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Skinny Bobby Harper

Robert Blake Harper (1939 – July 22, 2003) was a Canadian-born radio and video DJ.

Radio
Harper debuted on the air in Shenandoah, Iowa, where he worked at a radio station to help to pay his college expenses. Much of his job involved playing recorded religious programs.

First making it big in Cincinnati, Ohio, at WSAI (AM) and in Kansas City, Missouri, at WDAF. He moved to Atlanta, Georgia, in the late 1960s and joined the staff of WQXI radio. WKRP in Cincinnati writer Bill Dial worked with Harper at WQXI and used him as the inspiration for the sitcom's off-the-wall character Dr. Johnny Fever, played by Howard Hesseman.

In June 1965, Harper was fired from WSAI after he was involved in legal problems including three speeding convictions in 14 months and convictions for disorderly conduct. WSAI's owners also fired the station's general manager, who had allowed Harper to continue working up to that point.

While in Atlanta, Harper also worked for seven other radio stations, including WIIN, WPLO, WGST, WLTA, WKLS, WAKY and WSB. Born and raised in the Canadian province of Saskatchewan, Harper was a die-hard hockey fan and served as a color commentator for Atlanta Flames radio and television broadcasts.

An article in The Atlanta Constitution in 1975 described Harper as the "one-time rascal of early morning repartee for WIIN radio" and said that he was "once known as The King of Bad Taste". In his early years on WIIN, Harper was known for editorializing as he ranted against the Vietnam War and President Richard Nixon. He also made unexpected telephone calls to the White House and J. Edgar Hoover, as well as others.

Television
Harper left WAKY at the end of January 1970 to return to Atlanta — to work in television, at WATL, rather than in radio. An article in The Courier-Journal reported that Harper "told about a TV show, as yet unnamed, patterned after a Top 40 radio operation, designed to run twice a week." The program, Now Explosion, ran from noon each Saturday until 2 a.m. Sunday and from noon each Sunday until 3 a.m. Monday. Harper and Bob Todd were the hosts.

Later in 1970, a different version of the program, The Now Explosion! was broadcast on WPIX-TV in New York City. It premiered on June 20 with a 4:30-6 p.m. broadcast followed by a different episode that night from 11 o'clock to 2 a.m. Harper was described in an article in the New York Daily News as "the off-camera announcer". The programs were recorded in Fort Lauderdale, Florida.

In 1971, Harper teamed with Freddie Miller on The Miller-Harper Sports Report on WTCG-TV in Atlanta.

Other activities
After being released from WSB in 1991, Harper stayed in Atlanta but left radio, going to work in the corporate communications office of Delta Air Lines. He went on to work for MARTA and Underground Atlanta before retiring.

Death
Harper died on July 22, 2003, in Atlanta from lung cancer.

title: Skinny Bobby Harper


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Talk:Lead–lag effect

This article makes no sense. -- Tim Starling 03:49 26 Jul 2003 (UTC)

 * I agree. I've replaced it with an article describing the real use of lead-lag effect in science, as far as I can tell: just as a generic term describing correlations between two variables at separate times.  I did a 40-year literature search on INSPEC to make sure that there's no common use of the term for the trivial differential equation that the article previously contained.  (One has to read between the lines in Reddi's articles to figure out what concept he is garbling; it seems like those equations may have come from lead-lag compensators in control theory.)  Steven G. Johnson

Fair use rationale for Image:Pyat rublei 1997.jpg
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BetacommandBot 11:29, 6 July 2007 (UTC)

this needs to be incorporated into the aticle
Economics

A lead-lag effect, in economics, describes the situation where one (leading) variable is correlated with the values of another (lagging) variable at later times.

For example, economists have found that in some circumstances there is a lead-lag effect between large-capitalization and small-capitalization stock-portfolio prices (Lo and MacKinlay, 1990).

References

 * Andrew W. Lo and A. Craig MacKinlay, "When are contrarian profits due to stock market overreaction," Review of Financial Studies 3 (2), 175-205 (1990).
 * "The fuzzy logic between lead and lag indicators". Business Management Issue.
 * Hou, Kewei, "Industry Information Diffusion and the Lead-Lag Effect in Stock Returns". Ohio State University - Fisher College of Business.

Engineering Main article: Phase

In engineering, the lead-lag effect is the transfer function of two or more variables, which is based on the ordinary differential equation. The two body equation is defined as: $$a_0 y + a_1 {dy \over dt} = b_0 x + b_1 {dx \over dt}$$

where $$ a_0, a_1, b_0, $$ and $$ b_1 $$ are constants. This coupling effect is symmetrical irrespective of directionality. In assessing the "frequency" of the oscillations, amplitude and phase may be different. One frequency may lead ahead or lag behind another frequency. The lead time constant can be greater than the lag time constant producing "time lead" [or pontentiality].

Symmetrical dynamic relations make periodic input oscillations so that the output has the same phase as the input. Lead-lag effects concern two-body problems, three-body problems, and multi-body problems. A lag (or delay) and a lead (or draw) is a phase gradient.

References

 * "Phase, Group, and Signal Velocity". MathPages.
 * "Lead-Lag Frequency Response". MathPages.
 * "Frequency Response of First-Order Lag". MathPages.
 * "Lead-Lag Compensation". Experiment 4. ECE 409 Lab Manual.

See also

 * Lead-lag compensator
 * Phasor
 * Group (mathematics)
 * Signal velocity
 * Polyphase system
 * Harmonic oscillator
 * RLC series circuit

--J. D. Redding 11:36, 12 August 2013 (UTC)

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

title: Talk:Lead–lag effect


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Cass Elliot

Ellen Naomi Cohen (September 19, 1941 – July 29, 1974), known professionally as Cass Elliot, was an American singer. She was also known as "Mama Cass", a name she reportedly disliked. Elliot was a member of the singing group the Mamas & the Papas. After the group broke up, she released five solo albums. Elliot received the Grammy Award for Best Contemporary (R&R) Performance for "Monday, Monday" (1967). In 1998, she was posthumously inducted into the Rock and Roll Hall of Fame for her work with the Mamas & the Papas.

Early life and education
Ellen Naomi Cohen was born in Baltimore, Maryland, on September 19, 1941, the daughter of Philip (died 1962) and Bess Cohen (née Levine; 1915–1994). All four of her grandparents were Russian-Jewish immigrants. Her family was subject to significant financial stresses and uncertainties during her childhood years. Her father, involved in several business ventures, ultimately succeeded through the development of a lunch wagon in Baltimore that provided meals to construction workers. Her mother was a trained nurse. Elliot had a brother, Joseph, and a younger sister, Leah, who also became a singer and recording artist. Elliot's early life was spent with her family in Alexandria, Virginia, and the family moved to Baltimore when Elliot was 15, where they had briefly lived at the time of Elliot's birth.

Elliot adopted the name "Cass" in high school. She assumed the surname "Elliot" some time later, in memory of a friend who had died. While in Alexandria, she attended George Washington High School. When Elliot's family returned to Baltimore, she attended Forest Park High School. While attending Forest Park High School, Elliot became interested in acting. She won a small part in the play The Boy Friend, a summer stock production at the Hilltop Theatre in Owings Mills, Maryland in 1959 under the name Ellen Cohen. She left high school shortly before graduation and moved to New York City to further her acting career (as recounted in the lyrics to "Creeque Alley").

1962–1964: Early career
After leaving high school to pursue an entertainment career in New York, Elliot toured in the musical The Music Man in 1962 under the name Cass Elliot, but lost the part of Miss Marmelstein in I Can Get It for You Wholesale to Barbra Streisand. Elliot sometimes sang while working as a cloakroom attendant at The Showplace in Greenwich Village, but she did not pursue a singing career until she moved to the Washington, DC, area to attend American University (not Swarthmore College as mentioned in the biographical song "Creeque Alley").

America's folk music scene was on the rise when Elliot met banjoist and singer Tim Rose and singer John Brown, and the three began performing as the Triumvirate. In 1963, James Hendricks replaced Brown, and the trio was renamed the Big 3. Elliot's first recording with the Big 3 was "Winken, Blinken, and Nod", released by FM Records in 1963. In 1964, the group appeared on an "open mic" night at The Bitter End in Greenwich Village, billed as Cass Elliot and the Big 3, followed onstage by folk singer Jim Fosso and bluegrass banjoist Eric Weissberg.

Tim Rose left the Big 3 in 1964, and Elliot and Hendricks teamed with Canadians Zal Yanovsky and Denny Doherty to form the Mugwumps. This group lasted eight months, after which Cass performed as a solo act for a while. In the meantime, Yanovsky and John Sebastian co-founded the Lovin' Spoonful, while Doherty joined the New Journeymen, a group that also included John Phillips and his wife Michelle. In 1965, Doherty persuaded Phillips that Elliot should join the group, which she did while the group members and she were vacationing in the Virgin Islands.

A popular legend about Elliot is that her vocal range was improved by three notes after she was hit on the head by some copper tubing while walking through a construction site behind the bar where the New Journeymen were playing in the Virgin Islands. Elliot confirmed the story in a 1968 interview with Rolling Stone, saying:

"It's true, I did get hit on the head by a pipe that fell down and my range was increased by three notes. They were tearing this club apart in the islands, revamping it, putting in a dance floor. Workmen dropped a thin metal plumbing pipe and it hit me on the head and knocked me to the ground. I had a concussion and went to the hospital. I had a bad headache for about two weeks and all of a sudden I was singing higher. It's true. Honest to God."

Friends later said that the pipe story was a less embarrassing explanation for why John Phillips had kept her out of the group for so long, because he considered her too fat.

1965–1968: The Mamas & the Papas
With two female members, the New Journeymen needed a new name and they agreed on the Mamas & the Papas. The group lasted from 1965 to 1968. According to Doherty, as written in his website, Elliot had the inspiration for the band's new name. Doherty also said that the occasion marked the beginning of his affair with Michelle Phillips. Elliot was in love with Doherty and was displeased when he told her of the affair. Doherty has said that Elliot once proposed to him, but that he was so stoned at the time that he could not even respond.

Elliot was known for her sense of humor and optimism, and was considered by many to be the most charismatic member of the group. Her powerful, distinctive voice was a major factor in their string of hits, including "California Dreamin', "Monday, Monday", and "Words of Love". She also performed the solo "Dream a Little Dream of Me" (credited on the label of the single as 'Featuring Mama Cass with the Mamas and the Papas'), which the group recorded in 1968 after learning about the death of Fabian Andre, one of the men who co-wrote it, whom Michelle Phillips had met years earlier. Elliot's version is noteworthy for its contemplative pace, whereas many earlier recordings of "Dream a Little Dream of Me" (including one by Nat King Cole and another by Ozzie Nelson) had been up-tempo versions—the song having been written in 1931 as a dance tune. The Mamas and the Papas continued to record to meet the terms of their record contract until 1971.

