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If you would like to share Sundays, The lyrics with other users of this site, please see the bottom of this page on how to submit Sundays, The lyrics.
Members are Paul Brindley (born November 6, 1963, in Bristol, England), bass; David (Richard) Gavurin (born April 4, 1963, in Wembley, England), guitar; Patrick Hannan (born March 4, 1966, in Bristol, England), drums; and Harriet (Ella) Wheeler (born June 26, 1963, in Reading, England; daughter of an architect and a teacher), vocals. Addresses: Record company--Geffen Records, 9130 Sunset Blvd., Los Angeles, CA 90069.
The Sundays, a British pop group that has successfully "crossed over" to the American alternative market, emerged out of the music scene in London in the late 1980s. Fronted by the distinctive vocals of Harriet Wheeler, the quartet has clinched trans-Atlantic success with just three releases over a period of several years and a sound sometimes likened to a hybrid between the Cocteau Twins and the Smiths. The Sundays are guided creatively by Wheeler and her partner David Gavurin; as guitarist and co-songwriter, it is his distinct lo-fi style, combined with co-songwriter Wheeler's vocals- -a voice "unfurling like a silken ribbon and ringing like brass," declared one review in Time--that have earned the band accolades and impressive record sales. They emit, wrote Billboard's Karen Schlossberg "a kind of postpunk new age mellowness."
The Sundays's origins stretch back to the romance between Gavurin and Wheeler that occurred while both were students at Bristol University in the 1980s. Wheeler came from a town near Reading, England, the daughter of an architect and a teacher. She was a student of English literature at the time. Gavurin had grown up in Wembley and once described himself as "a failed punk"; he was working on a degree in Romance languages. After graduation, the co- habitating pair collected unemployment and wrote songs in their vast spare time. They had absolutely no musical background. "But by the end of the year we were thinking, `Hang on a minute, some of this is good!'" Gavurin told Rolling Stone writer Jeff Giles. Galvanized by a small spark of ambition, the pair sent demo tapes to several London clubs--but then decided to avoid the inevitable rejection by going on vacation.
Yet when they returned home, their phone was ringing, and someone from the Vertigo Club in London offered them an opening slot. By this time, the pair had recruited equally low-key pals Paul Brindley and Patrick Hannan to fill the bass and drum slots. "Brindley and Hannan were guys who could be trusted to flee the limelight with the band in case any sort of horrible success did crop up," reported Details writer Caren Myers in an interview with the band. They had also decided upon a name, by default: "The Sundays" was the only one everyone could agree upon. That first show was in August of 1988, and the journalists who showed up to interview the headlining band ended up writing about The Sundays instead. Over the next few months, the newcomers were the subject of glowing articles in the British music press and quickly tagged as the next big thing. A bidding war ensued between labels, and Sundays signed with Rough Trade Records, the Smiths' home.
Their debut album, Reading, Writing and Arithmetic, was released to great fanfare in 1989. Rolling Stone reviewer Ira Robbins called it "an alluring slice of lighter-than-air guitar pop, a collection of uncommonly good songs graced by Harriet Wheeler's wondrous singing." Each of its singles--"Here's Where the Story Ends," "Can't Be Sure," and "I Kicked a Boy"--charted in the U.K. and helped turn them into low-key, inadvertent pop stars there. Released the same year in the United States on Geffen, Reading, Writing and Arithmetic would sell over a half a million copies around the globe--and the band toured in support of it for nearly a year, an exhausting undertaking.
Yet it would be nearly three years before The Sundays released a follow-up. Both Gavurin and Wheeler, the principal songwriters, confess to being chained by pokiness and perfectionism when it comes to writing and recording music. The hiatus was also lengthened by business problems: Rough Trade came into severe financial difficulty, and the band finally decided to re-sign with Parlophone for their U.K. releases; Geffen remained their American home. Their second album, Blind, appeared in 1992, led by the single "Goodbye." Again, the record sold nearly half a million copies, giving Wheeler and Gavurin another gold record to hang on the wall of their North London home. Melody Maker called it "a thing of great and laudable ... grace.... The gorgeously meandering tunes and words on `Blind' have this way of complementing each other almost subliminally, like ballroom dancers in blindfolds." Again, Wheeler's vocals won the lion's share of praise in reviews. "Her singing is fluttery, mischievous, and full of unexpected, perverse flashes of tenderness," wrote Details' Myers.
After releasing a cover of the Rolling Stones' "Wild Horses"--which did well in the U.S. but took some heat in England--The Sundays embarked upon another American tour but canceled dates near the end when exhaustion and homesickness threatened the quality of their performances. After a band vacation in Thailand, they returned to England and put their music career on the back burner for a time. Wheeler and Gavurin built a recording studio at their home, which would give them a much greater freedom in making music--not being tied to hourly studio rates, they were now able to work as slowly as they pleased. "We've never particularly enjoyed performing in a studio," Wheeler said in Geffen Records publicity material. "Live gigs are one thing ... But 11:00 in the morning in front of a row of faces in the control room is another thing altogether."
Gavurin and Wheeler also welcomed another addition to their home--a daughter, Billie, born in February of 1995. Both recording studio and new parenthood conspired to lengthen the process of recording a third album even further, and a full five years passed between Blind and Static and Silence, released in September of 1997. Its title, Gavurin disclosed in the promotional materials accompanying the release, derives from his recollections of watching lunar landings on television as a child--"how those moments of nothingness--when the screen went fuzzy and the sound died--seemed only to heighten the excitement and sense of anticipation," he explained.
Static and Silence's first single, "Summertime," entered the British charts at #15, and charted on the American modern-rock charts as well. Like the other tracks, "Summertime" sounded like a typically Sundays-esque tune, and the band was accused of avoiding any musical growth. "They remain exactly the same in every way: the sound of Young England in 1985," wrote Jimmy Blackburn in Vox. Wheeler and Gavurin did confess that they had settled down a bit with age and were no longer the naive, shoe-gazing university grads of their youth. Their own musical tastes had changed as well: they now favored Van Morrison, Frank Sinatra, and French film music from the 1960s, and admitted to drawing heavily upon the mood in Joni Mitchell's 1976 album Hegira. Yet another reviewer, Raygun's Kevin Raub, critiqued Static and Silence and called their first two albums "inherently boring." He praised the refreshed, reinvigorated sound. "While the band's musical colophon remains ethereal lullabies drifting alongside jangly guitars and youthful melodies...the result is the band's most solid effort to date," Raub opined.
Touring for Static and Silence threatened to present problems, with a two-year-old in tow, but Gavurin and Wheeler planned to bring along hired help. The demands of rock stardom did not seem to trouble the pair. "If my career disappeared overnight because we weren't on the rock `n' roll treadmill and we weren't quick enough to keep putting out our products, then too bad," Gavurin once told Boston Globe writer Jim Sullivan. "So be it. We're not prepared to sacrifice what's musically important to us just to keep a profile up. Were not prepared to rush and get involved in stupid situations just to keep a career going."
Band formed in London during the summer of 1988; first live show took place at London's Vertigo Club in the Camden Town neighborhood, August 20, 1988; signed to Rough Trade Records, c. 1988; released first single, "Can't Be Sure," in 1989; released first LP, Reading, Writing and Arithmetic, in 1989.
LPS; on DGC Reading, Writing and Arithmetic, 1989.
Singles; on DGC "Can't Be Sure," 1990.
"Here's Where the Story Ends," 1990.
The track "Don't Tell Your Mother," previously released as a b-side to the "Can't Be Sure" single, was included on the DGC Rarities Vol. 1, 1994.
Billboard, August 11, 1990, p. 32.
Boston Globe, February 26, 1993.
Melody Maker, October 24, 1992.
Rolling Stone, June 14, 1990, p. 140; June 28, 1990, p. 22; April 29, 1993, p. 25.
Time, January 11, 1993, p. 53.
Further information for this profile was obtained from Geffen Records publicity materials, 1997.
