manu/mldr-zoomed-100char-total-queries-documents

chunk_id stringlengths 3 9	chunk stringlengths 1 100
109_44	Milt takes a phone call from Alvarado revealing that he is the gold-supplier to Alvarado's group of
109_45	South American gold-smugglers and he murdered Elaine to get Toddy out of the picture.
109_46	Meanwhile, a bale bondsman named Airedale Aahrens is hired to bring Elaine into court for her
109_47	misdemeanor drunk and disorderly. He goes to Toddy's hotel room but finds nothing except a wisp of
109_48	hair in the clamp of the incinerator stack. He suspects Elaine is dead and her body was burned.
109_49	Toddy meets Dolores in Tijuana and she takes him to San Diego to see Alvarado. Later Alvarado
109_50	reveals he intends to silence them all to conceal his operation and shows Toddy two coffins
109_51	containing his dobermann and Dolores, both drugged with chloroform. A struggle ensues, shots are
109_52	fired, and the dobermann wakes up and kills Alvarado. Toddy revives Dolores from the chloroform and
109_53	they share an intimate moment just as the police arrive. Toddy is arrested and Dolores is released
109_54	because she has a student visa and no criminal record.
109_55	In police custody Toddy has concluded that Milt is Alvarado's gold supplier and convinces treasury
109_56	agent McKinley to release him to track Milt down. Toddy goes to Milt's shop and accuses him of the
109_57	whole plot. Dolores arrives, as she had been lured there by Milt. Elaine, who faked her own death,
109_58	emerges with a gun from behind a curtain. Milt wanted to steal Elaine from Toddy, and brought her
109_59	into the plot with the promise of living rich. Milt and Elaine take Toddy and Dolores in a car to
109_60	the beach to kill them and dispose of their bodies in the ocean. Elaine double-crosses Milt and
109_61	shoots him. Just as she is about to shoot Toddy, federal agents who had been tailing them arrive
109_62	and gun her down. Toddy reflects that his golden gizmo is finally gone for good.
109_63	References External links Goodreads
109_64	1954 American novels Novels by Jim Thompson Novels set in New York (state) English-language novels
109_65	American crime novels
110_0	A tom drum is a cylindrical drum with no snares, named from the Anglo-Indian and Sinhala language.
110_1	It was added to the drum kit in the early part of the 20th century. Most toms range in size between
110_2	in diameter, though floor toms can go as large as . It is not to be confused with a tam-tam, a
110_3	gong. The Tom is popular and used by players worldwide.
110_4	Design history
110_5	The drum called "Thammattama", played by the Sinhala people of Sri Lanka, is used in a number of
110_6	Buddhist rituals in that country. It is commonly heard in Buddhist temples paired along with the
110_7	reed instrument called horanava. This may be etymologically derived from the Tamil term
110_8	"Thappattam" or "Thappu", a frame drum associated with South Indian Tamil culture. However, the
110_9	tom-tom drums on the Western drum set clearly resemble the Sri Lankan version more than the frame
110_10	drum.
110_11	The British colonists complained loudly about the noise generated by the "tom-toms" of the natives
110_12	throughout South Asia. It is likely that the term tom-toms thus comes from their experiences in
110_13	colonial Sri Lanka (then called Ceylon) or South India. The term "tom-tom" also has variants in the
110_14	Telugu and Hindi languages, but only in Sri Lanka is there an indigenous drum with the same name
110_15	(thammattama). Perhaps because of Americans' lack of experience with Asian cultures, the term is
110_16	often misattributed to the Chinese, given that "tam-tam" in Western classical music refers to a
110_17	Chinese gong.
110_18	The first American drum set toms had no rims and were usually what were referred to as "Chinese"
110_19	tom toms. The pigskin heads were tacked to the wooden shells with metal tacks. Through close
110_20	collaboration with Gene Krupa's concept of fully tunable toms, the Slingerland drum and banjo
110_21	company were the first, in 1936, to begin offering fully tuneable tom-toms (top and bottom heads)
110_22	with metal or wooden rims, tension rods, and lugs. Most Chinese toms were 10 to 14 inches in
110_23	diameter, but the American drum companies were eventually producing a wider range of diameters and
110_24	depths. These drums were usually clamped to the bass drum rims or sat in cradles as floor stand
