text:
Talk:Instrumental temperature record

Old general discussion
I've (William M. Connolley 20:03 Feb 12, 2003 (UTC)) moved 2 paras to the end. These are:

the intro that someone copied in, viz:

"The historical temperature record shows the fluctuations of the temperature of the atmosphere and the oceans throughout history. Climate scientists generally agree that Earth has undergone several cycles of global warming and global cooling in the last 20,000 years, with the average air temparature fluctuating within a range of about 3 Celsius degrees (5 Fahrenheit degrees), over this time period."

This is mangled info. Someone can straighten it out if they like. If you look over the last 20 kyr, the biggest signal you see is the end of the last ice age - so the stuff about little cycles is then in the noise.

There are various sub-cycles/sub-signals, of ??1500 year ish?? periodicity; and their are the D-O events etc etc. But the above para mangles that. *Also* it fits rather poorly with the emphasis of this subsection-now-a-page, ie on the last 150 or 1000 years - so it shouldn't be up there in the intro.

I've also pushed

"In January 2002, scientists released data showing that Antarctica had grown about 25% (???). Some editorial writers claimed that this contradicts the expectation that rising temperatures should cause the ice cap to shrink. However, the scientists studying the situation in the Antarctic who released this data point out that local cooling in some areas is consistent with an overall trend of global warming and say that "the ice-sheet growth that we have documented in our study area has absolutely nothing to do with any recent climate trends."[9]"

into the misc section. The first sentence is junk. If its to stay, someone has to find a decent ref to what its supposed to mean. Mind you, ref [9] is nice and its a pity I've misc'd it too...

''The IPCC says that it has corrected the land station data to account for the urban heat island effect. To do: find and summarize their correction technique.''

The comment above has been around for about a year, and still no one has shown me where in any IPCC report they have explained how they "account for" urban heat islands. So I'm inclined to say rather:

 * Critics of the IPCC report note that it fails to explain how it accounts for the urban heat islands. These critics argue that the heat island effect correlates with land-based thermometer readings better than the global warming theory espoused by the IPCC.

... or something along those lines. Work with me here, folks. Let's make an informative and neutral article. --Uncle Ed

That looks fairly reasonable - I'd modify slightly:
 * The IPCC report does not explain how it accounts for the urban heat island effect - increased warming due to proximity to major cities. The heat island effect, if not properly accounted for, would tend to increase the amount of apparant warming.

Martin

(William M. Connolley 09:46 Feb 13, 2003 (UTC)) There is at least a problem in the wording here. IPCC doesn't do research, it reports other peoples. But apart from that... see section 2.2.2.1. In particular:

 * These results confirm the conclusions of Jones et al. (1990) and Easterling et al. (1997) that urban effects on 20th century globally and hemispherically averaged land air temperature time-series do not exceed about 0.05°C over the period 1900 to 1990 (assumed here to represent one standard error in the assessed non-urban trends). However, greater urbanisation influences in future cannot be discounted. Note that changes in borehole temperatures (Section 2.3.2), the recession of the glaciers (Section 2.2.5.4), and changes in marine temperature (Section 2.2.2.2), which are not subject to urbanisation, agree well with the instrumental estimates of surface warming over the last century. Reviews of the homogeneity and construction of current surface air temperature databases appear in Peterson et al. (1998b) and Jones et al. (1999a). The latter shows that global temperature anomalies can be converted into absolute temperature values with only a small extra uncertainty.

Errr... shouldn't all this go into the UHI page?

 * Yep. And then summarised here. :) It all seems rather a lot of work... :-/ Martin

 * William, the large quote above (0.05°C over the period 1900 to 1990) seems at first reading to answer Martin's other question: are heat islands causing global warming. My question is different: are temperature readings taken within heat islands giving a false impression of global warming. That is, (1) if a city gets 0.8°C warmer, and this warming is averaged in with all other temperature differences, I think this would be a statistical error. What do you think? Also, (2) if cities get much warmer, suburbs get kind of warmer, rural areas get a bit warmer, and uninhabited areas don't get warmer at all, what would this tell us? (Not saying that's the case for now, just asking what this would tell us if it were so.) --Uncle Ed 17:19 Feb 13, 2003 (UTC)

 * AFAICT, "globally and hemispherically averaged land air temperature time-series" - I think this phrase is referring to the temperature readings rather than the actual temperatures - IE, it answers your question... Oh, I'm copying some of this stuff to the urban heat island page. Martin

 * There is an answer to UE from IPCC. Essentially, you can (if you wish) separate out the obviously-likely-to-be-affected stations if you like, but it makes little difference. Reasons include: cities are small areas anyway; the trends from cities (etc) don't in fact differ substantially from the trends without them; in fact the trends over city areas agree quite well with the dreaded MSU... I'll try to find this and add it in, since its clearly a concern (William M. Connolley 21:31 Feb 13, 2003 (UTC)).

I have started studying a paper on the temperature record in the USSR. The writers find no warming trend in rural stations and hint (or imply) that other researchers have selectively chosen data to fit their "warming" views. [Read it yourself] and decide. --Uncle Ed 17:52 Feb 13, 2003 (UTC)

 * Its worth reading (William M. Connolley 21:36 Feb 13, 2003 (UTC)). I've had a brief look before. Of the 2 stations I picked to check his analysis, one had the jump he claimed (according to objective statistics) and one didn't, or it was impossible to tell: the trends he claimed as implausible against "neighbouring" stations were from places 100's of km away, and in different exposures: near the sea or not.

Martin and William,

I'm not sure either of you is getting my point. I am not wondering whether a few hot cities are making the whole world hot.

I am wondering whether a large number of the temperature readings from weather stations in and near rapidly warming cities, when averaged with a relatively small number of temperature readings from rural and remote stations, are giving a false impression of global warming. That is, it might be that (A) the only parts of the world that are warming are the urban heat islands and (B) the only reason these are heating up is because cities absorb and generate heat; rather than (C) that carbon dioxide, etc. is causing worldwide warming.

Do you understand my point? (I'm not asking whether you agree with my point of view, but only whether my English is clear.) --Uncle Ed 22:33 Feb 13, 2003 (UTC)

 * I believe so - let me paraphrase to try and prove it.
 * * Because of the urban heat island effect, cities are warming up more than the surrounding countryside
 * * Thermometers are recording an increase in temperature
 * * Many thermometers are located near urban heat islands
 * * Therefore, the temperature increase recorded by thermometers may overestimate the actual temperature increase of the climate as a whole.

 * To draw a parallel, one shouldn't put the thermostat in one's house next to a log fire, because in that case the thermostat will overestimate the general temperature of one's house.

 * My reading of the IPCC report is that the distortion introduced by the urban heat island effect is, at most, 0.05°. In other words, if we had located our thermometers away from urban heat islands, they would have recorded 0.05° less temperature increase over the period 1900 to 1990. Of course, this depends on whether you trust the research cited by the IPCC... Martin

 * I mostly agree with Martin. Have you read the bit about marine and borehole temperatures? This does a lot to counter your point. I also think you're wrong to suppose that, numerically, urban reading predominate. Martin: note that strictly speaking IPCC reprots that UHI leads to at most 0.05 *uncertainty*. They don't (I think) explicitly state that this is necessarily in the warming direction.

Thank you, both, for helping me to feel understood. Now I'll have a G-R-E-A-T weekend! ^_^ (Uncle Ed)

Expert review (Feb 2022)
I've received comments about this article in a Word document by Blair Trewin, one of the authors of the IPCC Sixth Assessment Report. This is done as part of this project for 3 SDGS. I will try to enter his comments into the Wikipedia article over the coming days/weeks and also raise discussion points here on the talk page. In case someone is watching this page and has worked on this Wikipedia article a lot and would be interested to collaborate, please reach out to me. In that case, I could e-mail you the marked up Word document for your careful consideration. I am a complete non-expert on this topic, so will struggle. EMsmile (talk) 22:49, 23 February 2022 (UTC)
 * Here are some of the main comments from the Word document that Blair provided to me. Do people broadly agree with his suggestions? (I am happy to forward the Word document to anyone who's interested, just send me an e-mail through the system):