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It has the original prop! Very clean. There are a few minor scratches and the passenger glove box hinge needs to be repaired. Otherwise, it is all original. Per the seller, all of the instruments and gauges are in working condition as are the 2 fish finders and trolling motor.


TMZ reports that the NYPD could be gearing up to arrest Quavo in relation to a fight that took place at a Grammy after party at 1Oak night club in New York.
Eric The Jeweler (who has made pieces for French Montana, Snoop Dogg, 50 Cent, and more), claims he was in the club with Quavo early Monday morning after the Grammys, when around 4:30 a.m. talk over money Quavo allegedly owes Eric turned physical.
Eric says Quavo ended up jumping him with another man—not Migos members Takeoff or Offset— and at the end of the scuffle, he realized his $30,000 chain had vanished. Eric reported the incident to cops, and reportedly left the club with minor injuries to the face.
Now, TMZ reports that the NYPD has enough evidence to arrest the rapper. While there hasn't been an arrest warrant issued as of yet, it's only a matter of time.
Drew Findling, Quavo's attorney says the entire situation is unfair.
"This is yet another example of a young African-American hip hop star potentially being treated unfairly by the criminal justice system," Findling told TMZ.


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https://www.starsinsider.com/fashion/455256/how-accurate-are-the-costumes-on-netflixs-bridgerton
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1 / 30 Fotos
No repeats! -
As you may have noticed in 'Bridgerton,' wearing the same dress to more than one major event was a grave faux pas. This is a real custom suffered by the lords and ladies of the 19th century.
Napoleon Bonaparte -
This rule may have begun with Napoleon Bonaparte. When he became Emperor in 1804, he focused on reviving the French textile industry, ensuring that fine fabrics such as tulle and batiste were made in France.
Courtly rules and ulterior motives -
To ensure that French ladies purchased more materials, he decreed that no one was allowed to wear the same dress to court more than once. It's rumored that he also had the fireplaces blocked so they would wear more clothing!
Empress Josephine -
Bonaparte's wife, Empress Josephine, was an excellent model of Regency fashion. She was slim, pretty, and admired by all.
Inspired by the Ancient Greeks -
Towards the end of the 18th century, the fitted bodices and large skirts were being replaced with simpler sheer cotton or silk gowns, reminiscent of the robes worn in classical paintings.
This brought many changes for dressmakers to adapt to. There were new necklines, sleeves, skirts, fabrics, and undergarments required.
Key features: empire waist -
The most notable part of Regency style dresses is the high waistline. This 'empire line' brought the waist extremely high, right below the breast.
Key features: square neckline -
As the 19th century began, the neckline became lower and lower, and by the time 'Bridgerton' is set (1813) it was usually square as well.
Key features: capped sleeves -
Capped sleeves were another key element of Regency dresses. They could be small and subtle, as seen here on Gwyneth Paltrow in the 1996 film 'Emma.'
BrunoPress
10 / 30 Fotos
A more dramatic, puffed sleeve was also common, particularly to add some extra decoration to a ball gown. Sleeves became more ornate as the decade wore on, often encrusted in jewels and bows.
Fabrics -
The most common fabrics were made from light cotton, such as muslin or batiste. Silk was still worn too, but in lighter weaves that were more sheer.
Social commentators of the period were fond of poking fun at new ladies' fashions, and were quick to point out that this new light material was more flammable...
Hairstyles -
As the clothes became softer and more forgiving, so did the hairstyles. This caricature illustrates the pain and effort taken to style a lady's hair prior to this period!
The weight of the hair was often worn wrapped up at the back of the head, with small curls around the face for decoration. This is a style often worn by Daphne in 'Bridgerton.'
'Bridgerton' colors -
The most notable artistic liberty that 'Bridgerton' takes is the color palette of the clothing. The menswear is relatively sedate, although they do give it a subtle flare, but the women's costumes are vibrant and anything but subtle!
Costume designer Ellen Mirojnick confirmed that she used color as medium to express the varying personalities and social standings of the characters. The 'old-money' families like the Bridgertons wore soft pastels and whites, whereas the 'nouveau-riche' like the Featheringtons wore bright, bold colors to show off their wealth and draw attention.
The significance of white -
Although you may not have found such an extreme range of colors at a real high society London ball, there was a definite association between white dresses and wealth.
Naturally, white was the most difficult color to maintain and keep clean. It was a sign of class and wealth if you could afford to wear white frequently.
Because of this, white was seen as more appropriate for the evening and special occasions, while soft pastel colors like pale blue and pink were worn during the day. From this perspective, the costumes of the lead character Daphne are the most accurate.
Queen Charlotte -
The character of Queen Charlotte in 'Bridgerton' is interesting in that she wears the most incredible gowns but does not conform to the modern-day trends. She continues to wear the Georgian era gowns of the previous century, with large skirts and a V-shaped bodice.
This is an accurate depiction of the fashion choices of the real Queen Charlotte, who carried on wearing such gowns well after the light, Grecian empire-waist dresses became standard fair.
Regency undergarments -
When it comes to underwear, which we get to see on many occasions in 'Bridgerton,' the soft Grecian silhouettes of the period meant that women could leave horrifically tight corsets behind.
That is, unless it was felt that a woman's figure demanded a full corset. In one of the early scenes in 'Bridgerton,' we see Lady Featherington having the maid pull the strings of her daughter's corset tighter and tighter as she chastises her for the size of her waist!
Lady's pantaloons -
Light, semi-transparent materials were popular, so it was necessary to wear flesh-toned pantaloons! Pantaloons were already worn by men of the era, so they simply had to be adapted for women's needs.
A woman's pantaloon was made of a light stockinette material, similar to modern-day bandages. They either reached all the way to the ankles or stopped at the knee.
Not everyone approved... -
It's clear that the old-school thinkers did not necessarily approve of this new sheer, figure-hugging style. This is evident in this caricature from 1800 by the artist Isaak Cruikshank, entitled 'Parisian ladies in full winter dress.'
Menswear -
Finally, in comparing the male fashion of 'Bridgerton,' the costumes are much truer to history. The waistcoats, fitted britches, elaborate cravats, and tailcoats are pretty spot-on.
This Regency era outfit of a French courtier is a sight more outlandish than what we usually see in 'Bridgerton.' This may be due to the breakdown in communication between England and France during wartime from 1808 to 1814.
The new style -
When the British were reintroduced to French fashion trends after several years, they were shocked to see how it had evolved!
Sources: (Fashion Era) (Town & Country) (Indiewire) (The University of Vermont)
See also: Turn back time: the best British period dramas
The vibrant color palette is taking the Internet by storm
05/01/21 | StarsInsider
Netflix's latest smash hit 'Bridgerton' is fulfilling all of our period-drama dreams and giving them a modern twist. Even if you're not a fan of romance and match-making, the fashion will give you something to write home about.
The show follows several aristocratic families in Regency-era England as they look for suitable partners for their debutante daughters. Costume designer Ellen Mirojnick reportedly made 7,500 costume pieces for the series, so each character could have a new outfit for each event. They were certainly ambitious in making Bridgerton, but were they accurate? Let's compare with the real Regency-era fashion of the time. Click through this gallery to learn more.
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STIG NYGAARD, FLICKRA University of Pennsylvania-based team has documented when genes are expressed across 12 organs in mice throughout the day. The results were published today (October 27) in PNAS. Among other things, the researchers show that 43 percent of genes follow a daily schedule in at least one of the organs profiled, and that more than half of the 100 best-selling drugs in the U.S. target products of genes whose expression cycles.
"This is a much-needed paper in the field showing . . . that a large number of gene transcripts actually oscillate in at least one organ in mouse," said Satchin Panda, who studies circadian biology at the Salk Institute for Biological Studies in La Jolla, California, and was not involved in the study.
