Padlocks are portable locks used to protect against theft, vandalism, sabotage, unauthorized use, and harm. They are designed to protect against some degree of forced and surreptitious entry.

History

The earliest positive evidence of padlocks comes from the Roman Era, 500 BC–300 AD.

They were known in early times by merchants traveling the ancient trade routes to Asia and China. Evidence may yet be found that predates the Roman era.

Padlocks with spring tine mechanisms have been found in York, England at the Jorvik Viking settlement - dated 850 AD.

The earliest padlocks used in the United States, sometimes called smokehouse locks, were formed from wrought iron sheet and employed simple lever and ward mechanisms. The design was brought over from England. These locks afforded little protection against forced and surreptitious entry. Contemporary with the smokehouse padlocks and originating in the Slavic areas of Europe, “screw key” padlocks opened with a helical key that was threaded into the keyhole. The key pulled the locking bolt open against a strong spring. Padlocks that offered more key variance were the demise of the screw lock. Improved manufacturing methods allowed the manufacture of better padlocks that put an end to the Smokehouse around 1910.

Around the middle of the 19th century, “Scandinavian” style locks were introduced in America and became a more secure alternative to the prevailing smokehouse and screw locks. These locks had a cast iron body that was loaded with a stack of rotating disks. Each disk had a central cutout to allow the key to pass through them and two notches cut out on the edge of the disc. When locked, the discs passed through cut-outs on the shackle. The key rotated each disk until the notches, placed along the edge of each tumbler in different places, lined up with the shackle, allowing the shackle to slide out of the body. The McWilliams company received a patent for these locks in 1871. The “Scandinavian” design was so successful that JHW Climax & Co. of Newark, New Jersey continued to make these padlocks until the 1950s. Today, other countries are still manufacturing this style of padlock.

Contemporary with the Scandinavian padlock ("Polhem locks") were the “cast heart” locks, so called because of their shape. A significantly stronger lock than the smokehouse and much more resistant to corrosion than the Scandinavian, the hearts had a lock body sand cast from brass or bronze and a more secure lever mechanism. Heart locks had two prominent characteristics: one was a spring-loaded cover that pivoted over the keyhole to keep dirt and insects out of the lock that was called a “drop”. The other was a point formed at the bottom of the lock so a chain could be attached to the lock body to prevent the lock from getting lost or stolen. Cast heart locks were very popular with railroads for locking switches and cars because of their economical cost and excellent ability to open reliably in dirty, moist, and frozen environments.

Around the 1870s, lock makers realized they could successfully package the same locking mechanism found in cast heart locks into a more economical steel or brass shell instead of having to cast a thick metal body. These lock shells were stamped out of flat metal stock, filled with lever tumblers, and then riveted together. Although more fragile than the cast hearts, these locks were attractive because they cost less. In 1908, Adams & Westlake patented a stamped & riveted switch lock that was so economical that many railroads stopped using the popular cast hearts and went with this new stamped shell lock body design. Many lock manufacturers made this very popular style of lock.

In 1877 Yale & Towne was granted a patent for a padlock that housed a stack of levers and had a shackle that swung away when unlocked. It was a notable design because the levers were sub-assembled into a “cartridge” that could be slid into a cast brass body shell. The assembly would remain together by means of two taper pins passed through the shell and cartridge. This design gave the commercial padlock market a serviceable, rekeyable padlock. About twenty years later Yale made another “cartridge” style padlock that employed their famous pin tumbler mechanism and a shackle that slid out of the body instead of swinging away.

Although machining metal was a method that was available to lock makers since the early 19th century, it was not economically feasible to do so until the very early 20th century when electrical generation and distribution became widespread. Some of the earliest padlocks (c. 1905) that were made from a machined block of cast or extruded metal resemble today’s modern padlock. Corbin and Eagle were one of the first lock makers to machine a solid block of metal and insert a relatively new pin tumbler mechanism and a sliding shackle into the holes machined into the body. This style of padlock was both strong and easy to manufacture. Many machined body padlocks were designed to be disassembled so that locksmiths could easily fit the locks to a certain key. The machined body padlocks are still very popular today. The process of machining allows many modern padlocks to have a “shroud” covering the shackle, which is an extension of the body around the shackle to protect the shackle from getting sheared or cut.