110_25	drums. The sizes that Krupa chose became the "standard" for many decades and they were 13 × 9″
110_26	(mounted) and 16 × 16″ (floor). Later, mounted on three (or, if larger than 16 × 16″, four) legs
110_27	were attached to the floor tom designs. Together with a snare drum and a bass drum of varying size,
110_28	the combination of the four drums became a "set". (The term "kit" did not appear until the mid
110_29	1960s.)
110_30	Later, the mounted toms, known as hanging toms or rack toms, were deepened by one inch each, these
110_31	sizes being called power toms. Extra-deep hanging toms, known as cannon depth, never achieved
110_32	popularity. All these were double-headed.
110_33	Modern versions
110_34	A wide variety of configurations have been available and in use at all levels from advanced student
110_35	kits upwards. Most toms range in size between in diameter, though floor toms can go as large as .
110_36	Classic rock setups Standard diameters
110_37	In the 50s and early 60s, it was common to have only a single hanging tom (a 13") and a single
110_38	floor tom (16").
110_39	A basic rock configuration consists of 12" and 13" hanging toms, and a 16" floor tom with diameter
110_40	× depth in inches used throughout this article. For a more detailed description of the conventions
110_41	and their usage, see drum size conventions.
110_42	A basic fusion configuration refers to a set-up which has 10", 12" and 14" diameter toms, Note
110_43	that these terms do not imply drum depths, so for example, the 14" in a fusion setup could have
110_44	depth 10, 11, 12, or could be a 14×14 floor tom.
110_45	The terms "fusion" and "rock" are marketing terms invented by drum manufacturing companies, and
110_46	there is no absolute definition for them; more a case of an accepted norm.
110_47	Standard depths
110_48	In the 1950-1980s the standard depth rack toms were 12×8 and 13×9. This "classic" configuration is
110_49	still popular. Concert toms came in the early 1970s. With Ludwig producing single headed toms in
110_50	6x5.5,8x5.5,10x6.5,12x8,13x9,14x10, 15x12 16x14 mounted in pairs on a stand.
110_51	"FAST" sizes are 10×8, 12×9, 13×10, etc., a marketing term used by DW, although not unique to DW,
110_52	but with all drum manufacturers.
110_53	The "New standard" sizes - 10×9, 12×10, 13×11, etc. are 2" deeper than what was considered
110_54	"standard" in the 1950s.
110_55	"Power" toms are one inch deeper than standard, with sizes of 10×9 or 10×10, 12×11, 13×12, which
110_56	overtook the classic setup in popularity during the 1980s.
110_57	Square - 10×10, 12×12, 13×13, etc., have been common in the 1980s and 1990s. Hyperdrive are shallow
110_58	depths made popular initially by Tama: 10×6.5, 12×7, 13×7.5, etc.
110_59	Variations Single-headed
110_60	Single-headed tom-toms, also known as concert toms, have also been used in drum kits, though their
110_61	use has fallen off in popularity since the 1970s. Concert toms have a single head and a shell
110_62	slightly shallower than the corresponding double-headed tom. Phil Collins still uses four
110_63	single-headed rack-mount toms and two floor toms (Gretsch) in his setup. They are generally easier
110_64	to tune as they have no bottom head to adjust.
110_65	The term concert tom has also been used to describe double- or single-headed tom-tom drums designed
110_66	for use in a concert band rather than in a drum kit.
110_67	Rototoms
110_68	Rototoms have no shell at all, just a single head and a steel frame. Unlike most other drums, they
110_69	have a variable definite pitch and some composers write for them as a tuned instrument, demanding
110_70	specific notes. They can be tuned quickly by rotating the head. Since the head rotates on a thread,
110_71	this raises or lowers the head relative to the rim of the drum and so increases or decreases the
110_72	tension in the head.
110_73	Gong bass drum
110_74	A gong bass drum (also known as "gong drum"), is a large, single-headed tom often sized at or ,
110_75	with the drumhead being larger than the shell. The sound produced is similar to a bass drum,
110_76	though it is more open and has longer sustain. They can be mounted with standard floor tom legs,
110_77	though many drummers mount them at an angle next to the floor tom(s). Notable users include Neil

109_44

Milt takes a phone call from Alvarado revealing that he is the gold-supplier to Alvarado's group of

109_45

South American gold-smugglers and he murdered Elaine to get Toddy out of the picture.

