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Frank Soltis

Frank Gerald Soltis (born 1940), is an American computer scientist. He joined IBM Rochester in 1969, and is most well known for his contributions to the System/38 and IBM AS/400 architectures, in particular - the design of the single-level store used in those platforms, and the RS64 processor architecture. He retired from IBM in 2008 upon the merger of the System i and System p product lines into IBM Power Systems. Prior to his retirement, he held the title of Chief Scientist at IBM.

Career
In 1968, Soltis completed his PhD in electrical engineering from Iowa State University. His PhD dissertation was titled "Automatic Allocation of Digital Computer Storage Resources for Time-sharing".

In November 1968, he took a position with IBM in Rochester, Minnesota. Soltis led the design of the "Amazon" instruction set architecture, an extended version of the 64-bit PowerPC architecture; the Amazon architecture is implemented by the RS64, POWER4, and POWER5 processors used in the IBM iSeries and pSeries computers.

In the 1990s and early 2000s, in addition to his IBM responsibilities, Soltis served as an adjunct professor of electrical engineering at the University of Minnesota where he taught graduate courses on high performance computer design.

Soltis retired from IBM on December 31, 2008 after 40 years with the company.

In February 2009, Vision Solutions announced that Soltis had joined their Technology Advisory Board.

Soltis' By Design column appears in iPro Developer magazine. His books include Inside the AS/400 and Fortress Rochester, The Inside Story of the IBM iSeries.

Books

 * Soltis, Frank G. (1997). Inside the AS/400, Duke Press. ISBN 1-882419-66-9
 * Soltis, Frank G. (2001). Fortress Rochester: the Inside Story of the IBM iSeries, NEWS/400 Books. ISBN 1-58304-083-8

title: Frank Soltis


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User:Oscar alexander~enwiki

Blah.

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

title: User:Oscar alexander~enwiki


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User talk:Oscar alexander~enwiki

Test @ Sandbox. --Menchi 08:24, Aug 12, 2003 (UTC)

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title: User talk:Oscar alexander~enwiki


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Mengzi

Mengzi may refer to:

 * Mencius (孟子), 372–289 BCE, Chinese philosopher
 * Mencius (book), a collection of anecdotes and conversations of the philosopher Mencius
 * Mengzi City (蒙自), Yunnan, China

title: Mengzi


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Pixilation

Pixilation is a stop motion technique in which live actors are used as a frame-by-frame subject in an animated film, by repeatedly posing while one or more frame is taken and changing pose slightly before the next frame or frames. The actor becomes a kind of living stop-motion puppet. This technique is often used as a way to blend live actors with animated ones in a movie, such as in The Secret Adventures of Tom Thumb by the Bolex Brothers. Early examples of this technique are Hôtel électrique from 1908 and Émile Cohl's 1911 movie Jobard ne peut pas voir les femmes travailler (Jobard cannot see the women working).

The term is widely credited to Grant Munro (although some say it was Norman McLaren) and he made an experimental movie named "Pixillation", available in his DVD collection "Cut Up – The Films of Grant Munro."

Films

 * Norman McLaren's Oscar-winner Neighbours, A Chairy Tale (1957) and Two Bagatelles
 * Chuck Menville and Len Janson's trilogy of pixilated short films Stop Look and Listen – 1967, Blaze Glory (1968) and Sergeant Swell of the Mounties (1972), along with their sequence in Daffy Duck and Porky Pig Meet the Groovie Goolies (1972)
 * Mike Jittlov's short The Wizard of Speed and Time (1979). Jittlov made a feature film with many pixilation sequences, also titled The Wizard of Speed and Time (1989), based on the making of the original short.
 * Monsieur Pointu (1975)
 * Jan Kounen's Gisele Kerozene (1989)
 * Tetsuo: The Iron Man (1989)
 * Bolex Brothers' The Secret Adventures of Tom Thumb (1993)
 * Numerous Jan Švankmajer movies, but most notably Food (1992) and large sections of Conspirators of Pleasure (1996).
 * Michael Langan's Doxology (2007)
 * Luminaris, a short film by Juan Pablo Zaramella (2011)
 * Western Spaghetti and the Academy Award-nominated Fresh Guacamole (2012) by PES utilize pixilation.

Television shows

 * Angry Kid
 * Sesame Street (Milo Counting, Ordering a Pizza, George the Farmer)
 * The Goodies
 * Rex the Runt
 * The Flash (1990 TV series)

Music videos

 * "All the Way to Heaven" by Doug E. Fresh and The Get Fresh Crew
 * "And She Was" by Talking Heads
 * "Baby C'mon" by Stephen Malkmus
 * "Be Near Me" by ABC
 * "Big Time" by Peter Gabriel
 * "The Box" by Orbital
 * "Bridge to Your Heart" by Wax
 * "Cold" by Tears for Fears
 * "Consolation Prizes" by Phoenix
 * "End Love" by OK Go
 * "The End of the World" by The Cure
 * "Every Teardrop Is A Waterfall" by Coldplay
 * "Fix" by Jean-Paul De Roover
 * "The Hardest Button to Button" by The White Stripes
 * "Heard 'Em Say" by Kanye West
 * "Hello Again" by The Cars
 * "Her Morning Elegance" by Oren Lavie
 * "I Stay Away" by Alice in Chains
 * "In Your Arms" by Kina Grannis
 * "Is That It" by Katrina & The Waves
 * "Lame Claim to Fame" by "Weird Al" Yankovic
 * "Last Dance" by George Clinton
 * "Les Tartines" by Sttellla
 * "Long Gone" by Fat City Reprise
 * "Ma Che Discorsi" by Daniele Silvestri
 * "Now You See Her" by Crash Test Dummies
 * "Paralyzed" by The Used
 * "Point of No Return" by Nu Shooz
 * "Rhythm of Love" by Yes
 * "Road to Nowhere" by Talking Heads
 * "Sex Machine" by The Fat Boys
 * "Shopping Trolley" by Beth Orton
 * "Sledgehammer" by Peter Gabriel
 * "Strawberry Swing" by Coldplay
 * "There There" by Radiohead
 * "Time Won't Let Me Go" by The Bravery
 * "Vermilion" by Slipknot

Quebec band Les Colocs and Michel Gondry used pixilation in many of their music videos.

Of note, "Leave Me Alone" by Michael Jackson utilises a variation on this technique by slowing down the frame rate of video and overlaying objects to achieve the distinctive pixilation look to great effect.

Others
The pixilation technique was also used for the opening of Claymation, Will Vinton's 1978, 17-minute documentary about his animation studio's production techniques, the first time the famous trademarked Claymation term was used, now a term synonymous with all clay animation.

The Czech animator Jan Švankmajer uses pixilation in most of his work; most notably Food.

Jan Kounen's Gisele Kerozene (1989), a short film that shows witches riding around a city on broomsticks, is another influential example of this technique.

Pixilation is also used in Andrew Huang's short video Fluxis.

An effect similar to pixilation can be achieved by dropping occasional frames from a conventionally recorded movie. While obviously easier than the stop-frame technique, this does not achieve the same quality.

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Andrology

Andrology (from ἀνήρ, anēr, genitive ἀνδρός, andros 'man' and -λογία, -logia) is a name for the medical specialty that deals with male health, particularly relating to the problems of the male reproductive system and urological problems that are unique to men. It is the counterpart to gynecology, which deals with medical issues which are specific to female health, especially reproductive and urologic health.

Process
Andrology covers anomalies in the connective tissues pertaining to the genitalia, as well as changes in the volume of cells, such as in genital hypertrophy or macrogenitosomia.

From reproductive and urologic viewpoints, male-specific medical and surgical procedures include vasectomy, vasovasostomy (one of the vasectomy reversal procedures), orchidopexy, circumcision, sperm/semen cryopreservation, surgical sperm retrieval, semen analysis (for fertility or post-vasectomy), sperm preparation for assisted reproductive technology (ART) as well as intervention to deal with male genitourinary disorders such as the following: • Balanitis

• Carcinoma of the penis

• Cryptorchidism

• Epididymitis

• Epispadias

• Erectile dysfunction

• Frenulum breve

• Hydrocele

• Hypospadias

• Infertility

• Micropenis

• Orchitis

• Paraphimosis

• Penile fracture

• Peyronie's disease

• Phimosis

• Post-vasectomy pain syndrome

• Priapism

• Prostate cancer

• Prostatitis

• Retrograde ejaculation

• Seminal vesiculitis

• Spermatocele

• Testicular cancer

• Testicular torsion

• Varicocele

History
Unlike gynaecology, which has a plethora of medical board certification programs worldwide, andrology has none. Andrology has only been studied as a distinct specialty since the late 1960s: the first specialist journal on the subject was the German periodical Andrologie (now called Andrologia), published from 1969 onwards. The next specialty journal covering both the basic and clinical andrology was the International Journal of Andrology, established in 1978, which became the official journal of the European Academy of Andrology in 1992. In 1980 the American Society of Andrology launched the Journal of Andrology. In 2012, these two society journals merged into one premier journal in the field, named Andrology, with the first issue published in January 2013.

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Faye Wong

Faye Wong (王菲; pinyin: Wáng Fēi; born on 8 August 1969) is a Chinese-Hong Kong singer-songwriter and actress. Early in her career she briefly used the stage name Shirley Wong (王靖雯). Born in Beijing, she moved to Hong Kong at the age of 18. She debuted with the Cantonese album Shirley Wong in 1989 and came to public attention by combining alternative music with mainstream Chinese pop. Since 1994, she has recorded mostly in her native Mandarin.

One of the biggest pop stars in the Chinese-speaking world, Wong has also gained followings in Japan and Southeast Asia. In the West she is perhaps best known for starring in Wong Kar-wai's films Chungking Express (1994) and 2046 (2004). While she has collaborated with international acts such as Cocteau Twins, Wong has recorded only a few songs in English, including "Eyes on Me" (1999), the theme song of the video game Final Fantasy VIII (1999). Upon her second marriage in 2005, she withdrew from the limelight, though sporadically returned to the stage.

Wong is known to be a "diva with few words" in public, and has gained a reputation for her "cool" personality. In Encyclopedia of Contemporary Chinese Culture, Jeroen de Kloet characterised her as "singer, actress, mother, celebrity, royalty, sex symbol and diva all at the same time". In 2000, she was recognised by Guinness World Records as the best selling Cantopop female artist, having sold an estimated 9.7 million copies of her albums by March 2000.

1969–1987: Early life and career beginnings
Faye Wong was born at Peking Union Medical College Hospital in Dongcheng District, Beijing in the midst of the Cultural Revolution. Her father is Wang Youlin (王佑林), a mining engineer and second son of Wang Zhaomin aka Wang Molin (王兆民; 王墨林) (1901-1985), member of the Legislative Yuan of the Republic of China. Wang Youlin was parentally betrothed to Li Min (李珉), sister of Taiwanese writer Li Ao, but when Wang Zhaomin left for Taiwan by the Communist takeover, Wang Youlin, then a left-leaning college student, stayed in the Mainland and later wed Xia Guiying (夏桂影), a revolutionary music soprano with China Coal Mine Art Troupe, who would be Wong's mother. Wong has an elder brother named Wang Yi (王弋).