Previous studies have chronicled how the body's circadian clock influences gene expression in several organisms, but this latest study is the most comprehensive in mammals to date. The researchers regularly sampled tissue over two days from the liver, adrenal gland, kidney, aorta, brown fat, white fat, skeletal muscle, lung, heart, hypothalamus, cerebellum, and brainstem of mice housed in complete darkness. Using samples taken every two hours, the researchers probed messenger RNA (mRNA) using microarrays. They quantified expression of nearly 20,000 protein-coding genes. The researchers also used RNA-sequencing on organs sampled every six hours, which allowed them to profile the cycling of non-coding RNA.
The researchers found that the cycling of gene expression varied greatly by organ. Only 10 genes showed circadian oscillations in all 12 organs. Most of these genes were previously recognized clock genes—responsible for the keeping the body's internal daily rhythm. There also seemed to be gene-expression "rush hours," just before dawn and dusk. "The body needs a completely different set of genetic programs to do activity than it does to do sleep and restoration," explained Hogenesch.
The researchers also found a diverse set of cycling non-coding RNAs that may perform functions such as blocking translation of mRNAs. Many of the non-coding RNAs' functions remain unknown.
Using the dataset, the researchers analyzed the targets of 100 best-selling drugs in the U.S., finding that 56 had targets encoded by genes whose expression cycled in clinically relevant organs. Almost half of these—from the hypertension drug Diovan to the attention deficit hyperactivity disorder drug Ritalin—had half-lives of less than 6 hours, meaning that, if administered at the wrong time, they might break down before having a chance to fully engage with their targets. The researchers also found that 119 drugs on the World Health Organization list of essential medicines have targets encoded by genes that cycle each day.
Joseph Takahashi, who studies circadian rhythms at the University of Texas Southwestern Medical Center and was editor of the paper for PNAS, added that drugmakers could examine whether drug side effects have circadian rhythms and adjust administration times to potentially make harsh drugs more tolerable.
Panda noted that most studies on mice are performed during the day, when the animals should be asleep. Humans most often take drugs in the daytime, during their wake cycle, which could help explain why drug effects can fail to translate from mice to humans. Moreover, the timing of drug administration could help explain why some people in clinical trials seem to respond to medication while others do not.
Panda also suggested that scientists experimenting on mice in the lab should control for the time of day they perform their experiments. "It's likely many of these significant differences we see in literature might have a time contribution," he said.
Circadian timing of expression "will just become in the future one more important phenotype of a gene," predicted Takahashi.
The data are now available in the online database CircaDB, which has become a source for data from multiple studies on circadian gene expression in various organs. "The goal here is to try to make everyday biologists able to analyze this type of data," said Hogenesch.
Panda added that the cycling mRNA may not capture the full picture of circadian oscillation in tissues.
R. Zhang et al., "A circadian gene expression atlas in mammals: implications for biology and medicine," PNAS, doi:10.1073/pnas.1408886111, 2014.


The Office for Nuclear Regulation (ONR) undertakes all regulatory interaction with the Sellafield Site licensee (Sellafield Limited) (SL) against a strategy defined by the ONR Sellafield, Decommissioning, Fuel and Waste (SDFW) Division. In accordance with that strategy, two Licence Condition (LC) compliance inspections of the Special Nuclear Materials Operating Unit (SNM OU) was carried out, as planned in June 2018.
The purpose of these planned inspections was for ONR to determine the adequacy of implementation of the licensee's formal arrangements for compliance with LC27 (Safety mechanisms, devices and circuits (SMDCs)) and LC 28 (Examination, inspection, maintenance and testing (EIMT)). For the inspection, I focused on the evidence for compliance within Special Nuclear Material - South (SNM(S)) facility.
On 14 June 2018, I, the site inspector for the SNM OU, accompanied by the SCIE Delivery Lead carried out a one day planned LC27 and LC28 licence condition inspection within the SNM (S) facility, targeting Finishing Line 6 (FL6). The SNM OU SL Nuclear Independent Oversight (NIO) representative participated in the inspection also.
The inspection comprised discussions with SL personnel, and reviews of SL records, documents and processes, followed by a plant walk down.
In addition I also conducted follow up enquires into two recent events which occurred in SNM (N) reported under INF1s 2018/99 and 2018/326.
During my inspection, I sampled evidence associated with SNM (S) compliance with LC27 and LC28.
For LC 27, I sampled documents for safety mechanisms, devices and circuits (SMDC's) from the engineering schedule to gain evidence of implementation as required from the safety case. I reviewed the fault sequences for selected SMDC's and associated clearance certificates. During the plant walk down I examined the SMDC's in operation on plant and found for the operational ventilation system they were labelled and working correctly.
For LC 28, I sampled the maintenance requirements and completed maintenance records for the SMDC's I selected as part of my inspection. I reviewed the suitability of persons identified to carry out and supervise EIMT activities by sampling the training records of the persons who carried out work on the selected SMDC's.
After reviewing the evidence for LC27 and LC28 I identified no shortfalls, other than one observation in respect of LC27 and SL's completion of a related clearance certificate. This will be followed up by SL's NIO and I will follow up through routine engagement, as necessary. There were no significant findings identified during this inspection.
The purpose of the engagement was for SL to present their plan of how they will address the actions identify from ONR's follow up enquiries into this event. I am satisfied that SL is taking the appropriate steps to address those actions.
The purpose of the engagement was to establish further details of the event following initial notification to ONR, consider SL's response so far and judge whether further investigation is warranted. I have reviewed this event against the ONR investigation criteria described in ONR-ENF-GD-005 Revision 2, and I am satisfied that the event does not meet ONR's investigation criteria and do not consider that a formal investigation is required.
From the evidence gathered during this intervention, I consider that the licensee is compliant with its legal duties under LC27 and LC28 and therefore, it is my opinion that an inspection rating of Green (no formal action) is merited.
My findings were shared with and accepted by the licensee as part of normal inspection feedback.


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Less Surgery Shown to Preserve Better Long-Term Quality of Life in Patients With Early-Stage Breast Cancer
Colleen Moretti
Patients with early-stage breast cancer are advised to ask their provider what the least invasive treatment option is available to them that gives them both a great cure rate and a much better quality of life.
Mastectomy and breast reconstruction surgery were associated with significantly worse psychosocial and sexual well-being outcomes in women with early-stage breast cancer when compared with breast-conserving surgery, such as a lumpectomy, and radiation therapy, according to recent study results.
The findings, lead study author Dr. Benjamin D. Smith noted, highlight that less may be more when it comes to treating patients with early-stage breast cancer.
"There hasn't been a lot of really high-quality data, particularly from the general population and not just from centers of excellence, to help women understand what are some of the tradeoffs between their different options and how they'll fair in the long term with regard to how they feel and how they function," Smith, a professor of radiation oncology and health services research at The University of Texas MD Anderson Cancer Center in Houston, said in an interview with CURE®.
The different options, Smith highlighted, include a minimally invasive procedure such as a lumpectomy (a procedure to remove the cancer while preserving the appearance of the patient's breast) followed by radiation treatment or a mastectomy (the complete removal of the affected breast) and complete reconstruction of the breast. However, Smith explained, little is known about a patient's quality of life following either procedure.
Smith and colleagues obtained quality of life data in patients who underwent breast-conserving surgery combined with radiation therapy (551 patients) as well as those who underwent a mastectomy and reconstruction (236 patients) to determine if there were any major differences between the groups.
The results demonstrated that there were no significant differences in physical well-being between either patient group, which Smith described as "cosmetic satisfaction" — or, how a patient feels about how they look. Psychical functioning and decisional regret were also similar between the two groups.
However, psychosocial well-being (which Smith described as "how do you feel about yourself as a woman?") and sexual well-being outcomes were significantly worse in patients who had a mastectomy and breast reconstruction.
Smith explained that some patients may feel worse in a sexual and psychosocial well-being sense because after a mastectomy and reconstruction, they may not feel like themselves. And although those who underwent breast-conserving surgery combined with radiation therapy might have an altered breast because of the treatment, the breast is still their own and not a foreign body such as an implant.
