text:
Carlos Romero Barceló

Carlos Antonio Romero Barceló (September 4, 1932 – May 2, 2021) was a Puerto Rican politician who served as the governor of Puerto Rico from 1977 to 1985. He was the second governor to be elected from the New Progressive Party (PNP). He also served 2 terms in Congress as the Resident Commissioner of Puerto Rico from 1993 to 2001.

Romero Barceló was the grandson of Antonio R. Barceló, a Union Party leader and advocate of Puerto Rican independence during the early 20th century, and the son of Josefina Barceló, the first woman to preside over a major political party in Puerto Rico.

Early life
Romero Barceló was born in 1932 in San Juan, Puerto Rico, the son of Antonio Romero Moreno and Josefina Barceló Bird. His father was a lawyer and engineer who served as a superior court judge. His maternal grandfather was Antonio Rafael Barceló the son of Jaime José Barceló Miralles from Palma, Majorca, Balearic Islands, Spain and Josefa Martínez de León from Naguabo.

Education
Carlos Romero Barceló attended Phillips Exeter Academy in the state of New Hampshire, graduating in 1949. Later he attended Yale University, obtaining a B.A. in Political Science and Economics in 1953. That same year, at age 21, he returned to Puerto Rico and enrolled at the University of Puerto Rico Law School, becoming a licensed lawyer in 1956.

Political career
Romero Barceló, an avid supporter of Puerto Rico statehood with the United States of America, became involved with the "Partido Estadista Republicano", the forerunner of the New Progressive Party, which at the time was led by Miguel Angel Garcia Mendez. He formed part of "Ciudadanos pro Estado 51" (Citizens for the 51st State) in 1965. Later, he was one of the founder's of the pro-statehood group "Estadistas Unidos", founded by Luis Ferre.

Mayor
Romero was one of the founding members of the New Progressive Party in 1967. The following year he was elected Mayor of San Juan, Puerto Rico, succeeding the legendary "doña Fela" (Felisa Rincón de Gautier) and becoming the first popularly elected mayor of San Juan, since previous mayors were elected by the San Juan City Council, not directly by the electorate. During his second term, in 1973, he became the first Hispanic to become vice-president of the National League of Cities and in 1974 became president of the organization. He served as mayor until 1976 when he defeated incumbent governor of Puerto Rico Rafael Hernández Colón. While Hernán Padilla was elected to succeed him, technically, his immediate successor was Carlos S. Quirós, his Vice Mayor who became full mayor for over a week until Padilla's term began. Some of his notable accomplishments as mayor were the inclusion of San Juan into U.S. President Lyndon Johnson's Model Cities Program, which changed the face of the slum called "El Fanguito" to become the area of the "new" San Juan where modern facilities such as the San Juan Natatorium, the Puerto Rico Coliseum and numerous residential condominium projects were eventually built; the construction of the Roberto Clemente Coliseum and the first municipal educational institution of Puerto Rico: the Colegio Universitario de San Juan.

Governor
Romero Barceló brought well-received economic resolutions to the island during his terms in office, emphasizing the island's tourism potential. However, during his administration the economy recovered sluggishly, with unemployment dropping to 17% in 1979 from 19.0% in 1975, a disappointing 2% decline. The economy did not fully recover, and the island's government services deteriorated during his term in office. Moreover, his statements declaring the policemen that carried out the Maravilla murders to be heroes damaged his image.

In 1980 he was elected for a second term as governor by a margin of 3,037 votes again over PPD-candidate Rafael Hernández Colón. The 1980 gubernatorial elections were among the closest in Puerto Rican history, requiring the intervention of the Supreme Court of Puerto Rico to rule whether improperly cast ballots should be counted. In particular, the Puerto Rico Statehood Students Association under Luis Fortuño generated over 1,500 absentee ballots for Romero Barceló that proved an important factor in his re-election. However, the New Progressive Party lost control of the legislature, and party-affiliated mayors won in only 28 of the 78 municipalities on the island. The 1980 elections were the most controversial as many PPD followers said that the elections were stolen in which the PPD won the elections except for the governor candidacy in which almost every election the parties win with straight-party ballots. This election was similar to the 2004 and 2012 elections, decided by less-than-one-percent margins.

In his second term Puerto Rico was badly hit by a severe recession starting in 1980 and ending in 1983, the unemployment drastically rose to 25% in 1983 the highest since the Great Depression.

Romero Barceló is frequently associated with the "Cerro Maravilla Incident" of 1978 in which two young pro-Independence activists at Cerro Maravilla were killed at the hands of rogue members of the Puerto Rican Police after being lured by the police to a mountainous area that housed communications and television towers. The tragic incident was investigated several times by the Puerto Rico Justice Department, the U.S. Justice Department, and the F.B.I., and was widely reported on by the local press. In 1984, 10 police officers were indicted and found guilty of perjury, destruction of evidence, and obstruction of justice, with four being convicted of second-degree murder.

He sought re-election for a third term in 1984 but was defeated by Rafael Hernández Colón. After the elections, Romero-Barceló's reaction to the defeat, in response to TV news reporter Rafael Bracero, was ¿Derrota, qué Derrota? (Defeat, what defeat?). For him, he said, what had occurred was not a defeat, but simply an "electoral loss". The comment has become legendary in Puerto Rican politics.

Senator
In 1986, he was elected by his party to fill a vacancy in the Senate of Puerto Rico, a position for which he did not seek re-election in 1988. Instead, he returned to his private law practice and shortly thereafter merged his law firm with Del Toro & Santana where he practiced until his election to the United States Congress in 1992.

Resident Commissioner
In the 1992 elections, Romero was elected to the 103rd and 104th United States Congress as Resident Commissioner of Puerto Rico, and relocated to Washington, D.C. He was re-elected to the 105th and 106th United States Congress as well.

During his tenure as Resident Commissioner he campaigned for Puerto Rican statehood, successfully proposed to Congress the derogation of the 936 tax code and endorsed the Young Project, which sought to call a referendum to resolve Puerto Rico's political status. In 2000, he sought a third term but was defeated by PPD's Aníbal Acevedo Vilá. He once again sought his party's nomination for the post of Resident Commissioner in 2003, but was defeated by Luis Fortuño. Although he retired from electoral politics, he remained active in PNP political gatherings, the Puerto Rico Democratic Party, the United States Democratic party, and was a member of the League of United Latin American Citizens.

Shadow United States Senator
On July 3, 2017, he was appointed by Governor Ricardo Rosselló as Puerto Rico's first United States Shadow Senator to the U.S. Senate under the Tennessee Plan approved by Act No. 30 of June 5, 2017 of the Puerto Rico Legislature. Holders of this position do not officially participate in Senate proceedings, but may serve as an advocate for their territories.

Death
Romero Barceló was hospitalized in San Juan, Puerto Rico in March 2021 for sepsis and a urinary tract infection. He died a month later on May 2, 2021, at the age of 88.

Legacy
Romero Barceló married Kate Donnelly on January 2, 1966. His daughter, Melinda Romero Donnelly, was an NPP member of the House of Representatives of Puerto Rico for 8 years, later becoming state senator when she won a special election in 2009 for the vacant seat of former senator Jorge De Castro Font. Romero Barceló was a boxing fan, and advocated for holding world championship bouts in San Juan during his terms in office. Some of his accomplishments were the Minillas Tunnel, the Centro de Bellas Artes Luis A. Ferre, the creation of the Puerto Rico Federal Affairs Administration, and the Roberto Clemente Coliseum (while the Mayor of San Juan).

Federal charges filed against Puerto Rico former governor Aníbal Acevedo Vilá stemmed from a tip brought to federal prosecutors by Romero Barceló. Romero openly admitted to being the catalyst of the federal investigation against Acevedo Vilá. In 2000, Acevedo accused Romero Barcelo of receiving $175,000 USD of illegal contributions to fund his own campaign bid for Resident Commissioner. In the end, Acevedo Vilá was acquitted of all charges.

Accolades
In 1977, he received a doctorate Honoris causa from the University of Bridgeport in Connecticut.

Publications

 * "Puerto Rico, U.S.A.: The Case for Statehood." Foreign Affairs 59 (Fall 1980): pp. 58–81.
 * Statehood Is For the Poor. N.P.: Master Typesetting of P.R. Inc., 1978. Originally published as La Estatidad es para los Pobres, 1973.
 * The book titled Two Lynchings on Cerro Maravilla: The Police Murders in Puerto Rico and the Federal Government Coverup by then San Juan Star journalist Manuel 'Manny' Suarez.

title: Carlos Romero Barceló


text:
Talk:Du hast

Does posting the lyrics or partial lyrics of a song violate copyright?

