Man of war

Man of war may refer to:

See also

Man-of-war

The man-of-war (pl. men-of-war; also man of war, man-o'-war, man o' war, or simply man) was a British Royal Navy expression for a powerful warship or frigate from the 16th to the 19th century. The term often refers to a ship armed with cannon and propelled primarily by sails, as opposed to a galley which is propelled primarily by oars. The man-of-war was developed in England in the early 16th century from earlier roundships with the addition of a second mast to form the carrack. The 16th century saw the carrack evolve into the galleon and then the ship of the line. The evolution of the term has been given thus:

Description

The man-of-war design developed by Sir John Hawkins, had three masts, each with three to four sails. The ship could be up to 60 metres long and could have up to 124 guns: four at the bow, eight at the stern, and 56 in each broadside. All these cannons required three gun decks to hold them, one more than any earlier ship. It had a maximum sailing speed of eight or nine knots.

Side-by-side

The term side-by-side may refer to

Side-by-side (graphic)

Side-by-side is a split-screen television presentation format originally introduced by sports network ESPN which allows the broadcast to show commercials and live sports simultaneously. It is primarily associated with ABC's telecasts of the IndyCar Series and ESPN's coverage of NASCAR. When used for NASCAR, it goes by the name of NASCAR Nonstop.

While primarily associated with sports telecasts, the format has been used on other forms of broadcasting. CNN has also used a similar arrangement for commercial breaks during live news events.

Background

The technology was adopted due to certain televised sports (such as auto racing and soccer) not having natural breaks in action to fit in commercial breaks. Sports such as football and baseball have timeouts and scheduled breaks, which allow for commercial time without viewers missing any actual game play. Auto racing had long suffered from commercial breaks interrupting live action, as races are never purposely halted outside of emergency situations. The only time during races which commercials could be shown without missing much action was during caution periods, but they are random and could not be counted on for regular intervals. In addition, the racing action technically does not stop during caution periods either, as competitive pit stops (an important aspect of the race) occur during yellow flag periods. However with most networks such as FOX or ESPN, during side by side coverage it is seen that the screen with the commercials is 4 times bigger than the live sports screen. Fans complain that it should be equal size screen for both commercial and sports.

Side by Side (1927 song)

"Side by Side" is a popular song with lyrics by Gus Kahn and music by Harry M. Woods written in 1927, now considered a standard.

It has been recorded by many artists, but is probably best known in a 1953 recording by Kay Starr. Harry Woods, who practised songwriting only as a sideline, wrote numerous 1920s standards, including "When the Red, Red Robin Comes Bob-Bob-Bobbing Along", "I'm Looking Over a Four-Leaf Clover", and "Try a Little Tenderness". He composed his songs on piano, despite the fact that he was born without fingers on his left hand.

Recorded versions

A-side and B-side

The terms A-side and B-side refer to the two sides of 78 and 45 rpm phonograph records, whether singles or extended plays (EPs). The A-side usually featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and then receive radio airplay, hopefully, to become a "hit" record. The B-side (or "flip-side") is a secondary recording that has a history of its own: some artists, notably Elvis Presley, Little Richard, the Beatles, Chuck Berry, and Oasis, released B-sides that were considered as strong as the A-side and became hits in their own right. Creedence Clearwater Revival had hits, usually unintentionally, with both the B-sides of their A-side releases. Others took the opposite track: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side.

Side 3

Side 3 may refer to: