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Deftones

Deftones is an American alternative metal band formed in Sacramento, California in 1988. They were formed by frontman Chino Moreno, lead guitarist Stephen Carpenter and drummer Abe Cunningham, with bassist Chi Cheng and keyboardist and turntablist Frank Delgado joining the line-up in 1990 and 1999, respectively. The band's experimental nature has led some critics to describe them as "the Radiohead of metal".

After the line-up settled in 1993, the band secured a recording contract with Maverick Records, and subsequently released their debut album Adrenaline in 1995. Extensive touring and word-of-mouth promotion of the album helped Deftones garner a dedicated fan base. Their second album Around the Fur (1997), reached chart positions along with its singles, and became the band's first to receive certification from the RIAA.

The band found even further success with their third album White Pony (2000), which marked a transition from their earlier, more aggressive sound into a more experimental direction. Its lead single "Change (In the House of Flies)" is the band's most commercially successful single, and the track "Elite" won a Grammy Award for Best Metal Performance; it was also the band's first of three albums to be certified platinum in the United States. Their self-titled fourth album was released in 2003. While the group's critical success continued, sales proved to be lackluster compared to White Pony. Deftones' fifth studio effort, Saturday Night Wrist (2006), received similar praise, although the album's production was marred by creative tensions and personal issues within the band, some of which influenced its material.

In 2008, while Deftones were working on an album tentatively titled Eros, Cheng was involved in a traffic collision. As a result, he was left in a minimally conscious state until his death in 2013 of cardiac arrest. After Cheng's accident, Deftones halted production on Eros and recruited Quicksand bassist Sergio Vega until his departure in early 2021. The band released the critically celebrated Diamond Eyes in 2010 and embarked on a triple-headline tour with Alice in Chains and Mastodon throughout North America. Their seventh and eighth albums, Koi No Yokan (2012) and Gore (2016) respectively, saw the band continue to move in an increasingly experimental direction and were released to critical acclaim. Their latest album, Ohms (2020), received significant critical praise for its return to the band's heavier sound.

Early years (1988–1993)
When Stephen Carpenter was 15 years old, he was hit by a car while skateboarding. Confined to a wheelchair for several months, he began teaching himself to play guitar by playing along to songs by thrash metal bands such as Anthrax, Stormtroopers of Death, and Metallica. A long-circulated myth alleged that the driver paid Carpenter a cash settlement that allowed the band to purchase equipment, but Abe Cunningham commented in a 2007 interview that the story about the settlement was false.

Carpenter, Cunningham and Chino Moreno were childhood friends. All three went to C. K. McClatchy High School in Sacramento and remained friends through the city's skateboarding scene. Carpenter was a fan of heavy metal, and Moreno was interested in hardcore punk bands such as Bad Brains and post-punk and new wave bands such as Depeche Mode and the Cure. When Moreno found out that Carpenter played guitar, he set up a jam session with Cunningham, who played drums, and the three began playing regularly in Carpenter's garage around 1988. They recruited bassist Dominic Garcia some time after, and the band became a four-piece. When Cunningham left Deftones to join Phallucy, another band from Sacramento, Garcia switched to drums. Chi Cheng joined to play bass, and the band recorded a four-track demo soon afterwards. John Taylor replaced Garcia on drums in 1991, until Cunningham's return in 1993. Within two years, the band began playing club shows and later expanded their gigging territory to San Francisco and Los Angeles, where they played shows alongside bands such as Korn. While closing for another band in L.A., after the majority of the audience had left, the band impressed a Maverick Records representative. They were signed to the label after performing three of their songs for Freddy DeMann and Guy Oseary.

Carpenter created the band's name by combining the hip hop slang term "def" (which was used by artists such as LL Cool J and Public Enemy) with the suffix "-tones," (which was popular among 1950s bands such as the Delltones, the Cleftones, the Deltones, and the Harptones). The name is also a pun on the term "tone deaf."

Adrenaline (1994–1996)
The band's debut album, Adrenaline, was recorded at Bad Animals Studio in Seattle, Washington and released on October 3, 1995. It was produced by Deftones and Terry Date, who would go on to produce the band's next three albums. While they were initially commercially unsuccessful, the band built a dedicated fan base through extensive touring, word-of-mouth and Internet promotion. Through their efforts, Adrenaline went on to sell over 220,000 copies. It is regarded as an important part of the 1990s nu metal movement. An early track which predated Adrenaline but did not make the album's final cut was "Teething"; the band contributed the song to the soundtrack for the 1996 film The Crow: City of Angels. The band can also be seen performing the song live during a scene as themselves.

The album spent 21 weeks on the Billboard Heatseekers chart, reaching a peak position of 23. When asked what he attributed the album's success to, Cheng responded, "One word: perseverance. We've been together for almost eight years, on the road for two, and we do it with honesty and integrity—and the kids can tell". The album was certified gold by the RIAA on July 7, 1999, and was certified platinum on September 23, 2008.

Regarding the recording of the album, Cunningham said, "At the time we did the first record—which I really like and think is good—you can tell the band was really young. We'd been playing most of those songs for quite a while, and we were just so happy to be making a record that we didn't really think a whole lot about making the songs better". Moreno felt that Adrenaline was recorded "really fast" and performed all his vocals live with the band in the room using a hand-held Shure SM58 microphone. AllMusic's review of Adrenaline praised the album's musical control, precision, overall groove and Cunningham's "surprisingly sophisticated drumming". It was also noted that "there is a bit of sameness in Chino Moreno's whispered vocal melodies, which drags the record down a bit".

Around the Fur (1997–1999)
Deftones' second album, Around the Fur, was recorded at Studio Litho in Seattle, Washington and produced by Date. Released on October 28, 1997, the album was dedicated to Dana Wells, the late stepson of the singer Max Cavalera of Sepultura, Soulfly and Cavalera Conspiracy. Cavalera also collaborated on "Headup", a tribute to Wells. Although not yet a member of the band, Delgado was credited as "audio" on five of the album's tracks. Cunningham's wife, Annalynn, provided guest vocals on "MX".

"When we went in to make this record, we really didn't have a set idea of what we wanted to come out with", said Moreno in a 1998 interview with Chart magazine. However, he felt that the album "fell into place" once the band had settled into the studio. The band expanded its sound, spending more time with Date and giving more thought to the album's production. Cunningham varied his drum sound and experimented by using different types of snare drum on almost every track. The album was praised for its loud-soft dynamics, the flow of the tracks, Moreno's unusual vocals, and the strong rhythm-section performance of Cheng and Cunningham. Stephen Thomas Erlewine's retrospective review noted that "while they don't have catchy riffs or a fully developed sound, Around the Fur suggests they're about to come into their own".

Around the Fur propelled the band to fame in the alternative metal scene on the strength of radio and MTV airplay for the singles "My Own Summer (Shove It)" and "Be Quiet and Drive (Far Away)". Around the Fur sold 43,000 copies in its first week of release, and entered the Billboard 200 at No. 29 (its peak position), remaining on the charts for 17 weeks. The band went back to touring, making appearances at the Warped Tour (in the United States, New Zealand and Australia), Pinkpop Festival, Roskilde Festival and Ozzfest as well as releasing a live EP on June 22, 1999. Around the Fur went on to reach RIAA gold status on June 24, 1999, and platinum status on June 7, 2011. "My Own Summer (Shove It)" appeared on The Matrix: Music from the Motion Picture, released March 30, 1999.

White Pony (2000–2002)

On June 20, 2000, the band released their third album, White Pony, again produced by Date and Deftones. It was recorded at the Record Plant studio in Sausalito, California, and at Larrabee Sound Studios, West Hollywood, California. The album debuted at No. 3 on the U.S. Billboard chart with sales of 178,000 copies. Delgado, now a full-time band member, added new elements to the band's music. The melancholy "Teenager", for example, was a departure in style and mood, a "love song", according to Moreno. Programming duties were carried out by DJ Crook, a friend of Moreno (and bandmate in his side project Team Sleep). "Passenger" was a collaboration with singer Maynard James Keenan of Tool, and the refrain in "Knife Prty" featured vocals by Rodleen Getsic. Moreno also started contributing additional guitar work.

An interview with the band in Alternative Press described the recording process of White Pony. After a break from touring, the band spent four months in the studio writing and recording it, the longest amount of time they had dedicated to an album thus far. Moreno said that the majority of this time was spent trying to write songs, and that the writing of "Change (In the House of Flies)" was the turning point where the band began working as a unit. Despite being pressured to release the album sooner, the band decided to take their time. Cheng explained, "We didn't feel like we had anything to lose, so we made the record we wanted to make." Moreno did not have an overall lyrical theme in mind, but made a conscious decision to bring an element of fantasy into his lyrics: "I basically didn't sing about myself on this record. I made up a lot of story lines and some dialogue, even. I took myself completely out of it and wrote about other things".

Reviews were generally positive, commenting on Moreno's increasing sophistication as a lyricist and the group's experimentalism. Allmusic's review said that "Deftones went soft, but in an impressive way, to twist around its signature punk thrash sound".