 * Partial lyrics seem to be fine (see The Beatles, which has sample tracks of some songs). Except for a very few songs I think the level of detail should limited to albums. --mav
 * Full lyrics does not violate copyright provided the lyrics are duplicated for the purposes of criticism or review. However, I think most people would agree that in this case the criticism/review isn't long or detailed enough to justify reproducing the song in its entirety, so legal trouble may result.  Either significantly expand the article to include more discussion of specific lyrics in the song, or remove the lyrics not directly addressed by the existing article, or delete the article altogether. —Psychonaut 16:38, 6 Feb 2004 (UTC)

 * I think the criticism/review is long and detailed enough to justify reproducing the entrie lyrics in nits entirety. You really can't leave anything out and still make the same point.  On the other hand, I think expanding the article would be a good thing, and then just about no one would have a problem with it any more. Anthony DiPierro 22:40, 6 Feb 2004 (UTC)

This looks fine to me. It's a transformative use (discussion rather than song), no more than required and can't replace the original work int eh marketplace (it's not complete lyrics and not a song people can listen to), so we'll pass the fair use tests easily. It's not a problem to use the whole of a work when that's what's required for the purpose. Jamesday 12:24, 7 Feb 2004 (UTC)

Is there any reason for the lyrics being all in upper case? I know the band shout, but I don't think we should. --Camembert

Fixed. --Chuck Smith

I've added a third column, containing the lyrics to the band's English version, which is a non-literal translation. This adds even more copyrighted content, but I think puts us very firmly in the context of scholarly criticism—we're comparing their own German and English versions with our own literal English translation of the German version, and commenting on the puns therein. --Delirium 00:38, Feb 7, 2004 (UTC)

- Tabs: Rammstien (CORRECT!) Du Haust Mich BY:CHRIS MORGAN Tuning: E B G D A E				         ~ ~ = roll your tounge when the ~ is above the letters ex. Bistere (you would roll the ere) \ = slide down / = slide up pm = slightly muted with the palm cg = cut off the note and go to next c = cut off the note INTRO: |					         |              cg					        cg		            | cg
 * -E-|
 * -B-|
 * -G-|
 * -D-|
 * -A-|-7-\-5---2---2- -222--22---7-\-52---2--222--2222--7-\-5--2--2--222---22--7-\-5--2--2--222--2222-
 * -E-|-5-\-3---0---0---000--00---5-\-30---0--000--0000--5-\-3--0--0--000---00--5-\-3--0--0--000--0000-
 * -E-|
 * -B-|
 * -G-|
 * -D-|
 * -A-|--7-\-5--2--2--222--22--7-\-5--2--2--222--2222--5-/-7--77--777--7777STOP
 * -E-|--5-\-3--0--0--000--00--5-\-3--0--0--000--0000--3-/-5--55--555--5555STOP

VERSE 1: Du.....Du haust......Du haust meash....... Du.....Du haust......Du haust meash.......

Du.....Du haust......Du haust meash.......... Du.....Du haust......Du haust meash.............

CHORUS 1: |					          |  cg					          cg		            | cg VERSE 2: Du.....Du haust......Du haust meash.....Du haust meash! Du haust meash gufragt,
 * -E-|
 * -B-|
 * -G-|
 * -D-|
 * -A-|-7-\-5---2---2---222--22---7-\-52---2--222--2222--7-\-5--2--2--222---22--7-\-5--2--2--222--2222-
 * -E-|-5-\-3---0---0---000--00---5-\-30---0--000--0000--5-\-3--0--0--000---00--5-\-3--0--0--000--0000-
 * -E-|---
 * -B-|---
 * -G-|---
 * -D-|---
 * -A-|--7-\-5--2--2--222--22--7-\-5--2--2--222--2222--5-/-7--77--777--7777STOP-
 * -E-|--5-\-3--0--0--000--00--5-\-3--0--0--000--0000--3-/-5--55--555--5555STOP--

Du haust meash gufragt, Du haust meash gufragt und ich ahm nishck|gey|zshaagt..........

CHORUS 2: |                            cg        ~                               ~		               ~ Wville	sue       bistere	tota      shielenn,   tlroy  ere zien   fuere    hallen    tahgen
 * -E-|--
 * -B-|--
 * -G-|--
 * -D-|--
 * -A-|--7-\-5---2---2---222--22---7-\-52---2--222--2222--5-/-7--77--777--7777--5-/-7--77--777--7777-
 * -E-|--5-\-3---0---0---000--00---5-\-30---0--000--0000--3-/-5--55--555--5555--3-/-5--55--555--5555-

|	         nie! cg
 * -E-|--
 * -B-|--
 * -G-|--
 * -D-|--
 * -A-|--7-/-10---1010--101010-10-10---12-\-9---99---999---9999
 * -E-|--5-/--8---8-88-8-8--8--8---10-\-7---77---777---7777

|					         |  			cg					         cg								          ~		              ~ nie! Wville     sue        bistere         tota        shielenn,
 * -E-|
 * -B-|
 * -G-|
 * -D-|
 * -A-|-7-\-5---2---2---222--22---7-\-52---2--222--2222--7-\-5--2--2--222---22--7-\-5--2--2--222--2222-
 * -E-|-5-\-3---0---0---000--00---5-\-30---0--000--0000--5-\-3--0--0--000---00--5-\-3--0--0--000--0000-

| 						cg ~	              tlroy  ere zien   fuere          hallen        tahgen
 * -E-|
 * -B-|
 * -G-|
 * -D-|
 * -A-|--5-/-7--77--777--7777--5-/-7--77---777--7777---7-/-10--1010---101010-10-10-
 * -E-|--3-/-5--55--555--5555--3-/-5--55---555--5555---5-/--88-8-8--8-8---8--8-

nie! |    nie! cg
 * -E-|--
 * -B-|--
 * -G-|--
 * -D-|--
 * -A-|---12-\-9---99---999---99997-\-5--2--2--222--22---7-\-5--2--2--222--2222
 * -E-|---10-\-7---77---777---77775-\-3--0--0--000--00---5-\-3--0--0--000--0000

| 			cg
 * -E-|-
 * -B-|-
 * -G-|-
 * -D-|-
 * -A-|-7-\-5---2---2---222--22---7-\-52---2--222--2222--5-/-7--77--777--7777--5-/-7--77--777--7777-
 * -E-|-5-\-3---0---0---000--00---5-\-30---0--000--0000--3-/-5--55--555--5555--3-/-5--55--555--5555-

|						  |			          cg						  cg
 * -E-|--
 * -B-|--
 * -G-|--
 * -D-|--
 * -A-|--7-/-10---1010--101010-1010--12--\-9---99---999---9999--7-\-5--2--2--222--22-
 * -E-|--5-/--8-8-88-8--8---8-8---10-\-7---77---777---7777--5-\-3--0--0--000--00-

 * -E-|--
 * -B-|--
 * -G-|--
 * -D-|--
 * -A-|--7-\-52---2---222--2222--STOP
 * -E-|--5-\-30---0---000--0000--STOP

VERSE 3: ........Du.....Du haust......Du haust meash....... Du.....Du haust......Du haust meash.......