 * 1) Change citation to IPCC AR6 WG1 (these numbers are also in SPM). Think it best to present consolidated assessment here rather than individual data sets for consistency.
 * 2) AR6 findings. Since AR6 uses changes from one period to another (rather than linear trends) as the primary temperature change metric, there is not an assessment finding re: linear trends but results are reported in a table. Suggest citing Chapter 2, Table 2.4 - the final chapters are still being typeset so page numbers are not necessarily stable, but table numbers should be.
 * 3) Regarding the figure that is currently under "warmest years": This figure is about records at the regional level, not in global means - I would move it to the regional temperatures section and introduce a discussion on extremes there.
 * 4) I think we want to structure this in such a way that it can be updated with each new year's data with fairly minimal disturbance. I've suggested a replacement paragraph below. I also suggest we focus here on WMO and IPCC as consolidated sources of information, while noting that they draw on a number of data sets (which I then suggest we discuss in detail in the 'Global temperature since 1850' section).
 * 5) Regarding the paragraph that starts with "While record-breaking years can attract considerable public interest":  I'm not sure this paragraph really adds very much. The key points we want to capture here are that there is a long-term warming trend, that there is variability about this trend because of natural sources of variability (e.g. ENSO, volcanic eruption), that not every year will set a record but record highs are occurring regularly.
 * 6) Regarding the table "Top 10 warmest years (NOAA)": We will need to take a decision on which dataset to use here. IPCC uses the mean of four different datasets - there are advantages in doing this (including that it is expressed relative to 1850-1900), but at the moment there is a loss of transparency since the consolidated dataset itself will be accessible through the IPCC data portal which is not yet operating. Is archiving the time series on Wikipedia itself an option?
 * 7) Regarding the image under "warmest decade": I like the format of this image, but it will need to be updated for the latest dataset versions. It's also unclear which underlying dataset is used (presumably not NOAA given the 1850 start date). (NB the source data is explain when clicking on the image but perhaps a reference in the caption itself would be good?)
 * 8) Chapter 2 executive summary (currently p6), also in the main body of the chapter but expressed slightly differently. This is the only AR6 finding which compares the last decade specifically to paleoclimate results, although there are other relevant findings on paleoclimate timescales (e.g. rate of warming in last 50 years).
 * 9) Regarding the table with temperature anomalies: Whichever dataset we end up using here, I suggest we use years ending in 0 to align with the IPCC reporting to 2011-2020 (and so we don't have a "decade" with only 1-2 years of available data.
 * 10) Regarding the graph where the caption starts with "Colored bars show how El Niño years": This looks like something that's been produced specifically? (WMO has from time to time published something conceptually similar in its annual State of the Climate reports but hasn't distinguished strong from weak events). If it doesn't have a defined source then we probably need to have a link somewhere to how the strength of El Nino/La Nina events is defined.
 * 11) Regarding the paragraph about El Nino: There will be papers which can be cited here. (As it happens, I've got one myself in review, but there are others which have been published). The new text can largely be inferred from the graph (assuming it stays in its current form). Note that the 1982-83 El Nino has a weak temperature response because it was offset by the El Chichon eruption.
 * 12) Presumably there will be links here to pages on the Pinatubo and Agung eruptions? Larger volcanic signals are sometimes quoted but these are typically either not for a full year, or are model simulations rather than observations. The effect of Pinatubo was also partially offset by El Nino conditions which prevailed for much of the 1991-94 period.
 * 13) Either here, or in the 'Temperature anomaly' article, there needs to be a discussion of which baseline periods are in use, the purposes they serve, and why the choice of baseline has no impact on long-term trends.
 * 14) A picture of a Stevenson screen might be useful here. The MMTS name covers both the instruments and the shelter so shouldn't be used for the shelter alone.
 * 15) Buckets are almost out of use now but were heavily used historically. There are papers which can be cited here.
 * 16) I think either as an addition to this section, or a new section (I prefer the latter), there should be a discussion of how global temperature datasets are developed from the base observations, and a listing of the main datasets. Reanalyses, and how they are used/not used, could also be introduced here - I see there is a Wikipedia article for 'Atmospheric Reanalysis', although it could do with some more content. (I'm not a reanalysis expert but can point you to some if you want that article strengthened).EMsmile (talk) 17:36, 24 February 2022 (UTC)
 * Hi User:RCraig09 what are your thoughts regarding the comments by Blair Trewin which I posted above? Would you have time to involve yourself to address them? (you appear to be a content expert on this topic as well as a Wikipedia expert which is an ideal combination). Feel free to send me an e-mail through the system if you'd like to see the mentioned Word document. EMsmile (talk) 18:43, 4 March 2022 (UTC)
 * I'm not a subject matter expert (just an engineer who is interested in climate change). You may want to post a note at Wikipedia talk:WikiProject Climate change to get a broader, more expert response. I can respond to issues on the graphics I created:
 * 3. "Warmest years" graphic: I think that the graphic is appropriate where it is, since it tallies temperature records worldwide. The already-crowded Regional temperature section is actually less appropriate since the graphic isn't concerned with regions per se.
 * 7. "Warmest decade" graphic: Source data is HadCRUT from Met Office (UK), with specific links in the Wikimedia file description. I didn't put a footnote in the graphic's caption here because the source provided the data but not the caption's content that can be deduced by looking at the graphed data. I think it's superfluous to cite source data in this instance; so I didn't. Separately, it shouldn't be a big worry updating data, since a new bar won't be added until 2030, and dataset variations are so small that they probably won't visually change the shape of the existing bars in the meantime.
 * 10. The "El Nino etc" graphic: Yes, the graphic was specially made from WP:Routine calculations (adding within timewise groupings of monthly data in a Microsoft Excel spreadsheet). The sources for the El Nino/La Nina year data, and for the temperature data, are provided on the Wikimedia file description page. Most Wikipedia readers won't be interested in the source data.
 * Again, Wikipedia talk:WikiProject Climate change may inspire more informed responses on other issues. — RCraig09 (talk) 19:54, 4 March 2022 (UTC)
 * Thanks, have written at Wikipedia talk:WikiProject Climate change now. I feel bad towards the reviewer that I haven't been able to address his comments yet. Maybe I'll start by sending him your explanations about the graphics as a starting point. EMsmile (talk) 13:09, 16 March 2022 (UTC)
 * Update: I have now addressed all the changes that Blair Trewin had made (as listed above). I need a few more references in some cases; have asked him about that now. I have also culled some of the content that was in the last quarter of the article as it was outdated and is better available at effects of climate change and climate change.EMsmile (talk) 15:34, 17 March 2022 (UTC)

How global temperature datasets are developed from the base observations
Comment by Blair Trewin: "I think either as an addition to this section, or a new section (I prefer the latter), there should be a discussion of how global temperature datasets are developed from the base observations, and a listing of the main datasets. Reanalyses, and how they are used/not used, could also be introduced here - I see there is a Wikipedia article for 'Atmospheric Reanalysis', although it could do with some more content. (I'm not a reanalysis expert but can point you to some if you want that article strengthened)." EMsmile (talk) 14:29, 17 March 2022 (UTC)

Continued review with content expert
I am continuing the article review with content expert Blair Trewin. He sent me the following: "I think there's two significant points to make a decision on: Main other things outstanding from my perspective: Comments/objections on these suggestions changes by anyone? If not, we'll go ahead. EMsmile (talk) 10:27, 22 March 2022 (UTC)
 * Now that the IPCC temperature data set is available in a publicly accessible archive, I suggest that we should use that where appropriate, e.g. in the two tables that currently use NOAA data. If you agree I can provide the numbers.
 * I think the section that's currently about satellite temperature data should instead be reframed as upper atmospheric temperature, referring to the main sources of information – satellite (with link to the article on that), reanalyses and radiosondes. This would largely draw on the material in IPCC AR6 section 2.3.1.2. If you agree I can draft some text on this.
 * Drafting some further text for the lead, and a few other bits where flagged
 * Adding a wider range of citations more generally"
 * Comment from Blair: " I see from the talk page that there were no objections to our proposed restructurings/additions, so can go ahead with those. (The upper atmosphere part also addresses what you mentioned in the talk page under the heading 'removed content about global temperatures')." EMsmile (talk) 08:45, 30 March 2022 (UTC)

About the graph in the section on warmest years: "Global area reaching record temperatures"
Comment by Blair about this graph: "This figure is about records at the regional level, not in global means - I would move it to the regional temperatures section and introduce a discussion on extremes there." Answer by above was: "I think that the graphic is appropriate where it is, since it tallies temperature records worldwide. The already-crowded Regional temperature section is actually less appropriate since the graphic isn't concerned with regions per se." Answer by Blair: "It's a global aggregation of regional results (i.e. it is the percentage of gridpoints which set a record in each year). It doesn't relate directly to the global average temperature which is what is being discussed at this point." Do we follow Blair's argument? EMsmile (talk) 15:18, 24 March 2022 (UTC)
 * The thrust of this graphic is global area. Granted, that's not exactly the same as global average, but it's much more relevant to the global viewpoint than to the distinctions between regions that is the subject of the tiny "Regional temperature changes" section. It's OK to maintain the current mix of global area and the global average temperatures "that is being discussed at this point." — RCraig09 (talk) 16:39, 24 March 2022 (UTC)
 * Answer from Blair: "on the first graph - if it's going to stay where it is, it probably just needs a bit of text to better link the graph to the text and explain what it's telling us - I can do this. EMsmile (talk) 08:44, 30 March 2022 (UTC)

About the graph with the caption "Colored bars show how El Niño years (red, regional warming) and La Niña years etc.
Comment by Blair about this graph: "This looks like something that's been produced specifically? (WMO has from time to time published something conceptually similar in its annual State of the Climate reports but hasn't distinguished strong from weak events). If it doesn't have a defined source then we probably need to have a link somewhere to how the strength of El Nino/La Nina events is defined". My reply to him: "The full explanation of the graph is accessible when clicking on the graph: https://commons.wikimedia.org/wiki/File:20210827_Global_surface_temperature_bar_chart_-_bars_color-coded_by_El_Ni%C3%B1o_and_La_Ni%C3%B1a_intensity.svg But I don’t understand it fully: does it explain the definition of strength for these events?" - His next reply was: "It does, although the text has a "very strong" category, which looks as if it is grouped with "strong" on the graph." EMsmile (talk) 15:30, 24 March 2022 (UTC)
 * In making this graphic, I followed the data categories in the original source. I didn't group "strong" with "very strong"—they're distinct colors for distinct categories. — RCraig09 (talk) 16:45, 24 March 2022 (UTC)
 * Answer from Blair: "on the second one - I see what's happening now - there's no 'Very strong' label for La Nina since no year has yet reached the 'Very strong' criteria for La Nina (whereas some have for El Nino). I still think it might be better to add 'Very strong' to the La Nina legend for balance even though it isn't used (yet), but don't feel strongly about this." EMsmile (talk) 08:44, 30 March 2022 (UTC)
 * Hi RCraig09, I am just wondering where we stand with this now? See my comments here and just above from 30 March. EMsmile (talk) 10:19, 4 May 2022 (UTC)
 * Absent specific substantive reasons, I will not change the graphic away from what is disclosed in the reference. In particular, I do not plan to add a 'Very strong La Nina'—"for balance", as suggested—as that would wrongly suggest such years exist. — RCraig09 (talk) 15:37, 4 May 2022 (UTC)

Overlap with global average surface temperature Global surface temperature
I noticed an overlap with the article on global average surface temperature. To start with, they use exactly the same graph in the lead. The rest of that article also seems to be a wild mixture of content that is already in other articles. Any suggestions on improving this situation? Should anything be moved from there to here or vice versa? EMsmile (talk) 09:32, 30 June 2022 (UTC)

 * Avoiding redirects, the correct article titles are: Global temperature record and Instrumental temperature record.
 * Factually, the two articles do not use the same lead graphic: File:20200324 Global average temperature - NASA-GISS HadCrut NOAA Japan BerkeleyE.svg versus File:2000+ year global temperature including Medieval Warm Period and Little Ice Age - Ed Hawkins.svg
 * As the hatnote to GTR implies: ITR is a ~170-year instrumental subset of GTR.
 * Looking at the GTR table of contents, it does not seem "wild", but is reasonably ordered by time periods involved. — RCraig09 (talk) 15:20, 30 June 2022 (UTC)
 * I'm sorry for the mixup: I wasn't referring to Global temperature record. I was referring to Global surface temperature, and they do have the same image in the lead. I saw it mentioned for the first time in this edit of yours. You added there global average surface temperatures . So you linked the words "global average surface temperatures" to Global surface temperature. These are two separate articles however:

