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Steptoe and Son

Steptoe and Son is a British sitcom written by Ray Galton and Alan Simpson about a father-and-son rag-and-bone business in 26a Oil Drum Lane, a fictional street in Shepherd's Bush, London. Four series were broadcast by the BBC in black and white from 1962 to 1965, followed by a second run from 1970 to 1974 in colour. The lead roles were played by Wilfrid Brambell and Harry H. Corbett. The theme tune, "Old Ned", was composed by Ron Grainer. The series was voted 15th in a 2004 poll by the BBC to find Britain's Best Sitcom. It was remade in the United States as Sanford and Son, in Sweden as Albert & Herbert, in the Netherlands as Stiefbeen en zoon, in Portugal as Camilo & Filho, and in South Africa as Snetherswaite and Son. Two film adaptations of the series were released in cinemas, Steptoe and Son (1972) and Steptoe and Son Ride Again (1973).

The series focused on the inter-generational conflict of father and son. Albert Steptoe, a "dirty old man", is an elderly rag-and-bone man, set in his grimy and grasping ways. By contrast, his son Harold is filled with social aspirations and pretensions. The show contained elements of drama and tragedy, such as how Harold was continually prevented from achieving his ambitions.

In 2000, the show was ranked number 44 on the 100 Greatest British Television Programmes compiled by the British Film Institute. In a 2001 Channel 4 poll Albert was ranked 39th on their list of the 100 Greatest TV Characters.

Plot
Many episodes revolve around sometimes violent disagreements between the two men, Harold's attempts to bed women and momentary interest over things found on his round. Much of the humour derives from the pathos of the protagonists' situation, especially Harold's continually thwarted (usually by the elder Steptoe) attempts to better himself, and the unresolvable love/hate relationship that exists between the pair.

Albert almost always comes out on top, and routinely proves himself superior to his son whenever they compete, such as when they played snooker into the night and pouring rain in 1970, and Scrabble and badminton in the 1972 series. Harold takes these games extremely seriously and sees them as symbols of his desire to improve himself, but his efforts come to nothing each time. His father's success is partly down to greater skills but is aided by cynical gamesmanship and undermining of his son's confidence. In addition, Albert habitually has better judgement than his son, who blunders into multiple con tricks and blind alleys as a result of his unrealistic, desperate straw-clutching approach. Occasionally the tables are turned, but overall the old man is the winner.

Harold is infuriated by these persistent frustrations and defeats, even going to the extent in "Divided We Stand" (1972) of attempting to partition the house so that he does not have to share with his selfish, uncultured and negative father. His plan ends in failure and ultimately he can see no way out. However, for all the bitterness there is an essential bond between the pair. In bad situations, Harold sticks by his father, and Albert looks out for his son. This protective bond is shown in several episodes, such as "Full House" (1963) when Albert wins back Harold's money in a game of cards against Harold's manipulative group of friends, and "The Seven Steptoerai" (1974) when they are menaced by a local gangster running a protection racket and team up with some of Albert's friends to fight off the gangster's thugs.

The 1974 Christmas special ended the run and it first appears Harold is once again at the bad end of poor planning, when he books a Christmas holiday abroad, but then finds his passport is out of date. His father must go alone, and Harold, tearfully it seems, waves him off to enjoy a potential good time without him. Harold trudges away, only to jump in a car with a woman to drive off on his own holiday, revealing that he had engineered the whole situation from the beginning.

"Steptoe and Son" is the Steptoes' trading name, but as established in the first episode, the "Son" is not Harold as initially believed, but Albert. The name dates from when he and his mother (or father, depending on which storyline you believe) worked the rounds. The first series has the pair as very rough looking and often dirty and wearing ragged clothes, but they were portrayed as cleaner in later series.

Characters
The two main characters in the show are Albert Steptoe (Wilfrid Brambell) and Harold Steptoe (Harry H. Corbett). They have a large extended family who appear occasionally including many of Albert's brothers and sisters, among them Auntie May (Rose Hill), Uncle Arthur (George A. Cooper) and Auntie Minnie (Mollie Sugden).

Production
Development

The show had its roots in a 1962 episode of Galton & Simpson's Comedy Playhouse. Galton and Simpson's association with comedian Tony Hancock, for whom they had written Hancock's Half Hour, had ended and they had agreed to a proposal from the BBC to write a series of 10 comedy shows. The fourth in the series, "The Offer", was born both out of writer's block and budgetary constraints. Earlier shows in the series had cost more than expected, so the writers decided to write a two-hander set in one room. The idea of two brothers was considered but father and son worked best.

Galton and Simpson were not aiming to make a pilot for a series, having worked for seven years with Hancock. However, Tom Sloan, the BBC's head of comedy, told them during rehearsals that "The Offer" was a definite series pilot: he saw that the Steptoe idea had potential. Galton and Simpson were reportedly overwhelmed by this reaction, and the first of what became eight series was commissioned, the first four of which were transmitted between 1962 and 1965. The last four series were broadcast between 1970 and 1974, in colour. At the peak of the series' popularity, it received viewing figures of some 28,000,000 viewers per episode. In addition, the early 1970s saw two feature films and two 46-minute Christmas specials. In 2005, the play Steptoe and Son in Murder at Oil Drum Lane, written by Ray Galton and John Antrobus, brought the storyline to a close.

Casting

Unlike other British TV series of the early 1960s, Steptoe and Son cast actors in its principal roles rather than comedians. Galton and Simpson had decided that they wanted to try to write for performers who "didn't count their laughs".

Both of the main actors used voices considerably different from their own. Brambell, despite being Irish, spoke with a received pronunciation English accent, as did the Manchester-raised Corbett. Brambell was aged 49 when he accepted the role of Albert, only 13 years older than Corbett. For his portrayal, he acquired a second set of "rotten" dentures to accentuate his character's poor attitude to hygiene.

Music

Ron Grainer won a second successive Ivor Novello award for the show's theme tune 'Old Ned', to which he gave a different treatment, one year later, during a Rag-and-Bone Man scene in The Home-Made Car. The series had no standard set of opening titles but the opening sequences would often feature the Steptoes' horse, Hercules.

Locations

Outside filming of the Steptoes' yard took place at a car-breakers' yard in Norland Gardens, London W11, then changing to Stable Way, Latimer Road, for the later series. Both sites have subsequently been redeveloped with no evidence now remaining of the entrance gates through which the horse and cart were frequently driven.

The pilot episode and the first four series, which aired in 1962–1965, were recorded in the BBC Lime Grove Studios in London. When the show returned in 1970 after a four-year hiatus, the programme was made in the BBC Television Centre studios in west London, as from 1970 the show was recorded in colour.

Notability

During its production in the 1960s and 1970s, Steptoe and Son marked itself out as radical compared to most UK sitcoms. This was an age when the predominant sources of laughter in British comedy were farce, coincidence, slapstick and innuendo. However Steptoe and Son brought greater social realism. Its characters were not only working class but demonstrably poor. The earthy language and slang used were in marked contrast to the refined voices heard on most television of the time: e.g., in "Back in Fashion", Harold warns Albert that when the models arrive, "if you feels like a D'Oyly Carte (rhyming slang for 'fart'), you goes outside." Social issues and debates were routinely portrayed, woven into the humour. The programme did not abandon the more traditional sources of comedy but used them in small doses. The characters, and their intense and difficult relationship, displayed deeper qualities of writing and performance than comedy fans were used to.

Episodes
Steptoe and Son is rare among 1960s BBC television programmes, in that every episode has survived and exists in the BBC Archives, despite the mass wiping of many BBC archive holdings between 1967 and 1978. However, all the instalments from the first 1970 series and all bar two from the second were originally made in colour and are only known to survive in the form of black and white domestic videotape recordings. Copies were made from the master tapes for the writers by an engineer at the BBC using a Shibaden SV-700 half-inch reel-to-reel video recorder—a forerunner of the video cassette recorder. In 2008, the first reel of a black and white telerecording of the Series 5 episode "A Winter's Tale" (lasting approximately 15 minutes) was returned to the BBC; this is the only telerecording of a colour Steptoe and Son episode known to still exist. Of the 30 episodes produced in colour, 17 exist in their original colour format.

The original 2" Quad videotapes of all the episodes of the original 1962–65 series were wiped in the late 1960s. However, these episodes mostly survive on film transfers of the original videotapes as 16mm black and white telerecordings. The exceptions to this are "The Stepmother", "The Wooden Overcoats", "The Lodger" and "My Old Man's a Tory", which exist as optical transfers made from domestic 405 line reel to reel videotapes obtained from writers Galton and Simpson.

The BBC has released 10 DVDs of the series—each of the eight series, and two compilations entitled "The Very Best of Steptoe and Son" volumes 1 and 2. Two Christmas specials are also available on DVD, as are two feature films: Steptoe and Son and Steptoe and Son Ride Again. A boxed set of Series 1–8 and the two Christmas specials was released on Region 2 DVD by 2entertain on 29 October 2007.

In addition, 52 episodes were remade for BBC Radio, initially on the Light Programme in 1966–67 and later Radio 2 from 1971 to 1976.

A special one-off remake of the "A Winter's Tale" episode aired on BBC Four on 14 September 2016, as part of the BBC's Lost Sitcom season recreating lost episodes of classic sitcoms.

Sketch appearances

 * In 1962, Brambell and Corbett appeared as Steptoe and Son in a short sketch written by Galton and Simpson on the BBC's annual Christmas Night with the Stars programme, broadcast on 25 December 1962. There are no known recordings.
 * In 1963, they appeared on the ITV Royal Variety Performance in a sketch written by Galton and Simpson featuring Steptoe and Son totting outside Buckingham Palace, the telerecording of the live show, broadcast on 10 November 1963, still exists. The audio of the sketch was also released on a 7-inch single.
 * On 31 December 1963 the BBC broadcast an edition of It's a Square World which featured a cameo by Wilfrid Brambell as Albert Steptoe witnessing the launch of BBC TV Centre into space. The sketch was included as an extra on the special edition DVD release of Doctor Who: The Aztecs
 * In 1966, they appeared on the BBC series The Ken Dodd Show in another live on stage sketch written by Galton and Simpson featuring Steptoe and Son on Blackpool beach, with Ken Dodd in the last two minutes as a strange golf professional. A telerecording of the show, broadcast on 24 July 1966, survives.
 * In 1967, they appeared in character in a short filmed sequence for the BBC's annual Christmas Night with the Stars programme. The black and white film sequence featuring Steptoe and Son, broadcast on 25 December 1967, still exists.
 * In 1978, they recorded a Radio 2 sketch, referred to by fans as "Scotch on the Rocks", produced especially for a show titled Good Luck Scotland. This was again written by Galton and Simpson and had a basic premise of Albert wishing to go to Argentina to watch the Scottish football team play in the 1978 World Cup as the "Good Luck Scotland" title of the programme referred to Scotland's chances of winning the World Cup that year.

Adverts
In 1977, Brambell and Corbett appeared in character for two television ads for Ajax cleaning products, recorded during their tour of Australia. In 1981, their final ever appearance together was in a UK advert for Kenco Coffee.

In other media
Audio

A number of LPs and EPs featuring TV soundtracks have been released.

Books

To tie in with the original series, two novelisations were written by Gale Pedrick:

In 2002 BBC Books published Steptoe and Son by Galton, Simpson and Ross, which comprehensively covered the television and radio series, films, Royal Variety Shows, commercials and the Sanford & Son spin-off.

Other countries
During 1963 Jack Paar screened an episode of "Steptoe and Son" during one of his one-hour Friday night shows on NBC. Paar was an anglophile and frequently spotlighted British culture on his show. Later in 1963 he screened a film-clip of The Beatles, their first appearance on U.S. TV.
 * United States:

In 1965 Joseph E. Levine produced a pilot based on The Offer for the American market with Galton and Simpson. Starring Lee Tracy as Albert and Aldo Ray as Harold, it was unscreened, and did not lead to a series. The pilot was released on DVD in the UK in 2018. The concept was later re-worked as Sanford and Son, a top-rated series that ran for five years (1972–77) on the NBC network.
 * Sweden; Sten-Åke Cederhök and Tomas von Brömssen starred in Albert & Herbert. The pair lived at Skolgatan 15, an address in a working-class neighbourhood of Haga, Gothenburg.
 * The Netherlands; Stiefbeen en Zoon ran for thirty-three episodes. It was awarded the 1964 Golden Televizier Ring.
 * Norway; The 1975 Norwegian film, Skraphandlerne, starred Leif Juster and Tom Tellefsen. The names of the characters were Albert and Herbert, the names of the characters in the Swedish remake.
 * Portugal; Camilo & Filho Lda., starring famous Portuguese comedian Camilo de Oliveira, with Nuno Melo as his son.
 * South Africa: Broadcast on the South African Broadcasting Corporation's commercial radio station Springbok Radio (now closed down) as "Snetherswaite and Son" in 1980. The run of 56 episodes was produced in Durban by veteran radio comedy producer Tom Meehan. It starred Tommy Read as Albert and Brian Squires as Harold. The name Steptoe was changed to Snetherswaite for the South African series, a recurring character Tommy Read played in the SABC version of "The Men from the Ministry" called Humbert Snetherswaite.

Films
Steptoe and Son

In 1972 a film version was released of the show proving highly popular. This first film, also called Steptoe and Son focuses on Harold getting married but still not being able to get away from his father.

Steptoe and Son Ride Again

Due to popular demand and the commercial success of the first film, another film, Steptoe and Son Ride Again, was released in 1973.

When Steptoe Met Son
When Steptoe Met Son was a 2002 Channel 4 documentary about the personal lives of Wilfrid Brambell and Harry H. Corbett. It aired on 20 August 2002.

The programme reveals how Brambell and Corbett were highly dissimilar to their on-screen characters. Corbett felt he had a promising career as a serious actor, but was trapped by his role as Harold and forced to keep returning to the series after typecasting limited his choice of work. Brambell, meanwhile, was a homosexual, something that in the 1960s was still frowned upon and, until the Sexual Offences Act 1967, illegal and was thus driven underground. The documentary went on to describe an ill-fated final tour of Australia, during which the already strained relationship between Corbett and Brambell finally broke down for good.

The Curse of Steptoe
The Curse of Steptoe is a television play which was first broadcast on 19 March 2008 on BBC Four as part of a season of dramas about television personalities. It stars Jason Isaacs as Harry H. Corbett and Phil Davis as Wilfrid Brambell. The drama is based upon the actors' on-and-off-screen relationship during the making of the BBC sitcom Steptoe and Son, and is based on interviews with colleagues, friends and family of the actors, and the Steptoe writers, Ray Galton and Alan Simpson.

The screenplay was written by Brian Fillis, also responsible for the similarly themed 2006 drama Fear of Fanny, which is about television personality Fanny Cradock off-screen. The 66-minute film is directed by Michael Samuels and produced by Ben Bickerton.

Both When Steptoe Met Son and The Curse of Steptoe were considered inaccurate by writers Galton and Simpson and Corbett's family.

Steptoe and Son in Murder at Oil Drum Lane
In October 2005, Ray Galton and John Antrobus premiered their play, Steptoe and Son in Murder at Oil Drum Lane, at the Theatre Royal, York. It then went on tour across the country. It was set in the present day and related the events leading to Harold killing his father and their eventual meeting 30 years later, Albert then appearing as a ghost. By the end, it is clearly established that this is very much a conclusion to the Steptoe saga.

It was not the first time this idea had been considered. When Wilfrid Brambell left the UK after the third series to pursue an eventually unsuccessful Broadway musical career, Galton and Simpson toyed with the concept of 'killing off' Albert in order to continue the show without having to await Brambell's return. The character would have been replaced with Harold's illegitimate son, Arthur (a part thought to be intended for actor David Hemmings). This idea was detested by Corbett, who thought it ridiculous, although the 2008 drama The Curse of Steptoe depicts Corbett as being delighted with the concept, since assuming the role of father would allow Harold's character some development and growth, which he felt was long overdue.

Steptoe and Son

In March 2011 the Engine Shed Theatre Company performed three episodes of the series live on stage at the Capitol Theatre, Horsham. Jack Lane played Albert Steptoe and Michael Simmonds played Harold. The three episodes performed by the company were: Men of Letters, Robbery With Violence and Seance in a Wet Rag and Bone Yard. Engine Shed went on to adapt and perform the two Christmas Specials later that year.

Many of the original TV episodes of Steptoe and Son have now been officially adapted to the stage by the original writers Ray Galton and Alan Simpson, with David Pibworth.

Steptoe and Son by Hambledon Productions

Between 2017 - 2022, theatre company Hambledon Productions produced four consecutive tours, based on the original Galton and Simpson scripts. These included Steptoe and Son (2017-2018, featuring the episodes: Come Dancing, Men of Letters and Divided We Stand), Christmas with Steptoe and Son (2018-2019, featuring the episodes: The Party, The Bath and A Perfect Christmas), Steptoe and Son Radio Show: Christmas Edition (2021, a radio play based on the previous tour) and The Steptoe and Son Radio Show (2022) featuring the episodes Is That Your Horse Outside?, Upstairs, Downstairs, Upstairs, Downstairs and A Death in the Family. This recent tour was co-produced with Apollo Theatre Company. Across all these productions, John Hewer played Harold Steptoe and Jeremy Smith played Albert Steptoe.

Steptoe and Son by Kneehigh
Performed in 2012 and 2013 by Kneehigh Theatre, Steptoe and Son was adapted from four of the show's original scripts. The production was designed to highlight the Beckettian nature of Albert and Harold's situation, focusing on themes of over-reliance and being trapped within social class. The production toured the UK and received positive reviews from the Financial Times and three stars from The Guardian's Lynn Gardner.

title: Steptoe and Son


text:
Henry Cockburn, Lord Cockburn

Henry Thomas Cockburn of Bonaly, Lord Cockburn (Cockpen, Midlothian, 26 October 1779 – Bonaly, Midlothian, 26 April/18 July 1854) was a Scottish lawyer, judge and literary figure. He served as Solicitor General for Scotland between 1830 and 1834.

Background and education
His mother Janet Rannie was a sister-in-law of the influential Lord Melville, through her sister Elizabeth, and his father, Archibald Cockburn, was Sheriff of Midlothian and Baron of the Court of Exchequer. He was educated at the Royal High School and the University of Edinburgh.

His brother, John Cockburn FRSE (died 1862), was a wine merchant and founder of Cockburn's of Leith.

Literary career
Cockburn contributed regularly to the Edinburgh Review. In this popular magazine of its day he is described as: "rather below the middle height, firm, wiry and muscular, inured to active exercise of all kinds, a good swimmer, an accomplished skater, an intense lover of the fresh breezes of heaven. He was the model of a high-bred Scotch gentleman. He spoke with a Doric breadth of accent. Cockburn was one of the most popular men north of the Tweed." He was a member of the famous Speculative Society, to which Sir Walter Scott, Henry Brougham and Francis Jeffrey belonged.

The extent of Cockburn's literary ability only became known after he had passed his 70th year, on the publication of his biography of lifelong friend Lord Jeffrey in 1852, and from his chief literary work, the Memorials of his Time, which appeared posthumously in 1856. His published work continued with his Journal, published in 1874. These constitute an autobiography of the writer interspersed with notices of manners, public events, and sketches of his contemporaries, of great interest and value.

Legal and judicial career
Cockburn entered the Faculty of Advocates in 1800, and attached himself, not to the party of his relatives, who could have afforded him most valuable patronage, but to the Whig party, and that at a time when it held out few inducements to men ambitious of success in life. He became a distinguished advocate, and ultimately a judge. He was one of the leaders of the Whig party in Scotland in its days of darkness prior to the Reform Act of 1832, and was a close friend of Sir Thomas Dick Lauder. He was the defence lawyer for Helen McDougal, Burke's wife, in the trial for the Burke and Hare murders, and won her acquittal.

On the accession of Earl Grey's ministry in 1830 he became Solicitor General for Scotland. During his time here he drafted the First Scottish Reform Bill. In 1834 he was raised to the bench, and on taking his seat as a Judge in the Court of Session he adopted the title of Lord Cockburn as a Scottish Lord of Session.

Conservation
Whilst Lord Cockburn's name is usually associated with building conservation, this reputation is somewhat misplaced as his interest was very selective. In 1845 he purchased the entire estate of Bonaly, south-west of Edinburgh. He rebuilt the farmhouse in a romantic fashion, adding a tower, and renaming it Bonaly Tower. However, the rest of the village (which appears to have dated from the 17th century or older) was rased to the ground to improve views from his new house. There is no record of what became of the inhabitants of the village.