As a student, Wong already was involved in singing and attracted interest from several publishers. On occasions, the school had to hide her artistic activities from her strict mother, who as a professional saw singing as a dead-end career. Despite her mother's opposition, Wong released 6 low-cost cover albums from 1985 to 1987 while still in high school, all in the form of cassettes, mostly consisting of songs by her personal idol, iconic Taiwanese singer Teresa Teng. For the last of these early recordings, the producer Wei Yuanqiang chose the title Wong Fei Collection, intending to show that he recognised a distinctive talent in the teenager.

In 1987, after being accepted to Xiamen University to study biology, she migrated to Hong Kong to join her father, who had been working there for a few years. The plan was for her to stay there for a year to fulfill the permanent residency requirement, and go to a university abroad thereafter. However, since Wong did not know a word of Cantonese, the language spoken in Hong Kong, she experienced great loneliness. Following a brief modeling stint, she began taking singing lessons as a distraction with Tai See-Chung (戴思聰), an Indonesian-born Chinese who had gone to school in Mainland China and had previously tutored Hong Kong superstars Anita Mui, Andy Lau, Leon Lai and Aaron Kwok. With Tai's recommendation, the 19-year-old signed with Cinepoly Records after winning third place in an ABU singing contest in 1988. It was not only an unplanned move on the part of Wong, since her mother disapproved of a singing career, but also a risky move on the part of Chan Siu-Bo (陳小寶), Cinepoly's general manager, since Mainlanders were stereotyped as "backwards" in Hong Kong.

As a result, Cinepoly asked Wong to change her "Mainland-sounding" name to a "sophisticated" stage name Wong Jing Man. (Her English name was to be "Shirley".)

1989–1991: the Shirley Wong period
In 1989, her debut album Shirley Wong sold 25,000 copies and won her bronze at the "Chik Chak New Artist Award". Two more albums (Everything and You're the Only One) followed, similarly featuring many cover songs by artists from the US and Japan. They sold 10,000 copies each, despite relentless promotions by the company. Many in Hong Kong perceived her to be "backwards", lacking personality.

At the time, both Wong and her then-agent Leslie Chan (陳健添) were in conflicts with Cinepoly under Chan Siu-Bo's successor Lal Dayaram (林振業). Leslie Chan then sold Wong's contract for 2 million HKD to Taiwanese singer Lo Ta-yu. Under the arrangement of Lo, who founded Music Factory in 1990 (later becoming the Hong Kong subsidiary of Rock Records), Wong went to the United States for professional training at the end of 1991. She initially went to Los Angeles with plans to learn keyboards, but missed the class registration deadline. She then moved to New York, living with Wawa, another new artist signed by Lo, at the house of Lo's sister, Jennifer, in Flushing. Wong attended classes at the Barbizon School, the Martha Graham School and with personal singing tutors for about two months. In 1996, she explained New York's influence on her:

"I wandered around, visited museums and sat at cafes. There were so many strange, confident-looking people. They didn't care what other people thought of them. I felt I was originally like that too, independent and a little rebellious. But in Hong Kong I lost myself. I was shaped by others and became like a machine, a dress hanger. I had no personality and no sense of direction."

Even though Wong found the experience enlightening, her less than tactful communication led Lo to decide to end the contract with her by the time she returned to Hong Kong. The two never collaborated or shared the stage thereafter. With the help of her teacher Tai See-Chung, Wong found a new agent in Katie Chan (陳家瑛), who has remained her agent as well as her daughter's ever since.

1992–1995: Coming Home, No Regrets, 100,000 Whys, Random Thoughts, Mystery, Sky, Decadent Sounds of Faye and Di-Dar
The 1992 album Coming Home, the first release since her return from New York, prominently featured on the cover her new English name "Faye", a homophone to her given Chinese name, and the Chinese character "Jing", a reference to her hometown Beijing. From then on she changed her stage name back to "Wang Fei". Coming Home incorporated R&B influences and was a change in musical direction from the more traditional Cantopop fare of her earlier albums. Coming Home also included her first English-language number, "Kisses in the Wind". Wong stated in a 1994 concert that she very much liked this song, after which various websites listed it as her personal favourite; however, in a 1998 CNN interview she declined to name one favourite song, saying that there were too many, and in 2003 she stated that she no longer liked her old songs.

One of the songs on Coming Home, "Fragile Woman" (容易受傷的女人), a cover of a Japanese song "Rouge" originally composed by Miyuki Nakajima and sung by Naomi Chiaki, became Wong's first hit after being featured in the popular TVB drama The Greed of Man (1992). (Thanks to Wong's cover, this 1972 song—in different language versions—would in the early 1990s become a huge regional hit in Thailand, Vietnam, the rest of Southeast Asia and even Turkey; the most popular English version was titled "Broken-Hearted Woman".) The favourable reception of "Fragile Woman" led Wong to abandon her original plans to return to Los Angeles to continue her studies. Instead, she stayed in Hong Kong to build on her newfound success.

On February 1993, she wrote the Mandarin lyrics for her ballad "No Regrets" (執迷不悔) which led many to praise her as a gifted lyricist. In February, it became the title track to her album No Regrets. No Regrets features soft contemporary numbers, a few dance tracks and two versions of the title ballad: Wong's Mandarin version, and a Cantonese version (lyrics by Keith Chan). On September 1993, her next album 100,000 Whys showed considerable alternative music influences from the West, including the popular song "Cold War" (冷戰), a cover of "Silent All These Years" by Tori Amos. In 1992–93 she also appeared in TVB shows such as File of Justice II and Legendary Ranger.

Wong has named the Scottish post-punk group Cocteau Twins among her favourite bands, and their influence was clear on her next Cantonese album, Random Thoughts. Her Cantonese version of The Cranberries' "Dreams" was featured in Wong Kar-wai's film Chungking Express, and gained lasting popularity. Besides covering songs and learning distinctive vocal techniques, Wong recorded her own compositions: "Pledge" (誓言), co-written with her then-boyfriend (and later husband), Beijing rock star Dou Wei, as well as her first and only spoken-word song "Exit" (出路). The latter is a rare window into her outlook on life, including her worries about her future marriage with Dou, her conversion to Buddhism, her self-criticism, and her cynicism about the show business.

Besides two Cantonese albums in 1994, Wong released two other albums in Mandarin in Taiwan, Mystery and Sky, which propelled her to fame in the Mandarin-speaking world. The song "I'm Willing" (我願意) in Mystery would become her trademark Mandopop song till this day, and has been covered by other singers such as Gigi Leung, Sammi Cheng and Jay Chou. Sky was seen by fans as a successful amalgam of artistic experimentation and commercialism. While her hits in Hong Kong were noticeably alternative, her two Mandarin albums were more lyrical and traditional. Critics generally credit Taiwanese producer Yang Ming-huang (楊明煌) for their success.

With four best-selling albums in Cantonese and Mandarin, a record-breaking 18 consecutive concerts in Hong Kong, and a widely acclaimed film, Chungking Express (1994), Wong had established herself as a diva, or "heavenly queen" (天后) as she is commonly known in the Chinese world, by the mid-1990s. Meanwhile, her distaste for Hong Kong's entertainment industry and media environment only grew. She was frequently in touch with the Beijing rock scene, where Dou Wei was a leading light and whose influence distinguished her from the mainstream pop music in Hong Kong.

In 1995, she released Decadent Sounds of Faye, a cover album of songs originally recorded by her idol Teresa Teng (whose songs had been banned during Wong's formative years in mainland China for being "decadent sounds" from Taiwan). A duet with Teng was planned for the album, but she died before this could be recorded. Decadent Sounds sold well despite initial negative criticism, and has come to be recognised as an example of imaginative covering by recent critics.

Faye Wong and Dou Wei were the winner and the runner-up to the 1995 MTV International Viewer's Choice Award, with the music videos "Chess" and "Black Dream" respectively. In December, she released her Cantonese album Di-Dar which mixes an alternative yodelling style with a touch of Indian and Middle Eastern flavour. This album was a success, partly because it was so different from the mainstream Cantopop music, but—ironically—a couple of very traditional romantic songs topped the charts.

1996: Fuzao and Cinepoly extended plays
1996 saw the release of what many would consider her boldest and most artistically coherent effort to date, Fuzao, usually translated as Restless or Impatience. This was her last album with Cinepoly, and Wong felt she could take more artistic risks. The album contains mainly her own compositions, with an aesthetic inspired by the Cocteau Twins, who penned two original songs for the album, "Fracture" (分裂) and "Spoilsport" (掃興). As Wong had covered their work in 1994, she had established a remote working relationship with them—even laying down vocals for a special duet version of "Serpentskirt" on the Asian release of the group's 1996 album Milk & Kisses.

Although the album was Wong's personal favourite, the response from Hong Kong and Taiwan was less supportive. Many fans who enjoyed her previous three Mandarin albums turned their back on Restless, which they considered to be too alternative and self-absorbed. There were few ballads which were radio-friendly and some became disenchanted with her experimental style of recording. However, hardcore fans, known as Fayenatics, adored the album and it became a cult hit. Wong has not released another fully artistic album since. After the release, Wong became the second Chinese artist (after Gong Li)—and the first Chinese singer—to be featured on the cover of Time magazine.

From 1993 to 1995, Cinepoly released an EP of Wong's songs each year: Like Wind (如風), Faye Disc (菲碟) and One Person, Two Roles. Then in 1996–97, she recorded ten original songs in Cantonese, all written by lyricist Albert Leung and various composers, such as Wong Ka Keung, Adrian Chan and Chan Xiao Xia, before her departure from Cinepoly. After her contract with Cinepoly expired, the company released eight of these songs in the two subsequent EPs entitled Toy (玩具) and Help Yourself (自便). Although the EPs contained new songs—ballad hits like "Undercurrent" (暗湧), "Date" (約定) and "On Time" (守時)—and were welcomed by fans, they received lukewarm critical responses. The other two songs were included in later compilations; the last to be released was "Scary" (心驚膽顫) in 2002.

1997–1998: Faye Wong and Sing and Play
Wong signed for the recording giant EMI in 1997 after her first daughter was born, in a contract worth HK$60 million (approx. US$7.7 million), to release 55 songs in five albums. While most of her earlier albums were in Cantonese, Wong has since sung more in Mandarin, her mother tongue. Having gone through a period of experimentation, Wong stated that she wished to make "music that I like. I do not care if others don't, though I would be delighted if they do".

Her first album with EMI was Faye Wong (王菲 1997), released in autumn 1997. Critics expecting another artistic breakthrough after 1996's Restlessness found—much to their dismay—a much more inoffensive and commercially oriented musical album. Simon Raymonde and Robin Guthrie of the Cocteau Twins wrote two original compositions for the album, but only one, "The Amusement Park" (娛樂場), was used. This release included an acoustic cover of the Cocteau Twins' "Rilkean Heart", renamed "Nostalgia" (懷念).