 * Global surface temperature
 * global average surface temperature (i.e. it redirects to Global temperature record) EMsmile (talk) 09:24, 1 July 2022 (UTC)
 * User:RCraig09 just wondering if you have overlooked this or had decided to let it be for now. I'd like to see if we can resolve this as there seems to be overlap between Global surface temperature and Instrumental temperature record, e.g. they both use the same image in the lead. "Global average surface temperature" on the other hadn redirects to Global temperature record. I don't see how "Global average surface temperature" should be different to "Global surface temperature". Should I rather bring this up on the talk page of WikiProject Climate change? EMsmile (talk) 16:54, 21 September 2022 (UTC)
 * — I corrected the clearly wrong redirect so that it's now GAST --> GST=GMST=GAST.
 * — GST and ITR are distinct, though overlapping. GST is in principle the temperature itself, distinct from ways temperature is measured (viz., with instruments). Each article can be considered separately for its content, through ordinary editing.
 * — It's very much a secondary issue that GST and ITR happen to have the same lead graphic; it would be odd to show a picture of a record book in the lead of ITR. — RCraig09 (talk) 19:39, 21 September 2022 (UTC)
 * OK, glad that redirect is fixed now. I'll start a conversation on WikiProject Climate Change because I think given our limited resources we should streamline this article with Global surface temperature to avoid overlap. EMsmile (talk) 08:20, 22 September 2022 (UTC)
 * P.S. Funny how you like point out which of my suggestions are "primary" and "secondary" issues (you do this regularly when reacting to my comments). Yes, I agree, it is indeed a minor issue but so what? At the end of the day, it's the sum of improving "minor issues" on Wikipedia that makes it a high quality resource. If someone went around and only corrected typos ("a minor issue"), I would still be grateful to them as every little bit counts. - I do think that the image in the lead should be unique to the article. MOS:LEADIMAGE says the image in the lead is there "to give readers visual confirmation that they've arrived at the right page". EMsmile (talk) 08:20, 22 September 2022 (UTC)
 * The point in pointing out that the same-lead-graphic issue is secondary, is that it is apparently not based on any objective Wikipedia policy or guideline; MOS:LEADIMAGE does not state or imply that articles must or should have mutually distinct lead images. My comment was not personal. That you "think" lead images should be unique is not only your personal subjective belief, but is a idea that you admit is "a minor issue". Objectively, it's altogether reasonable—even expected—that "X" and "Record of X" might the same lead image. — RCraig09 (talk) 18:18, 22 September 2022 (UTC)

Question about the first figure (correct base period to use?)
Dear all, I'm not a climate expert, but an astronomer with keen interest in this topic. I struggled over the first figure in this article that gives the impression that global temperatures have "only" increased by less than 1 degree so far. This is of course due to the use of the very awkward base period 1950-1980 (see also point 13 of the expert review above). I would strongly suggest to use the same base period as the IPCC (and most other publications that I have seen on this topic), i.e. the "pre-industrial" time with instrumental temperature record, 1850-1900 (see. e.g. Fig. SPM-1 in the IPCC's AR6 report): https://www.ipcc.ch/report/ar6/wg1/downloads/report/IPCC_AR6_WGI_SPM_final.pdf -- if you agree, I'd be happy to update the figure (or if the creator of that figure is still active, perhaps they can speak up). Regards, Ileo (talk) 10:32, 27 July 2022 (UTC)
 * Thanks, seems like an important point you're making here. I copy here Point 13 from the expert review as I had moved your comment to the bottom of the page: "Either here, or in the 'Temperature anomaly' article, there needs to be a discussion of which baseline periods are in use, the purposes they serve, and why the choice of baseline has no impact on long-term trends." EMsmile (talk) 11:21, 27 July 2022 (UTC)
 * Preliminarily: there is no "correct" base period for temperature anomalies; they are reference periods. More to the point here, only two of the five datasets go all the way back to 1850, so it's impossible to adjust all five datasets to the IPCC 1850-1900 "pre-industrial" reference period. Oddly, "pre-industrial", literally, is before 1850 anyway, so scientifically the IPCC reference period isn't that distinctly authoritative. A main purpose of this graphic is to convey the high correlation among numerous authoritative instrumental temperature record datasets, a purpose that would be thwarted if there were only two datasets. In any event, it's clear from the chart that the change isn't less than 1°C. — RCraig09 (talk) 19:33, 27 July 2022 (UTC)
 * OK, fair enough but I think the expert reviewer was right when he said "Either here, or in the 'Temperature anomaly' article, there needs to be a discussion of which baseline periods are in use, the purposes they serve, and why the choice of baseline has no impact on long-term trends." Currently the word baseline appears only once in the entire article. I am not sure what the best reference would be to use to explain a bit about the issue of baselines. The article Temperature anomaly doesn't mention the word "baseline" at all. Pinging Ileo. EMsmile (talk) 07:41, 28 July 2022 (UTC)
 * Temperature anomaly already recites "A temperature anomaly is measured against a reference value or long-term average.[1][2]" The NOAA reference explains anomalies quite thoroughly. — RCraig09 (talk) 14:55, 28 July 2022 (UTC)
 * P.S. In August 2022, I made substantial additions to the Temperature anomaly itself. I think more detail isn't warranted here. — RCraig09 (talk) 03:10, 22 September 2022 (UTC)
 * I've made some small edits to the article and the caption of the lead image to clarify this issue of reference point. I think it's important so that it becomes clearer why the data in the graph starts off with negative values in 1850. EMsmile (talk) 09:04, 23 June 2023 (UTC)

Update: This week I discovered the Met Office has collected six datasets and normalized them to the presumptive "pre-industrial" temperature, 1850-1900 average. The chart is now updated to be based on that cooler reference period, so the change of more than 1 °C is now evident. — RCraig09 (talk) 20:57, 13 July 2023 (UTC)
 * that's good but I think we should update the caption accordingly. Currently it says: "(In this chart, the "0" value is what is considered the "pre-industrial" temperature level.)" I don't think we can expect everyone to know what pre-industrial means (I would have guessed it means e.g. average of 1800-1850). Would you agree to change the caption to something like this: In this chart, the "0" value is what is considered the "pre-industrial" temperature level, which is the average of the years 1850 to 1900. or In this chart, the "0" value is the average of the years 1850 to 1900 which is commonly called the "pre-industrial" temperature level? EMsmile (talk) 07:54, 14 July 2023 (UTC)
 * ✅ — RCraig09 (talk) 18:03, 17 July 2023 (UTC)

Wikilink for global average temperature?
I've just added a wikilink to the caption of the image in the lead, and added "surface": Measured global average surface temperature data from several scientific organisations is highly correlated.. However, I noticed that we have two very similar articles, and I wonder which to link to. We have: I wonder if there is potential for merging or for improving the article titles. Pinging also User:InformationToKnowledge. EMsmile (talk) 09:44, 7 May 2024 (UTC)
 * Global surface temperature
 * Global temperature record

title: Talk:Instrumental temperature record


text:
Don Redman

Donald Matthew Redman (July 29, 1900 – November 30, 1964) was an American jazz musician, arranger, bandleader, and composer.

Biography
Redman was born in Piedmont, Mineral County, West Virginia, United States. His father was a music teacher, his mother was a singer. Beginning by playing the trumpet at the age of three, Redman joined his first band at the age of six and by the age of 12 was proficient on all wind instruments ranging from trumpet to oboe as well as piano. He studied at Storer College in Harper's Ferry and at the Boston Conservatory, then joined Billy Page's Broadway Syncopaters in New York City. He was the uncle of saxophonist Dewey Redman, and thus great-uncle of saxophonist Joshua Redman and trumpeter Carlos Redman.

Career
In 1923, Redman joined the Fletcher Henderson orchestra, mostly playing clarinet and saxophones.

He began writing arrangements, and Redman did much to formulate the sound that was to become swing. A trademark of Redman's arrangements was the band playing harmony under written solos. He played brass and reed sections off each other in a call-response pattern, having one section punctuate the figures of another, and moved the melody around different orchestral sections and soloists. His use of this technique was sophisticated, highly innovative, and formed the basis of much big band jazz writing in the following decades.

In 1927, Jean Goldkette persuaded Redman to join McKinney's Cotton Pickers as their musical director and leader. He was responsible for their great success and arranged over half of their music (splitting the arranging duties with John Nesbitt through 1931).

Don Redman and his Orchestra
Redman formed his own band in 1931, gaining a residency at the Manhattan jazz club Connie's Inn. Redman signed with Brunswick Records and undertook a series of radio broadcasts. Redman and his Orchestra also provided music for the animated short I Heard, part of the Betty Boop series produced by Fleischer Studios and distributed by Paramount. Redman composed original music for the short, which was released on September 1, 1933. The Brunswick records Redman made between 1931 and 1934 were some of the most complex pre-swing hot jazz arrangements of popular tunes. Redman's band did not rely on just a driving rhythm or great soloists, but it had an overall level of arranging sophistication that was seldom heard by other bands of the period. The popular vocalist, Harlan Lattimore, provided about half of the vocals during this period. Redman himself was occasionally featured as vocalist, displaying a humorous, recitation-like vocal style on numbers such as "Doin' What I Please" and "I Gotcha."

In 1933, his band made a Vitaphone short film for Warner Bros. (which is available as of 2006 on the DVD of the Busby Berkeley feature film Dames). Redman recorded for Brunswick through 1934. He then did a number of sides for ARC in 1936 (issued on their Vocalion, Perfect, Melotone, etc.) and in 1937, he pioneered a series of swing re-arrangements of old classic pop tunes for the Variety label. His use of a swinging vocal group (called "The Swing Choir") was very modern and quite unusual with Redman's sophisticated counterpoint melodies. He signed with Bluebird in 1938 and recorded with them until 1940, when he disbanded.

When Redman disbanded his orchestra, he concentrated on freelance work writing arrangements. Some of his arrangements became hits for Jimmy Dorsey, Count Basie, and Harry James. He traveled to Europe in 1946 leading an all-star band that included Don Byas, Tyree Glenn, and Billy Taylor. He appeared on Uptown Jubilee on the CBS Television network for the 1949 season. In the 1950s, he was music director for singer Pearl Bailey.

In the early 1960s, he played piano for the Georgia Minstrels Concert and soprano sax with Eubie Blake and Noble Sissle's band.

Death and posthumous tribute
Don Redman died in New York City on November 30, 1964, aged 64, from undisclosed causes.

He was named a member of the West Virginia Music Hall of Fame on May 6, 2009.

As leader

 * 1931–33 The Chronological D R 1931-1933 (Classics #543, 1990)
 * 1933–36 The Chronological D R 1933-1936 (Classics #553, 1991)
 * 1936–39 The Chronological D R 1936-1939 (Classics #574, 1991)
 * How'm I Doin' Hey Hey (Brunswick 6273, 1932)
 * Doin' the New Lowdown (Brunswick 6520, 1932)
 * Doin' the New Lowdown (Hep, 1994)

As sideman
With Fletcher Henderson
 * A Study in Frustration (Columbia, 1961) (4lp box set)
 * Wrappin' It Up (Membran, 2005)
 * Sweet and Hot (Le Chant du Monde, 2007)

With McKinney's Cotton Pickers
 * The Chronological McK C P 1928–1929 (Classics, 1991)
 * The Chronological McK C P 1929–1930 (Classics, 1991)
 * McKinney's Cotton Pickers, 1930–1931/Don Redman & His Orchestra, 1939–1940 (Classics, 1992)
 * Put It There, Volume 1 – 1928–29 (Frog, 1999)
 * Cotton Picker's Scat, Volume 2 – 1930 (Frog, 1999)
 * Shag Nasty, Volume 3 The Alternate Masters (Frog, 1999)

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

title: Don Redman


text:
Droop quota

In the study of electoral systems, the Droop quota (sometimes called the Hagenbach-Bischoff, Britton, or Newland-Britton quota ) is the minimum number of votes needed for a party or candidate to guarantee they will win at least one seat in a legislature.