Family
Cockburn married Elizabeth Macdowall, daughter of James Macdowall and his second wife Margaret Jamieson, in Edinburgh, Midlothian, on 12 March 1811. As was common in the period he had both a town house and country house. The country house was at Bonaly, on the south-west edge of Edinburgh. His large town house at 14 Charlotte Square, in the west end of the city, was designed by Robert Adam. They had five daughters and six sons:
 * Margaret Day Cockburn (Edinburgh, Midlothian, 24 January 1812, bap. Edinburgh, Midlothian, 25 February 1812 – 1818) (buried in St Cuthberts churchyard in Edinburgh
 * Jane Cockburn (Edinburgh, Midlothian, 1813, bap. Edinburgh, Midlothian, 22 July 1813 – )
 * Archibald William Cockburn, FRCSE (Edinburgh, Midlothian, 5 December 1814, bap. Edinburgh, Midlothian, 23 December 1814 – Murrayfield, Midlothian, 13 January 1862), Fellow of the Royal College of Surgeons of Edinburgh, married at St. Cuthbert's, Edinburgh, Midlothian, on 12 March 1844 to Mary Ann Balfour (2 November 1816 – ?), and had four sons:
 * Henry Cockburn (1849 – ?)
 * James Balfour Cockburn (Edinburgh, Midlothian, 22 July 1851 – ?)
 * Archibald Francis Cockburn (bap. Edinburgh, Midlothian, 8 November 1853 – ?)
 * Moncrieff Cockburn (Edinburgh, Midlothian, 22 September 1855 – ?)
 * James Macdowell Cockburn (bap. Edinburgh, Midlothian, 7 March 1816 – ?)
 * Graham Cockburn, a daughter (bap. Edinburgh, Midlothian, 7 March 1817 – ?), married Rev. Robert Walter Stewart (later Moderator of the General Assembly of the Free Church of Scotland)
 * George Ferguson Cockburn (Edinburgh, Midlothian, 31 January 1818 – 1866), married to Sarah Charlotte Bishop, and had four daughters:
 * Elizabeth Frances Cockburn (1845–1925), married to Henry Charles Biddulph Cotton Raban (1837 – Chittagong, Bengal, 20 March 1871), who was with the Bengal Civil Service, and had one daughter:
 * Catherine Charlotte Raban (Chittagong, Bengal, 12 June 1870 – 1954), married at Axebridge, Somerset, in 1893 to Arthur Waugh (1866–1943) and had two sons, Alec Waugh and Evelyn Waugh
 * Isabella Graham Cockburn (c. 1848 – Kensington, London, 5 January 1926), married on 31 January 1894 as his third wife to Sir James Shaw Hay (25 October 1839 – 20 June 1924), without issue
 * Mary Ann Amy Macrae Cockburn (Calcutta, 29 August 1855 – 23 April 1942), married on 6 June 1877 to Walter St. George Burke of Auberies, Bulmer, Essex, JP (27 April 1842 – 17 February 1916), Lieutenant Colonel in the service of the Royal Engineers, Justice of the Peace for Essex and for Suffolk, son of James St. George Burke and wife Anne Eliza Grubbe, and had issue
 * Georgina Maria Joanna Cockburn, married Spencer Campbell Thomson FRSE FFA in 1869
 * Henry Day Cockburn (Edinburgh, Midlothian, 21 April 1820 – ?), married at South Yarra, Victoria, in 1857 to Mary Ann Matherley
 * Lawrence Cockburn (Edinburgh, Midlothian, 25 February 1822 – Brighton, Victoria, 2 September 1871), a squatter, married at Brighton, Victoria, in 1859 to Annie Maria Smith, and had one son:
 * Henry Cockburn (Melbourne, Victoria, 1862 – ?)
 * Francis Jeffrey Cockburn (Edinburgh, Midlothian, 8 January 1825 – Brentford, London, 10 July 1893 ), a Judge in India and with the Bengal Civil Service, and wife (Calcutta or Westbury, Tasmania, 25 January 1855) Elizabeth Anne (Eliza Ann) Pitcairn (Hobart, Tasmania, 23 September 1831, bap. Hobart, Tasmania, 7 November 1831 – Wycombe, Oxfordshire, 1923), daughter of Robert Pitcairn (Edinburgh, Midlothian, 17 July 1802 – Hobart, Tasmania, 1868) (son of David Pitcairn and Mary Henderson) and wife (m. Hobart, Tasmania, 30 September 1830) Dorothy/Dorothea Jessy Dumas, and had five daughters and two sons:
 * Helen Macdowall Cockburn (Calcutta, 14 June 1857, bap. Calcutta, 17 July 1857 – ?)
 * Henry Cockburn (Calcutta, 2 March 1859 – 1927?)
 * Elizabeth Pitcairn Cockburn (Calcutta, 20 March 1863, bap. Calcutta, 25 April 1863 – ?)
 * Robert Pitcairn Cockburn (Bengal, 1865, bap. Sylhet, Bengal, 7 December 1865 – ?), married at South Stoneham, Hampshire, in 1909 to Elinor Francis Mary Bellett (31 January 1881 – 16 September 1975), and had three sons and one daughter:
 * Francis Bellett Cockburn (Brentford, London, 31 July 1910 – ?)
 * Robert Waring Pitcairn Cockburn (Brentford, London, 1911 – ?), married to Jean Elizabeth Swinnerton and had one son and one daughter:
 * David Charles Alexander Cockburn
 * Susan Elinor Cockburn
 * Henry Dundas Cockburn (Brentford, London, 1913 – 4 December 1998), Medical Superintendent at the Royal London Hospital, London
 * Elinor Phyllis Cockburn (Brentford, London, 1915 – ?)
 * Jane Cockburn (Bengal, c. 1868 – ?)
 * Margaret G. Cockburn (Bengal, c. 1870 – ?)
 * Gertrude C. Cockburn (Germany, c. 1875 – ?)
 * Elizabeth Cockburn (Edinburgh, Midlothian, 30 June 1826 – 6 April 1908), married in Edinburgh, Midlothian, on 27 December 1848 to Thomas Cleghorn FRSE (Edinburgh, Midlothian, 3 March 1818 – 18 June 1874), a practising Advocate, who rose to be Sheriff of Argyle.
 * Johanna Richardson Cockburn (Edinburgh, Midlothian, 14 January 1831 – 1888), married in Edinburgh, Midlothian, on 21 October 1856 to her cousin Archibald David Cockburn (Edinburgh, Midlothian, 6 September 1826 – 1886), son of John Cockburn and wife Eliza Dewar, and had issue

The authors Alec Waugh and Evelyn Waugh, the journalist Claud Cockburn, Claudia Cockburn (wife of actor Michael Flanders) and author Sarah Caudwell were all descended from Cockburn, as are journalists Laura Flanders, Stephanie Flanders, Alexander Cockburn (husband of author Emma Tennant), Andrew Cockburn (husband of journalist Leslie Cockburn) and Patrick Cockburn (son-in-law of Bishop Hugh Montefiore) and actress Olivia Wilde (former wife of Tao Ruspoli).

Death and legacy
Cockburn died on 26 April 1854, at his mansion of Bonaly, near Edinburgh and is buried in the city's Dean Cemetery. A statue of him by local sculptor William Brodie stands in the north-east corner of Parliament Hall.

Cockburn Street, built in the 1850s to connect the High Street with the North British Railway's Waverley station, is also named after him. The building at the foot of the street, formerly the "Cockburn Hotel", bears his image in profile in a stone above the entrance. Cockburn had an interest in architectural conservation, particularly in Edinburgh, where several important historic buildings such as John Knox's House and Tailors' Hall in the Cowgate owe their continued existence to the change in attitude towards conservation which he helped bring about. The Cockburn Association (Edinburgh Civic Trust), founded in 1875, was named in his honour.

Cockburn was played by Russell Hunter in Cocky, a one-man play which was effectively a dramatisation of his memoirs, broadcast on BBC Scotland. It ended with his closing speech to the jury in the Burke and Hare trial.

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

title: Henry Cockburn, Lord Cockburn


text:
List of theological demons

This is a list of demons that appear in religion, theology, demonology, mythology, and folklore. It is not a list of names of demons, although some are listed by more than one name.

The list of demons in fiction includes those from literary fiction with theological aspirations, such as Dante's Inferno. Because numerous concern mythology, folklore, and folk fairy tales, much overlap may be expected.

Key
Each entry names a demon and gives a source in parentheses.

Demonology: Ayyavazhi, Christian, Hindu, Islamic, Jewish, Thelemite
 * Sources named

Eschatology: Christian, Islamic, Jewish eschatology

Folklore: Bulgarian, Christian, German, Jewish, Islamic, Philippine

Mythology: Akkadian, Babylonian, Buddhist, Chaldean, Christian, Egyptian, Etruscan, Finnish, Greek, Gnostic, Guanche, Hindu, Hungarian, Indonesian, Irish, Japanese, Mandaean, Mapuche, Moabite, Native American, Persian, Phoenician, Roman, Slavic, Semitic, Sumerian, Zoroastrian

Many demons have names with several spellings but few are listed under more than one spelling.

A

 * Aamon/Amon (Christian demonology)
 * Abaddon/Apollyon (Christian demonology)
 * Abezethibou (Jewish demonology)
 * Abraxas (Gnosticism)
 * Abyzou (Jewish mythology)
 * Achlys (Greek mythology)
 * Adrammelech (Assyrian mythology, Christian demonology)
 * Aeshma (Zoroastrianism)
 * Agaliarept (Jewish mythology)
 * Agrat bat Mahlat (Jewish demonology)
 * Agares (Christian demonology)
 * Agiel (Jewish mythology)
 * Ahriman/Angra Mainyu (Zoroastrianism)
 * Aim/Haborym (Christian demonology)
 * Aka Manah/Akem Manah/Akoman/Akvan (Zoroastrianism)
 * Akuma (Japanese Buddhism, Japanese Christianity)
 * Al Ana (Turkish folklore)
 * Ala (Slavic mythology)
 * Alal (Chaldean mythology)
 * Alastor (Christian demonology)
 * Alloces/Allocer (Christian demonology)
 * Allu (Akkadian mythology)
 * Amaymon (Christian demonology)
 * Amdusias (Christian demonology)
 * Amy (Christian demonology)
 * Anammelech (Assyrian mythology)
 * Anathan (Mandaean mythology)
 * Anaye (Navajo mythology)
 * Anqa (Arabian folklore)
 * Ancitif (Christian demonology)
 * Andhaka (Hindu mythology)
 * Andras (Christian demonology)
 * Andrealphus (Christian demonology)
 * Andromalius (Christian demonology)
 * Anti (Sumerian mythology)
 * Antichrist (Christian eschatology)
 * Anzu (Sumerian mythology)
 * Apaosha (Persian mythology)
 * Apep or Apophis (Egyptian mythology)
 * Armaros (Jewish demonology)
 * Archon (Gnosticism)
 * Arunasura (Hindu mythology)
 * Asag (Sumerian demonology)
 * Asakku (Babylonian mythology)
 * Asb'el (Jewish mythology)
 * Asmodai/Asmodeus (Jewish folklore, Christian mythology, Islamic folklore)
 * Aswang (Philippine folklore)
 * Astaroth (Christian demonology)
 * Asura (Hindu mythology, Buddhism, Shinto)
 * Azazel/Azaz'el (Jewish mythology, Islamic folklore)
 * Azi Dahaka/Dahak (Zoroastrianism)

B

 * Baal/Bael (Christian demonology)
 * Babi ngepet (Indonesian mythology)
 * Bakasura (Hindu mythology)
 * Baku (Japanese mythology)
 * Balam (Christian demonology)
 * Balberith (Jewish demonology)
 * Bali Raj (Hindu mythology)
 * Banshee (Irish mythology)
 * Baphomet (Christian folklore, Islamic Folklore, Jewish Mysticism, Satanism, Thelema)
 * Barbatos (Christian demonology)
 * Barong (Indonesian mythology)
 * Bathin/Mathim/Bathym/Marthim (Christian demonology)
 * Beelzebub (Jewish and Christian demonology)
 * Belial (Jewish Christian demonology)
 * Beleth (Christian demonology)
 * Belphegor (Christian demonology)
 * Berith/Beherit (Phoenician mythology, Christian demonology)
 * Bhūta (Hindu mythology)
 * Bifrons (Christian demonology)
 * Boruta (Slavic mythology)
 * Botis (Christian demonology)
 * Buer (Christian demonology)
 * Bukavac (Slavic mythology)
 * Bune (Christian demonology)
 * Bushyasta (Zoroastrianism)

C

 * Caim/Camio (Christian demonology)
 * Cambion (Medieval folklore)
 * Charun (Etruscan mythology)
 * Chemosh (Moabite mythology)
 * Choronzon (Thelema)
 * Chort (Slavic mythology)
 * Cimejes/Kimaris/Cimeies (Christian demonology)
 * Corson (Christian demonology)
 * Crocell/Procell (Christian demonology)

D

 * Daeva (Zoroastrianism)
 * Dagon (Semitic mythology)
 * Dajjal (Islamic eschatology)
 * Dantalion (Christian demonology)
 * Danjal (Jewish mythology)
 * Decarabia (Christian demonology)
 * Demogorgon (Christian demonology)
 * Dev (Persian, Islamic demonology)
 * Devil (Demonology/Diabology)
 * Div-e Sepid (Persian mythology)
 * Djall (Albanian mythology)
 * Drekavac (Slavic mythology)
 * Dzoavits (Native American mythology)

E

 * Eblis/Iblis/Ibris (Islamic demonology)
 * Eligos (Christian demonology)
 * Eisheth (Jewish demonology)
 * Erlik (Turkish mythology)

F

 * Focalor (Christian demonology)
 * Foras/Forcas/Forras (Christian demonology)
 * Forneus (Christian demonology)
 * Furcas/Forcas (Christian demonology)
 * Furfur (Christian demonology)