In the early 1920s, Harry Soref started Master Lock off with the first laminated padlock. Plates that were punched from sheet metal were stacked and assembled. Holes that were formed in the middle of the plates made room to accommodate the locking mechanism. The entire stack of plates, loaded with the lock parts in it, was riveted together. This padlock was popular for its low cost and an impact-resistant laminated plate design. Today, many lock makers copy this very efficient and successful design.

Die-casting became popular in the early 1930s among lock makers. Not only was it a very inexpensive way to make padlocks, but it allowed designers to design padlocks with a broad range of geometrical features and ornate designs that sand casting and machining wouldn’t allow. Some lock makers, like Junkunc Brothers, augmented their machined solid body padlock products with the less expensive and more attractive die-cast bodied padlocks. The Wise Lock Company embraced this new medium in making a novel padlock that, with the key inserted, would split lengthwise along the body in order to create an opening in the shackle. Chicago Lock pioneered their new “double bitted wafer” and “ACE” products by installing them into a die cast body. With the advent of inexpensive machining done overseas and the overall poor perception of the security of die cast locks, they no longer dominate today’s padlock market.

Rating

Forced entry involves the use of tools such as hammers, bolt cutters, chisels, and drills; consequently, forced entry attacks exhibit obvious signs of entry. Surreptitious attacks involve picks, bump keys, shims, unauthorized key duplication, and other bypass techniques that, when employed, do not show obvious signs of compromise.

A quantitative measure of a padlock’s resistance to forced and surreptitious entry can be determined with tests developed by organizations such as ASTM, Sold Secure (United Kingdom), CEN (Europe), and TNO (The Netherlands).

Components

There are two basic types of padlock locking mechanisms: integrated & modular. Integrated locking mechanisms directly engage the padlock’s shackle with the tumblers. Examples of integrated locking mechanisms are rotating disks (found in "Scandinavian" style padlocks where a disk rotated by the key enters a notch cut into the shackle to block it from moving) or lever tumblers (where a portion of the bolt that secures the shackle enters the tumblers when the correct key is turned in the lock). Padlocks with integrated locking mechanisms are characterized by a design that does not allow disassembly of the padlock. They are usually older than padlocks with modular mechanisms and often require the use of a key to lock.

The more modern modular locking mechanisms, however, do not directly employ the tumblers to lock the shackle. Instead, they have a plug within the “cylinder” that, with the correct key, turns and allows a mechanism, referred to as a “locking dog” (such as the ball bearings found in American Lock Company padlocks) to retract from notches cut into the shackle. Padlocks with modular locking mechanisms can often be taken apart to change the tumblers or to service the lock. Modular locking mechanism cylinders frequently employ pin, wafer, and disk tumblers. Padlocks with modular mechanisms are usually automatic, or self-locking (that is, the key is not required to lock the padlock)

Combination locks

Padlock icon symbolising a secure web transaction

See also

External links

References

Category:Locks

Life and career

Guthrie soon began moonlighting as a singer of commercial jingles, sometimes with her friend Valerie Simpson (of the Ashford & Simpson fame). A songwriting partnership with her then boyfriend, trombonist/bassist Haras Fyre (professionally known as "Patrick Grant") resulted in Ben E. King's comeback single, "Supernatural Thing", and "This Time I'll Be Sweeter", covered by numerous artists. Together they wrote seven tracks on the Sister Sledge's 1975 album ''Circle of Love'': "Cross My Heart", "Protect Our Love", "Love Don't You Go Through No Changes on Me", "Don't You Miss Him Now", "Pain Reliever", "You're Much Better Off Loving Me", and "Fireman". She was also the writer of Roberta Flack's "God Don't Like Ugly".