1968–1973: Solo career
After the breakup of the Mamas and the Papas, Elliot embarked on a solo singing career. Her most successful recording during this period was 1968's "Dream a Little Dream of Me" from her solo album of the same name, released by Dunhill Records, though it had originally been released earlier that year on the album The Papas & The Mamas.

Las Vegas show

In October 1968, Elliot made her live solo debut headlining in Las Vegas at Caesars Palace, scheduled for a three-week engagement at $40,000 per week with two shows per night. According to Elliot, she went on a six-month crash diet before the show, losing 100 of her 300 pounds. However, she attributed a stomach ulcer and throat problems to her severe regimen, which she treated by drinking milk and cream—rapidly regaining 50 pounds in the process.

She was confined to her bed for three weeks before the first performance while the musical director, band, and production supervisor attempted to put together a show in her absence. She was scheduled to rehearse for a full three days before the show opened, but she managed to get through only part of one run-through with the band before saying that she was losing her voice. She skipped the remainder of rehearsals and drank tea and lemon, hoping to recover and pull herself together for opening night.

An audience of 950 people filled the Circus Maximus theater at Caesar's Palace on the evening of Wednesday, October 16, including Sammy Davis Jr., Peter Lawford, Jimi Hendrix, Joan Baez, Liza Minnelli, and Mia Farrow, who had sent flowers to Elliot's dressing room, but backstage she had developed a raging fever. Friends urged her manager to cancel the show, but she felt that it was too important and insisted on performing. Sick and having barely rehearsed, she began to fall apart during the course of her first performance; her voice was weak and barely audible, and the large crowd was unsympathetic, despite the celebrity well-wishers. At the end of the show, Elliot returned to the stage to apologize to the audience; "This is the first night, and it will get better", she said. She then sang "Dream a Little Dream of Me" and left the stage as the audience applauded half-heartedly. She returned later that night to perform the second show, but her voice was worse, and many of the audience noisily walked out.

Reviews were harsh. Esquire magazine called the show "Sink Along with Cass" and "a disaster" that was "heroic in proportion, epic in scope". The Los Angeles Free Press called it "an embarrassing drag", while Newsweek compared it to the Titanic disaster: "Like some great ocean liner embarking on an ill-fated maiden voyage, Mama Cass slid down the waves and sank to the bottom". The show closed after only one night, and Elliot flew back to Los Angeles for what was described as "a tonsillectomy".

Within hours of the end of Elliot's Las Vegas concert, rumors began to spread that she had been taking drugs during the weeks leading up to it. Eddi Fiegel wrote in the biography Dream a Little Dream of Me that Elliot later admitted to a boyfriend that she had injected heroin immediately before going on stage. Embarrassed by the debacle, Elliot plunged into a deep depression.

 Later work  Elliot appeared in two television variety specials: The Mama Cass Television Program (ABC, 1969) and Don't Call Me Mama Anymore (CBS, 1973). She was a regular guest on TV talk shows and variety shows in the early 1970s, including The Mike Douglas Show, The Andy Williams Show, Hollywood Squares, The Johnny Cash Show, The Ray Stevens Show, The Smothers Brothers Comedy Hour, and The Carol Burnett Show, and was a guest panelist for a week on the game show Match Game '73. She guest-hosted for Johnny Carson on The Tonight Show and appeared as a guest on the show 13 other times. She also appeared on and co-hosted The Music Scene on ABC and was featured on the first The Midnight Special on NBC.

Elliot performed the title song "The Good Times Are Comin during the opening sequence of the 1970 film Monte Walsh, starring Lee Marvin and Jack Palance. In 1970, Elliot was signed to RCA Records; her first album for RCA, Cass Elliot, was issued in January, 1972. Also in 1972, she made three appearances on the variety series The Julie Andrews Hour. Her final appearance on the show was the Christmas installment that aired on Wednesday, December 20, 1972. In December 1978, four years after Elliot's death, the episode was rebroadcast on syndicated stations as a Christmas special titled Merry Christmas with Love, Julie. However, all of Elliot's solos were deleted from the syndicated edit. In 2009, a complete videotape of The Julie Andrews Hour Christmas Show was donated to The Paley Center For Media in New York, with all of Elliot's numbers intact.

In 1973, Elliot performed in Saga of Sonora, a TV music-comedy-Western special with Jill St. John, Vince Edwards, Zero Mostel, and Lesley Ann Warren. She also sang the jingle "Hurry on down to Hardee's, where the burgers are charco-broiled" for Hardee's advertisements. Throughout the early 1970s, Elliot continued her acting career, as well. She had a featured role in the movie Pufnstuf (1970) and made guest appearances on TV's The New Scooby-Doo Movies; Young Dr. Kildare; Love, American Style; and The Red Skelton Show; among others.

In 1973, Elliot hired as her manager Allan Carr, who was also managing the careers of Tony Curtis, Ann-Margret, and Peter Sellers. Carr felt Elliot needed to leave pop and rock music and head into the cabaret circuit, so a show was put together comprising old standards along with a few new songs written for her by friends. The act included Elliot and two male singers who served as backup singers and sidekicks during the musical numbers. The title of the show was Don't Call Me Mama Anymore, named after one of the songs written by Elliot's friend Earle Brown. The song was born out of Elliot's frustration with being identified as "Mama Cass". The show debuted in Pittsburgh on February 9, 1973. Elliot felt ready to tackle Las Vegas once again and premiered at the Flamingo. This time, she received rave reviews. The Las Vegas Sun wrote, "Cass Elliot, making a strong point that she is no longer Mama Cass, has a good act serving notice that she is here to stay. The audience was with her all the way ... no empty seats anywhere." She then took her act to higher-echelon casinos and swankier nightclubs in cities throughout the country.

Elliot provided the voice for her appearance on the 1973 episode of The New Scooby-Doo Movies, "The Haunted Candy Factory". She also appeared on Scooby-Doo! Mystery Incorporated in the episodes "The Secret Serum", "Pawn of Shadows", and "Dance of the Undead" as a Crystal Cove citizen.

The city of Baltimore dedicated August 15, 1973, as "Cass Elliot Day" in her honor for her homecoming.

Final performances, death, and funeral
On April 22, 1974, Elliot collapsed in the California television studio of The Tonight Show Starring Johnny Carson immediately before her scheduled appearance on the show. She was treated at a hospital and released, then dismissed the incident as simple exhaustion in interviews and in the conversation she had with Carson during her May 7 visit to his show’s studio where she made it through the telecast.

Soon after Elliot videotaped an appearance on the syndicated Mike Douglas Show, which originated from Philadelphia, she began two weeks of solo concerts at the London Palladium She felt elated by the standing ovation she received on the last night of the engagement, which was Saturday night, July 27. She made an international phone call to Michelle Phillips, during which Elliot cried from happiness over her success at the Palladium, as Phillips has stated in numerous interviews. Elliot began a 24-hour celebration. She first attended the 31st birthday party of Mick Jagger at his home on Tite Street in Chelsea, London. After the party, Elliot went to a brunch in her honor presented by Georgia Brown. While there, according to biographer Eddi Fiegel, Elliot was blowing her nose frequently, coughing and having trouble breathing. Next she attended a cocktail party hosted by American entertainment journalist Jack Martin. She seemed in high spirits but also appeared physically exhausted and sick. Elliot left that party at 8:00 p.m. on Sunday, July 28, saying she was tired and needed to get some sleep.

Elliot retired to an apartment in Mayfair at Flat 12, 9 Curzon Place (later Curzon Square), Shepherd Market, Mayfair, London, owned by singer-songwriter Harry Nilsson who allowed her to stay there. Several hours after Elliot left Jack Martin's cocktail party, she died in her sleep at age 32. Her body was discovered by a close friend of hers who went to check on her. According to Keith Simpson, who conducted her autopsy, she died of a heart attack, and there were no drugs in her system. Four years later, Keith Moon, drummer for the Who died in the same bedroom, also aged 32 years.

Elliot did not die from choking on a ham sandwich. According to Lindsay Zoladz in The New York Times in 2024, this "cartoonish rumor—propagated in endless pop culture references, from Austin Powers to Lost—cast a tawdry light over Elliot’s legacy and still threatens to overshadow her mighty, underappreciated talent." In 2020, a journalist and friend of Elliot's, Sue Cameron, publicly admitted that she promulgated the false ham sandwich story by writing it into Elliot's obituary for The Hollywood Reporter. She claimed she was asked to print the lie by Elliot's manager Allan Carr, who decided that the humiliating falsehood was preferable to any implication that Elliot's death was associated with substance abuse. Elliot's body was cremated at the Hollywood Forever Cemetery in Los Angeles, California. Her ashes were later buried in Mount Sinai Memorial Park Cemetery in Los Angeles.

Marriages and family
Elliot was married twice, the first time in 1963 to Jim Hendricks, her groupmate in the Big 3 and the Mugwumps. It was a marriage of convenience to assist him in avoiding being drafted during the Vietnam War; the marriage was never consummated and was annulled in 1968. In 1971, Elliot married journalist Donald von Wiedenman, heir to a Bavarian barony. Their marriage ended in divorce after a few months.

Elliot gave birth to a daughter, Owen Vanessa Elliot(-Kugell), on April 26, 1967. Elliot-Kugell also grew up to become a singer and toured with Beach Boys member Al Jardine. Cass Elliot never publicly identified the father, but many years later, Michelle Phillips helped Elliot-Kugell locate her biological father, Chuck Day. His paternity was not publicly revealed until his 2008 death. After Elliot's death, her younger sister, Leah Kunkel (then married to Los Angeles–based session drummer Russ Kunkel), gained custody of seven-year-old Owen and raised her along with her own son, Nathaniel.

Drug use
David Crosby published a memoir in 1988 saying he used opiates and cocaine with her, preferring heroin in London because of its availability there.

1967 legal issue
In 1967, while staying in London, Elliot was prosecuted for stealing bed linen from a hotel where she and her bandmates had stayed on an earlier visit. She denied responsibility, and the case was brought before the West London magistrates' court, where the charges against her were dismissed in the absence of any evidence. The Mamas and the Papas were forced to cancel the upcoming British concerts as a result of the incident, and the band broke up the next year. On a return visit to London, Elliot admitted to the audience at the London Palladium that she had taken two sheets, saying "I liked 'em so I took 'em". She said she had kept quiet because of the way she had been treated in police custody.

Commemoration
Elliot received the 2,735th star on the Hollywood Walk of Fame on October 3, 2022.