The album was originally released as an 11-track edition beginning with "Feiticeira" and ending with "Pink Maggit", and featuring gray cover art. A limited-edition print of 50,000 black-and-red jewel case versions of White Pony was released at the same time with a bonus twelfth track titled "The Boy's Republic". Later, the band released "Back to School (Mini Maggit)", a rap-influenced interpretation of "Pink Maggit". The song was released as a single and included as the new opening track of a re-released White Pony on October 3, 2000. The new release still had "Pink Maggit" as the final track and featured altered white cover art. Not entirely happy with re-releasing the album, the band negotiated to have "Back to School" made available as a free download for anyone who had already bought the original album. Moreno noted that "Everybody's already downloaded our record before it came out anyway, otherwise I'd be kind of feelin' like, 'Man, why [are] we putting [out] all these different versions of the record?' [...] that's the best way we can actually get this song out to the people who already purchased this record, for free basically. And if they wanna buy the record again, it's cool".

White Pony achieved platinum status on July 17, 2002, selling over 1.3 million copies in the US, and earning the band a 2001 Grammy Award for Best Metal Performance for the song "Elite".

Deftones (2002–2005)
Deftones began work on their fourth album under the working title Lovers. Regarding the album's direction, Cheng commented, "We've proven that we can musically go in any direction we want, and we want to get kind of heavy on this one". Moreno underwent vocal training as a precaution after severely damaging his vocal cords on the band's 2001 summer tour. The band converted their rehearsal space in Sacramento into a fully equipped studio and recorded most of the album there at negligible cost. The band brought in Date to assist with production and also received input on musical arrangement from Greg Wells on several of the album's tracks. The band later added more material at Studio X in Seattle, Washington and at Larrabee Sound Studios. Overall, the album took 12 months and cost roughly $2.5 million to complete. The band was fined by Maverick for missing deadlines.

In January 2003, Deftones left the studio to perform several one-off shows in Australia and New Zealand as part of the annual Big Day Out festival. Shortly after, the band returned to the studio to finish their fourth album. The self-titled Deftones was released on May 20, 2003. It entered the Billboard 200 at No. 2 and sold 167,000 copies in its first week. The album remained in the Billboard Top 100 for nine weeks, supported by the first single, "Minerva". The band shot a video for the album's second single, "Hexagram", with fans watching the band play the song in an indoor skatepark in Simi Valley, California.

Reviews were mainly positive, praising the band for the album's progression and originality in the midst of declining creativity in contemporary metal. Moreno was quoted as saying, "It's all on record. We told motherfuckers not to lump us in with nu metal because when those bands go down we aren't going to be with them". In reviewing Deftones, Stephen Thomas Erlewine wrote that "Hexagram", the album's opener, "hits hard—harder than they ever have, revealing how mushy Staind is, or how toothless Linkin Park is". He also went on to say, however, that the album "sticks a little too close to familiar territory". The A.V. Club similarly called the album "less rewarding than its predecessor, though its peaks rival any in the genre".

The band released a compilation album titled B-Sides & Rarities on October 4, 2005. The CD includes various B-sides and covers from throughout their career, while the DVD contains behind-the-scenes footage and the band's complete videography up to that point.

Saturday Night Wrist (2006–2007)

Rather than work with Date, their producer for many years, Deftones decided to record with Bob Ezrin on their fifth studio album. Cunningham said that while the group enjoyed working with Date, "at this point, we just needed to change things up [...] And this is definitely a different style. Working with him [Ezrin] is just putting us fucking upside down. He's cracking the whip". After recording all the instrumental parts for the record, Moreno decided to record his vocals separately, and finished recording the album with former Far guitarist Shaun Lopez as producer. According to an interview with Abe Cunningham, there were tensions involved with the recording of Saturday Night Wrist that were related to the band members' personal lives. Cunningham compared the process to “pulling teeth.”

The band released the album, titled Saturday Night Wrist, on October 31, 2006. It debuted at No. 10 on the U.S. Billboard chart with sales of just over 76,000, a significant decrease in the first-week sales of their two previous releases. The album's first single, "Hole in the Earth", was released on September 12, 2006. The single was featured in the video game Saints Row, which was released in August 2006, shortly before the full release of Saturday Night Wrist. It was also later featured as downloadable content for the PlayStation 3 and Xbox 360 versions of Guitar Hero 3. Blabbermouth.net wrote that Deftones "have rallied to create one of the strongest discs in the band's repertoire". "Mein" was the album's second single, which was released on March 9, 2007. Collaborations on the record include Annie Hardy from Giant Drag on the song "Pink Cellphone" and Serj Tankian from System of a Down on the track "Mein".

Deftones spent the majority of 2006 and 2007 touring around the world in support of the album, performing in North America, Europe, South America, Japan and Australia. The band also performed on such tours as Taste of Chaos, Family Values Tour and the Soundwave Festival.

Eros sessions, Cheng's car accident and Vega's arrival (2008–2009)
In the fall of 2007, Deftones started writing songs for what was planned to be their sixth studio album, Eros. Moreno described the album as unorthodox and aggressive. Recording started on April 14, 2008. The band returned to working with Terry Date as the producer for Eros.

On November 4, 2008, Cheng was seriously injured in a car accident in Santa Clara, California. As a result of the injuries sustained in the crash, he remained in a minimally conscious state. Following the accident, Cheng's bandmates and his mother, Jeanne, began using the Deftones blog to post updates on Cheng's condition. On December 9, 2008, it was announced that Cheng had been moved into the care of an unnamed hospital that "specializes in the care and management of traumatic and non-trauma related brain injuries."

In late January 2009, the band released a new statement, stating that "our fallen comrade has not yet made significant progress", and that a friend of the band, Sergio Vega (formerly of Quicksand), would be taking over as bassist in Cheng's absence, as he had done temporarily in 1998. On April 5, the band played their first show without Cheng since 1998 at the Bamboozle Left festival in Irvine, California.

On June 23, 2009, Deftones announced on their official website that Eros would be delayed indefinitely, saying, "As we neared completion on Eros, we realized that this record doesn't best encompass and represent who we are currently as people and as musicians. And although those songs will see the light of day at some point, we collectively made the decision that we needed to take a new approach, and with Chi's condition heavy on our minds while doing so. We needed to return to the studio to do what we felt was right artistically". They also said, "The decision to hold off on releasing Eros has no connection with Chi's condition or anything associated. This was, and is, purely a creative decision by the band to write, record, and deliver an amazing product".

Korn members Brian "Head" Welch and Reginald "Fieldy" Arvizu, along with members of Sevendust, Slipknot and other alternative metal bands, recorded and released "A Song for Chi", with proceeds benefiting Cheng and his family. To aid in the fundraising for the Cheng family, the band announced two 2009 benefit shows in Los Angeles.

A website—One Love for Chi—was launched by Deftones fan Gina Blackmore on March 10, 2009, about four months after Cheng's accident. The site served as a platform for updates and information on Cheng's condition, as well as serving as an auction site for items donated by friends of the band. All proceeds raised by the website were donated to his family so they could provide him the best possible medical care.

Diamond Eyes (2010–2011)
Deftones' sixth album, Diamond Eyes, was originally scheduled for release on April 27, 2010; this date was later pushed back to May 18. In March, it was announced that the album had leaked onto the Internet, and the album's release date was moved forward to May 4 as a result. On February 23, 2010, the album's first single, "Rocket Skates", was made available for free download at www.gunsrazorsknives.com. The album was produced by Nick Raskulinecz. In contrast to Eros' dark and aggressive nature, the band took a more optimistic approach both lyrically and sonically on Diamond Eyes.

On March 15, Deftones debuted their first radio-ready single, "Diamond Eyes". Both "Diamond Eyes" and "Rocket Skates" received positive reviews from fans and critics, with many making comparisons of the two singles' style and sound to that of material from the Around the Fur album.

Teaming up with bands Mastodon and Alice in Chains, Deftones went on tour in the fall of 2010 in the United States and Canada. The tour was called Blackdiamondskye from the three bands' latest albums (Black Gives Way to Blue, Diamond Eyes and Crack the Skye). The tour included a limited edition series of silk-screened art prints promoting each show individually, created by the poster artist Jermaine Rogers. Rogers has created a majority of the Deftones concert poster and print artwork since the late 1990s.

On April 16, 2011, in honor of Record Store Day, the band released an LP titled Covers, containing several cover songs that the band had recorded over the years, including "Drive" (originally by the Cars), "If Only Tonight We Could Sleep" (originally by the Cure) and "No Ordinary Love" (originally by Sade). On October 25, Deftones released The Vinyl Collection 1995–2011 in a limited edition of 1,000 copies.

Koi No Yokan and Cheng's death (2012–2013)
On March 29, 2012, Carpenter revealed that the band were working on a new record in an interview posted on ESP Guitars's YouTube channel. It was reported that Raskulinecz would return to produce their as-yet-unnamed seventh studio album.