The Droop quota is used to extend the concept of a majority to multiwinner elections, taking the place of the 50% bar in single-winner elections. Just as any candidate with more than half of all votes is guaranteed to be declared the winner in single-seat election, any candidate who holds more than a Droop quota's worth of votes is guaranteed to win a seat in a multiwinner election.

Besides establishing winners, the Droop quota is used to define the number of excess votes, i.e. votes not needed by a candidate who has been declared elected. In proportional quota-based systems such as STV or expanding approvals, these excess votes can be transferred to other candidates, preventing them from being wasted.

The Droop quota was first suggested by the English lawyer and mathematician Henry Richmond Droop (1831–1884) as an alternative to the Hare quota.

Today, the Droop quota is used in almost all STV elections, including those used in Australia, the Republic of Ireland, Northern Ireland, and Malta. It is also used in South Africa to allocate seats by the largest remainder method.

Standard Formula
The exact Droop quota for a $$k$$-winner election is given by the expression:

$$\frac{\text{total votes}}{k+1} $$

In the case of a single-winner election, this reduces to the familiar simple majority rule. Under such a rule, a candidate can be declared elected as soon as they have more than 50% of the vote, i.e. their vote total exceeds $\frac{\text{total votes}}{2}$.

Sometimes, the Droop quota is written as a share of all votes, in which case it has value $1/k+1$. A candidate who, at any point, holds more than one Droop quota's worth of votes is therefore guaranteed to win a seat.

Archaic Droop quota
Modern variants of STV use fractional transfers of ballots to eliminate uncertainty. However, STV elections with whole vote reassignment cannot handle fractional quotas, and so instead will round up:

$$\left\lceil \frac{\text{total votes}}{k+1} \right\rceil $$

This variant of the quota should not be used in the context of modern elections that allow for fractional votes, where it can cause problems in small elections (see below).

Derivation
The Droop quota can be derived by considering what would happen if $k$ candidates (who we call "Droop winners") have exceeded the Droop quota. The goal is to identify whether an outside candidate could defeat any of these candidates. In this situation, if each quota winner's share of the vote equals $1/k+1$, while all unelected candidates' share of the vote, taken together, is at most $1/k+1$ votes. Thus, even if there were only one unelected candidate who held all the remaining votes, they would not be able to defeat any of the Droop winners. Newland and Britton noted that while a tie for the last seat is possible, such a situation can occur no matter which quota is used.

Example in STV
The following election has 3 seats to be filled by single transferable vote. There are 4 candidates: George Washington, Alexander Hamilton, Thomas Jefferson, and Aaron Burr. There are 102 voters, but two of the votes are spoiled.

The total number of valid votes is 100, and there are 3 seats. The Droop quota is therefore $ \frac{100}{3+1} = 25 $. These votes are as follows:

First preferences for each candidate are tallied:
 * Washington: 45 ✅
 * Hamilton: 10
 * Burr: 20
 * Jefferson: 25

Only Washington has strictly more than 25 votes. As a result, he is immediately elected. Washington has 20 excess votes that can be transferred to their second choice, Hamilton. The tallies therefore become:
 * Washington: 25 ✅
 * Hamilton: 30✅
 * Burr: 20
 * Jefferson: 25

Hamilton is elected, so his excess votes are redistributed. Thanks to Hamilton's support, Jefferson receives 30 votes to Burr's 20 and is elected.

If all of Hamilton's supporters had instead backed Burr, the election for the last seat would have been exactly tied, requiring a tiebreaker.

Common errors
There is a great deal of confusion among legislators and political observers about the correct form of the Droop quota. At least six different versions appear in various legal codes or definitions of the quota, all varying by one vote. Such versions have been recognized as incorrect by the ERS handbook since 1976, as they can easily cause a failure of proportionality in small elections. Common variants include:

$$\begin{array}{rlrl} \text{Historical:} && \left\lceil \frac{\text{votes}}{\text{seats}+1} \right\rceil &&\Bigl\lfloor \frac{\text{votes}}{\text{seats}+1} + 1 \Bigr\rfloor \\ \text{Accidental:} && \phantom{\Bigl\lfloor} \frac{\text{votes} + 1}{\text{seats} + 1} \phantom{\Bigr\rfloor} && \phantom{\Bigl\lfloor} \frac{\text{votes}}{\text{seats}+1} + 1   \phantom{\Bigr\rfloor}    \\ \text{Unworkable:} && \left\lfloor \frac{\text{votes}}{\text{seats}+1} \right\rfloor && \left\lfloor \frac{\text{votes}}{\text{seats}+1} + \frac{1}{2} \right\rfloor \end{array}$$

The first variant in the top-left arose from Droop's discussion of the quota in the context of Hare's original proposal for STV, which assumed a whole number of ballots would be transferred at random. In such a situation, a fractional quota would be physically impossible, leading Droop to describe the next-best value as "the whole number next greater than the quotient obtained by dividing $$m V$$, the number of votes, by $$n+1$$" (where n is the number of seats). In such a situation, rounding the number of ballots upwards introduces as little error as possible, while maintaining the admissibility of the quota.

There is a common misconception that the archaic form of the Droop quota is still needed in the context of modern fractional transfer systems, because otherwise it is possible to "elect" one more candidate than there are winners. However, as Newland and Britton noted in 1974, this is not the case: the situation where the last two candidates elected both receive a Droop quota of votes is simply a tie between the last two winners which must be broken, and this situation can occur regardless of which quota is used.

Spoiled ballots should not be included when calculating the Droop quota. However, some jurisdictions fail to correctly specify this in their election administration laws.

Confusion with the Hare quota
The Droop quota is often confused with the more intuitive Hare quota. While the Droop quota gives the number of voters needed to mathematically guarantee a candidate's election, the Hare quota gives the number of voters represented by each winner in an ideally-proportional system, i.e. one where every voter is treated equally. As a result, the Hare quota gives more proportional outcomes, while the Droop quota is more biased towards large parties than any other admissible quota.

The confusion between the two quotas originates from a fencepost error, caused by forgetting unelected candidates can also have votes at the end of the counting process. In the case of a single-winner election, misapplying the Hare quota would lead to the incorrect conclusion that a candidate must receive 100% of the vote to be certain of victory; in reality, any votes exceeding a bare majority are excess votes.

The Droop quota is today the most popular quota for STV elections.

title: Droop quota


text:
Bjørnson Festival

Bjørnson Festival (Bjørnsonfestivalen) is an international literary festival held annually during August / September in Molde and Nesset, Norway.

The event is named in honor of the Nobel Prize in Literature laureate Bjørnstjerne Bjørnson who was raised in the area. The prime objective of the festival is to promote interest in literature and writing. The festival offers a program  of seminars, art exhibitions and writing courses.

In parallel with the festival in Molde, festival events are held at Nesset Parsonage near Eidsvåg. This was Bjørnstjerne Bjørnson's childhood home. His father Peder Bjørnson was parish priest in Nesset from 1837 to 1853.

The Peace Grove (Fredslunden) is located next to the Royal Birch (Kongebjørka) in Molde. It was founded by author and poet Knut Ødegård, president of the Bjornson festival in 1997. The Peace Grove stands as a reminder of the international struggle for freedom, peace and human dignity. Among those who have planted trees in the Peace Grove are visiting authors including Wole Soyinka, Yasar Kemal, Vigdís Finnbogadóttir, Seamus Heaney, Amos Oz, Bei Dao, Hans Blix Qiu Xiaolong and Thor Heyerdahl.

title: Bjørnson Festival


text:
Stardust (1927 song)

"Stardust" is a 1927 song composed by Hoagy Carmichael, with lyrics later added by Mitchell Parish. It has been recorded as an instrumental or vocal track over 1,500 times. Carmichael developed a taste for jazz while attending Indiana University. He formed his own band and played at local events in Indiana and Ohio. Following his graduation, Carmichael moved to Florida to work for a law firm. He left the law sector and returned to Indiana, after learning of the success of one of his compositions. In 1927, after leaving a local university hangout, Carmichael started to whistle a tune that he later developed further. When composing the song, he was inspired by the end of one of his love affairs, and on the suggestion of a university classmate, he decided on its title. The same year, Carmichael recorded an instrumental version of the song for Gennett Records.

In 1928, Carmichael left Indiana after Mills Music hired him as a composer. Mills Music then assigned Mitchell Parish to add words to the song. Don Redman recorded the song in the same year, and by 1929 it was performed regularly at the Cotton Club. Isham Jones's 1930 rendition of the song made it popular on radio, and soon multiple acts had recorded "Stardust". Because of the song's popularity, by 1936, RCA Victor pressed a double-sided version that featured Tommy Dorsey and Benny Goodman on respective sides.

By 1940 the song was considered a standard, and it was later included in the Great American Songbook. That year, RCA Victor released two more recordings of "Stardust": one by Dorsey featuring Frank Sinatra as the singer, and one by Artie Shaw. Shaw's recording sold one million copies, and Glenn Miller's rendition was published in the same year. Artists including Jo Stafford, Ella Fitzgerald, Nat King Cole, Billy Ward and his Dominoes, Ringo Starr, and Willie Nelson have recorded "Stardust". The song was featured in several films, including My Favorite Year, Goodfellas, Sleepless in Seattle, and Casino. It was inducted into the Grammy Hall of Fame in 1995 and added to the National Recording Registry in 2004.

Background
Soon after entering Indiana University, Carmichael developed a taste for jazz music. He had learned to play the piano with his mother, who performed at dances and movie theaters. In 1922, Carmichael met and befriended Bix Beiderbecke. Carmichael often played with Beiderbecke, and he became acquainted with his band, the Wolverines, who recorded his original composition "Riverboat Shuffle" in 1924. While still attending Indiana University, the singer formed a band called Carmichael's Collegians. Carmichael and his band performed locally in Indiana and around Ohio. The band appeared at 50 events between 1924 and 1925, while between 1925 and 1926, they played three to five nights a week at different engagements. Carmichael received his bachelor's degree in 1925 and had earned a Bachelor of Laws by 1926. In the same year he worked as a law clerk in Miami, but he returned to Indiana after failing the Florida Bar examination. However, he passed the Indiana State Bar Association examination and worked for a law firm in that state. With the success of Red Nichols' 1927 recording of Carmichael's original "Washboard Blues", the composer decided to leave the practice of law in pursuit of a career in music.

