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No abstract

Diplocraterion, a U-shaped burrow attributed to infaunal invertebrates, is normally a shallow-marine trace fossil and not part of a continental vertebrate ichnoassemblage. Hence, the Glen Rose Formation (Aptian-Albian) of Texas (USA) presents an opportunity to study Diplocraterion associated with a world-class dinosaur tracksite. Most Diplocraterion are in a bioclastic wackestone-packstone bed just above the Taylor Tracklayer, a significant dinosaur track horizon. Diplocraterion are consistently sized, but with variable depths; most have protrusive spreiten and northeast-southwest trends. Smaller Arenicolites co-occur with Diplocraterion, and other trace fossils include Rhizocorallium and a large theropod trackway. Based on our analysis, a sea-level rise buried the Taylor Tracklayer, with a shallow-marine carbonate mud colonised by Diplocraterion and Arenicolites tracemakers. Protrusive Diplocraterion, eroded burrow tops, Rhizocorallium, and other criteria point towards firming and net erosion of the bed caused by a stillstand. The depositional environment of the Diplocraterion bed was possibly a subtidal lagoon that covered shoreward sediments impacted by large theropods. Burrow orientations suggest bidirectional currents consistent with trends of theropod trackways, implying each were controlled by a shoreline. The results of our study demonstrate how marine invertebrate and continental vertebrate trace fossils can be used together to define fine-scale changes in former carbonate shorelines.

Welsh post-punk band Young Marble Giants released one LP in 1980 and then, like their vanishing portraits on the album’s cover, disappeared. Even though Colossal Youth received positive reviews and sold surprisingly well, Young Marble Giants quickly slid into the margins of rock 'n' roll history—relegated to cult status among post-punk and indie rock fans. Their lasting appeal owes itself to the band’s singular approach and response to punk rock. Instead of employing overt political ideology and abrasive sounds to rebel against the status quo, Young Marble Giants filled their songs with restraint, ambiguity, and silence. The trio opened up their music to new sounds and ideas that redefined punk’s rules of rebellion. Where did their rebellious ideas and impulses come from? By tracing Colossal Youth’s artistic origins from Ancient Greece to the 20th-century avant-garde, Michael Blair and Joe Bucciero uncover the intricacies of Young Marble Giants’ idiosyncratic take on music in the post-punk age. Emerging from the gaps in between the notes are new ways of hearing the history of punk, the political and economic turbulence of the late 1970s, and the world that surrounds us right now.