109_46

Meanwhile, a bale bondsman named Airedale Aahrens is hired to bring Elaine into court for her

109_47

misdemeanor drunk and disorderly. He goes to Toddy's hotel room but finds nothing except a wisp of

109_48

hair in the clamp of the incinerator stack. He suspects Elaine is dead and her body was burned.

109_49

Toddy meets Dolores in Tijuana and she takes him to San Diego to see Alvarado. Later Alvarado

109_50

reveals he intends to silence them all to conceal his operation and shows Toddy two coffins

109_51

containing his dobermann and Dolores, both drugged with chloroform. A struggle ensues, shots are

109_52

fired, and the dobermann wakes up and kills Alvarado. Toddy revives Dolores from the chloroform and

109_53

they share an intimate moment just as the police arrive. Toddy is arrested and Dolores is released

109_54

because she has a student visa and no criminal record.

109_55

In police custody Toddy has concluded that Milt is Alvarado's gold supplier and convinces treasury

109_56

agent McKinley to release him to track Milt down. Toddy goes to Milt's shop and accuses him of the

109_57

whole plot. Dolores arrives, as she had been lured there by Milt. Elaine, who faked her own death,

109_58

emerges with a gun from behind a curtain. Milt wanted to steal Elaine from Toddy, and brought her

109_59

into the plot with the promise of living rich. Milt and Elaine take Toddy and Dolores in a car to

109_60

the beach to kill them and dispose of their bodies in the ocean. Elaine double-crosses Milt and

109_61

shoots him. Just as she is about to shoot Toddy, federal agents who had been tailing them arrive

109_62

and gun her down. Toddy reflects that his golden gizmo is finally gone for good.

109_63

References External links Goodreads

109_64

1954 American novels Novels by Jim Thompson Novels set in New York (state) English-language novels

109_65

American crime novels

110_0

A tom drum is a cylindrical drum with no snares, named from the Anglo-Indian and Sinhala language.

110_1

It was added to the drum kit in the early part of the 20th century. Most toms range in size between

110_2

in diameter, though floor toms can go as large as . It is not to be confused with a tam-tam, a

110_3

gong. The Tom is popular and used by players worldwide.

110_4

Design history

110_5

The drum called "Thammattama", played by the Sinhala people of Sri Lanka, is used in a number of

110_6

Buddhist rituals in that country. It is commonly heard in Buddhist temples paired along with the

110_7

reed instrument called horanava. This may be etymologically derived from the Tamil term

110_8

"Thappattam" or "Thappu", a frame drum associated with South Indian Tamil culture. However, the

110_9

tom-tom drums on the Western drum set clearly resemble the Sri Lankan version more than the frame

110_10

drum.

110_11

The British colonists complained loudly about the noise generated by the "tom-toms" of the natives

110_12

throughout South Asia. It is likely that the term tom-toms thus comes from their experiences in

110_13

colonial Sri Lanka (then called Ceylon) or South India. The term "tom-tom" also has variants in the

110_14

Telugu and Hindi languages, but only in Sri Lanka is there an indigenous drum with the same name

110_15

(thammattama). Perhaps because of Americans' lack of experience with Asian cultures, the term is

110_16

often misattributed to the Chinese, given that "tam-tam" in Western classical music refers to a

110_17

Chinese gong.

110_18

The first American drum set toms had no rims and were usually what were referred to as "Chinese"

110_19

tom toms. The pigskin heads were tacked to the wooden shells with metal tacks. Through close

110_20

collaboration with Gene Krupa's concept of fully tunable toms, the Slingerland drum and banjo

110_21

company were the first, in 1936, to begin offering fully tuneable tom-toms (top and bottom heads)

110_22

with metal or wooden rims, tension rods, and lugs. Most Chinese toms were 10 to 14 inches in

110_23

diameter, but the American drum companies were eventually producing a wider range of diameters and

110_24

depths. These drums were usually clamped to the bass drum rims or sat in cradles as floor stand

110_25

drums. The sizes that Krupa chose became the "standard" for many decades and they were 13 × 9″

110_26

(mounted) and 16 × 16″ (floor). Later, mounted on three (or, if larger than 16 × 16″, four) legs

110_27

were attached to the floor tom designs. Together with a snare drum and a bass drum of varying size,

110_28

the combination of the four drums became a "set". (The term "kit" did not appear until the mid

110_29

1960s.)

