the listed side effect of this pricey medication is depression. But the recent funk I’ve fallen into is much deeper than dollars and cents. In the past I’ve had my share of operations and illnesses and always during the recuperation I could look forward to being my old self again. But not this time .... Not this time. Funny bumper stickers can only hold reality at bay for a short while. And anyway Billie had me remove the homemade REAL MEN DON’T NEED BALLS bumper sticker from the back of our car — She didn’t like the dirty looks she got while driving around town alone. *** Eight months later BILATERAL ORCHECTOMY never could look up words in the dictionary in a high school assignment writing an autobiography I described my self as a unique person scribbled in the margin the teachers correction fairly chortled "unique" not "eunuch" how could he have known that one day I would actually become a misspelling backed against the wall by advanced prostate cancer I chose the operation over the enormous ongoing expense of chemical castration "No big deal." I thought at the time what’s the difference they both add up to the same thing but in the movies these days during the hot gratuitous sex scene I yawn…bored... wishing they’d quit dicking around and get on with the plot and on TV the buxom cuties that titillate around the products certainly arn’t selling me anything I realize now that although it would probably kill them the guys who went chemical still have an option I don’t philosophically I’m the same person but biologically I ‘m like the picture puzzle our family traditionally puts together over the holidays the French impressionist rendition of a flower shop interior in all it’s bright colorful confusion this season I didn’t work the puzzle quite as enthusiastically... and for good reason this year I know pieces are missing where the orchids used to be "So?" says I to myself "You’re still here to smell the roses." *** January 13, 2000 Real bad news! At the third routine follow-up appointment. My urologist informs me that my PSA has started rising again. The orchectomy and Casodex are no longer keeping the cancer in remission. In the vernacular, I have become "hormone refractory" and there was nothing more he, as a urologist could do for me. An appointment with a local oncologist was arranged and another bone scan scheduled. The "T" word having finally been said the ostrich pulled his head from the sand and began looking around. Knowing what I know now, I’m still annoyed at my urologist for not telling me when I was first diagnosed to either join a support group and radically change my diet or find another urologist. I immediately did both - becoming vegan and finding help on-line as well as at the local Prostate Cancer Support Group. This during the endless eighteen day wait before the oncologist could fit me in. *** IRON SOCKS time now for a bit of reverse prejudice I once purchased some stockings called "Iron Socks" guaranteed to last for five years they lasted ten! but when I went back for another pair the clerk had never heard of them as a cancer survivor… so far in an over populated world I consider the multi-billion dollar medical and pharmaceutical industries realizing that there is absolutely no incentive to come up with a permanent cure *** From here on, I’ll let the poems document the part of the journey that brings us up to the present. A place where I can say — spiritually speaking, that the best thing that ever happened to me is metastatic hormone refractory advanced prostate cancer. *** SUPPORT GROUPS included in this close fraternity... in this room full of brotherly love I wonder where I’ve been for the last 11 months no — that’s not quite right… I know where I’ve been I’ve been in denial after the shock of diagnosis the rude indignity of castration the quick fix of a Casodex why would I want to hang out with a bunch of old duffers dying of prostate cancer? ignoring the fact that everybody dies we all know it but few of us believe it those who do, however rack up more precious moments than the entire citizenry of the fools paradise not to mention studies showing that those who do choose to join a support group on average live years longer than the stiff upper lip recluse and while I’m on the subject I wonder where I’d be without the internet and the dear supportive spirits met there in cyber-space a place where aid care and concern are not determined by age, gender, race, physical appearance, economic situation or geological location and this from a die-hard like me who not ten years ago held the computer in great disdain convinced that poetry should be composed on the back of envelopes with a blunt pencil while riding on trains thank god I’m past these hang-ups because without a support system I doubt if this recent malignant flare-up could have been withstood how terrifying… the thought of being at my writing desk alone… disconnected typing out memos to myself on my dead father’s ancient Underwood *** PC SPES in the sea that is me the hormone blockade fails my urologist handing me over to a young oncologist who recently began practicing locally having retired from the stainless steel and white enamel of the high tech Stanford medical machine in the examination room numbly thumbing through a magazine I wait expecting to be treated like a link of sausage another appointment ground out in a fifteen minute interval what I got was an 18th century throw back a hands-on horse and buggy physician with seemingly all the time in the world it was decided that for the next three weeks (between blood tests) all treatment would cease to determine how my PSA was behaving this done, at the next appointment the next step would be decided upon and after more than an hour of genial give and take with every question answered all options covered it was I who stood up first to go for me a most unique experience in the annals of the modern medicine show however condemned to three weeks in limbo knowing the cancer was growing had me going online reaching out into cyberspace to see what I could find and what I found was PC SPES a botanical herbal alternative medicine well documented and researched but not approved by the FDA aware that the treatment was not one my doctor had mentioned (I have since learned that to do so would make him legally vulnerable) I decided to give it a try on my own sending off for a ten day supply taking the first dose as close after the second blood test as I could two days later back in the doctors office I confess expecting a slap on the wrist instead I receive a bouquet for holding off until after the second PSA then taking the PC SPES container from my hand and like a Native American medicine man