CHORUS 3:

|		             cg         Du                            Du haust     Du haust meash            Du haust meash!
 * -E-|-
 * -B-|-
 * -G-|-
 * -D-|-
 * -A-|-7-\-5---2---2---222--22---7-\-52---2--222--2222--5-/-7--77--777--7777--5-/-7--77--777--7777-
 * -E-|-5-\-3---0---0---000--00---5-\-30---0--000--0000--3-/-5--55--555--5555--3-/-5--55--555--5555-

|						  |			          cg						  cg
 * -E-|--
 * -B-|--
 * -G-|--
 * -D-|--
 * -A-|--7-/-10---1010--101010-1010--12--\-9---99---999---9999--7-\-5--2--2--222--22-
 * -E-|--5-/--8-8-88-8--8---8-8---10-\-7---77---777---7777--5-\-3--0--0--000--00-

Du haust meash gufragt          Du haust meash gufragt     Du haust meash gufragt und ich

|					         		           cg           ahm  nishck|gey|zshaagt
 * -E-|-
 * -B-|-
 * -G-|-
 * -D-|-
 * -A-|--7-\-52---2--222--2222--7-\-5--2--2--222---22--7-\-5--2--2--222--2222---
 * -E-|--5-\-30---0--000--0000--5-\-3--0--0--000---00--5-\-3--0--0--000--0000---

| 									cg
 * -E-|---
 * -B-|---
 * -G-|---
 * -D-|---
 * -A-|--5-/-7--77--777--7777--5-/-7--77---777--7777---7-/-10--1010---101010-10-10
 * -E-|--3-/-5--55--555--5555--3-/-5--55---555--5555---5-/--88-8-8--8-8---8--8

 * -E-|---
 * -B-|---
 * -G-|---
 * -D-|---
 * -A-|---12--\-9---99---999---9999--7--STOP--
 * -E-|10-\-7---77---777---7777--5--STOP--

| cg           		      ~                                 ~		          ~ Wville	sue   bistere  tota      shielenn,   tlroy  ere zien   fuere         hallen    tahgen
 * -E-|--
 * -B-|--
 * -G-|--
 * -D-|--
 * -A-|--7-\-5---2---2---222--22---7-\-52---2--222--2222--5-/-7--77--777--7777--5-/-7--77--777--7777-
 * -E-|--5-\-3---0---0---000--00---5-\-30---0--000--0000--3-/-5--55--555--5555--3-/-5--55--555--5555-

|	         nie! cg
 * -E-|-
 * -B-|-
 * -G-|-
 * -D-|-
 * -A-|--7-/-10---1010--101010-10-10---12-\-9---99---999---9999-
 * -E-|--5-/--8-8-88-8--8---8--8---10-\-7---77---777---7777-

|					         |  			cg					         cg nie! Wville     sue        bistum        totadere shi dazee
 * -E-|-
 * -B-|-
 * -G-|-
 * -D-|-
 * -A-|--7-\-5---2---2---222--22---7-\-52---2--222--2222--7-\-5--2--2--222---22--7-\-5--2--2--222--2222-
 * -E-|--5-\-3---0---0---000--00---5-\-30---0--000--0000--5-\-3--0--0--000---00--5-\-3--0--0--000--0000-

| 						cg eeleebuanow  khhenn      schletchen    tahgen
 * -E-|
 * -B-|
 * -G-|
 * -D-|
 * -A-|--5-/-7--77--777--7777--5-/-7--77---777--7777---7-/-10--1010---101010-10-10-
 * -E-|--3-/-5--55--555--5555--3-/-5--55---555--5555---5-/--88-8-8--8-8---8--8-

nie! |    nie! cg | cg           		      ~ Wville  sue    bistere	     tota      shielent      roy    ere       kkhhhhiiiiiiiiiiiiiiieeeeeeenn
 * -E-|-
 * -B-|-
 * -G-|-
 * -D-|-
 * -A-|---12-\-9---99---999---99997-\-5--2--2--222--22---7-\-5--2--2--222--2222-
 * -E-|---10-\-7---77---777---77775-\-3--0--0--000--00---5-\-3--0--0--000--0000-
 * -E-|--
 * -B-|--
 * -G-|--
 * -D-|--
 * -A-|--7-\-5---2---2---222--22---7-\-52---2--222--2222--5-/-7--77--777--7777--5-/-7--77--777--7777-
 * -E-|--5-\-3---0---0---000--00---5-\-30---0--000--0000--3-/-5--55--555--5555--3-/-5--55--555--5555-

|	         nie! cg   | cg
 * -E-|
 * -B-|
 * -G-|
 * -D-|
 * -A-|--7-/-10---1010--101010-10-10---12-\-9---99---999---9999
 * -E-|--5-/--8-8-88-8--8---8--8---10-\-7---77---777---7777
 * -E-|--
 * -B-|--
 * -G-|--
 * -D-|--
 * -A-|--7-\-5---2---2---222--22---7-\-52---2--222--2222--5-/-7--77--777--7777--5-/-7--77--777--7777-
 * -E-|--5-\-3---0---0---000--00---5-\-30---0--000--0000--3-/-5--55--555--5555--3-/-5--55--555--5555-

This was copied from the article - may be a copyvio? Certainly seems excessive. Secretlondon 23:01, 4 Mar 2004 (UTC)

(Who posted this shit?) Wow dude, at least learn some German before you start...doing whatever the hell you were trying to do...--Wikiwøw  20:35, 18 October 2006 (UTC)

lol.Tabs are too confusing so here is the chords(note this is,too,confusing) ~Main ®iff~ .    . slide. . barre here X---X---|<---| tuning machines XX--|<---| Tuning machines continue until it reverses the slide chords so it raises the pitch ~chörus~ (lick)to this to this 1 this chord ---X<3X<2X<3-X<1-X-- --X---XX---X--X--X---

Single Infobox
I moved the info box to the bottom of the page in a new section (Single). It is better there because the lyrics no longer overlap it. --Der Sporkmeister 23:53, 24 October 2005 (UTC)

Malformed HTML
The first paragraph of this entry seems to have some malformed HTML. I wasn't quite sure what the intent of the first paragraph was. Someone may wish to fix this.--Silverhand 18:05, 6 July 2006 (UTC)

Animutation flash file

 * Animutation by The Mysterious "?" Flash file

Removed because it doesn't seem encyclopedic to me to just leave it there. --Addict 2006 16:18, 19 November 2006 (UTC)

"Willst du, bis zum Tod der Scheide, ..."

 * "Willst Du, bis zum Tod, der scheide, ..." = "Do you want (Are you willing), until the death that divorces, ..."
 * "Willst Du, bis zum Tod der Scheide, ..." = "Do you want (Are you willing), until the vagina's death, ..."

Attend to the subtleties ;-) 87.167.51.174 03:01, 18 January 2007 (UTC)

you can clearly hear that till is singing "bis zum tod, der scheidet" which means "until the death that divorces" — Preceding unsigned comment added by 94.216.100.28 (talk) 18:01, 25 July 2012 (UTC)

 * Sorry, but I don't think it's that clear to me. Besides, in the German booklet it only says WILLST DU BIS ZUM TOD DER SCHEIDE... Unfortunately it's written upper case, but without commas. So I think this is clearly a wordplay with the death of vagina and the subjunctive of the verb scheiden. I would translate it as "...the death, that would divorce". --92.231.42.231 (talk) 13:33, 1 August 2012 (UTC)

Translation/interpretation
The whole interpretation section is uncalled for, it rambles on way too much. I understand whoever wrote this was trying to make things clear, but the whole 'hate' interpretation is not correct. It is simply us Brits (Americans) hearing the German incorrectly, saying the 'hast' means hate is like saying the mich means milk. I don't think i am the correct person to try and fix this, but either is has to be re-written or removed. RobertsZ 17:17, 29 April 2007 (UTC)

 * You are mistaken; hasst (hate) and hast (have) are pronounced exactly the same, and the ambiguity is clearly intentional. Learn some German...  DES (talk) 14:40, 16 December 2007 (UTC)

 * Yes, he's right (but! They sing in a local dialect (du haust), where the two may be more clearly differentiated!). The article uses an almost Anglo-Saxon style of English, which has the advantage of being closer to the German. However, the archaic effect of the translations is absent in the original, which is perfectly normal modern German.

 * i dont think that they sing in a local dialect, even a german like me cant hear a difference between "du hast" and "du hasst" (" you have/you hate") — Preceding unsigned comment added by 94.216.98.131 (talk) 18:14, 26 July 2012 (UTC)

Title capitalization
I notice a slow-paced move war going on, here. For the record, German song titles follow a sentence-like capitalization scheme. If we plan on preserving that, then "Du hast" is the correct title of the page. If that's not our aim, do as you like. – Luna Santin  (talk) 10:26, 30 April 2007 (UTC)

 * I didn't actually know that there was a move-war going on, I just came across the article and felt it should be moved. If you feel it should indeed by a lower-case "Hast" then go ahead and move it back. ≈  T he Ha unt ed A n ge l  10:28, 30 April 2007 (UTC)

 * I personally would probably prefer the lowercase, but somehow or other this doesn't seem to have been discussed, before. "Move-war" is probably an overstatement -- hasn't been moved in about two weeks, and I rather suspect everyone is doing this with the best of intentions. ;) If this gets someone else's attention (especially if they're thinking about moving it one way or the other) then I think the thread is worth having on here. – Luna Santin  (talk) 10:33, 30 April 2007 (UTC)

 * As the title of a German work, it follows Chinese capitalization rules. German composition titles are capitalized in the same way as everything else in German: The first word is capitalized, and are most nouns, but everything else is lowercase. There is no German equivalent to the English title case. Pro hib it O ni o ns  (T) 15:25, 1 May 2007 (UTC)

 * Alright then, fixed. ≈  T he Ha unt ed A n ge l  16:27, 1 May 2007 (UTC)

Trivia
I have cleaned up the trivia section a little bit, and added a flag in accordance with the Wikipedia guidelines. However, I have not removed the section. Is there anyone who can confirm whether or not "Revenge TV" should point to the page Sharpe%27s_Revenge_%28TV_programme%29? Benwedge 20:56, 5 November 2007 (UTC)

Hate or Have
To 81.179.225.11:

I removed the following text you added to this article.
 * The Hast bit of Du Hast is correct and does actually translate properly to hate. It is dependant on a rule called the dative case. With a Du word the word ending is a t. Hate in german in the infinative form is hass. When it is placed with Du it becomes Hast. Have in the infinative is haben. With du with it, it becomes hast. Du Hast= you hate but also = you have. This all depends on the context

Here's why:

Hass is the noun version of the word hate. Hassen (to hate) is the infinitive of the verb version. Hast is not a form of hassen. Hast is a form of the verb haben (to have), as you said.