Composition, first recording and addition of lyrics
Carmichael wrote the song with inspiration from the end of his love affair with Kathryn Moore, who would later marry Art Baker, the trumpet player in Carmichael's Collegians. While Carmichael related several explanations of how he was inspired to write it on the University campus, biographer Richard Sudhalter deemed the stories "encrusted in myth, much of it the composer's own creation". One night after leaving the Book Nook, a university hangout, Carmichael whistled what would become the opening of the song. The composer later declared that he felt that the tune "had something very strange and different". He worked on the details with different pianos, including one at the Book Nook. According to Ernie Pyle, the composer did further work at the Carmichael family's home. While he visited Carmichael, Pyle asked him to play the song he had been working on. Pyle later commented that Carmichael asked him not to reveal the details of the night he worked on the song with the family's piano, saying "the public likes to think these sweet songs are conceived under the moonlight, amid roses and soft breezes". Carmichael finished the details of the composition on a grand piano that was later thrown away because of its poor state. Baker and Carmichael's Collegians' singer Violet Deckard Gardner remembered Carmichael humming the tune of the incomplete composition before 1926. Fellow student Stuart Gorrell suggested the title "Star Dust"; Gorrell felt the tune sounded like "dust from stars drifting down through the summer sky".

Recording
After working out the details with the band, Carmichael booked a recording session with Gennett Records for October 31, 1927. Since he had not written any sheet music for the song, he had to whistle the tune to the musicians. Carmichael played the piano, backed by Emil Seidel and his orchestra: Byron Smart (trumpet), Oscar Rossberg (trombone), Dick Kent and Gene Wood (alto saxophones), Maurice Bennett (tenor saxophone), Don Kimmel (guitar), Paul Brown (tuba), Cliff Williams (drums). The session took place at Gennett's studio in Richmond, Indiana. The recording featured a "medium fast and jazzy tempo" with no lyrics. Under the single-word title "Stardust," it was placed on the flipside of "One Night In Havana", assigned the release number 6311, and credited to Hoagy Carmichael and His Pals.

Carmichael received a one-sided pressing of "Stardust" from the studio, before he left Indiana in 1928 to work for Mills Music as a composer. The first manuscript for the song was deposited at the United States Copyright Office on January 5, 1928. The sheet music featured a tune in a key of D with no indication of tempo and no lyrics. Mills Music then published different sheet music for the song on January 19, 1929, as a piano composition. Don Redman, who worked for Mills Music, often played the song. After hearing Redman's rendition of it, a company arranger suggested playing the song at a "slower tempo and in a sentimental style". Feeling it could be a potential success, Irving Mills "decided on the song having lyrics added.

Lyrics
Mills assigned lyricist Mitchell Parish to add the words to Carmichael's "Star Dust". Parish used as a working title "Then I Will Be Satisfied", but he accepted Redman's suggestion to re-title the song to "Stardust". Author Gene Fernett suggested Redman wrote the verse of the song, but his claim could not be supported. Parish wrote the song using Carmichael's account of how he was inspired to compose the melody, while the lyricist developed a story focused in the concept of lost love. Regarding the lyrics, author Philip Furia described the phrasing as "utterly casual", while he felt that the "imagery and diction strain to be poetic". Furia stressed that Parish "made the subject of the song the melody itself". The sheet music for the vocal composition was published as "Star Dust" on May 10, 1929 in the key of C major.

Analysis
The song's structure has two introductory verses that are sometimes omitted. These are followed by a 32-bar chorus in ABAC form (instead of the traditional AABA form) that is often repeated. The intriguing opening harmonic progression of the chorus starts on the IV chord for two bars which then changes from major to minor, a method also used by two contemporary songs: "After You’ve Gone" (1918) and "I’ll See You In My Dreams" (1924).

The melody fluctuates between minor and major third intervals in range of an octave and a third to "heighten drama".

Early recordings

In early 1929, Redman and his band The Chocolate Dandies released "Star Dust" on Okeh 8668. The recording retained Carmichael's original key of D. The song soon circulated among black musicians and jazz interpreters, and it was often performed at the Cotton Club after being introduced in 1929. Duke Ellington performed the song at the club. The revue Hot Chocolates featured a version by Louis Armstrong, which was inducted into the Grammy Hall of Fame in 2009.

While Carmichael worked for RCA Records as a session jazz ensemble leader, journalist Walter Winchell promoted the song. His writings attracted the attention of Isham Jones, who recorded a version with his orchestra as a slow ballad. Jones's session took place on May 14, 1930, in Chicago, and Brunswick Records released it under catalog number 4856, with the title once again "Stardust." The 1931 release became one of his most popular recordings. By 1931, "Stardust" was often played by the orchestras of several US radio stations. While remarking on the popularity of the tune on the radio, the Calgary Herald opined of Jones's version: "This beautiful melody seems destined to achieve the popularity which it so richly deserves and which is so long overdue." In August 1931, Bing Crosby released the song as "Star Dust" on Brunswick Records. The same year, Lee Sims also released "Stardust" on Brunswick 6132, a version that the Sydney Morning Herald called "a melody of a considerable intensity and with dramatic outbursts," with a "realistic and very full" piano reproduction. Throughout the 1930s, record labels used both the one and two-word versions of the title, though Carmichael himself favored the one-word title, as evidenced by his private correspondence and his 1946 memoir The Stardust Road.

Big band era and success
By 1935, while radio announcers commonly credited the orchestra only, Carmichael was mentioned as the composer of the song during introductions because of its popularity. The same year, saxophonist Coleman Hawkins recorded the song on March 2 in Paris. Compagnie de Gramophone Française released it with the catalog number K-7527. The song was often performed by Art Tatum, Garnet Clark, and Fats Waller. Mills recorded the song himself with his multiple bands, and recorded versions by the Mills Blue Rhythm Band and Cab Calloway. In 1936, for the first time in its history, RCA Records pressed two versions of the same song by two different artists on a single record: Tommy Dorsey on one side and Benny Goodman on the other. Goodman used an arrangement by Fletcher Henderson, while Dorsey's version featured the vocals of Edythe Wright. By 1937, Goodman remarked that Carmichael's tune was the most popular dance number of his repertoire. "Stardust" became a standard of big band music.

In 1940, RCA Victor executive Harry Myerson proposed that the label again release a two-sided recording of "Stardust": one side would feature Artie Shaw, the other a new version by Dorsey. Shaw and Dorsey's versions were ultimately released on separate records. Dorsey's recording of the song featured vocals by Frank Sinatra and the Pied Pipers, while Shaw's release would become the most popular recording by the clarinetist, selling a million copies. The Baltimore Sun celebrated the release of both recordings in the same week. It considered Dorsey's version "emotional", and felt the vocals by Sinatra and the Pied Pipers made the record suitable for "armchair listening". Of Shaw's version, the reviewer remarked on his "fluid clarinet above strings", and determined the record is for "straight dancing". The Tampa Bay Times welcomed Dorsey's "silky trombone" and the "slow vocal style" of Sinatra and the Pied Pipers. Of Shaw's version, they stressed his "intricate and dazzling clarinet wizardry", and the "medium slow drag" playing style of the band. The Times-Dispatch also remarked on the "intricate clarinet work" by Shaw, while it felt that Dorsey's version featured "expert trombone work" and an "unusual vocal" that the reviewer preferred over Shaw's version. Shaw's recording was arranged by Lennie Hayton, while the clarinetist used his new orchestra composed of: Billy Butterfield (trumpet), Jerry Jerome (tenor saxophone), Johnny Guarnieri (piano), Nick Fatool (drums), and Jack Jenney and Vernon Brown (trombones). Hayton's arrangements included solos by Shaw, Butterfield and Jenney, while they were focused on the use of the string section.

Also in 1940, Glenn Miller recorded his version of the song, which entered Billboard's National Best Selling Chart on October 26, and peaked at number 20. DownBeat's review considered the release "among the greatest bits of big band scoring in history". While it considered the song "beautifully arranged with good sax and trumpet solos", The Boston Globe felt the result is "completely dead and lifeless". The publication attributed this to an imbalance in the number of musicians in the woodwind section, compared to the rhythm section, which the reviewer described as "just competent musicians, no more".

In 1940, the tune was among those affected by the ASCAP boycott. The dispute between the American Society of Composers, Authors and Publishers (ASCAP) and radio broadcasters focused on the increase in the price of song royalties. To counter the use of ASCAP tunes including "Stardust", Broadcast Music, Inc. was created, and the broadcasters did not renew their contract for the use of an estimated two million tunes. After nine months of negotiation, a settlement was reached in October 1941 and major networks aired the tunes again. In 1941, Don Byas recorded a version of "Stardust" featuring Thelonious Monk, as he was the house pianist at Minton's Playhouse. Monk disliked "Stardust": he described it as "a sad song ... if you know anything about music and harmony". He felt the melody was "lousy" and that performers have to "do a lot of figuring how to play that in order to make it sound good". Another version by Miller was released on the V-Disc label in 1943. During the 1940s, "Stardust" was recorded by multiple artists either as an instrumental song or as a romantic ballad by vocalists. For the period from July 1947 to July 1948, "Stardust" placed at number one on the Juke Box Standard Favorites poll Billboard conducted through juke box operators and using the Peatman Survey for radio audiences. According to Billboard, it "proved to be a nationwide favorite, drawing top votes from all parts of the country".

Later recordings
In May 1953, according to jukebox operators, "Stardust" placed three times on the Ten Pop Standard Records list. Shaw's version topped the chart, while Dorsey and Miller's versions placed at numbers seven and eight, respectively. Ella Fitzgerald recorded the song, accompanied by Ellis Larkins on the piano. The tune was included on her 1954 album Songs in a Mellow Mood. Saturday Review described Fitzgerald as doing "absorbing things with 'Stardust'", while the Chicago Tribune considered the tune "completely in line with her magnificent singing". In 1954, when the copyright of 14 of his songs including "Stardust" was due for renewal, Carmichael sued Mills Music to receive total ownership or co-ownership of the compositions. Carmichael's contract with Mills Music granted the songwriter royalties in case any of his songs were published. He started his legal action on the grounds of "unconscionable advantage taken of him at the time the contracts were executed". Summary judgment was denied, as the court considered that "the assignee paid large royalties". In 1955, during the 25th anniversary of its publishing, Time estimated that Carmichael received a total of $250,000 in royalties for "Stardust", while the song made at the time $15,000 to $20,000 a year.