It was also reported that the band would be recording several B-sides for the album, including an Elvis Presley cover and possibly an Earth, Wind, and Fire cover. It was later announced that there would be no bonus tracks. On July 28, Deftones performed a brand-new song titled "Rosemary" and also debuted another track titled "Roller Derby" (later retitled "Poltergeist"). Koi No Yokan was announced on August 30, 2012, and released on November 12, 2012, by Reprise Records. Metacritic rated Koi No Yokan 86 out of 100, indicating "universal acclaim" based on 18 reviews. In May 2013, it won Revolver's Golden Gods Award for Album of the Year.

On April 13, 2013, despite making a partial recovery and returning home, Cheng died in a hospital in his hometown of Stockton, California, after falling into cardiac arrest. It had been more than four years since his 2008 accident. Moreno announced in May that the album Eros, shelved in 2008 after Cheng's accident, was now more likely to be released following his death.

Gore (2014–2017)
In March 2014, while Moreno was touring with his side project Crosses in support of their self-titled debut album, the rest of Deftones began writing a follow-up to Koi No Yokan. Deftones also previously reported that they intended to record a new album either in late 2014 or early 2015.

On April 13, 2014, the first anniversary of Cheng's death, Deftones released a track from Eros titled "Smile" on YouTube, the first officially released material from the long-shelved album. The video was removed by Warner Music Group two days later due to copyright infringement, despite the track having been uploaded by Moreno. Although the track has again been made available, it remains the only recording to be released from the Eros sessions to date. In late February 2015, just after the band had finished the new album's drum tracks, Moreno told Rolling Stone that Deftones had written 16 songs during the album's sessions. He described the album as "a little more of a heady record" than the previous album. On May 15, 2015, Moreno was interviewed by Kerrang! about the new album, which he described as having "a lot of different moods". He further explained that it was not a "happy record", but also "not a completely angry record". Despite reports of Carpenter's initial difficulty getting into the feel of the album, band members have noted the album's distinct collaborative nature. Vega utilized a six-string bass when recording the new material, helping to push the band into new sonic territory. After producing their previous two records with Raskulinecz, Deftones worked with Matt Hyde, who had been a recording engineer on Koi No Yokan.

The album was pushed back multiple times from its originally scheduled September 2015 release date. On February 4, 2016, the band released the first single from Gore, titled "Prayers / Triangles". "Doomed User" and "Hearts / Wires" were also made available ahead of the album's release, on March 16 and April 3, respectively. Gore was officially released on April 8, 2016. The second official single, "Phantom Bride", was released on June 7. The song featured a guitar solo by Alice in Chains guitarist Jerry Cantrell; this is considered unusual for a Deftones song. Gwilym Mumford of The Guardian praised the album for its emphasis on experimentation and ambiance and noted the exploration work in the tension between the "croon" in Moreno's "soulful" voice, his "opaque" lyrics, and Carpenter's "pile-driving" guitar riffs.

Ohms and Vega's departure (2017-2023)
In 2017, Chino Moreno revealed that Deftones had begun writing material for their ninth studio album, which he stated hoped would be out sometime in 2019. Moreno went on to state that the band would be going in a different direction than they had on Gore and that he would be taking a step back from leading the song writing to allow Stephen Carpenter and Abe Cunningham to be more involved in the material on the new album. In May 2018, Moreno was again asked about the new material and he stated the songs were "considerably heavier" than those on Gore. That same month, Deftones embarked on a South American tour with support from Quicksand and Deadly Apples.

In April 2020, Deftones announced that they were mixing their new album. During the recording sessions, which reportedly took place in Los Angeles, the band reunited with Terry Date as the producer of the album, making it the first time Deftones had worked with him since the unreleased Eros album in 2008. On August 19, 2020, the band teased the release date and the title of their upcoming ninth studio album. A day later, the band officially announced the title of the album, Ohms, set for release on September 25, 2020. At the same time, the band revealed the album itself, the album cover, the track list, and release date. The title track serves as the first single, and was released on August 21. On September 17, 2020, the band released the second single from the album, "Genesis". On September 22, the band announced their "Adopt-a-Dot" campaign in which fans could digitally sponsor a dot from the Ohms album cover via a charitable donation.

In October 2020, they officially announced a 20th anniversary reissue of White Pony to be released in December of that year. The reissue was packaged alongside Black Stallion, a companion remix album featuring artists including Mike Shinoda, DJ Shadow and the Cure's Robert Smith.

Deftones postponed their joint tour with Gojira in support of Ohms twice due to the COVID-19 pandemic.

In March 2022, it was announced that bassist Sergio Vega left the band in early 2021, with Vega claiming he was never an official member of the band and was just a contracted bassist for his tenure. Vega said he sought what he perceived as official membership, and chose to leave after being offered the same status as he had been since he began performing with the band. The following month, it was announced that Fred Sablan joined the band as Vega's touring replacement. The band was also joined by touring guitarist Lance Jackman; on May 20, 2022, it was announced that Jackman would be temporarily replacing Carpenter during the band's 2022 European Tour.

Upcoming tenth studio album (2024-present)
In April 2024, Chino Moreno told KROQ that the band has completed the bulk of its tenth studio album. He said the entire album was tracked instrumentally, but it still needs vocals.

Musical style, influences and legacy
Although initially rooted in metal, Deftones have always claimed diverse influences from groups of various genres, with their musical style diversifying over their career. Their sound has been described as alternative metal, art rock/art metal, experimental rock, shoegaze, nu metal, post-punk, post-hardcore, alternative rock, dream pop, drone rock, post-metal, post-rock, progressive metal, stoner rock, math metal, hard rock, trip hop, glitch, funk metal, psychedelia, emo, metalcore and screamo.

Originally, the band was often associated with the "nu metal" movement in the press. However, Moreno has emphatically rejected the application of that label to the band. Asked about their connection with bands such as Korn, Moreno has also stated that their commonality came down to only the shared influence of Faith No More, especially the percussive approach to vocals by Mike Patton. Following the release of Deftones' third album, White Pony, they were acknowledged by many critics to have moved beyond that label.

The music critic Johnny Loftus wrote, "Rock critics usually reserve a special place for Deftones above or at least away from the rest of the turn-of-the-century metal movement [....] Deftones have always seemed more curious, more willing to incorporate traditionally revered sounds like D.C. hardcore and dream pop into their Northern California alt-metal". Peter Buckley, the author of The Rough Guide to Rock, called the band "one of the most primal, powerful, and experimental" bands in the alternative metal scene.

Moreno's lyrics were described by Time as "suggesting emotions rather than announcing them". Moreno himself described his lyrics as ambiguous and sometimes impersonal, saying: "I like to be ambiguous when writing to a certain extent, and throwing something so brash [as Chi's accident] against that and playing with it. And also making it sound dimensional. Giving the feeling off that it is raw and it is emotional, but it's not just connected with our personal story. It's not merely about our career and our lives, it's bigger than that. When I hear the music, I get inspired to paint the lyrical pictures you describe, but I'm not always talking about myself". The band's legacy has been compared to alternative rock group Radiohead, with some dubbing Deftones "The Radiohead of metal".

Deftones' influences include Faith No More, Primus, Bad Brains, and Hum. Additionally, Moreno has cited Prince, the Cure, Duran Duran, DJ Shadow, Portishead, Orchestral Manoeuvres in the Dark, Depeche Mode, Thompson Twins, and the Human League, as personal influences.

Side projects
Deftones members have worked on several side projects, with Moreno fronting Team Sleep, Crosses, Palms and supergroup Saudade (the latter including members from hardcore punk bands Bad Brains and Cro-Mags and avant-jazz group Medeski Martin & Wood). Carpenter works with cinematic electronic metal group Sol Invicto, which he founded with producer Richie Londres. Carpenter has also worked with the supergroup Kush, featuring members of Fear Factory and Cypress Hill. Delgado is a member of a DJ group called Decibel Devils, with DJ Crook of Team Sleep, Matt D and DJ Julez. In 2000, Cheng released a CD composed of his own spoken word poetry, called The Bamboo Parachute.