"If you have a mastectomy and a breast reconstruction, when you look in the mirror it may look pretty good, but it may not really feel like you," Smith explained. "That reconstructed breast is numb, it doesn't have sensation. In many cases, there's an implant reconstruction so you have a foreign body in your body to reconstruct that breast. And so that just may not feel natural and it may not feel like it's a part of you.
"In contrast, if you have a lumpectomy and radiation, you keep your breasts, you keep the skin overlying your breast, (and) in almost all cases you keep your sensation," he continued "And the breast, even if it may be altered a bit by the surgery or the radiation, still kind of feels like a normal part of your body. I think those fundamental differences are what explain some of these differences in outcome measures that we were able to report in our paper."
He said that these data highlight that a patient with early-stage breast cancer should consult their providers to identify the least amount of surgery or treatment possible that has the best cure rate but also preserves their long-term quality of life. In this instance, radiation therapy preceded by a minimally invasive surgery that preserved the breast resulted in a better long-term quality of life, compared with a mastectomy and breast reconstruction.
"I think the overall message from our paper — and more broadly from the last few decades of research in early breast cancer — is that the less we do to patients, the better their long-term quality of life will be provided that we do enough to still give them a high chance of cure," Smith concluded.
Breast CancerSurvivorship
Acknowledging Cancer-Related Cognitive Impairment May Be Best Treatment for Breast Cancer Survivors Versus Physical, Mindfulness Exercises


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Tethya uljinensis är en svampdjursart som beskrevs av Phyau Soon Shim och Thomas Robertson Sim 2008. Tethya uljinensis ingår i släktet Tethya och familjen Tethyidae. Inga underarter finns listade i Catalogue of Life.

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uljinensis

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text:
Abstracting
Journal of Stomatology, Oral and Maxillofacial Surgery
Author information pack
• Types of article
• Contact details for submission
• Submission checklist
• Ethics in publishing
• Studies in humans and animals
• Declaration of interest
• Submission declaration and verification
• Use of inclusive language
• Authorship
• Changes to authorship
• Clinical trial results
• Copyright
• Role of the funding source
• Open access
• Informed consent and patient details
• Submission
• Peer review
• Manuscript types and word count
• Article structure
• Essential title page information
• Structured abstract
• Keywords
• Artwork
• References
• Supplementary material
• Research data
• Online proof correction
• Offprints
The Journal of Stomatology Oral and Maxillofacial Surgery (6 issues per year) is the official publication of the Société Française de Stomatologie Chirurgie Maxillo-faciale et de Chirurgie Orale (SFSCMFCO), in association with five scientific societies, in Switzerland (Société Suisse de Chirurgie Maxillo-faciale), Belgium (Société Royale Belge de Stomatologie et Chirurgie Maxillo-faciale), Morocco (Collège National Marocain de Chirurgie Maxillo-faciale), Tunisia (Société Tunisienne de Chirurgie Maxillo-faciale), and Romania (Société Roumaine de Stomatologie et Chirurgie Maxillo-faciale). Research papers, technical and clinical articles are published in English (occasionnaly in French) - with referencing components in English - in all fields relevant to oral and maxillofacial surgery: plastic and reconstructive surgery of the face, oral surgery, odontology, dentofacial and maxillofacial Orthopedics.
All submitted manuscripts to the journal are subjected to peer review by international experts, whose identity is not disclosed to the authors.The articles must:
• Be written in excellent English, clear and easy to understand, precise and concise;
• Bring new, interesting, valid information - and improve clinical care or guide future research;
• Be solely the work of the author(s) stated;
• not have been previously published elsewhere and not be under consideration by another journal;
• Be in accordance with these Guide for Authors' instructions : manuscripts that fail to comply with these rules may be returned to the authors without being reviewed.
Under no circumstances does the journal guarantee publication before the editorial board makes its final decision.
Types of article
J Stomatol Oral Maxillofac Surg publishes (guest) editorials, original articles, reviews, technical notes, case reports, images, letters to the editor, guidelines.
Contact details for submission
For pre-submission inquiries, questions or concerns regarding the submission and review process (not addressed on these pages), please contact the journal's editorial staff: Journal of Stomatology Oral and Maxillofacial Surgery, Editorial office, e-mail: revsto@elsevier.com
You can use this list to carry out a final check of your submission before you send it to the journal for review. Please check the relevant section in this Guide for Authors for more details.
Ensure that the following items are present:
One author has been designated as the corresponding author with contact details:
• E-mail address
• Full postal address
All necessary files have been uploaded:
Manuscript:
• Include keywords
• All figures (include relevant captions)
• All tables (including titles, description, footnotes)
• Ensure all figure and table citations in the text match the files provided
• Indicate clearly if color should be used for any figures in print
Graphical Abstracts / Highlights files (where applicable)
Supplemental files (where applicable)
Further considerations
• Manuscript has been 'spell checked' and 'grammar checked'
• All references mentioned in the Reference List are cited in the text, and vice versa
• Permission has been obtained for use of copyrighted material from other sources (including the Internet)
• A competing interests statement is provided, even if the authors have no competing interests to declare
• Journal policies detailed in this guide have been reviewed
• Referee suggestions and contact details provided, based on journal requirements
For further information, visit our Support Center.
Please see our information pages on Ethics in publishing and Ethical guidelines for journal publication.
Studies in humans and animals
If the work involves the use of human subjects, the author should ensure that the work described has been carried out in accordance with The Code of Ethics of the World Medical Association (Declaration of Helsinki) for experiments involving humans. The manuscript should be in line with the Recommendations for the Conduct, Reporting, Editing and Publication of Scholarly Work in Medical Journals and aim for the inclusion of representative human populations (sex, age and ethnicity) as per those recommendations. The terms sex and gender should be used correctly.
Authors should include a statement in the manuscript that informed consent was obtained for experimentation with human subjects. The privacy rights of human subjects must always be observed.
All animal experiments should comply with the ARRIVE guidelines and should be carried out in accordance with the U.K. Animals (Scientific Procedures) Act, 1986 and associated guidelines, EU Directive 2010/63/EU for animal experiments, or the National Institutes of Health guide for the care and use of Laboratory animals (NIH Publications No. 8023, revised 1978) and the authors should clearly indicate in the manuscript that such guidelines have been followed. The sex of animals must be indicated, and where appropriate, the influence (or association) of sex on the results of the study.
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Submission declaration and verification
Submission of an article implies that the work described has not been published previously (except in the form of an abstract, a published lecture or academic thesis, see 'Multiple, redundant or concurrent publication' for more information), that it is not under consideration for publication elsewhere, that its publication is approved by all authors and tacitly or explicitly by the responsible authorities where the work was carried out, and that, if accepted, it will not be published elsewhere in the same form, in English or in any other language, including electronically without the written consent of the copyright-holder. To verify originality, your article may be checked by the originality detection service Crossref Similarity Check.
Please note that preprints can be shared anywhere at any time, in line with Elsevier's sharing policy. Sharing your preprints e.g. on a preprint server will not count as prior publication (see 'Multiple, redundant or concurrent publication' for more information).
Use of inclusive language
Inclusive language acknowledges diversity, conveys respect to all people, is sensitive to differences, and promotes equal opportunities. Articles should make no assumptions about the beliefs or commitments of any reader, should contain nothing which might imply that one individual is superior to another on the grounds of race, sex, culture or any other characteristic, and should use inclusive language throughout. Authors should ensure that writing is free from bias, for instance by using 'he or she', 'his/her' instead of 'he' or 'his', and by making use of job titles that are free of stereotyping (e.g. 'chairperson' instead of 'chairman' and 'flight attendant' instead of 'stewardess').
All authors should have made substantial contributions to all of the following: (1) the conception and design of the study, or acquisition of data, or analysis and interpretation of data, (2) drafting the article or revising it critically for important intellectual content, (3) final approval of the version to be submitted.