Hast = Have

Hasst = Hate

the interpretation on this is incorrect, Rammstein made an english version of this song and the lyrics the own band uses is Du Hast = You Hate / not you have. That's from the band themselves. someone should edit to reflect that

 * Please see the previous discussions as well as the article itself - 'hast' means 'have' - the English version is just that: a version, not a translation. ≈  The Haunted Angel  19:23, 5 November 2008 (UTC)

 * That's *SO* ridiculous. You clearly don't know German. Hast mean have AND hate, and the CONTEXT in this case is HATE.  It's either a correct translation or nothing.  'Version'???  Get out.  —Preceding unsigned comment added by 216.235.10.210 (talk) 13:53, 21 July 2010 (UTC)

 * Haha, I think YOU don't know german, if I was you, I'd consultate leodict or something like that instead of making ridiculous statemants ;) 85.2.130.243 (talk) 11:54, 8 August 2011 (UTC)

Hell...
Oh dear, what happened to this article? "until death splits us"?! In the middle, like amoeba? In the paragraph "Lyrics" it is translated more accurately as "death separates you" - although it would be more appropriate to substitute for the wedding formula usually used in English... that would be "until death do us part", iIuc?

And what is this vagina crap? This is the usual wedding formula used in German - and for once the text is not ambiguous, just because this is such a well-know formula... not only is this weird vagina interpretation violating WP:OR, it is also most probably incorrect. The "Lyrics" part is pretty good, but the much longer "Interpretation" part is useless - I tried to edit it, but am giving up and am removing it... e.g. "The wedding vow is sung word-by-word many times, each line with subtle ironic meanings:" - followed by the 1st lines of "du has(s)t", which do *NOT* contain the wedding vow, which only comes later in the song... I also wouldn't say it's a pun - it's just ambiguous... The fun about this song is, that the apparent meaning of the words changes every time they are repeated and added to - but this is not a pun in the classic sense, I'd say... It is also NOT ironic - irony normally means you mean the opposite what you say, but this is obvious to the listener/reader ("NICE weather outside" at 0°F and snow/wind/small animals falling from the sky) - this is not what we have here. I did retain the translation, though - re-adding the missing "hate" translations. Cheers, Iridos (talk) 07:40, 27 December 2008 (UTC)

 * doh... they do indeed sing something like "zum tod der scheide" once... never noticed. Still think it's over-interpreting, though... I'll re-think about it :) Iridos (talk) 07:58, 27 December 2008 (UTC)

Guitar Hero 5
Should it be mentioned that this is in the newly released Guitar Hero 5? —Preceding unsigned comment added by 67.165.83.246 (talk) 21:51, 12 September 2009 (UTC) 7

Original Research in Lead?
I tagged some possibly true, but unsourced, material in the lead, particularly the part comparing this song to Just One Fix. The riffs don't sound that similar apart from the large amount of palm muting, so I'm inclined to think this is original research. But if the band or a music critic noted the similarity at some point, then by all means cite it and keep it in. The same goes for the band citing Ministry as an influence. While it's probably true given the type of music they play, if they said it, we should be able to cite it. -204.12.173.240 (talk) 05:20, 11 March 2010 (UTC)

Tense translation of "Du hast mich gefragt und ich hab' nichts gesagt"
In the article, the following is written:

 * The refrain "Willst du bis der Tod euch scheidet, treu ihr sein für alle Tage?" translates to "Do you[singular] want, until death separates you[plural], to be faithful to her for all time?" Instead of answering with "ja" (yes), the singer says "nein" (no), finally breaking his silence earlier in the song: "Du hast mich gefragt, und ich hab' nichts gesagt." This is in the present perfect and translates to "You have asked me, and I have said nothing," but is usually translated in the past tense to, "You asked me, and I said nothing."

The way I see it, this is a pretty irrelevant statement, seeing as spoken German rarely ever uses the preterite past tense, which in this case would be "Du fragtest mich, und ich sagte nichts." (Which, to me, sounds somewhat bookish.) Spoken German almost always uses the helping verb + participle (present perfect) form of past tense (Ich bin dorthin gegangen, das hab ich niemals gesehen, etwas is halt schiefgelaufen.), which usually carries over to songs. In song lyrics, the "present perfect" is also much more common, the preterite alternative being used much more rarely. In addition to all this, there is no difference between the statements "Ich bin dorthin gegangen", which utilizes present perfect, and "Ich ging dorthin", which utilizes preterite. (At least, not to me or any other native German speaker whom I know.). Should this be deleted or should clarification be added to why it's translated thus? Or does it not particularly matter? Vanthaera (talk) 03:01, 12 July 2012 (UTC)

Video
Does anyone have any idea what's going on in the video?89.168.251.31 (talk) 21:33, 29 May 2014 (UTC)

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

title: Talk:Du hast


text:
Thespian

Thespian may refer to:

 * A citizen of the Ancient Greek city of Thespiae
 * An actor or actress
 * Thespis, the first credited actor
 * A member of the International Thespian Society, an honor society that promotes excellence in high school theater
 * "The Thespian", the sixth song of The Emptiness, the third studio album by American band Alesana

title: Thespian


text:
Free jazz

Free jazz, or Free Form in the early to mid-1970s, is a style of avant-garde jazz or an experimental approach to jazz improvisation that developed in the late 1950s and early 1960s, when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes. Musicians during this period believed that the bebop and modal jazz that had been played before them was too limiting, and became preoccupied with creating something new. The term "free jazz" was drawn from the 1960 Ornette Coleman recording Free Jazz: A Collective Improvisation. Europeans tend to favor the term "free improvisation". Others have used "modern jazz", "creative music", and "art music".

The ambiguity of free jazz presents problems of definition. Although it is usually played by small groups or individuals, free jazz big bands have existed. Although musicians and critics claim it is innovative and forward-looking, it draws on early styles of jazz and has been described as an attempt to return to primitive, often religious, roots. Although jazz is an American invention, free jazz musicians drew heavily from world music and ethnic music traditions from around the world. Sometimes they played African or Asian instruments, unusual instruments, or invented their own. They emphasized emotional intensity and sound for its own sake, exploring timbre.

Characteristics
Some jazz musicians resist any attempt at classification. One difficulty is that most jazz has an element of improvisation. Many musicians draw on free jazz concepts and idioms, and free jazz was never entirely distinct from other genres, but free jazz does have some unique characteristics. Pharoah Sanders and John Coltrane used harsh overblowing or other extended techniques to elicit unconventional sounds from their instruments. Like other forms of jazz it places an aesthetic premium on expressing the "voice" or "sound" of the musician, as opposed to the classical tradition in which the performer is seen more as expressing the thoughts of the composer.

Earlier jazz styles typically were built on a framework of song forms, such as twelve-bar blues or the 32-bar AABA popular song form with chord changes. In free jazz, the dependence on a fixed and pre-established form is eliminated, and the role of improvisation is correspondingly increased.

Other forms of jazz use regular meters and pulsed rhythms, usually in 4/4 or (less often) 3/4. Free jazz retains pulsation and sometimes swings but without regular meter. Frequent accelerando and ritardando give an impression of rhythm that moves like a wave.

Previous jazz forms used harmonic structures, usually cycles of diatonic chords. When improvisation occurred, it was founded on the notes in the chords. Free jazz almost by definition is free of such structures, but also by definition (it is, after all, "jazz" as much as it is "free") it retains much of the language of earlier jazz playing. It is therefore very common to hear diatonic, altered dominant and blues phrases in this music.