Band members
Current members

 * Chino Moreno – lead vocals (1988–present) ; rhythm guitar (1999–present)
 * Stephen Carpenter – lead guitar (1988–present) ; rhythm guitar (1988–1999)
 * Abe Cunningham – drums (1988–1990, 1993–present)
 * Frank Delgado – keyboards, turntables, samples (1999–present; touring musician 1997–1998)

Current touring musicians
 * Fred Sablan – bass, backing vocals (2022–present)
 * Lance Jackman ― lead guitar, backing vocals (2022–present)
 * Shaun Lopez ― lead guitar (2024–present)

Former members

 * Dominic Garcia – bass (1988–1990), drums (1990–1991)
 * Chi Cheng – bass, backing vocals (1990–2008; died 2013)
 * John Taylor – drums (1991–1993)
 * Sergio Vega – bass, backing vocals (2009–2021; touring substitute 1999)

Timeline

Awards and nominations

 * 2000 || White Pony || Best Album (Kerrang! Awards) || Won
 * 2003 || Deftones || Best Album (Kerrang! Awards) || Nominated
 * rowspan="2"| 2001 || "Elite" || Best Metal Performance (Grammy Awards) || Won
 * White Pony || Outstanding Hard Rock/Heavy Metal Album (California Music Awards) || Won
 * rowspan="2"| 2013 || Koi No Yokan || Album of the Year (Revolver Golden Gods Awards) || Won
 * Deftones || Best International Band (Metal Hammer Golden Gods Awards) || Nominated
 * rowspan="3"| 2022 || "Genesis" || Best Metal Performance (Grammy Awards) || rowspan="2" Nominated
 * "Ohms" || Best Rock Performance (Grammy Awards)
 * "Passenger" (Mike Shinoda Remix) || Best Remixed Recording (Grammy Awards) || Won
 * rowspan="2"| 2013 || Koi No Yokan || Album of the Year (Revolver Golden Gods Awards) || Won
 * Deftones || Best International Band (Metal Hammer Golden Gods Awards) || Nominated
 * rowspan="3"| 2022 || "Genesis" || Best Metal Performance (Grammy Awards) || rowspan="2" Nominated
 * "Ohms" || Best Rock Performance (Grammy Awards)
 * "Passenger" (Mike Shinoda Remix) || Best Remixed Recording (Grammy Awards) || Won
 * "Ohms" || Best Rock Performance (Grammy Awards)
 * "Passenger" (Mike Shinoda Remix) || Best Remixed Recording (Grammy Awards) || Won
 * "Passenger" (Mike Shinoda Remix) || Best Remixed Recording (Grammy Awards) || Won
 * "Passenger" (Mike Shinoda Remix) || Best Remixed Recording (Grammy Awards) || Won

Discography

 * Adrenaline (1995)
 * Around the Fur (1997)
 * White Pony (2000)
 * Deftones (2003)
 * Saturday Night Wrist (2006)
 * Diamond Eyes (2010)
 * Koi No Yokan (2012)
 * Gore (2016)
 * Ohms (2020)

title: Deftones


text:
User:Wizzer

Mann kann in das Schwimmbad mit Frauen schwimmen.

And what ho young sir!

As I look back over these past twelve months, I know that it has been about as full a year as I can remember. But Christmas itself still remains a time for reflection and a focus of hope for the future. All great religions have such times of renewal, moments to take stock before moving on to face the challenges which lie ahead.

Many of you will know only too well from your own experience, the grief that follows the death of a much loved mother or sister. Mine were very much part of my life and always gave me their support and encouragement. But my own sadness was tempered by the generous tributes that so many of you paid to the service they gave to this country and the wider Commonwealth. At such a difficult time this gave me great comfort and inspiration as I faced up both to my own personal loss and to the busy Jubilee summer ahead.

Anniversaries are important events in all our lives. Christmas is the anniversary of the birth of Christ over two thousand years ago, but it is much more than that. It is the celebration of the birth of an idea and an ideal. In a different way I felt that the Golden Jubilee was more than just an anniversary. The celebrations were joyous occasions, but they also seemed to evoke something more lasting and profound  -  a sense of belonging and pride in country, town, or community; a sense of sharing a common heritage enriched by the cultural, ethnic and religious diversity of our twenty-first century society.

I hope it also provided an occasion to acknowledge the progress of the past fifty years and the contributions of those who have done so much to make this country what it is today - their leadership and example, their achievements in science, the arts and many other fields.

These celebrations also gave opportunities to recognise the valuable work undertaken by so many people in service of their communities. It was a time to remind ourselves, as the Christmas story does every year, that we must never forget the plight of the disadvantaged and excluded,  that we must respond to the needs of those who may be in distress or despair. Our modern world places such heavy demands on our time and attention that the need to remember our responsibilities to others is greater than ever. It is often difficult to keep this sense of perspective through the ups and downs of everyday life - as this year has constantly reminded me.

I know just how much I rely on my own faith to guide me through the good times and the bad. Each day is a new beginning, I know that the only way to live my life is to try to do what is right, to take the long view, to give of my best in all that the day brings, and to put my trust in God. Like others of you who draw inspiration from your own faith, I draw strength from the message of hope in the Christian gospel. Fortified by this and the support you have given throughout the last twelve months which has meant so much to me, I look forward to the New Year, to facing the challenges and opportunities that lie ahead, and to continuing to serve you to the very best of my ability each and every day.

A Happy Christmas to you all.

Blah...

The real deal --> http://animatedtv.about.com/gi/dynamic/offsite.htm?site=http%3A%2F%2Fwww.snpp.com%2Fguides%2Fseymour.html

And yes, my real name is Armin Tamzarian.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User:Wizzer


text:
General American English

General American English, known in linguistics simply as General American (abbreviated GA or GenAm), is the umbrella accent of American English spoken by a majority of Americans, encompassing a continuum rather than a single unified accent. It is often perceived by Americans themselves as lacking any distinctly regional, ethnic, or socioeconomic characteristics, though Americans with high education, or from the North Midland, Western New England, and Western regions of the country are the most likely to be perceived as using General American speech. The precise definition and usefulness of the term continue to be debated, and the scholars who use it today admittedly do so as a convenient basis for comparison rather than for exactness. Other scholars prefer the term Standard American English.

Standard Canadian English accents are sometimes considered to fall under General American, especially in opposition to the United Kingdom's Received Pronunciation. Noted phonetician John C. Wells, for instance, claimed in 1982 that typical Canadian English accents align with General American in nearly every situation where British and American accents differ.

History and modern definition
The term "General American" was first disseminated by American English scholar George Philip Krapp, who in 1925 described it as an American type of speech that was "Western" but "not local in character". In 1930, American linguist John Samuel Kenyon, who largely popularized the term, considered it equivalent to the speech of "the North" or "Northern American", but, in 1934, "Western and Midwestern". Now typically regarded as falling under the General American umbrella are the regional accents of the West, Western New England, and the North Midland (a band spanning central Ohio, central Indiana, central Illinois, northern Missouri, southern Iowa, and southeastern Nebraska), plus the accents of highly educated Americans nationwide. Arguably, all Canadian English accents west of Quebec are also General American, though Canadian vowel raising and certain newly developing features may serve to increasingly distinguish such accents from American ones. William Labov et al.'s 2006 Atlas of North American English put together a scattergram based on the formants of vowel sounds, finding that Midland U.S., western Pennsylvania, the western U.S. and Canada to be closest to the center of the scattergram, and concluding that they had fewer marked dialectical features than other accents such as New York or the south.

Regarded as having General American accents in the earlier 20th century, but not by the middle of the 20th century, are the Mid-Atlantic United States, the Inland Northern United States, and Western Pennsylvania. However, many younger speakers within the Inland North seem to be moving back away from the Northern Cities Shift of front lax vowels that were rising. Accents that have never been labeled "General American", even since the term's popularization in the 1930s, are the regional accents (especially the r-dropping ones) of Eastern New England, New York City, and the American South. In 1982, British phonetician John C. Wells wrote that two-thirds of the American population spoke with a General American accent.

Disputed usage
English-language scholar William A. Kretzschmar Jr. explains in a 2004 article that the term "General American" came to refer to "a presumed most common or 'default' form of American English, especially to be distinguished from marked regional speech of New England or the South" and referring especially to speech associated with the vaguely-defined "Midwest", despite any historical or present evidence supporting this notion. Kretzschmar argues that a General American accent is simply the result of American speakers suppressing regional and social features that have become widely noticed and stigmatized.

Since calling one variety of American speech the "general" variety can imply privileging and prejudice, Kretzchmar instead promotes the term Standard American English, which he defines as a level of American English pronunciation "employed by educated speakers in formal settings", while still being variable within the U.S. from place to place, and even from speaker to speaker. However, the term "standard" may also be interpreted as problematically implying a superior or "best" form of speech. The terms Standard North American English and General North American English, in an effort to incorporate Canadian speakers under the accent continuum, have also been suggested by sociolinguist Charles Boberg. Since the 2000s, Mainstream American English has also been occasionally used, particularly in scholarly articles that contrast it with African-American English.

Modern language scholars discredit the original notion of General American as a single unified accent, or a standardized form of English—except perhaps as used by television networks and other mass media. Today, the term is understood to refer to a continuum of American speech, with some slight internal variation, but otherwise characterized by the absence of "marked" pronunciation features: those perceived by Americans as strongly indicative of a fellow American speaker's regional origin, ethnicity, or socioeconomic status. Despite confusion arising from the evolving definition and vagueness of the term "General American" and its consequent rejection by some linguists, the term persists mainly as a reference point to compare a baseline "typical" American English accent with other Englishes around the world (for instance, see Comparison of General American and Received Pronunciation).

Regional origins
Though General American accents are not commonly perceived as associated with any region, their sound system does have traceable regional origins: specifically, the English of the non-coastal Northeastern United States in the very early 20th century, which was relatively stable since that region's original settlement by English speakers in the mid-19th century. This includes western New England and the area to its immediate west, settled by members of the same dialect community: interior Pennsylvania, Upstate New York, and the adjacent "Midwest" or Great Lakes region. However, since the early to mid-20th century, deviance away from General American sounds started occurring, and may be ongoing, in the eastern Great Lakes region due to its Northern Cities Vowel Shift (NCVS) towards a unique Inland Northern accent (often now associated with the region's urban centers, like Chicago and Detroit) and in the western Great Lakes region towards a unique North Central accent (often associated with Minnesota, Wisconsin, and North Dakota).