Changes to authorship
Authors are expected to consider carefully the list and order of authors before submitting their manuscript and provide the definitive list of authors at the time of the original submission. Any addition, deletion or rearrangement of author names in the authorship list should be made only before the manuscript has been accepted and only if approved by the journal Editor. To request such a change, the Editor must receive the following from the corresponding author: (a) the reason for the change in author list and (b) written confirmation (e-mail, letter) from all authors that they agree with the addition, removal or rearrangement. In the case of addition or removal of authors, this includes confirmation from the author being added or removed.
Only in exceptional circumstances will the Editor consider the addition, deletion or rearrangement of authors after the manuscript has been accepted. While the Editor considers the request, publication of the manuscript will be suspended. If the manuscript has already been published in an online issue, any requests approved by the Editor will result in a corrigendum.
Clinical trial results
In line with the position of the International Committee of Medical Journal Editors, the journal will not consider results posted in the same clinical trials registry in which primary registration resides to be prior publication if the results posted are presented in the form of a brief structured (less than 500 words) abstract or table. However, divulging results in other circumstances (e.g., investors' meetings) is discouraged and may jeopardise consideration of the manuscript. Authors should fully disclose all posting in registries of results of the same or closely related work.
Registration of clinical trials
Registration in a public trials registry is a condition for publication of clinical trials in this journal in accordance with International Committee of Medical Journal Editors recommendations. Trials must register at or before the onset of patient enrolment. The clinical trial registration number should be included at the end of the abstract of the article. A clinical trial is defined as any research study that prospectively assigns human participants or groups of humans to one or more health-related interventions to evaluate the effects of health outcomes. Health-related interventions include any intervention used to modify a biomedical or health-related outcome (for example drugs, surgical procedures, devices, behavioural treatments, dietary interventions, and process-of-care changes). Health outcomes include any biomedical or health-related measures obtained in patients or participants, including pharmacokinetic measures and adverse events. Purely observational studies (those in which the assignment of the medical intervention is not at the discretion of the investigator) will not require registration.
Article transfer service
This journal is part of our Article Transfer Service. This means that if the Editor feels your article is more suitable in one of our other participating journals, then you may be asked to consider transferring the article to one of those. If you agree, your article will be transferred automatically on your behalf with no need to reformat. Please note that your article will be reviewed again by the new journal. More information.
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For gold open access articles: Upon acceptance of an article, authors will be asked to complete an 'Exclusive License Agreement' (more information). Permitted third party reuse of gold open access articles is determined by the author's choice of user license.
Author rights
As an author you (or your employer or institution) have certain rights to reuse your work. More information.
Elsevier supports responsible sharing
Find out how you can share your research published in Elsevier journals.
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You are requested to identify who provided financial support for the conduct of the research and/or preparation of the article and to briefly describe the role of the sponsor(s), if any, in study design; in the collection, analysis and interpretation of data; in the writing of the report; and in the decision to submit the article for publication. If the funding source(s) had no such involvement then this should be stated.
Funding body agreements and policies
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This journal offers authors a choice in publishing their research:
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Gold open access
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Regardless of how you choose to publish your article, the journal will apply the same peer review criteria and acceptance standards.
For gold open access articles, permitted third party (re)use is defined by the following Creative Commons user licenses:
Creative Commons Attribution-NonCommercial-NoDerivs (CC BY-NC-ND)
For non-commercial purposes, lets others distribute and copy the article, and to include in a collective work (such as an anthology), as long as they credit the author(s) and provided they do not alter or modify the article.
Green open access
Authors can share their research in a variety of different ways and Elsevier has a number of green open access options available. We recommend authors see our open access page for further information. Authors can also self-archive their manuscripts immediately and enable public access from their institution's repository after an embargo period. This is the version that has been accepted for publication and which typically includes author-incorporated changes suggested during submission, peer review and in editor-author communications. Embargo period: For subscription articles, an appropriate amount of time is needed for journals to deliver value to subscribing customers before an article becomes freely available to the public. This is the embargo period and it begins from the date the article is formally published online in its final and fully citable form. Find out more.
This journal has an embargo period of 12 months.
Elsevier Researcher Academy
Researcher Academy is a free e-learning platform designed to support early and mid-career researchers throughout their research journey. The "Learn" environment at Researcher Academy offers several interactive modules, webinars, downloadable guides and resources to guide you through the process of writing for research and going through peer review. Feel free to use these free resources to improve your submission and navigate the publication process with ease.
Language (usage and editing services)
Please write your text in good English (American or British usage is accepted, but not a mixture of these). Authors who feel their English language manuscript may require editing to eliminate possible grammatical or spelling errors and to conform to correct scientific English may wish to use the English Language Editing service available from Elsevier's WebShop.
Informed consent and patient details
Studies on patients or volunteers require ethics committee approval and informed consent, which should be documented in the paper. Appropriate consents, permissions and releases must be obtained where an author wishes to include case details or other personal information or images of patients and any other individuals in an Elsevier publication. Written consents must be retained by the author but copies should not be provided to the journal. Only if specifically requested by the journal in exceptional circumstances (for example if a legal issue arises) the author must provide copies of the consents or evidence that such consents have been obtained. For more information, please review the Elsevier Policy on the Use of Images or Personal Information of Patients or other Individuals. Unless you have written permission from the patient (or, where applicable, the next of kin), the personal details of any patient included in any part of the article and in any supplementary materials (including all illustrations and videos) must be removed before submission.
Our online submission system guides you stepwise through the process of entering your article details and uploading your files. The system converts your article files to a single PDF file used in the peer-review process. Editable files (e.g., Word, LaTeX) are required to typeset your article for final publication. All correspondence, including notification of the Editor's decision and requests for revision, is sent by e-mail.
Please submit your article via http://ees.elsevier.com/revsto.
Please submit the names and institutional e-mail addresses of several potential referees. For more details, visit our Support site. Note that the editor retains the sole right to decide whether or not the suggested reviewers are used.
This journal operates a single blind review process. All contributions will be initially assessed by the editor for suitability for the journal. Papers deemed suitable are then typically sent to a minimum of two independent expert reviewers to assess the scientific quality of the paper. The Editor is responsible for the final decision regarding acceptance or rejection of articles. The Editor's decision is final. More information on types of peer review.
Use of word processing software
It is important that the file be saved in the native format of the word processor used. The text should be in single-column format. Keep the layout of the text as simple as possible. Most formatting codes will be removed and replaced on processing the article. In particular, do not use the word processor's options to justify text or to hyphenate words. However, do use bold face, italics, subscripts, superscripts etc. When preparing tables, if you are using a table grid, use only one grid for each individual table and not a grid for each row. If no grid is used, use tabs, not spaces, to align columns. The electronic text should be prepared in a way very similar to that of conventional manuscripts (see also the Guide to Publishing with Elsevier). Note that source files of figures, tables and text graphics will be required whether or not you embed your figures in the text. See also the section on Electronic artwork.
To avoid unnecessary errors you are strongly advised to use the 'spell-check' and 'grammar-check' functions of your word processor.
Manuscript types and word count
Please adhere to the following maximum word and reference counts when submitting manuscripts. The word count excludes References, Tables, Figures captions and Supplementary data.
• Editorials
Editorials do not have abstract, but include 2 or 3 keywords. They typically should be no longer than 1500 words for fewer than 2 tables and figures (total) and 15 references.
• Original articles
Research papers (clinical, therapeutic, or experimental work) should not exceed 3500 words of text, 6 tables and figures (total) and 30 references. They should include a structured abstract of no more than 250 words and 6 keywords, and the following sections: Introduction, Material and methods, Results, Discussion.
For these articles, verbs are in the past tense in Material and methods and Results, as well as in references to the experience of other authors in the Introduction and Discussion sections. The present tense is reserved for providing well-established background information.
The introduction has three parts: the first provides background on the topic, the second the study rationale, and the third the study objective described in careful detail. This third part is the most important. It contains the question of the study.
The material and methods section supplies answers to three questions: What material was studied? What did the investigators seek to assess? What were the outcome measures?
The results section reports the findings from the study and forms the basis for the discussion section. It should contain an objective description of all the results, and nothing else. Numerical data in the tables and figures should not be duplicated in the results section.