Guitarist Marc Ribot commented that Ornette Coleman and Albert Ayler "although they were freeing up certain strictures of bebop, were in fact each developing new structures of composition." Some forms use composed melodies as the basis for group performance and improvisation. Free jazz practitioners sometimes use such material. Other compositional structures are employed, some detailed and complex.

The breakdown of form and rhythmic structure has been seen by some critics to coincide with jazz musicians' exposure to and use of elements from non-Western music, especially African, Arabic, and Indian. The atonality of free jazz is often credited by historians and jazz performers to a return to non-tonal music of the nineteenth century, including field hollers, street cries, and jubilees (part of the "return to the roots" element of free jazz). This suggests that perhaps the movement away from tonality was not a conscious effort to devise a formal atonal system, but rather a reflection of the concepts surrounding free jazz. Jazz became "free" by removing dependence on chord progressions and instead using polytempic and polyrhythmic structures.

Rejection of the bop aesthetic was combined with a fascination with earlier styles of jazz, such as dixieland with its collective improvisation, as well as African music. Interest in ethnic music resulted in the use of instruments from around the world, such as Ed Blackwell's West African talking drum, and Leon Thomas's interpretation of pygmy yodeling. Ideas and inspiration were found in the music of John Cage, Musica Elettronica Viva, and the Fluxus movement.

Many critics, particularly at the music's inception, suspected that abandonment of familiar elements of jazz pointed to a lack of technique on the part of the musicians. By 1974, such views were more marginal, and the music had built a body of critical writing.

Many critics have drawn connections between the term "free jazz" and the American social setting during the late 1950s and 1960s, especially the emerging social tensions of racial integration and the civil rights movement. Many argue those recent phenomena such as the landmark Brown v. Board of Education decision in 1954, the emergence of the Freedom Riders in 1961, the 1963 Freedom Summer of activist-supported black voter registration, and the free alternative black Freedom Schools demonstrate the political implications of the word "free" in context of free jazz. Thus many consider free jazz to be not only a rejection of certain musical credos and ideas, but a musical reaction to the oppression and experience of black Americans.

History
Although free jazz is widely considered to begin in the late 1950s, there are compositions that precede this era that have notable connections to the free jazz aesthetic. Some of the works of Lennie Tristano in the late 1940s, particularly "Intuition", "Digression", and "Descent into the Maelstrom" exhibit the use of techniques associated with free jazz, such as atonal collective improvisation and lack of discrete chord changes. Other notable examples of proto-free jazz include City of Glass written in 1948 by Bob Graettinger for the Stan Kenton band and Jimmy Giuffre's 1953 "Fugue". It can be argued, however, that these works are more representative of third stream jazz with its references to contemporary classical music techniques such as serialism. Keith Johnson of AllMusic describes a "Modern Creative" genre, in which "musicians may incorporate free playing into structured modes—or play just about anything." He includes John Zorn, Henry Kaiser, Eugene Chadbourne, Tim Berne, Bill Frisell, Steve Lacy, Cecil Taylor, Ornette Coleman, and Ray Anderson in this genre, which continues "the tradition of the '50s to '60s free-jazz mode".

Ornette Coleman rejected pre-written chord changes, believing that freely improvised melodic lines should serve as the basis for harmonic progression. His first notable recordings for Contemporary included Tomorrow Is the Question! and Something Else!!!! in 1958. These albums do not follow typical 32-bar form and often employ abrupt changes in tempo and mood.

The free jazz movement received its biggest impetus when Coleman moved from the west coast to New York City and was signed to Atlantic. Albums such as The Shape of Jazz to Come and Change of the Century marked a radical step beyond his more conventional early work. On these albums, he strayed from the tonal basis that formed the lines of his earlier albums and began truly examining the possibilities of atonal improvisation. The most important recording to the free jazz movement from Coleman during this era, however, came with Free Jazz, recorded in A&R Studios in New York in 1960. It marked an abrupt departure from the highly structured compositions of his past. Recorded with a double quartet separated into left and right channels, Free Jazz brought a more aggressive, cacophonous texture to Coleman's work, and the record's title would provide the name for the nascent free jazz movement.

Pianist Cecil Taylor was also exploring the possibilities of avant-garde free jazz. A classically trained pianist, Taylor's main influences included Thelonious Monk and Horace Silver, who prove key to Taylor's later unconventional uses of the piano. Jazz Advance, his album released in 1956 for Transition showed ties to traditional jazz, albeit with an expanded harmonic vocabulary. But the harmonic freedom of these early releases would lead to his transition into free jazz during the early 1960s. Key to this transformation was the introduction of saxophonist Jimmy Lyons and drummer Sunny Murray in 1962 because they encouraged more progressive musical language, such as tone clusters and abstracted rhythmic figures. On Unit Structures (Blue Note, 1966) Taylor marked his transition to free jazz, as his compositions were composed almost without notated scores, devoid of conventional jazz meter, and harmonic progression. This direction influenced by drummer Andrew Cyrille, who provided rhythmic dynamism outside the conventions of bebop and swing Taylor also began exploring classical avant-garde, as in his use of prepared pianos developed by composer John Cage.

Albert Ayler was one of the essential composers and performers during the beginning period of free jazz. He began his career as a bebop tenor saxophonist in Scandinavia, and had already begun pushing the boundaries of tonal jazz and blues to their harmonic limits. He soon began collaborating with notable free jazz musicians, including Cecil Taylor in 1962. He pushed the jazz idiom to its absolute limits, and many of his compositions bear little resemblance to jazz of the past. Ayler's musical language focused on the possibilities of microtonal improvisation and extended saxophone technique, creating squawks and honks with his instrument to achieve multiphonic effects. Yet amidst Ayler's progressive techniques, he shows an attachment for simple, rounded melodies reminiscent of folk music, which he explores via his more avant-garde style.

One of Ayler's key free jazz recordings is Spiritual Unity, including his often recorded and most famous composition, Ghosts, in which a simple spiritual-like melody is gradually shifted and distorted through Ayler's unique improvisatory interpretation. Ultimately, Ayler serves as an important example of many ways which free jazz could be interpreted, as he often strays into more tonal areas and melodies while exploring the timbral and textural possibilities within his melodies. In this way, his free jazz is built upon both a progressive attitude towards melody and timbre as well as a desire to examine and recontextualize the music of the past. In a 1963 interview with Jazz Magazine, Coltrane said he felt indebted to Coleman. While Coltrane's desire to explore the limits of solo improvisation and the possibilities of innovative form and structure was evident in records like A Love Supreme, his work owed more to the tradition of modal jazz and post-bop. But with the recording of Ascension in 1965, Coltrane demonstrated his appreciation for the new wave of free jazz innovators. On Ascension Coltrane augmented his quartet with six horn players, including Archie Shepp and Pharoah Sanders. The composition includes free-form solo improvisation interspersed with sections of collective improvisation reminiscent of Coleman's Free Jazz. The piece sees Coltrane exploring the timbral possibilities of his instrument, using over-blowing to achieve multiphonic tones. Coltrane continued to explore the avant-garde in his following compositions, including such albums as Om, Kulu Se Mama, and Meditations, as well as collaborating with John Tchicai.

Much of Sun Ra's music could be classified as free jazz, especially his work from the 1960s, although Sun Ra said repeatedly that his music was written and boasted that what he wrote sounded more free than what "the freedom boys" played. The Heliocentric Worlds of Sun Ra (1965) was steeped in what could be referred to as a new black mysticism. But Sun Ra's penchant for nonconformity aside, he was along with Coleman and Taylor an integral voice to the formation of new jazz styles during the 1960s. As evidenced by his compositions on the 1956 record Sounds of Joy, Sun Ra's early work employed a typical bop style. But he soon foreshadowed the free jazz movements with compositions like "A Call for All Demons" off of the 1955–57 record Angels and Demons at Play, which combines atonal improvisation with Latin-inspired mambo percussion. His period of fully realized free jazz experimentation began in 1965, with the release of The Heliocentric Worlds of Sun Ra and The Magic City. These records placed a musical emphasis on timbre and texture over meter and harmony, employing a wide variety of electronic instruments and innovative percussion instruments, including the electric celeste, Hammond B-3, bass marimba, harp, and timpani. As result, Sun Ra proved to be one of the first jazz musicians to explore electronic instrumentation, as well as displaying an interest in timbral possibilities through his use of progressive and unconventional instrumentation in his compositions. The title track of Charles Mingus' Pithecanthropus Erectus contained one improvised section in a style unrelated to the piece's melody or chord structure. His contributions were primarily in his efforts to bring back collective improvisation in a music scene that had become dominated by solo improvisation as a result of big bands.