Producer Lee Gillette convinced Nat King Cole to include the song on his 1957 release Love Is the Thing. Cole initially refused to record it because of the number of renditions available at the time. Cole, who had been singing the song since 1954, declared: "I hate to sing Stardust, it wears me out". On its release, the song received good airplay. In 1957, Billy Ward and his Dominoes' version placed at number 12 on Billboard's Top 100. The same year, Pat Boone released a version on his album Star Dust, which reached number two on Billboard's Best selling LP's chart. Saxophonist John Coltrane recorded a ballad version in 1958 in what was later known as the Stardust Sessions, later released as the title track of his 1963 Stardust album. Sinatra's 1962 Sinatra and Strings album arranger Don Costa omitted Stardust's chorus, to instead focus the "musical and lyrical mind on all the neglected nuances of the verse". A review in The Rock Island Argus called Sinatra's "Stardust" his "choicest" track on the album and remarked on his "entirely new approach overlooking the perennially favored chorus".

Between 1958 and 1963, "Stardust" produced US$50,000 yearly in royalties for Mills Music. In 1964, Nino Tempo & April Stevens' version peaked at number 32 on Billboard's Top 100 and number 27 in Canada. Ringo Starr recorded the song featuring arrangements by Paul McCartney for his 1970 debut solo album, Sentimental Journey. In 1978, Willie Nelson recorded it as the title-track of his album of pop standards. In its review, the Gannett News Service felt that "Carmichael would be proud". Nelson's album topped Billboard's Top Country Albums, while reaching the summit on Billboard's Top LPs & Tapes. Stardust remained on the Billboard charts for 540 weeks until 1988. Of Nelson's version of "Stardust", National Public Radio commented: "Today, people who never heard of Isham Jones or Artie Shaw or even composer Hoagy Carmichael know his work thanks to Willie Nelson." Tiny Tim recorded the song with Brave Combo on what would be his final recording, the 1996 album Girl. Rod Stewart included the song on Stardust: The Great American Songbook, Volume III in 2004. In 2017, Bob Dylan recorded it for his three-disc set Triplicate, that covered American standards. Daniel Kreps of Rolling Stone considered that "Dylan's approach finds a pleasing, country-tinged arrangement" that the reviewer noted to be "somewhere between" Sinatra and Nelson's version.

Legacy
"Stardust" is considered a part of the Great American Songbook. The song has been recorded over 1,500 times, and has been translated into 40 languages. The Encyclopædia Britannica has defined it as "one of the most renowned and most recorded standards in all of American music". Carmichael's 1927 version was inducted into the Grammy Hall of Fame in 1995. The 1940 recording of the song by Artie Shaw And His Orchestra was inducted into the Grammy Hall of Fame in 1988. National Public Radio included it on their NPR 100, a 1999 list of the 100 most important American musical works of the 20th century. For NPR, Susan Stamberg defined it as "an American song of longing, dreams, desires, [that] still stretches across the decades to touch the spirit of anyone who hears it". In 2004, the Library of Congress inducted Carmichael's "Stardust" into the National Recording Registry, which lists "culturally, historically or aesthetically important" music that "informs or reflects life" in the United States. Carmichael's entry to the Songwriters Hall of Fame deemed the song "most notably one of the greatest standards" from the Jazz Age. Carmichael's biographer Richard Sudhalter attributed the song's popularity to "some combination of young Carmichael's heartland upbringing, Bix's uniquely bardic sensibility, and the unself-conscious emotional directness that characterizes much non-urban American pop music". Nelson's Stardust album was inducted into the Grammy Hall of Fame in 2015.

In popular culture
In 1938, Orson Welles's radio broadcast The War of the Worlds featured an excerpt of "Stardust" played by the fictional Ramón Raquello Orchestra. The 1961 episode "The Hit Songwriters" of The Flintstones featured a version by Fred Flintstone. Different versions of the song appeared in films, including Stardust Memories (1980), Goodfellas (1990), Another Man's Poison (1951), Sleepless in Seattle (1993), Casino (1995), The Aviator (2004), A Star Is Born (2018), Captive State (2019)., and Carmichael's own short 1942 recording is featured at the start of closing credits in Nightmare Alley (2021). On YouTube that 1942 recording has garnered nearly 230,000 views of one posting alone.

On December 1, 2000, Nelson's version of "Stardust" was used to wake up the crew of Space Shuttle Endeavour's mission STS-108. The Caretaker sampled versions of the song for 2 of his albums; Marjorie Stedeford's version in We'll All Go Riding on a Rainbow and Charlie Spivak's version in Everywhere at the End of Time.

title: Stardust (1927 song)


text:
Stardust (Gaiman novel)

Stardust is a 1999 fantasy novel by British writer Neil Gaiman, usually published with illustrations by Charles Vess. Stardust has a different tone and style from most of Gaiman's prose fiction, being consciously written in the tradition of pre-Tolkien English fantasy, following in the footsteps of authors such as Lord Dunsany and Hope Mirrlees. It is concerned with the adventures of a young man from the village of Wall, which borders the magical land of Faerie.

In 2007, a film based on the novel was released to generally positive reviews. Gaiman has also occasionally made references to writing a sequel, or at least another book concerning the village of Wall.

The story begins in late April 1839, as John William Draper had just photographed the Moon and Charles Dickens was serialising Oliver Twist. The majority of the book takes place seventeen years later, starting around October 1856.

Main characters

 * Tristran Thorn: The book's main character (renamed "Tristan" in the movie adaptation), a half-Faerie, half-human boy raised by his father Dunstan Thorn and stepmother Daisy, whom he believes to be his mother. Tristran foolishly promises to retrieve a fallen star for the girl he wants to be his sweetheart, Victoria, and so unexpectedly finds the beautiful Yvaine.
 * Yvaine: A fallen star, which Tristran vows to find and bring to Victoria Forester. In Faerie, stars are living creatures. Yvaine appears to be immortal, but not invulnerable. She is pursued by the Lilim and the surviving sons of the Lord of Stormhold, who want her for their own reasons. When Tristran realises his love for her, he abandons his courtship of Victoria Forester, and Yvaine marries him despite their inability to have children.
 * Dunstan Thorn: Tristran's father. Main character in the beginning of the book. He visited the Wall Market to find a gift for his sweetheart Daisy Hempstock, and ended up fathering Tristran by Madame Semele's abused slave Faerie girl, Lady Una. Prior to this, he had bought a crystal snowdrop from this girl, and later gives the flower to Tristran. He is married to Daisy, who is the mother of Tristran's half-sister Louisa.
 * Victoria Forester: A resident of Wall described as "the most beautiful girl for a hundred miles around". She is the daughter of Bridget Comfrey and Tommy Forester. Although Tristran is infatuated with her, she does not return his feelings and does not take his promise to bring her the fallen star seriously at first. She ultimately marries a man called Monday and thereby unwittingly frees Tristran's mother, Lady Una, from slavery.
 * The Lord of Stormhold: The eighty-first Lord of Stormhold is an old man who rules Stormhold until his death. At the beginning of Stardust, he has four dead sons (Secundus, Quartus, Quintus, and Sextus) and three living ones (Primus, Tertius, and Septimus), in addition to his long-lost daughter Una. The sons are imaginatively named, in Latin, Second, Fourth, Fifth and Sixth (all dead) and First, Third and Seventh (living). Daughter Una is named for a feminine form of the Latin unum, meaning one. The dead sons appear as ghostly observers, while the living sons constantly plot to kill each other to succeed their father as Lord of Stormhold.
 * Lord Septimus: The youngest and most ruthless of the Lords of Stormhold. He is, by nature, a skilled assassin and has succeeded in murdering the majority of his family.
 * Lord Primus: The oldest of the Lords of Stormhold. In comparison with his brothers, he is benevolent, compassionate and reasonable.
 * Una: A cat-eared faerie girl of great beauty who works as a slave for Madame Semele until released by an improbable occurrence that fulfills the conditions of her debt. Una suffers constant abuse at the hands of Madame Semele, being beaten and called a "slattern". When not toiling for the witch-woman, she is kept in the form of a multicoloured bird chained by a silver thread to a Vardo. She is later revealed to be the Lady Una, only daughter of the Lord of Stormhold, and Tristran's birth mother.
 * Madame Semele/Ditchwater Sal: A witch, and a member of the Sisterhood to which the Lilim belong. The witch-queen knew Semele as Ditchwater Sal when she was "a young chit of a thing". On their first encounter, Semele drugs the witch-queen's food with a magical substance that causes her to speak only the truth, thus forcing her to blurt out the truth of the fallen star. Semele plots to find the star first and restore her own youth, but the witch-queen curses her so that she will never perceive the star in any way.
 * The Lilim: Three old women of great power. The eldest of the three is called "The Witch-Queen", though they are also called by this title collectively. They are never named, as they lost their names long ago, but the eldest adopts the alias "Morwanneg" at one point. The Lilim were once the beautiful queens of a magical kingdom of witches; when it was lost beneath the sea, centuries of age caught up with them. They seek the fallen star because, by consuming her heart, they will be granted centuries of youth and beauty. Using magic counteracts the effect; therefore with each spell cast by the witch-queen, she grows older and uglier. In the movie adaptation, they are named Lamia, Mormo, and Empusa, but none of their backstory is included.

Plot
Every nine years, in the village of Wall in rural England, a market is held the other side of a stone wall dividing the realm of Faerie from our world. In the early Victorian era, young Dunstan Thorn meets Una, a fairy woman enslaved by the witch Semele, at the market. Dunstan purchases a glass snowdrop from her with a kiss and, later that night, makes love to her in the woods. Months later, Dunstan receives a baby in a basket—his and Una's son, Tristran.

Eighteen years later, Tristran is infatuated with someone named Victoria Forester. At the castle of Stormhold, in Faerie, the dying Lord of Stormhold throws his topaz pendant out the window and declares that the first of his three surviving sons—Primus, Tertius, and Septimus—to retrieve it will be his successor. The pendant flies upward and knocks a star out of the sky. While walking Victoria home one night, Tristan sees a falling star land in Faerie and vows to bring it to her. Victoria agrees to reward him with whatever he desires—including her hand in marriage—if he succeeds. Dunstan gives Tristran the snowdrop and enables him to pass the wall's guards by alluding to his fairy heritage.

Primus, Tertius and Septimus depart in search of the pendant after their father's death. Septimus poisons Tertius at an inn. Meanwhile, the Lilim, a trio of ancient witches, learn of the fallen star and plan to eat its heart to regain their youth. The eldest of the Lilim, the witch-queen, is chosen to find the star and consumes the remains of their last star's heart.