The discussion section interprets the study, and nothing else, including the means used, methodology, and results. The discussion should always start with the answer to the question of the study asked in the introduction. A critical assessment of the main points of the study is provided. Each finding is compared to previously published data, without seeking to write didactically. All statements should be supported by useful and relevant references listed in PubMed/Medline. Another objective of the discussion is to criticize the study and objectively describe its limitations. This critical assessment focuses on both Material and methods and Results. The discussion word count should not exceed half the total word count. No conclusion section should be provided.
Review articles are formatted as desired by the authors, but typically should be fewer than 4000 words of text, 6 tables and figures (total) and 50 references. They should include an unstructured abstract of no more than 250 words and 6 keywords.
• Case reports and Technical notes
These articles should not exceed 2000 words of text, 6 tables and figures (total) and 15 references, and should include an unstructured abstract of no more than 150 words and 6 keywords.
• Images
One part shows the image(s) and details of the case and ends with the question What is your diagnosis? The second part reports the answer and a brief discussion: no more than 500 words for fewer than 3 figures (total) and 5 references. No abstract nor keywords required for Images.
• Letters to the editor
Letters to the editor do not have abstract, but 2 or 3 keywords. They typically should be no longer than 1000 words for fewer than 3 tables and figures (total) and 10 references.
The editorial board gives preference to original articles, review articles and technical notes, supported by multimedia content. Among case-reports, only the most instructive will be accepted for publication.
Article structure
Subdivision - numbered sections
Divide your article into clearly defined and numbered sections. Subsections should be numbered 1.1 (then 1.1.1, 1.1.2, ...), 1.2, etc. (the abstract is not included in section numbering). Use this numbering also for internal cross-referencing: do not just refer to 'the text'. Any subsection may be given a brief heading. Each heading should appear on its own separate line.
State the objectives of the work and provide an adequate background, avoiding a detailed literature survey or a summary of the results.
Provide sufficient details to allow the work to be reproduced by an independent researcher. Methods that are already published should be summarized, and indicated by a reference. If quoting directly from a previously published method, use quotation marks and also cite the source. Any modifications to existing methods should also be described.
Results should be clear and concise.
This should explore the significance of the results of the work, not repeat them. A combined Results and Discussion section is often appropriate. Avoid extensive citations and discussion of published literature.
Please supply, as a separate list, the definitions of field-specific terms used in your article.
If there is more than one appendix, they should be identified as A, B, etc. Formulae and equations in appendices should be given separate numbering: Eq. (A.1), Eq. (A.2), etc.; in a subsequent appendix, Eq. (B.1) and so on. Similarly for tables and figures: Table A.1; Fig. A.1, etc.
Essential title page information
• Title. Concise and informative. Titles are often used in information-retrieval systems. Avoid abbreviations and formulae where possible.
• Author names and affiliations. Please clearly indicate the given name(s) and family name(s) of each author and check that all names are accurately spelled. You can add your name between parentheses in your own script behind the English transliteration. Present the authors' affiliation addresses (where the actual work was done) below the names. Indicate all affiliations with a lower-case superscript letter immediately after the author's name and in front of the appropriate address. Provide the full postal address of each affiliation, including the country name and, if available, the e-mail address of each author.
• Corresponding author. Clearly indicate who will handle correspondence at all stages of refereeing and publication, also post-publication. This responsibility includes answering any future queries about Methodology and Materials. Ensure that the e-mail address is given and that contact details are kept up to date by the corresponding author.
• Present/permanent address. If an author has moved since the work described in the article was done, or was visiting at the time, a 'Present address' (or 'Permanent address') may be indicated as a footnote to that author's name. The address at which the author actually did the work must be retained as the main, affiliation address. Superscript Arabic numerals are used for such footnotes.
Highlights are a short collection of bullet points that convey the core findings of the article. Highlights are optional and should be submitted in a separate editable file in the online submission system. Please use 'Highlights' in the file name and include 3 to 5 bullet points (maximum 85 characters, including spaces, per bullet point). You can view example Highlights on our information site.
A structured abstract, by means of appropriate headings, should provide the context or background for the research and should state its purpose, basic procedures (selection of study subjects or laboratory animals, observational and analytical methods), main findings (giving specific effect sizes and their statistical significance, if possible), and principal conclusions. It should emphasize new and important aspects of the study or observations.
Although a graphical abstract is optional, its use is encouraged as it draws more attention to the online article. The graphical abstract should summarize the contents of the article in a concise, pictorial form designed to capture the attention of a wide readership. Graphical abstracts should be submitted as a separate file in the online submission system. Image size: Please provide an image with a minimum of 531 × 1328 pixels (h × w) or proportionally more. The image should be readable at a size of 5 × 13 cm using a regular screen resolution of 96 dpi. Preferred file types: TIFF, EPS, PDF or MS Office files. You can view Example Graphical Abstracts on our information site.
Authors can make use of Elsevier's Illustration Services to ensure the best presentation of their images and in accordance with all technical requirements.
Immediately after the abstract, provide a maximum of 6 keywords, using British spelling and avoiding general and plural terms and multiple concepts (avoid, for example, 'and', 'of'). Be sparing with abbreviations: only abbreviations firmly established in the field may be eligible. These keywords will be used for indexing purposes.
Define abbreviations that are not standard in this field in a footnote to be placed on the first page of the article. Such abbreviations that are unavoidable in the abstract must be defined at their first mention there, as well as in the footnote. Ensure consistency of abbreviations throughout the article.
Collate acknowledgements in a separate section at the end of the article before the references and do not, therefore, include them on the title page, as a footnote to the title or otherwise. List here those individuals who provided help during the research (e.g., providing language help, writing assistance or proof reading the article, etc.).
Formatting of funding sources
List funding sources in this standard way to facilitate compliance to funder's requirements:
Funding: This work was supported by the National Institutes of Health [grant numbers xxxx, yyyy]; the Bill & Melinda Gates Foundation, Seattle, WA [grant number zzzz]; and the United States Institutes of Peace [grant number aaaa].
It is not necessary to include detailed descriptions on the program or type of grants and awards. When funding is from a block grant or other resources available to a university, college, or other research institution, submit the name of the institute or organization that provided the funding.
If no funding has been provided for the research, please include the following sentence:
This research did not receive any specific grant from funding agencies in the public, commercial, or not-for-profit sectors.
Follow internationally accepted rules and conventions: use the international system of units (SI). If other units are mentioned, please give their equivalent in SI.
Footnotes should be used sparingly. Number them consecutively throughout the article. Many word processors can build footnotes into the text, and this feature may be used. Otherwise, please indicate the position of footnotes in the text and list the footnotes themselves separately at the end of the article. Do not include footnotes in the Reference list.
Whilst it is accepted that authors sometimes need to manipulate images for clarity, manipulation for purposes of deception or fraud will be seen as scientific ethical abuse and will be dealt with accordingly. For graphical images, this journal is applying the following policy: no specific feature within an image may be enhanced, obscured, moved, removed, or introduced. Adjustments of brightness, contrast, or color balance are acceptable if and as long as they do not obscure or eliminate any information present in the original. Nonlinear adjustments (e.g. changes to gamma settings) must be disclosed in the figure legend.
Electronic artwork
General points
• Make sure you use uniform lettering and sizing of your original artwork.
• Embed the used fonts if the application provides that option.
• Aim to use the following fonts in your illustrations: Arial, Courier, Times New Roman, Symbol, or use fonts that look similar.
• Number the illustrations according to their sequence in the text.
• Use a logical naming convention for your artwork files.
• Provide captions to illustrations separately.
• Size the illustrations close to the desired dimensions of the published version.
• Submit each illustration as a separate file.
A detailed guide on electronic artwork is available.
You are urged to visit this site; some excerpts from the detailed information are given here.
If your electronic artwork is created in a Microsoft Office application (Word, PowerPoint, Excel) then please supply 'as is' in the native document format.