This album is filled with feelings of lethargy, languor and disengagement, yet most of the tracks sound warm and sweet, as opposed to those piquant self-centered ones before her motherhood. Reporters noticed that she began to smile more often in public and was not as icy or aloof as before. However, the album was released during the Asian financial crisis which swept East and Southeast Asia. Wong's former company Cinepoly, which retains the copyright on her previous records, released a Mandarin compilation at the same time in 1997 to counteract her new EMI album (and indeed outperformed it). Later, Cinepoly would release two compilations each year to compete with Wong's new releases, a tactic which has come under fire from her international fans. Faye Wong did not sell well in Hong Kong, but did quite well in Taiwan and mainland China. Although Wong had garnered some popularity with her 4 previous Mandarin albums, it was really this sweet yet slightly alternative album which had the mainland Chinese audience listening. Her profile began to rise sharply in Asia.

In 1997, singer Na Ying signed with EMI and struck a lasting friendship with Wong. Na had been a regular at the annual CCTV New Year's Gala, the most-watched TV show in mainland China and the world, and she invited Wong to do a duet with her on the upcoming show in 1998. The collaboration by the "Mainland Diva" and "Hong Kong Diva", titled "Let's Meet in 1998" (相約一九九八), became an instant hit and arguably the most played song in mainland China that year. Thanks to this exposure, in late 1998 Wong finally held her first concert in her native mainland, and continued her tour in 9 cities.

Sing and Play was released in October, and contained four songs composed by Wong: the opening track "Emotional Life", "Face", "A Little Clever" and "Tong" (both written for her daughter, the latter produced by Dou Wei). Amongst other songs were "Give Up Halfway" (sung both in Mandarin and Cantonese), which was one of the more commercially successful tracks from the album, along with the successful ballad "Red Bean" (紅豆).

It was the best selling Chinese album in Singapore in 1999. Together with Lovers & Strangers and the compilation album Wishing We Last Forever, it gave Wong 3 albums in the Singapore top 10 selling Chinese albums of 1999, making her one of the best selling artists in Singapore in 1999. In Japan, the album sold close to 90,000 copies in the first three months after its release.

1999: "Eyes on Me" and Lovers & Strangers
The video game Final Fantasy VIII was released in Japan in February 1999, for which Faye Wong recorded the ballad "Eyes on Me" in English. It was the first time that a Japanese video game featured a Chinese singer for its theme. The "Eyes on Me" single sold over 335,620 copies in Japan and 500,000 worldwide, making it the best-selling video game music disc to that date, and winning "Song of the Year (Western Music)" at the 14th Annual Japan Gold Disc Awards. When the game was released in North America later that year, the theme song became very popular among gamers in the West; while it was not a mainstream hit there (as Wong had no desire to explore these markets), she gained many fans who were not previously familiar with her music.

In March, she held two concerts in Nippon Budokan, with tickets for the first show on 11 March being sold out in one day and an extra show added on 12 March; she was the first Chinese singer to perform in that venue. Earlier in the year, Pepsi-Cola had made Wong a spokesperson, and after these concerts she shot the promotional music video for "Spectacular" (精彩), which Pepsi used in commercials.

The album Lovers & Strangers was released in late September, and sold over 800,000 copies, topping the charts in Hong Kong, Mainland China, Taiwan, Singapore and Malaysia. This was her first album after parting from Dou Wei, and her first without any musical collaborations with him since their relationship began. The title track of the album was featured in Sylvester Stallone's remake of Get Carter. The entire album was penned by Albert Leung, who, like Wong, was suffering from a broken heart in his love life at the time. Buddhist philosophy has informed his lyrics since the album, originally as a way to console both Wong and himself. In 2022, Leung picked two of the songs, "Last Blossom" (開到荼靡) and "One Hundred Years of Solitude" (百年孤寂), as his all-time favorites over his prolific career. Wong also became a spokesperson for JPhone in October, 1999, performing in several commercials which aired in Japan. In addition, she began filming for 2046 in August, a project she would pursue on and off over the next few years when her schedule permitted.

2000–2004: Fable, Faye Wong and To Love
The new millennium saw a shift in Wong's musical career with the album Fable. The prominent feature of this album is its segregated and distinguishable halves—songs in the first half of the album running in an almost continuous manner and in a format that is akin to a song-cycle, and the second half of discrete, chart-friendly numbers. The album itself derives its artistic merits from the first half, notable for its unique thematic and continuous sequencing of songs unprecedented in the Chinese music industry. The theme itself is ambiguous and the lyrics subject to multiple interpretations, though it is quite certain that the theme of Fable forms the main thematic reference, derived from the motivic elements of the prince and princess in fables and fairytales of European origins. Elements of spirituality, metaphysics and Buddhism hold an important place in the lyrics as well, penned by Albert Leung who has by then, been unanimously identified as Wong's lyricist par excellence. Musically the arrangements display influences of drum and bass, electronica, east-west collage and lush string orchestral infusions. Her other activities during this year included the Pepsi promotional duet and music video of "Galaxy Unlimited" with Aaron Kwok, the filming of Okinawa Rendezvous, as well as several concerts in China and Taiwan.

By this time, Wong had forged a famous alliance with producer/musician Zhang Yadong and lyricist Albert Leung, often referred to as the 'iron triangle'. However, due to Zhang Yadong's unavailability during this period (he was engaged on other projects), Wong decided to treat this last album with EMI as an experiment whereby she would collaborate with new producers/musicians/lyricists and 'see what their vision of her will be'.

The response from the public and critics alike were lukewarm at best. Wong herself admitted that she was not totally satisfied with some tracks, namely those produced by Taiwan 'father of rock' Wu Bai, which had an industrial electronica flavour reminiscent of Karen Mok's album Golden Flower. She cited the two folk-style songs written by Singaporean singer-songwriter Tanya Chua as her favourite picks on her album. The song that generated most noise from the press turned out to be "Vertigo" (迷魂記), a ballad composed by her then-boyfriend Nicholas Tse. Tse claimed that his composition was originally for Singaporean singer Stefanie Sun; however, when the song went to Wong, Albert Leung crafted it as a love song between Wong and Tse from Wong's perspective. Leung followed this with a less known companion piece for Tse, "Angel in White"(白衣天使), from Tse's perspective. "Vertigo" is also Leah Dou's favorite song from her mother's body of work.

While she was under contract with EMI and later Sony, Wong performed in the ensemble movie 2046 which had been in production since 1999 and finally wrapped in 2004. She performed at benefit concerts, including ones that helped those who suffered from AIDS and SARS. She sang on tracks with other celebrities such as Tony Leung, Anita Mui, and Aaron Kwok. She also starred in a Japanese TV serial, Usokoi, and the film Leaving Me Loving You with Leon Lai.

The theme song for Usokoi, titled "Separate Ways", was released as a single; it was one of her few Japanese songs (another being "Valentine's Radio"). She recorded several other solo non-album tracks, such as the eponymous hit theme song to Hero and a Buddhist song containing similar sounds to some of her work on her album Fu Zao. In addition, she recorded a recitation of the Heart Sutra. Meanwhile, her former record companies released several more compilations and boxed sets of her records.

For her Sony album To Love, released in November 2003, she recorded 13 tracks, 10 in Mandarin and 3 in Cantonese. She wrote the music and lyrics for 3 songs, the title track "To Love" (將愛), "Letting Go" (不留), "Sunshine Baby" (陽寶), as well as the music for "April Snow" (四月雪). The three songs with her own lyrics stirred much speculation about their implications of her personal life, as she was in a love quadrangle with Nicholas Tse, Cecilia Cheung, Li Yapeng, though with Li unknown to the public then. "To Love," short for “To Love to the End" (將愛進行到底), the name of Li Yapeng's 1998 breakout show (also known in English as Eternal Love or Cherish Our Love Forever), describes love as a "war." She explained in an interview: "Love itself is not a war, but my love triggered a war. I'm referring to many things attached to love, such as utilitarian and conspiratorial elements, which involve sacrifices. The environment makes love very cruel." "Sunshine Baby," along with the song "MV" (short for "My Valentine") composed by Tse, is sometimes interpreted as her nostalgia for the relationship with Nicholas Tse, as "baby", or in Beijing dialect "baobei'er," was their term of endearment for each other. "Letting Go," especially in retrospect, is an overture to her then little known life decisions to leave Tse for Li, to leave Hong Kong for Beijing, and, as echoed by "Passenger" (乘客), a cover of Sophie Zelmani's "Going Home," to leave the entertainment business for a new family.

Before the album's release, her Cantonese song "The Name of Love" (假愛之名), with lyrics by Albert Leung, was banned in some areas such as mainland China because the lyrics mentioned opium. According to interviews, she said that she preferred the Mandarin version of the song (the title track); she had penned these lyrics herself, and they made no reference to drugs. The album became more successful than her previous self-titled album, both commercially and critically. Afterwards, she held numerous successful concerts for over a year. Faye Wong was awarded pan-Asian female artist of the year at the sixth CCTV-MTV Music Honors. At the 2004 Golden Melody Awards, she was awarded Best Female Artist after being nominated multiple times, delivering the now-famous acceptance speech: "I can sing songs. This I know. Now that Golden Melody judges have given me their approval, I approve of their approval."

2005–2009: Hiatus
In January 2005, during the last concert of her tour, the usually reticent Faye Wong said something that left her fans wondering: "If I ever retire from showbiz, I hope you all forget about me." In May 2005 her agent Katie Chan confirmed that Wong was "resting indefinitely". Two months later, Wong wed Li Yapeng in Xinjiang, with only a small marriage banquet held in Beijing, and their daughter Li Yan was born the following year.

In the four years that followed, Wong would not return, ignoring Live Nation's offer of 100m-HKD as well as the 3m-yuan offer for a once-in-a-lifetime opportunity to sing at the Beijing Olympics opening ceremony on her birthday, even though the Beijing native was the choice of over 63% netizens in a CCTV online poll. She did, however, come out to sing "Wishing We Last Forever" in May 2008 at a CCTV fundraising event for Sichuan earthquake victims, and "Heart Sutra" in May 2009 for a Buddhist ceremony at the Famen Temple.

In May 2009, Wong shot an ad for "Royal Wind" shampoo, sparking speculation that it would be the first step in her comeback. In June 2009, a compilation of 3 CDs and 1 DVD of her songs was released by Universal Music.

2010–present: Partial comeback
Wong made her comeback at the 2010 CCTV New Year's Gala, covering Li Jian's ballad "Legend" (傳奇). From October 2010 to June 2012, she embarked on her Faye Wong Comeback Tour 2010–2012 across Asia. Since then, Wong has sporadically released singles, mostly theme songs for Chinese movies. One of these songs is a duet with Alibaba co-founder Jack Ma titled “Feng Qing Yang” (風清揚), the theme song for Ma’s short film, Gong Shou Dao. She also attends fashion shows, shoots advertisements, and makes appearances in gala performances on national TV.