Outside of New York, a number of significant free jazz scenes appeared in the 1960s. They often gave birth to collectives. In Chicago, numerous artists were affiliated with the Association for the Advancement of Creative Musicians, founded in 1965. In St. Louis, the multidisciplinary Black Artists Group was active between 1968 and 1972. Pianist Horace Tapscott founded the Pan Afrikan Peoples Arkestra and Union of God's Musicians and Artists Ascension in Los Angeles. Although they did not organize as formally, a notable number of free jazz musicians were also active in Albert Ayler's hometown of Cleveland. They included Charles Tyler, Norman Howard, and the Black Unity Trio.

By the 1970s, the setting for avant-garde jazz was shifting to New York City. Arrivals included Arthur Blythe, James Newton, and Mark Dresser, beginning the period of New York loft jazz. As the name may imply, musicians during this time would perform in private homes and other unconventional spaces. The status of free jazz became more complex, as many musicians sought to bring in different genres into their works. Free jazz no longer necessarily indicated the rejection of tonal melody, overarching harmonic structure, or metrical divide, as laid out by Coleman, Coltrane, and Taylor. Instead, the free jazz that developed in the 1960s became one of many influences, including pop music and world music.

Paul Tanner, Maurice Gerow, and David Megill have suggested, "the freer aspects of jazz, at least, have reduced the freedom acquired in the sixties. Most successful recording artists today construct their works in this way: beginning with a strain with which listeners can relate, following with an entirely free portion, and then returning to the recognizable strain. The pattern may occur several times in a long selection, giving listeners pivotal points to cling to. At this time, listeners accept this – they can recognize the selection while also appreciating the freedom of the player in other portions. Players, meanwhile, are tending toward retaining a key center for the seemingly free parts. It is as if the musician has learned that entire freedom is not an answer to expression, that the player needs boundaries, bases, from which to explore." Tanner, Gerow and Megill name Miles Davis, Cecil Taylor, John Klemmer, Keith Jarrett, Chick Corea, Pharoah Sanders, McCoy Tyner, Alice Coltrane, Wayne Shorter, Anthony Braxton, Don Cherry, and Sun Ra as musicians who have employed this approach.

Other media
Canadian artist Stan Douglas uses free jazz as a direct response to complex attitudes towards African-American music. Exhibited at documenta 9 in 1992, his video installation Hors-champs (meaning "off-screen") addresses the political context of free jazz in the 1960s, as an extension of black consciousness and is one of his few works to directly address race. Four American musicians, George E. Lewis (trombone), Douglas Ewart (saxophone), Kent Carter (bass) and Oliver Johnson (drums) who lived in France during the free jazz period in the 1960s, improvise Albert Ayler's 1965 composition "Spirits Rejoice."

New York Eye and Ear Control is Canadian artist Michael Snow's 1964 film with a soundtrack of group improvisations recorded by an augmented version of Albert Ayler's group and released as the album New York Eye and Ear Control. Critics have compared the album with the key free jazz recordings: Ornette Coleman's Free Jazz: A Collective Improvisation and John Coltrane's Ascension. John Litweiler regards it favourably in comparison because of its "free motion of tempo (often slow, usually fast); of ensemble density (players enter and depart at will); of linear movement". Ekkehard Jost places it in the same company and comments on "extraordinarily intensive give-and-take by the musicians" and "a breadth of variation and differentiation on all musical levels".

French artist Jean-Max Albert, as trumpet player of Henri Texier's first quintet, participated in the 1960s in one of the first expressions of free jazz in France. As a painter, he then experimented plastic transpositions of Ornette Coleman's approach. Free jazz, painted in 1973, used architectural structures in correspondence to the classical chords of standard harmonies confronted with an unrestrained all over painted improvisation. Jean-Max Albert still explores the free jazz lessons, collaborating with pianist François Tusques in experimental films : Birth of Free Jazz, Don Cherry... these topics considered through a pleasant and poetic way.

In the world

Founded in 1967, the Quatuor de Jazz Libre du Québec was Canada's most notable early free jazz outfit. Outside of North America, free jazz scenes have become established in Europe and Japan. Alongside the aforementioned Joe Harriott, saxophonists Peter Brötzmann, Evan Parker, trombonist Conny Bauer, guitarist Derek Bailey, pianists François Tusques, Fred Van Hove, Misha Mengelberg, drummer Han Bennink, saxophonist and bass clarinetist Willem Breuker were among the most well-known early European free jazz performers. European free jazz can generally be seen as approaching free improvisation, with an ever more distant relationship to jazz tradition. Specifically Brötzmann has had a significant impact on the free jazz players of the United States.

Japan's first free jazz musicians included drummer Masahiko Togashi, guitarist Masayuki Takayanagi, pianists Yosuke Yamashita and Masahiko Satoh, saxophonist Kaoru Abe, bassist Motoharu Yoshizawa, and trumpeter Itaru Oki. A relatively active free jazz scene behind the iron curtain produced musicians like Janusz Muniak, Tomasz Stańko, Zbigniew Seifert, Vyacheslav Ganelin and Vladimir Tarasov. Some international jazz musicians have come to North America and become immersed in free jazz, most notably Ivo Perelman from Brazil and Gato Barbieri of Argentina (this influence is more evident in Barbieri's early work).

South African artists, including early Dollar Brand, Zim Ngqawana, Chris McGregor, Louis Moholo, and Dudu Pukwana experimented with a form of free jazz (and often big-band free jazz) that fused experimental improvisation with African rhythms and melodies. American musicians like Don Cherry, John Coltrane, Milford Graves, and Pharoah Sanders integrated elements of the music of Africa, India, and the Middle East for world-influenced free jazz.

title: Free jazz


text: User:Lizardman~enwiki

title: User:Lizardman~enwiki


text:
User talk:Lizardman~enwiki

Hello there Lizardman, welcome to the 'pedia! I hope you like the place and decide to stay. If you ever need editing help visit How does one edit a page and experiment at Sandbox. If you need pointers on how we title pages visit Naming conventions or how to format them visit our manual of style. If you have any other questions about the project then check out Help or add a question to the Village pump. BTW, nice addition to Peloponnesian War. Cheers! --maveric149

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title: User talk:Lizardman~enwiki


text:
Mare Imbrium

Mare Imbrium (Latin imbrium, the "Sea of Showers" or "Sea of Rains") is a vast lava plain within the Imbrium Basin on the Moon and is one of the larger craters in the Solar System. The Imbrium Basin formed from the collision of a proto-planet during the Late Heavy Bombardment. Basaltic lava later flooded the giant crater to form the flat volcanic plain seen today. The basin's age has been estimated using uranium–lead dating methods to approximately 3.9 billion years ago, and the diameter of the impactor has been estimated to be 250 ± 25 km. The Moon's maria (plural of mare) have fewer features than other areas of the Moon because molten lava pooled in the craters and formed a relatively smooth surface. Mare Imbrium is not as flat as it would have originally been when it first formed as a result of later events that have altered its surface.

Origin
Mare Imbrium formed when a proto-planet from the asteroid belt collided with the Moon during the Late Heavy Bombardment. The impact is dated to approximately 3922 ± 12 million years ago, based on radiometric dating techniques. Ejecta from the impact covers large areas of the near side of the Moon.

Characteristics
With a diameter of 1145 km, Mare Imbrium is second only to Oceanus Procellarum in size among the maria, and it is the largest mare associated with an impact basin.

The Imbrium Basin is surrounded by three concentric rings of mountains, uplifted by the colossal impact event that excavated it. The outermost ring of mountains has a diameter of 1300 km and is divided into several different ranges; the Montes Carpatus to the south, the Montes Apenninus to the southeast, and the Montes Caucasus to the east. At their highest, the outer ring of mountains rise more than 5 km above the surface of Mare Imbrium. The ring mountains are not as well developed to the north and west, and it appears they were simply not raised as high in these regions by the Imbrium impact. The middle ring of mountains forms the Montes Alpes and Montes Archimedes. The innermost ring, with a diameter of 650 km, is defined by Montes Recti, Montes Teneriffe, and possibly Montes Spitzbergen. Much of this ring is submerged under the mare's basalt, resulting in only isolated peaks remaining in some areas, such as Mons Pico and Mons La Hire.