Theories about prevalence
Linguists have proposed multiple factors contributing to the popularity of a rhotic "General American" class of accents throughout the United States. Most factors focus on the first half of the twentieth century, though a basic General American pronunciation system may have existed even before the twentieth century, since most American English dialects have diverged very little from each other anyway, when compared to dialects of single languages in other countries where there has been more time for language change (such as the English dialects of England or German dialects of Germany).

One factor fueling General American's popularity was the major demographic change of twentieth-century American society: increased suburbanization, leading to less mingling of different social classes and less density and diversity of linguistic interactions. As a result, wealthier and higher-educated Americans' communications became more restricted to their own demographic. This, alongside their new marketplace that transcended regional boundaries (arising from the century's faster transportation methods), reinforced a widespread belief that highly educated Americans should not possess a regional accent. A General American sound, then, originated from both suburbanization and suppression of regional accent by highly educated Americans in formal settings. A second factor was a rise in immigration to the Great Lakes area (one native region of supposed "General American" speech) following the region's rapid industrialization period after the American Civil War, when this region's speakers went on to form a successful and highly mobile business elite, who traveled around the country in the mid-twentieth century, spreading the high status of their accents. A third factor is that various sociological (often race- and class-based) forces repelled socially-conscious Americans away from accents negatively associated with certain minority groups, such as African Americans and poor white communities in the South and with Southern and Eastern European immigrant groups (for example, Jewish communities) in the coastal Northeast. Instead, socially-conscious Americans settled upon accents more prestigiously associated with White Anglo-Saxon Protestant communities in the remainder of the country: namely, the West, the Midwest, and the non-coastal Northeast.

Kenyon, author of American Pronunciation (1924) and pronunciation editor for the second edition of Webster's New International Dictionary (1934), was influential in codifying General American pronunciation standards in writing. He used as a basis his native Midwestern (specifically, northern Ohio) pronunciation. Kenyon's home state of Ohio, however, far from being an area of "non-regional" accents, has emerged now as a crossroads for at least four distinct regional accents, according to late twentieth-century research. Furthermore, Kenyon himself was vocally opposed to the notion of any superior variety of American speech.

In the media
General American, like the British Received Pronunciation (RP) and prestige accents of many other societies, has never been the accent of the entire nation, and, unlike RP, does not constitute a homogeneous national standard. Starting in the 1930s, nationwide radio networks adopted non-coastal Northern U.S. rhotic pronunciations for their "General American" standard. The entertainment industry similarly shifted from a non-rhotic standard to a rhotic one in the late 1940s, after the triumph of the Second World War, with the patriotic incentive for a more wide-ranging and unpretentious "heartland variety" in television and radio.

General American is thus sometimes associated with the speech of North American radio and television announcers, promoted as prestigious in their industry, where it is sometimes called "Broadcast English" "Network English",  or "Network Standard". Instructional classes in the United States that promise "accent reduction", "accent modification", or "accent neutralization" usually attempt to teach General American patterns. Television journalist Linda Ellerbee states that "in television you are not supposed to sound like you're from anywhere", and political comedian Stephen Colbert says he consciously avoided developing a Southern American accent in response to media portrayals of Southerners as stupid and uneducated.

Phonology
Typical General American accent features (for example, in contrast to British English) include features that concern consonants, such as rhoticity (full pronunciation of all sounds), T-glottalization (with satin pronounced, not ), T- and D-flapping (with metal and medal pronounced the same, as ), L-velarization (with filling pronounced , not ), yod-dropping after alveolar consonants (with new pronounced , not ), as well as features that concern vowel sounds, such as various vowel mergers before  (so that Mary, marry, and merry are all commonly pronounced the same), raising of pre-voiceless  (with price and bright using a higher vowel sound than prize and bride), raising and gliding of pre-nasal  (with man having a higher and tenser vowel sound than map), the weak vowel merger (with affecting and effecting often pronounced the same), and at least one of the  vowel mergers (the – merger is complete among most Americans and the – merger among at least half). All of these phenomena are explained in further detail under American English's phonology section. The following provides all the General American consonant and vowel sounds.

Consonants
A table containing the consonant phonemes is given below:

 * The phoneme is articulated variously as a retroflex approximant, a postalveolar approximant , and a velar bunched approximant , with various degrees of labialization and pharyngealization.

Vowels

 * Vowel length is not phonemic in General American, and therefore vowels such as are customarily transcribed without the length mark. Phonetically, the vowels of GA are short  when they precede the fortis consonants  within the same syllable and long  elsewhere. (Listen to the minimal pair of  .) All unstressed vowels are also shorter than the stressed ones, and the more unstressed syllables follow a stressed one, the shorter it is, so that  in l ea d is noticeably longer than in l ea dership. (See Stress and vowel reduction in English.)
 * are considered to compose a natural class of tense monophthongs in General American, especially for speakers with the cot–caught merger. The class manifests in how GA speakers treat loanwords, as in the majority of cases stressed syllables of foreign words are assigned one of these six vowels, regardless of whether the original pronunciation has a tense or a lax vowel. An example of that is the common German name Hans, which is pronounced in GA with the tense rather than lax  (as in Britain's Received Pronunciation, which mirrors the German pronunciation with : also has a lax vowel). All of the tense vowels except  and  can have either monophthongal or diphthongal pronunciations (i.e.  vs ). The diphthongs are the most usual realizations of  and  (as in stay  and row, hereafter transcribed without the diacritics), which is reflected in the way they are transcribed. Monophthongal realizations are also possible, most commonly in unstressed syllables; here are audio examples for potato  and window . In the case of  and , the monophthongal pronunciations are in free variation with diphthongs. Even the diphthongal pronunciations themselves vary between the very narrow (i.e. ) and somewhat wider (i.e. ), with the former being more common.  varies between back  and central . As indicated in above phonetic transcriptions,  is subject to the same variation (also when monophthongal: ), but its mean phonetic value is usually somewhat less central than in modern Received Pronunciation (RP).
 * Raising of short a before nasals: For most speakers, the short a sound, as in  or, is pronounced with the tongue raised, followed by a centering glide, whenever occurring before a nasal consonant (that is, before ,  and, for some speakers, ). This sound may be narrowly transcribed as  (as in  and ), or, based on a specific dialect, variously as  or . See the chart for comparison to other dialects.

 * Before dark in a syllable coda,  and sometimes also  are realized as centering diphthongs . Therefore, words such as peel  and fool  are often pronounced  and.
 * The lexical sets and lett are merged as, articulated as the R-colored schwa . Therefore, further, pronounced  in RP, is   in GA. Similarly, the words forward and foreword, which are phonetically distinguished in RP as  and , are homophonous in GA: . Moreover, what is historically , as in hurry, merges to  in GA as well, so the historical phonemes , , and  are all neutralized before . Thus, unlike in most English dialects of England,  is not a true phoneme in General American but merely a different notation of  for when this phoneme precedes  and is stressed—a convention preserved in many sources to facilitate comparisons with other accents.
 * The phonetic quality of  is an advanced open-mid back unrounded vowel :.
 * Some scholars analyze to be an allophone of  that surfaces when stressed, so  and  may be considered to be in complementary distribution, comprising only one phoneme.

The 2006 Atlas of North American English surmises that "if one were to recognize a type of North American English to be called 'General American'" according to data measurements of vowel pronunciations, "it would be the configuration formed by these three" dialect regions: Canada, the American West, and the American Midland. The following charts present the vowels that converge across these three dialect regions to form an unmarked or generic American English sound system.

title: General American English


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Talk:Tabletop role playing game

Can we list some of the mechanical characteristics of each specific game on this page? ie Skill based, magic heavy, combat heavy, horror, whatever. -Tubby

Good idea, but it belongs on a different page. Durova 05:10, 2 November 2005 (UTC)

Changes
In an effort to organize part of the role-playing game group I moved material here, replacing the old version. Added a list of terms. Durova 05:10, 2 November 2005 (UTC)

Potential redirect
This article doesn't seem to include any content not reproduced at role-playing game; and that page makes it fairly clear that it's talking about this sort of RPG, as opposed to CRPGs. I'm of a mind to replace this article with a redirect. Percy Snoodle 09:13, 9 June 2006 (UTC)

 * Well, it's been a week, and no-one seems to care. Here goes... Percy Snoodle 09:08, 16 June 2006 (UTC)

title: Talk:Tabletop role playing game


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Talk:Ars Magica

What
What edition and what books should I get if I want to try to get into the game? -Tubby

The current publisher of the Ars Magica roleplaying game, Atlas Games, (http://www.atlas-games.com/) recently released the newest (4th) edition of the core rulebook to be freely distributed. It is all you need to get started, although there are a lot of different sourcebooks and adventures available. You'll find the link to the download from their website, on this page: http://www.atlas-games.com/arsmagica/index.html -Bearnárd

 * There is now a 5th edition (not published electronically). But the 4th Ed. download is still an excellent starting point. Townmouse 22:00, 27 July 2005 (UTC)

Play-acting innovation?
Could someone explain this quote from the article: other systemic innovation was the insistence on play-acting the characters. Without an explanation of how the system supports it, it seems a bit odd as playing characters (presumely it means adopting a 1st person stance) was definitely not innovative when the game came out. Ashmoo 06:26, 27 September 2005 (UTC)

 * Unlike most RPG's, and computer "role"-playing games, the system is not based around combat, or quests, but about character development and interaction, and not "beating" the system. In most games, a low strength is a weakness.  In Ars Magica, it's an opportunity to define your character.