On 30 December 2016, Wong hosted her first concert in six years, "Faye's Moments Live 2016" (幻樂一場), at the Mercedes-Benz Cultural Centre in Shanghai, with a VR live webcast via the Tencent Video website watched by 20 million online audience. Her singer-songwriter daughter, Leah Dou, was part of the backing vocalists team. Wong performed several new songs at the concert, opening with "Dust" (塵埃), with her own lyrics comparing herself at this time to a particle of dust: "Blown up and dusted off. Inhaled and exhaled. No meaning, no direction. Don't want anything." She also rendered "Tong's Palace" (童殿), the Mandarin version of Leah's English song "The Way" with the Chinese lyrics by Albert Leung intended as a sequel to "Mortal World" (人間), Wong's song to Leah back in 1998.

However, the highly-anticipated concert received divisive reviews. Singer Gong Linna criticized Wong's "off-pitch" performance, while music critic Liang Huan accused her of using pre-recorded "live" vocals. Singer and producer Tiger Hu stated that Wong did go off-key during the VR live broadcast but explained that the audio fidelity was too high, which is why the stadium audience didn't complain as much as the online audience. Hu believed this highlighted the failure of the VR live broadcast and predicted that fewer singers would attempt it in the future. Nicholas Tse, Wong's boyfriend and the Greater China chairman of Digital Domain, who oversaw the VR live broadcast, defended her on social media, saying, "She sounds great on her own!"

In 2018, Wong participated in two variety shows, Hunan TV's PhantaCity (幻樂之城) and CCTV-3's National Treasure II (國家寶藏第二季). In May, 2020, she was one of the headliners for Alibaba's Believe In The Future, a three-day online benefit concert for Covid-19 frontline workers. In September, Wong hosted a karaoke live broadcast on the Alibaba-owned platform Youku, teaming up to sing a duet with Jack Ma near the end of the broadcast.

Vegetarianism
Wong used to be a vegetarian. In 2008 and 2011, she was named Asia's sexiest vegetarian woman by animal rights group PETA.

Social media
Wong used to be an active Weibo user under the name "veggieg," with a talkative, surprisingly funny presence online. The Weibo account has not been active since early 2015. Wong also has a private Instagram account under the name “feibeing.”

Religion
Wong has been a Buddhist since the early 1990s, releasing many Buddhist songs over the years. In 2011, Wong, in a Weibo post, associated the power of religion with the survival of a wooden Buddhist object in a fire in Shenyang earlier that year, inciting an online spat with Fang Zhouzi, a popular science writer who ridiculed her belief. In 2016, Wong, with some other celebrities, was warned by the Chinese government against fraternising with the Dalai Lama after attending a Buddhist assembly in India with members of the Tibetan government-in-exile.

Relationships
In the early 1990s, Wong had a relationship with Luan Shu, the bassist of the Beijing rock band Black Panther. The relationship prompted Dou Wei, the vocalist, to leave Black Panther in 1991. Wong then started dating Dou and, in June 1996, married him. Their daughter, Leah, was born on 3 January 1997, with the Chinese name Dou Jingtong meaning "child of Dou and Jing" (from Wong's stage name Jingwen). The baby's voice appears in the song "Tong" of the 1998 album Sing and Play and in the title track of the 1999 album Lovers & Strangers. Wong and Dou divorced in late 1999 with Wong claiming the rights to their daughter Leah and waiving child support.

Wong had an on-and-off relationship with Hong Kong star Nicholas Tse from 2000 to 2003. Wong‘s relationship with Chinese actor Li Yapeng became public in 2004; their wedding took place in July 2005, after which she took a long break from the entertainment business. In 2006, Wong gave birth to their daughter, Li Yan. On 13 September 2013, Wong and Li announced that they had divorced, with Li claiming the rights to their daughter Yan. In 2014, Wong and Tse rekindled their relationship.

Charities
In August 2006, Li Yapeng published a public letter, "Gratitude (感謝)", on his Sina.com blog, showing Wong and his gratitude towards all concerned parties, and confirming rumours their daughter, Li Yan, was born with a congenital cleft lip. He expressed their reason for seeking medical treatment in California: due to the severity of Li Yan's cleft, the special reconstructive surgeries she needed were not available in China. Citing a South American folk tale, Li described his daughter as a special child and her cleft as a mark of an angel. The couple has since established the Smile Angel Foundation to assist children with clefts.

On 26 December 2006, Wong made her first public appearance since 2005 at the foundation's inaugural fundraising ball. She opted not to speak or sing, but her new composition "Cheerful Angel" (愛笑的天使) debuted at the event as the official theme song of the charity. At the second fundraising ball on 8 December 2007, Wong sang an electronica-infused version of the Diamond Sutra for the event. For the foundation's publicity event on 27–28 November 2008, Wong and her husband visited children in Tibet who were in various stages of recovery after being cured with the help of the charity.

In May 2008, following the disastrous earthquake in Sichuan, the couple accepted a local girl who lost a leg trying to save her classmates, to their family as she underwent recuperation and treatments in Beijing. The middle school student returned to her hometown a year later. The Lis agreed to continue paying for her medical needs until she turns 22 and visit her at least once a year. In March 2012, the Smile Angel Foundation donated 15 million Japanese yen to ChildFund Japan to help needy children after the 2011 Tōhoku earthquake and tsunami.

In April 2010, the China Social Sciences Press recognised Wong as one of the 13 "richest souls" in China. In 2012, Smile Angel Foundation established China's first charity paediatric hospital in Beijing. In May 2013, Wong and Li topped the inaugural "China Celebrity Philanthropist List" compiled by the China Philanthropist magazine. On 19 May 2013, she sang four songs in a memorial concert celebrating Teresa Teng's 60th birthday, with a portion of the concert proceeds going to the charity.

Artistry
The focus of Faye Wong's concerts has always been on her vocal performance. She seldom dances or speaks to the audience, and there are generally no supporting dancers. There were two exceptions to the latter in the 1994–95 live concerts; first, many dancers joined her on stage for the lively song "Flow Not Fly". In the second half, Wong and a line of male dancers were menaced by a giant mechanical spider overhead during the song "Tempt Me".

Another trademark is her unconventional fashion on stage. Her 1994 concerts were memorable for dreadlocks and extremely long sleeves, as well as for the silver-painted tears. She later said "I wore long sleeves because usually I don't have choreography; I don't know what to do with my hands." Her 1998 concerts saw her sporting the "burnt" cheek makeup, the "Indian chief" look, and the soleless strap-on boots. At the start of her 2003 concerts her headgear was topped by an inverted shoe supporting a very long feather, and her makeup for that concert went through several changes of painted eye-shades.

She does not perform encores, and usually exits by sinking below the stage via a platform. After her release of Miyuki Nakajima's "Mortal World" (人間) in 1997, she ended her concerts for the next few years with this song while shaking hands with the audience, then taking a deep bow to a horizontal position before leaving the stage. However, during her Comeback Tour from 2010 to 2012, she ended with "Flower of Paradise" (彼岸花), a song from the album Fable (2000). She has also given concerts in North America, Australia and Southeast Asia.

Public image
Dutch scholar Jeroen Groenewegen credits Wong's mass appeal to some of her perceived "cool" traits including autonomy, unique artistry and childishness. Katie Chan, Wong's agent, once said "Faye does whatever she wants... it's really quite a miracle that she became a success."

Despite being a favorite target of media and paparazzi, Wong is known for giving terse, direct, and somewhat unexpected answers, if she responds at all, when asked questions. One of her many famous interactions with the media occurred at a 1999 press conference:

"Reporter: 'Has your divorce [from Dou Wei] been finalized?' Wong: 'What does it have to do with you?' Reporter: 'Our readers want to know.' Wong: 'Nothing to do with them either.' Reporter: 'But you're a public figure.' Wong: 'I'm a public figure so I have to tell you everything? Again, it has nothing to do with you and nothing to do with your readers.'"

Li Yan, Wong's daughter, was once photographed using a cell phone case featuring the meme of Wong saying, "What does it have to do with you?"

Wong's devil-may-care attitude is as apparent in her public image as in her love life. In 1994, during one of her many trips to Beijing to see Dou Wei—which already strained her relationship with her agency by distracting her from work—Hong Kong paparazzi from Next Magazine followed her and tracked her down. The photographs taken, showing her entering an unhygienic community toilet in a narrow hutong to dump urine—in sharp contrast to the modern and glamorous lives Hong Kong celebrities led—caused quite a stir, with some in Cinepoly fearing that her diva image would be tarnished. But many were impressed by what the diva would do for love, as Taiwanese lyricist Chien Yao, who initially declined to write lyrics for Wong because he never met and knew very little about her, recalled in 2012,

"It just happened that I took a business trip to Hong Kong and on the flight back, I saw that tabloid magazine with photos from Beijing, of her coming out in the morning carrying the chamber pot to dump in the public toilet ... That piece from the tabloid moved me ... Such a famous female celebrity, willing to do that, and she only had a 2-day break (from work), most of that time must have been spent traveling. Just to be with (him). So the first line (I wrote down) was, 'I'm willing to forget even my name'. Also 'running towards you', they all describe how I felt when I saw those pictures. That's how I wrote 'I'm Willing' (for Faye Wong)."Wong's relationship with Nicholas Tse, spanning over two decades, has become the stuff of popular romance and cemented her image as a woman dedicated to love. The two dated in the early 2000s, split in 2003, married and had children with other celebrities, divorced, and reunited in 2014 after an 11-year breakup. Their reunion, revealed by paparazzi photos of them kissing at Wong's Beijing apartment, caused a sensation but received mixed reactions. At a time when traditional media was declining and social media was on the rise, her reunion with Tse was welcomed by the media and other celebrities, but she faced considerable criticism on Weibo from conservative quarters for prioritizing love over family at her age and from Cecilia Cheung's fans. Not long after, she quit Weibo after having been one of the platform's most active celebrities for years.

Legacy
In 2004 and 2005, Faye Wong was ranked in the top five on the Forbes China Celebrity 100, as well as in 2011 and 2012 after her hiatus. In a 2011 "most popular celebrity in China" marketing study, she was also ranked in the top 5. In 2008, Wong was voted Asia's sexiest vegetarian woman in a poll run by animal rights group PETA. In 2009, to celebrate the 60th anniversary of the People's Republic of China, a government web portal conducted an online poll on The Most Influential Chinese Cultural Celebrity in the Past 60 Years; out of 192 candidates, Wong received over 7 million votes, second only to the deceased Teresa Teng from Taiwan, Wong's own personal idol. In 2014, she was named one of the 10 most admired female singers in Asia by RHA media. Chen Tao, a China Radio International DJ, compares Wong's influence in the Sinophone world to Madonna's in America: "She represents a certain era of pop music, a certain trend, and a vision of being unique."