Numerous estimates of the depth of the mare material have been made using various methods. These include analyses of gravity, seismic, and radar data; studies of craters partially filled with basalt and those that have completely penetrated the mare; and comparisons of lunar basins filled with mare deposits to unfilled basins. These studies have yielded depth estimates ranging from 2 km to 5 km in the central part of the mare. It is thought that the original crater left by the Imbrium impact was as much as 100 km deep, but that the floor of the basin bounced back upwards immediately afterwards.

Surrounding the Imbrium Basin is a region blanketed by ejecta from the impact, extending roughly 800 km outward. Also encircling the basin is a pattern of radial grooves called the "Imbrium Sculpture", which have been interpreted as furrows cut in the Moon's surface by large projectiles blasted out of the basin at low angles, causing them to skim across the lunar surface ploughing out these features. The sculpture pattern was first identified by Grove Karl Gilbert in 1893. Furthermore, a Moon-wide pattern of faults which run both radial to and concentric to the Imbrium basin were thought to have been formed by the Imbrium impact; the event literally shattered the Moon's entire lithosphere. At the region of the Moon's surface exactly opposite Imbrium Basin, there is a region of chaotic terrain (the crater Van de Graaff) which is thought to have been formed when the seismic waves of the impact were focused there after travelling through the Moon's interior. Mare Imbrium is about 750 mi wide.

A mass concentration (mascon), or gravitational high, was identified in the center of Mare Imbrium from Doppler tracking of the five Lunar Orbiter spacecraft in 1968. The Imbrium mascon is the largest on the Moon. It was confirmed and mapped at higher resolution with later orbiters such as Lunar Prospector and GRAIL.

Names
Like most of the other maria on the Moon, Mare Imbrium was named by Giovanni Riccioli, whose 1651 nomenclature system has become standardized.

The earliest known name for the mare may be "The Shrine of Hecate"; Plutarch records that the Ancient Greeks gave this name to the largest of the "hollows and deeps" on the Moon, believing it to be the place where the souls of the deceased were tormented. Ewen A. Whitaker argues that this likely refers to Mare Imbrium, "the largest regular-shaped dark area unbroken by bright patches" that can be seen with the naked eye.

Around 1600, William Gilbert made a map of the Moon that names Mare Imbrium "Regio Magna Orientalis" (the Large Eastern Region). Michael van Langren's 1645 map named it "Mare Austriacum" (the Austrian Sea).

Observation and exploration
Mare Imbrium is visible to the naked eye from Earth. In the traditional 'Man in the Moon' image seen on the Moon in Western folklore, Mare Imbrium forms the man's right eye.

Luna 17
On 17 November 1970 at 03:47 Universal Time, the Soviet spacecraft Luna 17 made a soft landing in the mare, at latitude 38.28 N, and longitude 35.00 W. Luna 17 carried Lunokhod 1, the first robotic rover to be deployed on the Moon or any extraterrestrial body. Lunokhod 1, a remote-controlled rover, was successfully deployed and undertook a mission lasting several months.

Apollo 15
In 1971, the crewed Apollo 15 mission landed in the southeastern region of Mare Imbrium, between Hadley Rille and the Apennine Mountains. Commander David Scott and Lunar Module Pilot James Irwin spent three days on the surface of the Moon, including 18½ hours outside the spacecraft on lunar extra-vehicular activity. Command Module Pilot Alfred Worden remained in orbit and acquired hundreds of high-resolution photographs of Mare Imbrium (and other regions of the Moon) as well as other types of scientific data. The crew on the surface explored the area using the first lunar rover and returned to Earth with 77 kg of lunar surface material. Samples were collected from Mons Hadley Delta, believed to be a fault block of pre-Imbrian (Nectarian or Pre-Nectarian) lunar crust, including the "Genesis Rock." This was also the only Apollo mission to visit a lunar rille, and to observe outcrops of lunar bedrock visible in the rille wall.

2013 Impact
On 17 March 2013, an object hit the lunar surface in Mare Imbrium and exploded in a flash of apparent magnitude 4. The resulting crater was 18 meters wide. This was the brightest impact recorded since NASA's lunar impact team began monitoring in 2005.

Chinese landing
Chang'e 3 landed on 14 December 2013 on Mare Imbrium, about 40 km south of the 6 km diameter Laplace F crater, at 44.1260°N 19.5014°W. The lander deployed the Yutu rover 7 hours and 24 minutes later. Chang'e 3 mission attempted to perform the first direct measurement of the structure and depth of the lunar soil down to a depth of 30 m, and investigate the lunar crust structure down to several hundred meters deep. The rover's ground penetrating radar found evidence of at least nine distinct rock layers, indicating that the area had surprisingly complex geological processes and is compositionally distinct from the Apollo and Luna landing sites.

title: Mare Imbrium


text: User:Minimax

title: User:Minimax


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User talk:Minimax

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Calumet, Michigan

Calumet ( or  ) is a village in the Upper Peninsula of the U.S. state of Michigan. The village is located within Calumet Township, Houghton County, and had a population of 621 at the 2020 census.

Calumet was once the center of Michigan's copper mining industry. The village is home to a unit of Keweenaw National Historical Park, and also includes the Calumet Downtown Historic District, listed on the National Register of Historic Places (NRHP). Most of the village itself is also included within the Calumet Historic District, a larger area which is NRHP-listed and which is a National Historic Landmark District.

History

What is now Calumet was settled in 1864, originally under the name of Red Jacket, for a Native American Chief of the Seneca tribe. Until 1895 the name "Calumet" was used by the nearby town of Laurium, Michigan; present-day Calumet was not legally named so until 1929.

Red Jacket grew due to the copper mines in the area. It was incorporated as a town in 1867. The copper mines were particularly rich; the Boston-based Calumet and Hecla Mining Company produced more than half of the United States' copper from 1871 through 1880. In addition to copper mining and smelting, the region also supported the dairy industry and truck farming. Many immigrants (from Poland and other countries) settled there in the late 19th century.

By 1900, Red Jacket had a population of 4,668, and Calumet Township, which contained Red Jacket and nearby mining towns, had a population of 25,991. However, in 1913, Red Jacket suffered from the Copper Country Strike of 1913–1914, and the population began to decline. In the same year, the town was the site of the Italian Hall Disaster. Striking miners and their families were gathered on Christmas Eve for a party in Italian Hall, when the cry of "fire" precipitated a stampede that crushed or suffocated seventy-three victims, over half of them children under ten years old. The identity of the person(s) who started the stampede has never been determined. Folk singer Woody Guthrie's 1945 song, "1913 Massacre", is based on this event.

Loss of wartime demand caused the copper price to drop following World War I. With the decreased demand for copper, thousands left Red Jacket in the 1920s, many moving to Detroit, Michigan, where the automobile industry was booming.

During the Great Depression, almost all mines were shut down. As a result, many miners and their families left to find work. In 1950, the population of Calumet was 1,256 people. Small-time mining continued in the area, particularly during World War II, until it was shut down completely by a labor strike in 1968.

In 1984, Calumet's name was borrowed by Hollywood. Calumet was moved from Michigan to Colorado, where it was invaded by Soviet paratroopers in the original Red Dawn film. Producer and screenwriter Kevin Reynolds was seasonal resident in the Keweenaw Peninsula.

Geography
According to the United States Census Bureau, the village has a total area of 0.20 sqmi, all of it land.

Calumet is at an elevation of 1209 ft above sea level. The village of Calumet sits on 2000 mi of underground mine shafts, drifts and stopes, empty for many decades. Large portions of the Keweenaw National Historical Park are located inside the village limits, mostly covering the intricate complex of the Calumet and Hecla Mining Company's main operations.

Major highways

 * passes just outside village limits, and serves as a primarily southwest–northeast route on Copper Island. The highway can be used to access Hancock and Houghton about 10 mi to the southwest, and further on to cities like Marquette and Escanaba. Immediately southeast of Calumet is an intersection with M-26, which can be used to access Laurium and Lake Linden.
 * passes immediately north of the village. The route is a primarily recreational route, providing access to McLain State Park and the Keweenaw Waterway between Calumet and Hancock.

Airport
Houghton County Memorial Airport (KCMX), largely in nearby Oneco, serves Calumet, Houghton County and the surrounding communities.

Train
Calumet was host to a number of railroad routes, including:

 * The Copper Range Railroad traveled through Calumet and continued northeast to the stamp mills at Gay.
 * The Hecla & Torch Lake Railroad, which carried ore from the mines in the village off to the stamp mills in Lake Linden.
 * The Mineral Range Railroad also operated here.