As Guthrie's solo career developed, she worked extensively with Sly and Robbie on dub-influenced club cuts, and began racking up dance hits. She was dubbed "The First Lady of the Paradise Garage" as several of her songs became anthems at the venue, helped by the frequent and dynamic performances she gave there. She soon teamed musically with famed Paradise Garage DJ Larry Levan, and recorded her first major landmark hit, "Padlock" in 1983 with the Compass Point All Stars in Nassau, Bahamas which became a club and radio hit two years later.

Guthrie is probably best known for her 1986 dance anthem "Ain't Nothin' Goin' on But the Rent", a self-written and -produced track which garnered some controversy for its misandric and materialistic lyrics such as: "You've got to have a j-o-b if you want to be with me/No romance without finance". A literal reading suggests a man only require the finances to make a relationship work. However, Guthrie's lyrics intend to motivate her partner into being responsible for maintaining equality and financial stability.

Her single "Can't Love You Tonight" boldly addressed AIDS at a time when the disease was a taboo subject. Guthrie was an ally to the gay community, and to people with AIDS long before the masses caught up. Proceeds from the single went to the AIDS Coalition.

Other club hits of hers include the Compass Point All Stars-produced "Seventh Heaven", "Peanut Butter", and "Peek-a-Boo". "Padlock" was later covered by M People, who included it on their 1995 album ''Bizarre Fruit'', featuring vocalist Heather Small.

Death

Discography

Albums

Singles

References

External links

Category:1950 births Category:1999 deaths Category:African American female singer-songwriters Category:American dance musicians Category:American pop singers Category:American rhythm and blues singer-songwriters Category:American soul singers Category:Boogie musicians Category:Burials at Fairmount Cemetery, Newark Category:Cancer deaths in New Jersey Category:Deaths from uterine cancer Category:Musicians from Oklahoma Category:People from Okfuskee County, Oklahoma

The Lurkers were a late 1970s English punk rock group from Uxbridge, West London, notable for being the first group ever on Beggars Banquet Records.

Career

The Lurkers recorded four sessions at Maida Vale 4 studio for John Peel at BBC Radio 1, on 18/10/1977, 18/04/1978, 25/07/1978, and 24/01/1979. Their debut single "Shadow", the first release on Beggars Banquet Records, was voted by John Peel as his twelfth best track of the year in 1977's ''Festive Fifty''. with "Love Story", the B-side, at number 31. Bassick left the band after this first single, and was replaced by former Saints member Kym Bradshaw, who left before the recording of the third single, 1978's "Ain't Got a Clue"/"Ooh, Ooh I Love You" which saw the return of Nigel Moore to the band. That single was their biggest hit, reaching No. 45 on the UK singles chart.

The following month, the band’s debut album, ''Fulham Fallout'', reached No. 57 on the UK albums chart. One reviewer described it as "by far their best with production that really makes the guitar kick. It's sloppy and amateurish, but that's what makes it so great." "Be My Prisoner", a song from the album, also appeared on ''Streets'', a 1977 compilation album of early UK punk bands from a variety of independent record labels.

In January 1979, The Lurkers’ fifth single, "Just Thirteen", was released, and in 2001 it was included in ''Mojo'' magazine’s list of the best punk rock singles of all time. A month after the release of this single, The Lurkers' track "I'm on Heat" appeared, alongside songs by more famous bands like The Jam and The Stranglers, on the punk compilation ''20 of Another Kind'' (Polydor, POLS 1006). The album reached number 45 in the UK charts. Another of the band's tracks, "Out in the Dark", appeared on the follow-up ''20 of Another Kind Volume 2''.

The band’s second album was not as well received, critically or commercially, as their debut, and the band split for a few years. Pete Stride collaborated with ‘Honest’ John Plain (of English punk band the Boys) and released an album in January 1980. In 1982, Stride re-formed the Lurkers. They signed for Stoke-on-Trent-based label Clay Records, for whom they released four singles and one album. The band broke up again in 1984.