Numerous artists have released works that paid tribute to her, including "(I Want to See) Faye Wong" by J Church, "Faye Wong" by Green Club Riviera, "Wong Fei, Gwanyu Nei Dik Mei" (王菲，關於你的眉) by my little airport, "Wang Fei de Hui Mou" (王菲的回眸) by YuFeiMen, I Love Faye Wong (我愛王菲), debut album of Maggie Chiang, and "We are Not Romantic in This Age" (在這個年代我們不浪漫) by Easy Weeds. Wong's songs have been covered in other languages, including "Meteor" (流星) in Japanese by Hanayo, "Chanel" (香奈兒) in Korean by Lim Hyung-joo, and "Red Bean" (紅豆) in Vietnamese by various artists. Lene Marlin's "Still Here" is an English cover of "I'm Willing" (我願意). China's 2007 spacecraft Chang'e 1 played Faye Wong's version of "Wishing We Last Forever" (但願人長久).

Japanese director Shunji Iwai had explained that the titular pop-star character of his 2001 film All About Lily Chou-Chou was conceived after attending a Faye Wong concert. Wong's name was also mentioned in the 2003 Japanese film The Blue Light as one of the protagonist's favourites. Hikari MitsushimaThe female protagonist in the 2013 Chinese film Beijing Flickers was prototyped after Wong, according to director Zhang Yuan. Zhang remembered when he shot his 1993 hit Beijing Bastards with Dou Wei, Wong as Dou's girlfriend would visit the set every day. Japanese singer-actress Hikari Mitsushima stated that Wong was her idol and muse; she performed Wong's Cantopop song "Dreams" at the 2024 Megaport Music Festival, in Kaohsiung, Taiwan.

Cantonese-language studio albums

 * Shirley Wong (1989)
 * Everything (1990)
 * You're the Only One (1990)
 * Coming Home (1992)
 * No Regrets (1993)
 * 100,000 Whys (1993)
 * Random Thoughts (1994)
 * Please Myself (1994)
 * Di-Dar (1995)
 * Be Perfunctory (2015)

Mandarin-language studio albums

 * Mystery (1994)
 * Sky (1994)
 * Decadent Sounds of Faye (1995)
 * Fuzao (1996)
 * Faye Wong (1997)
 * Sing and Play (1998)
 * Lovers & Strangers (1999)
 * Fable (2000)
 * Faye Wong (2001)
 * To Love (2003)

Setlists
The following setlists only include songs published in the concert albums, not all songs performed throughout the tours.

 * 夢遊
 * 1) 夢中人
 * 2) 多得他
 * 3) 無奈那天
 * 4) 靜夜的單簧管
 * 5) Medley:
 * 6) Miss You Night & Day
 * 7) Summer of Love
 * 8) 又繼續等
 * 9) Everything
 * 10) 不再兒嬉
 * 11) 從明日開始
 * 12) 明天我要嫁給你
 * 13) Medley:
 * 14) 天與地
 * 15) 用心良苦
 * 16) Medley:
 * 17) 如風
 * 18) 季候風
 * 19) 有一天我會
 * 20) 浪漫風暴
 * 21) Kisses in the Wind
 * 22) 流非飛
 * 23) 愛與痛的邊緣
 * 24) 知己知彼
 * 25) 胡思亂想
 * 誓言
 * 1) 誘惑我
 * 棋子
 * 1) 執迷不悔
 * 2) 容易受傷的女人
 * 冷戰
 * 1) 千言萬語
 * 出路
 * 1) 我願意

 * 1) Overture
 * 2) 感情生活
 * 浮躁
 * 悶
 * 暗湧
 * 1) 天空 (unplugged)
 * 臉
 * 迷路
 * 1) 夢中人
 * 夢遊
 * 1) 原諒自己
 * 末日
 * 墮落
 * 天使
 * 懷念
 * 1) 夢醒了
 * 2) 但願人長久
 * 情誡
 * 1) 一人分飾兩角
 * 2) 為非作歹
 * 3) Di-Dar
 * 曖昧
 * 1) Bohemian Rhapsody
 * 2) 你快樂 (所以我快樂)
 * 3) Auld Lang Syne
 * 約定
 * 償還
 * 1) 我願意
 * 2) 執迷不悔

 * 1) Overture
 * 2) 我願意
 * 3) 再見螢火蟲
 * 悶
 * 矜持
 * 1) Medley:
 * 2) 半途而廄
 * 3) 只愛陌生人
 * 4) 開到茶靡
 * 5) 過眼雲煙
 * 6) 流浪的紅舞鞋
 * 7) 新房客
 * 8) 香奈兒
 * 9) 感情生活
 * 掙脫
 * 1) 推翻 (unplugged)
 * 2) 你 (unplugged)
 * 3) 但願人長久
 * 天空
 * 1) Separate Ways
 * 天使
 * 1) Eyes on Me
 * 2) Thank You For Hearing Me
 * 人間

 * 1) Overture
 * 天空
 * 誓言
 * 1) Medley:
 * 2) 純情
 * 3) 背影
 * 4) 夢中人
 * 5) 流浪的紅舞鞋
 * 6) 我願意
 * 7) 假如我是真的
 * 8) 只願為你守著約
 * 9) 但願人長久
 * 10) 新房客
 * 11) 香奈兒
 * 將愛
 * 1) 開到荼蘼
 * 償還
 * 紅豆
 * 暗湧
 * 1) 光之翼
 * 悶
 * 1) Heart of Glass
 * 旋木
 * 1) 只愛陌生人
 * 2) The Look of Love
 * 如風
 * 1) 愛與痛的邊緣
 * 精彩
 * 1) Medley:
 * 2) 尾班車
 * 3) 靜夜的單簧管
 * 4) 守時
 * 約定
 * 1) 給自己的情書
 * 冷戰
 * 人間

 * 1) N/A (Not yet officially released)

Awards and achievements
! colspan=3 style="background: #DAA520;" | Top Chinese Music Chart Awards

! colspan=3 style="background: #DAA520;" | Golden Melody Awards

title: Faye Wong


text:
Beer in Serbia

Beer (пиво) is a popular beverage in Serbia.

History
The beer was first mentioned in the 15th century during the reign of despot Stefan Lazarević, as a new drink transferred from neighboring Kingdom of Hungary. It was cooked in households, taverns, and even in the residence of the despot. Its popularity rose several centuries later and industrial-scale production began in the mid-18th century.

Production, packaging and consumption
Serbian breweries produce 523 million liters annually, which place country as 43rd largest beer producer in the world. Serbia exports some 138 million liters annually, mainly to neighboring countries, such as Bosnia and Herzegovina (79 million L), Bulgaria (22.3 million L), Montenegro (12.7 million L), Hungary (12.4 million L) or Croatia (11.9 million L), and to a minor extent to countries where there is significant Serbian diaspora, such as the Germany, Austria, United States and Canada.

Beer for home consumption is mostly sold in 0.5-liter bottles of deposit type (reused) and 0.33-liter glass bottles, as well as cans. Most breweries began packing their product in plastic Q-pack bottles of 1.5, 2 or even 2.5 litres. In bars and restaurants, beer is either served in 0.33L or 0.5L bottles or as "draught" (točeno).

Serbia ranks 38th by beer consumption per capita, with 60 litres a year.

Breweries
There are three main breweries in Serbia which combined, control 95% of market share. These are: Apatin Brewery, Heineken Srbija and Carlsberg Srbija. The remaining of market share is controlled by domestic breweries Valjevo Brewery, BIP Brewery, Jagodina Brewery and Niš Brewery and 20 other minor breweries.

Most popular domestic brand is Jelen, followed by Lav. Some foreign brands are distributed, while some are produced locally under license (mostly by its respective brand owners).

Pale lager has been the traditional beer choice for Serbians, and dark lager, while being popular, is produced in smaller quantities. Some breweries produce kvass.

Brands

 * Domestic
 * Apatin Brewery (Jelen, Apatinsko, Jelen Cool, Jelen Fresh)
 * Čelarevo Brewery (Lav, Merak)
 * Novi Sad Brewery (Pils Plus, MB, Master)
 * Zaječar Brewery (Zaječarsko, Zaječarsko crno)
 * Valjevo Brewery (Valjevsko)
 * BIP Brewery (BIP, Bg)
 * Jagodina Brewery (Jagodinsko)
 * Niš Brewery (Niško)

 * Foreign
 * Apatin Brewery (Beck's, Stella Artois, Staropramen, Nikšićko)
 * Čelarevo Brewery (Carlsberg, Tuborg, Holsten)
 * Novi Sad Brewery (Heineken, Amstel)

Belgrade Beer Fest

Started in 2003, Belgrade Beer Fest is held annually over 3–4 days at the foot of Belgrade's Kalemegdan fortress as a showcase event for various beer producers. In addition to domestic and foreign brews at affordable prices, the festival features live music performances each evening. It has quickly grown in size and popularity. On 31 December 2005 British daily The Independent named it as one of the worldwide events to visit in 2006.

Dani piva
Dani Piva (Beer Days) is a beer festival in Zrenjanin, started in 1985, organised by the Zrenjanin Brewery (Zrenjaninska industrija piva).

title: Beer in Serbia


text:
Tītokowaru's War

Tītokowaru's War was a military conflict that took place in the South Taranaki region of New Zealand's North Island from June 1868 to March 1869 between the Ngāti Ruanui and Ngāruahine Māori tribes and the New Zealand Government. The conflict, near the conclusion of the New Zealand wars, was a revival of hostilities of the Second Taranaki War as Riwha Tītokowaru, chief of Ngaruahine, responded to the continued surveying and settlement of confiscated land with well-planned and effective attacks on settlers and government troops in an effort to block the occupation of Māori land.

The war, coinciding with a violent raid on a European settlement on the East Coast by fugitive guerrilla fighter Te Kooti, shattered what European colonists regarded as a new era of peace and prosperity, creating fears of a "general uprising of hostile Māoris", but once Tītokowaru was defeated and the East Coast threat minimised, the alienation of Māori land, as well as the political subjugation of Māori, continued at an even more rapid pace.

Tītokowaru, who had fought in the Second Taranaki War, was a skilful West Coast Māori warrior. He was also a priest and prophet of the extremist Hauhau movement of the Pai Mārire religion, reviving ancient rites of cannibalism and propitiation of Māori gods with a heart torn from the first enemy slain in a battle. Although Tītokowaru's forces were numerically small and initially outnumbered in battle 12 to one by government troops, the ferocity of their attacks provoked fear among settlers and prompted the resignation and desertion of many militia volunteers, ultimately leading to the withdrawal of most government military forces from South Taranaki and giving Tītokowaru control of almost all the territory between New Plymouth and Wanganui.

Tītokowaru provided the strategy and leadership that had been missing among tribes that had fought in the Second Taranaki War. His forces never lost a battle during their intensive campaign, but abandoned their resistance after being pursued into their headquarters in the swamps of Ngaere by Colonel George Stoddart Whitmore, commander of the colonial forces, on 24 March 1869, although Tītokowaru himself managed to escape.