 * There is a FAQ for the game, as well as many other game resources on the Project Redcap web site, which includes information specific to 4th and 5th editions, as well as general information on the history of the game.   Ayerik 08:15, 1 December 2005 (UTC)

Requisites
The attempt to explain spells with requisites seems a little odd. Would someone care to explain this a little better? Thankyou. —The preceding unsigned comment was added by 219.174.96.5 (talk) 10:46, 20 January 2007 (UTC).

Old book
I've just removed this from the page:

Ars Magica is Latin for "magical arts". It is the name of an ancient book no longer in existance found mentioned only in passing in "Studies in Magic from Latin Literature" by Eugene Tavenner [1913, Columbia University Press] (No date for the publication or author of "Ars Magica" was given, but due to its inclusion in Tavenner's book may be presumed to have been written in latin.)

It's off-topic for this page, but it would be nice for there to be a proper home for it. Percy Snoodle (talk) 13:33, 6 October 2008 (UTC)

 * I'd have issues with that translation, as well. 'ars' is singular, so Ars Magica would probably be better as "the art of magic" or similar. Petronivs (talk) 15:11, 8 October 2008 (UTC)

Free core
Should we mention that the core rulebook is now being freely distributed? Noticed this at http://www.warehouse23.com/products/ars-magica-4th-edition-core-rulebook and found it interesting. 184.145.18.50 (talk) 20:23, 6 February 2016 (UTC)

title: Talk:Ars Magica


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Convention of Cintra

The Convention of Cintra (or Sintra) was an agreement signed on 30 August 1808, during the Peninsular War. By the agreement, the defeated French were allowed to evacuate their troops from Portugal without further conflict. The Convention was signed at the Palace of Queluz, in Queluz, Cintra, Estremadura.

The French forces under Jean-Andoche Junot were defeated by the Anglo-Portuguese forces commanded by Sir Arthur Wellesley at Vimeiro on 21 August and found themselves almost cut off from retreat. However, at that moment, Wellesley was superseded by the arrival of Sir Harry Burrard and then the next day by Sir Hew Dalrymple. Both were cautious men who had seen little recent fighting; rather than push the French, they were satisfied to open negotiations. Wellesley had sought to take control of the Torres Vedras area high ground and cut the French retreat with his unused reserve, but he was ordered to hold. Talks between Dalrymple and François Kellerman led to the signing of the Convention.

Dalrymple allowed terms for Portugal similar to those a garrison might receive for surrendering a fortress. The 20,900 French soldiers were evacuated from Portugal with all their equipment and 'personal property' (which may have included looted Portuguese valuables) by the British Navy. They were transported to Rochefort, France. Junot arrived there on 11 October. Avoiding all Spanish entanglements and getting free transport meant the French travelled loaded, not light like a defeated garrison marching to their own lines.

The Convention was seen as a disgrace by many in the United Kingdom who felt that a complete defeat of Junot had been transformed into a French escape, while Dalrymple had also ignored the Royal Navy's concern about a blockaded Russian squadron in Lisbon. The squadron was allowed to sail to Portsmouth, and eventually to return to Russia, despite the fact that Britain and Russia were at war.

Wellesley wanted to fight, but he signed the preliminary Armistice under orders. He took no part in negotiating the Convention and did not sign it. Dalrymple's reports were written, however, to centre any criticism on Wellesley, who still held a ministerial post in the government. Wellesley was subsequently recalled from Portugal, together with Burrard and Dalrymple, to face an official inquiry. The inquiry was held in the Great Hall at the Royal Hospital Chelsea from 14 November to 27 December 1808. All three men were cleared; but while Wellesley soon returned to active duty in Portugal, Burrard and Dalrymple were quietly pushed into retirement and never saw active service again. Sir John Moore, commenting on the Inquiry, expressed the popular sentiment that "Sir Hew Dalrymple was confused and incapable beyond any man I ever saw head an army. The whole of his conduct then and since has proved him to be a very foolish man."

Lord Byron laments the Convention in his Childe Harold's Pilgrimage: And ever since that martial synod met, Britannia sickens, Cintra! at thy name; And folks in office at the mention fret, And fain would blush, if blush they could, for shame. How will posterity the deed proclaim! Will not our own and fellow-nations sneer, To view these champions cheated of their fame, By foes in fight o'erthrown, yet victors here, Where Scorn her finger points, through many a coming year?

The Convention of Cintra is also the name of a pamphlet written by the future British Poet Laureate William Wordsworth in 1808; he also wrote a passionate sonnet that, in his own words, was "composed while the author was engaged in writing a tract occasioned by" the Convention, in which he laments the bondage felt by "suffering Spain". Delays in publication meant that journalistic, and satirical, features of Wordsworth's prose have been overlooked.

title: Convention of Cintra


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Mid-Yare National Nature Reserve

Mid-Yare NNR is a national nature reserve in Norfolk, east of Norwich, established by English Nature and managed by the Royal Society for the Protection of Birds (RSPB). The reserve is made up of four RSPB reserves: Strumpshaw Fen, Buckenham Marshes and Cantley Marshes on the north bank of the Yare, and Surlingham Church Marsh on the south bank.

The reserve consists of floodplains along the River Yare, and the total area is 7.8 km2. It centres on the Strumpshaw area.

The alder carr and willow carr support the swallowtail butterfly and the Norfolk hawker dragonfly Aeshna isosceles, as well as marsh harriers, bearded tits and Cetti's warblers.

The wet grasslands hold internationally important numbers of Eurasian wigeon, nationally important numbers of European white-fronted goose, and Britain's largest flock of bean goose, as well as northern lapwing, common redshank and common snipe.

The RSPB controls the water levels, maintains the dykes, cuts the reed beds and keeps disturbance of the wildlife to a minimum.

title: Mid-Yare National Nature Reserve


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Talk:Williamson County, Tennessee

Untitled
Wondering how to edit this U.S. County Entry? The WikiProject U.S. Counties standards might help.

Number on NRHP
I removed the misstatement that this county has more sites on the National Register of Historic Places than any other county outside the state of Virginia. The source actually seems to have made that statement, but is nonetheless wrong.
 * "Thanks to the Foundation, more than 150 Williamson County properties are on the National Register of Historic Places, more than in any Tennessee County, more in fact, than any place outside of Virginia."

Actually there are 133 properties listed, with 4 more having been delisted, see National Register of Historic Places listings in Williamson County, Tennessee

Philadelphia County, PA has about 525. Cook County, IL has over 300 in Chicago alone. For a more rural comparison, Lancaster County, PA has 202. And there are many others. Smallbones (talk) 05:05, 13 January 2011 (UTC)

Replaced mistaken edit
Replaced content about lynchings of African Americans post-Reconstruction; deleted by mistake.Parkwells (talk) 16:33, 2 September 2018 (UTC)

title: Talk:Williamson County, Tennessee


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Talk:Wilson County, Tennessee

Untitled
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title: Talk:Wilson County, Tennessee


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Redgrave and Lopham Fens

Redgrave and Lopham Fens is a 127 hectare biological Site of Special Scientific Interest between Thelnetham in Suffolk and Diss in Norfolk. England. It is a national nature reserve, a Ramsar internationally important wetland site, a Nature Conservation Review site, Grade I, and part of the Waveney and Little Ouse Valley Fens Special Area of Conservation. It is managed by the Suffolk Wildlife Trust.

It is the largest remaining area of river valley fen in England and consists of a number of different fen types, including saw-sedge beds, as well as having areas of open water, heathland, scrub and woodland. It is also one of only three sites in the UK where the fen raft spider (Dolomedes plantarius) is known to be found.

Ecology
The habitats present at Redgrave and Lopham are characteristic of areas of valley mire. This ecosystem creates a zonation of vegetation types, producing a diverse range of habitat. Dry marginal woodland becomes fen grassland, dominated by purple moor-grass, which grades into mixed fenland of reed and sedge beds. This grassland is particularly notable at Redgrave and Lopham for its areas of saw sedge (Cladium mariscus).

Into these areas of fenland protrude sandy ridges covered in heath vegetation. Without management these communities become invaded by sallow and develop into scrubland. To maintain site diversity, this has been allowed to occur in some areas of the fen.

These habitats maintain a community of plants and animals, with the site being particularly known for its diversity of invertebrate species. Surveys have identified nineteen species of dragonfly and 27 species of butterfly at the fen, which has also long been recognised for its nationally important population of the fen raft spider (Dolomedes plantarius).

Further surveys have also found 26 species of mammals, including otter, pipistrelle bats and introduced species such as the Chinese water deer. The site has also recorded 4 species of amphibian and 4 species of reptile and a 2006 survey recorded 96 species of bird visiting the fen.

Management
To maintain and improve the diversity of species and quality of habitat at the site continual management is required. Suffolk Wildlife Trust employs a Site Manager and Assistant Warden to run and monitor the site but also relies on volunteers to carry out management work. Such work includes rush mowing, sedge harvesting, scrub clearance, coppicing and fence construction. The site has also introduced a successful grazing regime to reduce the cost incurred from mowing such a large area of fen. It actively manages the fen raft spider population.

Grazing

The site uses sheep, cattle and ponies as part of its management strategy. This has visibly benefited the fen structure and means only the larger saw sedge beds are now on a manual cutting rotation. The use of grazing has led to the emergence of a greater mosaic of vegetation and habitat types within the fen and has inhibited the expansion of scrub. Hebridean sheep owned by the trust and beef cattle from local farms graze on the dryer areas of scrub, heath and fen margins and help prevent the expansion of scrub. In 1995 the reserve introduced a herd of Polish Konik ponies to graze the wetter areas of the fen. They were chosen over native breeds for their hardiness and ability to graze in very wet conditions. The success of the Konik ponies has led to their use for grazing in other nature reserves in the UK and on the Broads. The cattle and Konik are usually kept on the fen between April and December which avoids the wettest and most barren months of the year.

Fen raft spider

Redgrave and Lopham Fens was the first site in the UK at which a population of the fen raft spider (Dolomedes plantarius) was recorded. Following their discovery in 1956 a number of new pools were dug to encourage population expansion. However, water extraction from the borehole and a series of droughts in the 1980s reduced the population to only two isolated areas on the reserve. Throughout this period irrigation of the pools inhabited by the spider enabled the continuation of the population.

The removal of the borehole in 1999 was expected to trigger an increase in population as water levels returned to normal. However, a study carried out in 2006 showed that no noticeable change had occurred. The population of the fen raft spider remains small and restricted in distribution. Recommendations for future management of the population include increasing the depths of turf pool, creating more pool habitats and greater, more focused use of water management in the reserve.

Access and facilities
The reserve is open to the public all year round. It has an Education Centre which it uses to host family activity days, school trips and adult education courses. There is a picnic area and toilet facilities. It has three dedicated nature trails of 2, 3 and 4.5 km lengths, some of which are accessible by wheelchair. ..

Pre-1959
Redgrave and Lopham Fens lies at the headwaters of the Waveney and Little Ouse rivers and had for centuries provided natural resources for the local population. This activity created and maintained the various habitats of the fen. The cutting of peat for fuel lead to the creation of open pools edged in reedbeds and the pathways between them became species-rich fen meadows. Sedge and reed were cut for thatching, furze and other vegetation was removed for livestock bedding and firewood. Cattle and other livestock were also grazed on the meadow, heath and other marginal land around the fens. This removed any invading species, prevented ecological succession from occurring and preserved the diversity of the fenland. However, with the industrialisation of farming and the wider use of fossil fuels the traditional use and management of the fen began to decline.

In 1954 Redgrave and Lopham Fens was given the status as a Site of Special Scientific Interest (SSSI) due to the nationally important presence of the fen raft spider and the diversity of its fenland.

1959-1991
In 1959 a borehole was drilled at the fen to provide drinking water for the local population, with a capacity to take 3,600m3 of water every day from the underlying aquifer. This diverted water from the springs that fed the fen and the water table began to fall. This led to a change in the fen's hydrology in the early 1960s as it went from a year-round water supply to alternating summer drought and winter floods. With a net loss of water this caused the fen to begin to dry out.

The loss of water and lack of management led to the degradation of the fen, and scrub began to invade large areas. In 1961 the Suffolk Wildlife Trust gained control of the site but insufficient resources meant the large scale work they wished to carry out to return it to its previous state could not be achieved; the condition of the overall fen continued to decline.

1991-present
In the early 1990s Redgrave and Lopham Fens gained wider recognition for its importance. Thus it was designated a Ramsar site in 1991 and gained national nature reserve status in 1993. At this time the Environment Agency undertook studies to determine the extent of damage to the fen and how restoration could best be carried out. This led to a large scale and internationally recognised restoration project, costing approximately £3.4 million.

Restoration project
The restoration of the reserve was split into three key areas: the relocation of the borehole, the restoration of the river and the restoration of the fen, with a budget of £2.2 million, £0.4 million and £0.8 million respectively. The European Commission funded 50% of this cost from the LIFE Fund.

Borehole relocation
In order to re-establish the original fen water regime it was recommended that the borehole removing water from the system be relocated and that the new borehole provide sufficient water without damaging the fenland. To fit these requirements a large search for a suitable site was carried out with many test sites drilled and tested. Eventually a site was located 3 km southeast of the reserve and planning and construction of the new borehole was carried out at a cost of £1.2 million. This was the first time a public water borehole was relocated on solely environmental grounds.

The onsite borehole was shut down in July 1999 and within one month significant increases in water levels were recorded. By summer 2002 the maximum groundwater recharge level was believed to have been reached and the hydrological recovery closely followed modeling predictions. This return to natural levels of water supply has helped solve many ecological problems, with peat soils and reed beds now having sufficient water throughout the year. The many old peat cuttings have also filled with water, creating small pools filled with vegetation at various stages of succession throughout the reserve.

River restoration
The reserve is divided by the River Waveney and the river can have a great impact on the fen ecology if mismanaged. The restoration project aimed to raise the water level within the river, restore the river ecology to its previous state and improve its habitats. To achieve this two fully adjustable sluice gates were introduced to the river course. These would allow direct control of water levels within the fen and protect the site from flooding or drought events. The banks of the river were also reworked to create greater areas of marginal habitat and the shallow bank shelves that are of interest to wildlife such as water voles. The material removed from the bank was reformed to create flood defense levees alongside the river.

Fen restoration
The third stage of the project was to recreate the conditions that would allow the most important fen communities to become re-established. This would involve a number of different tasks but mainly focused on scrub and tree clearance and peat stripping operations. Around 80 hectares of wood and scrub were identified for clearance, all of which has now been removed and has opened up land to be reclaimed by the fen habitat. Due to the lack of water over the years large areas of peat had degraded. To restore the fen to its previous state the decision was made to strip off the peat down to a level where it was undamaged and allow natural growth from that point. By 2002 around 250,000 tonnes of peat had been removed and a number of large pools surrounded by reed bed were created. Eventually the annual growth and dieback of the fen vegetation will restart the process of forming new peat.

title: Redgrave and Lopham Fens


text:
Talk:Tidal locking

Tidal locking/spin-orbit resonance as too vague a definition
Coming in from the page for Mercury, in reference to its tidal locking, leads you to this page. However, by this page's own definition, Mercury does not fit the explanation of tidal locking. Now, I don't debate that it is tidally locked, but my issue is that, as a casual reader entering this page, the clarity of specifically WHAT tidal locking is seems nonexistent. I've been up and down this entry and cannot find anything more specific than "tidal locking is when a body's orbit/rotation ratio is 1:1." This is clearly not the case for Mercury, or the other examples of bodies that possess a spin-orbit resonance other than 1:1, yet they are still referred to as tidally locked. The lunar example the article opens with is a case of tidal locking with synchronous rotation, but that still does not explain what tidal locking is, as clearly things can be tidally locked without having synchronous rotation or otherwise Mercury would not qualify. On top of that, the definition uses tidal locking to define itself, which is of course useless in explaining something to someone who doesn't know what it is to begin with - the second paragraph down states "The effect [of tidal locking] arises between two bodies when their gravitational interaction slows a body's rotation until it becomes tidally locked." This reads, in my mind, like someone just said to me "Well, bodies become tidally locked when they become tidally locked," which doesn't actually define anything at all. So two issues I'm hoping can be addressed here for better reader understanding and experience, as a visitor to this page who just encountered these issues myself:

1. A more concise definition of the actual title the article is defining, tidal locking, within the opening intro and summary, for increased accessibility to readers. Layman's terms, what determines when a body is tidally locked, and what specifically is it? The article uses synchronous rotation to define it by example, but that is clearly an optional aspect of tidal locking, since there are bodies that are tidally locked that are not in synchronous rotation. This makes the current definition vague and confusing. Proposed tidal locking definition, if I understood it correctly, in potentially more user friendly form: "Tidal locking is a term used to describe when an astronomical body's rotation rate during the course of a complete orbit does not change. That is to say, the rate of rotation is neither accelerating nor decelerating, but remains constant. (Compare this to Earth, where the rotation rate slows by 1.7ms every century)"

2. It seems as though tidal locking, spin-orbit resonance, and synchronous rotation all have slightly varying but specific definitions and applications, but all redirect here and are lumped under one term within the opening paragraph, which could lead to confusion and inaccuracy. Are the latter two variations? Subclasses? Potential aspects? Do they deserve their own entries? Clearly you can have combinations with varying spin-orbit resonances, as with Mercury to the Sun (tidally locked but non-synchronous rotation, 3:2) and the Moon to Earth (tidally locked with synchronous rotation, 1:1). This lends itself to needing more specificity regarding each.

Fatninjawalrus (talk) 10:51, 29 May 2020 (UTC)

 * We had a proper definition, but then an editor insisted that we simplify and rewrite the lead, and thus it has been watered down. Here is the proper definition. Praemonitus (talk) 21:09, 29 May 2020 (UTC)

 * I am the editor who urged that the lede be revised for understandability to the general reader. Currently, the 3rd sentence of the 2nd paragraph provides a definition that seems both appropriately generalized and precise: "When one of the bodies reaches a state where there is no longer any net change in its rotation rate over the course of a complete orbit, it is said to be tidally locked". This sentence could be repositioned closer to the start of the lede section, if its placement now is deemed too far from the beginning. DonFB (talk) 03:09, 30 May 2020 (UTC)

 * I hate to discredit anyone's hard work here but the old opening was so much more direct and understandable in my opinion. It hits the definition and the cause directly and concisely, links to angular momentum for clarity, and then immediately references the most well known example (the Moon). This helps readers to relate it to a real life example but still ensures that by defining synchronous rotation directly afterwards as a potential aspect of this process, they realize that it will not always be the case. As someone who literally came here to learn about an aspect of orbital mechanics I was less familiar with, I have to say that I'd have preferred an encounter with the original definition and layout any day. The current definition left me confused and frustrated. If you're looking to make it more accessible, would anything about my attempt to define above it help, or is my understanding of the definition still not quite accurate? Fatninjawalrus (talk) 03:38, 30 May 2020 (UTC)
 * I don't object to a general definition preceding a special-case definition. My original objection, however, still exists to the wording and scientific jargon that made the overstuffed first sentence in the previous version very reader-unfriendly. Since you appear to be new to Wikipedia, you may be unaware that site guidelines strongly encourage the use of plain language in the opening section of articles about technical subjects, reserving more specialized language and scientific terminology for the body of the article--a philosophy I strongly support. Our experiences appear to be rather divergent regarding the usefulness of the old version. DonFB (talk) 04:58, 30 May 2020 (UTC)
 * Yes, I agree that the first sentence should provide a succinct definition. Something like this:
 * Tidal locking (also called gravitational locking or captured rotation) between a pair of co-orbiting astronomical bodies occurs when one of the objects reaches a state where there is no longer any net change in its rotation rate over the course of a complete orbit. The best-known example is when an orbiting body always has the same face toward the object it is orbiting. This case is known as synchronous rotation: the tidally locked body takes just as long to rotate around its own axis as it does to revolve around its partner.
 * Praemonitus (talk) 13:18, 31 May 2020 (UTC)

 * Seconded, the accessibility of the article in large part comes from the strength of the opening couple of sentences and how clear they are. Getting to the definition later just doesn't flow as well. I'm worried about having two sentences back to back with "example" in them like that though, as the next sentence in the article uses "For example" to lead into discussion about the Moon. I'd propose:
 * Tidal locking (also called gravitational locking or captured rotation) between a pair of co-orbiting astronomical bodies occurs when one of the objects reaches a state where there is no longer any net change in its rotation rate over the course of a complete orbit. In the special case in which a tidally locked body possesses synchronous rotation, the body also takes just as long to rotate around its own axis as it does to revolve around its partner. For example, the same side of the Moon always faces the Earth, although there is some variability because the Moon's orbit is not perfectly circular.
 * to avoid a "best-known example, for example" kind of scenario. I don't quite like how fast it jumps into synchronous rotation but I can't think of something better currently. It just feels like it needs a small sentence after the first one for more clarity and separation of the terms in there. Thoughts?
 * I did remember the plain language rules and I didn't personally feel the original was overly technical, just perhaps a bit wordy. The overall structure there felt better to me personally as it introduced concepts a little less rapid-fire. But I am indeed new here and so I do greatly appreciate reminders of guidelines - help is welcome. My intent here is simply to improve user experience on this page, and do so without being a pain. Let me know if I overstep. 2606:A000:EB44:8300:65E2:6464:FA3F:59EA (talk) 09:26, 3 June 2020 (UTC)
 * Well it's not really a special case; that's actually the most stable form, and orbital systems tend to evolve to that low-energy state over long enough periods. Perhaps it would work without the word 'special'? Praemonitus (talk) 14:11, 3 June 2020 (UTC)
 * I like the version you offered above, introduced by: "something like this". DonFB (talk) 04:49, 4 June 2020 (UTC)

 * Either sounds good to me, go for it. I only used 'special' to try to clearly differentiate it from the base scenario, since they're not always together and I feel it's important to maintain that distinction. I guess "In the specific variation in which" might work better if you want to go that route.
 * 2606:A000:EB44:8300:842B:D34E:ABAE:14A5 (talk) 04:39, 7 June 2020 (UTC)

 * My life exploded shortly after I proposed this edit and I completely forgot about it due to all the chaos... I'm laughing at myself for even asking but do we still have the go-ahead to make this change? Fatninjawalrus (talk) 05:11, 6 January 2022 (UTC)

 * The one suggestion I have is to break out the statement in parentheses from an already lengthy and dense first sentence. Thus:
 * Tidal locking between a pair of co-orbiting astronomical bodies occurs when one of the objects reaches a state where there is no longer any net change in its rotation rate over the course of a complete orbit. (This can also be called gravitational locking, captured rotation, and spin–orbit locking.) In the case where a tidally locked body possesses synchronous rotation, the object also takes just as long to rotate around its own axis as it does to revolve around its partner.
 * Praemonitus (talk) 14:39, 6 January 2022 (UTC)

More context in Introduction
I think it would be helpful to have more context in the Introduction. I'm not, however, qualified to write it. AFAIK, tidal locking is important in the search for habitable planets, especially those around Red Dwarves? It'd be nice if someone more qualified could write a few sentences in the Introduction spelling out the broader context of this mechanical phenomena. briardew (talk) 17:01, 12 September 2022 (UTC)
 * The lede is just summarizing what is in the article body, per WP:LEDE. You probably mean the red dwarf article, where it is briefly mentioned. Praemonitus (talk) 20:47, 12 September 2022 (UTC)

Axial parallelism
See the new article axial parallelism. It can be considered the "opposite" of tidal locking; I am not aware of any other forms of orbit for spinning bodies. Any help to build out the new article would be appreciated; it would be ideal if we could connect the two topics together in the way they are explained. Onceinawhile (talk) 07:58, 4 December 2022 (UTC)

"In the case where a tidally locked body possesses synchronous rotation…"
The lede describes a type of tidal locking as "In the case where a tidally locked body possesses synchronous rotation…" Is there any other type of tidal locking? As I understand it, the word tidal indirectly implies synchronicity. Onceinawhile (talk) 11:32, 4 December 2022 (UTC)
 * Yes. See paragraph 3 of the lede. Praemonitus (talk) 15:17, 4 December 2022 (UTC)

Earth as seen from the Moon...
Under the section about our Moon, the text states: However the Moon undergoes libration and appears to wobble in the sky, so if you were to stand on the nearside of the Moon and crane your head up at the Earth, the Earth would move back and forth in the sky, along with moving up and down too (the lunar axis is not perfectly perpendicular to the lunar orbit). Inky Bendy (talk) 17:44, 15 February 2023 (UTC)

 * How noticeable would that be? Are you aware of a reliable source that comments on that? Without a reliable source, saying anything about that movement in the article would be original research. Donald Albury 18:57, 15 February 2023 (UTC)

 * His point is valid. There is a preprint available with some relevant information:
 * "... This causes the center of the Earth move in the Moon’s sky in a rectangle measuring 13.4°× 15.8°."
 * Unfortunately, it doesn't appear to have been published in a peer-reviewed journal yet. Praemonitus (talk) 00:01, 16 February 2023 (UTC)
 * This article in Sky&Telescope has a couple of time-lapse animations of the movement. I am impressed at how large the movement is. From positions close enough to the edge of Earth-side, Earth would set and rise each 'month'. Donald Albury 01:04, 16 February 2023 (UTC)
 * This article in Sky&Telescope has a couple of time-lapse animations of the movement. I am impressed at how large the movement is. From positions close enough to the edge of Earth-side, Earth would set and rise each 'month'. Donald Albury 01:04, 16 February 2023 (UTC)

Perhaps instead it could say something like the following:

Praemonitus (talk) 04:49, 16 February 2023 (UTC)

 * I believe it would be more correct to say that the Earth viewed from the Moon moves in an elliptical path with a major axis of 15.8° and a minor axis of 13.4°. I am sure this is covered in some textbook or other scholarly work about the Moon, but I haven't found one yet. I also suspect that the major and minor axes vary over long periods of time due to variations in the Moon's orbital eccentricity and the precession and nutation of its rotation, but that may be more detail than is needed here. Added note: Very long term, the gradual increase of the distance between and Earth and Moon would also affect the size of the ellipse. Donald Albury 18:46, 16 February 2023 (UTC) 18:51, 16 February 2023 (UTC)
 * Or possibly a lissajous curve. But we need to stay away from WP:OR. I think a more detailed explanation really belongs on the libration article. Here it needs to be kept brief, because it's off topic. Praemonitus (talk) 20:00, 16 February 2023 (UTC)

title: Talk:Tidal locking


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