We briefly summarize a diverse range of research findings from the BES that exemplify the state of the art of contemporary urban ecology. The Baltimore Ecosystem Study (BES), part of the NSF's Long Term Ecological Research Network, is one such project. This disciplinary maturity and utility has been facilitated by the investment of the National Science Foundation (NSF), the USDA (US Department of Agriculture) Forest Service, and partner institutions in major urban ecological research projects. 2006b), the interdisciplinary dialogs to mature, and the empirical base to broaden sufficiently for urban research to take shape as a inclusive and rigorous field of ecological study, and to exhibit its potential for integrating with other disciplines in the physical and social sciences ( Pickett et al. However, it has taken the intervening period for the supporting conceptual frameworks to develop ( Cadenasso et al. Stearns (1970) made a notable effort to bring urban ecology within the fold of mainstream ecology. By the middle of the last century, ecologists had begun to apply the ecosystem perspective to cities to estimate urban material budgets (e.g., Boyden et al. In the early 20th century, ecological factors were used to explain specific urban processes, such as the spread of disease in cities, and concepts of ecological succession and zonation were adopted to explain the competition between different social groups and the spatial layout of neighborhoods ( Park and Burgess 1925). Its breadth and inclusive ecological perspective differentiate the current status of urban ecology from its earlier incarnations ( Pickett et al. It aims to understand extensive urban areas that include not only biological and physical features but also built and social components ( Cadenasso et al. Urban ecology is emerging as an integrated science ( Grimm et al. These results suggest a framework for a theory of urban ecosystems. Finally, we illustrate lags between social patterns and vegetation, the biogeochemistry of lawns, ecosystem nutrient retention, and social-biophysical feedbacks.
In addition, we probe the suitability of land-use models, the diversity of soils, and the potential for urban carbon sequestration. We present patterns of species diversity, riparian function, and stream nitrate loading. We address the relationships between social status and awareness of environmental problems, and between race and environmental hazard. The findings suggest a broader range of structural and functional relationships than is often assumed for urban ecological systems. Results from the Baltimore Ecosystem Study, part of the Long Term Ecological Research Network, expose new assumptions and test existing assumptions about urban ecosystems. The urban legend was also referenced during the party scene in 1998 horror film Urban Legend.The emerging discipline of urban ecology is shifting focus from ecological processes embedded within cities to integrative studies of large urban areas as biophysical-social complexes. It is likely Beck was trying to imitate a scream of enjoyment from riding a rollercoaster, but the high-pitched, feminine sound of the scream gave it a different interpretation to listeners. The scream heard in the song is actually the band's keyboardist Billy Beck. A further urban legend (and the most popular version) says that the horribly burned model interrupted the recording session, threatening to sue for compensation for her injuries, which ended up with her being stabbed to death by the band's manager in the control room.
#THE BAND URBAN TALE SKIN#
This scream seems to resemble a female screaming in panic.Īccording to an urban legend, Ester Cordet, the model featured on the album cover, had a freak accident with the super-heated honey burning her skin and her screams of pain were recorded because it happened simultaneously at the same time the band was recording the song. Along with their song "Fire", it is one of their most well-known singles.Īn urban legend revolves around the high-pitch scream heard around the 1:24 - 1:28 mark (on the single version) and 2:32 - 2:36 mark (on the album version).
"Love Rollercoaster" is a 1975 single released by The Ohio Players from their seventh album, Honey.
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