G

 * Gaap (Christian demonology)
 * Gader'el (Jewish demonology)
 * Gadulta (Mandaean mythology)
 * Gaf (Mandaean mythology)
 * Gaki (Japanese mythology)
 * Gamigin (Christian demonology)
 * Ghaddar (Islamic folklore)
 * Ghoul (Arabian and world-wide mythologies via adaptation from arabs)
 * Giu (Mandaean mythology)
 * Glasya-Labolas/Caacrinolaas/Caassimolar/Classyalabolas/Glassia-labolis (Christian demonology)
 * Gorgon (Greek mythology)
 * Gremory/Gomory (Christian demonology)
 * Grigori (Jewish demonology)
 * Gualichu (Mapuche mythology)
 * Guayota (Guanche mythology)
 * Gusion/Gusoin/Gusoyn (Christian demonology)

H

 * Haagenti (Christian demonology)
 * Hag (Mandaean mythology)
 * Halphas/Malthus (Christian demonology)
 * Haures/Flauros/Flavros/Hauras/Havres (Christian demonology)
 * Hinn (Islamic folklore)
 * Hanbi (Sumerian mythology)
 * Hannya (Japanese mythology)

I

 * Ifrit (Islamic demonology)
 * Incubus (Christian demonology)
 * Ipos/Ipes (Christian demonology)
 * Imp (European Mythology)

J

 * Jinn (Islamic demonology)
 * Jikininki (Japanese mythology)

K

 * Kabandha/Kabhanda (Hindu mythology)
 * Kallikantzaros (Greek/ Byzantine/ Slavic)
 * Kara İye (Turkish mythology)
 * Kasadya (Jewish demonology)
 * Kokabiel (Jewish mythology)
 * Kroni (Ayyavazhi demonology)
 * Krampus (Germanic-Christian demonology)
 * Krun (Mandaean mythology)
 * Killakee Cat (Hell Fire Club)
 * Kukudh (Albanian mythology)
 * Kulshedra (Albanian mythology)
 * Kumbhakarna (Hindu mythology)

L

 * Lamashtu (Mesopotamian mythology)
 * Lamia (Greek mythology)
 * Latabi (Mandaean mythology)
 * Legion (Christian demonology)
 * Lechies (Slavic mythology)
 * Leonard (Christian demonology)
 * Leyak (Indonesian (Balinese) mythology)
 * Lempo (Finnish mythology)
 * Leraje/Leraie (Christian demonology)
 * Leviathan (according to certain interpretations of Jewish, Gnostic and Christian mythology)
 * Lili/Lilin/Lilim (Jewish mythology)
 * Lilith (Akkadian mythology, Jewish folklore, Mandaean mythology)
 * Ljubi (Albanian mythology)
 * Lucifer (Christian theology)
 * Lucifuge Rofocale (Christian demonology)

M

 * Mag (Mandaean mythology)
 * Mahishasur (Hindu mythology)
 * Malphas (Christian demonology)
 * Mammon (Christian mythology)
 * Mara (Buddhist mythology)
 * Maricha (Hindu mythology)
 * Marid (Islamic demonology)
 * Marax/Morax/Foraii (Christian demonology)
 * Marchosias (Christian demonology)
 * Mastema (Jewish demonology)
 * Mazoku (Japanese folklore)
 * Mephistopheles (Christian folklore, German folklore)
 * Merihem (Christian demonology)
 * Moloch (Jewish, Pagan and Christian mythology)
 * Munkar (Islamic demonology)
 * Murmur (Christian demonology)

N

 * Naamah (Jewish mythology)
 * Naberius/Cerbere/Naberus (Christian demonology)
 * Nalai (Mandaean mythology)
 * Nakir (Islamic demonology)
 * Namtar (Sumerian mythology)
 * Nar as-samum (Islamic folklore)
 * Ninurta (Sumerian mythology, Akkadian mythology)
 * Niuli (Mandaean mythology)

O

 * Oni (Japanese folklore)
 * Onoskelis (Jewish mythology)
 * Orcus (Roman mythology, later Christian demonology)
 * Orias/Oriax (Christian demonology)
 * Orobas (Christian demonology)
 * Ose (Christian demonology)
 * Ördög (Hungarian mythology)
 * O Tokata (Indonesian mythology)

P

 * Paimon (Christian demonology)
 * Pazuzu (Babylonian demonology)
 * Pelesit (Indonesian and Malaysian mythology)
 * Phenex (Christian demonology)
 * Penemue (Jewish and Christian mythology)
 * Pocong (Indonesian and Malaysia mythology)
 * Pontianak (Indonesian and Malaysian mythology)
 * Preta (Buddhist demonology)
 * Printer's devil (European folklore)
 * Pruflas (Christian demonology)
 * Puloman (Hindu mythology)

Q

 * Qin (Mandaean mythology)

R

 * Rahab (Jewish folklore)
 * Rakshasa (Hindu mythology)
 * Rangda (Indonesian mythology)
 * Raum (Christian demonology)
 * Ravana (Hindu mythology)
 * Ronove (Christian demonology)
 * Rusalka (Slavic mythology)
 * Ruha (Mandaean mythology)

S

 * Sabnock (Christian demonology)
 * Saleos (Christian demonology)
 * Samael (Jewish and Gnostic mythology)
 * Salpsan (Christian demonology)
 * Satan (Jewish, Christian, Islamic demonology and Mandaean mythology)
 * Satanachia (Christian demonology)
 * Seir (Christian demonology)
 * Semyaza (Jewish mythology)
 * Shax/Chax (Christian demonology)
 * Shaitan (Jewish, Islamic demonology)
 * Shedim (Jewish folklore)
 * Shdum (Mandaean mythology)
 * Sitri (Christian demonology)
 * Stihi (Albanian mythology)
 * Stolas/Solas (Christian demonology)
 * Suanggi (Indonesian mythology)
 * Succubus (Christian folklore)
 * Surgat (Christian demonology)
 * Sut (Islamic demonology)
 * Shinigami (Japanese mythology)
 * Shuten Doji (Japanese mythology)

T

 * Tannin (Arabian, Cannanite, Christian, Phoenician, Jewish mythology)
 * El Tío (Folk Catholicism)
 * Tengu (Shinto)
 * Titivillus
 * Toyol (Indonesian and Malaysian mythology)
 * Tuchulcha (Etruscan mythology)

U

 * Ukobach (Christian demonology)
 * Unclean spirit (Christian demonology)
 * Ur (Mandaean mythology)

V

 * Valac (Christian demonology)
 * Valefar/Malaphar/Malephar (Christian demonology)
 * Vanth (Etruscan mythology)
 * Vapula (Christian demonology)
 * Vassago (Christian demonology)
 * Vepar (Christian demonology)
 * Vine (Christian demonology)

W

 * Wechuge (Athabaskan mythology)

X

 * Xaphan (Christian demonology)
 * Xezbeth (middle-eastern demonology)

Y

 * Yan-gant-y-tan (French mythology)
 * Yeqon (Jewish mythology)

Z

 * Zabaniyya (Islamic folklore)
 * Zagan (Christian demonology)
 * Zahreil (Mandaean mythology)
 * Zartai-Zartanai (Mandaean mythology)
 * Zepar (Christian demonology)
 * Ziminiar (Christian demonology)

title: List of theological demons


text:
Archibald Alison

Archibald Alison may refer to:
 * Archibald Alison (author) (1757–1839), Scottish episcopalian minister and essayist
 * Sir Archibald Alison, 1st Baronet (1792–1867), Scottish lawyer and historian (son of the priest)
 * Sir Archibald Alison, 2nd Baronet (1826–1907), British Army general (son of the lawyer)

title: Archibald Alison


text:
Robot control

Robotic control is the system that contributes to the movement of robots. This involves the mechanical aspects and programmable systems that makes it possible to control robots. Robotics can be controlled by various means including manual, wireless, semi-autonomous (a mix of fully automatic and wireless control), and fully autonomous (using artificial intelligence).

Medical and surgical
In the medical field, robots are used to make precise movements that are difficult for humans. Robotic surgery involves the use of less-invasive surgical methods, which are “procedures performed through tiny incisions”. Robots use the da Vinci surgical method, which involves the robotic arm (which holds onto surgical instruments) and a camera. The surgeon sits on a console where he controls the robot wirelessly. The feed from the camera is projected on a monitor, allowing the surgeon to see the incisions. The system is built to mimic the movement of the surgeon’s hands and has the ability to filter slight hand tremors. But despite the visual feedback, there is no physical feedback. In other words, as the surgeon applies force on the console, the surgeon won’t be able to feel how much pressure he or she is applying to the tissue.

Military
The earliest robots used in the military dates back to the 19th century, where automatic weapons were on the rise due to developments in mass production. The first automated weapons were used in World War I, including radio-controlled, unmanned aerial vehicles (UAVs). Since the invention, the technology of ground and aerial robotic weapons continues to develop, it transitioned to become part of modern warfare. In the transition phase of the development, the robots were semi-automatic, being able to be controlled remotely by a human controller. The advancements made in sensors and processors lead to advancements in capabilities of military robots. Since the mid-20th century, the technology of artificial intelligence (A.I.) began to develop and in the 21st century, the technology transferred to warfare, and the weapons that were semi-automatous is developing to become lethal autonomous weapons systems, LAWS for short.

Impact
As the weapons are being developed to become fully autonomous, there is an ambiguous line of what is the line that separates an enemy to a civilian. There is currently a debate of whether or not artificial intelligence is able to differentiate these enemies and the question of what is morally and humanely right (for example, a child unknowingly working for the enemies).

Space exploration
Space missions involve sending robots into space in the goal of discovering more of the unknown. The robots used in space exploration have been controlled semi-autonomously. The robots that are sent to space have the ability to maneuver itself, and are self-sustaining. To allow for data collection and a controlled research, the robot is always in communications with scientists and engineers on Earth. For the National Aeronautics and Space Administration’s (NASA) Curiosity rover, which is part of their Mars exploration program, the communication between the rover and the operators are made possible by “an international network of antennas that…permits constant observation of spacecraft as the Earth rotates on its own axis”.

Artificial intelligence
Artificial intelligence (AI) is used in robotic control to make it able to process and adapt to its surroundings. It is able to be programmed to do a certain task, for instance, walk up a hill. The technology is relatively new, and is being experimented in several fields, such as the military.

Boston Dynamics' robots
Boston Dynamic’s “Spot” is an autonomous robot that uses four sensors and allows the robot to map where it is relative to its surroundings. The navigational method is called simultaneous localization and mapping, or “SLAM” for short. Spot has several operating modes and depending on the obstacles in front of the robot, it has the ability to override the manual mode of the robot and perform actions successfully. This is similar to other robots made by Boston Dynamics, like the “Atlas”, which also has similar methods of control. When the “Atlas” is being controlled, the control software doesn’t explicitly tell the robot how to move its joints, but rather it employs mathematical models of the underlying physics of the robot’s body and how it interacts with the environment”. Instead of inputting data into every single joint of the robot, the engineers programmed the robot as a whole, which makes it more capable to adapt to its environment. The information in this source is dissimilar to other sources, except the second source, because robots vary so much depending on the situation.

title: Robot control


text:
User talk:Nutsack

Please see No offensive usernames.

title: User talk:Nutsack


text:
Groovebox

A groovebox is a self-contained electronic or digital musical instrument for the production of live, loop-based electronic music with a high degree of user control facilitating improvisation. The term "Groovebox" was originally used by Roland Corporation to refer to its MC-303, released in 1996. The term has since entered general use, and the concept dates back to the Movement Computer Systems Drum Computer in 1981 and Fairlight CMI Page R in 1982.

A groovebox consists of three integrated elements.
 * One or more sound sources, such as a drum machine, a synthesizer, or a sampler
 * A music sequencer
 * A control surface that is a combination of knobs (potentiometers or rotary encoders), sliders, and/or buttons, and display elements (LEDs and/or an LCD screen)

The integration of these elements into a single system allows the musician to rapidly construct and control a pattern-based sequence, often with multiple instrumental or percussion voices playing simultaneously.