The British play and film Beautiful Thing feature her recordings, and one character reflects on her memories of Elliot. Elliot was the subject of a 2004 stage production in Dublin, The Songs of Mama Cass, with Kristin Kapelli performing main vocals. Elliot was portrayed by Shannon Lee in the Bruce Lee Biopic Dragon: The Bruce Lee Story. She was portrayed by Rachel Redleaf in the 2019 film Once Upon a Time in Hollywood.

The Crosby, Stills & Nash Daylight Again video released in 1982 was dedicated to Cass Elliot as was the Crosby, Stills & Nash Greatest Hits album released in 2005.

The song "Mama, I Remember You Now" by Swedish artist Marit Bergman is a tribute to Elliot.

Elliot's recording of "Make Your Own Kind of Music" is featured prominently in several episodes of seasons two and three of Lost as well as season eight, episodes two and nine of Dexter (the later one also uses the title as the episode's title). It was also featured in ABC's The Middle when Sue Heck graduates from high school and in Netflix's Sex Education when Aimee smashes up an abandoned car. Her recording of "It's Getting Better" is featured in a season-four episode of Lost.

Albums
 The Big 3
 * 1963: The Big 3
 * 1964: Live at the Recording Studio

 The Mugwumps
 * 1967: The Mugwumps

 The Mamas and the Papas

 Solo  "-" indicates the album did not chart or was not released in that territory.

 Soundtracks
 * 1970: Pufnstuf (soundtrack with Mama Cass)
 * 1971: "The Costume Ball" from Doctor's Wives
 * 1996: Beautiful Thing (soundtrack with Mama Cass and the Mamas and the Papas)

 Compilations

Vinyl

 * 1967: The Big Three Featuring Mama Cass (Roulette)
 * 1974: Dream a Little Dream of Me (Pickwick)
 * 1975: Mama Cass (Pickwick)

Cassette

 * 1985: Dream a Little Dream of Me (MCA)
 * 1985: The Best of Mama Cass (MCA)

CD

 * 1995: The Big 3 Featuring Mama Cass Elliot (Sequel)
 * 1997: Dream a Little Dream: The Cass Elliot Collection (MCA)
 * 2000: The Big 3 Featuring Mama Cass (Collectables)
 * 2002: Dedicated to the One I Love (Universal)
 * 2005: Dream a Little Dream of Me: The Music of Mama Cass Elliot (Universal)
 * 2005: The Solo Collection 1968-71 (Hip-O Select)
 * 2009: Cass Elliot / The Road Is No Place For a Lady (Sony)
 * 2010: Cass Elliot / The Road Is No Place For a Lady / Don't Call Me Mama Anymore (BGO)

 Videos

DVD

 * 2009: The Mama Cass Television Program (Infinity)
 * 2016: The Cass Elliot Specials (TJL/Treasury Collection)

Music video

 * 2023: Make Your Own Kind of Music

title: Cass Elliot


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Dr. Johnny Fever

Dr. Johnny Fever is a fictional character on the American television sitcom WKRP in Cincinnati. He was inspired by Skinny Bobby Harper, who previously had been a DJ in Atlanta and on Cincinnati's Top 40 station WSAI. The character was portrayed by Howard Hesseman.

Before and after the format change
Johnny Fever, whose real name is John Caravella, grew up in a broken home. His relationship with his father was poor and his parents eventually separated when he was still young. While he was still a child, a tornado struck the mobile home community where he and his mother were living, leaving him with a near-pathological fear of windstorms. He was a hippie in the 1960s, 10 to 12 years before the show's timeframe. Johnny began working his way up in the radio business and became a highly popular and successful DJ. At the height of his career, he was a star at a major station in Los Angeles, where he worked under the name "Johnny Sunshine" and did a popular show called "Johnny Sunshine, Boss Jock" (thus implying the station was "Boss Radio" originator KHJ). After he said the word "booger" on the air, he was fired with a year left on his contract. He sued the station for wrongful dismissal and received a large cash settlement after a few years. After being forced out of L.A. his career took a nosedive. For several years he led a nomadic existence, going from town to town taking a series of unsatisfying and low-paying jobs at low-rated stations including a job hosting a garden show in Amarillo. He has used many on-air names, including Johnny Duke, Johnny Style, Johnny Cool, Johnny Midnight, and even Heavy Early. (Most of these names appear on the side of Johnny's coffee cup.) He finally hit "rock bottom," in his own words, when he landed in Cincinnati at the worst radio station in town, WKRP, the only station that would hire him, by 1976. He found himself hosting a "beautiful music" show in the morning, so obviously bored with the music that he didn't even bother to make up a new name or on-air persona.

When Andy Travis takes over as program director of WKRP and changes the format to rock n' roll, Johnny is initially doubtful that he can succeed as the morning man in the new format; conscious of his own age, Johnny advises Andy to find someone "about fifteen years younger," but Andy insists that he can handle it—-and even gives him permission to say "booger" on the air. When he gets on the air the first time after the format change, Johnny comes alive, signaling the change with a loud drag on the playing record (a fictional black gospel cover of "(You're) Having My Baby" by the Hallelujah Tabernacle Choir), after literally folding the record album on the other turntable in half. He immediately adopts the new, hyper-excited persona of "Dr. Johnny Fever," by playing the first record ("Queen of the Forest" by Ted Nugent), and telling his listeners:

 * All right, Cincinnati, it is time for this town to get down! You've got Johnny—Doctor Johnny Fever, and I am burnin' up in here! Whoa! Whoo! We all in critical condition, babies, but you can tell me where it hurts, because I got the healing prescription here from the big 'KRP musical medicine cabinet. Now I am talking about your 50,000 watt intensive care unit, babies! So just sit right down, relax, open your ears real wide and say, "Give it to me straight, Doctor. I can take it!"

He then starts the station's first rock record, before donning his sunglasses and then triumphantly saying, "I almost forgot, fellow babies: BOOGER!"

On the DVD audio commentary track for this episode, series creator Hugh Wilson credits Hesseman for largely improvising this entire speech.

On-air style
The "Doctor" is a great talker to his radio audience when he is in a confident mood. He can jive with the best DJs of his era. He once gives Bailey Quarters, nascent newswoman, this sage advice: "Talk into the microphone as if you were talking to your best friend." Later, in that same episode ("Mike Fright"), he would have to gather the courage to take his own advice.

Never a fan of disco, the new music fad of the era, he is a lover of rock and roll, although he feels he is getting too old to be a DJ in the genre (aside from two episodes on which he adopts a disco persona for a high-paying television job—see below). Tunes like "Hey Jude" are used for bathroom breaks or extended chats with friends.

Though the format of WKRP is Top 40, Johnny frequently refuses to play any songs off the station playlist, choosing instead to highlight album-oriented rock and old R&B favorites on his own show. A consultant hired by Mrs. Carlson at one point describes Johnny as being "stuck in 1962". Andy frequently pleads with Johnny to stick to the playlist, to play just one disco song, only to have Johnny threaten to "throw himself in front of Donna Summer's tour bus". Andy actually goes into a state of hysteria when he hears Johnny playing "The Long Run" by The Eagles: "That's a hit! He's playing a hit!"

Fever's unorthodox choice of music pays off as the series goes on, and by the final episode he has become the number-one morning DJ in the city. Johnny's views towards his music and his audience were perhaps best summed up when, picking a record, he exclaims "Sacred music...B.B. King!" Once, during a bomb threat, he remarked "If I die, who will teach the children about Bo Diddley?"

Herb Tarlek, the account executive, can never land the big accounts. As a result, Fever and the other DJs on WKRP have to do voiceovers (done live in that era) for spots for funeral homes and Red Wigglers, the "Cadillac" of worms (to which Fever adds the tag line "available at finer worm stores everywhere!"). However, Johnny has his scruples, as when he walks out of a recording session for sports aids when he realized his dialogue is laced with euphemisms for dangerous drug effects. While it is strongly implied that Johnny is a frequent user of marijuana, he doesn't go in for harder drugs, and leads a campaign to shut down a businessman who is trying to sell speed to teenagers. He also discovers his brief successor, Doug Winner (Philip Charles MacKenzie) has been accepting cocaine for airplay under a payola scheme with a sleazy record promoter. Johnny doesn't rat Doug out (instead he tells Mr. Carlson that it's "foot powder"), but cautions him about the dangers of cocaine abuse, knowing he'll eventually hang himself with his own noose, which subsequently happens and Johnny gets his old job back.

Personal life
Johnny's early life is not explored in the original show. However, in the sequel series The New WKRP In Cincinnati, it is established that Johnny never knew his father; his mother, Carrie, was a singer who recorded with Buddy Rich. He was left in the care of his straightlaced Uncle George (a minister) and Aunt Phoebe in Indiana, and chafed at their restrictive rules, although he knew his uncle and aunt loved him. He eventually left home at 17.

Johnny's persona is generally one of an aging burnt out ex-hippie. After spending most of his life in a nomadic existence "up and down the dial", WKRP settles Johnny down and establishes a relatively stable ensemble of friends and associates for him. Although the tradeoff is a cramped apartment and low pay, this arrangement doesn't seem to overly concern him much (at one point he describes himself as "a 40-year-old man who lives like a college student"). He is also believed to have been incarcerated at least twice; once in Mexico, where he says he was involved in a "minor misunderstanding with 145 Mexican cops," and another time in New Jersey when he indicated that he, "Went through Princeton....It was in a car....A police car actually! Very, very educational." He was a hippie in the 1960s, 10–12 years before the show's time frame. It is implied that he smokes marijuana by his overall character, and occasional references to drug culture (e.g. Mr. Carlson once dismissed a business as a front for selling drug paraphernalia, and Johnny immediately asked where it was). In the first-season episode, "Fish Story", he shows a near superhuman resistance to the effects of alcohol, apparently building up a high tolerance after years of heavy drinking. He is often seen wearing a Black Death Malt Liquor T-shirt, designed by Rip Off Press underground comic artist Dave Sheridan.

He has been married twice, with both of his ex-wives collecting alimony. This places Johnny in a constant state of poverty, despite his $17,500 annual salary ($ today) at WKRP (season 1 "Goodbye, Johnny"), albeit placing him well behind the $24,000 salary ($ today) of receptionist Jennifer Marlowe (season 1 "Mama's Review"). After his first divorce, he lived for two years with a woman named Buffy (Julie Payne); Buffy later tracked him down in Cincinnati, and threatened to sue him for a portion of his income.

Johnny also has a college-age daughter, Laurie (Patrie Allen), who visits him in season two's "The Doctor's Daughter" and briefly moves in with him. He later (season three's "Three Days of the Condo") gives his daughter the majority of his legal settlement – roughly one year's salary – from the Los Angeles station that fired him for saying "booger". There is some suggestion in one episode that he might still be in love with Laurie's mother, his first wife, Paula (Ruth Silveira), though they agree that their relationship is over, and Paula marries another man (Hamilton Camp) (season three's "Till Debt Do Us Part"). Johnny's second wife never makes an appearance. Their parting was not as amicable: she tried to kill Johnny with a Ronco Veg-O-Matic. At the end of an episode of The New WKRP in Cincinnati, Johnny implies to WKRP's new morning host Razor D (French Stewart) that he may be his illegitimate father, having met his mother at a Grateful Dead concert near the speakers.