Tītokowaru's apparent invincibility created a security crisis in 1868, with the government fearing attacks on Wanganui and Manawatu. Yet according to historian James Belich, his achievements were gradually watered down to the point where his name was erased from the most widely read New Zealand histories. Belich concluded: "As a result, the military crisis of which he was the principal architect—perhaps the greatest threat to European dominance in the history of New Zealand—has all but disappeared from the received version."

Cause and background of the war
The immediate cause of the war was the confiscation of vast areas of Māori land in Taranaki by the Government under the powers of the punitive New Zealand Settlements Act 1863. Surveying and settling of the confiscated land had begun in 1865 and Māori, weakened and intimidated by the bush-scouring campaigns of Major Thomas McDonnell and Major-General Trevor Chute in 1865–66, had accepted the loss of their land. Tītokowaru declared 1867 to be a year of peace and reconciliation and travelled among local tribes urging them to accept that the war was over. By mid-1868 colonists assumed the New Zealand wars were over and they were about to enter a long-awaited period of rapid progress.

But as settlers continued to move into the confiscated areas in early 1868, taking possession of greater areas of farmland, tribes faced the option of fighting to retain their cultivable land or starving. Tītokowaru, in response, began to mount campaigns of non-violent resistance to halt further incursions by white settlers. Members of his hapu removed survey equipment and destroyed fences and huts, then began harassing South Taranaki settlers with minor thefts of stock and property to persuade them to leave. On 9 June 1868, Ngāti Ruanui warriors escalated their campaign, shooting and tomahawking three settlers felling and sawing timber on the east side of the Waingongoro River, between Hawera and Manaia. Soon after, a member of the Armed Constabulary, the colonial regular army, was shot and mutilated by tomahawk near the Waihi Redoubt (at present-day Normanby). The upper part of his body was taken by Hauhau warriors to Te Ngutu o Te Manu, a village 16 km north of Hawera, where it was cooked and eaten. Tītokowaru issued a letter threatening that other pākehā intruders on the land would also be killed and eaten, warning: "I have begun to eat the flesh of the white man... My throat is continually open for the eating of human flesh by day and night."

The 9 June killings signaled a resumption of war and McDonnell was recalled from Wanganui. He gained approval from the Defence Minister, Colonel Theodore Haultain, to enlist 400 men, including 100 Wanganui Māori, for three months' service. The companies were hastily drilled for the campaign and the garrison at Waihi reinforced by Rifle Volunteers from Wellington.

Turuturu-Mokai Redoubt
Tītokowaru's first major clash with the colonial forces occurred on 12 July 1868 and, in a portent of things to come, it proved disastrous for his enemy. In a move Belich claims was designed to provoke McDonnell and lure him to a battle at a place of Tītokowaru's choosing, 60 warriors from the Ngaruahine hapu, along with Imperial Army deserter Charles Kane, launched a pre-dawn raid on the dilapidated Turuturu-Mokai Redoubt, 2.5 km north of Hawera and 5 km from the main army camp at Waihi Redoubt, killing 10 and wounding six of the 25 Armed Constabulary garrisoned there. Tītokowaru remained at Te Ngutu o Te Manu during the battle. The redoubt was small, about 20 metres square, built on low ground and was protected by crumbling parapets only 1.5 metres high and a trench 1.8m deep. The hearts of two of the Constabulary soldiers were cut from their bodies by Māori warriors, prompting McDonnell to make the dramatic gesture of kissing the blade of his sword and vowing, "I shall have revenge for this."

Te Ngutu o Te Manu
On 21 August McDonnell crossed the flooded Waingongoro River with a column of 350 men to retaliate against Tītokowaru. His force comprised three divisions of Armed Constabulary, Wellington Rangers, Wellington Rifles, Taranaki Volunteer Militia, Patea Yeomanry Cavalry and a number of unenlisted volunteers. McDonnell marched through dense rata forest to reach Te Ngutu o Te Manu, which he had last visited in May and was surprised to find a new palisade in front of the village. He split his force into two sections to storm the palisade from the front and circle it from the left to enter near the rear. The raid was a modest success, with his troops capturing weapons and ammunition and burning part of the village, most of whose inhabitants were out hunting for food. McDonnell's troops were forced to retreat under heavy fire as Māori returned, regrouped in the bush and pursued them to the Waingongoro River. McDonnell's casualties were four men killed and eight wounded.

Less than three weeks later, on 7 September 1868, McDonnell returned to the Ngāti Ruanui heartland, this time determined to skirt Te Ngutu o Te Manu and first strike at another village to the east, Ruaruru, before returning to Te Ngutu. The plan went awry when his column of 360 men became disoriented in the forest, missing Ruaruru and approaching Te Ngutu from the north. Shots fired at the occupants of outlying huts warned Tītokowaru of the direction of McDonnell's approach, giving the chief time to organise his defence. He remained in the pā with 20 men and sent the remaining 40, in small groups, to hidden rifle pits in bush surrounding a clearing that led to the palisade, and possibly other positions within the clearing itself. McDonnell's force, attempting to storm the palisade, came under immediate and very heavy fire from front, right and rear, with troops "being knocked over like ninepins" by unseen marksmen. Again the heart of the first soldier killed was cut from his body as a Hauhau war rite. McDonnell hesitated, torn between advancing with further losses or retreating, watching as the inexperienced volunteer recruits from the Wellington Rangers and Rifles either bunched together and froze or panicked and fled. McDonnell then gave the order to retreat, with casualties carried out first and McDonnell following with 80 men. Major Gustavus von Tempsky, near the palisade, was shot dead while awaiting orders, and four other officers—two captains and two lieutenants—were also killed. Tītokowaru's small attacking force was quickly reinforced by warriors from neighboring villages and McDonnell's retreat to Waihi came under relentless fire from Māori who followed them almost to the Waingongoro, inflicting further casualties. The expedition left 24 Europeans killed and 26 wounded.

Te Ngutu o Te Manu was a shattering defeat for the Europeans, on a similar magnitude to the Battle of Puketakuere during the First Taranaki War. Contemporary writers described the loss as "the most serious and complete defeat ever experienced by the colonial forces" and "the most disastrous affair that ever took place in New Zealand". Von Tempsky's death came as a shock to his military followers and to his wider audience of admirers throughout New Zealand. In the minds of the Pākeha public, von Tempsky was a dashing hero of the New Zealand wars, whose fearlessness and ability to survive near-misses gave him an aura of invincibility. One newspaper correspondent wrote: "Unless something is done and done quickly we had all better clear out."

The aftermath of the defeat was even more disastrous as it led to a disintegration of the Government forces. Hundreds deserted or refused to re-enlist for further service. Many kupapa (so-called "friendly" Māori) returned home and Von Tempsky's Forest Rangers mutinied. The Government was forced to abandon its Waihi and Manawapou camps, as well as the Kakaramea redoubt and withdraw to Patea, which prompted colonists to leave their farms and redoubts and retreat to the safety of Wanganui. The abandoned colonist sites were quickly occupied by Ngaruahine warriors.

Moturoa
In September 1868 Tītokowaru, who had until then been fighting only with his own hapu, gained the support of the Pakakohe, Tangahoe and Ngarauru hapu, more than doubling his strength to between 150 and 200. In early October his force marched south and built a pā at Otoia, just northeast of Patea and busied themselves with repairing weapons, gathering food and ammunition and planting crops. Further raids were carried out on settlers between Patea and the Waitotara River in a bid to bait the Government to fight them at their pā, without success.

McDonnell resigned as commander and was replaced in September by Colonel George S. Whitmore, who had carried out the first operations against Te Kooti on the East Coast. In early November Whitmore moved his field headquarters to Wairoa (modern-day Waverley) after learning Tītokowaru had moved south of him and established a camp at Moturoa, about 5 km inland of Wairoa, from where it was feared he would attack the rich farming area of Waitotara.

On 6 November Whitmore's force was boosted by the arrival of 100 men of a newly raised company of the Armed Constabulary, No.6 Division, commanded by Captain J. M. Roberts, who had fought at Te Ngutu. At midnight that night an attacking column of 550, including 300 Wanganui kupapa, picked their way from Wairoa toward Moturoa. Two hundred of the kupapa refused to enter the bush and the remaining force arrived at the pā before daylight.

The Māori camp had been established just four days earlier, in hilly, bush-covered country below the high wooded tableland of Okutuku, a village that had been raided in January 1866 as part of a "bush-scouring" campaign by Major-General Trevor Chute during the earlier hostilities. About 100 metres of 3.6m-high loose palisading had been hastily erected in a concave shape, blocking the path to the pā, while other defensive works included a long trench 2m wide and 2m deep behind the palisade, as well as hidden rifle pits and three taumaihi, 6m-high towers built of packed soil and ferns. While men in the trenches could fire through a gap beneath the palings of the palisade, others on an earth bank behind the trenches could fire through gaps in the palings, while a third line of fire could be effected from the taumaihi. Tītokowaru had placed his men on high alert and in the misty dawn, sentries caught sight of Whitmore's advance guard moving through the bush. The Moturoa defenders were silently roused and took their firing positions without being seen by the attacking force.

Whitmore ordered No.1 Division of the Armed Constabulary and a contingent of Wanganui kupapa under Major Kepa Te Rangihiwinui to move around to the right of the pā to attack the flank while the main body assaulted the front, supported by the newly arrived No.6 Division. Entry from the left was prevented by a steep and thickly forested gully at the western end of the palisade.

The signal for the assault was given and Hunter rushed for the palisades with a storming party of 50 Armed Constabulary. Tītokowaru's men waited until Hunter's men were within 10 or 12 metres before opening fire. One survivor said: "I never saw the like of that sheet of fire. Men went down all round me." Within minutes a dozen men were lying dead or wounded on the open ground. Kepa could not reach his assault point on the right flank and returned to help Hunter, who moments later suffered a fatal wound. Whitmore then sounded the bugle to retire, prompting many Moturoa defenders to run from the shelter of the stockade and trenches in pursuit. On the west, or left, flank a small detachment of No.2 Division was left to engage with Māori outside the pā and was the last group to retreat, coming under heavy fire not only from the pursuers but also from kupapa who believed they were the enemy, so far were they behind the main force. The Moturoa force followed Whitmore's troops all the way to Wairoa, firing on the redoubt before retreating.

Whitmore's casualties were recorded as 19 killed or missing and 20 wounded, with the heart of one soldier cut from his body and another later cooked and eaten. Only one of Tītokowaru's force was killed in the encounter.