These sequences may also be quickly chained together into a song in a live performance. Grooveboxes allow sequences and songs to be saved, retrieved from memory, and inserted into the current performance whilst playing. In some cases, an entire musical performance may be created by a single player with a single groovebox. In other cases, the groovebox is simply one instrument amongst many. This is reflected by the large variety of grooveboxes available, ranging from Roland's lower-end MC and SP products with include basic sequencing and sampling capabilities, to Akai's flagship MPC 4000 and 5000, Yamaha's RS7000 or Roland's own MV-8800 which include features such as high-end sampling, high-polyphony synthesizers, and extensive sequencing, connection and storage possibilities.

Groovebox style instruments have facilitated many performers, both amateur and professional, who may have previously been unfamiliar with electronic music, to explore the genre. Whilst some in the genre initially derided these instruments (in particular the MC-303) and the opening of the field as leading to a drop in standards, they are now generally accepted as having a legitimate place in the form. In addition, many performers and bands from outside the electronic community have integrated groovebox instruments into their shows, as a convenient way of incorporating electronic sound into a more traditional format. The sequencer and control aspects of a groovebox may be used to control an external instrument over MIDI, and the internal voices may similarly be controlled by external equipment.

A groovebox is similar to a music workstation. The general differences are that it will often omit, or include only a simplified keyboard, is designed to be portable, and will usually include more user controls. Whereas a workstation is often targeted towards studio musicians and composers, grooveboxes are designed more to suit the needs of live performers. However, units matching either description are used both on stage and in the studio. A defining characteristic of a groovebox is the ability for the performer to alter both the sequence and the sound parameters in real time, without interruption of the performance. Units marketed as such, which have failed to implement this feature correctly, or at all, have not been well received.

Roland Groovebox may also be compared to drum machines such as the earlier Roland TR series (606, 808, 909 etc.), or to their TB-303, and the term has retroactively been applied to such units.

Models
In the entry order of each manufacturer:
 * 1972: Electronic Music Studios (EMS) Synthi AKS (analogue synthesizer with an embedded digital music sequencer and a touch-plate keyboard for input)
 * 1980: Firstman SQ-01 (step sequencer with embedded analogue synthesizer and knob controllers)
 * 1981: Movement Computer Systems's Movement Drum System I (1981), Movement Drum System II (1983)
 * 1983: Roland Corporation's MC-202 (1983–1985) (analogue synthesizer based on SH-101 with an step sequencer and a push button keyboard for input)
 * 1984: Linn Electronics's Linn 9000 (1984–1986)
 * 1986: Sequential Circuits Studio 440 (1986–1987)
 * 1986: E-mu Systems SP-12 (1986), SP-1200 (1987), Launch-Pad (1996), Command Stations XL-7, MP-7, PX-7 (2001)
 * 1986: Korg DDD-1 (1986), Electribe series (1999–), Monotribe (2011), Volca series (2013)
 * 1986: Yamaha RX5 (1986), RX7 (1987), SU700 (1998), RM1x (1999–2002), RS7000 (2001), DX200 (2001), AN200 (2001)
 * 1988: Akai's MPC series — MPC60 (1988), MPC60 II (1991), MPC500 (2006), MPC1000 (2003), MPC2000 (1997–2000), MPC2000XL (1999–2004), MPC2500 (2005), MPC3000 (1993), MPC4000 (2002–2008), MPC5000 (2008–2012), MPC One (2020), MPC Live (2017-2020), MPC Live II (2020), MPC X (2017)
 * 1996: Quasimidi QM-309 Rave-o-lution (1996)
 * 1996: Roland Groovebox MC-303 (1996–1997), MC-505, MC-307, MC-09, D2, MC-909, MC-808, SP-404, SP-606, SP-808, SP-555, MV-8000 (2003–2006), MV-8800 (2007–2010), EF-303, SH-32, MC-101 (2019), MC-707 (2019) Note: Roland's trademark "Groovebox" has been used since 1996, that is ten years after the establishments of generic Groove machines E-mu SP-12 in 1986.
 * 1997: Ensoniq ASR-X (1997)
 * 1998: Boss Corporation's SP-202, SP-303 (2001), SP-505 (2002)
 * 1999: Zoom Corporation Sampletrak ST-224 (1999)
 * 2004: Elektron Monomachine (2004–)
 * 2004: Radikal Technologies Spectralis 1 (2004), Spectralis 2 (2009)
 * 2009: Native Instruments Maschine (2009–)
 * 2010: Beat Kangz Electronics's Beat Thang (2010–)
 * 2015: Novation Circuit
 * 2016: Pioneer DJ (with Dave Smith) TORAIZ SP-16 (2016), TORAIZ AS-1 (2017)

title: Groovebox


text:
Channel 5

Channel 5 may refer to:

Americas

 * Canal 5 (Mexican TV channel), a Mexican television network owned by Televisa
 * XHGC-TDT, a television station in Mexico City, flagship of the Canal 5 network
 * Canal 5 Noticias, a news channel in Buenos Aires, Argentina
 * Canal 5 (Uruguay), a government-owned Uruguayan television network
 * Tonis (Canada), a former Ukrainian-language digital cable specialty television channel
 * Telefe Rosario, Argentine television station which broadcasts from the city of Rosario
 * Great Belize Television, Belize television station, known as "Channel 5", founded in 1991 and broadcasting from Belize City
 * Panamericana Televisión a Peruvian free-to-air television channel Broadcasting on Channel 5 in Lima, Peru
 * Paravisión, a Paraguayan television network broadcasting on Channel 5 in Asunción
 * TV+ (Chile), formerly UCV Televisión, a chilean free-to-air television channel broadcasting on Channel 5 in Santiago de Chile
 * WNYW Channel 5, a Fox-affiliated television station in New York City, United States
 * Channel 5 (web series), an American web channel led by Andrew Callaghan
 * Channel 5 branded TV stations in the United States
 * Channel 5 virtual TV stations in Canada
 * Channel 5 virtual TV stations in the United States

 * Channel 5 TV stations in Canada
 * Channel 5 digital TV stations in the United States
 * Channel 5 low-power TV stations in the United States

Asia

 * TV5 (Philippine TV network), a Filipino commercial television network formerly known as "ABC 5" and "5"
 * DWET-TV, the flagship television station of TV5 in Metro Manila, Philippines
 * IRIB TV5, operated by Islamic Republic of Iran Broadcasting
 * Channel 5 (Pakistani TV channel), Pakistani Entertainment and News Channel
 * Channel 5 (Thailand) Thailand television broadcaster, founded in 1958 and owned by the Royal Thai Army
 * Channel 5 (Singaporean TV channel), English-language Singapore television broadcaster
 * Sport 5, Israeli cable and satellite TV station
 * Canal 5 Creative Campus, a tourist attraction in Changzhou, China

Europe

 * 5 Kanal, Ukrainian television channel
 * Canale 5, Italian television broadcaster
 * Channel 5 (British TV channel), British commercial public broadcast network
 * Channel 5 Broadcasting Limited, parent company of the British TV channel
 * Channel 5 Lithuania, the largest regional TV channel in Lithuania
 * France 5, French public television network
 * Kanal 5 (Swedish TV channel), Swedish commercial channel
 * Kanal 5 (Danish TV channel), Danish television channel
 * 5TV (Russian TV channel), Russian broadcaster, seen nationally, with regional channels
 * Telecinco, Spain's second private television station

Other uses

 * Channel 5 (Fear the Walking Dead), a 2019 episode of the television series
 * Chanel No. 5, French perfume produced by the Parisian fashion house of Chanel

title: Channel 5


text:
Talk:Bromus

This text was in the original page; I don't think it belongs in Wikipedia.

 * Dear sir
 * I have reaserched about Autecology of Bromus kopetdaghensis Drob.that groth in :north of Iran .pleas help me to get any enphormation about it if exist.
 * with sensurely Saghafi.

Atorpen 23:17 Jan 28, 2003 (UTC)

External links modified
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title: Talk:Bromus


text:
Provost

Provost may refer to:

People

 * Provost (name), a surname

Government

 * Provost (civil), an officer of local government, including the equivalent of a mayor in Scotland
 * Lord provost, the equivalent of a lord mayor in Scotland

Military

 * Provost (military police), military police responsible for policing within the armed forces
 * Provost marshal, an officer in charge of military police
 * Provost Marshal General, commander of the military police in the United States
 * Provost sergeant, a sergeant in charge of regimental police in Commonwealth armies

Religion

 * Provost (religion), a high-ranking church official
 * Prince-provost, a high-ranking church official

Other fields

 * Provost (education), a senior academic administrator within certain higher education institutions
 * Provost (martial arts), a ranking that was second only to master in Renaissance England

Aircraft

 * BAC Jet Provost, a British training aircraft
 * Percival Provost, British training aircraft

Geography

 * Municipal District of Provost No. 52, a municipal district in Alberta, Canada
 * Provost, Alberta, a town in Alberta, Canada
 * Provost Airport
 * Provost, Virginia, a village in Powhatan County, Virginia, United States
 * Provost Avenue, Bronx, NY, the origin of New York State Route 22
 * Stour Provost, a village in Dorset, England

Other uses

 * Arthur Provost Three-Decker, a historic building in Massachusetts, United States
 * Provost Academy South Carolina, a virtual public charter school in South Carolina, United States

title: Provost


text:
Spin Doctors

Spin Doctors are an American alternative rock band from New York City, best known for their early 1990s hits "Two Princes" and "Little Miss Can't Be Wrong", which peaked on the Billboard Hot 100 chart at No. 7 and No. 17, respectively.

The band currently consists of Chris Barron (lead vocals), Eric Schenkman (guitar and vocals) and Aaron Comess (drums, bass and keyboards).

History
The group originated in the late 1980s in New York City, originally as a band called Trucking Company; this band included Canadian guitarist Eric Schenkman, harmonicist John Popper, and later vocalist Chris Barron, who was Popper's Princeton, New Jersey high school friend. Popper left this side project to focus on his main gig with Blues Traveler full-time. With a name change to Spin Doctors, as well as the addition of Aaron Comess on drums and Mark White on bass, the classic lineup was in place by the spring of 1989.

Spin Doctors signed with Epic Records/Sony Music A&R executive Frankie LaRocka in 1990. The band's Epic debut EP Up for Grabs...Live was recorded live at the Wetlands Preserve in lower Manhattan, and released in January 1991. (In November 1992, these EP tracks were remixed and supplemented by additional live recordings to form the album Homebelly Groove...Live.) Spin Doctors were known for their somewhat lengthy live shows, sometimes jamming even more than is evident on their live releases. They also often performed double-bill gigs opening for Blues Traveler, with members of both bands all jamming together as the transition from Spin Doctors set into the Blues Traveler set. Spin Doctors have many songs from their early club days that were never officially released, but remain circulated via concert recordings.

Spin Doctors's debut studio album, Pocket Full of Kryptonite, was released in August 1991. The band continued to play extensive live shows, gaining grassroots fans, as the album was mostly ignored commercially. In the summer of 1992, the band toured with the first lineup of the H.O.R.D.E. festival, sharing the stage with fellow jam bands Widespread Panic, Blues Traveler, and Phish. That summer, commercial popularity heated up, as radio and MTV began playing "Little Miss Can't Be Wrong" and "Two Princes", with the videos directed by filmmaker Rich Murray (who would direct many of the band's videos). The album went Gold in September 1992, and then received another boost in sales after the band's appearance on Saturday Night Live in October 1992. Additional videos and singles followed for "What Time Is It", "How Could You Want Him (When You Know You Could Have Me?)", and "Jimmy Olsen's Blues". By June 1993, the album went Triple Platinum. Ultimately it sold over five million copies in the U.S. and another five million overseas, peaking at No. 3 on the Billboard 200 albums chart.