Tristran meets a small man who gives Tristran a silver chain, and a magic candle-stub which allows one to travel great distances quickly while it burns. Tristran uses the candle to reach the star, which turns out to be a young woman named Yvaine. Resolving to take her to Victoria anyway, Tristran tethers Yvaine to him with the chain; however, the candle burns out before he can return. Tristran and Yvaine travel on foot. Yvaine escapes on a unicorn when Tristran unchains her and leaves in search of food. Meanwhile, the witch-queen encounters Semele, who deceives her into disclosing what her mission is. The enraged witch-queen puts a curse on her, which prevents her from seeing, touching or perceiving the star.

After discovering that Yvaine is gone, Tristran catches a ride in Primus's carriage. The witch-queen conjures a wayside inn to catch Yvaine, who is drawing near. Yvaine arrives at the inn, followed by Tristran and Primus. The witch-queen attempts to poison Tristran but the unicorn warns him just in time. He rushes back to the inn as the witch-queen murders Primus. Tristran escapes with Yvaine by forming another candle from the remnants of the magic candle. Septimus later arrives and finds Primus' body. He sets off looking for the witch-queen, now obligated to avenge Primus. Tristran and Yvaine end up stranded on a cloud miles above Faerie when the candle burns out but are rescued by the crew of a flying ship. There, Tristran expresses that he no longer intends to force Yvaine to accompany him. However, by the custom of her kind, because he has saved her life, she is nonetheless obliged to do so.

Upon parting company with the ship, Tristran and Yvaine set off for Wall. They encounter Semele, who, because of the witch-queen's curse, cannot see Yvaine. Semele agrees to transport Tristran the rest of the way to Wall and Tristran obtains a promise from Semele that he will arrive there unharmed. This, however, does not prevent Semele using the snowdrop to transform him into a dormouse for the duration of the journey. Yvaine also rides in Semele's caravan, unbeknownst to the witch. Septimus, meanwhile, plots his attack on the witch-queen, who eventually kills him.

At the market, Tristran leaves Yvaine and crosses back into Wall to meet Victoria. Meanwhile, Yvaine realizes she has fallen in love with Tristran but learns that if she crosses the wall and leaves Faerie, she will be transformed into a piece of rock. A dismayed Victoria informs Tristran that she is already engaged to Robert Monday. She never believed he would go through with his quest, but is nonetheless willing to keep her promise and marry him. Tristran, not wishing to force Victoria into marrying him, reminds her that marriage was not the promise, but rather to give him anything he desired. He says that he desires that she marry her own love, Monday.

Tristran later returns to Yvaine at the market. She is delighted to learn that Victoria will be married to someone else, and that Tristran reciprocates her love. Meanwhile, Una is freed as her enslavement ends when the moon loses her child (Yvaine), if it happens in a week when two Mondays come together (the marriage of Victoria and Monday). Una seeks out Tristran and Yvaine and reveals herself as Tristran's mother and the late Lord of Stormhold's only daughter. As such, Tristran is the last male heir of Stormhold, and Yvaine presents him with the pendant, which she has been carrying. Yvaine is approached by the witch-queen, whose youth has run out and is now older than ever. Yvaine, no longer afraid, explains that her heart is no longer for the taking as she has given it to Tristran.

Una returns to Stormhold to rule in her son's stead, while Tristran and Yvaine travel throughout Faerie. Many years later, Tristran and Yvaine return to Stormhold, and Tristran assumes the lordship. When he grows old and dies, Yvaine continues to reign as the immortal ruler of Stormhold.

Publication history
Stardust was originally conceived by Gaiman and Vess as a "story book with pictures", created by both, to be published by American company DC Comics. During an interview to be included in the audio book, Neil Gaiman explained how one day while driving he had seen a wall on the side of the road and had conceived the idea of Faerie being behind the wall. This sparked an idea in Gaiman's head about an American novelist who moved to England where he would find out about this wall; at this time, the book was to be called Wall. Soon afterwards, Gaiman was nominated for a literary award, which he won, and at a celebratory party for the award he saw a shooting star and immediately came up with the idea of Stardust. Gaiman dragged Vess out of a party that he was at and outlined the plot to him and Vess agreed to do the illustrations. Initially, Stardust was released in 1997 as a prestige format four-issue comic mini-series. Stardust came out once a month in a square-bound, high-gloss booklet with high grade paper, high quality color and no advertisements.

Gaiman and Vess originally intended the story to be released complete, as a single book, which would better reproduce the painted illustrations of Vess and be a "story book" for all ages, and a release in this format was made in 1998. There was both a hardback (ISBN 1-56389-431-9) and a trade paperback edition (ISBN 1-56389-470-X). It is more accurately titled Neil Gaiman and Charles Vess's Stardust (Being a Romance within the Realms of Faerie). The hardback edition is quarter-bound in faux leather with the author's names, title, and several stars inlaid in foil. It also has reproductions of the serialized version's covers and many sketches by Vess. The trade paperback has a very different cover design and illustrations by Vess, and has subsequently been reprinted with another different cover design.

Gaiman retains the copyright to the text and in 1999 decided, encouraged by publisher Avon, to publish Stardust as a conventional novel in hardback without illustrations. There was also a subsequent UK hardcover edition, from Hodder Headline. The book also proved popular with readers of the "romance" genre, although it is generally considered part of the fantasy genre. Thus the paperback publication was originally given three different covers which when placed side by side had one background image and a different primary image including a handsome man holding a woman in a passionate embrace, although this cover concept was never used.

In 1999, Charles Vess's Green Man Press produced a portfolio as a benefit for Vess's wife, Karen, who had been injured in a car accident, titled A Fall of Stardust, which contained two chapbooks and a series of art plates. The first chapbook, written by Gaiman, comprised "Wall: A Prologue" short story, "Septimus' Triolet" poem, "Song of the Little Hairy Man", and "The Old Warlock's Reverie: A Pantoum" poem. The second chapbook was a short story entitled The Duke of Wellington Misplaces His Horse by Susanna Clarke. Art plates were illustrated by William Stout, Mike Mignola, Terri Windling, Bryan Talbot, Jill Thompson, Paul Chadwick, P. Craig Russell, Mark Crilley, Elizabeth Johns, Michael Zulli, Robin Mullins, Lisa Snellings, Terry Moore, Tony DiTerlizzi, Linda Medley, Lorenzo Mattotti, Zander Cannon, Dave McKean, Jeff Smith, Trina Robbins & Steve Leialoha, Gary Gianni, Janine Johnston, Stan Sakai, Michael Kaluta, Moebius, Rebecca Guay, Geof Darrow, Brian Froud, and Charles Vess. Several plates were coloured by Eric Olive. Todd Klein worked with Charles Vess to create the unique logo. Those who order this collection directly from Green Man Press received an additional art plate by Sergio Aragonés.

In July 2007, a new hardcover edition was published by DC's Vertigo imprint, containing approximately fifty pages of new material, including new artwork and information on the production of the book.

Gaiman had potential ideas for more books following on from Stardust, one called "Hellflier" set about 5 years later, and another called "Wall" set about 150 years later.

Musical comedian Tim Minchin expressed interest in the idea of adapting the story into a stage musical during a Facebook Live Q&A for The Guardian in October 2017 while discussing Matilda The Musical.

Awards
The original DC Comics series was nominated for the Comics Buyer's Guide Fan Awards for Favorite Limited Series for 1998 and 1999. The collected edition of the series was also nominated for the Comics Buyer's Guide Fan Award for Favorite Reprint Graphic Album for 1999.

In 1999, the Mythopoeic Society awarded it the Mythopoeic Fantasy Award for Adult Literature. The novel was nominated for the Locus Award that same year. In 2000, it received an Alex Award from the American Library Association.

Adaptations
BBC Radio 4 produced a two-part radio adaptation first broadcast 17 December 2016, dramatized and directed by Dirk Maggs and featuring Eleanor Bron as narrator, Matthew Beard as Tristan, and Sophie Rundle as Yvaine.

title: Stardust (Gaiman novel)


text:
Balve

Balve is a town in the Märkischer Kreis district, North Rhine-Westphalia, Germany. It is located in Hönnetal, a narrow valley created by the river Hönne, which is near the Sorpe Dam, formerly part of Balve, and at the north end of the Sauerland, near Dortmund. The town was established in 1975 with several divisions including Balve, Beckum and Eisborn and Garbeck.

History
The first reference to Balve is from around 780, when it was mentioned that a Widukind owned a farm called Ballowa, another name for the town, although this reference has been disputed. The first undisputed reference was in 864, in which a blind girl from Balve was said to be healed at the grave of the Saint Ludger in the crypt of Werden Abbey.

Ballowa is also mentioned in the Thidrekssaga, a chivalric saga written in the mid-13th century in Norway. In the saga, Ballowa is the home of two dwarfs who taught Weyland much about making iron weapons. At the time of writing, Balve belonged to the county of Arnsberg.

In 1358 the town became the property of the Duchy of Westphalia, which belonged to the Archbishops of Cologne. In 1430 it was given the right to be called a city. During the Napoleonic period, it belonged for a short time (1802–1815) to Hesse, after which time it became part of the Kingdom of Prussia.

In 1975, following a substantial reorganisation of local government in Germany, the city was enlarged by the addition of the several former independent municipalities from the abolished Amt Balve, including Asbeck, Beckum, and Eisborn.

Organizations, economy and transportation
Local organizations include a Red Cross chapter, and the Schützenbruderschaft St. Sebastian Balve, founded in 1947. Primary schools in the town include Grundschule Balve and Grundschule Beckum. Several international companies have roots in the town, including Balver Zinn, Chemie Wocklum, and Kruse Group.

Train stations in Balve include Binolen, Volkringhausen, Sanssouci, Garbeck and Balve, the latter station part of the Hönnetalbahn (RB 54) line.

Religion
The main religion in Balve is Roman Catholicism. The church Saint Blaise, built in the 12th century and an example of Romanesque architecture, was consecrated to Mary. On February 3 each year a special ceremony is held in the church, called the Blessing of the Throats. The altar servers of Saint Blaise visit other cities every year, for example Georgsmarienhütte in 1982. Bones from Benedict of Nursia and Saint Blaise, and a 400-year-old monument for Hermann von Hatzfeld, are located in the church. Additionally, two Roman Catholic parishes have been present in Balve for several years.

A Lutheran church is located at Hönnetalstrasse near to the Gemeindezentrum.

Performing arts
The Männerchor 1860 Balve is the largest choir in Balve. Other choirs include the Männerchor Garbeck and MC Cäcilia Volkringhausen. The town's bands include Musikverein Balve and Musikverein Garbeck.

Until 2005, the organization Festpiele Balver Höhle and the town of Balve have jointly hosted a jazz festival. Acts at the festival have included performances by Jan Garbarek and by Piirpauke. One of the theatre ensembles in Balve is the Kolpingtheatergruppe, directed by Christoph Rapp. Another form of entertainment, the Balver Märchenwochen, involves performing fairy tales at Christmas.