The battle was regarded as the worst reverse suffered by government troops on the West Coast, surpassing even the Te Ngutu disaster. Colonel W.E. Gudgeon, who described it as "the most desperate engagement fought in the Māori War", claimed: "Whitmore's return did not give nearly our casualties. I made it at the time 52 out of fewer than 200 actually engaged." Whitmore offered his resignation to the Defence Minister, but was given government support and retained. Historian James Cowan described the Moturoa expedition as "Whitmore's one great blunder", but strong criticisms of Whitmore's strategy were rejected by Belich, who said the commander's one mistake was to underestimate the Moturoa deceptively strong defences. Although he claimed Whitmore had greatly exaggerated the strength of his enemy—reporting Tītokowaru had as many as 600 warriors at Moturoa—he concluded: "Whitmore was simply unfortunate enough to be a good general matched against an excellent one."

Tauranga-Ika
In the wake of the Moturoa defeat, Whitmore moved his base further south to Nukumaru, forming an entrenched camp ready to defend Wanganui's outlying settlements with a force of 350. Tītokowaru responded by following him, establishing an elaborate fortification for his 400 warriors at the Māori village of Tauranga-ika close to the Europeans' military base and just 29 km, or a day's march, from Wanganui. The new pā was sited alongside a road running from Kai-Iwi to the Waitotora River and provided a commanding view to the coast, with impenetrable bush behind it. From his new base he launched a night-long assault on the Weraroa Redoubt, overlooking the Waitotara River. Whitmore promptly abandoned Weraroa, moving its 50 Wanganui militia to join him at Nukumaru. As tensions continued to rise on the West Coast, the country learned of the massacre by fugitive East Coast guerrilla fighter Te Kooti of 50 men, women and children at Poverty Bay on 9/10 November. Defence Minister Haultain immediately ordered Whitmore to withdraw his entire force another 11 km to build a defensive line on the south side of the Kai-Iwi River and transfer some of his force to the East Coast to eradicate Te Kooti's threat. Whitmore convinced Haultain that it would be easier to concentrate first on defeating Te Kooti before returning with a stronger, more disciplined force to successfully act against Tītokowaru. He sailed from Wanganui for Poverty Bay on 2 December with 212 Armed Constabulary, leaving Wanganui's defence in the hands of about 620 Imperial troops, Armed Constabulary and militia and volunteers. Whitmore remained away from the West Coast for five weeks, during which time the colonial forces at Wanganui swelled to almost 2000 men.

Tītokowaru used those five weeks to demonstrate his hold on the Wanganui hinterland, burning farms and abandoned military posts and driving off stock, but also laboring over the fortifications at Tauranga-ika until it became one of the most formidable modern pā ever built. The pā had been built in a diamond shape, 135 metres long on each side, complete with trenches, rifle pits, parapets and a double line of stockade. The palisade, attached to 30 cm-thick posts, reached 5m above the ground, with a gap at its base to allow defenders in the trenches to fire beneath it. Inside the pā were trenches, covered walkways and shellproof underground shelters roofed with strong timbers, packed earth and galvanised roofing iron. At one corner was a 10m-high taumaihi, providing a third level of fire. Inspecting it later, Whitmore wrote in his report of 3 February 1869, "No troops in the world could have hewn their way through a double row of strong palisades, backed by rifle pits, and flanked by two-storeyed erections, such as was constructed in this fortification, defended by excellent shots and desperate men."

Whitmore returned to Wanganui on 18 January 1869 and immediately began preparing for a major offensive against Tītokowaru. A week later he set off with 800 Armed Constabulary and Wanganui and Kai-Iwi Mounted Corps, as well as 200 kupapa under Major Kepa, clinging to the coast to avoid the danger of bush ambushes. On 1 February he was at Nukumaru and the force dug itself in 100m away from the stockade. Two Armstrong guns were brought up on 2 February and used to shell the pā, causing little damage and no casualties. Two Coehorn mortars were used to fire on the pā the next day in preparation for a possible assault, when a reconnaissance mission by some Armed Constabulary discovered the pā was empty, its inhabitants—men, women and children—having slipped out through the rear during the night.

Tītokowaru's army immediately began to disperse, with entire hapu splitting from his force. No clear evidence exists why his forces would abandon a fortress so apparently unassailable, or why the chief's support from Taranaki Māori quickly evaporated, though Kimble Bent, who was sheltering with Tītokowaru's hapu after deserting from the 57th Regiment, told Cowan 50 years later the chief had lost his mana tapu, or sacred power, after committing adultery with the wife of another chief.

Whitmore professed no regret that Tauranga-ika had been taken without resistance: "My object was to gain possession of the district and if I could do this without loss and without putting too heavy a strain on my raw troops they would be encouraged."

Whitmore began pursuing Tītokowaru, with soldiers offered rewards of £10 for the head of a chief and £5 for the head of any others of his half-starved forces. Straggling warriors were shot and prisoners were decapitated as European troops and kūpapa competed in the race for blood money, collecting sacks of human heads. Whitmore suffered several casualties from a rearguard defence near the Waitotara River, but caught up with them on 13 March at Otautu, north of Patea, when six colonial soldiers were killed and 12 wounded in an attempted assault on the Māori camp. Eleven days later a group of Tītokowaru's followers, by now starving and subsisting on foraged food including fungus and grubs, surrendered in a swamp hideout at Ngaere, near modern-day Eltham, while their chief evaded soldiers and settled at Kawau Pa in the Upper Waitara Valley. The Government abandoned attempts to pursue him further and apart from mopping-up actions to capture his former allies in South Taranaki, the war had come to an end.

Although Tītokowaru had fought the entire war without direct assistance from the Māori King Movement, it is possible the Kingites had attempted to intervene in February 1869 with an attack on the Pukearuhe Redoubt in Taranaki's far north—in which the settlers Lieutenant Gascoigne, his wife, and their four children were killed alongside Rev. John Whiteley after being deceived with an opportunity for trade —and again in March when a force of Kingite warriors massed at Mokau, reportedly preparing to invade Taranaki. The raid, if planned, did not eventuate and the intervention plans, if they existed, came too late to assist Tītokowaru.

In popular culture

 * River Queen, film (2005) based on Tītokowaru's War in Whanganui.
 * Monday's Warriors, novel (1990) by New Zealand author Maurice Shadbolt. Semi-fictionalized account of the war told from the perspective of Kimball Bent.

title: Tītokowaru's War


text:
Julius Chan

Sir Julius Chan (born 29 August 1939) is a Papua New Guinean politician who served as Prime Minister of Papua New Guinea from 1980 to 1982 and from 1994 to 1997. He is Member of Parliament for New Ireland Province, having won the seat in the 2007 national election. He is also the current Governor of New Ireland Province, since 2007. On 26 May 2019, Prime Minister Peter O'Neill announced he would soon resign and that he wished for Sir Julius to succeed him. An outgoing Prime Minister does not, however, have the power to appoint his successor, and the following day O'Neill delayed his own formal resignation. He was also a leading figure in his country during the years-long Bougainville conflict.

Early life
Chan was born as the fifth child out of seven children on the Tanga Islands in the Territory of New Guinea, in what is now New Ireland Province, the son of Chan Pak (陳柏), a trader from Taishan, China and Miriam Tinkoris, a native New Irelander. In addition to English, he speaks Cantonese, Tok Pisin, and Sursurunga. He was educated at Marist College Ashgrove in Brisbane, Queensland, Australia.

Early political career
Chan first became actively involved in politics in the 1960s. He was elected to represent the Namatanai district of New Ireland province in the pre-independence House of Assembly in 1968 and was re-elected in 1972, 1977, 1982, 1987 and 1992. He was Deputy Prime Minister four times (1976, 1985, 1986, 1992–1994), and Minister of Finance three times (1972–1977, 1985-1986 and 1992–1994). He also held the portfolios of Primary Industry (1977–78) and External Affairs and Trade (1994). Chan became leader of the People's Progress Party in 1970. He was knighted as a Knight Commander of the Order of the British Empire (KBE) in 1981, and appointed a Privy Counsellor the next year.

Prime minister
Chan first became prime minister on 11 March 1980, succeeding the country's first prime minister, Michael Somare. He served as prime minister until 2 August 1982, when Somare regained the position.

He succeeded Prime Minister Paias Wingti in August 1994 and took office on the dual platform of national security and appropriate economic management. In 1997, the Chan government's multimillion-dollar contract with Sandline International, a mercenary organization, to counter separatist guerrilla warfare on Bougainville caused the Sandline affair, with immense public protests and a 10-day mutiny by the underpaid national army. On 25 March 1997, during an inquiry that started on 21 March that caused five ministers to resign, the Parliament defeated a motion calling on Chan to resign (59-38). However, the next day, Chan and two ministers chose to step down, and John Giheno, a member of Chan's party, became acting prime minister a day later. He regained the position on 2 June 1997, shortly before the national elections. Chan was defeated in the national election in June 1997 and was succeeded as prime minister by Bill Skate on 22 July 1997. He remained out of Parliament until winning the New Ireland Provincial seat in the June–July 2007 election.

Later career
During the "horse trading" phase of negotiations following the 2007 election, Chan was nominated for the position of prime minister, with the backing of Mekere Morauta and Bart Philemon, as an alternative to the large National Alliance grouping which appeared likely to again be led by Somare. Parliamentary Speaker Jeffrey Nape rejected Chan's nomination as a candidate and Somare won the vote to become Prime Minister without opposition on 13 August, while 21 members of Parliament joined Chan's opposition group. Chan was briefly Leader of the Opposition, but gave up the position to Mekere Morauta in August 2007.

Personal life
Chan married Stella, Lady Chan in 1966 and has four children: Vanessa Andrea, Byron James, Mark Gavin, and Toea Julius. His son Byron Chan was Member of Parliament for Namatanai Open electorate, covering the south of New Ireland from 2002 until 2017.

title: Julius Chan


text:
List of Buddhist temples

This is a list of Buddhist temples, monasteries, stupas, and pagodas for which there are Wikipedia articles, sorted by location.