Regardless of the application used other than Microsoft Office, when your electronic artwork is finalized, please 'Save as' or convert the images to one of the following formats (note the resolution requirements for line drawings, halftones, and line/halftone combinations given below):
EPS (or PDF): Vector drawings, embed all used fonts.
TIFF (or JPEG): Color or grayscale photographs (halftones), keep to a minimum of 300 dpi.
TIFF (or JPEG): Bitmapped (pure black & white pixels) line drawings, keep to a minimum of 1000 dpi.
TIFF (or JPEG): Combinations bitmapped line/half-tone (color or grayscale), keep to a minimum of 500 dpi.
• Supply files that are optimized for screen use (e.g., GIF, BMP, PICT, WPG); these typically have a low number of pixels and limited set of colors;
• Supply files that are too low in resolution;
• Submit graphics that are disproportionately large for the content.
Color artwork
Please make sure that artwork files are in an acceptable format (TIFF (or JPEG), EPS (or PDF) or MS Office files) and with the correct resolution. If, together with your accepted article, you submit usable color figures then Elsevier will ensure, at no additional charge, that these figures will appear in color online (e.g., ScienceDirect and other sites) in addition to color reproduction in print. Further information on the preparation of electronic artwork.
Illustration services
Elsevier's WebShop offers Illustration Services to authors preparing to submit a manuscript but concerned about the quality of the images accompanying their article. Elsevier's expert illustrators can produce scientific, technical and medical-style images, as well as a full range of charts, tables and graphs. Image 'polishing' is also available, where our illustrators take your image(s) and improve them to a professional standard. Please visit the website to find out more.
Figure captions
Ensure that each illustration has a caption. Supply captions separately, not attached to the figure. A caption should comprise a brief title (not on the figure itself) and a description of the illustration. Keep text in the illustrations themselves to a minimum but explain all symbols and abbreviations used.
Text graphics
Text graphics may be embedded in the text at the appropriate position. See further under Electronic artwork.
Please submit tables as editable text and not as images. Tables can be placed either next to the relevant text in the article, or on separate page(s) at the end. Number tables consecutively in accordance with their appearance in the text and place any table notes below the table body. Be sparing in the use of tables and ensure that the data presented in them do not duplicate results described elsewhere in the article. Please avoid using vertical rules and shading in table cells.
Citation in text
Please ensure that every reference cited in the text is also present in the reference list (and vice versa). Any references cited in the abstract must be given in full. Unpublished results and personal communications are not recommended in the reference list, but may be mentioned in the text. If these references are included in the reference list they should follow the standard reference style of the journal and should include a substitution of the publication date with either 'Unpublished results' or 'Personal communication'. Citation of a reference as 'in press' implies that the item has been accepted for publication.
Increased discoverability of research and high quality peer review are ensured by online links to the sources cited. In order to allow us to create links to abstracting and indexing services, such as Scopus, CrossRef and PubMed, please ensure that data provided in the references are correct. Please note that incorrect surnames, journal/book titles, publication year and pagination may prevent link creation. When copying references, please be careful as they may already contain errors. Use of the DOI is highly encouraged.
A DOI is guaranteed never to change, so you can use it as a permanent link to any electronic article. An example of a citation using DOI for an article not yet in an issue is: VanDecar J.C., Russo R.M., James D.E., Ambeh W.B., Franke M. (2003). Aseismic continuation of the Lesser Antilles slab beneath northeastern Venezuela. Journal of Geophysical Research, https://doi.org/10.1029/2001JB000884. Please note the format of such citations should be in the same style as all other references in the paper.
As a minimum, the full URL should be given and the date when the reference was last accessed. Any further information, if known (DOI, author names, dates, reference to a source publication, etc.), should also be given. Web references can be listed separately (e.g., after the reference list) under a different heading if desired, or can be included in the reference list.
Data references
This journal encourages you to cite underlying or relevant datasets in your manuscript by citing them in your text and including a data reference in your Reference List. Data references should include the following elements: author name(s), dataset title, data repository, version (where available), year, and global persistent identifier. Add [dataset] immediately before the reference so we can properly identify it as a data reference. The [dataset] identifier will not appear in your published article.
References in a special issue
Please ensure that the words 'this issue' are added to any references in the list (and any citations in the text) to other articles in the same Special Issue.
Reference management software
Most Elsevier journals have their reference template available in many of the most popular reference management software products. These include all products that support Citation Style Language styles, such as Mendeley. Using citation plug-ins from these products, authors only need to select the appropriate journal template when preparing their article, after which citations and bibliographies will be automatically formatted in the journal's style. If no template is yet available for this journal, please follow the format of the sample references and citations as shown in this Guide. If you use reference management software, please ensure that you remove all field codes before submitting the electronic manuscript. More information on how to remove field codes from different reference management software.
Users of Mendeley Desktop can easily install the reference style for this journal by clicking the following link:
http://open.mendeley.com/use-citation-style/revue-de-stomatologie-de-chirurgie-maxillo-faciale-et-de-chirurgie-orale
When preparing your manuscript, you will then be able to select this style using the Mendeley plug-ins for Microsoft Word or LibreOffice.
Text: Indicate references by number(s) in square brackets in line with the text. The actual authors can be referred to, but the reference number(s) must always be given.
List: Number the references (numbers in square brackets) in the list in the order in which they appear in the text.
Reference to a journal publication:
[1] Van der Geer J, Hanraads JAJ, Lupton RA. The art of writing a scientific article. J Sci Commun 2010;163:51–9. https://doi.org/10.1016/j.Sc.2010.00372.
Reference to a journal publication with an article number:
[2] Van der Geer J, Hanraads JAJ, Lupton RA. The art of writing a scientific article. Heliyon. 2018;19:e00205. https://doi.org/10.1016/j.heliyon.2018.e00205
Reference to a book:
[3] Strunk Jr W, White EB. The elements of style. 4th ed. New York: Longman; 2000.
Reference to a chapter in an edited book:
[4] Mettam GR, Adams LB. How to prepare an electronic version of your article. In: Jones BS, Smith RZ, editors. Introduction to the electronic age, New York: E-Publishing Inc; 2009, p. 281–304.
Reference to a website:
[5] Cancer Research UK. Cancer statistics reports for the UK, http://www.cancerresearchuk.org/aboutcancer/statistics/cancerstatsreport/; 2003 [accessed 13 March 2003].
Reference to a dataset:
[dataset] [6] Oguro M, Imahiro S, Saito S, Nakashizuka T. Mortality data for Japanese oak wilt disease and surrounding forest compositions, Mendeley Data, v1; 2015. https://doi.org/10.17632/xwj98nb39r.1.
Note shortened form for last page number. e.g., 51–9, and that for more than 6 authors the first 6 should be listed followed by 'et al.' For further details you are referred to 'Uniform Requirements for Manuscripts submitted to Biomedical Journals' (J Am Med Assoc 1997;277:927–34) (see also Samples of Formatted References).
Journal abbreviations source
Journal names should be abbreviated according to the List of Title Word Abbreviations.
Elsevier accepts video material and animation sequences to support and enhance your scientific research. Authors who have video or animation files that they wish to submit with their article are strongly encouraged to include links to these within the body of the article. This can be done in the same way as a figure or table by referring to the video or animation content and noting in the body text where it should be placed. All submitted files should be properly labeled so that they directly relate to the video file's content. . In order to ensure that your video or animation material is directly usable, please provide the file in one of our recommended file formats with a preferred maximum size of 150 MB per file, 1 GB in total. Video and animation files supplied will be published online in the electronic version of your article in Elsevier Web products, including ScienceDirect. Please supply 'stills' with your files: you can choose any frame from the video or animation or make a separate image. These will be used instead of standard icons and will personalize the link to your video data. For more detailed instructions please visit our video instruction pages. Note: since video and animation cannot be embedded in the print version of the journal, please provide text for both the electronic and the print version for the portions of the article that refer to this content.