Festivals
The Festspiele Balver Höhle is held at the Balver Höhle, a cave in Balve. The festival is a major focus of the culture in and around the town, featuring music and theatre performances. The only marksmen's festival, Schützenfest, is also held in a cave, and is organized by Schützenbruderschaft St. Sebastian.

A large bonfire on Easter Sunday is another tradition in Balve, organized by the Kolpingsfamilie Balve. On May 1 each year the fire brigade of Balve is invited to the Feuerwehrfest, and for 20 years a christmas market has organized by Balver Fachhandel that features a live nativity scene.

Sports
One of the soccer clubs in Balve, SG Balve/Garbeck, won the DFB-Ü 40-Cup in 2007. The town also organizes the Balve Optimum, a competition between horse riders.

Participants in the Balve Optimum have included:
 * Horse jumping
 * Reiner Klimke
 * Paul Schockemöhle
 * Ludger Beerbaum
 * Markus Beerbaum
 * Jessica Kürten (2007)
 * Hugo Simon (2008)
 * Meredith Michaels-Beerbaum (2008)
 * Eva Bitter (2008)
 * Dressage
 * Isabell Werth (2008)
 * Matthias Alexander Rath (2008)

Points of interest

There are many caves in the Hönnetal, including the Balver Höhle at Helle, a large cave used for cultural events such as concerts, stage acting and the annual marksmen's festival, and the Reckenhöhle, a cave 1,478 ft in length that has flowstone. Experts have found signs of cannibalism in some of the caves.

Other points of interest include
 * 1) The walls of an old Germanic farm, located Garbeck,
 * 2) Beckum, where scientists found bones from eight kind of species of dinosaurs from the cretaceous, and
 * 3) The Luisenhütte, the only surviving 18th-century blast furnace that is still in workable condition, situated close to the 14th-century castle Schloss Wocklum, the home of Count Dieter von Landsberg-Velen.

Coat of arms
The town's coat of arms references the history of Balve. The eagle is taken from the arms of Arnsberg, and the black-and-white cross from that of Cologne. Both symbols were present in old seals of the city, of which the oldest known example dates from 1462. The coat of arms was officially granted on June 24, 1911, and confirmed on February 6, 1976, after the local government reorganization of 1975.

The bottom part of the coat of arms of the former Amt Balve is identical Bolve's town arms. The top half showed St. Peter, wearing a red coat and holding in his left hand a golden key and in his right a golden book. This coat of arms was granted on March 5, 1957, and expired when the Amt was dissolved in 1975.

Persons of interest

 * Jean-Marc Gaulin (1962–), Canadian ice hockey player born in Balve
 * Franz Hoffmeister (1898–1943), Roman Catholic priest
 * Theodor Pröpper (1896–1979), composer and church musician
 * Hermann Wedekind (1910–1998), actor, opera singer and theatre director

title: Balve


text:
Talk:Single transferable vote

Improving how this article handles the many regional names for STV in the lead.
Based on the example of Instant-runoff voting, this article should mention, in the lead section, the common names for STV from within the Anglosphere. P-RCV (Proportional Ranked Choice Voting) is a name used for STV by Fairvote, which is by far the largest American political organization advocating for STV. I have reflected this fact with a clause in the first sentence of the lead. It would be better fit this information elsewhere in the lead section; however, I do not believe it should be buried entirely in the terminology subsection.

It would be better practice to get good WP:RELIABLE sources on terminology around STV. Although this can't be a basis for an edit because it's WP:NOR, I have never heard any of the described "American" terms for STV besides "Multi-member Ranked Choice Voting" and "Proportional Ranked Choice Voting." A Tree In A Box A Tree In A Box (talk) 04:15, 31 August 2023 (UTC)

 * This is a solution in search of a problem... we’ve covered the main terms... the others can be mentioned in the article where warranted and backed up by RS. —Joeyconnick (talk) 18:45, 6 September 2023 (UTC)
 * I disagree with change made in Feb. 14 2024 to say STV is Proportional IRV.
 * its name usually is proportional ranked choice voting but seldom PIRV.
 * see https://fairvote.org/our-reforms/proportional-ranked-choice-voting/ 2604:3D09:8880:11E0:0:0:0:7044 (talk) 23:15, 14 February 2024 (UTC)
 * Agree strongly... that was a mischaracterization and I've reverted it. —Joeyconnick (talk) 05:51, 15 February 2024 (UTC)

Undisclosed payments?
, what leads you to believe that this article was edited for pay? And what cleanup do you think is necessary? Eeidt (talk) 16:40, 7 May 2024 (UTC)

 * I seconded the request for clarification as well. I have done a cursory reading on the article and nothing jumped out to me as paid editing. Thank you. ✠ SunDawn ✠    (contact)   04:14, 8 May 2024 (UTC)
 * @Eeidt @SunDawn, it's related to this discussion. The allegation is that a FairVote employee has made significant contributions to pages relating to voting methods. Boardwalk.Koi (talk) 12:07, 8 May 2024 (UTC)
 * what was the outcome of that discussion, the archive doesn't go beyond May 8th? This page will become quite important for the upcoming Wikimedia Foundation Board of Trustees election and should ideally not have a huge disclaimer at the top of the page ;-) Braveheart (talk) 10:33, 1 June 2024 (UTC)
 * The user in question was temporarily banned for "impersonating" the CEO of FairVote, pending proof of his identity. The COI discussion did not proceed beyond that point.  IMO we should proceed with the assumption that that was the CEO of FairVote, as his contribution history seems biased for, not against, FairVote. --Brilliand (talk) 16:41, 25 June 2024 (UTC)

Merge from "Counting Single Transferable Votes"
See counting single transferable votes, which probably needs to be merged into here. –Sincerely, A Lime 04:13, 17 May 2024 (UTC)

 * Disagree... this article is already significantly long per WP:SPLIT (Prose size (text only): 71 kB (11968 words) "readable prose size"), so merging more content into this article makes no sense. It probably makes more sense to move some of the counting parts of article to Counting single transferable votes. —Joeyconnick (talk) 04:20, 17 May 2024 (UTC)
 * Both articles need to be dramatically shortened as well, yes. They're much too verbose. But you could explain all the same material with probably a tenth of the current word count. –Sincerely, A Lime 04:46, 17 May 2024 (UTC)

significant changes to the lead
If, as editor has extremely boldly stated, The name "proportional ranked-choice voting" can refer to a wide variety of methods including CPO-STV, Schulze STV, or the Bucklin Transferable Vote. See also instant-runoff voting#Terminology. then Proportional Ranked Choice Voting needs to point to a disamgiuation page and not to this page.

I'd also advise ClosedLimelikeCurves that they should consider breaking up their edits into smaller chunks so other editors can better follow them, along with providing edit summaries and, most importantly, sources for dramatic changes they wish to incorporate. —Joeyconnick (talk) 18:49, 30 June 2024 (UTC)

New examples needed
The examples in the article are all flawed in that everyone votes for the same 2nd choice candidate. This can give the implication that some votes count twice where others don't, or that only the plurality second choice votes get transferred or other misconceptions given the example appears before the surplus vote transfer systems are explained. It'd be better to replace them (or at least the second one, done by party) with a vote where the surplus votes are transferred proportionally. 1rre (talk) 11:17, 1 July 2024 (UTC)

 * the foods served at party vote example does not have everyone vote for the same second choice.
 * "the example of an election with parties" example actually has supporters of A5 give second pref to Independent unlike other supporters of party A.
 * but yes voters are organized in monolithic blocks. This might mislead some readers.
 * emphasis on simplicity versus reality -- the usual this or that of modelling. 2604:3D09:8880:11E0:4C3F:469F:6B8D:75A0 (talk) 20:19, 17 July 2024 (UTC)

Largest Remainder uses party-lists.
Contrary to what Closed-Limelike said, Largest-Remainder uses party-lists just like the other party-list allocation-rules.

Closed-Limelike announced at the Election-Methods mailing-list, that he is rewriting electoral Wikipedia articles.

Given his many confusions, idiosyncratic name-changes, & mis-statements at EM, that’s a cause for concern.

I suggest that you not let him do so unless he first announces & justifies his changes at this talk page. 2600:6C55:7900:2B8:BD0D:46B:4B79:40A5 (talk) 19:50, 6 July 2024 (UTC)

 * Hi, and welcome! It's nice to see you here, Michael :)
 * I've provided a source on the topic of how STV relates to the largest remainders method, which is Gallagher's seminal paper on the topic. Largest remainders is not a party-list method, but rather an apportionment method, i.e. an algorithm for fairly splitting a whole number of some homogenous resource. Its most well-known application is in party lists, but it has other applications and variants as well.
 * In the same way that SPAV/PAV can be thought of as a nonpartisan variation on the highest averages methods, STV is effectively a nonpartisan form of largest remainders, where the remainders are passed around within each solid coalition until there are exactly as many candidates left as there are seats, at which point the candidates with the largest remainders (most votes below quota) are elected.
 * Hope this helps! Closed Limelike Curves (talk) 05:42, 18 July 2024 (UTC)

title: Talk:Single transferable vote


text:
Heavy

Heavy may refer to:

Measures

 * Heavy, a characterization of objects with substantial weight
 * Heavy, a wake turbulence category used by pilots and air traffic controllers to refer to aircraft with a maximum takeoff mass of 136,000 kgs or more
 * Heavy, a type of strength of Scottish beer

Groups

 * The Heavy (band), a rock band from England

Albums

 * Heavy (Heavy D album), 1999
 * Heavy (Iron Butterfly album), a 1968 album by Iron Butterfly
 * Heavy (Bin-Jip album), the second studio album by Bin-Jip

Songs

 * "Heavy" (Collective Soul song), 1999
 * "Heavy" (Lauri Ylönen song), 2011
 * "Heavy" (Linkin Park song), 2017
 * "Heavy" (Anne-Marie song), 2017
 * "Heavy", by Cxloe, 2020
 * "Heavy", by Flight Facilities featuring Your Smith, 2021
 * "Heavy", by Peach PRC, 2021
 * "Heavy", by Theory of a Deadman from Savages, 2014
 * "Heavy", from the 1981 musical Dreamgirls and the 2006 film adaptation

Television

 * Heavy (TV series), reality show on A&E that chronicles extreme weight loss
 * Heavy: The Story of Metal, a four-part documentary special that aired on VH1 in 2006
 * "Heavy" (House), a 2005 episode of the television series House

Other arts, entertainment, and media

 * Heavy (film), a 1995 drama film
 * Heavy or villain, the antagonist within a story
 * Heavy Weapons Guy or Heavy, a class in the first-person shooter Team Fortress 2
 * Heavy (website), an entertainment website

title: Heavy