In the years since, they have reunited with various members numerous times, and continue to record and perform around the world to this day, although its really just Arturo and some of his mates. Their legacy, however, is primarily based on their late 1970s output. "Shadow", "Ain't Got a Clue", and "Just Thirteen" in particular are cited by punk cognoscenti as classic examples of the style, and still show up from time to time on genre overview compilations. The current line-up is: Bassick (bass and vocals) who also plays for 999, Steve Straughan (guitar), and Nelly (drums), ex Hangups and Fiend. In January 2009 the band supported punk legends the Buzzcocks on fourteen dates of their UK tour. Esso, Stride and Moore are jamming again under the name of God's Lonely Men.

Reviews

‘Unabashedly as indebted to The Ramones as the Pistols but boasting a mock-cockney swagger which was utterly unique’.

‘Relentless, uncompromising barrage of 100 mph raw punk rock, taking its lead from the Ramones but replacing the bubblegum factor with an aggressive edge more akin to Motörhead’.

‘London’s answer to the Ramones’.

‘When the band is at its best (notably in their singles "Ain't Got a Clue," "I Don't Need to Tell Her," and "Shadow..."), the album is an astonishing accomplishment, a blur of high octane riffs and unforgettable hooks tumbling over one another without a care for manners or niceties’.

‘The Lurkers were not loved by the Punk Rock cognoscenti - that didn’t stop juvenile urchins like me latching on to their Ramones-esque brevity & celebrating for all it was worth. Their debut 7, Shadow (Beg 1) was one of the greatest Punk Rock sides in the relatively short history of the genre’.

‘Their records are very simple, basic, underproduced stuff that makes the Ramones sound like Queen. But they had a knack for really catchy, singalong choruses and they've got this amateurish charm that you just have to fall for eventually. I now rank these guys as among the greats’.

Discography

Albums

Studio albums

Compilations

Live albums

Appearances on various artist compilations (Selective)

Singles

See also

References

External links

Category:English punk rock groups Category:Musical groups from London Category:Musical groups established in 1976

Career

As Laura Lee Rundless, she replaced Reese in The Meditation Singers in 1956, and over the next few years toured widely around the country. In 1965, as Laura Lee, she launched her secular solo career as an R&B; singer in clubs in Detroit, although she also continued to record occasionally with The Meditation Singers. She first recorded solo for Ric-Tic Records in 1966, with "To Win Your Heart".

The following year, she signed with Chess Records and, after initially recording in-house with the label's producers in Chicago, it was decided to send her to Rick Hall’s FAME Studios in Muscle Shoals to record "Dirty Man". This became her first hit, reaching #13 R&B; and #68 pop. She stayed with Chess until 1969, also recording "Up Tight Good Man" (#16 R&B;) and "As Long As I Got You" (#31 R&B;)).

A short spell with Atlantic subsidiary, Cotillion resulted in two singles and then in 1970, Lee moved to former Motown producers, Holland, Dozier and Holland’s newly established Hot Wax label in Detroit. One of her first recordings for Hot Wax, "Women’s Love Rights", became one of her biggest hits, reaching #11 on the R&B; chart in 1971 and #36 pop. In 1972, "Rip Off" became her biggest R&B; hit at #3 but only climbed to #68 on the Billboard Hot 100. She also recorded an album, ''Two Sides of Laura Lee'', while in a relationship with singer Al Green. Most of her material on Hot Wax was produced by William Weatherspoon, formerly with Motown.

Lee left Invictus / Hot Wax in 1975 and signed with Ariola Records, but became seriously ill shortly afterwards and retired from the music industry for several years. She returned in 1983 with a gospel album, ''Jesus Is The Light Of My Life'', on which she worked with Al Green. By 1990 she was recovered from her illness, and had been ordained as a minister. She has continued recording music, mostly gospel.

A Swedish garage rock band did an unexpected homage to Lee by baptizing themselves as Division of Laura Lee.

Discography

External links

Category:American soul musicians Category:1945 births Category:Living people Category:African American musicians Category:American female singers Category:People from Chicago, Illinois