Supplementary material such as applications, images and sound clips, can be published with your article to enhance it. Submitted supplementary items are published exactly as they are received (Excel or PowerPoint files will appear as such online). Please submit your material together with the article and supply a concise, descriptive caption for each supplementary file. If you wish to make changes to supplementary material during any stage of the process, please make sure to provide an updated file. Do not annotate any corrections on a previous version. Please switch off the 'Track Changes' option in Microsoft Office files as these will appear in the published version.
This journal encourages and enables you to share data that supports your research publication where appropriate, and enables you to interlink the data with your published articles. Research data refers to the results of observations or experimentation that validate research findings. To facilitate reproducibility and data reuse, this journal also encourages you to share your software, code, models, algorithms, protocols, methods and other useful materials related to the project.
Below are a number of ways in which you can associate data with your article or make a statement about the availability of your data when submitting your manuscript. If you are sharing data in one of these ways, you are encouraged to cite the data in your manuscript and reference list. Please refer to the "References" section for more information about data citation. For more information on depositing, sharing and using research data and other relevant research materials, visit the research data page.
Data linking
If you have made your research data available in a data repository, you can link your article directly to the dataset. Elsevier collaborates with a number of repositories to link articles on ScienceDirect with relevant repositories, giving readers access to underlying data that gives them a better understanding of the research described.
There are different ways to link your datasets to your article. When available, you can directly link your dataset to your article by providing the relevant information in the submission system. For more information, visit the database linking page.
For supported data repositories a repository banner will automatically appear next to your published article on ScienceDirect.
In addition, you can link to relevant data or entities through identifiers within the text of your manuscript, using the following format: Database: xxxx (e.g., TAIR: AT1G01020; CCDC: 734053; PDB: 1XFN).
Mendeley Data
This journal supports Mendeley Data, enabling you to deposit any research data (including raw and processed data, video, code, software, algorithms, protocols, and methods) associated with your manuscript in a free-to-use, open access repository. Before submitting your article, you can deposit the relevant datasets to Mendeley Data. Please include the DOI of the deposited dataset(s) in your main manuscript file. The datasets will be listed and directly accessible to readers next to your published article online.
For more information, visit the Mendeley Data for journals page.
Data statement
To foster transparency, we encourage you to state the availability of your data in your submission. This may be a requirement of your funding body or institution. If your data is unavailable to access or unsuitable to post, you will have the opportunity to indicate why during the submission process, for example by stating that the research data is confidential. The statement will appear with your published article on ScienceDirect. For more information, visit the Data Statement page.
Online proof correction
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If preferred, you can still choose to annotate and upload your edits on the PDF version. All instructions for proofing will be given in the e-mail we send to authors, including alternative methods to the online version and PDF.
We will do everything possible to get your article published quickly and accurately. Please use this proof only for checking the typesetting, editing, completeness and correctness of the text, tables and figures. Significant changes to the article as accepted for publication will only be considered at this stage with permission from the Editor. It is important to ensure that all corrections are sent back to us in one communication. Please check carefully before replying, as inclusion of any subsequent corrections cannot be guaranteed. Proofreading is solely your responsibility.
Offprints
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Visit the Elsevier Support Center to find the answers you need. Here you will find everything from Frequently Asked Questions to ways to get in touch.
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"Australian Imperial Force. Attestation Paper of Persons Enlisted for Service Abroad.
16080, Fisher, John Nugent; unit: Anzac Mtd Divn 1st Fld Sqdn Engrs; joined: 12–10–16.
John Nugent Fisher, b. Auckland, New Zealand, natural born British, 25 10/12 years, jeweller's salesman, unmarried, next of kin (father) John Sackett Fisher, of Pukeatua, Kihi Kihi, Auckland, New Zealand; civil convictions?: yes, fined £2 for being on licensed premises; ever discharged from HM Forces?: no; any military service?: 18 months with no. 3 Native Rifles, 18 months no. 1 Garrison Artillery NZ (left Dominion); signed: John Nugent Fisher, 12.10.16."
1760, Sackett, Caleb Frank; unit: 56th Batt 2nd Rein; joined: 1st February 1916.
Caleb Frank Sackett, b. Cootamundra, NSW, natural born British, 20 years, farmer, single, next of kin (father) George F Sackett, storekeeper, of Wallendbeen, NSW; civil convictions?: no; ever discharged from HM Forces?: no; any military service?: no; ever rejected as unfit for HM Service?: yes, once, Vic. Barracks; signed: Caleb F Sackett, 25th January 1916."
1138, Sackett, Edmond Herbert; unit: 8th Reinforcements 8th Light Horse Regiment, trans to 3rd. L.H. Reserve Regt.; joined: June 20th, 15.
2880, Sackett, Henry Allen; unit: 6/41 Battalion [deleted], M G C Dtls; joined: 25th October 1916.
Henry Allen Sackett, b. Brisbane, Queensland, British born, 24 yrs 10 mths, farmer, single, next of kin (mother) Mrs Eliza Sackett, of Brighton, Sandgate, Queensland; address [of recruit]: Brighton, Sandgate, Queensland; any military service?: no; ever rejected as unfit for HM Service?: no; signed: Henry Allen Sackett, 25th October 1916."
22/448, Sackett, Richard E; unit: 3rd Bat N&M; joined: 10th Nov 1914.
Richard Edward Sackett, b. Ramsgate, Kent, England, British subject, 44 years & 8 months, decorator, single, next of kin (father) Henry Sackett, 86 Queen St, Ramsgate, Kent, England; civil convictions?: no; ever discharged from HM Forces?: no; any military service?: no; ever rejected as unfit for HM Service?: no; signed: Richard E Sackett, 12th Nov 1914."
1761, Sackett, Walter; unit: [B Coy 48th Batt deleted] 56th Battn, 2nd Reinfs; joined: [5th January 1916 deleted] 1st July 1916.
Sackett, Walter, b. Cootamundra, NSW, natural born British subject, 26 years 4 months, grocer, single, next of kin (father) George F Sackett, Wallendbeen, NSW; civil convictions?: no; ever discharged from HM Forces?: no; any military service?: no; ever rejected as unfit for HM Service?: once, teeth deficient; signed: Walter Sackett, 5th January 1916."
1815, Sackett, William James; unit: 18th LTMB; joined: 23 Oct 1916.
William James Sackett, b. Kent, England, natural born British subject, 31 9/12 years, barman, single, next of kin (father) Thomas Sackett, [16 St Johns Road, Margate, England, deleted] Wood View [?] Perry Wood, Selling Nr Faversham, Kent, Eng; civil convictions?: no; ever discharged from HM Forces?: no; any military service?: no; ever rejected as unfit for HM Service?: no; signed: W J Sackett, 23 Oct 1916."
Website National Archives of Australia, Australian Imperial Force, Enlistment Papers (http://naa12.naa.gov.au/). (Researched by Chris Sackett).


text:
Record of the Week: NATURE BOYS "Pissy Wind/Coast to Coast" 7″
Published April 29, 2015 By Greg
Categories Reviews
I've said it before and I'll say it again… NATURE BOYS are a band that people are not paying enough attention to now, but will miss when they're gone. They combine equal parts of punk, hardcore, living on the fringes, hard living, DEAD MOON and their own inimitable style to make something that is their own. "Pissy Wind" is perfect. It's a fast fucking song about the toxicity of surrounding yourself with people who are consumed by bad fucking vibes…or that's what I took from it, at least. Two genders on the mic at all times. "Coast to Coast" on the flip side slows down (barely), a mid-tempo ode to dead friends (maybe???). It's there to help you relive the pain of life or the inevitable return of something we've all felt, but have rarely given name to…sometimes known colloquially as "The Great Terribleness." The bumbling of our stupid selves as we rocket through space on a dumb piece of rock. After releasing two LPs and one EP, NATURE BOYS have added new drummer Alex Moss on this record, which has tightened their whole mess up considerably. The whole band sounds more focused…concise even…and these two songs just aren't enough for me, but I'll wait patiently for the next few songs to trickle out of their dilapidated Kansas City homes.
(Replay)
— Greg Harvester