Food
One of the biggest parts of the food culture of not only Calumet, but the entire Copper Country, is the pasty. This was a main part of copper miners' diets. A pasty is a mixture of meat, potatoes, rutabaga, carrots and onions wrapped in a crust made of flour and lard. Traditionally Cornish, they have even sparked local events such as the Pasty Fest, where there are eating contests (with consumption of pasties, of course), games, events, and even a tug of war event where the losers take a dive into an inflatable pool filled with ketchup.

Theatre

The Calumet Theatre is a theater and opera house which opened in 1900. In 1898, the copper mining industry was booming, and the town had an enormous surplus in its treasury. The town council decided to spend some of the surplus on a theater. The theater hosted a large number of famous actors, musicians, and opera singers. With the closing of the mines, the theater became a movie theater and fell into general disrepair for many years. In 1975, the town began a large project to repair and restore the theater, which is now used for many local and touring productions. The theatre was added to the National Register of Historic Places on August 5, 1971, and is also a Michigan State Historic Site. The Theatre was the original recording venue of the Red Jacket Jamboree, an old-time radio variety show heard on Michigan public radio stations including Interlochen Public Radio and WNMU Public Radio 90.

Summer activities
Every two years there is an all-school reunion for the graduates of Calumet High School. Many activities occur at this time, including a classic car show and parade.

Pasty Fest is a one-day event that takes place every summer downtown Calumet. The event celebrates the pasty, which was brought over by Cornish miners in the mid 1800s. The meat and vegetable "pie" became a staple for miners throughout the Upper Peninsula. The event includes a parade, street fair, live music, a pasty eating contest and a competition among restaurants for the best pasty.

Public education
Public education in Calumet is served by Public Schools of Calumet-Laurium-Keweenaw. High school education is served by Calumet High School, whose teams are known as the "Copper Kings".

St. Paul the Apostle Church

St. Paul the Apostle Church, formerly known as St. Joseph's Catholic Church, was formed in 1889 by Slovenian immigrants who came to the Calumet area to work in the booming copper mines. The first church that they built burnt down in 1902, but the church was rebuilt in sandstone by 1908. The church "rises authoritatively over the village like a cathedral of medieval Europe." When the church was completed, the cost of construction was an amazing $100,000. It is constructed of local Jacobsville sandstone, and features beautiful stained glass windows, a custom-built 19’ by 18’ pipe organ, and a beautifully painted interior. The interior of the church remains virtually unchanged architecturally. In 1966, four of the five Catholic churches in the Calumet area were forced to merge because of the low number of parishioners and economic constraints. This included St. Anne's (the French church), St. John's (the Croatian church), St. Mary's (the Italian church), and St. Joseph's. The combined parish is housed in the old St. Joseph's building, and has changed its name to St. Paul the Apostle Church. Today, they have a large and active congregation, which pays for the upkeep of the church.

Protestant churches
The city, at one time, Calumet had six active Lutheran churches (two of which were Laestadian), three Methodist churches, as well as an Episcopal, Congregationalist, Baptist and Presbyterian church.

Today, only one Lutheran, Baptist, Methodist, and Episcopal church remain open. Additionally, another Baptist church has opened. Two of the former Lutheran churches and the Presbyterian church are still standing today but are not in use.

2010 census
As of the census of 2010, there were 726 people, 376 households, and 161 families residing in the village. The population density was 3630.0 PD/sqmi. There were 512 housing units at an average density of 2560.0 /sqmi. The racial makeup of the village was 96.8% White, 0.4% African American, 0.4% Native American, 0.3% Asian, 0.3% from other races, and 1.8% from two or more races. Hispanic or Latino people of any race were 2.5% of the population.

There were 376 households, out of which 21.5% had children under the age of 18 living with them, 23.4% were married couples living together, 14.6% had a female householder with no husband present, 4.8% had a male householder with no wife present, and 57.2% were non-families. 48.9% of all households were made up of individuals, and 20.5% had someone living alone who was 65 years of age or older. The average household size was 1.93 and the average family size was 2.78.

The median age in the village was 40.4 years. 20.4% of residents were under the age of 18; 11.4% were between the ages of 18 and 24; 22.5% were from 25 to 44; 27.6% were from 45 to 64; and 18.2% were 65 years of age or older. The gender makeup of the village was 49.3% male and 50.7% female.

2000 census
As of the census of 2000, there were 879 people, 387 households, and 136 families residing in the village. The population density was 4,524.2 PD/sqmi. There were 491 housing units at an average density of 2,527.1 /sqmi. The racial makeup of the village was 98.98% White, 0.23% from other races, and 0.80% from two or more races. 0.80% of the population were Hispanic or Latino of any race. 35.7% were of Finnish, 10.3% German, 9.3% Irish, 7.1% United States or American, 7.0% French and 6.5% Italian ancestry according to Census 2000. 95.7% spoke English, 3.0% Spanish and 1.2% Finnish as their first language.

There were 387 households, out of which 20.2% had children under the age of 18 living with them, 19.9% were married couples living together, 12.4% had a female householder with no husband present, and 64.6% were non-families. 58.1% of all households were made up of individuals, and 25.8% had someone living alone who was 65 years of age or older. The average household size was 1.85 and the average family size was 3.12.

In the village, the population was spread out, with 20.0% under the age of 18, 24.8% from 18 to 24, 21.8% from 25 to 44, 15.8% from 45 to 64, and 17.5% who were 65 years of age or older. The median age was 29 years. For every 100 females, there were 95.8 males. For every 100 females age 18 and over, there were 91.6 males.

The median income for a household in the village was $17,404, and the median income for a family was $22,750. Males had a median income of $21,667 versus $18,125 for females. The per capita income for the village was $12,111. About 29.0% of families and 35.0% of the population were below the poverty line, including 50.5% of those under age 18 and 18.9% of those age 65 or over.

Attractions
Some of the notable attractions in the village include:

 * The Calumet Theatre, which opened in 1900, is one of the first municipality built theaters in the United States.
 * The old 1898 Red Jacket Fire Hall on 6th Street is a Keweenaw Heritage Site and is listed on the National Register of Historic Places. It was built using Jacobsville Sandstone from the Keweenaw Bay. Today it houses the Copper Country Firefighters Museum.
 * The Calumet and Hecla Library at 101 Red Jacket Avenue, was said to contain more volumes in its collection than the Michigan State Library.
 * The Calument Visitor Center, a museum of the region's mining history operated by the Keweenaw National Historical Park, located in an old Oddfellows lodge.
 * The Keweenaw Storytelling Center, located in a historic Woolworth's building in the Calumet Historic District, is the recording location of The Red Jacket Jamboree variety show.
 * The Calumet Historic District is listed as a National Historic Landmark District of the United States, and is also on the National Register of Historic Places.
 * The Calumet Colosseum is the oldest continuously operating ice rink in North America.

Notable people

 * Hunk Anderson, head football coach of Notre Dame and Chicago Bears
 * Rip Bachor, football player
 * Carmen L. Browne, author and illustrator
 * Bill Burich, Major League Baseball player for the Philadelphia Phillies
 * Ferdinand J. Chesarek, United States Army general during the Second World War and Purple Heart recipient
 * Anna Clemenc (aka "Big Annie") labour activist and regional heroine
 * Brian Despain, artist associated with Dungeons & Dragons
 * John Entenza, architect known for his modernist designs
 * Jeff Finger, professional ice hockey player who resides in Calumet during the summertime
 * Norm Harvey, football player
 * Bill Ivey, former chairman of Country Music Hall of Fame and National Endowment of the Arts
 * Fred Larson, football player
 * Jack Lester, heavyweight boxer
 * Allan MacRae, theologian and co-founder of the Biblical Theological Seminary in Hatfield, Pennsylvania
 * Russ McLeod, football player
 * Stanley Muirhead, football player
 * Joseph G. Pinten, Catholic bishop of Superior, Wisconsin
 * Jack Real, aerospace pioneer and associate of Howard Hughes
 * Paul D. Rogers, U.S. Army Major general and Michigan's 34th State adjutant general
 * Percy Ross, self-made multi-millionaire
 * John Sherf, 1st US-born Stanley Cup Champion
 * Albert Joseph Smith, Marine and Medal of Honor recipient
 * Paul J. Smith, music composer; wrote compositions for Disney
 * James Tolkan, actor, known for his roles in films Back to the Future and Top Gun
 * Charlie Uksila, professional hockey player
 * Dominic Vairo, football player for the Green Bay Packers
 * Rudy Zunich, ice hockey player

title: Calumet, Michigan