Beginning in the second season, he becomes on and off romantically involved with fellow employee, Bailey Quarters. Though the staff is usually indifferent, the rumor mills begin humming when Bailey invites Johnny to stay at her apartment while his apartment is being fumigated (he claims it's for lizards). Though Johnny is flattered by the attention at first, he quickly tires of the leering gestures from some of the male staffers and tells Andy that the rumors of him and Bailey shacking up aren't true, and expresses his dissatisfaction of the treatment Bailey has been getting. At another point later in the series, Bailey and Johnny are again implied to be, if not an item, at least very close when Bailey asks Johnny "if I get some cutoffs, want to go with me?", and Johnny's non-verbal reaction clearly indicates they have an intense attraction to each other. In the season three episode "Till Debt Do Us Part", Bailey accepts Johnny's offer to join him on a Caribbean vacation (later cancelled by Herb's actions), though she does say she expects separate rooms. The series left their relationship implied but ambiguous.

Out of all the staff, Johnny appears to be the closest to fellow DJ Venus Flytrap, to the point where Venus gives him financial advice, bets on horses and football games with him, and even knows which seedy bars Johnny spends time at (for his part, Venus once claimed that he came to WKRP specifically "to work with the Doctor").

In the second season episode, "God Talks to Johnny", after hearing a voice he believes to be God Himself, Johnny (and almost everyone else) is convinced he's going crazy; Johnny mentions that the voice said, "I love you, I want you to seek knowledge, and (though he's not certain) I want you to be a golf pro!" When Johnny admits himself into a hospital late at night, he is met by Mr. Carlson, a devoted Christian, who tells Johnny that there is nothing wrong with hearing God's voice, but doubted it was God, saying, "If God had something He wanted to say, you'd hear it."

Johnny has also proven to be a shrewd judge of character. Case in point, in the series finale, "Up And Down The Dial", the latest ratings book lists Johnny as the #1 morning DJ in the Cincinnati market with the station itself now at #6 overall. But Mrs. Carlson suddenly decides to change the station's format from Top 40 to an all-news format. Slightly inebriated from the office party, Johnny confronts Mrs. Carlson at her home, at which point she admits to Johnny that WKRP was meant to be a liability to her business empire for tax write-off purposes; the surprise format change was meant to undo the station's unexpected affluence. Incredulous at her hypocrisy and callous manipulation ("You are telling your own son that you want him to be the general manager of the number one station in the market, and you'd be happier if it was sixteenth! How do you think he’d feel if he knew?”), Johnny threatens blackmail by telling Mr. Carlson her true intentions behind the format change, but Mrs. Carlson undercuts Johnny and instead tells Arthur that WKRP can keep the rock format.

Other jobs
In an early episode, Johnny's new persona and his immediate popularity earn him a job offer from another station in Los Angeles with the biggest competitor of the station that fired him. His co-workers at WKRP throw him a party where they try to convince him not to leave; he admits how much he loves and cares about the people he works with. But in a reversal of sitcom conventionality, Johnny actually takes the L.A. job, but in "Johnny Returns", he is almost instantly fired for saying "jive-ass" on the air.

Later in his WKRP career, Johnny Fever is approached by a female television producer (Mary Frann) to be a TV DJ for her disco program Gotta Dance. "Rip Tide," Johnny's TV persona, is money-hungry, disco-loving, chummy with Herb Tarlek, and has a very different voice and personality. In the two-part episode "Dr. Fever and Mr. Tide," Johnny loses control of his personality when his alter-ego takes over while on the radio. He seems to be totally taken over by the Rip Tide persona until Andy Travis decides he would rather have Rip Tide as his morning DJ (causing Johnny to have an existential crisis) and Jennifer Marlowe disowns the sleazy Rip persona. Facing his demons, Johnny, as Rip, goes on TV and defames the industry with accusations of payola and using casting couches, then flips the music to Little Richard, killing off Rip Tide for good.

Dr. Johnny Fever never leaves the WKRP "family" of employees for the duration of the original series, but in the New WKRP in Cincinnati he has moved on to at least two more stations. He admits that the Cincinnati job is a good situation for him, but does occasionally wonder about what he is missing elsewhere by staying. He does return to WKRP for two two-part episodes in Season 1; then, late in the second season, he steps in as temporary overnight DJ when the station's longstanding and never-seen jock, Moss Steiger, dies. Johnny gets a full send-off near the end of the new series when he decides to return to Los Angeles.

Casting
The role of Dr. Johnny Fever was originally intended for Richard Libertini, but he became unavailable. Howard Hesseman was known to WKRP's production company, MTM Enterprises, from his recurring guest role as Mr. Plager on MTM's The Bob Newhart Show. He was originally considered for the role of Herb Tarlek, but when he read the pilot script, he decided that Johnny was the part he really wanted. He was particularly suited for the part because he had actually been a disc jockey at one time, and he brought some of his experience to the character of Johnny -- including picking most of the songs that Johnny played on the show. Also, Hesseman had played wacky hippies before in Dragnet and in the film Billy Jack, and later played an ex-hippie DJ in a series of three episodes of That '70s Show. Hesseman was also cast as a DJ in the second season, first episode of the 1975 TV show Switch titled "Pirates of Tin Pan Alley".

title: Dr. Johnny Fever


text:
Ruins of Saint Paul's

The Ruins of Saint Paul's (Ruínas de São Paulo) are the ruins of a 17th-century Catholic religious complex in Santo António, Macau, China. They include what was originally St. Paul's College and the Church of St. Paul (Igreja de São Paulo) also known as "Mater Dei", a 17th-century Portuguese church dedicated to Saint Paul the Apostle. Today, the ruins are one of Macau's best known landmarks and one of the Seven Wonders of Portuguese Origin in the World. In 2005, they were officially listed as part of the Historic Centre of Macau, a UNESCO World Heritage Site.

History
Built from 1602 to 1640 by the Jesuits, during the time in which Portugal and Spain were under the same crown, the church was one of the largest Catholic churches in Asia at the time. It was destroyed by a fire during a typhoon on 26January 1835. The Fortaleza do Monte overlooks the ruin.

The ruins now consist of the stone frontispiece. The façade sits on a small hill, with 68 stone steps leading up to it.

The façade is shaped like a retable and themed around the Assumption of Mary. Likely influenced by Japanese Christian craftsmen who worked on it, the ruins of St. Paul's include carvings with heterodox images that draw from Asian traditions, including Mary stepping on a seven-headed hydra, described in accompanying Chinese characters as "Holy Mother tramples the heads of the dragon". The base of the structure has six Chinese guardian lions carved from stone.

The Japanese Christian craftsmen who worked on St. Paul's were converted by Jesuits and expelled from Japan in 1587 when Toyotomi Hideyoshi banned Christianity.

The remains of around 250 Korean and Japanese slaves from the Portuguese slave trade are buried near the church.

Conservation
Resisting calls for the dangerously leaning structure to be demolished, from 1990 to 1995, the ruins were excavated under the auspices of the Instituto Cultural de Macau to study its historic past. The crypt and the foundations were uncovered, revealing the architectural plan of the building. Numerous religious artifacts were also found together with the relics of the Chinese Christian martyrs and the monastic clergy, including the founder of the Jesuit college in Macau, Father Alessandro Valignano.

The ruins were restored by the Macanese government into a museum, and the façade is now buttressed with concrete and steel in a way which preserves the aesthetic integrity of the façade. There was once a steel stairway that allowed tourists to climb up to the top of the façade from the rear, but due to concerns for the preservation of the church, tourists are no longer allowed to climb up.

title: Ruins of Saint Paul's


text:
Lothar Fischer

Lothar Fischer (November 8, 1933 – June 15, 2004) was a German sculptor.

He was born in Germersheim, Palatinate. Between 1952 and 1958 he studied under Professor Heinrich Kirchner at the Akademie der Bildenden Künste, Munich. In 1958, he received a three-month scholarship to the Villa Massimo in Rome from the Arnold’sche Stiftung (Arnold’sche Foundation). After this he joined the painters Heimrad Prem, Helmut Sturm and Hans-Peter Zimmer in founding the group SPUR, which in 1959 entered the Situationist International. That year he participated in the Junge Kunst (Young Art) exhibition in Ulm.

By 1962 the SPUR group had been expelled from the Situationist International. He participated in their exhibition at the Galerie van de Loo. The next year he was involved in Visione e Colore (Visions and Colours) in the Palazzo Grassi, Venice before joining other SPUR colleagues in the Nouveaux Espaces exhibition in Paris. He then had a single exhibition at the Gallery van de Loo.

He was a member of the German Artists federation from 1963 to 1994. During the rest of the 1960s he continued to exhibit his work in Kassel, Amsterdam, Duisburg, Darmstadt and Wiesbaden. In 1971 he produced a sculpture for the city of Munich and another in 1972 for Darmstadt. Then in 1973 he had a solo exhibition in the Gallerie d'Arte del Naviglio, Milan.

From 1975 to 1997 Fischer was professor at the University of the Arts, Berlin. He continued to exhibit mainly in Germany and Switzerland with one exhibition in New York in 1988 at the Stephen Haller Gallery. He lived and worked in Berlin and in Baierbrunn near Munich until the time of his death. Fischer was awarded the Kunstpreis Rheinland-Pfalz in 1990.

title: Lothar Fischer


text:
Economic geology

Economic geology is concerned with earth materials that can be used for economic and industrial purposes. These materials include precious and base metals, nonmetallic minerals and construction-grade stone. Economic geology is a subdiscipline of the geosciences; according to Lindgren (1933) it is “the application of geology”. It may be called the scientific study of the Earth's sources of mineral raw materials and the practical application of the acquired knowledge.

The study is primarily focused on metallic mineral deposits and mineral resources. The techniques employed by other Earth science disciplines (such as geochemistry, mineralogy, geophysics, petrology, paleontology and structural geology) might all be used to understand, describe and exploit an ore deposit.

Economic geology is studied and practiced by geologists. Economic geology may be of interest to other professions such as engineers, environmental scientists and conservationists because of the far-reaching impact that extractive industries have on society, the economy and the environment.