Brazil

 * Khadro Ling Buddhist Temple, Três Coroas, Rio Grande do Sul
 * Zu Lai Temple, Cotia, São Paulo

Denmark

 * Havredal Zendo, Viborg

Finland

 * Liên Tâm Monastery, Turku

France

 * Kagyu-Dzong, Paris
 * Lerab Ling, Montpellier
 * Pagode de Vincennes, Bois de Vincennes
 * Plum Village Monastery
 * Vajradhara-Ling and Temple for Peace, Aubry-le-Panthou, Normandy

Germany

 * Das Buddhistische Haus (engl.: the Buddhist house; oldest Buddhist temple in Europe)
 * German Dharmaduta Society
 * Mahamevnawa Buddhist Monastery, (Theravada)

Greece

 * Kalachakra Stupa, in Karma Berchen Ling Buddhist Center, Lagkadaiika, Xylokastro

Hungary

 * Hungarian Shaolin Temple
 * Wonkwangsa International Zen Temple, Esztergom (Taego Order, Korean tradition)

Italy

 * Ensoji il Cerchio (Soto Zen)
 * Istituto Lama Tzong Khapa
 * Santacittarama Buddhist Monastery, Poggio Nativa (Theravada)

Khammouane

 * Tham Pha
 * That Sikhottabong

Luang Prabang

 * Wat Hosian Voravihane
 * Wat Mai Suwannaphumaham
 * Wat Manorom
 * Wat Pa Phon Phao
 * Wat Sen
 * Wat Xieng Thong

Vientiane

 * Pha That Luang
 * Tham Phu Kham
 * Tham Sang Triangle
 * That Dam
 * Wat Ong Teu Mahawihan
 * Wat Si Muang
 * Wat Si Saket

Xiangkhouang

 * Wat Phia Wat

New Zealand

 * Fo Guang Shan Temple, Auckland, North Island

Davao

 * Lon Wa Buddhist Temple

Metro Manila

 * Ocean Sky Chan Monastery, San Juan City, Metro Manila
 * Seng Guan Temple, Divisoria, Tondo, Manila

Poland

 * Drophan Ling

Republic of China (Taiwan)

 * Chung Tai Chan Monastery, Nantou, the tallest Buddhist temple in the world. Height: 136 m
 * Dharma Drum Mountain, New Taipei City (Fa Gu Shan), international headquarters of Dharma Drum Mountain organization
 * Fo Guang Shan Monastery, Kaohsiung
 * Linji Huguo Chan Temple, Zhongshan District, Taipei
 * Mengjia Longshan Temple, Wanhua District, Taipei
 * Nung Chan Monastery, Beitou District, Taipei
 * Shandao Temple, Zhongzheng District, Taipei
 * Xiangde Temple, Xiulin Township, Hualien County
 * Xuanzang Temple, Yuchih Township, Nantou County

Republic of Kalmykia

 * Burkhan Bakshin Altan Sume
 * Geden Sheddup Choikorling Monastery

Slovenia

 * Buddhist Congregation Dharmaling

Spain

 * Benalmádena Stupa, Benalmádena
 * Dag Shang Kagyü, Panillo, Huesca
 * Sakya Tashi Ling, La Plana Novella, Olivella

South Africa

 * Nan Hua Temple

Sweden

 * Buddharama Temple, Fredrika (Theravada)

Switzerland

 * Tibet Institute Rikon, Zell (Tibetan)
 * Wat Srinagarindravararam, Gretzenbach (Theravada)

Tanzania

 * Tanzania Buddhist Temple and Meditation Center, Dar es Salaam

Uganda

 * The Uganda Buddhist Centre, Kampala

title: List of Buddhist temples


text:
Wikipedia talk:Donations

Starting this page
I think this is quite important, so I start this page. But I don't know anything yet about it. Information welcome!

Things that could be interresting:
 * When can we start with it
 * Link to the official donations-page
 * What will be done with the money

Fantasy 09:39, 12 Aug 2003 (UTC)

 * This should be on meta, probably linked from funding, Making Wikipedia profitable, Advertising on Wikipedia. Martin

 * I just started the article, you can move it whereever you want, I don't disagree. :-) Fantasy 21:36, 12 Aug 2003 (UTC)

from the village pump
Is it possible to donate money to Wikipedia, for things like new/improved servers and the like? -- Schnee 01:01, 10 Aug 2003 (UTC)

 * Not yet. We'll wait until all the wikis together have reached 300000 articles and then we'll hold a big fundraiser and announce Wikimedia.—Eloquence 01:14, Aug 10, 2003 (UTC)

 * This way, when the server falls over under the publicity-generated load, we'll look like we really need the money. :P --Brion 02:14, 10 Aug 2003 (UTC)

time scale
Just curious: what time scale are we talking about (for the donations)? Weeks, months, 2003? Fantasy 21:52, 11 Aug 2003 (UTC)

 * It works now ;-) Fantasy 22:11, 22 Aug 2003 (UTC)

protecting this page
I just protected this page. I am not yet sure, if that is right, but I have the feeling that not everyone should be able to change the donations-address... Fantasy 22:11, 22 Aug 2003 (UTC)

 * For more info, try Protected page. --Menchi 22:20, Aug 22, 2003 (UTC)

 * OK, I added it there. I hope, that is ok. Thanks a lot, Fantasy 22:25, 22 Aug 2003 (UTC)

snail mail address
Maybe you can also put the snail mail address on this page? Jimbo posted it on the mailing list today and it is also a matter of public record, I hesitated posting it before, but considering not everyone in the world has a credit card, maybe using the regular mails should still be considered, no? Alex756 23:14, 22 Aug 2003 (UTC)

Accountability
I think it is a great idea to allow wikipedians to put their money where their editing is, so to speak, but I also think the running total of donations and whatever use is made of the money should be documented on the donations page. With greater transparency will come greater donations. -- Miguel

 * Yep, that point is raised Donations. --Menchi 22:42, Aug 22, 2003 (UTC)

 * On the same line of thinking, am I correct that right now the Wikimedia foundation is essentially one person? Is there a way that Wikipedians could become "members" of this foundation and play a direct role in the decision making process?  Will there be some sort of foundation "Mission Statement" that has to be followed.  Before I donate, I'd like to be sure that the money goes where it is supposed to be going and if possible I think wikipedians should be able to have as much decision making power as possible. -- Ram-Man 16:29, Aug 25, 2003 (UTC)

Donations for software development
Unless a rich wikipedian dies, I think we should not spend donations on software development. As far as I can tell we have some experienced developers already. If they lack some knowledge others will jump in, I'm sure. For every week a paid software engineer looks into the code we can buy another machine. Erik Zachte 03:39, 23 Aug 2003 (UTC)

 * I think, I have to explain this Idea also a little bit better: I did not mean to "pay external developer", I intended to support existing developer. A simple example: Brion Vibber told me, if he would have a laptop, he could work on the Wikipedia software even when he is traveling. So, by donating he could have a Laptop and Wikipedia could have even better Software. And it would also show him (or other developers), that their work is appreciated. Hope, that makes this Idea more clear ;-) Fantasy 08:04, 23 Aug 2003 (UTC)
 * PS: To donate for his laptop, go to http://leuksman.com/misc/donate
 * OK, that sounds fine to me. Brion is indispensable. Erik Zachte 11:56, 23 Aug 2003 (UTC)

 * Thanks to those who have donated! :) --Brion

Donations for brilliant prose
Is this a joke or what? If so, it is in the wrong place. People need to feel they can trust the money is spent well. Erik Zachte 03:39, 23 Aug 2003 (UTC)

 * Maybe I did not explain it so good. If you say: The best Article contribution or the best image contribution of the year 2003 is: XXX by user YYY (nominations, vote...). He gets 200 US$. Just an Idea. Just as an incentive for people to contribute something really brilliant or giving really good contributors a little reward.
 * See it like this: The Wiki-Nobel prise ;-) Fantasy 07:49, 23 Aug 2003 (UTC)
 * PS: It's just an Idea, nothing more.

 * Wikibel prize? :) Dysprosia 07:56, 23 Aug 2003 (UTC)

 * Remember all the dicussions about Wikimoney? It is contrary to the whole Wikipedia philosophy, where people contribute because it is fun, out of idealism and a sense of belonging to a community. Yes, we could recognize valued contributors by nominating them as Wikipedian of the Month. Honours will do, adding money to that takes away rather than adds to it. There are so many real good uses for donations that even mentioning such whimsey purposes will shy away some people from donating. Too bad the article page is locked, it is not enough to explain and discuss things here; the article itself should be unambiguous and void of nice to haves when we don't know what to do with the money. A wiki prize falls in that category in my view. Erik Zachte 12:26, 23 Aug 2003 (UTC)

 * All we need now is Wikfred Wikibel to die and leave us his legacy. --Menchi 07:59, Aug 23, 2003 (UTC)

 * And one more point: The Donator decides, what his money is used for! It seems to me, that you where worried about that. You can give (soon) a special "task" to your money, when donating ;-) Fantasy 08:08, 23 Aug 2003 (UTC)

 * I do hope this is a joke! I have donated a small amount of money because I want the slow server problems to be solved. I write, and my friends write wikipedia articles because they love doing it - not to be rewarded!

Hardware improvements
New Server... Fantasy 08:12, 23 Aug 2003 (UTC)

Does this page need to be protected?
Does this page need to be protected? If it's just an issue with vandals changing the address, we could have the address in a protected page but it seems unfair to leave the whole page locked when a lot of people are wanting to make changes. Angela

How about creating a page: Donation addresses and protecting that? Alex756 14:07, 23 Aug 2003 (UTC)

 * Soon Jimmy will set every detail on www.wikimedia.org. The infos here are just temporary. When his page is working we create just a link, and we can unprotect the page. Is that ok? Fantasy 15:32, 23 Aug 2003 (UTC)

 * I still agree with Angela, the only reason to protect the page is to save the address, protect the page that ONLY has the address, the page is otherwise a mess and SHOULD be edited, no? Alex756 15:56, 23 Aug 2003 (UTC)

 * OK, done ;-) Fantasy 16:16, 23 Aug 2003 (UTC)

 * Why are there two identical pages? Wikipedia:Donations Details & donation addresses. One protected, one not. Merge? --Menchi 21:09, Aug 23, 2003 (UTC)

 * Good queston. I'm going to delete the duplicate Donations details and protect Donation addresses. Angela

Announce!
I think this should be announced on Announcements: something like:

 * Please donate to the Wikimedia foundation and help us buy a new server - see Donations

MyRedDice

 * Be bold ;-) Fantasy 23:00, 23 Aug 2003 (UTC)

I've suggested to Jimbo that we use Networkforgood to take donations. They are a non-profit that offers free (minus a small processing fee [smaller than Paypal]) donation collection services to non-profits. Hopefully Jimbo will sign up for this service ASAP. { MB | マイカル } 18:36, Aug 25, 2003 (UTC)

Testing easier to use paypal interface.
MediaWiki doesn't allow forms on any wiki page. But it does on uploads See if this works:. --mav 20:44, 18 Sep 2003 (UTC)

Better idea: http://meta.wikipedia.org/upload/6/68/Fundraising.html Comment at --mav

Page outdated now?
Since http://wikimediafoundation.org/fundraising exists and is easier to use (HTML forms), is there still a reason to keep this page? Brion even set up Wikimedia Fundraising page as a place where meta admins can make real time changes to http://wikimediafoundation.org/fundraising (so far it is a bit of a hack, but shows great promise as a way to maintain the foundation's webpages). --mav

Redirect?
Since this page is depreciated, why isn't it a redirect? If I don't get any objections, I'll do it. JesseW 11:47, 22 Nov 2004 (UTC)

 * Perhaps it should be a soft redirect to avoid people being automatically sent to the foundation wiki and thinking they are still on Wikipedia. Angela. 04:11, Dec 24, 2004 (UTC)

 * Yes by all means remove everything from the page except for the message at the top and maybe a few sentences of extra information. You might want to replace the word "deprecated" with a more approacheable word, even obsolete.  Be bold and just do it, as I doubt anyone would object.  Oh what am I saying.  I'll do it! -- RM 04:26, Dec 24, 2004 (UTC)

title: Wikipedia talk:Donations