Rolling Stone, which put the band on its cover in January 1993, said the band's "popularity is based on universal rock & roll virtues ... The Doctors aren't trying to blaze new trails. They know we've been down this way with the Stones, Curtis Mayfield, and a few of their other touchstones. But the proof—plenty of it—is in the party." Spin Doctors made an appearance on Sesame Street (episode 3450), singing a modified version of "Two Princes" that emphasized the importance of sharing starring Elmo, Zoe, and Telly. Another song on Sesame Street featured Muppet versions of their band starring Count von Count and Zoe singing "Little Miss Count Along" based on their hit "Little Miss Can't be Wrong" that focused on counting. In 1993, they recorded covers of "Have You Ever Seen the Rain?", originally by Creedence Clearwater Revival, for the film Philadelphia and "Spanish Castle Magic" for Stone Free: A Tribute to Jimi Hendrix.

Spin Doctors's second studio album, Turn It Upside Down, released in June 1994, was less commercially successful than Pocket Full of Kryptonite, but sold a million copies in the U.S. and another million internationally. The second single, "You Let Your Heart Go Too Fast", was a modest hit (No. 42 on the pop chart). The band set out on a three-month headlining tour, and played to large crowds at Woodstock '94 and the Glastonbury Festival. Shortly after the release of Turn It Upside Down, original guitarist Eric Schenkman left the band in September 1994 by walking offstage during a concert in Berkeley, California, citing musical and personal differences, and being weary of the road. Schenkman was replaced by Anthony Krizan.

Featuring new guitarist Krizan, Spin Doctors released You've Got to Believe in Something in May 1996. It produced the single and video "She Used to Be Mine". They performed on the Late Show with David Letterman and did some touring, with Ivan Neville joining the band on keyboards. During this period, Spin Doctors contributed the theme song to Seasons 2 and 3 of the television show Spin City. After touring wrapped up in the fall of 1996, Krizan eventually left the band, for reasons that remain relatively unknown. He was replaced by Israeli musician Eran Tabib after auditioning nearly 200 candidates. You've Got to Believe in Something did not live up to previous album sales, selling only 75,000 copies. Epic dropped the band in 1996.

In 1998, Spin Doctors signed to Uptown/Universal and released Here Comes the Bride in June 1999. During the recording of the album, Mark White left the band. The bass tracks on the album were finished by original band member Aaron Comess. During the tour supporting the album, Barron lost his voice due to a rare acute form of vocal cord paralysis that severely affected his ability to talk and sing. He was told he had a 50/50 chance of ever talking or singing normally again. Keyboardist Ivan Neville also took over vocal duties for a few dates, but the band eventually cancelled the remainder of its tour. Barron's voice came back in early 2000 (first comeback [solo] shows in March 2000), at which point he began performing with his band and the Give Daddy Five. Barron undertook what he calls "a journeyman songwriting experience", composing tunes with Blues Traveler's John Popper and with former BMI executive Jeff Cohen. Spin Doctors remained inactive as a band until September 2001, when news about the closing of Wetlands sparked the original four members to reunite. On September 7, 2001, the original lineup took the stage for the first time since 1994 to play at Wetlands. It was the final closing week of the club. The landmark show was a great success for the fans and the band.

Odd shows followed in 2002 through 2005, which eventually led to a brand new studio album, Nice Talking to Me, released on September 13, 2005. The single "Can't Kick the Habit" was included on the soundtrack to the movie Grandma's Boy. It received moderate radio airplay, along with the songs "Margarita" and the title track "Nice Talking to Me". While the record received good reviews, follow-up proved difficult when the record company that released it went out of business.

In 2008, the band continued to play one-off live shows in the United States and Europe. Drummer Aaron Comess released an instrumental record of all his own compositions entitled Catskills Cry featuring bassist Tony Levin and guitarist Bill Dillon. In 2009, Barron released the solo record Pancho and the Kid on Valley Entertainment. During the summer of 2010, Barron released Songs from the Summer of Sangria. This five-song EP was his first official release with his band The Time Bandits.

In 2011, the band celebrated the 20-year anniversary of Pocket Full of Kryptonite with a UK and US tour. Sony Legacy released a 20th anniversary edition with bonus material on August 29, 2011.

In April 2013, the band released If the River Was Whiskey, their sixth studio album.

In January 2022, the band fired longtime bassist Mark White after 33 years over his refusal to receive the COVID-19 vaccine.

Members

 * Current
 * Chris Barron – lead and backing vocals, occasional acoustic guitar (1988–1999, 2001–present)
 * Eric Schenkman – guitars, occasional lead and backing vocals (1988–1994, 2001–present)
 * Aaron Comess – drums (1988–1999, 2001–present), keyboards (1988–1996, 2001–present) , bass (1999, 2022–present) , guitar (1999)
 * Former
 * Mark White – bass (1988–1998, 2001–2022)
 * John Popper – harmonica (before name change to Spin Doctors)
 * Anthony Krizan – guitar, backing vocals (1994–1996)
 * Ivan Neville – keyboards, backing vocals (1996–1999)
 * Eran Tabib – guitar, backing vocals (1996–1999)
 * Carl Carter – bass (1998–1999)

 * Touring
 * Shawn Pelton – drums (2012)
 * Jack Daley – bass (2022)

Awards and nominations
American Music Awards of 1994
 * Nominated for American Music Award for Favorite Pop/Rock Album for Pocket Full of Kryptonite

36th Grammy Awards
 * Nominated for a Grammy Award for Best Rock Performance by a Duo or Group with Vocal for "Two Princes"

Discography

 * Pocket Full of Kryptonite (1991)
 * Turn It Upside Down (1994)
 * You've Got to Believe in Something (1996)
 * Here Comes the Bride (1999)
 * Nice Talking to Me (2005)
 * If the River Was Whiskey (2013)

title: Spin Doctors


text:
Talk:Demographics of the United States

Should "Vital Statistics" be changed to "Vital Parameters"
The section "Vital Statistics" is misnamed, as the data contained pertains to a population instead of a sample of a population- so it's parameters, not stats.

Relevant

— Preceding unsigned comment added by 2601:191:200:43aa:1bd:220c:ab0e:8875 (talk • contribs) 11:28, 24 July 2017 (UTC)
 * "Vital Statistics" is what's used in the cited sources, and I've never heard the term "Vital Parameters". -- Beland (talk) 23:29, 14 February 2023 (UTC)

The static population pyramid image with ethnicities marked is blatantly inaccurate
It doesn't reflect the real composition. Whites are 57.8% of the total, whereas this image shows about 80%. What is this, the 50s? According to the image, the least white age bracket is still 71% white (age 0), which is mathematically impossible. Can anyone explain the discrepancy? MrThe1And0nly (talk) 09:58, 10 May 2023 (UTC)

 * @MrThe1And0nly For quick clarity are you on about this one? I agree that it does look odd on the lack of Hispanic's on the population pyramid compared to the Black population, which atleast seems larger on there when it shouldn't. I am neither sure on what the year the population pyramid attains to either, maybe it is 2010? However the file was made in 2021. Feel free to remove and I will create one for this either today or tommorow. Tweedle (talk) 12:03, 10 May 2023 (UTC)
 * Ah I believe I have found the discrepency, using the data table 1/1/2020 to 6/1/2020 from Monthly Postcensal Resident Population plus Armed Forces Overseas from the source file on the original image, using the first month;
 * If you look at the column for Non-Hispanic White newborns (0) for males for example it is below 1 million at 957,909 however looking at White alone Male 0 year olds it is 1,389,975 which would match up better to what is shown so I believe the original creator must have used the wrong race columns. Ofcourse this is assuming that it is based off of the 2020 file, however I do not believe there would be an extra 400,000 odd babies for Non-Hispanic Whites in any of the years previous. Looking at the 2010 file, 0 year old non-Hispanic White males are 1,021,535
 * Fixed this now with my own, see image attached to this section now. Tweedle (talk) 15:16, 10 May 2023 (UTC)
 * Tweedle (talk) 12:22, 10 May 2023 (UTC)
 * Nice, you fixed it. My bad, I thought I had linked the image I was talking about but seem to have forgotten. And you switched the inaccurate image for the correct one in other topics as well. Thanks. MrThe1And0nly (talk) 17:53, 13 May 2023 (UTC)
 * No problem! Tweedle (talk) 20:54, 13 May 2023 (UTC)

Problems with references
I noticed that the numbers in the section "Dependency ratio" seemed unreasonable, so I followed the references and confirmed that they should be percentages. However, ref 32 ( https://www.census.gov/data/tables/time-series/demo/popest/2020s-national-detail.html ) does not provide the ratios. It gives a link to an XL spreadsheet with populations in different categories, which can be combined to calculate the ratios. Is this OK?

Note, too, that the cited page and data have been updated for 2022, so its values are no longer exactly the same as those in the Wikipedia page.

Also, I don't see the country rankings in ref 42 ( https://www.cia.gov/the-world-factbook/field/dependency-ratios/ ). Maybe an older version of the page included them?

Fcy (talk) 18:00, 27 July 2023 (UTC)

 * I would remove the country comparison as they are not dated to a specific year and I have no clue what year they pertain to. On the calculation, yeah that's fine I would not worry about that. Most references on Demography stuff is usually excel spreadsheets and the like, so long as the figure is correct it does not matter that much. Tweedle (talk) 18:31, 27 July 2023 (UTC)

Missing "per thousand", maybe
American women are remarkable, but it’s hard to believe there are 1,663.5 births per every woman. ☆ Bri (talk) 02:55, 30 March 2024 (UTC)

Possible typo in Nationality Chart
Within the introductory table on the right, I'm seeing "Mixted Latino (6.12%)". I don't see other references to Mixted elsewhere so probably just an input error. 216.83.83.25 (talk) 15:15, 10 May 2024 (UTC)

title: Talk:Demographics of the United States


text:
Coconut Grove

Coconut Grove, also known colloquially as “The Grove,” is an affluent and the oldest continuously inhabited neighborhood of Miami in Miami-Dade County, Florida. The neighborhood is roughly bounded by North Prospect Drive to the south, LeJeune Road to the west, South Dixie Highway (US 1) and Rickenbacker Causeway to the north, and Biscayne Bay to the east. It is south of the neighborhoods of Brickell and The Roads and east of Coral Gables. The neighborhood's name has been sometimes spelled "Cocoanut Grove" but the definitive spelling "Coconut Grove" was established when the city was incorporated in 1919.

What is today referred to as Coconut Grove was formed in 1925 when the city of Miami annexed two areas of about equal size, the city of Coconut Grove and most of the town of Silver Bluff. Coconut Grove approximately corresponds to the same area as the 33133 ZIP Code although the ZIP Code includes parts of Coral Way and Coral Gables and a small portion of ZIP Code 33129. The area is often referred to as "The Grove,” and locals take pride that Coconut Grove is one of the greenest areas of Miami.

Coconut Grove is directly served by the Miami Metrorail at Coconut Grove and Douglas Road stations.

History
Several waves of immigration established Coconut Grove, the first in 1825, when the Cape Florida lighthouse went into operation, kept by John Dubose. The settlers primarily came from the Northeastern United States, in addition to British and Bahamian immigrants. They included sailors, naturalists, and artists. Many black Bahamian immigrants were hired to construct the historical landmarks in and around Coconut Grove. They were believed to be the only people capable of withstanding the extreme heat and humidity, as well as the large mosquito population.

Dr. Horace P. Porter is credited for coming up with the name when, in 1873, he rented a home from Edmond D. Beasley's widow, who homesteaded 160 acres of bay-front property. He lived there for only a year, but during that time, he established a post office which he named “Coconut Grove.”