110_30

Later, the mounted toms, known as hanging toms or rack toms, were deepened by one inch each, these

110_31

sizes being called power toms. Extra-deep hanging toms, known as cannon depth, never achieved

110_32

popularity. All these were double-headed.

110_33

Modern versions

110_34

A wide variety of configurations have been available and in use at all levels from advanced student

110_35

kits upwards. Most toms range in size between in diameter, though floor toms can go as large as .

110_36

Classic rock setups Standard diameters

110_37

In the 50s and early 60s, it was common to have only a single hanging tom (a 13") and a single

110_38

floor tom (16").

110_39

A basic rock configuration consists of 12" and 13" hanging toms, and a 16" floor tom with diameter

110_40

× depth in inches used throughout this article. For a more detailed description of the conventions

110_41

and their usage, see drum size conventions.

110_42

A basic fusion configuration refers to a set-up which has 10", 12" and 14" diameter toms, Note

110_43

that these terms do not imply drum depths, so for example, the 14" in a fusion setup could have

110_44

depth 10, 11, 12, or could be a 14×14 floor tom.

110_45

The terms "fusion" and "rock" are marketing terms invented by drum manufacturing companies, and

110_46

there is no absolute definition for them; more a case of an accepted norm.

110_47

Standard depths

110_48

In the 1950-1980s the standard depth rack toms were 12×8 and 13×9. This "classic" configuration is

110_49

still popular. Concert toms came in the early 1970s. With Ludwig producing single headed toms in

110_50

6x5.5,8x5.5,10x6.5,12x8,13x9,14x10, 15x12 16x14 mounted in pairs on a stand.

110_51

"FAST" sizes are 10×8, 12×9, 13×10, etc., a marketing term used by DW, although not unique to DW,

110_52

but with all drum manufacturers.

110_53

The "New standard" sizes - 10×9, 12×10, 13×11, etc. are 2" deeper than what was considered

110_54

"standard" in the 1950s.

110_55

"Power" toms are one inch deeper than standard, with sizes of 10×9 or 10×10, 12×11, 13×12, which

110_56

overtook the classic setup in popularity during the 1980s.

110_57

Square - 10×10, 12×12, 13×13, etc., have been common in the 1980s and 1990s. Hyperdrive are shallow

110_58

depths made popular initially by Tama: 10×6.5, 12×7, 13×7.5, etc.

110_59

Variations Single-headed

110_60

Single-headed tom-toms, also known as concert toms, have also been used in drum kits, though their

110_61

use has fallen off in popularity since the 1970s. Concert toms have a single head and a shell

110_62

slightly shallower than the corresponding double-headed tom. Phil Collins still uses four

110_63

single-headed rack-mount toms and two floor toms (Gretsch) in his setup. They are generally easier

110_64

to tune as they have no bottom head to adjust.

110_65

The term concert tom has also been used to describe double- or single-headed tom-tom drums designed

110_66

for use in a concert band rather than in a drum kit.

110_67

Rototoms

110_68

Rototoms have no shell at all, just a single head and a steel frame. Unlike most other drums, they

110_69

have a variable definite pitch and some composers write for them as a tuned instrument, demanding

110_70

specific notes. They can be tuned quickly by rotating the head. Since the head rotates on a thread,

110_71

this raises or lowers the head relative to the rim of the drum and so increases or decreases the

110_72

tension in the head.

110_73

Gong bass drum

110_74

A gong bass drum (also known as "gong drum"), is a large, single-headed tom often sized at or ,

110_75

with the drumhead being larger than the shell. The sound produced is similar to a bass drum,

110_76

though it is more open and has longer sustain. They can be mounted with standard floor tom legs,

110_77

though many drummers mount them at an angle next to the floor tom(s). Notable users include Neil