Purpose of study
The purpose of the study of economic geology is to gain understanding of the genesis and localization of ore deposits plus the minerals associated with ore deposits. Though metals, minerals and other geologic commodities are non-renewable in human time frames, the impression of a fixed or limited stock paradigm of scarcity has always led to human innovation resulting in a replacement commodity substituted for those commodities which become too expensive. Additionally the fixed stock of most mineral commodities is huge (e.g., copper within the Earth's crust given current rates of consumption would last for more than 100 million years.) Nonetheless, economic geologists continue to successfully expand and define known mineral resources.

Mineral resources
Mineral resources are concentrations of minerals significant for current and future societal needs. Ore is classified as mineralization economically and technically feasible for extraction. Not all mineralization meets these criteria for various reasons. The specific categories of mineralization in an economic sense are:

 * Mineral occurrences or prospects of geological interest but not necessarily economic interest
 * Mineral resources include those potentially economically and technically feasible and those that are not
 * Ore reserves, which must be economically and technically feasible to extract

Ore

Geologists are involved in the study of ore deposits, which includes the study of ore genesis and the processes within the Earth's crust that form and concentrate ore minerals into economically viable quantities.

Study of metallic ore deposits involves the use of structural geology, geochemistry, the study of metamorphism and its processes, as well as understanding metasomatism and other processes related to ore genesis.

Ore deposits are delineated by mineral exploration, which uses geochemical prospecting, drilling and resource estimation via geostatistics to quantify economic ore bodies. The ultimate aim of this process is mining.

Coal and petroleum

 * ''See main articles Coal and Petroleum geology

The study of sedimentology is of prime importance to the delineation of economic reserves of petroleum and coal energy resources.

title: Economic geology


text:
Talk:Ruins of Saint Paul's

Untitled

 * Photos to come - David Stewart 04:15 26 Jul 2003 (UTC)
 * Reformat of the names of the Roman Catholic cathedrals to "Cathedral of Saint Paul in Macau" in keeping with other articles of same name. --Gerald Farinas 19:34, 28 Apr 2005 (UTC)

About the name of the article
I think it should be moved to Ruinas de São Paulo or Ruins of St. Paul. These two names are more common in Macau.--HeiChon 15:05, 6 March 2006 (UTC)

--HeiChon 15:16, 6 March 2006 (UTC)
 * Google search: "Ruinas de São Paulo de Macau"
 * Google search: "Ruinas de São Paulo"
 * Google search: "Ruins of Saint Paul
 * Google Search: "Ruins of Saint Paul in Macau
 * Google search: "Ruins of St. Paul
 * Google Search: "Ruins of St. Paul in Macau
 * Google search: "Cathedral of Saint Paul in Macau

 * If on one objects, I'm moving the article to Ruins of St. Paul and redirects the current page to it. Josuechan (talk) 16:13, 3 January 2008 (UTC)

Incoherent Syntax in 'History' Section
''This could have been due to Francesco Melzi showing the codex to Carlo Spinola in Milan[2] or by the architect Giacomo della Porta (connected to Leonardo's Codex, formerly Codex Leicester, now owned by Bill Gates) who designed the façade of the Church of the Gesù in Rome.[3] ''

The syntax here is incoherent.

'This could have been due to...' - what does 'this' refer to?

'the codex' - what codex? No codex has been mentioned so far.

'by the architect Giacomo della Porta' - the preposition 'by' makes no sense here at all.

The whole of this 'History' section needs to be rewritten coherently by someone genuinely familiar with the subject.

Bandekafsh (talk) 09:32, 5 December 2017 (UTC)Bandekafsh

Move discussion in progress
There is a move discussion in progress on Talk:Church of St. Sophia, Ohrid which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 08:32, 17 October 2019 (UTC)

title: Talk:Ruins of Saint Paul's


text:
Talk:DMOZ/Editor removal

Debate about ODP editor removal moved from Talk:Open Directory Project/Temp.

OK, ladies and/or gentlemen, back to your corners! Since I logged off yesterday, this page has ballooned from 30 to 50k; obviously this is a touchy subject. Here's what I propose. I'll go through the debate and pull out the main points. Once you all agree that I've covered the important points, I'll deleted the tangle of threads below and we'll take it from there. Sound good?

Also, it should be noted that I was one of the participants in the discussion at http://www.usemod.com/cgi-bin/mb.pl?OpenDirectoryProjectWikiCategory. I was the person who noticed that Adam and Florian's ODP accounts were inactive, and I speculated that they were removed for their involvement in MeatballWiki's project. I also suggested someone contact them before we came to any conclusions. -- Stephen Gilbert 17:52 24 Jul 2003 (UTC)

Uncontested facts
Of course, if you do contest one of these, just say so, and why.

 * When editing priviledges are withdrawn from someone, for whatever reason, that account becomes inactive. It is not deleted, and remains in the editor count.
 * ''ODP's Metas have a policy of not discussing editor removal.
 * ''A significant number of ex-editors claim they were removed for reasons other than the official ones, and/or were not warned before their removal.
 * "Significant" does not mean "large", "most", or even "many". It simply means that enough claims have been made to make it an issue. I used that word because the ODP has issued an official response to the controversy. However, a significant number of people (in this case, one) object to the wording, so we can't use it in the "Uncontested Facts" section. ;-) -- Stephen Gilbert

ODP supporters' claims

 * The vast majority of editor removals are for the reasons outlined in the published ODP policies and guidelines.
 * Of the few that are wrongfully removed, if they state their cases to the metas, the metas will investigate and then restore their editing privileges.
 * Most of the ex-ODP editors who complain are either dishonest or ignorant.

ODP critics' claims

 * Editor removal is quite arbitrary, or...
 * Editor removal is largely political, i.e. for questioning the intentions of the ODP higher-ups or certain policies, "territory fights" over certain categories, etc.
 * There is a lack of transparency in these matters, as the main editor forums are closed to outsiders, and certain important forums are closed to all but the metas and ODP staff.

It is impossible to determine the number of editors (if any) who were wrongfully removed. Supporters say few, critics say many. As Netesq has pointed out, even if there are thousands of ex-editors who did nothing wrong but who were removed, most of them probably wouldn't feel the need to tell their stories. Thus, we are unable to establish even approximate numbers. So, the article should note that over 40,000 accounts are inactive, but there is disagreement over the number of timed-out, justly removed and unjustly removed editors. -- Stephen Gilbert

This debate has been edited for brievity; the mediator has attempted to preserve the important points.

It became apparent that ODP staff was unceremoniously removing editor privileges without warning or notice. NetEsq

That only happens where "bad faith" is suspected and I think even those are given notice nowdays. // Liftarn

 * To Metas
 * Can't login
 * I was removed and so was my site
 * I got kicked off without explanation
 * Lost it but why and Lost it but why Part II
 *  Especially interesting is "No way I am a professional SEO" and "I accept that I am a professional SEO" after external resources with his name on are pointed out to him.  -- The "Invisible Friend" 19:04 23 Jul 2003 (UTC)

 * Editor Privileges Revoked - with no explanation!
 * Editor reinstatement
 * Application Status
 * My Application Status
 * How to get a second chance as an editor?
 * Fired from ODP after requesting additional cat
 * Please help regarding account inactivation
 * the status of my reinstatement
 * Reinstatement as an editor
 * Unimpressed by lack of communication

[Netesq]

Some bad editors get kicked out without notice, some ignore the notice and some claim to not haven got any notice even if they did. [Liftarn]

My position is that ODP editors are rarely given any notice that their editing privileges are at risk, and (until very recently) most former editors had no idea why they could not log in to perform their editing work. Many ODP editors who lose their editing privileges are not actually "bad editors" but are often removed for political reasons. [NetEsq]

''Both mentioned editors have timed out. It doesn't seem like you have contacted them.'' -- The "Invisible Friend"

 * Why would I contact them? I do not spend my days and nights ferreting out the stories of former ODP editors with an axe to grind. About 9 out of 10 former ODP editors who join the XODP Yahoo eGroup stay for about a month, send me a *private* e-mail narrating the story of their ouster, and then quietly move on.

 * I was wrong about Adam Brate and Florian Konnertz, but it was a reasonable assumption based upon the evidence that was available to me. [NetEsq]

 * It is unfair to complain about something that did not happen while you had the chance to verify it.

 * Simply because many people claim something doesn't make it true. Also, it is not Wikipedia's duty to decide which version is true, but to simply provide statements from both sides. ["Invisible Friend"]

[Netesq claims, via an analogy, that tens of thousands of editors have been improperly removed]

 * Please show were these tens of thousands are. The only thing you showed are your 160 XODP members, but even if we expect that 9 out of 10 have resigned this are still far too few. Some of your members are current editors (ciaran and sabre23t for example) which further decreases the likelyhood to "tens of thousands". ["Invisible Friend"]

Wikipedia is obliged to report all noteworthy viewpoints along with any evidence that can be brought to bear when facts are in dispute. [The vast majority of ex-editors claim to have been removed without warning]. [Netesq]

 * You claim that the vast majority claims that they were removed without warning. The vast majority doesn't claim that. ["Invisible Friend"]

+ 57,238 editors

< 9,000 active editor logins

= 48,238 inactive editor logins [Netesq]

 * < 2,000 who claim to have been kicked without warning or reason

 * = 46,238 who not have claimed that

 * ["Invisible Friend"]

I never claimed to have access to all of the people behind the 48,238 inactive ODP editor logins. Rather, I have repeatedly pointed out that most of these 48,238 inactive editor logins represent editors who have timed out and/or editors who have multiple identies.

Suffice it to say that the number of editors who have made public claims of having been expelled from ODP without notice is a significant number, and ODP has a standing policy of not discussing individual cases of editor removal. [Netesq]

 * ''But you have repeatedly claimed that the majority of them were kicked unjustified and without warning. Also, you include in your "significant number" any ex-editor instead of only those who you have talked with. ["Invisible Friend"]

Condensed debate ends here, as Stephen Gilbert, the mediator, has to wash some dishes and go to bed.

In reviewing the heated debate regarding the controversy of editor removal, it seems clear that it was one of my comments that started the ball rolling. To wit, "The name change to Newhoo calmed the initial storm of controversy, and the release of ODP content under an open content license silenced ODP's critics until it became apparent that ODP staff was unceremoniously removing editor privileges without warning or notice." The subsequent point/counterpoint exchange accomplished nothing, but I am willing to try again.

To be clear, there *WAS* a time when ODP editor removal was a very mysterious process that no one other than ODP staff understood. Over time, the removal process became a little less mysterious by virtue of the fact that current ODP editors could check to see whether other editors who couldn't log in had lost their editing priveleges, a fact which usually, but not always reflected in an editors category request logs. (For example, check my category request logs, and you'll see that there is no evidence one way or the other as to what happened to my editing privileges; it looks like I just timed out.) As time marched on, ODP staff beefed up the day-to-day management role played by ODP's meta editors, created a private meta editor forum, and delegated much of the process of editor removal to ODP's meta editors.