The first hotel on the South Florida mainland was located in Coconut Grove. Called the Bay View Inn (later known as the Peacock Inn), it was built in 1882 on the site of present-day Peacock Park by English immigrants Isabella and Charles Peacock, who had been the owners of a wholesale meat business in London. Coconut Grove's first black settlement, in the 1880s, was established by Bahamian laborers who worked at the Peacock Inn. The Barnacle Historic State Park is the oldest house in Miami-Dade County still standing in its original location. It was built in 1891, and was home to Ralph Middleton Munroe, also known as "The Commodore" for being the first commodore and founder of the Biscayne Bay Yacht Club, an American yacht designer, and early resident of Coconut Grove.

Formerly an independent city, Coconut Grove was annexed by the city of Miami in 1925. In the 1960s, bay-shore Coconut Grove served as the center of South Florida's youth countercultural movement, notably hosting several love-ins and concerts (including a now-infamous Doors concert at Dinner Key Auditorium) during the latter part of the decade. The Bahamian community continued to grow in Coconut Grove through the 1970s.

A surge of commercial development in Coconut Grove was driven by the construction of three major residential complexes during the late 1970s and early 1980s: Yacht Harbour Condominiums in 1975; Grove Isle, a condominium, club, and hotel complex, in 1979; and L'Hermitage in 1980. This was followed by the opening of 2575 S. Bayshore Drive in 1982 and the 1983 opening of Grove Towers. Further development was proposed for Grove Isle in 2013.

Economy
Coconut Grove has a number of outdoor festivals and events, the most prominent of which is the annual Coconut Grove Arts Festival. Others include the King Mango Strut, which began as a parody of the Orange Bowl Parade, and which continues each year on the last Sunday in December. The Great Taste of the Grove Food & Wine Festival takes place each April. Each June, the Goombay Festival transforms Grand Avenue in Coconut Grove into a Carnaval (Caribbean Carnival), celebrating Bahamian culture, with Bahamian food and Caribbean music (Junkanoo).

The Grove has numerous restaurants, open air and streetside cafes, and several waterfront restaurants and bars. By night, the Grove becomes a center of nightlife frequented by locals, young professionals, students from the nearby University of Miami and Florida International University, and tourists.

Shopping is abundant in the Grove, with two open-air malls, CocoWalk, the Streets of Mayfair, and many other street shops and boutiques.

The Village Center, the three blocks radiating from and focusing on the intersection of Main, McFarland, and Grand Avenues, home to the majority of the retail and restaurant business in the Grove, is also home to three gyms, a multiplex movie house in CocoWalk, several parking garages, a state historic site, an elementary school, a City of Miami fire station, several large condos and residential rental towers, the Coconut Grove Post Office, and two sizable parks. Development and redevelopment continue to redefine and transform the area.

Major corporations including Arquitectonica, Spanish Broadcasting System, and Watsco are located in the Grove.

The eastern border of Coconut Grove is Biscayne Bay, which lends itself to the local boating and sailing communities. The area features the Coconut Grove Sailing Club, Biscayne Bay Yacht Club, a sizable municipal marina, Dinner Key Marina, and others The US Sailing Center is on the Bay between Kennedy Park and the Coral Reef Yacht Club. Pan Am's seaplane operations were based at Dinner Key, and the Miami City Hall is based in the old Pan Am terminal building.

Demographics
Demographically, Coconut Grove is split up into "Northeast Coconut Grove" and "Southwest Coconut Grove", and as of 2000, the total population of both of the neighborhood's sections made up between 18,953 and 19,646 people. The zip codes for all of Coconut Grove include 33129 and 33133. The area covers 5.607 sqmi. As of 2000, there were 9,695 males and 9,951 females. The median age for males were 38.4 years old, while the median age for females were 40.3 years old. The average household size had 2.1 people, while the average family size had 2.8 members. The percentage of married-couple families (among all households) was 33.6%, while the percentage of married-couple families with children (among all households) was 11.1%, and the percentage of single-mother households (among all households) was 7.6%. The percentage of never-married males 15 years old and over was 18.3%, while the percentage of never-married females 15 years old and over was 14.3%. The percentage of people that speak English not well or not at all made up 8.1% of the population. The percentage of residents born in Florida was 31.6%, the percentage of people born in another U.S. state was 34.7%, and the percentage of native residents but born outside the U.S. was 2.3%, while the percentage of foreign born residents was 31.4%.

As of 2000, Northeast Grove had a population of 9,812 residents, with 5,113 households, and 2,221 families residing in the neighborhood. The median household income was $63,617.82. The racial makeup of the neighborhood was 35.24% Hispanic or Latino of any race, 2.25% Black or African American, 60.96% White (non-Hispanic), and 1.55% other races (non-Hispanic).

As of 2000, Southwest Grove had a population of 9,141 residents, with 3,477 households, and 2,082 families residing in the neighborhood. The median household income was $63,617.82. The racial makeup of the neighborhood was 14.80% Hispanic or Latino of any race, 48.27% Black or African American, 35.27% White (non-Hispanic), and 1.66% other races (non-Hispanic).

The "West" Grove (Black Grove) is predominantly composed of people who are of Afro-Bahamian descent. Bahamian sailors were one of the first groups of settlers in the area. The Goombay festival is a celebration of the rich history of this historically Bahamian neighborhood.

Transportation
Coconut Grove is served by Metrobus throughout the area, and by the Miami Metrorail at:

 * Vizcaya (SW 32nd Road and U.S. 1)
 * Coconut Grove (SW 27th Avenue and U.S. 1)
 * Douglas Road (SW 37th Avenue and U.S. 1)

Metrobus' Coconut Grove Connection connects at Coconut Grove and Douglas Road stations, going to many popular areas within the Grove, including CocoWalk and Peacock Park.

Cultural institutions

 * Coconut Grove Playhouse
 * Marjory Stoneman Douglas Home
 * Miami Science Museum, moved to downtown Miami
 * The Barnacle Historic State Park
 * The Kampong
 * Vizcaya Museum and Gardens

Libraries

 * Miami-Dade Public Library operates area public libraries

Elementary schools
Miami-Dade County Public Schools operates area public schools:

 * Coconut Grove Elementary School
 * Dade County Training School (1899–1937)
 * Frances S. Tucker Elementary School
 * George W. Carver Elementary School

Middle schools

 * George Washington Carver School, while actually in Coral Gables, serves Coconut Grove. As a magnet school, it does not admit most of its students based on geographical area, but minimum quotas apply regarding to serving Coconut Grove.

High schools

 * Bridgeprep Academy of Arts and Minds (2003-2018)
 * George Washington Carver School

Private schools

 * Ransom Everglades School, founded in 1903
 * St. Hugh Catholic School, 1956
 * Immaculata-Lasalle High School, 1958
 * St. Stephen's Episcopal Day School, 1958
 * Carrollton School of the Sacred Heart, 1961
 * Coconut Grove Montessori School
 * Vanguard School

Points of interest

 * Charles Avenue
 * CocoWalk
 * Dinner Key
 * First Coconut Grove School
 * Grove Isle
 * Mercy Hospital
 * Miami City Hall
 * Plymouth Congregational Church
 * Trapp Homestead
 * Woman's Club of Coconut Grove

Parks

 * The Kampong: an 8-acre (32,000 m2) tropical garden that forms part of the National Tropical Botanical Garden
 * The Barnacle Historic State Park: Built in the late 19th century, the former home of Ralph Middleton Munroe is the oldest home in Miami-Dade County still standing in its original location and is situated on the shore of Biscayne Bay. The forest surrounding the home is tropical hardwood hammock and is the last of its kind in the area. The unique architecture includes period furniture and wide porches that afford magnificent views.
 * Peacock Park and Kenneth Myers Bayside Park
 * David Kennedy Park
 * Merrie Christmas Park
 * Steele Park
 * Blanche Park
 * Elizabeth Virrick Park
 * Kirk Munroe Park
 * Coconut Grove Park
 * Grand Avenue Park
 * Ingraham Terrace Park
 * Sunrise Park
 * Marjory Stoneman Douglas Mini Park
 * Dinner Key Picnic Islands Park
 * Alice Wainwright Park

20th century

 * In 1923, the film Where the Pavement Ends was filmed in Coconut Grove in 1923.
 * In 1965, folk rock musician Fred Neil wrote the song "Bleecker & MacDougal" about Coconut Grove.
 * In 1967, the song "Coconut Grove" by John Sebastian and recorded by The Lovin' Spoonful was released. It later was covered by David Lee Roth and Paul Weller.
 * In 1978, the song "Voila, An American Dream" by Rodney Crowell and the 1979 cover version by the Dirt Band, Coconut Grove is mentioned prominently in the chorus as a vacation destination.
 * In 1983, in the film Scarface, the character Manny, played by Steven Bauer, lives in an upscale home in the Grove.
 * In 1984, the video for the song "Careless Whisper", George Michael can be seen looking from a condominium balcony in Coconut Grove.
 * In 1995, in the film Bad Boys, Martin Lawrence and Will Smith follow a suspect through Coconut Grove.
 * In Dave Barry's novel Big Trouble, the main setting is Coconut Grove.
 * Coconut Grove is the setting for the movie Meet the Fockers.
 * Coconut Grove has been a location on the show The First 48.
 * Coconut Grove is a location in the 1985 Burt Reynolds film Stick.

21st century

 * In 2005, CSI: Miami season 4 episode 10, "Shattered", is set in Coconut Grove.
 * From 2006 to 2013, in the TV series Dexter, based on the book series by Jeff Lindsay, Dexter Morgan lives in Coconut Grove.
 * From 2007 to 2013, the TV series Burn Notice was based in what was once the City of Miami's Convention Center in Coconut Grover.
 * In 2008, the film Marley & Me with Jennifer Aniston and Owen Wilson, based on John Grogan's book, was filmed in Coconut Grove.
 * In the first episode of The Golden Girls, "The Engagement", at the end of the episode, Rose asks Dorothy and Blanche if they would like to go to Coconut Grove for lunch to celebrate their friendship.
 * Coconut Grove is reference in "Tenement Song" by Pixies on the 2016 album "Head Carrier".
 * In the 2010 song "Marathon" by Tennis, Coconut Grove is mentioned as being the song's narrators sail from Marathon, Florida to Coconut Grove.
 * The movie All About The Benjamins was filmed in Coconut Grove (specifically, ShakeAleg water sports' parking lot & boatyard) in 2002, starring Ice Cube and Mike Epps.

Notable people
Former and current residents include:

Historic Coconut Grove
Established in 1825, Coconut Grove is one of Miami's oldest neighborhoods. As such, many of Miami's oldest buildings and homes are located in the Grove. Some of these include:

title: Coconut Grove


text:
Robot (camera)

Robot was a German imaging company known originally for clockwork cameras, later producing surveillance (Traffipax) and bank security cameras. Originally created in 1934 as a brand of Otto Berning, it became part of the Jenoptik group of optical companies in 1999, and specializes in traffic surveillance today.

The motorized amateur cameras powered by clockwork (spring) motors were first made in 1934, and ended with a special limited edition collector's model, "Star Classic", in 1996. The Robot film cameras used 35 mm film, mostly in square 24 × 24 mm image format, but many used 18 × 24 mm (half-frame) and 24 × 36 mm (standard Leica format), and non-standard formats such as 6 × 24 mm (Recorder 6), 12 × 24 mm (Recorder 12) and 16 × 16 mm (Robot SC).

Robot I
Around 1930 Heinz Kilfitt, a trained watchmaker, designed a new 35 mm film compact camera using a 24×24 mm frame format (instead of the Leica 24×36 mm or cine 18×24 mm formats). The 24×24mm square frame provided many advantages, including allowing over 50 exposures per standard roll of Leica film instead of 36. Kodak and Agfa rejected the design, and it was sold to Hans Berning, who set up the Otto Berning firm.