he holds it high over his head shaking it "Okay then, this approach gets the first ride!" at the receptionist desk scheduling my next appointment I thought about how difficult it must be out here on the frontier practicing medicine with your hands tied *** PREJUDICE "It's a jungle out there!" Dr. J. George Taylor was fond of saying "And all chiropractors are quacks! Manipulating pocket pickers!" the old physician exposing his daughter to a prejudice so infectious I suspect it became part of her DNA and she a wannabe doctor herself infects me her son with the notion that if it wasn’t performed or prescribed by a licensed M.D. it had to be Medicine Show hoopla or snake oil elixir certainly today’s countless array of practitioners and patent remedies has both of them spinning in their grave but Ma you and Grandpa never heard the words hormone-refractory even the great white hunters of our prestigious cancer clinics don't know how to stop the tiger that is stalking me and so with a PSA rising again to 11.9 I get my oncologist to let me try PC SPES a Chinese herbal formula yes, the desperate do become gullible me, reading and re-reading the promotional material dutifully dosing myself between blood tests and this against the smirk of disapproval mother and grandfather wagging their heads in unison: "It won’t work." "It won’t work." having condemned myself beforehand the moment of truth finally arrives I pace the floor nervously the doctor appears at the door "How does it feel to be a man with a PSA falling to 4.8?" it seems that for the time being at least the tiger is content to play a waiting game which is simply great! Mother tell Grandpa I just may escape our families bigotry before it’s too late *** HELPLINE HARRY "Hi, how are you?" these days I'm never sure how to field routine grounders like this am I simply being greeted? or does the greeter actually want a list of grisly medical details my wife says it's easy she just waits to see if the "How is he?" is followed by a hushed "I mean… really?" for the former a simple "Fine, and how are you?" will do for the latter the news isn't great indications are that the miracle herbal treatment is beginning to fail my oncologist offering up a confusing array of clinical trials and treatments that flirt seductively but speak in a foreign language I don't fully understand so Harry, once again I call on you a savvy old tanker who has maneuvered his battle scared machine through years of malignant mine fields and metastatic mortar attacks true five star Generals know much about winning wars and such but the Command Post is usually so far removed from the front lines I suspect they haven't a clue as to what the dog-faces are going through down here in the trenches it's the seasoned campaigners who have my ear the tough tenacious lovable old survivors like you *** "POOR DEVIL!" in my early twenties I went along with Dylan Thomas boasting that I wanted to go out not gently but raging shaking my fist staring death down however this daring statement was somewhat revised when in my forties I realized that death does the staring I do the down so I began hoping it would happen to me like it happened to the sentry in all those John Wayne Fort Apache movies found dead in the morning face down — an arrow in the back "Poor devil." the Sergeant always said "Never knew what hit him." at the time I liked that... the end taking me completely by surprise the bravado left in the hands of a hard drinking Welshman still wet behind the ears older and wiser now over seventy and with a terminal disease the only thing right about what the Sergeant said was the "Poor devil" part "Poor devil" never used an opening to tell loved ones he loved them never seized the opportunity to give praise for the sun rise or drink in a sunset moment after moment passing him by while he marched through life staring straight ahead believing in tomorrow "Poor devil!" how much fuller richer and pleasing life becomes when you are lucky enough to see the arrow coming *** END LINE (Dedicated to Jim Fulks.) I’ve always been a yin / yang - life / death - up / down clear / blur - front / back kind of guy my own peculiar duality being philosopher slash hypochondriac win win characteristics when you’ve been diagnosed with advanced prostate cancer finally the hypochondriac has something more than windmills to tilt with the philosopher arming himself with exactly the proper petard an anonymous statement found in an e-mail message beneath the signature of a cancer survivor’s name a perfect end line wily and wise quote: I ask God: "How much time do I have before I die?" "Enough to make a difference." God replies *** STRUM lived experience taught them most of what they know so MD's treating men diagnosed with androgen-independent advanced prostate cancer tend to put us on death row and taking the past into account this negativity is understandable… these good hearted doctors watching us come and go honestly doing what they can like kindly prison guards attempting to make the life we have left as pleasant as possible to be otherwise a physician would have to be a bit delusional evangelical even… to work so diligently for and believe so completely in the last minute reprieve for those of us confined on cell block PC doing time with an executioner stalking it is exhilarating to find an oncologist willing to fly in the face of history refusing to call the likes of me "Dead man walking." *** BAG OF WOE there are always moments when I can almost hear the reader asking: "How can you use that as grist for your poetry mill? How can you dwell on such private property, at least without masking the details?" well... for the feedback of course the war stories that my stories prompt you to tell but perhaps the question can best be answered by the ‘bag of woe’ parable the "Once Upon a Time" tale about the troubled village of Contrary its harried citizens and the magical mystical miracle worker who showed up one dreary day saying: I am aware of your torment and woe and I am here to lighten your load! he then instructed the beleaguered citizens to go home and rummage through their harried lives bag up your troubles he said both large and small stuff them all in a sack and drag them down to the town square and stack them around on the wall and when everyone was back and every bag was there the magical mystical miracle worker said: "It’s true, just as I promised. You won’t have to take your sack of troubles home leave it behind when you go however, you will have to take along somebody’s bag of woe so the citizens of Contrary all went to find their own bag and shouldering the load discovered that it was magically and mystically much easier to carry --- End ---