As for how to evaluate the evidence in re the "fairness" of ODP's editor removal procedures and/or how many ODP editors have actually been "removed" versus how many have timed out, resigned, and/or reapplied under an assumed name, we can start by assuming that the total number of editors claimed by ODP is an accurate reflection of the total number of editor logins ever created, then subtract the current number of active editor logins found in the ODP RDF dump. (I.e., 57,328 - 9,000 = 48,328)

Of the 9,000 active editor logins, there is ample evidence that some of these logins represent people who have snuck into ODP under an assumed identity. How many people have actually done this is impossible to say. As for the 48,238 inactive editor logins: Some have resigned; some have timed out; some have timed out and reapplied under a new login; some have even resigned and re-applied under another login. How many of these people have done any of these things is also impossible to say, and ODP offers no official estimates to the general public. Similarly, how many of these 48,238 inactive editor logins represent bona fide human beings that have had their ODP editing privileges removed is also impossible to say, and ODP offers no official estimates to the general public.

Also worthy of note is that there is no public record of ODP's editor removal proceedings, and that ODP has an official policy of not discussing the reasons why any specific editor was removed, leaving former editors -- and everyone else -- to wonder why editors are actually removed. The only people who know for sure are ODP's paid staff and/or ODP's meta editors, who operate ODP's star chamber tribunal; the mere existence of a star chamber tribunal is prima facie evidence that removed ODP editors are not afforded anything resembling due process.

Notwithstanding ODP's official policy of not discussing specific editor removal, there is a substantial amount of circumstantial evidence that editors are removed for reasons that an objective observer would conclude are unfair. This brings us to the question of whether circumstantial evidence qualifies as being "worthy of note." Contrary to popular belief, circumstantial evidence is often the most damning form of evidence, and is the evidence that most frequently results in the imposition of the death penalty.

In sum, a critic of ODP's editor removal procedures need not account for each and every one of the 48,238 inactive editor logins to make a compelling case that thousands -- or even tens of thousands -- of former editors have been given a raw deal. Moreover, noting one or two instances where ODP's critics have made a good faith mistake, and then beating these dead horses in lieu of dismounting, does not disprove what is an eminently logical and rational conclusion. -- NetEsq 23:31 24 Jul 2003 (UTC)

 * Firstly, the number of editors actually removed (as opposed to timed out) is probably utterly small. Secondly, I don't think there are more than a handfull of cases where an editor have been removed on shaky grounds. That editor removal requires meta consensus ensures that it is done fairly and correctly. In most cases it's very obvious why the editor was removed. // Liftarn

 * This clearly was not a "good faith mistake". I expect you know what someone is who makes generalizations about a group of people because he knows cases (even if they are the majority) which fall within this generalizations?

 * Also, perhaps you are so ignorant but you are widely known for your anti-ODP position and are likely to attract the attention of the majority of removed editors and likely had contact with them. Even if one would expect that only 10% had contact with you this is still too few to qualify as the "vast majority" -- The "Invisible Friend" 13:00 25 Jul 2003 (UTC)

 * << [T]he number of editors actually removed (as opposed to timed out) is probably utterly small >>

I disagree, and in the absence of official estimates, it is necessary to state something along the lines of:

"No official estimates exist as to how many ODP editor logins are actually deactivated (as opposed to timing out), and critics of ODP assert that in the absence of actual, authoritative proof as to how many editor logins have timed out, the number of removed editors could be as large as thousands or tens of thousands, greatly exceeding the number of current editor logins."

-- NetEsq

 * That line of reasoning sounds strange. "We don't know how many, so it must be a large number". // Liftarn

 * I said "could be" and you said "must be." Big difference. -- NetEsq 14:59 25 Jul 2003 (UTC)

 * << I don"t think there are more than a handfull of cases where an editor have been removed on shaky grounds. >>

I disagree, and in the absence of transparent disciplinary proceedings, it is necessary to state something along the lines of:

"How many editors are removed from ODP for good cause cannot be verified, as there are no public records of editor removal proceedings and ODP has a standing policy which prohibits any current editor for commenting on the reasons why any particular editor is removed. Critics of ODP assert that the secrecy associated with editor removal proceedings is _prima facie_ evidence of ODP's failure to observe traditional norms of fairness and due process."

 *  << That editor removal requires meta consensus ensures that it is done fairly and correctly. >>

Actually, the fact that editor removal is left in the hands of a ruling elite with a vested interest in maintaining the status quo is the antithesis of fairness. And in an age when the inherent inequities found in the application of the death penalty are front page news, it seems rather obvious that a group of volunteers who have no formal training or other qualifications cannot conduct a competent and fair investigation, a fortiori under the auspices of a star chamber proceeding.

 * << In most cases it's very obvious why the editor was removed. >>

Quite the contrary: As there are no formal charges brought against editors who stand accused of whatever said editors may stand accused of, and no public record of editor removal proceedings, everyone other than ODP's staff and meta editors are usually left totally in the dark as to why certain editors have been removed. We can guess as to why, but -- like guessing at the total number of editors who have been removed -- we can be totally wrong. -- NetEsq 12:57 25 Jul 2003 (UTC)

 * Even if there aren't any reasons stated because they want to protect the editor it isn't that hard to figure out. Most cases are either self promotion or inability to work with others (especially noticable in the case of ODPSS). // Liftarn

 * I wholeheartedly disagree. I think that most cases of editor removal involve a lower-level editor who gets caught in the middle of a controversy he or she doesn't understand and/or a meta editor and/or staff crossfire.  In any event, no one can say for sure, and a fallacious appeal to ignorance is not a reasonable rebuttal to a clear and palpable failure to observe traditional notions of due process.

 * As for ODPSS, this is a classic example of a situation which could be properly addressed by restricting an ODP editor to his or her bookmarks and/or restricting his or her forum privileges until such time as said editor demonstrates good faith and accepts reasonable terms of probation. This solution could have been successfully imposed on virtually all "problem" editors, up to and including the notoriousOdenIVusa. -- NetEsq 14:59 25 Jul 2003 (UTC)

Me:

 * << [N]oting one or two instances where ODP's critics have made a good faith mistake, and then beating these dead horses in lieu of dismounting, does not disprove what is an eminently logical and rational conclusion. >>

Invisible Friend:
 * << This clearly was not a "good faith mistake" >>

Yes, it was, and I was not the first one to make it, nor the last. Based upon ODP's standing policies of reputation for removing editors without warning or notice, it stands to reason that people who are attempting to inject "Soft Security" measures into ODP would be "disappeared," much the way "The Cunctator" was disappeared when he objected to ODP's copyright policies on Slashdot.

 * Note: ODP has no "standing policies of removing editors without warning or notice". Actually the policy is to warn the editors first. The exception is when an editor can be assumed to knowingly violate the guidlines. // Liftarn

 * Fair enough. Mea culpa. -- NetEsq 15:31 25 Jul 2003 (UTC)

Invisible Friend:
 *  << I expect you know what someone is who makes generalizations about a group of people because he knows cases (even if they are the majority) which fall within this generalizations?  >>

I'm not sure what you mean by this awkwardly phrased assertion, but if you are attempting to impeach my logic, you have failed. Inductive logic is based on probability, and it is both reasonable and logical to use prior bad acts as a predictor of future behavior. In this case, the bad actor is ODP's oligarchical collective, which has a reputation for eliminating editors who challenge the status quo. Just ask XODP Meta Editor gruban. -- NetEsq

 * Actually ODP has no "reputation for eliminating editors who challenge the status quo" so you're building a castle on thin air. // Liftarn

 * The ODP most certainly does have a reputation for eliminating editors who challenge the status quo. Indeed, that is the essence of much of the controversy and criticism that has been leveled against ODP. -- NetEsq 17:46 25 Jul 2003 (UTC)

 * As far as I know that rumour is only being circulated in a small and very specific group of persons. // Liftarn

Check out the various heated debates regarding ODP atWebmasterWorld. The ongoing controversy ranges over a variety of subjects, but you will find significant support for the assertion that ODP does indeed have a reputation for eliminating editors who challenge the status quo. Even XODP Meta Editor laisha, once known as one of ODP's power elite, has joined the critics of ODP in supporting this assertion. To wit:

 * "If you think ODP is apolitical, you are wrong. Not only have people been removed for speaking/acting/editing counter to ODP politics, but many have been removed for their stance on "real world" politics. And yes, I have documentation."

DMOZ ex-editors list

Invisible Friend:
 *  << Also, perhaps you are so ignorant but you are widely known for your anti-ODP position and are likely to attract the attention of the majority of removed editors and likely had contact with them. Even if one would expect that only 10% had contact with you this is still too few to qualify as the "vast majority" >>

Now who's making hasty generalizations? Perhaps I am widely known for my "anti-ODP position" among the circles you travel in, but most former ODP editors who join XODP only become aware that such a group exists *AFTER* they have been kicked out of ODP. Until that time, most people are blissfully unaware of the fact that ODP even has any critics. -- NetEsq 13:59 25 Jul 2003 (UTC)

 * What's the point of this paragraph? I cleared stated that I talked about ex-editors and according to your words you accept that most become aware of your group "*AFTER* they have been kicked". Note that I may have misunderstood you, but it seemed to me you wanted to say this without "who join XODP" (otherwise this makes no sense for me).

 * Now please stop with this. You can't prove that it happens and we can't prove that it doesn't. Fact is that editors are supposed the receive warnings, which is neither implying that ODP intend to send them and nor that they do not, and fact is that it is claimed by ex-editors that this is not the case. As for how many claim that I think we should use Liftarns suggestion from above and remove any implication of numbers here also. -- The "Invisible Friend" 16:01 25 Jul 2003 (UTC)

 * I'm all for ending this point/counterpoint discussion. Perhaps Alpdpedia could suggest a rewrite for this section of the article that would end our ongoing debate. -- NetEsq 17:46 25 Jul 2003 (UTC)

Moved from ODPSS, which has been redirected to this talk page:

ODPSS is an acronym for Open Directory Project Suicide Syndrome and is a term applied to editors at Open Directory Project who are abusive, rude, and/or insulting in forum threads, something which eventually leads to them either resigning or being removed.

Do we really need a separate article for this obscure piece of ODP trivia? -- NetEsq 20:39, 31 Jul 2003 (UTC)
 * No, we don't. Wikpedia is not a dictionary; adding definition pages for the slang of every group and subculture on the planet is highly discouraged. -- Stephen Gilbert 20:02, 1 Aug 2003 (UTC)

Work on this section seems to have stalled; let's get things moving again. Does anyone have any further objections to the uncontested facts and the claims of ODP supports and critics? Are there any important points missing? If so, please say so. If not, we need someone to start rewriting this section using the characterization of the disput as a base. -- Stephen Gilbert

controversial?
Editor Removal Procedures are very controversial" According to who?

 * According to the various editors who have told their stories at the XODP Yahoo! eGroup, the ODP Editor Resource Zone, and various other forums where their complaints are quickly squelched. -- NetEsq 15:50, 20 Nov 2003 (UTC)

 * Ok, add that then" "According some ex-editors (source?) the removal procedures are very controversial..." // Liftarn

 * ODP's editor removal procedures are, in fact, controversial, and reporting the fact that a controversy exists is not a POV claim. What makes these procedures controversial is the fact that many people, most of whom are former editors, complain about them. -- NetEsq 16:32, 21 Nov 2003 (UTC)

Liftarn - would you consider "controversial" more accurate than "very controversial"? Martin 01:54, 22 Nov 2003 (UTC)

 * It would probably be better if it was written in a more matter-of-fact tone such as "are often criticized by former editors". // Liftarn

 * Well, that's an option: we could say that "the removal procedures are frequently criticised by former editors" - NetEsq - does that express what you want to express with that text? Martin 19:43, 9 Dec 2003 (UTC)

That would not be an accurate representation of the controversy. When I was an ODP editor, I observed many editors speaking out against ODP's editor removal procedures in the private ODP editor forums because they perceived these procedures to be arbitrary, capricious, and opaque. Some critics quieted down and took their criticism underground; some (like myself) did not. Moreover, as I noted above, criticism of ODP comes from a wide variety of sources, and would be coming from many current ODP editors, but for the fact that current editors quickly become former editors when they criticize ODP. In the final analysis, attributing criticism of ODP to disgruntled former editors is simply a pretext for whitewashing the controversy surrounding ODP. -- NetEsq 20:11, 9 Dec 2003 (UTC)

 * Ok, how about simply saying "the removal procedures are frequently criticised" - would that be an acceptable compromise to you both? Martin 23:40, 9 Dec 2003 (UTC)

Acceptable to me, as a compromise. -- NetEsq 22:17, 10 Dec 2003 (UTC)

Sounds fine to the third one, too ;-) User:gestumblindi 22:23, 12 Dec 2003 (CET)

 * splendid. :) Martin 15:31, 13 Dec 2003 (UTC)

 * Can we change that wording now? (liftarn?) User:gestumblindi 00:12, 17 Dec 2003 (CET)

 * To "the removal procedures are frequently criticised"? Sounds OK, but what is the full text? // Liftarn

 * I simply changed "are very controversial" to "are frequently criticised" for the time being. User:gestumblindi 03:10, 18 Dec 2003 (CET)

 * Ok, it may be against Avoid weasel terms (who criticizes?), but it's clearly an improvement over the current text. // Liftarn

title: Talk:DMOZ/Editor removal


text:
Hans-Peter Zimmer

Hans-Peter Zimmer (23 October 1936 - 5 September 1992) was a German painter and sculptor. He was born in Berlin and studied at the Academy of Fine Arts, Munich.

He formed Gruppe SPUR in 1957 with the painters Heimrad Prem, Helmut Sturm and the sculptor Lothar Fischer. After a joint exhibition at the Pavillon im Alten Botanischen Garten in Munich, they met the Danish artist and philosopher Asger Jorn, who linked them up with the Galerie Van de Loo which exhibited them.

In 1959 the group joined the Situationist International. In 1961 they were banned from the Haus der Kunst (House of Art) by the Bavarian Minister of Culture. In 1962 they were indicted for pornography and blasphemy. They were expelled from the Situationist International that year.

The group SPUR broke up in 1966. In the same year, Zimmer and Helmut Sturm founded Gruppe Geflecht, but Zimmer lost interest in the group activities soon and started a solo career. He completed studies in Hamburg and München. In 1982, he began work as a professor for painting at the HBK Braunschweig. He died in Soltau.

title: Hans-Peter Zimmer


text:
Bob Tisdall

Robert Morton Newburgh Tisdall (16 May 1907 in Nuwara Eliya, Ceylon – 27 July 2004 in Nambour, Queensland, Australia) was an Irish athlete who won a gold medal in the 400-metre hurdles at the 1932 Summer Olympics in Los Angeles.

Tisdall was raised in Nenagh, County Tipperary. He had run only six 400 m hurdles when he won the gold medal at the 1932 Olympic Games in a world record time of 51.7 seconds, which was not recognised under the rules of the time because he had a hit a hurdle. Later, because of the notoriety of this incident, the rules were changed and the President of the IOC, Juan Antonio Samaranch, presented Tisdall with a Waterford crystal rose bowl with the image of him knocking over the last hurdle etched into the glass. Though the IAAF did not recognise the record at the time, they now recognise the mark, giving Tisdall credit for setting the milestone of being the first man under 52 seconds.

Early career
Born in Sri Lanka to a family of Irish landed gentry, he lived on his father's plantation until the age of 5, when he returned to his family's home in Ireland. Following prep school at Mourne Grange, Tisdall went on to Shrewsbury School, where he won the Public Schools 440 yd, and at Gonville and Caius College, Cambridge, where he won a record four events – 440 yd and 120 yd hurdles, long jump and shot put – in the annual match against Oxford. This record was only equalled nearly 60 years later. Tisdall had a chance to compete in five events, but selected Ted Cawston to run for him in the 220 yd low hurdles so that Cawston could receive his "blue". Cawston justified his selection by winning the event that Tisdall had won the previous two years.

Tisdall set South African and Canadian records in the 220 yd low hurdles in 1929, a year later setting Greek records in the same event. While at Cambridge in March 1932, he decided to try for a place in the Irish Olympic squad and after he ran 54.2 seconds (a record) for the Irish Championship 440 yd hurdles in June that year, the authorities agreed to let him run in his new event at the Los Angeles Olympics, where he also came eighth in the decathlon.

Olympics
In 1928, Ireland, as an independent nation, had won its first Olympic gold medal at Amsterdam with Dr Pat O'Callaghan's unexpected victory in the hammer event. At the time he was barely out of the novice class and he had been included in the Irish Team mainly to gain experience of top-class competition. Over the years, he was to develop into one of the world's greatest hammer-throwers and he demonstrated this by winning his second Olympic gold medal at Los Angeles in 1932.

This in fact brought a very special moment in Olympic history for Ireland. Within the short space of an hour Ireland won two Olympic gold medals on Monday, 1 August 1932. The first was won by Tisdall.

His father won the All-Irish Sprint Championship; his mother played hockey for Ireland and was a formidable golfer. His Olympic victory had the "element of a fairy tale about it", as one commentator put it.

Tisdall had, in the midst of The Depression, what he describes as "the best job in the world", as an aide to a young Indian Maharaja, escorting him around Europe, showing him the cultural and natural sights. To pursue his Olympic dream, Tisdall had to leave this job and live in a disused railway carriage in an orchard, where he trained by running around the rows of trees. Early in 1932, he wrote to General Eoin O'Duffy, then the President of the Olympic Council of Ireland, and asked to be considered for the Irish Olympic Team in the 400 metres hurdles and he also confessed that he had not previously run in the event.

O'Duffy was convinced that Tisdall could achieve a good time and later invited Tisdall to compete in a special Olympic trial at Croke Park in Dublin. Tisdall failed to make the qualifying time, but O'Duffy gave him another chance and Tisdall qualified for the Irish Team by winning the National 440 yd hurdles title at the Irish Championships, also at Croke Park. At the team training camp, Tisdall discovered that there were no hurdles, so he collected driftwood from the beach and set up some crude hurdles on the greyhound racing track. This took him much of the morning, but just when he was ready to hurdle, someone activated the mechanical rabbit, which sped around the track rail, promptly knocking all the makeshift hurdles over. Finding out that there were hurdles available at a local girls' school, Tisdall cycled there and back each day, to use the hurdles, as the students were on vacation.

After winning his preliminary Olympic heat in Los Angeles, Tisdall equalled the Olympic record of 52.8 seconds in the semi-finals. As this was only the fifth time he competed at this event, Tisdall says: "I said to myself, 'Well, you've run in the semi-finals and equalled the Olympic record; Bob, you're really getting the hang of this!"

Then in the final, despite stumbling at the final hurdle, he won the Olympic gold medal in 51.7 seconds which would have been a world record but for the fact that he had knocked over the last hurdle, and under the laws prevailing at the time, this ruled out recognition of a world record. It is worth noting that four Olympic hurdles champions appeared in that one race.

"At that moment I experienced a strange feeling of loneliness—everything was strangely quiet—I began to wonder if the rest of the field had fallen over" – Bob Tisdall, approaching the final hurdle of the 1932 Olympic Games 400 m hurdles final, five meters ahead of the field.

After his victory, Tisdall was invited to a dinner in Los Angeles where he was seated next to Amelia Earhart on one side and Douglas Fairbanks, Jr. on the other.

Because of the wide reporting of Tisdall's failure to clear the hurdle causing him to lose the record, people are still confused about the current state of the rules of hurdling, even though the rule was changed shortly thereafter.

In 2002, three statues honouring Olympic champions with links to Nenagh, Matt McGrath, Johnny Hayes and Bob Tisdall, were unveiled in front of the Nenagh Courthouse.

Later life
Later in life, Tisdall lived in South Africa, where he ran a gymnasium during the day, which he converted to a night club after dark. He grew coffee in Tanzania, but moved to Nambour in 1969 with his wife Peggy, where he farmed fruit crops and cattle. He admitted to running his last race at the age of 80, though he ran in the Sydney Olympic torch relay at age 93. At that point he was the oldest living recipient of an individual track and field Olympic medal.

At the age of 96 he fell down a steep set of rock stairs and broke his shoulder, ribs and ruptured his spleen. He never completely recovered and died on 27 July 2004, aged 97. At that time, he was the world's oldest track and field Olympic Gold medalist.

Tisdall did not want a funeral, because "they are altogether too sad." His wake was attended by family and a few friends.

title: Bob Tisdall


text:
Cup of Solid Gold

"Cup of Solid Gold" was the first official national anthem of China, adopted by the Qing dynasty (1644–1912) on 4 October 1911. Its title references the "golden cup", a ritual instrument that symbolized the empire. Six days after the anthem's adoption, the Wuchang Uprising broke out, and quickly led to the fall of the Qing dynasty.

Background

Dynasties in Chinese history used music for various ceremonies, but never had official anthems representing the country. By the end of the nineteenth century, however, Qing China was constantly in contact with foreign countries and started to require a national anthem "for diplomatic convenience".

Qing diplomats were one of the first to suggest adopting an official anthem. Zeng Jize (1839–1890) – eldest son of statesman Zeng Guofan – was the Qing envoy to France, Britain, and Russia for several years starting in 1878. Around 1880, he composed a song called Pu Tian Yue to be played as China's anthem in various state ceremonies and suggested the Qing adopt it as its official anthem, but the court did not approve. That song's lyrics and melody have both been lost for a very long time. However, an instrumental version of the anthem has been found and a part of what is seemingly the lyrics.