Otto Berning was granted its first Robot patent in 1934; a US patent was granted in 1936. The camera was originally intended to come in two versions: Robot I, without motor, and Robot II with a spring motor. Its release was delayed and already the first camera "Robot I" included its hallmark spring motor. The first production cameras had a stainless steel body, a spring drive that could shoot 4 frames per second, and a rotary shutter with speeds from 1 to 1/500th second. The camera used proprietary "Type K" cartridges, not the now-standard 35 mm cartridges introduced in the same year by Kodak's Dr. August Nagel Kamerawerk for the Retina. The camera does not have a rangefinder, as it was designed for use mostly with short focal length lenses (e.g. 40 mm) with great depth of field.

The Robot I was quite small, the body measuring 108 mm (4¼ inches) long, 63 mm (2½ inches) high, and 32 mm (1¼ inches) deep. A very sharp zone-focusing f/2.8, 3.25 cm Zeiss Tessar lens added 125mm (1/2 inch) to the camera depth. It was about the size of the much later Olympus Stylus although it weighed about 567 grams (20 ounces), approximately the weight of a modern SLR. The die-cast zinc and stamped stainless steel body was crammed with clockwork. A spring motor on the top plate provided the driving force for a rotary behind-the-lens shutter and a sprocket film drive. The film was loaded into cassettes in a darkroom or changing bag. The cassettes appear to be based on the Agfa Memo cassette design, the now-standard Kodak 35 mm cassette not yet being popular in Germany. In place of the velvet light trap on modern cassettes, the Robot cassette used spring pressure and felt pads to close the film passage. When the camera back was shut, the compression opened the passage and the film could travel freely from one cassette to another.

The rotary shutter and the film drive are like those used in cine cameras. When the shutter release is pressed, a light-blocking shield lifts and the shutter disc rotates a full turn exposing the film through its open sector; when the pressure is released the light-blocking shield returns to its position behind the lens, and the spring motor advances the film and recocks the shutter. This is almost instantaneous. With practice a photographer could take 4 or 5 pictures a second. Each winding of the spring motor was good for about 25 pictures, half a roll of film. Shutter speed was determined by spring tension and mechanical delay since the exposure sector was fixed. The Robot I had an exposure range of 1 to 1/500, and provision for time exposures.

The camera had other features not specifically related to action photography. The small optical viewfinder could be rotated 90 degrees to permit pictures to be taken in one direction while the photographer was facing in another. When the viewfinder was rotated, the scene was viewed through a deep purple filter similar to those used by cinematographers to judge the black and white contrast of an image. The camera had a built-in deep yellow filter which could be positioned behind the lens.

Robot II

In 1938 Berning introduced the Robot II, a slightly larger camera with some significant improvements but still using the basic mechanism. Among the standard lenses were a 3 cm Zeiss Tessar and a 3.75 cm Zeiss Tessar in f/2.8 and 3.5 variations, a f/2.0, 40 mm Zeiss Biotar and f/4, 7.5 cm Zeiss Sonnar. The film cassette system was redesigned, and the 1951 IIa accepted a standard 35 mm cassette. The special Robot cassettes type-N continued to be used for take-up. A small Bakelite box was sold to allow colour film to be rewound into the original cassettes as required by film processing companies. The camera was synchronized for flash. The swinging viewfinder was retained, but now operated by a lever rather than moving the entire housing. Both the deep purple and yellow filters were eliminated in the redesign. Some versions were available with a double-wind motor which could expose 50 frames on one winding. Civilian versions of the Robot were discontinued at the outset of the Second World War, but it was used as a bomb damage assessment camera by the Luftwaffe, mounted in the tail of Ju 87 (Stuka) dive bombers. This was an electrically driven camera using large cassettes possibly as many as 300 24 x 24mm images. Unlike the central Leica 250GG camera in the Ju 87, which was switched on automatically when the dive brakes were applied, the Robot camera had to be switched on manually. In the stress of the automatic pull out, when it was not uncommon for the pilot to black out from the g levels, switching on the bomb damage assessment camera was frequently forgotten.

Robot Star and Junior
In the 1950s Robot introduced the Robot Star. Film could now be rewound into the feed cassette in the camera as in other 35 mm cameras.

Robot then introduced the "Junior", an economy model with the quality and almost all the features of the "Star" but without the angle finder or the rewind mechanism.

In the late 1950s the company, now called Robot-Berning, redesigned the Robot Star and created the Vollautomat Star II. The length stayed the same but the height increased by 125mm (half an inch). The new higher top housing disposed of the right angle finder and instead included an Albada finder with frames for the factory-fitted 38/40 mm and 75 mm lenses. The drive and shutter too were improved. By 1960 the hallmark stamped steel body was replaced by heavier die castings. The camera became, with slight changes, the Robot Star 25 and Star 50. The Robot Star 25 could expose 25 frames on a single winding, and the double-motor Robot Star 50 could expose 50 frames. Since most Robot cameras by then were sold for industrial use where the camera was fixed in position, Robot also introduced versions without a finder, and even without rewind. Although most production dates from the 1950-1960s era, essentially the same camera continued to be manufactured into the late 1990s.

Robot Royal

Robot-Berning also produced enlarged versions of the Robot, the Robot Royal 18, 24 and 36, with built-in rangefinder and with an autoburst mode of operation capable of shooting 6 frames per second. The camera was about the size of a Leica M3 and weighed 907g (almost 2 pounds). It was equipped with a Schneider Xenar 45 mm f/2.8 lens. The Robot Royal 36 took a standard 35 mm still picture but was identical to the Royal 24 in all other regards. They retained the behind-the-lens rotary shutter with speeds from 1/2 to 1/500 s.

Robot Royal II is a larger viewfinder camera, it has no rangefinder, it does not have burst mode, it is a stripped down Robot Royal III.

Robot Royal III has a main spring, when tightened, the camera can take 4 to 5 pictures in succession. It has a built in rangefinder, eight interchangeable bayonet mount lenses.

There are two versions, Robot Royal 36, produce 36 24x36mm images on a roll of 135 film,  Robot Royal 24  makes 50 24x24mm images on 135 film

A version for instrumentation (and traffic) was also created on the basis of the Royal design: the Recorder. These cameras were like the Royal but without viewfinder or rangefinder. They had interfaces to motors and detachable backs to support bulk film cassettes. A special parallel series of the Royal too was available that included these features. While the Royal had only limited market success, the Recorder was well accepted. It became the centerpiece of the company's portable document capture, traffic control and security solutions, and continues to be the standard Robot camera for instrumentation applications.

Military and government models
During the Second World War, specially adapted models were made for the German Luftwaffe.

During the Cold War, Robots had a large following in the espionage business. The small camera could be concealed in a briefcase or a handbag, the lens poking though a decorative hole, and activated repeatedly by a cable release concealed in the handle. The company was well aware of this market and produced a variety of accessories which made the camera even more suitable for covert photography.

Sequence photography
While the Robots were capable of sequence photography, the shutter that made this possible placed some constraints upon taking lenses and shutter speeds. To reach speeds as high as 1/500 second the inertia of the thin vulcanite shutter disc had to be kept at a minimum, requiring a small-diameter disc with a minimal sector opening. The screw in lens mount was 26 mm in diameter. The clear lens opening was only 20 mm. In contrast, Leica's mount was almost twice as large at 39 mm. Further, to permit lens interchangeability, the shutter was mounted behind the lens so the disc interrupted the expanding light cone. This placed some limits on lens design. While the 75mm Sonnar could be used with the aperture set to f/22, the Tele-Xenar suffered from some shutter disc vignetting unless opened more.

The maximum focal length lens for general photographic use that could be fitted with acceptable vignetting was 75 mm, although telephotos up to 600 mm were offered. A 150 mm Tele-Xenar was available for long-distance action photography, but it produced a vignetted circular image on the 24 × 24 mm frame. The lack of a rangefinder on the Robot and Robot Star required zone focusing of these long lenses: every shot had to be estimated or pre-measured. All of the mechanical movement made for a noisy camera, although not as noisy as some modern motor drives. For an extra fee, Robot-Berning supplied silenced versions with nylon gears.

Within their limits the Robots did an excellent job of sequence photography. The standard 38 mm f/2.8 Xenar lenses were extremely sharp, even by today's standards, and zone focusing worked well on rapid action with short focal length lenses. The reliable motor drive was as fast, if not faster, than later electrical drives, and there were no batteries to run down. Flash could be used at any speed. The square frame was big enough, with modern films, for A4 (210 x 297 mm, or 8.25"× 11.75") or greater enlargements, and 50 pictures could be taken on a standard 36-exposure roll. The cameras, especially the later ones built to industrial standards, will take much abuse and still keep functioning.

title: Robot (camera)


text:
Talk:Belgrade

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 17:32, 22 December 2020 (UTC)
 * BelgradeSkyline.png

Lower photos on infobox collage are not clickable
Could this be addressed? {{u| Sdkb  }}  talk 06:49, 13 February 2021 (UTC)
 * It seems like someone removed the whole code for the collage but I added it back. Sorry for replying late Vacant0 (talk) 20:26, 19 March 2021 (UTC)

WP:URFA/2020
I am reviewing this (old or very old) FA as part of WP:URFA/2020, an effort to determine whether old featured articles still meet the featured article criteria. This article was last reviewed in 2007 and has not been maintained to FA standards; if these issues cannot be corrected, the article should be submitted to WP:FAR. Sandy Georgia (Talk)  22:48, 18 February 2022 (UTC)
 * There is considerable uncited text.
 * There is considerable text that is dated and appears unchanged since 2007.
 * There are one-sentence paragraphs.
 * There is MOS:SANDWICHing and other poor image layout.
 * There is not a consistent citation style.
 * There are copyedit needs throughout (as one sample, this is not a sentence: Located only 2 km from Ada Ciganlija.)

Pronunciation
I'm wondering about the pronunciation? The article cites a source showing three pronunciations but then consigns all but "Bel-grade" to a footnote, but I swear growing up in the US I always heard it "Bel-grahd" until a few years ago, and frankly, I think the growing preponderance of "Bel-grade" might be a bit of "citogenesis." I think all three ought to be in the header, rather than consigned to a footnote? Twin Bird (talk) 12:14, 23 June 2023 (UTC)

Panorama picture should be updated
It looks much different now. There are many new buildings. 46.16.111.216 (talk) 14:37, 27 May 2024 (UTC)

title: Talk:Belgrade


text:
Talk:Missionary Generation

Who coined the term and when was it first used? Wondering simply, -- Infrogmation

 * Strauss and Howe in Generations. -- Gregory Pietsch

 * Okay. I put that in the article. Strauss and Howe seems like it could use an article (or a redirect). Infrogmation

Although what it says in this article sounds interesting I cannot really make head or tail of it. What other "generations" are there? When was this book first published? Who are Strauss and Howe? Cultural and/or literary historians? Sociologists? Journalists? If the answers to at least the questions are not added, I doubt that this article will deserve the title "encyclopaedic" -- just because it is far too cryptic. --KF 19:58 Mar 31, 2003 (UTC)

 * I just found out that an overview is given at Generation, so I created a link to that page. This makes things a bit easier to understand. I'm still wondering about the point of that categorization: Could it in any way be compared to Charles A. Reich's Consciousness I, II and III? --KF 20:33 Mar 31, 2003 (UTC)

notability
are there any references that anyone besides the two inventors of that term have ever used it? DGG (talk) 03:33, 30 August 2007 (UTC)

title: Talk:Missionary Generation