When Li Hongzhang (1823–1901) visited Western Europe and Russia in 1896 as a special envoy charged with learning about foreign institutions after the disastrous end of the Sino–Japanese War in 1895, he was again asked to provide China's national anthem for performance at state receptions. He hastily adapted some court music to a slightly modified jueju poem by Tang dynasty (618–907) poet Wang Jian and presented that song as the Qing anthem. That song later became known as the Tune of Li Zhongtang, but was never officially recognized as a national anthem.

Another unofficial anthem was written for the new Qing ground forces that were established in 1906. Entitled Praise the Dragon Flag, it was played on ceremonial occasions, but like the songs promoted by Zeng Jize and Li Hongzhang, was never officially adopted as the Qing national anthem.

A Chinese version of the Japanese national anthem Kimigayo (adopted by the Meiji regime in 1888) was played in the new-style schools that taught modern topics like science and engineering. The Chinese lyrics – "To unify old territories, our ancient Asian country of four thousand years sighs in sorrow for the Jews, India, and Poland. Reading the history of those who have lost their countries, we shiver in our hearts!" – emphasized the Social Darwinist themes of ethnic crisis and loss of national territory, but many considered these too far from the usual themes of ceremonial music to be acceptable.

The Cup of Solid Gold
On 25 January 1911, an official from the Ministry of Rites called Cao Guangquan (曹廣權／曹广权) petitioned the Qing court to adopt a stately "national music" (guoyue 國樂／国乐) that could be performed at court ceremonies. He proposed that officials collect both ancient music and examples of state music from abroad and, on that basis, design an anthem for the Qing. The Ceremonial Council (Dianliyuan 典禮院／典礼院), which had just replaced the Ministry of Rites, responded on 15 July of that year. It put Putong (溥侗) (1877–1950) — a Manchu noble and direct descendant of the Daoguang Emperor who served in the Imperial Guard — in charge of writing the melody, whereas Yan Fu (1854–1921), a translator of European scientific and philosophical treatises and an advisor to the Qing Navy, was charged with writing the lyrics. Guo Cengxin (郭曾炘), who had worked for the Ministry of Rites, made some minor modifications at the end.

The Qing government adopted Gong Jin'ou as its national anthem on 4 October 1911. The edict announcing the new anthem, and sometimes even the anthem's music and lyrics, were published in newspapers, and the court instructed the Navy and Army to practice the song, which was also transmitted to China's ambassadors throughout the world. However, the Wuchang Uprising took place on October 10 (six days after the anthem was promulgated) and quickly led to the fall of the dynasty. The foundation of the Republic of China was announced for 1 January 1912, and the last Qing emperor officially abdicated a little more than a month later. Gong Jin'ou was never performed publicly.

Title
Ou (甌) was a kind of wine vessel. Jin'ou (金甌／金瓯), or golden wine vessel, symbolized an "indestructible country". The Qing emperor used such a vessel for ritual purposes. Inlaid with pearls and gems, it was known as the "Cup of Eternal Solid Gold" (Jin'ou Yonggu Bei 金甌永固杯). Because gong 鞏 means "to consolidate" or "to strengthen," the entire title may be translated as "strengthening our hold on the golden cup."

Yan Fu, who wrote the lyrics, glossed the title and first line of the anthem as "Firm and stable be the 'golden cup' (which means the empire)."

Music
The person who was nominally put in charge of the anthem's music was Putong, an imperial relative. Aided by assistants in the Imperial Guard, he composed the music based on the models found in the Complement to the Treatise on Pitch Pipes (Lülü Zhengyi Houbian 律呂正義後編／律吕正义后编; 1746), an imperial compilation that complemented a much shorter 1724 work on ceremonial music commissioned by the Kangxi Emperor.

Lyrics
The lyrics, composed by Yan Fu, are in Classical Chinese.

In the second line, tian chou 天幬／天帱 (literally, the "canopy of Heaven") referred to the Mandate of Heaven, which a legitimate dynasty was supposed to represent. Tongpao 同袍 (lit., "sharing the same robes"), an allusion to a verse in the Book of Poetry, meant "sharing the same goals and loyalties" or being part of the same army. In modern transcriptions of the lyrics, that phrase is often miswritten as tongbao 同胞 ("compatriot"), a term with racial connotations that the Manchu nobles who ruled Qing China purposely wanted to avoid.

Answering a request transmitted by George Ernest Morrison, on 16 March 1912 Yan Fu wrote to British Foreign Secretary Edward Grey to explain the Qing anthem, and ended his letter with a rough translation of the lyrics: Firm and Stable be the "golden cup" (which means the empire) domed by the Celestial concave. In it, men and things happily prosper. Glad are we who live in the time of Purity. May Heaven protect and secure us from enemies and help us to reach the truly golden age! Oh! The Blue firmament is infinitely high and the seas flow everlastingly.

The character qīng 清 that Yan rendered as "Purity" was also the name of the Qing dynasty.

title: Cup of Solid Gold


text:
User:Fuzheado/playpen

Items to work on:

Japanese Canadian Internment http://www.lib.washington.edu/subject/Canada/internment/intro.html

Civil Liberties Act of 1988

title: User:Fuzheado/playpen


text:
National University of Ireland

The National University of Ireland (NUI) (Ollscoil na hÉireann)  is a federal university system of constituent universities (previously called constituent colleges) and recognised colleges set up under the Irish Universities Act 1908, and significantly amended by the Universities Act, 1997.

The constituent universities are for all essential purposes independent universities, except that the degrees and diplomas are those of the National University of Ireland with its seat in Dublin.

In post-nominals, the abbreviation NUI is used for degrees from all the constituent universities of the National University of Ireland.

History
Queen's Colleges at Belfast, Cork, and Galway were established in 1845. In 1849 teaching commenced and a year later they were united under the Queen's University of Ireland. The Catholic University of Ireland was created as an independent university on 3 November 1854 for the education of Catholics; that university was not a recognised university and did not offer recognised degrees. In 1880 the Royal University of Ireland took over the degree awarding functions of the two former universities and offered recognised degrees to the graduates of the new University College Dublin and St Patrick's College, Maynooth, previously awarded under the Catholic University. The Catholic University became University College Dublin in 1882 under the direction of the Jesuits. In the 1890s its students achieved more distinctions than their counterparts in Belfast, Cork, and Galway, which had been originally established as secular institutions.

The 1908 reforms created the National University of Ireland and a separate Queen's University of Belfast. The Royal University was dissolved in 1909, and in 1910 Maynooth became a recognised college of the NUI. Initially the National University, unlike the Royal University, did not award degrees for part-time or external students. Similarly to the Royal University, however, the National University was still banned from awarding degrees in Theology.

In 1975 the teacher training colleges of Carysfort College, Blackrock, St Patrick's College, Drumcondra and Mary Immaculate College, Limerick became recognised colleges of the NUI. During 1976 and 1977 Thomond College of Education, Limerick was a recognized college of the NUI, also. In 1978 St. Angela's College, Sligo became affiliated to the NUI.

In 1996 the National College of Art and Design became a recognised college of the NUI. The 1997 reforms restructured the National University of Ireland, and an additional university at Maynooth was created from certain faculties of the previous recognised college, St Patrick's College, Maynooth. These reforms also removed the prohibition on theology that had been imposed on the National University and its predecessors.

Legislative constituency
Since 1918 the university's graduates have formed a constituency in parliamentary elections. In 1918 it was formed as a constituency for the UK House of Commons. After the first election Eoin MacNeill abstained from Westminster and sat in the first Dáil. The NUI graduates elected four TDs (to Dáil Éireann) from 1921 until 1934 when the university constituencies were abolished by Fianna Fáil.

Under the Constitution of Ireland, adopted in 1937, the graduates of the university elect three members of Seanad Éireann (the senate). All graduates that are Irish citizens (regardless of living in the state or not) are entitled to vote if on the university's register of electors. An honorary degree does not give the entitlement to vote. The election is conducted by postal vote.

The most recent election was in 2020, for the 26th Seanad, and returned three independents: Alice-Mary Higgins, Michael McDowell and Rónán Mullen.

Governance
The governing body of the NUI is styled the Senate under its 1908 charter. Members are called "Members of the Senate" rather than Senators; "NUI Senator" refers to the members of Seanad Éireann elected by NUI graduates. The NUI Senate meets in the Phelan Room, called after Edward J. Phelan, who funded its refurbishment. The Universities Act 1997 increased the size of the Senate and devolved power from it to the constituent universities.

The NUI's Convocation comprises the Chancellor, the Vice-Chancellor, the Members of Senate, the Professors and Lecturers, and the Graduates of the University. Eight Members of the NUI Senate are elected by its Convocation, for terms of five years.

Chancellor
The chancellor is the notional head of the university, and constituent universities and recognised colleges have their own heads, who exercise most powers in practice. When the university was established in 1908 by Royal Charter, the first chancellor was appointed; all subsequent chancellors are elected by convocation, as set out in university statutes. The chancellor is elected by graduates and staff whenever there is a vacancy.

 * William Walsh (1908–1921)
 * Éamon de Valera (1921–1975)
 * T. K. Whitaker (1976–1996)
 * Garret FitzGerald (1997–2009)
 * Maurice Manning (2009–present)

University faculties
Within the university there is a common faculty structure in operation in the constituent universities. These ten faculties are: Agriculture; Arts; Celtic Studies; Commerce; Engineering & Architecture; Food Science & Technology; Law; Medicine & Health Sciences; Philosophy & Sociology; Science; and Veterinary Medicine.

Associated institutions of the University
The constituent universities are:
 * University College Cork
 * University College Dublin
 * University of Galway
 * Maynooth University

The recognised colleges are:
 * Royal College of Surgeons in Ireland University of Medical and Health Sciences
 * Institute of Public Administration

Former recognised colleges, later colleges of constituent universities, are:
 * National College of Art and Design (1996–2011)
 * Shannon College of Hotel Management (2000–2015)
 * St. Angela's College, Sligo (1978–2005)

Other former recognised colleges, and their years of recognition, are:
 * Mary Immaculate College of Education, Limerick (1975–1994)
 * National Institute for Higher Education, Limerick (1976–1977)
 * Thomond College of Education, Limerick (1976–1977)
 * Our Lady of Mercy College, Carysfort (1975–1988)
 * Milltown Institute of Theology and Philosophy (2005–2015)
 * St Patrick's College, Dublin, formerly St Patrick's College of Education, Drumcondra (1975–1995)
 * St Patrick's College, Maynooth (1910–1997)

title: National University of Ireland